ALA, ARL Release Guidance on Digital Delivery of Content to Classrooms
WASHINGTON, D.C. - The American Library Association (ALA) and the Association of Research Libraries have released a document titled "Performance of or Showing Films in the Classroom" to provide guidance on digital delivery of content to the "physical" classroom.

According to the associations, the Technology, Education and Copyright Harmonization (TEACH) Act enacted in 2002 does not provide librarians clarity on copyright exceptions for the digital delivery of content for distance education. Thus, understanding what is permitted under the TEACH Act in combination with the Digital Millennium Copyright Act (DMCA) and existing exceptions, such as fair use, is becoming increasingly confusing to many practitioners.

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Jessica Brent makes the claim that with the advent of sound, Hitchcock was able to marginalize the feminine image. The sound age forced a change in aesthetic and style with the feminine being destroyed and replaced with the investigative gaze. She asserts that the visual pleasure beyond the gaze is removed from Hitchcock's work. Women and feminine figures are forced into the narrative demands of the male eye.

 

On one hand, I'm still not entirely convinced of this argument or completely sure of its meaning. However, I think that scene in which Alice kills Crewe escapes Brent's interpretation should it be true. Alice kills Crewe behind a curtain, away from the eyes of the portraits and the audience. The only male eyes that see her are Crewe's and she is usurping his position. Therefore, at the crucial moment of the film where Alice asserts herself and confronts her anxieties, she is separate from any narrative demands that might be forced upon her.

 

This article analyzes the preventative measures the movie industry must take in order to protect their copyrights and stifle piracy. It is made clear that various factors, particularly the invent of broadband Internet, peer-to-peer networks, and improvements in video compression technologies have made such efforts extremely difficult. Thus the industry must exercise legal and technical means to battle competing markets. The entertainment industry is aiming to hold the information industry accountable for all copyright violations. Furthermore, they are urging the information industry to also institute anti-piracy technologies in all software and hardware. By elaborating on the previous legal battles that complicate the debate on whether to hold the user or manufacturer accountable for piracy, the authors device a better solution that assigning blame. The article suggests that the movie industry should adapt their supply chain to provide cheaper, quality, convenient products than any illegal form could offer.

This new model would force the industry to reconstruct how they distribute, exhibit, and produce films. The second section delineates the current framework of the industry tracing back to the 1970s. The weaknesses are exposed and the industry's long-term "techo-phobia" is identified as a major culprit. The next section brings attention to the legal battles of the MPAA and the RIAA to protect copyrights and further discusses the benefits and setbacks of the DMCA. Two organizations have been assembled to try and deal with these problems; one is the Digital Media Device Association and the other is Project Hudson, which is made up of technology giants such as Samsung, Toshiba, and Nokia. Various solutions are proposed, such as digital watermarking and smart-card technology, but all have flaws. Because neither legal nor technological solutions effectively can eliminate piracy, the most sensible answer is economically based. In terms of distribution, the article suggests creating e-Blockbusters near ISPs, which would enable consumers to rent movies in a cheap and accessible manner. For exhibition, theaters must adapt by adjusting the "window scheme, offering differentiated digital viewing experiences, and developing fast-access storage to reduce portable media." Production will take on a purely digital form, reducing the need for human interaction almost completely.

There are plenty of viable options available to improve and sustain the movie industry; it is just a matter or time and technology. The aforementioned solutions can improve the industry and successfully eliminate piracy if executed effectively. The article articulates my very thesis and attempts to provide an answer as to how the movie industry can change to this digitally advancing world.

This New York Times article from 1997 shows how far piracy has come today. It emphasizes the difficulties the movie industry has to face now compared to eleven years ago. In the last year or so, the two blockbusters that hit the streets before their openings were the "Hulk" and "American Gangster." Although the Internet has made proliferation of these movies capable, bootlegs have existed for quite sometime. Back in 1997 "Men in Black," "Batman and Robin, and "Hercules" were leaked earlier than its intended opening and were available for purchase on the streets of New York for five dollars. The article isolates New York as the major hub for pirated motion pictures. Back then, the estimate of how much the industry loses from domestic revenues is about $250 million (compared to $6.1 billion in 2005).

