As Film Studies
01 Jan 2016-
TL;DR: The Columbia Undergraduate Film Productions (CUFP) as mentioned in this paper is an active, student-run organization that provides film-making experience to Columbia undergraduate producers and directors, and many of them have gone on to work in film distribution, publicity, archives, and festivals.
Abstract: Students have the opportunity to gain additional experience by taking advantage of internship opportunities with film companies, working on graduate student films, and participating in the Columbia Undergraduate Film Productions (CUFP), an active, student-run organization that provides film-making experience to Columbia undergraduate producers and directors. In addition to careers in screenwriting, directing, and producing, alumni have gone on to work in film distribution, publicity, archives, and festivals, and to attend graduate school to become teachers and scholars.
Citations
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Dissertation•
04 Jun 2017
6 citations
Cites background from "As Film Studies"
...Comedy Any film designed to make an audience laugh – a genre which can be subdivided into gross-out comedy, romantic comedy, slapstick comedy and so on (Butler 2005)....
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...Gross-out Comedy Branch of comedy characterised by obsession with bodily functions, genitalia, food, excreta, sex, and a general lack of taste (Butler 2005)....
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...Science Fiction A genre of film which often overlaps with horror; usually the narrative is centred on the impact of science or technology, although increasingly this is just an excuse to hang a series of set-piece special effects together and scientific rigour can go hang as we see light travel through a vacuum, and hear those explosions in space (Butler 2005)....
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...In the silent era and immediately afterwards these were churned out in their hundreds, often featuring a recurring character or characters (Butler 2005)....
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...Epic Large-budget films telling big, important stories, often over several hours, featuring casts of thousands and much spectacle(Butler 2005)....
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01 Apr 2018
TL;DR: The negotiations of game communities towards Dorian, and more generally sexually distinct characters, are explored and it is argued that some game fans move beyond this duality by producing and sharing fan-arts and fan-fiction which depict inter-species sexual intercourse between Dorian and one of his non-human teammates.
Abstract: Dorian Pavus from Dragon Age: Inquisition has sometimes been described as a "breaking gay game character." While video games are now catching up on LGBTQ representation, only a few characters are granted a role that is as significant as that of Dorian. This article explores the negotiations of game communities towards Dorian, and more generally sexually distinct characters. It reflects upon the attitudes of the game communities towards the representation of non-heterosexuality in video games and the challenges and opportunities of creating a playable gay character in a video game. Forum comments reveal that LGBTQ gamers are divided. Indeed, some read Dorian as a gay stereotype while others read Dorian as a faithful representation of LGBTQ individuals. However, some game fans move beyond this duality by producing and sharing fan-arts and fan-fiction which depict inter-species sexual intercourse between Dorian and one of his non-human teammates. I argue that these artworks encourage a reading of Dorian that is queer as they fall outside the representation of the hegemony of both heterosexuality and homosexuality.
5 citations
Cites background from "As Film Studies"
...…a significant positive presence, he embodies the continuation of a fight that started with the Gay Liberation movement of the 1970s, standing as "an appropriate response to invisibility and a history of negative images was the construction and circulation of positive ones" (Arroyo, 1997, p. 70)....
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17 Apr 2020
TL;DR: In this article, the authors analyze the transposition of a metaphor generated by light and shadow from literature to cinematography and theatre as in Liviu Rebreanu's “The Forest of the Hanged”.
Abstract: Starting from their basic role as elements of literary, cinematographic and theatrical description, light and shadow develop a close relation in all these three arts. They exceed their primary purpose and become involved in the process of narrating the events and setting the mise-en-scene. Even more, they are also engaged in changing the atmosphere, visualizing the images, modifying the reader’s or viewer’s attention, increasing or diminishing the dramatic intensity, conferring dynamic effect, accumulating meaning and revealing symbolic, philosophical, psychological and metaphysical significance to literary, cinematographic and theatrical artworks. Transferred from literature to cinematography and theatre, light and shadow have to adjust their means of expression so that to correspond to the specificity of each art. Taking after the techniques in the art of drawing, naming the tree-dimension perspective and chiaroscuro, light and shadow bring new aesthetic values to theatre and cinematography. Regarded as instruments of creating literary and visual metaphors, light and shadow highly influence the perception of the images outlined by them. The study aims to take into discussion the manner in which light and shadow may be employed as instruments of creating literary as well as visual metaphors. At the same time, it analyses the transposition of a metaphor generated by light and shadow from literature to cinematography and theatre as in Liviu Rebreanu’s “The Forest of the Hanged”.
4 citations
Cites background from "As Film Studies"
...The light coming from bottom, top or sides generate particular emotional occasions through creating different shadow forms11 (Butler, 2005: 33-35)....
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Dissertation•
12 Jun 2014
TL;DR: In this paper, the analysis of internal conflict is conducted using Lacanian psychoanalysis that consists of three orders; The Real, The Imaginary, and The Symbolic as the orders of the process in finding self-existence.
