Analysis of how Jewish has been portrayed in pop culture over the decades
May 21, 2020Explain Achieving Exceptional Patient and Family Experience of Hospital Care
May 21, 2020Related Lecture: Our final turning point in cinematic history is the digital revolution. Digital technologies slowly transformed production and distribution processes from the early 1990s onwards. The first commercial feature film to be shot on digital video was Festen, the first film from the Dogme 95 stable. Using the Dogme Manifesto and Vow of Chastity as a reflection of the anxiety of its time about the ‘death of film/cinema’, we’ll analyse the implications of the digital for film production, exhibition and consumption. While Dogme 95 can be seen as a reaction against special effects, ‘cosmetics’ and big-budget filmmaking, digital technologies have been widely embraced by the film industry. film ‘Inception’, employs spectacular effects that were hotly anticipated before the premiere. Some film theorists argue that cinema has come full circle in a hundred years, to re-emphasise spectacle over narrative and even using film as a kind of painting, just as early cinema did. ————————————————————— lecture note will help you lead the way how the essay should go. * use MHRA referencing style and use footnote as well. * refer to Dogme 95 as a refelction to digital technology * Try to refer some of those readings in the essay. Elsaesser, T. 2013. ‘Digital Cinema: Convergence or Contradiction?’ In The Oxford Handbook of Sound and Image in Digital Media. Oxford: Oxford University Press. [link to chapter – UCL library log in required] Dogme 95 Manifesto & Vow of Chastity: http://pov.imv.au.dk/Issue_10/section_1/artc1A.html or www.dogme95.dk MacKenzie, Scott, 2016, ‘Films into Uniform: Dogme 95 and the Last New Wave’, in Hjort, Mette and Lindqvist, Ursula (eds), A Companion to Nordic Cinema, London: Wiley Blackwell, pp. 417-435. [link to book chapter: UCL library log in required] Suggested further reading: Hjort, M. and Mackenzie, S. (eds). 2003. Purity and Provocation: Dogma 95. London: Routledge. Rees, E. 2004. ‘In My Father’s House Are Many Mansions: Transgressive Space in Three Dogme 95 Films’. Scandinavica 43(2) Schepelern, Peter. 2005. ‘Film According to Dogma: Ground Rules, Obstacles, and Liberations’ in Nestingen and Elkington (eds): Transnational Cinema in a Global North: Nordic Cinema in Transition. Detroit: Wayne State UP Schepelern, Peter. 2013. ‘After the Celebration: The effect of Dogme on Danish Cinema’, Kosmorama 251, http://www.kosmorama.org/Artikler/After-The-Celebration.aspx. Stevenson, J. 2003. Dogme Uncut: Lars von Trier, Thomas Vinterberg, and the Gang that Took on Hollywood. Santa Monica Press. Thomson, C. Claire. 2013. Thomas Vinterberg’s Festen. Nordic Film Classics Series. Seattle/Copenhagen: University of Washington Press/Museum Tusculanum Press.