The author suggest that bootlegs are acquired by people sneaking camcorders into advanced screenings. The films are often of bad quality, but consumers want what is new before anyone else. To clean up piracy, the government and individuals targeted the streets of New York. In 1992 when Spike Lee's film "Malcom X" came out, he and some friends went to 125th Street with baseball bats to scare vendors of bootleg films. The MPAA geared its efforts towards attacking duplication labs in New York; the raids led to the seizure of over 10, 000 bootleg videos. Besides selling copies on the street corners, bootleggers set up booths, akin to tourist attractions, that stock the most recent films for purchase.

This article is a great comparison of how piracy has developed with technology. Pirates are now almost invisible due to the Internet, the quality of the films pirated is of superior quality, and dissemination is almost impossible to contain. The losses incurred by the industry back then have significantly increased and the pirates are more organized. A brief discussion of the drastic changes that have occured in the last decade will help contextualize the efforts the MPAA has had to undergo.

Bergman, Andrew Laurence. Depression America and Its Movies. University of Wisconsin: University of
Michigan Microfilms Inc, 1970.

Bergman offers a survey of how the film industry was affected by the Great Depression in
American history. He describes the changes that Hollywood underwent as a result of economic
crisis following the stock market crash in 1929. In addition to details of how general film-
making and production had to adjust to harder times during the Great Depression, Bergman
also notes the impact that the Great Depression had on the American public. For example,
the author explains how despite having less income to spend on leisurely pursuits, many
Americans started attending films in greater numbers during the Great Depression. This was in
no small part to the shifting cultural sentiments and attitudes of the time. Economic
hardship had a tremendous effect on how films were made and on who came to theaters to see
these movies.

Bergman's description of the movies produced during the years of the Great Depression
help to understand the immediate historical context that "The Philadelphia Story" was born
of. This perspective can be applied to how the film was influences by changes in the industry
as well as what was then popular with American audiences. In 1940 the United States was still
feeling the residual effects of the Great Depression and the movie industry could still
remember the harder times it had come across only a few years previous. Bergman explains that
1932 may have been the lowest point in Hollywood during the entire Great Depression; studios,
such as MGM were keenly aware of the financial risk that was taken with the production of
each film. This is an anxiety that should be kept in mind as an undercurrent that most likely
would have permeated behind the scenes in shooting "The Philadelphia Story". More importantly
perhaps is the statement that Americans wanted to see escapist films during this era. The
deprived public relished having a glimpse into the lives of the American over-privileged during
the Great Depression; the allure of the clothing, manner of speech, and general opulence of
the lives portrayed on-screen offered a temporary vacation from the dreary reality of the
unemployment lines. A chapter of Bergman's volume is titled "Federal Benevolence,
the Search for Authority, The Return of the Law, and Social Realism"; it reaffirms that
Americans were looking to have their values restored and moral codes re-validated during
this period. Watching members of the glamorous Philadelphia gentry celebrate a happy occasion
like a wedding would have offered an hour-and-a-half of escape from everyday life and a confirmation
that Americans were living a sound life.

Lawrence, T. E. "Chapter XII: Palm-Gardens." Seven Pillars of Wisdom: A Triumph. New York: Penguin Books, 1962. 90-92.

 

Seven Pillars of Wisdom: A Triumph, as the personal account of Thomas Edward Lawrence and his involvement in the Arab Revolt, acts as an invaluable resource for any paper written on the David Lean film, as it was originally intended as an adaptation of this written work. Reading Lawrence’s own version of this portion of his life provides a good source for evaluation of accuracy in plotline, detail, and even psychological portrayal of the characters.

