Expresiones audiovisuales

Holocaust Images and Picturing Catastrophe explores the phenomenon of Holocaust transfer, analysing the widespread practice of using the Holocaust and its imagery for the representation and recording of other historical events in various media sites. It investigates the use of Holocaust imagery in political and legal discourses, in critical thinking and philosophy, as well as in popular culture, to provide a fresh theorisation of the manner in which the Holocaust comes loose from its historical context and is applied to events and campaigns in the contemporary public sphere. Richly illustrated with concrete examples, including prominent, international animal rights activism, the Israeli-Palestinian conflict and the genocide in Rwanda, this book traces the visual rhetoric of Holocaust imagery and its application to events other than the genocide of Jewish people

With its discussion of the wide range of issues arising with this form of 'Holocaust-transfer', the generalization of the Holocaust as a metaphor in representations of catastrophe, as well as in other cultural locations, Holocaust Images and Picturing Catastrophe will appeal to those working in the fields of holocaust studies, cultural and visual culture studies, sociology, and media studies.

Este libro es un trabajo interesado por la educación, la cultura y los lenguajes. En él late permanentemente una preocupación por el futuro. Parte de la constatación de que en un contexto hipermediado como el que habitamos, se transforman los lenguajes y los estilos en los que se articula la comunicación y la cultura en la sociedad, haciendo nuevos modos de inteligibilidad, de sensibilidad y de sociabilidad que conllevan una evidente metamorfosis de lo educativo, lo social y lo cultural afectando de forma decisiva al presente y al futuro de la civilización.

El texto está compuesto por tres ensayos y un informe de investigación.

El primero: “La imagen, el texto, la máquina” versa sobre la presencia de lo icónico en la cultura y en nuestra cotidianidad indagando en los modos en que lo imaginístico penetra nuestro pensamiento y nuestra mirada alterando los modos largamente instituidos y compartidos de decir y hacer, de mirar y de pensar, centrando el interés en la comprensión del ambiente cultural en el que se crían las nuevas generaciones.

En el segundo ensayo: “La escuela, los saberes y los medios” se analizan algunos aspectos vinculados con el conflictivo estado actual de la enseñanza. Se trata de señalar algunos aspectos que autorizan a formular la necesidad de asumir algunos cambios de perspectiva entre los que la incorporación de las tecnologías del saber y de la comunicación desde una visión creativa y cuestionadora resulta imprescindible para evitar la reproducción de ciertos problemas que no solo afectan de forma específica al rendimiento escolar sino que también afligen profundamente al tejido social.

El tercer ensayo: “El cine que ama la escuela” analiza cuatro filmes en los que el eje temático se sitúa en el ámbito escolar. En estas páginas se intenta pensar lo específicamente escolar que nos ofrecen estas películas poniendo el acento en las tramas que hablan de los profesores y los alumnos, del proceso de enseñanza-aprendizaje, del papel de la disciplina en la escuela y de la arquitectura educativa.

Finalmente se presentan los resultados obtenidos en Madrid de la investigación titulada “Competencia mediática. Investigación sobre el grado de competencia de la ciudadanía en España” que permiten inferir el nivel de conocimientos, recursos y habilidades de que disponen ciudadanos y ciudadanas para desempeñarse, analizar, participar y valorar aspectos diversos relacionados con el entorno multimediatizado en el que efectivamente habitan.

