Dear All,
Sorry for cross-posting.
Please find below two events hosted by the CENTRE for FILM STUDIES at
the UNIVERSITY of ST ANDREWS.
Attached also is a copy of the whole Spring Programme.
All welcome.
With best wishes,
Saer Maty Ba
**
*TALK*
17 February, 2009
5:15 pm. Centre for Film Studies
Lecture Theatre, Ground floor, Arts Building, University of St. Andrews
Prof. Murray Pomerance, Ryerson University, Toronto, Canada
*/A Modern Gesture: Perpetual Motion and Screen Suspense/*
A discussion of modernity and cinema focuses on the construct of the
“screen gesture,” in which through various formations the cinematic
moment configures and symbolizes gesturally toward its audience in terms
of an attitude, orientation, or philosophical consideration.
Specifically, perpetual motion and its relation to the modern moment is
considered in detail in a reflection upon three cinematic moments: the
revolving door sequence at the beginning of F. W. Murnau’s /The Last
Laugh/; the “nonsense” dance that concludes Charlie Chaplin’s /Modern
Times/; and the sister’s entry into the haunted house in Alfred
Hitchcock’s /Psycho/.
Bio:
Murray Pomerance is Professor in the Department of Sociology at Ryerson
University. Author of /The Horse Who Drank the Sky: Film Experience
Beyond Narrative and Theory /(Rutgers 2008), /Johnny Depp Starts Here/
(Rutgers 2005), /An Eye for Hitchcock /(Rutgers 2004), /Savage Time/
(Oberon 2005), and /Magia D'Amore/ (Sun and Moon, 1999), he has edited
or co-edited numerous volumes, including /A Family Affair: Cinema Calls
Home /(Wallflower, 2008), /City That Never Sleeps: New York and the
Filmic Imagination/ (Rutgers 2007), /Cinema and Modernity/ (Rutgers
2006), /From Hobbits to Hollywood: Essays on Peter Jackson's Lord of the
Rings/ (Rodopi 2006), /American Cinema of the 1950s: Themes and
Variations/ (Rutgers 2005), /Where the Boys Are: Cinemas of Masculinity
and Youth/ (Wayne State 2005), /BAD: Infamy, Darkness, Evil, and Slime
on Screen/ (State University of New York Press 2004), and /Enfant
Terrible! Jerry Lewis in American Film/ (New York University Press
2002). He is at work on a book about the colour films of Michelangelo
Antonioni. He is editor of the Horizons of Cinema series at State
University of New York Press and, with Lester D. Friedman and Adrienne
L. McLean respectively, co-editor of both the /Screen Decades/ and /Star
Decades/ series at Rutgers University Press.
*TALK*
24 February 2009
5:15 pm. Centre for Film Studies
Lecture Theatre, Ground floor, Arts Building, University of St. Andrews
J Ron Inglis, Director, Regional Screen Scotland
*/Will pixels save the soul of cinema as we once knew it?/*
*/ /*
The practice of cinema as a public art form has evolved ever since its
birth over a century ago. However over the past 20 years social,
technological and commercial developments have radically changed cinema
going. Studio films are released in a broadcast-style of distribution.
The number of films released theatrically has risen dramatically.
Audiences are increasingly fragmented. Digital technologies allow films
to be copied – and even remade – without any payment to the creators.
Within this challenging environment there are audiences in both rural
and urban settings who are asking for a different kind of cinema
experience. Public policy frequently supports these complementary or
alternative cinema worlds, from film festivals to arts centres to rural
touring cinemas. But can they really thrive in the face of fragmented,
private viewing of films and official unwillingness to treat cinema as
‘culture’ rather than as ‘commerce’?
Bio:
Ron Inglis is a cinema and arts consultant based in Peebles. A graduate
of St Andrews University, he ran the popular Union film society (600+
members) and worked during the summer vacations with the Edinburgh
International Film Festival. In the 1970s he developed the part-time
regional film theatre in Lancaster and in 1981 joined Edinburgh’s
Filmhouse as Deputy Director in charge of cinema programming. In 1988 he
changed direction and worked as a computer trainer but after gaining an
MBA in Edinburgh, he returned to cinema and the arts as an independent
consultant.
His work covers options appraisals, feasibility studies, capital project
developments, digital cinema implementation, strategic development,
marketing and audience development, and artform-specific audits in
England, Scotland, Wales and the Republic of Ireland. He is an assessor
on funding programmes for Scottish Screen, the UK Film Council, and the
Arts Council of Ireland.
Since October 2008, Ron has been working as Director of the new
development agency Regional Screen Scotland which has responsibility for
the operation of the Screen Machine mobile cinema in north Scotland, as
well as the development of sustainable cinema activities throughout
Scotland outwith the four major cities.
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