1,900 research outputs found
Jean-Luc Godard and the other history of cinema
No full textJean-Luc Godard's Histoire(s) du cinema (1988-1998) is a video work made up of visual and verbal quotations of hundreds of images and sounds from film history. But rather than simply telling (hi)stories of cinema, Godard makes a case for cinema as a tool for performing the work of history. This is partly because the film image, by virtue of always recording more of the real than was anticipated or intended, necessarily has history itself inscribed within its very fabric. It is also because montage, as the art of combining discrete elements in new ways in order to produce original forms, can be seen as a machine for realising historical thought. This thesis examines these ideas by discussing Godard's account of the role of cinema in the Second World War, and by analysing some of his recent work as examples of historical montage which attempt to criticise our current political climate through comparison with earlier eras.
After a first chapter which sets out Godard's argument through an extensive commentary of Histoire(s) 1A and B, a second chapter discusses Godard's depiction of the invention of cinema and traces a complex argument about technology and historical responsibility around the key metaphorical figure of the train. Chapter 3 explores the ways in which Godard's historical approach to cinema allows him to maintain a critical discourse with regard to the geopolitical realities of late twentieth-century Europe (Germany, the Balkans), but also to the communications and business empires that have developed over the past few decades. A final chapter offers a detailed consideration of the nature of Godard's cinematic quotation and seeks to explicate the apocalyptic rhetoric of his late work. Aside from Histoire(s) du cinema, films discussed include Nouvelle Vague (1990), Allemagne neuf zero (1991), For Ever Mozart (1996) and Eloge de l'amour (2001)
From the New Wave to the New Hollywood: The Life Cycles of Important Movie Directors from Godard and Truffaut to Spielberg and Eastwood
No full textTwo great movie directors were both born in 1930. One of them, Jean-Luc Godard, revolutionized filmmaking during his 30s, and declined in creativity thereafter. In contrast, Clint Eastwood did not direct his first movie until he had passed the age of 40, and did not emerge as an important director until after 60. This dramatic difference in life cycles was not accidental, but was a characteristic example of a pattern that has been identified across the arts: Godard was a conceptual innovator who peaked early, whereas Eastwood was an experimental innovator who improved with experience. This paper examines the goals, methods, and creative life cycles of Godard, Eastwood, and eight other directors who were the most important filmmakers of the second half of the twentieth century. Francis Ford Coppola, Stanley Kubrick, Stephen Spielberg, and François Truffaut join Godard in the category of conceptual young geniuses, while Woody Allen, Robert Altman, John Cassavetes, and Martin Scorsese are classed with Eastwood as experimental old masters. In an era in which conceptual innovators have dominated a number of artistic activities, the strong representation of experimental innovators among the greatest film directors is an interesting phenomenon.
Robert Altman
No full textMonographie sur Robert Altman (1re éd. Edilig, 1981; éd. augmentée, Ramsay, 1994
Better borrowers, fewer banks?
No full textWe investigate the relationship between borrower quality and the structure of the pool of banks. First, we develop a theoretical model where the size of the banking pool is a credible signal of firm quality. We argue that better borrowers seek to disclose their quality in a credible way through the structure of the banking pool involving fewer banks. Second, we test our prediction using a sample of more than 3,000 loans from 19 European countries. We perform regressions of the number of bank lenders on various proxies of borrower quality. Our empirical tests corroborate the theoretical redictions. The size of the banking pool is a signal of borrower quality. Hence, good quality firms have fewer lenders in their banking pools.Bank lending, borrower quality, multiple banking, number of lenders, signaling, Europe.