Fuente:
http://www.asecic.org/index.php?module=articles&showArt=68&lang=

• Preface
• Abbreviations: DVD Rental and Purchase Sources
• Introduction: Wandering Views – Lawrence Baron
• Advancement and Animosity in Western Europe, 1874–1924
• One of Us? Contesting Disraeli’s Jewishness and Englishness in the Twentieth Century – Tony Kushner
• Representing the Past and Present in The Life of Emile Zola – Nico Carpentier
• The Dreyfus Affair According to HBO – Lawrence Baron
• Renoir’s La Grande Illusion and the “Jewish Question” –Maurice Samuels
• Bigotry, Manhood, and Moral Certitude in an Age of Individualism – Ellis Cashmore
• The Shtetl on the Precipice: Eastern Europe, 1881–1921
• Fiddling with Sholem Aleichem: A History of Fiddler on the Roof – Stephen J. Whitfield
• Yentl: From Yeshiva Boy to Syndrome – Pamela S. Nadell
• Redressing the Commissar: Thaw Cinema Revises Soviet Structuring Myths – Elena Monastireva-Ansdell
• Cinema as Site of Memory: The Dybbuk and the Burden of Holocaust Commemoration – Zehavit Stern
• The Americanization of the Jewish Immigrant, 1881–1932
• From Hollywood to Hester Street: Ghetto Film, Melodrama, and the Image of the Assimilated Jew in Hungry Hearts – Delia Caparoso Konzett
• The Right Film at the Right Time: Hester Street as a Reflection of Its Era – Hasia Diner
• Cultural Erosion and the (Br)other at the Gateway of Sound Cinema – Joel Rosenberg
• Ethnic and Discursive Drag in Woody Allen’s Zelig – Ruth D. Johnston
• Uncle Moses: The First Artistic Yiddish Sound Film – Hannah Berliner Fischthal
• Revolutionary Alternatives: Zionism and Communism, 1880–1932
• The Birth of a Language, or the Man Who Loved Hebrew – Yvonne Koslovsky Golan
• Zionism, Trauma, and New Identity: They Were Ten Revisited – Eldad Kedem and Benjamin Ben-David
• Jews of Steel – J. Hoberman
• The Holocaust and Its Repercussions
• Muffled Music – Lawrence Baron
• “There Has Never Been Anti-Semitism in Italy”: The Garden of the Finzi-Continis – Giacomo Lichtner
• “All Men Are Jews”: Tragic Transcendence in Kadár’s The Shop on Main Street – Jeffrey Saperstein
• History, Memory, and Art in Louis Malle’s Au revoir les enfants – Christopher Shorley
• A Reel Witness: Steven Spielberg’s Schindler’s List – Frank Manchel
• The Pianist and Its Contexts: Polanski’s Narration of Holocaust Evasion and Survival – Michael Stevenson
• A Hungarian Holocaust Saga: Fateless – Catherine Portuges
• Filming the Text of Witness: Francesco Rosi’s The Truce – Millicent Marcus
• Our Children: Responding to the Holocaust – Ira Konigsberg
• “Teach Me Gold”: Pedagogy and Memory in The Pawnbroker – Alan Rosen
• “What Is the Way?” Finding Meaning and Purpose after the Holocaust – Asher Z. Milbauer
• Israel’s Heroic Years, 1947–67
• Filming the Israeli War of Independence – Ariel Feldestein
• Screening the Birth of a Nation: Exodus Revisited – Yosefa Loshitzky
• Women, Zionism, and Persecution in Iraq: The Story of Herzlia Lokai and Her Imprisonment in Baghdad – Daphne Tsimhoni
• From Black to White: Changing Images of Mizrahim in Israeli Cinema – Yaron Peleg
• Acceptance in Postwar America, 1945–77
• The Chosen: The Jew as Both American and Alien – Michael W. Rubinoff
• Jew and Not-Jew: Anti-Semitism and the Postwar Hollywood Social Problem Film – Steven Alan Carr
• Southern Jewishness on Screen – Eliza R. L. McGraw
• Jewish Women and the Dilemmas of America’s Postwar Middle Class – Riv-Ellen Prell
• Of Lox and Columbus: Jewish and American Themes in Goodbye, Columbus – Joellyn Wallen Zollman
• A Serious Film – Norbert Samuelson
• When Chippewa Falls Meets Manhattan – Sylvia Barack Fishman
• A Diverse Diaspora
• Like a Bride: The Chicken and the Egg – Elissa Rashkin
• The American Dream on St. Urbain Street: Richler’s Duddy Kravitz and Canadian Cinema – Scott Henderson
• Jewish Assimilation in Hungary, the Holocaust, and Epic Film: Reflections on Szabó’s Sunshine – Susan Rubin Suleiman
• Burman's Ode to El Once Neighborhood: The Lost Embrace – Tamara L. Falicov
• Sexuality, Orthodoxy, and Modernity in France: North African Jewish Immigrants in Karin Albou’s La Petite Jérusalem – Alyssa Goldstein Sepinwall
• Contemporary Israeli Experiences
• Munich: A Bitter Fruit on the Olive Branch – Nigel Morris
• Dancing Solo in the Lebanese Mud – Ilan Avisar
• Beta Israel in the State of Israel – Lawrence Baron
• Love in Search of Belief, Belief in Search of Love – Shai Ginsburg
• The Arrangement: Time of Favor – Yvonne Koslovsky-Golan
• Contemporary American Jewish Identities
• Jewish New York in Crossing Delancey – David I. Grossvogel
• Torch Song Trilogy: Gay and Jewish Foundations – Jonathan C. Friedman
• Against Tribalism: David Mamet’s Homicide – Philip Hanson
• Self-Criticism in Public – David Kraemer
• Keeping the Faith: A Multicultural Jazz Singer – Lawrence Baron
• Appendix: Alternate Films
• Contributor Biographies
• Image Credits
• Copyrights
• Index

De nombreux ouvrages portent sur l'histoire de et à la télévision. En revanche, la question de l'importance de ce média en tant qu'acteur spécifique de l'histoire ou en tant que constructeur des mémoires collectives reste souvent en suspens.

Cet ouvrage s’intéresse au lien qu’entretient le journal télévisé avec l’histoire, la mémoire et l’historiographie. Ancré dans une apparente démarche d’actualité, le journal télévisé est également la plateforme d’une expérience du temps présent historique. Les images de la chute du mur de Berlin et du 11 Septembre 2101 en sont des exemples.

L’analyse de ces deux événements et de leur commémoration montre que le journal télévisé intervient dans la construction des mémoires collectives et révèle également que la télévision s’insinue parfois dans le déroulement même de l’événement, devenant ainsi un acteur de l’histoire en cours.