The twelfth chapter in particular serves as a vital frame of reference when comparing the film adaptation with the original piece from which it sprung. In these few pages of text is contained the pivotal first meeting between T. E. Lawrence and Prince Fiesal, the Arabian leader in whom the idealistic Englishman immediately recognizes the heroic, traditional qualities for which he had been searching for so long. The tension of this moment as it is described by Lawrence himself, who confronts the imposing leader before a group of fellow tribesmen, is well-reflected by the corresponding scene in the film. Furthermore, the physical description of Fiesal is eerily close to the appearance of Sir Alec Guinness as he portrays this character in Lawrence of Arabia.

            This chapter also provides additional details as to setting, architecture, and the structures and hierarchies of Arabian society. It serves to firmly ground T. E. Lawrence’s story within the much vaster historical movement of which he was a part. Particularly when dealing with a film that falls into the genre of epic and spectacle, it is extremely important to have a grasp of the actual persons and events so as not to be deluded by the inevitable artistic license the directors and editors will utilize.

Caton, Steven C. "An Allegory of Anthropology." Lawrence of Arabia: A Film's Anthropology. Berkeley and Los Angeles: University of California Press, 1999. 142-171.

In this chapter of his book, Steven C. Caton discusses the anthropological leanings of the main character of Lawrence of Arabia, T. E. Lawrence. He does not posit that the anthropological elements of the film are purposefully constructed by either the director or the scriptwriters, but rather that they appear in the film as subconscious manifestations of clichés about anthropologists. According to Caton, it is an accepted belief that individuals enter into the fields of anthropology and archaeology because, during their childhoods, they experienced feelings of alienation and liminality. Thus Lawrence, the bastard son of an English nobleman, and a young man desperately attempting to escape from the stifling atmosphere of the English countryside into the exotic, Oriental environment of the Arabian desert, perfectly fits into this stereotype. Lawrence’s condescending, objectivist studies of and perspectives about the Arabian culture mark him as a Westerner with a drive, just like cultural anthropologists, to discover identity within a distant, mysterious land, and to ‘play-act’ as a member of whatever culture they happen to be studying.

Steven Caton’s chapter is a cleverly thorough and well-written piece of allegorical analysis. It provides an excellent look into the motivations of the main character, and furthermore into the filmmakers who, according to Caton, were filled with a sense of adventure as profound, and in some ways naïve, as that of Lawrence himself. His work offers a unique spin on the traditional take on Lawrence, since Caton views Lawrence from his own perspective as an anthropologist. Just as Lawrence serves as a figure for fascination and study to later generations, the Arabian culture served as a great and compelling mystery to Lawrence. Through a close study of Lawrence's reactions throughout several scenes of the film, the reader gains a much clearer understanding of just how condescending and intrusional Lawrence's sojourns in Arabia truly were.

Lawrence of Arabia has always been one of my favorite films, and the figure of T. E. Lawrence, who serves as the focus of the four-hour-long spectacle, seems surrounded by an aura of mystery that is both impenetrable yet incredibly alluring. I wish to answer the question, "Who is Lawrence of Arabia?" Why does this warrior-poet continue to captivate audiences so many years after his exploits in the Arab Revolt? By exploring the means of propagandizing during World War I, American fascination with his myth, and the actual historical personage, I hope to understand what it is that makes T. E. Lawrence a figure worthy of this epic film, and what it is in turn that fuels the film's enduring legacy.

Wilson, Michael. "Lawrence of Arabia: Elements and Facets of the Theme." Cineaste: America's Leading Magazine on the Art and Politics of the Cinema 21.4 (1995): 30-32.

 

Michael Wilson’s article, although brief, acts as a valuable starting point for research on Lawrence of Arabia.  Wilson highlights the important themes that arise when studying the portrayal of T. E. Lawrence’s character in the epic film, and the various complexities and contradictions that arise when attempting to unravel the mystery that lies behind the man.  Presented in the format of a numbered list, Wilson extends his proposal of each subject matter with a brief description and an argument as to its relevance in providing a deeper understanding of the film’s underlying messages.  He covers such themes as the marginal status of T. E. Lawrence within Great Britain, Lawrence’s desire for fame and the immortality that comes with it, and even his secret admiration and devotion to a mysterious figure known only by the initials ‘S.A.’

