Titicut Follies (1967).
As imagens e as palavras sobre as quais o Daniel escreveu.
Film as Philosophy
26.03.2008
Blade Runner.
Listen to philosopher Stephen Mulhall from the University of Oxford talking about film as philosophy — for Philosophy Bites.
Most philosophers who write and think about the movies focus on questions of ontology. Mulhall argues for a different approach. For him, a film like Blade Runner (1982) can actually be considered philosophy.
On Film Style (1)
24.03.2008
Spirited Away.
Week 23, 2008, at the University of Kent. This week’s lecture delivered by Dr. Catherine Grant for Introduction to Narrative Cinema 2: World Cinema is titled “Contemporary World Cinema Auteurism (1)”.
These are the aims of my seminar:
• look at the animated film and the singularity of Japanese animation;
• discuss Miyazaki as an animation auteur;
• examine the influences that inspired and the themes that structure Spirited Away (Sen to Chihiro no kamikakushi, 2001).
Cultural Borrowings
19.03.2008
Cat Power’s “Maybe Not” (2005).
The conference Cultural Borrowings: A Study Day on Appropriation, Reworking and Transformation is held today at the University of Nottingham. It is an honour to present a paper in this event that gathers scholars from different countries in a wide-ranging discussion centred around notions of adaptation, appropriation, reworking, translation, sampling, mimicry, and other instances of cultural borrowing.
I am presenting a paper on music video and found footage. Here is the long list of presenters and papers:
Keynote Speakers:
Christine Geraghty (University of Glasgow), “Adaptation Theory and the Problem of Faithfulness”
I. Q. Hunter (De Montfort University), “Exploitation as Adaptation”
Lee Marshall (University of Bristol), “Love and Theft: Dylan and Tradition”
David Hesmondhalgh, (University of Leeds), “The Politics of Musical Borrowing and Appropriation”
Session 1: Adaptation:
Pamela Atzori (University of Aberystwyth), “Citoyen Charles Dickens: French Television Adaptations of the Works of Charles Dickens”
Samantha Lay (University of Bedfordshire), “Adapting Resident Evil: A Three Stage Approach to the Study of Game to Film Adaptation”
Jason Scott (Leeds Trinity & All Saints and University of Leeds), “Repackaging, Repurposing, or Reworking the Product?: Risk and Translatability in the Commercial Intertext within Film and Popular Culture”
Alex Symons (University of Nottingham), “Selling Cult Movies on Broadway: How Mel Brooks Adapted The Producers, and Made a Billion Dollars”
Session 2: Sampling, Copyright and African American Culture:
Anthony McKenna (University of Nottingham), “Hound Dog: Class, Copyright and Cultural Propriety”
Justin Morey (Leeds Metropolitan University), “The Death of Sampling: Has Litigation Destroyed an Art Form?”
Shara Rambarran (University of Salford), “‘99 Problems but Danger Mouse Ain’t One’: The Cultural Politics of The Grey Album”
Justin Williams (University of Nottingham), “Reappropriating Jazz: The Construction of ‘Jazz Rap’ as High Art in Hip-Hop Music”
Session 3: Post-Colonial Appropriations:
Stacy A. Hope (University of St. Andrews), “Broken Feathers and the White Buck Woman: Appropriation of Western Aesthetics and Concepts Amongst Indigenous Peoples”
Jazmin Badong Llana (University of Aberystwyth), “The Bikol Dotoc: Post-Colonial Borrowings and Cultural Survival”
Fiona Sheales (University of East Anglia), “Bicycles, Books and British Officials: A Colonial Case Study of Yoruba Iconic Appropriations”
Nadine Siegert (Johannes Gutenberg-Universität Mainz), “Kuduru: The Crazy Frog Resampled”
Session 4: Remakes:
James MacDowell (University of Warwick), “What Value is There in Gus Van Sant’s Psycho?”