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No Apparent Reason
No full textThis paper discusses five works the author created and the thought process that went into the creation of these works. Helen Altman discusses the fascination with temporary or process pieces and the use of commonplace materials to depict a message
The world of Robert Altman : Auteur, Innovator and Iconoclast
No full textFilmmaker Ron Mann’s recent documentary Altman (2014), features interviews with various notable filmmakers and actors who worked with Robert Altman over the years. Mann said that people who come to see his documentary “just to see Bob’s films” then he has done his job. Mann also more poignantly said that
“Altman was America’s greatest filmmaker and that his work matters more than ever now because it stands in contrast to all the sequels that Hollywood makes to sell lunch boxes”. (Gilbey, 2015)1
This quote encapsulates what Robert Altman stood for as a film director in that it illustrates his innovative approaches to filmmaking, his maverick tendencies and individuality. His vision, creativity and independence are a testament to his influential legacy which continues to inspire film makers today. Author keywords: Altman, film noir, satire, anti-western, ensemble, mystery, Hollywood and Studio Syste
Posthumous Queer: Hemingway Among Others
No full textChallenges the common assumption that posthumous texts introducing unconventional sexual themes like The Garden of Eden have more authority than previously published works by the same author. Altman concludes that it is a mistake to use the novel’s manuscript to debunk earlier Hemingway scholarship regarding gender and sexuality
Beyond closing the gap: valuing diversity in Indigenous Australia
No full textIn his Apology speech the Prime Minister attempted to balance the symbolic with the practical while emphasising that ‘business as usual’ is not working. Ultimately though, the \u27Closing the Gap\u27 approach is business as usual that fails to value Indigenous difference and fails to accommodate Indigenous aspirations in all their diversity. Unless we get beyond CTG, the next phase in Indigenous policy making and program investments is as ‘destined to fail’ as previous approaches. This paper advocates for the pendulum to swing back, to accommodate and value diversity and difference rather than just statistical equality. In doing so, the author provides some reflexive comment as an academic on these policy swings. In 2005, Tim Rowse and Jon Altman wrote a piece on Indigenous policy that contrasted the contending approaches of economics and anthropology to Indigenous affairs policy: the first emphasising equality of socioeconomic outcomes, the second the facilitation of choice and self-determination. The former implies integration, the latter adherence to different and diverse life worlds. Over time, the author has used economics and official statistics to highlight socioeconomic disadvantage and neglect, while at the same time using anthropology to critique any approach that uses mainstream social indicators that only reflect the dominant society’s social norms. This paper will continue in the same vein using a dual disciplinary approach. However, without being over-reflexive, as an anthropologist of development he is clearly uncomfortable with the current dominance of the \u27Closing the Gap\u27 framework. This paper was presented at the Centre for Public Policy\u27s \u27Values & Public Policy\u27 conference in February 2009. Jon Altman is Professor and the inaugural Director of the Centre for Aboriginal Economic Policy Research established in 1990. He is currently researching Indigenous development and economic hybridity as ARC Australian Professorial Fellow. 
Time to organize the bioinformatics resourceome
No full textThe initial steps toward a bioinformatics resourceome are
clear. First, an overall ontology with the high-level concepts
(algorithms, databases, organizations, papers, people, etc.)
must be created, with a set of standard attributes and a
standard set of relations between these concepts (e.g., people
publish papers, papers describe algorithms or databases,
organizations house people, etc.). The initial ontology should
be compact and built for distributed collaborative extension.
Second, a mechanism for people to extend this ontology with
subconcepts in order to describe their own resources should
be designed. The precise location of a tool within a taxonomy
is not critical—the author will place it somewhere based on
the location of similar/competing resources or based on a
best-informed guess. Others may create links to the resource
from other appropriate locations in the taxonomy in order to
ensure that competing interpretations of the appropriate
conceptual location for the resource are accommodated.
Third, the formats for the ontologies and the resource
descriptions should be published so enterprising software
engineers can create interfaces for surfing, searching, and
viewing the resources. The resulting distributed system of
resource descriptions would be extensible, robust, and useful
to the entire biomedical research community
Subjectivity, gesture and language consciousness in the early prose fiction of Jean Genet (1910-1986).
No full textPhDThis thesis interprets the language of the self in both editions of Jean Genet's five works
of early prose fiction. Its appendices present the first list of the 65000 words of excisions
and variants between the subscribers' (1943-48) and public editions (1949-53).
Many critics have interpreted Genet's works in terms of his life, applying to them
a reductive notion of the self. Subjectivity in this thesis is a broader concept which
addresses the (self-) representation of narrators and characters. I apply close textual
analysis to two types of passage (relating to gestures and language consciousness
respectively) which represent subjectivity in non-specular language (where one thing does
not clearly reflect or refer to another).
I use the ubiquitous 'geste' as the guide-word for my analysis of gesture since its
usage is similar in each of the texts considered. Gestures are of course mediated by
language in Genet's texts but, surprisingly, are only partially represented in visual terms.
Consequently, gestures do not serve to consolidate subjectivity and resist attribution to
individual characters. It is rather in the interpretation of gestures that narrators and
characters who both perform and interpret gestures can negotiate the assigning of
meaning and the concomitant firming tip of subjectivity.
Language consciousness is a textual speculation on the production and reception
of a passage or text and each of Genet's texts demonstrates different interactions between
such speculations and the representation of subjectivity. My emphasis on language
consciousness helps to elucidate tile structure of the prose text (narrative frames, for
example) and its relation to other genres (literary criticism and poetry, for example).
I conclude that in Genet's texts innovative language represents (and sometimes
fails to represent) plural subjectivity in complex ways. I argue that the interdependence
of these three aspects (language, representation and subjectivity) presents a new paradigm
for understanding Genet's texts. Furthermore, I outline in my conclusions how it is
possible to apply a comparative analysis of these aspects to other works such as Martin
Heidegger's Zur Seiqfrage (1955)
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