Nonprint Media: Feature Films to Teach Literature

1981 ◽  
Vol 70 (1) ◽  
pp. 86 ◽  
Author(s):  
James L. Limbacher
Keyword(s):  
Feature Films ◽  
Nonprint Media

The Formation of a Budding Man Alone: The God Boy (Murray Reece, 1976)

2018 ◽  
Author(s):  
Alistair Fox
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
New Zealand ◽  
Religious Beliefs ◽  
Coming Of Age ◽  
World War ◽  
Value System ◽  
Feature Films ◽  
The Family

This chapter analyses the earliest of the New Zealand coming-of-age feature films, an adaptation of Ian Cross’s novel The God Boy, to demonstrate how it addresses the destructive impact on a child of the puritanical value-system that had dominated Pākehā (white) society through much of the twentieth century, being particularly strong during the interwar years, and the decade immediately following World War II. The discussion explores how dysfunction within the family and repressive religious beliefs eventuate in pressures that cause Jimmy, the protagonist, to act out transgressively, and then to turn inwards to seek refuge in the form of self-containment that makes him a prototype of the Man Alone figure that is ubiquitous in New Zealand fiction.

Beyond Eastern Noir

2018 ◽  
Author(s):  
Anna Estera Mrozewicz
Keyword(s):  
Eastern Europe ◽  
Case Studies ◽  
Feature Films

This book addresses representations of Russia and neighbouring Eastern Europe in post-1989 Nordic cinemas, investigating their hitherto-overlooked transnational dimension. Departing from the dark stereotypes that characterise the hegemonic narrative defined as ‘Eastern noir’, the author presents Norden’s eastern neighbours as depicted with a rich, though previously neglected in scholarship, cinematic diversity. The book does not deny the existence of Eastern noir or its accuracy. Instead, in a number of in-depth case studies of both popular and niche feature films, documentaries and television dramas, it interrogates and attempts to add nuance to the Nordic audiovisual imagination of Russia and Eastern Europe. Tracing approaches of and beyond the Eastern noir paradigm across cinematic genres, and in relation to changing historical contexts, the author considers how increasingly transnational affinities have led to a reimagining of Norden’s eastern neighbours in contemporary Nordic films. Making the notions of border/boundary and neighbourliness central to the argument, the author explores how the shared geopolitical border is (re)imagined in Nordic films and how these (re)imaginations reflect back on the Nordic subjects.

Changing Theorizations of Cultural Production in Canada and Quebec: A Review of Some Recent Literature on the Cultural IndustriesLA SOCIETE DE L’INFORMATION: DU FORDISME AU GATESISME. Gaetan Tremblay. Montreal: Southam Conference, Canadian Communication Association/GRICIS.UQAM, 1995.L’ETAT DE CULTURE: GENEALOGIE DISCURSIVE DES POLITIQUES CULTURELLES QUEBECOISES. Martin AUor and Michelle Gagnon Montreal: GRECC/Concordia University, 1994.MISSED OPPORTUNITIES: THE STORY OF CANADA’S BROADCASTING POLICY. Marc Raboy. Montreal & Kingston: McGill-Queen’s University Press, 1990.THE MEDIUM AND THE MUSE: CULTURE, TELECOMMUNICATIONS AND THE INFORMATION HIGHWAY. Charles Sirois and Claude E. Forget. Montreal: The Institute for Research on Public Policy, 1995.HOLLYWOOD’S OVERSEAS CAMPAIGN: THE NORTH ATLANTIC MOVIE TRADE, 1920-1950. Ian Jarvie. Cambridge: Cambridge University Press, 1992.A CANADIAN JOURNEY: CONVERSATIONS WITH TIME. Peter Harcourt,Toronto 1994: Oberon Press.CANADA’S HOLLYWOOD: THE CANADIAN STATE AND FEATURE FILMS. Ted Madger, Toronto 1993: University of Toronto Press.

1997 ◽  
Vol 31 (4) ◽  
pp. 178-194 ◽  
Author(s):  
Michael Dorland
Keyword(s):  
North Atlantic ◽  
Cultural Production ◽  
Recent Literature ◽  
Missed Opportunities ◽  
Cambridge University ◽  
University Of Toronto ◽  
The North ◽  
Feature Films ◽  
Concordia University ◽  
The North Atlantic

Wonks and Warriors: Depictions of Government Professionals in Popular Film

Public Voices ◽  
2017 ◽  
Vol 9 (2) ◽  
pp. 61 ◽  
Author(s):  
Beth A. Wielde ◽  
David Schultz
Keyword(s):  
Content Analysis ◽  
Popular Culture ◽  
Public Service ◽  
Small Sample ◽  
Government Officials ◽  
Public Servants ◽  
Popular Film ◽  
Feature Films ◽  
Perceived Reality ◽  
Recent Government

The importance of studying public service portrayals in popular film lies in theimportance of popular culture itself. Popular culture defines generations, both creating and reflecting trends. It provides a window to worlds that may otherwise be a mystery. Popular film messages merge with other media and environmental factors to form a perceived reality for many (Kelly and Elliott 2000).This article examines the depiction of non-elected public servants in movies. It seeks to identify how these individuals are depicted in film and to determine if there are any specific stereotypes or patterns that emerge regarding how Hollywood describes nonelected government officials. It will do this by undertaking a content analysis of a small sample of recent government-themed feature films, ones that have entered into the popular culture mainstream since the late 1980s and early 1990s, as well as certain earlier films that have entrenched themselves into the popular culture vernacular.

Indian Boarding School Gothic in Older than America and The Only Good Indian

2015 ◽  
Vol 47 (2) ◽  
pp. 5-27
Author(s):  
Elizabeth Kella
Keyword(s):  
North American ◽  
Boarding School ◽  
Boarding Schools ◽  
Spiritual Values ◽  
Feature Films ◽  
Native North American ◽  
Indian Boarding School ◽  
Visual Sovereignty ◽  
History Of ◽  
Indian Boarding Schools

This article examines the appropriation and redirection of the Gothic in two contemporary, Native-centered feature films that concern a history that can be said to haunt many Native North American communities today: the history of Indian boarding schools. Georgina Lightning’s Older than America (2008) and Kevin Willmott’s The Only Good Indian (2009) make use of Gothic conventions and the figures of the ghost and the vampire to visually relate the history and horrors of Indian boarding schools. Each of these Native-centered films displays a cinematic desire to decenter Eurocentric histories and to counter mainstream American genres with histories and forms of importance to Native North American peoples. Willmott’s film critiques mythologies of the West and frontier heroism, and Lightning attempts to sensitize non-Native viewers to contemporary Native North American concerns while also asserting visual sovereignty and affirming spiritual values.

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