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The article presents the author's views on the inclusion of movies and music in making the English curriculum. He shares his experience of becoming an English major due to a perceived connection between film and literature. He started a film course in his school to make his students read works of a film like literature to help them acquire cultural currency. He selected classic films, resulting in more student engagement than traditional novel-centered classes.

The article deals with the film "Terje Vige," an adaptation of Henrik Ibsen's epic poem, and the main focus will be on the representation of nature in the film. Topics include the film directed by the highly regarded Swedish artist Victor Sjöström, and the sunsets stated to be totally neglected in the literature on the film but according to the author they are significant as they are used to supplement and intensify the affective potential of crucial scenes in the poem.

The author discusses the work of film scholar Richard Dyer. She focuses on Dyer's authorship in film literature, the sense of intimacy that he conveys, and how this writing can impact film studies in the future.

The article focuses on using textual interventions as a method for teaching close reading to students in the U.S. through motion picture literature. Topics discussed include using mise en scène technique in textual intervention exercises for students, using storyboards as an innovative technique to teach close reading to students and using the technique metacognition proposed by author David L. Bruce to help students to reconfigure sequence of a text.

The author discusses the work of film scholar Richard Dyer. She mentions the style of Dyer's writing on motion pictures, his sensitivity to writing about race in motion pictures, and her experiences and thoughts on reading his writing.

Louis Delluc's Chariot (1921) was the first book-length study of Charlie Chaplin and the first such critical study of any cinematic artist. Though still cited for its place in Chaplin studies and its role in the development of French film theory, it is rarely considered at length. This article presents an in-depth examination of Delluc's treatise, focusing especially on its relationship to the concepts of cinematic representation and filmic authorship expressed in Delluc's groundbreaking film journalism. Through its historicization and analysis of Chaplin's work, Chariot aims ultimately to substantiate film's then-contested status as an art form worthy of critical attention. [ABSTRACT FROM AUTHOR]

A film poem is a cinematic artwork that takes a written, often canonical, poem as its stimulus. Many are imaginative and arresting performances of poems, going far beyond the likely intentions of the poet into something completely new. However, with this genre, the poem’s stylistic detail is largely irrelevant to its visual realisation. I highlight how this limitation can be addressed by bringing film poems into stylistics teaching and assessment. After providing background on the film poem genre, I model an assignment where students draw on their cinematic literacy to dramatise a poem imaginatively. As with other film poems, the student creates a series of cinematic images and connects them to the poem’s lines, activating new meanings in them. In contrast with the traditional construction of film poems, the procedure involves another stage – the student also connects the images they have created to the poem’s stylistic detail. In turn, as I show, this extra connection helps drive the film’s narrative, adding to the creativity of the film. This staged procedure is different from established (pedagogical) stylistic practice where interpretation and stylistic analysis of a poem are simultaneous, with the stylistic analysis providing support for the burgeoning interpretation. To model this student assignment, I produce a film script of Philip Larkin’s poem, ‘Wants’. The script depicts the activities of a serial killer; some readers may find the script graphic. [ABSTRACT FROM AUTHOR]

The present study primarily intends to document how textbooks and reference textbooks on film studies written by Western and diaspora authors either belittled Indian cinema as masala genre or glorified the moniker Bollywood as a signifier of pan-Indianness, overlooking the significant contributions of the Telugu film industry, which is the twin brother of the Hindi film industry both in genesis and growth (since 1931) and even today runs neck to neck with Hindi cinema in the production of films and film remakes. The study argues that Indian cinema has never been examined at the modernist (foundation) level of its structural perspectives comprising innovations of production, cultural flows in the delineation of regional variations, and fine arts including aesthetics consisting of six arts and genres that are native, distinct, and unique. Drawing its support from de-Westernizing media studies, the article posits that lack of familiarity with the Indian cultural and linguistic traditions, together with its complex structure and semiotics rooted in religious classics, which are portrayed more effectively in Telugu cinema than in Hindi cinema, is the reason for the failure of Western academia to negotiate the complex meaning processes of these filmic communications. [ABSTRACT FROM PUBLISHER]

In the last 15 years much effort has been made in the field of segmentation of videos into scenes. We give a comprehensive overview of the published approaches and classify them into seven groups based on three basic classes of low-level features used for the segmentation process: (1) visual-based, (2) audio-based, (3) text-based, (4) audio-visual-based, (5) visual-textual-based, (6) audio-textual-based and (7) hybrid approaches. We try to make video scene detection approaches better assessable and comparable by making a categorization of the evaluation strategies used. This includes size and type of the dataset used as well as the evaluation metrics. Furthermore, in order to let the reader make use of the survey, we list eight possible application scenarios, including an own section for interactive video scene segmentation, and identify those algorithms that can be applied to them. At the end, current challenges for scene segmentation algorithms are discussed. In the appendix the most important characteristics of the algorithms presented in this paper are summarized in table form. [ABSTRACT FROM AUTHOR]

An essay is presented on the "minor literature" and "minor genre" in the French animated film "Persepolis," by Marjane Satrapi and Vincent Paronnaud. It says that the film, which highlights the life of an Iranian woman in Paris, France who was unable to board a plane to her country , incorporates graphic narratives that are "minor" texts. The film is unproductive and inaccurate in terms of the relationship between the "minor" and "major cultural articulations" to define "minor transnationalism."