Abstract: 2014
This graduating paper conducts a research of Ruby Sparks film. It focuses on the analysis of the main character; Calvin Weir-Fields’ internal conflict. The film offers the strong highligt of Calvin Weir-Fields’ psychological aspect, especially his internal conflict. Conflict has become a natural thing in both real life and literature. In addition, conflict is the main point of the plot in a literary work. As a qualitative research, it tries to answer two research questions; what Calvin Weir-Fields’ character is described in Ruby Sparks Film and how do three orders of Lacanian psychoanalysis work in Calvin Weir-Fields’ internal conflict. The analysis of internal conflict is conducted using Lacanian psychoanalysis that consists of three orders; The Real, The Imaginary, and The Symbolic as the orders of the process in finding self-existence. Lacanian three orders of psychoanalysis that are applied in analyzing the internal conflict of the main character needs the aspect of Calvin’s interaction to the other characters. The three orders of Lacanian psychoanalysis consists of external conflict and internal conflict, especially in The Imaginary and The Symbolic. It shows the natural process of internal conflict formation in the main character. The connection between subject’s interaction with the other in Lacanian three orders leads to the idea that the characteritics of the main character influence the formation process of his internal conflict. The analysis of The Symbolic in Calvin’s case shows the domination of imaginary phallus over symbolic phallus that leads the internal conflict dominates over the external conflict.
3 citations
Dissertation•
28 Mar 2017
3 citations
References
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Dissertation•
04 Jun 2017
6 citations
01 Apr 2018
TL;DR: The negotiations of game communities towards Dorian, and more generally sexually distinct characters, are explored and it is argued that some game fans move beyond this duality by producing and sharing fan-arts and fan-fiction which depict inter-species sexual intercourse between Dorian and one of his non-human teammates.
Abstract: Dorian Pavus from Dragon Age: Inquisition has sometimes been described as a "breaking gay game character." While video games are now catching up on LGBTQ representation, only a few characters are granted a role that is as significant as that of Dorian. This article explores the negotiations of game communities towards Dorian, and more generally sexually distinct characters. It reflects upon the attitudes of the game communities towards the representation of non-heterosexuality in video games and the challenges and opportunities of creating a playable gay character in a video game. Forum comments reveal that LGBTQ gamers are divided. Indeed, some read Dorian as a gay stereotype while others read Dorian as a faithful representation of LGBTQ individuals. However, some game fans move beyond this duality by producing and sharing fan-arts and fan-fiction which depict inter-species sexual intercourse between Dorian and one of his non-human teammates. I argue that these artworks encourage a reading of Dorian that is queer as they fall outside the representation of the hegemony of both heterosexuality and homosexuality.
5 citations
17 Apr 2020
TL;DR: In this article, the authors analyze the transposition of a metaphor generated by light and shadow from literature to cinematography and theatre as in Liviu Rebreanu's “The Forest of the Hanged”.
Abstract: Starting from their basic role as elements of literary, cinematographic and theatrical description, light and shadow develop a close relation in all these three arts. They exceed their primary purpose and become involved in the process of narrating the events and setting the mise-en-scene. Even more, they are also engaged in changing the atmosphere, visualizing the images, modifying the reader’s or viewer’s attention, increasing or diminishing the dramatic intensity, conferring dynamic effect, accumulating meaning and revealing symbolic, philosophical, psychological and metaphysical significance to literary, cinematographic and theatrical artworks. Transferred from literature to cinematography and theatre, light and shadow have to adjust their means of expression so that to correspond to the specificity of each art. Taking after the techniques in the art of drawing, naming the tree-dimension perspective and chiaroscuro, light and shadow bring new aesthetic values to theatre and cinematography. Regarded as instruments of creating literary and visual metaphors, light and shadow highly influence the perception of the images outlined by them. The study aims to take into discussion the manner in which light and shadow may be employed as instruments of creating literary as well as visual metaphors. At the same time, it analyses the transposition of a metaphor generated by light and shadow from literature to cinematography and theatre as in Liviu Rebreanu’s “The Forest of the Hanged”.
4 citations
Dissertation•
12 Jun 2014
TL;DR: In this paper, the analysis of internal conflict is conducted using Lacanian psychoanalysis that consists of three orders; The Real, The Imaginary, and The Symbolic as the orders of the process in finding self-existence.
Abstract: 2014
This graduating paper conducts a research of Ruby Sparks film. It focuses on the analysis of the main character; Calvin Weir-Fields’ internal conflict. The film offers the strong highligt of Calvin Weir-Fields’ psychological aspect, especially his internal conflict. Conflict has become a natural thing in both real life and literature. In addition, conflict is the main point of the plot in a literary work. As a qualitative research, it tries to answer two research questions; what Calvin Weir-Fields’ character is described in Ruby Sparks Film and how do three orders of Lacanian psychoanalysis work in Calvin Weir-Fields’ internal conflict. The analysis of internal conflict is conducted using Lacanian psychoanalysis that consists of three orders; The Real, The Imaginary, and The Symbolic as the orders of the process in finding self-existence. Lacanian three orders of psychoanalysis that are applied in analyzing the internal conflict of the main character needs the aspect of Calvin’s interaction to the other characters. The three orders of Lacanian psychoanalysis consists of external conflict and internal conflict, especially in The Imaginary and The Symbolic. It shows the natural process of internal conflict formation in the main character. The connection between subject’s interaction with the other in Lacanian three orders leads to the idea that the characteritics of the main character influence the formation process of his internal conflict. The analysis of The Symbolic in Calvin’s case shows the domination of imaginary phallus over symbolic phallus that leads the internal conflict dominates over the external conflict.
3 citations
Dissertation•
28 Mar 2017
3 citations