Week 7★May 25th ACTING AGAINST THE REGIME: ACT OF KILLING

-




Special Screening
The Act of Killing
                              Dir. Joshua Oppenheimer, 2012
                         


                    Time: May 21st Monday, 4:30 pm/Venue: Rm 131






Required Readings:
Camilla Møhring Reestorff (2015) Unruly artivism and the participatory
documentary ecology of  The Act ofKilling, Studies in Documentary Film, 9:1, 10-27, DOI:10.1080/17503280.2014.1002248

Added Reference Reading
Robert Cribb (2014) THE ACT OF KILLING, Critical Asian Studies, 46:1, 147-149, DOI: 10.1080/14672715.2014.867621

Rojas, Nubia. "Documentary cinema, memory and reconciliation: Aninterview with Joshua Oppenheimer, director of" The Act ofKilling"." Glocal Times 20 (2014).

Comments

Post a Comment

Popular posts from this blog

Advertising and Consumer Culture

-
Dear all, Please prepare for your presentation by referring to the following documents: RR: Sturken & Cartwright,279-306 (chapter 7) SR: Slavoj Zizek, Back to School 2003, Abercrombie & Fitch Quarterly (PDF) both documents could be downloaded from here https://www.dropbox.com/sh/8h2bh7e6w5hkl2t/AAA02J9eOvJibkX1XtUh5nVNa if you have problem downloading, please email me to let me know
Read more

questions for Week 8 ★June 2rd & Make-up session (same day)

-
Image
Week 8 ★ June 2rd     Discussion Session Required Readings Dorman, Andrew. (2016). “Introduction” & “Cultural Specificity and Globalization”. Paradoxical Japaneseness: Cultural Representation in 21st Century Japanese Cinema . Palgrave McMillian. 1)     What is D’s basic assumption on ‘cultural specificity’ (think of our previous discussions of ‘multiculturalism’) and the ‘paradoxical nature’ of a national cinema? In other words, how has he tried to avoid the essentialist stance in tacking the ‘specificity’? Your thoughts? Try to recapitulate his points/framework apropos of Japanese cinema in one line. 2)     For D then, how do framings of ‘cultural concealment’ and ‘cultural performance’ connect with his major points, and his case studies, which range from specific filmmakers, production dynamics to (strategies for/of) film festivals? You thoughts/critiques? 3)     Review D’s discussions of national cinema, nation-state and globalization. What are his maj
Read more