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We investigated perception of social and physical causality and animacy in simple motion events, for high-functioning children with autism (CA = 13, VMA = 9.6). Children matched 14 different animations to pictures showing physical, social or non-causality. In contrast to previous work, children with autism performed at a high level similar to VMA-matched controls, recognizing physical causality in launch and social causality in reaction events. The launch deficit previously found in younger children with autism, possibly related to attentional/verbal difficulties, is apparently overcome with age. Some events involved squares moving non-rigidly, like animals. Children with autism had difficulties recognizing this, extending the biological motion literature. However, animacy prompts amplified their attributions of social causality. Thus children with autism may overcome their animacy perception deficit strategically. [ABSTRACT FROM AUTHOR]

An essay is presented which discusses contracts for actresses at motion picture studios in Hollywood, California during the 1930s. The author comments on actress Barbara Stanwyck's success in negotiating a higher salary through a contract dispute with film studios Warner Brothers and Columbia Pictures and notes how some actress remained independent by not signing long-term contracts. She discusses how magazines for motion picture fans offer information on actresses' business strategies.

This essay examines' some of the uses of examples from films in theoretical writing. Employing Žižek's concept of interpassivity, it argues that the use of examples need not be limited to illustrating a preexistent theory that is already believed to be true. [ABSTRACT FROM AUTHOR]

The present work examines some of the possibilities of an encounter between two activities apparently related, but that actually follow different paths, the cinema critic and the Cinema Forum. Both analyze films, but under different parameters and also pursue different objectives. Nevertheless, a closer relationship between both could be important. For this purpose, we focused on experiences of the author and other people, made in different places and diverse moments, as well as the opinion of different authors, nationals and foreigners on the subject. [ABSTRACT FROM AUTHOR]

The article discusses film publishing in Great Britain. It tackles the uniqueness of Great Britain's film industry compared to the rest of Europe and America, the changes in the quantity of titles in British film publishing, volume in specialization in film publishing, and other factors that secure a constant supply of film titles.

This article discusses film literature in India. It tackles scholars' view of narrative that deals with India, the predominance of writing on film in English in India, the prologue to a pioneering book on Indian cinema entitled "Indian Film," and the obstacles faced by the pioneering scholars who attempted to sketch Indian cinema's history and evolution.

The article analyzes the film "Six degrees of separation" by John Gaure. The article illustrates the multiple themes of the movie and its different objectives such as distorted memory, racial rejection, sexual 'deviance,' and multiculturalism. However, the main theme of the movie is renovation of aesthetic medium in black culture and literature.

This regular compilation presents a list of articles concerning film and television topics published in the 2004 and 2005 issues of nonscreen journals.

The article examines the significance of bibliographical repertoires, which are secondary documents that provide crucial information regarding a specific subject. Cinematic bibliographies, which is often regarded as the seventh art, began during the 1940s in the United States, Italy, and Germany. In Spain, the first film bibliographies appeared in popular magazines such as "Primer Plano" and "Gaceta de la Prensa Española." The article focuses on the chronology of Spanish cinema since the beginning of works by Mario Rodríguez Aragón.

The article focuses on the rhetoric of nationalism in early Italian film periodicals. Journals were said to be intimately tied to the interests of individual production houses and exhibition sites and many were produced as in-house. publications. It presents a criticism on the nature of historical films, followed by examples of films produced in the 1900s and a brief discussion of the theme. It also explains film nationalism and the invasion of Libya and other influences on the historical film production and direction in Italy.

The article discusses the emergence of the Italian cinema literature between 1907-1920. This article also focuses on film writing in Italy and analyzes the development of film thought including the discourses, critical interventions and early aesthetic or theoretical reflections on the cinema. It also adds that during those times, Italy would produce no fewer than 90 film journals, many of which lived a rather brief life. These journals are also said to be oriented toward literary and cultural developments and boasted attractive design formats.

Lists several reference books and bibliographies on film criticism. Includes `Refiguring American Film Genres: Theory and History,' edited by Nick Browne; `The Films of Michelangelo Antonioni,' by Peter Brunette; `Hollywood on Stage: Playwrights Evaluate the Culture Industry,' edited by Kimball King.

