In recent years a body of films has emerged which center on, or at least explore, an “older” woman protagonist who takes on the romantic heroine role. The category of the “gerontocom” might include, for example, Must Love Dogs (2005); I Could Never Be Your Woman (2007); Mama’s Boy (2007); Last Chance Harvey (2008) and even musical/romcom hybrid Mama Mia! (2008).
Professor Giuliana Muscio of Universita degli Studi di Padova will discuss her current work on the 1955 film The Rose Tattoo. Tennessee Williams wrote The Rose Tattoo for Anna Magnani, and by performing the main role on screen, she won an Academy Award in 1956. The casting and the acting style in the film (directed by Daniel Mann) pose interesting questions on trans-culturalism.
Guilt and violence on the path to redemption are themes omnipresent in Martin Scorsese’s work. In Raging Bull, a biopic on the Middleweight boxing champion Jake La Motta, we follow La Motta’s search for redemption, a quest common to many of Scorsese’s characters. This talk will use Scorsese’s filmography, life and classical boxing films to reflect both on the role violence plays in this redemptive process and on how Scorsese’s views on redemption stem from his Catholicism. Why does Scorsese view violence as a means of redemption?
Joel Frykholm of Stockholm University is currently a Kluge Fellow at the Library of Congress's John W. Kluge Center. As part of his research at the Kluge Center, Frykholm is examining the tumultuous period of early Hollywood from the perspective of George Kleine, a captain of the film industry that today is virtually unknown outside the field of film historians. This lecture explores what happened to Kleine, why he drifted into historiographical oblivion, and why his case is ripe for re-discovery.
Dr. Aguinaga is a specialist of 20th century Spanish history and propaganda. His informal talk is based on the new book manuscript he is currently drafting, which is tentatively titled "American Cinema and the Cold War, 1945-1960: A Comparative Analysis of Spain, France, Italy, and Portugal."
A light lunch will be served. Please RSVP to Ms. Lanier at email@example.com by Monday 2/11/13.
This spring, we’ll investigate the relation between phenomenology and film, with a special emphasis on the “and” of the equation—meaning, how can we talk about film and philosophy together? How is film constitutive of the very theoretical tools that would be used to analyze it? Can we think about film and philosophy without instrumentalizing one in order to understand the other? How do we put film and phenomenology together in discussion, dialogue, analysis?
Tentative Schedule / Course Plan
There will be four colloquia in the spring on this topic, each based on a brief selection of readings emanating from these questions. The colloquia will convene roughly on the first or second Friday of the month from 2:00-4:00 p.m.
February 8: Prof. Eric Zakim will discuss questions about the very (im)possibility of film (and) theory
March 15: Prof. Caroline Eades will present ideas on the relation of the French New Wave to phenomenological thinking
April 12: Prof. Oliver Gayken will revisit the question of phenomenology and film in the context of Vivian Sobchack’s work
May 3: Prof. Luka Arsenjuk will discuss phenomenology in relation to theoretical orientations that have taken a decisively anti-phenomenological approach (psychoanalysis & Marxism, for instance)
Featuring: Luka Arsenjuk, School of Languages, Literatures, & Cultures Saverio Giovacchini, Dept. of History
Christina Larocco, Dept. of History Brian Real, College of Information Studies
Arturo Serrano, Visiting Fullbright Scholar, Dept. of English Zita Nunes, Dept. English and Comparative Literature
This adaptation of the famous short story by Rudyard Kipling tells the story of Daniel Dravot and Peachy Carnahan, two ex-soldiers in India when it was under British rule. They decide that the country is too small for them, so they head off to Kafiristan in order to become Kings in their own right.
A brief discussion and free pizza will follow the film.
This film was chosen by graduate student Andy Black