by
Bingham, Dennis, 1954-
Call Number
791.4365 22
Publication Date
2010
Summary
Through detailed analyses and critiques of nearly twenty biopics, Whose Lives Are They Anyway? proves a critical point: The biopic is a genuine, dynamic genre and an important oneùit narrates, exhibits, and celebrates a subject's life and demonstrates, investigates, or questions his or her importance in the world; it illuminates the finer points of a personality; and, ultimately, it provides a medium for both artist and spectator to discover what it would be like to be that person, or a certain type of person.
Format:
Electronic Resources
Relevance:
2.1141
Call Number
DVD 796.336089 AUS
Publication Date
2019
Summary
The Australian Dream is a documentary that uses the remarkable and inspirational story of Indigenous AFL legend Adam Goodes as the prism through which to tell a deeper and more powerful story about race, identity and belonging. The film will unpick the events of the 2013-15 AFL seasons and ask fundamental questions about the nature of racism and discrimination in society today. Walkley award-winning writer Stan Grant and BAFTA award-winning director Daniel Gordon join forces to tell this remarkable story of one of the most decorated & celebrated players in AFL history. A man who remains a cultural hero; the very epitome of resilience & survival, who continues to fight for equality and reconciliation.
Format:
Video disc
Relevance:
1.2075
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by
Berger, Doris, 1972- author.
Call Number
791.43657 23
Publication Date
2014
Summary
"Biopics on artists have an enormous effect on the popular understanding of what it means to be an artist. Projected Art History highlights the narrative structure and images created in the film genre of biopics, in which the artist's life is being dramatized and embodied by an actor. Doris Berger bridges a gap between art history, film studies and popular culture by investigating how the film genre of biopics adapts written biographies and projects art history for a mass audience. Berger offers an analytical approach by concentrating on the two case studies Basquiat (1996) and Pollock (2000), but also looks at larger issues at play, such as how postwar American art history is being mediated in a popular format such as the biopic. This is the first book to identify the functionality of the biopic film genre and showcase its implication for a popular art history that is projected on the big screen"-- "Examines the biopics of two artists in order to represent and project a form of art history for a mass audience"--
Format:
Electronic Resources
Relevance:
0.6333
by
Fielding, Julien R., 1969-
Call Number
791.43682 22
Publication Date
2008
Summary
Traditionally, university students have gained access to world religions by reading primary texts. Discovering World Religions at 24 Frames Per Second takes students beyond the written page, offering an exploration of the same religious traditions through the study of feature films. The many definitions of religion are examined along with its various components, including doctrine, myth, ethics, ritual, and symbol. Specific religious traditions, including Hinduism, Sikhism, Zoroastrianism, Buddhism, Confucianism, Daoism, popular religion, and Shinto are examined. Biographical sketches of direct.
Format:
Electronic Resources
Relevance:
0.1414
by
Oldham, Gabriella.
Call Number
791.43028092 20
Publication Date
1996
Summary
This study of Buster Keaton's nineteen silent short films shot between 1920 and 1923 provides the first book-length examination of the independent silent short films of one of the acknowledged kings of comedy. Hardly a neglected artist, Keaton attracts biographers and film scholars capable of incisive comment on his work. He continues to draw the serious attention of both popular writers and scholars because as a comic genius and major comedy filmmaker during the silent age he rivals Charlie Chaplin. Yet writers have focused on the full-length films from 1923 to 1928, when Keaton joined MGM, lost his creative freedom, and began a glide toward oblivion that lasted until his rediscovery in the late 1950s. Filling a major gap in the critical canon, Gabriella Oldham's study chronicles the rapid growth in the filmmaker's understanding of what makes both comedy and film successful. Keaton developed his major themes in these nineteen short films: his persona "Buster" vs. Rival, Nature, Machine, Self, and Fate; his resilient pursuit of love and the efforts he makes to overcome any curves thrown by Fate; and his trademark "stone face" blocking any display of the passionate emotion he feels about everything he does. These short films clearly indicate Keaton's love of the camera and his concern for composition, symmetry, and images that delight the eye and startle the mind. Oldham reconstructs each of these rarely seen films in such a way as to enable the reader to "watch" Keaton's performance, devoting a separate chapter to each. She analyzes each film's strengths, weaknesses, and prevalent themes and threads. She also enables readers to plumb the depths of what seems to be surface comedy through philosophical, biographical, historical, and critical commentary, thus linking the shorts together into a cohesive study of Keaton's growth through his three-year independent venture as a filmmaker.
Format:
Electronic Resources
Relevance:
0.0921
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