Hang Xu (University of East Anglia), “English Story, Chinese Style: A Case Study of Chinese Comedy Crazy Stone”
María Seijo-Richart (Universidad da Coruña), “A Bollywood Remake: Mohabbatein and Dead Poets Society”
Neelam Sidhar (University of Sussex), “Introducing the Contemporary Bollywood Remake”
Session 5: Musical Borrowings:
Éireann Lorsung (University of Nottingham), “Fear of Flying: Bonnie ‘Prince’ Billy and Tortoise Translate Elton John’s ‘Daniel’ Post-9/11”
David Muldoon (University of Milan), “Being Others: Anglo Saxon Tribute Bands and Italian Identity”
Pieter Schoonderwoerd (University of Nottingham), “Advertising the Music: Musicking the Advert”
Jacob Smith (University of Nottingham), “Sergei and the Mouse: Cultural Exchange and Postwar Children’s Culture”
Session 6: Visual Culture:
Rebecca Cobby (University of Nottingham), “‘I am African’, ‘I am Gwyneth Paltrow’: Quests for Universalism and the Controversy of Appropriation in African American Visual Culture”
Melanie Chan (Leeds Metropolitan University), “Embodiment and Immersion in Virtual Realities: Neuromancer, Ghost in the Shell and The Matrix”
Darren Elliott, Royal Holloway (University of London), “Queering Carrie: Appropriations of the Indelible Carrie White, a Feminist/Misogynist Icon”
Raphaëlle Proulx (Université de Montréal), “Cultural Appropriation in the Hands of Hip-Hop Graffiti Artists from Montréal (Canada) and São Paulo (Brazil)”
Session 7: Reworking the 1950s/60s:
Sarah Baker (University of East London), “Distinctive and Effortless?: The Value of Retro Style on Lifestyle Television”
Tim Vermeulen (University of Reading), “Revisiting Pleasantville: The Spatial Representation of Suburbia in Contemporary Cinema”
Carlo Cenciarelli (King’s College London), “‘What Never Was Has Ended’: Bach, Bergman, and The Beatles in Christopher Munch’s The Hours and Times”
Stella Sims (University of Sussex), “Bettie Page: Feminist Icon?”
Session 8: Found Footage:
Emma Cocker (University of Nottingham), “Ethical Possession: Artists and the Archives”
Sérgio Dias Branco (University of Kent), “Borrowed Sounds, Appropriated Images: Music Video and Found Footage”
Elijah Horwatt (York University), “A Taxonomy of Mashups, Re-cuts and Machinima: The Future of Found Footage on the Internet”
James Whitfield (King’s College London), “Friendly Teasing: Comedic Uses of Found Footage and the Question of Value”
Session 9: Critical Appropriations & Ideology:
Austin Fisher, Royal Holloway (University of London), “A Marxist’s Gotta Do What a Marxist’s Gotta Do: Political Violence on Italy’s Ethical Frontier”
Mariano Paz (University of Manchester), “Latin Hybrids: Hybridity in Latin American Science Fiction Cinema”
Francesca Haig (University of Chester), “Appropriation After Auschwitz: The Ethical Dilemma of Historical Fiction”
Daniel Benjamin Williams (University of Cambridge), “Scripta Manent: Parody and Rememberance in J. M. Coetzee’s Dusklands”
Contemporary World Cinema
18.03.2008
All About My Mother (Todo sobre mi madre, 1999).
Week 22, 2008, at the University of Kent. This week’s lecture delivered by Dr. Catherine Grant for Introduction to Narrative Cinema 2: World Cinema is titled “Introduction to Section 3: Contemporary World Cinema”. There are no seminars this week.
Intensidade e Segredo
13.03.2008
Ossos.
A crítica a Ossos (1997) que escrevi há mais de dez anos faz agora parte do arquivo sobre Pedro Costa e a sua obra que está a ser coligido por José Oliveira. Chama-se “Intensidade e Segredo”.
Mudaria muito pouco se o tivesse escrito hoje. Não sei se citaria Gilles Deleuze.
On “Structures of Sympathy” (2)
12.03.2008
The Official Story.
Week 21, 2008, at the University of Kent. There was no lecture for Introduction to Narrative Cinema 2: World Cinema this week.
These are the aims of my seminar:
• contextualise La historia oficial within Argentinean history;
• discuss why the women are so important and central in The Official Story (La historia oficial, 1985);
• analyse the film as an intimate drama with a viewpoint on the relations between present and past, memory and life.
_____________________
“On ‘Structures of Sympathy’”: (1)
The Strangeness of Tomorrow
11.03.2008
R.E.M.’s “E-Bow the Letter” (1996).
“And who’d have thought tomorrow could be so strange?”, sings Michael Stipe.
On “Structures of Sympathy” (1)
05.03.2008
The Battle of Algiers.
Week 20, 2008, at the University of Kent. This week’s lecture delivered by Dr. Catherine Grant for Introduction to Narrative Cinema 2: World Cinema is titled “Film as Argument”.
These are the aims of my subsequent seminar:
• approach the notion of political and social discourse in film;
• comprehend Murray Smith’s concepts regarding audience engagement;
• examine The Battle of Algiers (La battaglia di Algeri, 1966) and the intricacies of its argument.
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