De plus, les années 1990 sont marquées par de profonds changements sur les plans politique et médiatique. L’essor des nouvelles technologies permet au journal télévisé de proposer un direct encore plus performant. C'est ainsi que le 11 Septembre 2001 présente l’apogée tragique d’une évolution qui a commencé avec la chute du communisme. La télévision est prise en otage et raconte ainsi une tout autre histoire.

The essays in this collection examine interpretations across genre, form, and discipline, as well as revealing a buoyant field of research in contemporary Gothic and science fiction studies. The collection ranges across narrative media – in the form of literature, film, graphic novels, trading card games – and across genre – in the form of horror, science fiction, Gothic, New Weird and more. Bringing together distinguished contributors, the essays explore questions of genre, medical science, gender, biopower, capitalism, with Gothic science fiction texts understood as uniquely inflected for their time and place.

Contents
Part I: Redefining Genres
Chapter 1. “In the Zone: Topologies of Genre Weirdness” by Roger Luckhurst Chapter 2: “Zombie Death Drive: Between Gothic and Science Fiction” by Fred Botting Part II: Biopower& Capital Chapter 3: “‘Death is Irrelevant’: Gothic Science Fiction and the Biopolitics of Empire” by Aris Mousoutzanis Chapter 4: “‘A Butcher’s Shop where the Meat Still Moved’: Gothic Doubles, Organ Harvesting and Human Cloning” by Sara Wasson Chapter 5: “Guillermo del Toro’s Cronos, or the Pleasures of Impurity” by Laurence Davies Chapter 6: “Infected with Life: Neo-Supernaturalism and the Gothic Zombie” by Gwyneth Peaty Chapter 7: “Ruined Skin: Gothic Genetics and Human Identity in Stephen Donaldson’s Gap Cycle” by Emily Alder Part III: Gender and Genre Chapter 8: “The Superheated, Superdense Prose of David Conway: Gender and Subjectivity Beyond The Starry Wisdom” by Mark P. Williams Chapter 9: “Spatialized Ontologies: Toni Morrison’s Science Fiction Traces in Gothic Spaces” by Jerrilyn McGregory Part IV: Strange Cities, Strange Temporalities Chapter 11: “The Gothic Punk Milieu in Popular Narrative Fictions” by Nickianne Moody Chapter 11: “Gothic Science Fiction in the Steampunk Graphic Novel: The League of Extraordinary Gentlemen” by Laura Hilton

Development of skills for the critical analysis of media texts – an important task of film education. However, media literacy practice shows that students have the problems with the discussion / analysis, for example, the difficulties in the process of understanding and interpreting the author's conception, plot and genre features. This book substantiates the technological approaches to the analysis skills of different genres in film education in the student audience. For example, the main outcome of hermeneutical analysis of the screen genres in film education in a university classroom is not just the audience's understanding of historical, political, social and cultural contexts and the stereotype formation mechanisms of the epoch, but also the development of the audience’s perception of media culture, analytical and interpretative skills applied to media texts, critical thinking development. This book will be useful for media educators, scholars, teachers, university students, a broad audience interested of film education and media studies.

54 artículos académicos distribuidos en 888 páginas. Monográficos Frame, Universidad de Sevilla.

Ce vingt-deuxième numéro des Cahiers du CIRCAV questionne les possibilités actuelles offertes par les nouvelles technologies au(x) cinéma(s) (arts de l'image mobile : cinéma, art numérique, vidéo). Quels sont leurs apports ? Quelles pratiques de production, de création, de diffusion, de réception modifient-elles ou confortent-elles ? Pour quels enjeux contemporains ?

¿Por qué un cineasta como Godard eligió el dispositivo videográfico para sus historias de cine? ¿Qué le ofrece este dispositivo a él y a aquellos artistas que, desde los inicios del vídeo hasta la actualidad digital, lo han utilizado? En este libro se comprueba, por medio del análisis de obras desde los inicios del vídeo hasta las videografías de final de los noventa y la actualidad, de qué manera este dispositivo es utilizado por numerosos artistas como instrumento de estudio de la imagen en movimiento, y promueve un tipo de relación con esta imagen basada en el análisis crítico de sus fundamentos, de sus regímenes de producción y recepción, de sus diversas áreas de creación.

The cinematic output of Australian director Peter Weir has garnered numerous awards and widespread critical acclaim—from his early short films of the 1971s to the Hollywood hits he’s helmed since 1985, including the likes of Witness, Dead Poets Society, The Truman Show, and Master and Commander.
Drawing on contemporary concepts from transnational cinema studies, this book investigates Weir’s entire three-decade career, paying particular attention to his journey from his native Sydney, with its largely auteur-driven national cinema, to the multimillion-dollar Hollywood film industry with its many genre conventions. Along the way, the author explores a host of questions accompanying this move, including Weir’s status as a transnational filmmaker and a more generalized discussion of the critically controversial idea of the auteur. Rounding out this volume are interviews with leading Hollywood filmmakers who discuss Weir’s work.