            This article serves to introduce the reader to the incredible sense of history that saturates the film: American participation in World War I, and their subsequent need to see a hero arise from the ashes of mass murder and immeasurable bloodshed; the long Arabian tradition of autocratic rule; Britain’s attempts to expand its empire into the Arab front.  Overall, while this piece would not serve as a central source to back up the arguments in a longer paper, it still functions well as a stepping stone, a pool of ideas that can aid during the essential brainstorming process that comes before any significant researching feat.

 

Raw, Laurence. "T. E. Lawrence, the Turks, and the Arab Revolt in the Cinema: Anglo-American and Turkish Representations." Literature Film Quarterly 4.33 (2005): 252-61.

 

            The author of this work compares the perspectives of two different films on the Turkish people: David Lean’s Lawrence of Arabia and Lüfti E. Akad’s Ingiliz Kemal Lawrence’e Karsi (1952).  Laurence Raw explains that the Lean picture, in its attempts to portray the Arabian people in a positive light, ends up misrepresenting the Turkish people.  The Turks that appear in the film are represented as barbaric and unnecessarily violent.  One scene in particular demonstrates the demonization of the Turks.  During the encounter between the Turkish Bey and T. E. Lawrence, the Bey is presented as homosexual and perverse in his treatment of the young man.  His eerie, lurking presence behind the doorframe as Lawrence is whipped highlights his sadistic leanings.  On the other hand, the Akad film, made in Turkey, portrays its people as the heroes of the Arab Revolt.  In particular, the central figure of the film, Ingliz Kemal, a spy for the Turkish army, is seen as a brilliant and inspiring warrior.  On the other hand, the figure of T. E. Lawrence is represented as a crazed, egotistical villain willing to betray British and Arabs alike in his wish to gain immortality.

            Nevertheless, Laurence Raw does find an intriguing similarity within these two pictures.  Both films treat the British as unwanted intruders, whose drive for imperial conquest of foreign lands can only be seen as despicable.  This article thus provides an excellent piece of comparative analysis on Lawrence of Arabia, as it offers the perspectives of these two such drastically different cultures.  It gives examples of the myth-making practices of the film industries of two different countries, and their treatments of particular cultural heroes.  It is particularly enlightening to discover that T. E. Lawrence was not the only war hero to emerge from the Arab Revolt with lasting fame.

 

Phillips, Gene D. "Chapter Thirteen. In Search of a Hero: Filming Lawrence of Arabia." Beyond the Epic: The Life & Films of David Lean. Lexington: The University Press of Kentucky, 2006. 291-320.

Gene D. Phillips gives a highly amusing and provocative portrayal of the year-long process of filming Lawrence of Arabia.  In this chapter, he provides multiple examples of disputes that arose between the director, David Lean, and Sam Spiegel, the producer, usually over issues of time and money.  He relates instances of Peter O’Toole’s bravado, and more frequently his alcoholism, disturbing important takes.  He even reports of a love affair that took place between the then-married David Lean and his script supervisor, Barbara Cole.

Also included in this portion of the book is a detailed scene-by-scene analysis of the epic.  Phillips highlights the most important moments, thereby illustrating David Lean’s highly-skilled filmmaker’s eye and precise decision-making.  This chapter would be particularly beneficial in giving an idea of approaching Lawrence of Arabia from the angle of auteurism, as the main focus is the interactions between Lean and his cast and crew.  Furthermore, the domineering personality of the director that is related within this piece invokes interesting parallels between Lean and T. E. Lawrence, the egotistical and driven main character of his film.  The comprehensive production history firmly grounds the mythic epic within the harsh actuality of filming in a desert that drove crew members mad with heat, and of budgets and time-schedules continually running over.  The film, which seeks to turn a man into a myth, has itself garnered a mythic status within cinematic history.  This chapter therefore helps to re-infuse the film with some reality.

Kauffman, Stanley. "A Passion in the Desert." Rev. of Lawrence of Arabia, dir. David Lean. The New Republic 148.2 (1963): 26-28.

