Search Results for Films Division

[email protected] Copyright 2023 by Duke University Press 2023 Sino‐Indian War Deoli camp propaganda film Films Division independent filmmaking I looked at our neighbors who were watching us carted off like common criminals: a grandmother . . . her thirteen-year-old granddaughter and eight-year...

...Gerald Sim Situated astride Malaysian and global film culture, the late director Yasmin Ahmad presents a fresh model of postcolonial poetics. Her films gravitated toward interracial romance melodramas set in globalized social and cultural milieus, where she stages interethnic squabbles between...

... 1986, but one that continues the class and gendered divisions underwriting the consumption of male bodies. Copyright 2011 by Duke University Press 2011 The Macho Machine: Male Sexual Commodification in Philippine Realist Film Reuben Ramas Cañete Introduction The filmic...

... footage, Ray calls to account the Films Division to task for being a propagandistic mouthpiece for the Indian government in the fallout from the Indo-China War, Chung-Kang Kim discusses the pitfalls of high-tech yet simplified museological productions of past atrocities, and Bae's article looks at Japan's...

... documentary films have been reviewed in the American Anthropologist and in Visual Anthropology and have screened at many festivals and film forums, including the Flaherty Seminar, the Margaret Mead Festival, the Whitney and Getty Museums, and the Films Division of India. Sudarat Musikawong...

... of profilmic space as a basis for her remarkable address to a more capacious address to the role of space and place in her recent work about the Films Division of India and a series of midcentury films in relation to India. 16 The film is held at the Imperial War Museum and screened on site. Ref. COI...

...Ryan Canlas This article looks at the 1990 documentary Masakit sa mata ( Eyesores ) as an instance of Filipino filmmaking that, in the aftermath of Lino Brocka's socialist realist cinema, explores the modalities of a postmodernist documentary style. It argues that the film founds the idea...

... from the contamination of other sensory experiences. Sat makes it clear that the visual intensity of film originates in sensory divisions. Paradoxically, this perceptual dismem- berment makes the distance between the spectator and the world...

... come from many quarters. Even before the film was released, as Richard Chrdon once explained to me, Chinese student leaders in exile and human rights lawyers questioned the directors on their depiction of the divisions within the student ranks...

... the filmmakers argue for peace is telling, however, of the cultural logic of neoliberalism — particularly the logic of privatization — operating in the film. The discourse of national division and civil war is displaced cinemati- cally onto a more...

... 2004 by Duke University Press 2004 Contributors Chris Berry teaches in the Division of Film Studies, University of California, Berkeley. He recently coedited Mobile Cultures, New Media in Queer Asia (2002...

... for a productivist extermination of communism in the north, Ch'oe increasingly sought to overcome the division of the peninsula by questioning a continuing Euro-America-centric global modernity, the East/West binary, and the continuing effects of Japanese colonialism. Ch'oe's naturalizing of a regime of universal...

...-American feature films: The Debut (2000), The Flip Side (2001), and Slow Jam King (2004). Copyright 2011 by Duke University Press 2011 The Social-­Invisibility Narrative in Filipino-­American Feature Films Elizabeth H. Pisares “PCN Salute” (1997), a theatrical skit by the San...

... in society and human history. The layers of jarring juxtapositions of different materials and sentiments in this work are provocative enough even for the casual viewer. While barbed wire is a symbol of division, separation, imprisonment, violence...

...Zachary Samuel Gottesman Abstract Wonderful Days (2003) was supposed to be the global breakthrough of Korean animation. After decades of government neglect and labor-intensive outsourcing work, the film aspired to show the world Korea's new technical prowess in animation, combining 2-D, 3-D...

... member of Iwanami’s film division, which, as we will see, made an enormous contribution to 1960s cinema, Hani made a striking first film in 1954 titled Children of the Classroom [Ky¯oshitsu no kodomotachi]. Audiences were stunned by the spontaneity...

... : Tolbegae . Yi Hyŏnjin . 2013 . “Pundan ŭi p’yosang, kanch’ŏp: 2000-nyŏndae kanch’ŏp yŏnghwa ŭi kanch’ŏp chaehyŏn yangsang” (“Kanch’ŏp, the Representation of the Division: Representations of Kanch’ŏps in Spy Films of the 2000s”) . Cineforum 17 : 73 – 104 . Yi Kwangsŏk . 2012...

... role of cinema in struggling for a just society and a solidarity that goes beyond ethnocentric and communitarian divisions. Specifically, it probes the politics of adaptation of the left-leaning Cantonese Union Film Enterprise (Zhonglian 中聯, 1952–1967) in colonial Hong Kong and scrutinizes how...

... resting their case on divisive ideologies of the state, racialized dividing lines, and exclusive and falsely stabilized mythologies about citizenship, national integrity, military preparedness, and colonial benevolence...

... moment, when that division is rendered inoperative. In the rest of the article, I turn to the latter moment. The most noticeable development in the postliberalization Hindi or Tamil film is a technical and stylistic reorientation...