Search Results for travel film

... centered on the figure of a male sojourner who travels to undertake humanitarian work. These films confuse the categories of popular cinema and art cinema, fueling the divergent appraisals of Bier's oeuvre. The author argues that the films deploy the popular and gendered dimensions of melodrama in ways...

... we read the emergence of the “horror city” as a representation of the political unconscious of this historical conjuncture. Many films refer back to older mythologies of imperial and racial conquest, but also by doing so represent the symbol of modernity—the city—as travel back to a traumatic past...

... with an unusual and intentional online presence, culminating in substantial coverage from new types of outlets when JR traveled to the Academy Awards luncheon with cardboard cutouts of Varda. Varda's social media presence, in her own posts and in JR's, both documents and extends the film's promotional campaign...

... necessarily has a temporal dimension (not unrelated to the time of pregnancy and the time of mourning). Time travel is the film's arresting shorthand for conveying what it means to encounter death. Interviewed in the context of a debate over the ethics of new reproductive technologies, Barbara Katz Rothman...

...Brenda Longfellow Chantal Akerman’s last film, No Home Movie (Belgium/ France, 2015), a film that is now impossibly freighted with the news of her suicide, provides a poignant reflection on many of the themes and formal strategies that Akerman has employed throughout her storied career. Shot...

... subjectivity”— containing souvenirs from the homeland, but primarily signifying travel and a provisional life—I want to ask what happens when someone takes those souvenirs out of the suitcase and places them somewhere new? I do this by reading two early twenty-first-century films by diasporic filmmakers...

...Elisabeth Windle Douglas McGrath’s 2006 film Infamous recounts Truman Capote’s research travels to Kansas in the late 1950s. In opposition to the “effemiphobic” rhetoric of many contemporary gay cultures, Infamous highlights Capote’s effeminacy and relationships with women as creatively...

... travel film neoliberalism cosmopolitanism romantic comedy Figure 1. A view from above. Eat Pray Love (dir. Ryan Murphy, US, 2010) An aerial view of a flock of white birds flying over a vast expanse of agricultural land. From this vantage point, everything below, including the trees...

... classeswere available; she learned "from just doing it" , from seeing more films, and from the local film labs who answered her questions and advised her. Started doing free-lance graphics in 1968; worked as art director at Empire Photosound (a producer of industrial and travel films) ; did titles...

...Constance Penley © 1986 by Camera Obscura 1986 The Terminator (James Cameron, 1984) Time Travel, Primal Scene, and the Critical Dystopia Constance Penle y If the sure sign of postmodern success is the ability to inspire spin-offs, The Terminator was a prodigy. The film...

... for ONE's premium associate members. Following the 1964 trip, ONE's European Tour was held annually and involved the travel services of Sampson, which were reportedly offered at cost and transacted directly through ONE Tours. ONE Adventure was filmed during the September 1972 trip, attended by prominent...

..., was born in 1895, in the Golden Age of railway travel. As the prehistory and beginnings of cinema strongly suggest, film finds an apt metaphor in the railroad. The train can be seen as providing the prototypical ex- perience of looking at a framed, moving image, and as the mechanical double...

... as well as the conditions for the liberation of that body. The Walker-Parmar film assumes that a Euro-American multicultural agenda travels freely across national boundaries. Thus, we need to understand multiculturalism in a transnational perspective in order to come to grips...

... remains the same until the end of the film. It is the traveller. Crosses the square. The square, crossed. * These first fiveshots oftheopening segment ofWoman ofthe Ganges de- scribe a passage: the arrival of Michael Richardson, the traveller...

... of pleasure. What I want to consider more fully here is how the organization of the cheap theaters and amusement parks as cultural spaces was just as significant as what was represented on the screen. As Teresa de Lauretis has noted, “Because films address spectators as social...

...elle flanders This piece follows the author's journey of making a film about the segregated roads in Palestine, and the ways in which queer subjectivity and radical politics inform the work we produce regardless of subject matter. Offering a counter-narrative to the Israeli government's...

... of Arnait builds on the strategies deployed by the well-known Nunavut-based video and film collective Isuma and also radically departs from it by including women in key production roles. In doing so, Arnait foregrounds women's stories and perspectives from an Inuit point of view and thereby counteracts...

... cannot help reading as a sign of the inflexibility of feminist paradigms to relate to films that have not been produced within their own familiar cultural orbit. 27. Pidduck, “Travels with Sally Potter’s Orlando,” 183. 28. Andrea Fabry argues that Enyedi evokes the “cinema...

..., the second shot of the film places the viewer behind the windshield of a car traveling down a Paris free- way. In the right half of the frame, an unidentified hand points a Sony video camera toward the windshield in such a way that we can see recorded images...

... Straub and Danièle Huillet, Germany, 1981) begins with a traveling shot best described as vertiginous. The shot—more than seven minutes in duration—is filmed from an automobile driving around the traffic circle at the Place de la Bastille in Paris. The camera looks outward; the spectator never sees...