 

Stanley Kauffman’s review of Lawrence of Arabia, written shortly after the film’s release, provides an excellent example of the immediate critical reception of the work.  In this piece, the author covers a rather wide range of topics.  He analyzes the originality and depth of the scriptwriting by A Man for All Seasons’ Robert Bolt, the incredible impact of the photographic imagery of the desert, and the accuracy of the storyline to T. E. Lawrence’s real life.  Furthermore, he writes of the scope of the film’s plot, the potency of the musical score, and even scrutinizes the various acting talents of the diverse cast full of veteran actors like Alec Guinness and Claude Rains, and fledgling thespians like Peter O’Toole and Omar Sharif.  Through his study of the various elements that make up the film, he provides a balanced account of both its positive and negative aspects.

It is particularly intriguing for a modern-day reader of this review to see Lawrence of Arabia being evaluated so critically, as this film has become such a well-respected and frequently-cited classic.  Kauffman’s analysis provides a much-needed dose of the skeptical, particularly when dealing with a film spectacle that, like works such as Citizen Kane (1941), may become lost in the overwhelming and somewhat blinding awe that comes with age.  Overall, Stanley Kauffman’s review serves as a good foundational piece for a paper discussing the impact of Lawrence of Arabia to film history, and its influence on later films and directors.

 

Jackson, Kevin. "Reputation and Restoration: 1962-2007." Lawrence of Arabia. BFI Film Classics. London: British Film Institute, 2007. 107-117.

 

In this chapter, Kevin Jackson writes of the enduring legacy of Lawrence of Arabia, and the impact that the film provided in America, Britain, and around the world.  Additionally, he writes of the power that the film had in influencing other important directors down the years, from Martin Scorsese to Steven Spielberg.  He even includes a recounting of the various awards garnered by the film at the Academy Awards, and later recognitions given to David Lean and Peter O’Toole.  Moreover, Jackson relates the subsequent careers of the actors and filmmakers.  Intriguingly, most of the individuals involved in the making of this film had mostly unsuccessful ventures, whether in the fields of acting, directing, or producing.  Nevertheless, the movie itself, and the legend of T. E. Lawrence that it helped construct, persists to this day, through various theatrical rereleases, a restoration, and DVD distribution.  The myth of Lawrence has inspired the writing of various biographies, from a wide range of perspectives, the production of several television documentaries, and even a highly popular museum exhibition.

            This piece, although brief, provides a glimpse into the more modern reception of the film.  It gives a clear idea of Lawrence of Arabia’s impact on cinematic history and its influence on the genre of the historical epic.  It provides concrete evidence of the surprising endurance of the legend of T. E. Lawrence, and the continual returns to this subject by writers, directors, and members of the public.  Furthermore, it shows that the controversies that surrounded the film and its contributors aided in securing the fascination of contemporary and succeeding generations.

Douglass Brode’s book entitled Elvis Cinema and Popular Culture goes into great detail describing the plots, characters, and effects of each Elvis film.  In his introduction, “All Singing!  All Dancing!  All Elvis!,” Brode makes a point of emphasizing that Elvis’ dream as a young boy growing up in Tennessee was to become a movie star, not a musician.  It was perhaps for this reason that Elvis decided to take his fame to the silver-screen over a carreer of fifteen years.  Though Elvis’ acting career stemmed from his popularity as a Rock and Roll singer, his films were not about music, or even about Elvis himself.  Instead, as Brode notes, “under a series of names and guises, Elvis – shifting from contemporary settings to one place or time period and then the next – portrays a continuing persona […]  Viewed chronologically, [his films] offer a vivid cinematic canvas that portrays America in the process of renewing and redefining itself.”  In Brode’s chapter on Elvis’ 1957 film, Jailhouse Rock, for example, we learn that the film was made to reflect the social troubles in America due to the recession and economic problems under Eisenhower.  The chapter goes on to tell the plot of the film about a young southern boy named Vince played by Elvis, and its reflection of popular culture and the effects it later had on it.
    In order to be able to claim that A Hard Day’s Night was the first film to successfully unite the pop cultures of film and cinema, I would need evidence in support of why the previous rock films were unsuccessful.  This book, Elvis Cinema and Popular Culture does just that.  Where A Hard Day’s Night was a movie about The Beatles, each playing themselves, with the purpose of showing the world a day in the life of the “Fab Four,” the Elvis films, as described by Brode, have fictional stories in different time periods and do not even star Elvis as himself.  For these reasons, it is clear that the Elvis films were not made for the purpose of putting music’s pop culture on screen.  Instead, they were made to make money by simply starring a popular musician: Elvis Presley.  The Elvis films were, in some respects, social commentaries disguised behind silly and often unengaging plots, whereas A Hard Day’s Night was the first film to star music’s new rock and rollers to portray them being rock and rollers.

