Williams, Blake. “Cannes 2018 Dispatch #1: Everybody Knows, Birds of Passage.”
Cannes 2018 Dispatch #1: Everybody Knows, Birds of Passage
One’s valuation of a film—really, any piece of art—is inseparable from the conditions in which it was experienced. The time of day or overall mood and health at the time of the screening (or link-watching) inform my appreciation of a movie just as much as anything else (save for aesthetic preference and sensibility, perhaps), and this extends to festival contexts—to the ways a film participates in the narrative arc of the nine or ten or twelve days of the event, to the impatience stemming from a lack of masterpieces (or good movies, period), and so on. I bring this up to provide some reference for why I might have been especially ill-positioned to receive my first two movies of this year’s Cannes: Asghar Farhadi’s Everybody Knows, which opened the Official Selection last night, and Cristina Gallego & Ciro Guerra’s Birds of Passage, which opened the 50th Directors’ Fortnight this morning.
Williams, Blake. “Cannes 2018 Dispatch #1: Everybody Knows, Birds of Passage.” Filmmaker Magazine, https://filmmakermagazine.com/105310-cannes-2018-dispatch-1-everybody-knows-birds-of-passage/.
Warpoole, Kailyn N. Visual Anthropology in Sardinia: Interview with Silvio Carta.
Visual Anthropology in Sardinia: Interview with Silvio Carta
Silvio Carta completed his PhD in Italian Studies at the University of Birmingham. His articles and reviews have appeared in Visual Anthropology, Visual Anthropology Review, Visual Studies, Visual Ethnography, and Journal of Italian Cinema and Media Studies, among other publications. To find out more about his book Visual Anthropology in Sardinia, Film Matters conducted a Q & A with Carta via email correspondence (June-July 2015).
Warpoole, Kailyn N. Visual Anthropology in Sardinia: Interview with Silvio Carta. By Kailyn N. Warpole | Film Matters Magazine. https://www.filmmattersmagazine.com/2015/09/21/visual-anthropology-in-sardinia-interview-with-silvio-carta-by-kailyn-n-warpole/.
Nair, Kartik. “Scouting the Past: A Conversation with Priya Jaikumar on Where Histories Reside: India as Filmed Space.”
Scouting the Past: A Conversation with Priya Jaikumar on Where Histories Reside: India as Filmed Space
Kartik Nair in conversation with Priya Jaikumar about her new book, Where Histories Reside: India as Filmed Space.
Nair, Kartik. “Scouting the Past: A Conversation with Priya Jaikumar on Where Histories Reside: India as Filmed Space.” Film Quarterly, 10 Sept. 2019, https://filmquarterly.org/2019/09/10/scouting-the-past-a-conversation-with-priya-jaikumar-on-where-histories-reside-india-as-filmed-space/.
Kümpel, Anna Sophie, et al. “News Sharing in Social Media: A Review of Current Research on News Sharing Users, Content, and Networks.”
News Sharing in Social Media: A Review of Current Research on News Sharing Users, Content, and Networks
This article provides a review of scientific, peer-reviewed articles that examine the relationship between news sharing and social media in the period from 2004 to 2014. A total of 461 articles were obtained following a literature search in two databases (Communication & Mass Media Complete [CMMC] and ACM), out of which 109 were deemed relevant based on the study’s inclusion criteria. In order to identify general tendencies and to uncover nuanced findings, news sharing research was analyzed both quantitatively and qualitatively. Three central areas of research—news sharing users, content, and networks—were identified and systematically reviewed. In the central concluding section, the results of the review are used to provide a critical diagnosis of current research and suggestions on how to move forward in news sharing research.
Kümpel, Anna Sophie, et al. “News Sharing in Social Media: A Review of Current Research on News Sharing Users, Content, and Networks.” Social Media + Society, vol. 1, no. 2, July 2015
Kerim. The Four Dimensions of Ethnographic Films | Savage Minds.
The Four Dimensions of Ethnographic Films
In my last post I argued that rather than choosing between overly narrow “closed” or overly broad “open” definitions of ethnographic film, it would be better to follow Uberto Eco’s model of listing a “family of resemblances.” This would consist of a list of features that make a film “ethnographic” but without any two ethnographic films necessarily sharing the exact same list of features. When I wrote that I had a draft list of about sixteen features I had been working on.
Kerim. The Four Dimensions of Ethnographic Films | Savage Minds. //https://savageminds.org/2017/07/26/the-four-dimensions-of-ethnographic-films/.
Grimaldi, Carmine. “Beyond the Boundaries of Language.”
Beyond the Boundaries of Language
In recent memory, there’s been a never-ending deluge of bad news for the arts and humanities in the U.S.: government support, which is already low, may be cut entirely; universities, facing budget crises, have axed language and arts programs; prominent professors spend their time writing books defending the basic value of humanistic inquiry, while their pecuniary graduate students fight for poverty wages as adjuncts, and earn a little money on the side writing articles about their plight.
Grimaldi, Carmine. “Beyond the Boundaries of Language.” Filmmaker Magazine, https://filmmakermagazine.com/102727-beyond-the-boundaries-of-language/.