Discusses the film adaptation of F. Scott Fitzgerald's novel `The Last Tycoon.' Comments from film critics; Characteristics of the film from the literary side; Fitzgerald's style of film-making; Emphasis of his cinema themes.

The article discusses the development of Japan's film industry. The country's polarization of serious filmmaking on the one hand and commercial industry on the other has increased. Its large studios managed to survive the decreasing theatre attendance that came with the coming of television turned to reliable genre productions, most omnipresent soft pornography. With the limited opportunities provided by television, serious filmmakers including Mitsuo Yanagimachi have been left with a choice between making formula films within the studio system and trying to make quality films independently.

The article focuses on Theodor Angelopoulos and his contribution to the new Greek Cinema. He is the best known contemporary Greek director and deeply dedicated to depict the political and social development of Greece since the 1930's. He was gone but he left four films including "Thiasos," which was voted the Critics Award at Cannes in 1975 and Best Film of the 1970's by the Italian Critics, "Megalexandros," won first prize at the 1980 Venice Film Festival. His career provides a reflection of the new Greek wave that came into existence in the seventies and which is attempting to continue its mission.

The article presents the English translation of the Sergie M. Eisenstein lenghty paper "Problemy sovetskogo istoricheskogo fil'ma," which delivered during a film conference. It states that the paper discusses several aesthetic, technical, and theoretical questions related to Soviet historical films, such as the nature of historical truth, the primary task of Soviet artists, and the relationship of film to literature. The discussion uses the Marxist perspective as the sole and authoritative ideological guide for Soviet filmmakers. Further, the paper also cites the difference between historical text to historical film.

Discusses the study of film literature in the U.S. Textbooks used by students taking literature class; Views of author Stephen Heath on the realism of cinema; Significance of the cinematic adaptation of fiction and drama.

A bibliography on the subject of film literature is presented which includes the book "A Hitchcock Reader," edited by Marshall Deutelbaum and Leland Poague, "The Political Language of Film and the Avant-Garde," by Dana B. Polan and Abstraction in Avant-Garde Films," by Maureen Cheryn Turim.

The article analyzes the ideological implications of the British Film Year (BFY) campaign in Great Britain. The BFY campaign is designed to revive public interest in British cinema. A description of the structure and processes of the film industry, film culture and the British cinema is presented. The relationship between the BFY campaign and various literary works on the British cinema is explored, along with the ideological space that the literature occupies. The article also presents a review of some of the books and articles on British cinema.

A reprint of the article "Have You Any Books About the Movies?," by Jay Leyda, which appeared in the September 18, 1937 issue of "Publishers Weekly" is presented. According to the author, the selling of movie books needs more knowledge and discrimination than any other type of non-fiction. He suggests several film books in which he has found certain kinds of use and usefulness, such as Benjamin Hampton's "History of the Movies." He notes that one of the unconsidered obligations of publishers is to foster a more profound and thoughtful film criticism.

A good amount of scholarship has been devoted to the relationship of literature to cinema. Two scholarly trends, the Aristotelian and the Idealistic, have emerged from this study. The Aristotelians believe in the separation of the arts. For them, each art is different because each uses different materials and is characterized by different specifics. The Idealists, particularly the followers of Benedetto Croce, believe that art is the reflection of universal ideas manifesting themselves identically in every form of art. Therefore they regard film and literature as similar arts. S. M. Eisenstein shared this idealistic belief, although the formal aspect of his work reflects Aristotelian notions of structure. His interest in John Milton's "Paradise Lost" as a well-structured work of literature produced the first classical esthetics of the film-literature relationship. Therefore, this article presents a structural comparison between S. M. Eisenstein's film "Alexander Nevsky" and John Milton's book "Paradise Lost."

The article discusses the influence of British films on the British Society. Horace McCoy's 1935 novella "They Shoot Horses, Don't They?" was a portrait of failure in the Hollywood of the Depression. Intelligent and critical opinion in the U.S. has never had any illusions about Hollywood and the studio system has only been romanticized in its own not inconsiderable propaganda. Several writers, for example, have stressed that Hollywood was never totally set in its ways, a good deal of experimentation was allowed and the slightest suggestion that popular taste had changed was enough to allow a new genre of film to emerge. The literature on Hollywood has been very fine. In part this is a reflection of the quality of the films but a more crucial point is the way in which, from the very earliest days of sound film a critical tradition emerged which was capable of using the movies as the basis for a literature and a social history. It is important for British historians to be aware of this fine tradition of American film criticism if only as a reminder of the very different place that film occupies in British culture.

Presents a list of explications for films, American and English literature that appeared in various periodicals in 1978. 'Scenes from a Mind,' directed by Woody Allen and analyzed by I. Halberstadt; 'Five Temperaments,' by John Ashbery and analyzed by D. Kalstone; 'Allegory in Dickens,' by J. Vogel; List of abbreviations of journals in which explications were published.

This article critically evaluates four books related to Jewish film studies. These books are: "Hollywood's Image of the Jew," by Lester D. Friedman; "From Hester Street to Hollywood: The Jewish-American Stage and Screen," by Sarah Blacher Cohen; "Laughter Through Tears: The Yiddish Cinema," by Judith N. Goldberg; and "Indelible Shadows: Film and the Holocaust," by Annette Insdorf. The number of mainstream studies which examine the complex issues of American Jews' contributions in films, reportedly, has been, until recently, negligible. In all these four books, Friedman's book is considered to be the most ambitious in which Friedman seeks to trace the changing screen image of Jews and Judaism on American movie screens. The book is thus delimited to analyzing films with Jews as opposed to films by Jews. Other three books, reportedly, deal with strictly cinematic issues.

The article focuses on introductory teaching sociology by films. The project is more an unabashed exploration into the art of teaching than a probe into the science of learning. The focus is on the introductory sociology course because of its structural prominence in almost every undergraduate program. In most departments, the introductory sociology course serves as a prelude to other sociology courses, and much manpower is often tied up by this task. The final selection of a film was the result of compromise among the film's content and its relevance to various topics in introductory sociology, the blend of its content matter with that of other films slated for use, the availability of the film at the appropriate time periods in the course schedule, permission uses, and financial costs. There is much in commercial film for sociological use. This course has tried to emphasize the utilization of a wide range of films that are overtly noninstructional in purpose. Measured in terms of academic performance, the film course seemed as effective as the conventional course, and on attitudinal issues the students in the film course sometimes responded more positively than the students in the nonfilm group.

The article presents the author's observation on the War in Film, TV, and History conference that will be held on November 11-14, 2004 at the Dolce Conference Center. There will be a significant contribution by Canadian and Continental scholars to this meeting, evidently encouraged by the Dallas, Texas location and by the topic. My impression is that Europeans are still connected with the large issues of film scholarship while our American neighbors are currently turning to methodologies with a limited shelf life. As an improviser and comic, actor Robin Williams then added his special talents to an excellent film which exhibits some of the defects of the Hollywood vision, but also some uncommon virtues--especially in its humanized view of the Vietnamese people--so often missing from motion pictures about American presence in Vietnam. In any case, we are very lucky that the Literature Film Association will be bringing Frank Thompson to our meeting. Thompson acted as an advisor to the recent J. L. Hancock film and even played a bit part in three scenes; after the production, he wrote the official novelization. This year, our first sessions begins at noon on Thursday and will involve an exchange of letters, this time between service personnel and their stateside loved ones.

The article profiles the authors who have contributed to the journal including Stella Bruzzi, Margaret Dickinson and Barbara Klinger.

The article presents a response to articles in a previous issue of the journal on publications of the British Film Institute (BFI). The authors comment that the articles neglect a period between 1997 and 2005 during which they were employed at BFI Publishing, the institute's publishing firm, and that award-winning books published by the company were developed during their tenure. The publication of books by BFI Publishing as tie-ins to other events, such as a BFI project on Asian motion pictures, are noted. They note that the majority of books in the BFI Classics book series, as well as books on film history, studies and criticism, were published during those years.

The author discusses Western film literature. He tackles factors that eroded the ethos and the appeal of Western films for moviegoers, the success of Western films being sold on DVD, the growth of scholars' interest in Western films, and examples of Western films that are considered a success in the film industry.

The article provides information on the history and milestones of the "Asian Cinema" journal. The journal has existed for 21 years. The number of articles, pages and special features has grown from its first publication in 1985. It concentrated on feature-length film as well as documentary and animated films. Important individuals in Asian filmmaking and film studies have written for the journal. For the past 11 years, "Asian Cinema" has carried bibliographies on Asia, book and film reviews, and new books abstracts.

The article reports developments within the journal "Film Criticism." According to the author, the journal will feature in its next issue a regular book review section to be edited by Marshall Deutelbaum. Also, it will be publishing two special numbers, one on British Cinema and the other on Psychoanalysis and Cinema. The special issue on British Cinema will feature new essays on all aspects of new and old British cinema, particularly those that generate cultural and political meaning. The special issue on Psychoanalysis and Film will include several psychoanalytic perspectives, single and comparative film explorations, and examinations of the impact of psychoanalysis on and in film.

Discusses several issues dealing with film books and periodicals in 1985. Reputation of the 'American Classic Screen,' a magazine centered in Kansas City, Kansas; Information on the essay 'The Ghost Ship,' by Jay Telotte; Books and essays written about artist Alfred Joseph Hitchcock.