Searchable database of movies

Provides basic information on many facets of the film industry. Strictly informational, nothing theoretical or persuasive.

Descibes all the aspects behind film marketing, primarily independent movies in Europe. Includes general information on trailers.

Dissertations on the American movie market and methods of distributions and exhibition. Discusses topics from the Paramount litigation to television to rentals.

A history of the American movie business, including information about nickelodeons, theaters, studios, and alternative operations.

Analysis of many aspects that influence the film industry and how it influences others, such as theaters, current events, blockbusters, color, and advertising.

A theoretical approach with examples to American movie trailers. Provides reasons for why audiences like them and why they work. Views trailers as their own rhetorical cinematic narrative form and divides the book into the three eras of cinema.

Explains the idea behind "high concept", which describes today's movie marketing method of creating on simple image for each film. Shows how every aspect of marketing from music to distribution to trailers is bundled into this model.

Explains the Hollywood culture during the Golden Age (classical era) and how it made impressions on the general public. Includes information about the studios, magazines, star aura, agents, and advertising and promotion.

Explores how Hollywood's movies can influence human behavior and popular culture and vise versa. Includes information about marketing techniques, trailers, etc.

New York Times article by film critic Caryn James which reminds us that trailers exist because movies are simply consumer products. They distort the actual content of the actual films in order to market them to the potential audience.

New York Times article written by critic Caryn James which compares several movies and their trailers, proving the point that trailers can give inaccurate impressions of the story and quality of it's full-length movie.

Studies in American culture [0888-5753]
yr: 1997 vol: 20 iss: 1 pg: 39

treatment of homosociality; masculinity; in Tarantino, Quentin (1963- ): Pulp Fiction (1994); relationship to French Arthurian romance

This is the topic of my bibliography. I will write a whole  about this film.

Title:	'Style,' Posture, and Idiom: Tarantino's Figures of Masculinity
Author(s):	Willis, Sharon
Source:	pp. 279-95 IN: Gledhill, Christine (ed.); Williams, Linda (ed.); Reinventing Film Studies. London, England; New York, NY: Arnold; Oxford UP; 2001. (xvi, 464 pp.)

This book chapter examines the masculine styles and posturing in Tarantino's films. Because Tarantino has created a world of characters who are violent, sensitive, and cool, this investigation into the types of men in Tarantino's work serves as an overview work for this topic.

From the article "In this essay, I want to suggest that Pulp Fiction's emphasis on story and story telling indicates a discernable interest in time or, more precisely, different aspects of time in cinema. With its fractured narrative structure, for example, Pulp Fiction exploits film's unrivaled facility for temporal construction and (re)ordering. As Ralph Stephenson and J. R. Debrix observe "the cinema can repeat, prolong, abbreviate, or reverse the events on the screen. Past, present, and future time can be mixed in any order. A film breaks up the continuity of time in the real world, and out of the physical time of reality creates an abstract film time." (Stephenson and Debrix, 1976: 124) Pulp Fiction explores this abstract film time in a provocative, yet accessible and thoroughly enjoyable fashion." The article also includes a little bibliography of the film

For this bibliography, I have listed works about the presentation of masculinity in Quentin Tarantino's Pulp Fiction.

TARANTINO'S INCARNATIONAL THEOLOGY. By: Brintnall, Kent L.. Cross Currents, Spring2004, