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Books on the topic 'College life films'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Consult the top 16 books for your research on the topic 'College life films.'

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1

Magic moments: Life-changing encounters with books, films, music. London: Profile Books, 2008.

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2

Ethis, Emmanuel. Les films de campus: L'université au cinéma. Paris]: Armand Colin, 2012.

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3

Campus life in the movies: A critical survey from the silent era to the present. Jefferson, N.C: McFarland, 2008.

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4

B, Hinton David. Celluloid ivy: Higher education in the movies 1960-1990. Metuchen, N.J: Scarecrow Press, 1994.

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5

Jungnickel, Christa. Cavendish: The experimental life. [S.l.]: Bucknell, 1998.

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6

Jungnickel, Christa. Cavendish: The experimental life. [Lewisburg, Pa.]: Bucknell, 1999.

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7

White, Robb. Deathwatch. Ringwood: Penguin, 1988.

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8

The College Files: Written for a College Student by a College Student. iUniverse, 2003.

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9

Murray Levine, Alison J. Vivre Ici. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786940414.001.0001.

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Vivre Ici analyzes a selection of films from the vast viewing landscape of contemporary French documentary film, a genre that has experienced a renaissance in the past twenty years. The films are connected not just by a general interest in engaging the “real,” but by a particular attention to French space and place. From farms and wild places to roads, schools, and urban edgelands, these films explore the spaces of the everyday and the human and non-human experiences that unfold within them. Through a critical approach that integrates phenomenology, film theory, eco-criticism and cultural history, Levine investigates the notion of documentary as experience. She asks how and why, in the contemporary media landscape, these films seek to avoid argumentation and instead, give the viewer a feeling of “being there.” As a diverse collection of filmmakers, both well-known and less so, explore the limits and possibilities of these places, a collage-like, incomplete, and fragmented vision of France as seen and felt through documentary cameras comes into view. Venturing beyond film analysis to examine the production climate for these films and their circulation in contemporary France, Levine explores the social and political consequences of these “films that matter” for the viewers who come into contact with them.

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10

Simson, Dolly. Pineapple Fills You up Inside: College Ruled Line Paper for Notebook Logbook Journal Diaries. Independently Published, 2020.

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11

Richardson, John. The Neosurrealist Musical and Tsai Ming-Liang’s the Wayward Cloud. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0034.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter theorizes an important new development in auteur cinema, the neosurrealist metamusical, through Jan Assman’s idea of “figures of memory,” which are aspects of cultural memory that are differentiated from everyday experiences by their ritualized and temporally displaced nature. Musical numbers in this view become figures of memory that highlight reflectivity. Tsai Ming-Liang’sThe Wayward Cloud (Tian bian yi duo yun, 2005) is a classic example of a neosurrealist metamusical, a surrealist sensibility manifesting itself in the film’s collage-like assemblage of genres-art house cinema, film musicals, and hard-core pornography-combined with an element of absurdism. The use of vintage popular songs as found objects is central in negotiating cultural meanings, including tensions between local Taiwanese culture and mainland China, the mediatized West and the local everyday. Although the film contains potent critical messages, its dominant modality is playful camp aestheticism, which is theorized by means of Eve Kosofsky Sedgwick’s idea of “reparative reading.”

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12

Cavendish: The Experimental Life. Rowman & Littlefield Publishers, Incorporated, 1999.

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13

Schmelz, Peter J. Sonic Overload. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197541258.001.0001.

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Sonic Overload presents a musically centered cultural history of the late Soviet Union. It focuses on polystylism in music as a response to the information overload swamping listeners in the Soviet Union during its final decades. The central themes are collage, popular music, kitsch, and eschatology. The book traces the ways in which leading composers Alfred Schnittke and Valentin Silvestrov initially embraced and assimilated popular sources before ultimately rejecting them. Polystylism first responded to the utopian impulses of Soviet doctrine with utopian impulses to encompass all musical styles, from “high” to “low.” But these initial all-embracing aspirations were soon followed by retreats to alternate utopias founded on carefully selecting satisfactory borrowings, as familiar hierarchies of culture, taste, and class reasserted themselves. Looking at polystylism in the late USSR tells us about past and present, near and far, as it probes the musical roots of the overloaded, distracted present. Sonic Overload is intended for musicologists and Soviet, Russian, and Ukrainian specialists in history, the arts, film, and literature, but it also targets a wider scholarly audience, including readers interested in twentieth- and twenty-first century music; modernism and postmodernism; quotation and collage; the intersections of “high” and “low” cultures; and politics and the arts. Based on archival research, oral historical interviews, and other overlooked primary materials, as well as close listening and thorough examination of scores and recordings, Sonic Overload presents a multilayered and comprehensive portrait of late-Soviet polystylism and cultural life, and of the music of Silvestrov and Schnittke.

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14

Winford, Brandon K. John Hervey Wheeler, Black Banking, and the Economic Struggle for Civil Rights. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178257.001.0001.

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This work combines black business and civil rights history to explain how economic concerns shaped the goals and objectives of the black freedom struggle. Brandon K. Winford examines the “black business activism” of banker and civil rights lawyer John Hervey Wheeler (1908–1978). Born on the campus of Kittrell College in Vance County, North Carolina, he came of age in Jim Crow Atlanta, Georgia, where his father became an executive with the world-renowned North Carolina Mutual Life Insurance Company (NC Mutual). As president of Mechanics and Farmers Bank (M&F Bank), located on Durham’s “Black Wall Street,” Wheeler became the Tar Heel State’s most influential black power broker and among the top civil rights figures in the South. Winford places Wheeler at the center of his narrative to understand how black business leaders tackled civil rights while continuously pointing to the economy’s larger significance for the success and advancement of the postwar New South. In this way, Wheeler articulated a bold vision of regional prosperity, grounded in full citizenship and economic power for black people. He reminded the white South that its future was inextricably linked to the plight of black southerners. He spent his entire career trying to fulfill these ideals through his institutional and organizational affiliations, as part and parcel of his civil rights agenda. Winford draws on previously unexamined primary and secondary sources, including newspapers, business records, FBI reports, personal papers, financial statements, presidential files, legal documents, oral histories, and organizational and institutional records.

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15

Atkins, Joseph B. Harry Dean Stanton. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813180106.001.0001.

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Harry Dean Stanton (1926--2017) got his start in Hollywood in TV productions such as Zane Grey Theater and Gunsmoke. After a series of minor parts in forgettable westerns, he gradually began to get film roles that showcased his laid-back acting style, appearing in Cool Hand Luke (1967), Kelly's Heroes (1970), The Godfather: Part II (1974), and Alien (1979). He became a headliner in the eighties -- starring in Wim Wenders's moving Paris, Texas (1984) and Alex Cox's Repo Man (1984) -- but it was his extraordinary skill as a character actor that established him as a revered cult figure and kept him in demand throughout his career. Joseph B. Atkins unwinds Stanton's enigmatic persona in the first biography of the man Vanity Fair memorialized as "the philosopher poet of character acting." He sheds light on Stanton's early life in West Irvine, Kentucky, exploring his difficult relationship with his Baptist parents, his service in the Navy, and the events that inspired him to drop out of college and pursue acting. Atkins also chronicles Stanton's early years in California, describing how he honed his craft at the renowned Pasadena Playhouse before breaking into television and movies. In addition to examining the actor's acclaimed body of work, Atkins also explores Harry Dean Stanton as a Hollywood legend, following his years rooming with Jack Nicholson, partying with David Crosby and Mama Cass, jogging with Bob Dylan, and playing poker with John Huston. "HD Stanton" was scratched onto the wall of a jail cell in Easy Rider (1969) and painted on an exterior concrete wall in Drive, He Said (1971). Critic Roger Ebert so admired the actor that he suggested the "Stanton-Walsh Rule," which states that "no movie featuring either Harry Dean Stanton or M. Emmet Walsh in a supporting role can be altogether bad." Harry Dean Stanton is often remembered for his crowd-pleasing roles in movies like Pretty in Pink (1986) or Escape from New York (1981), but this impassioned biography illuminates the entirety of his incredible sixty-year career. Drawing on interviews with the actor's friends, family, and colleagues, this much-needed book offers an unprecedented look at a beloved figure.

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16

White, Robb. Deathwatch. Tandem Library, 1999.

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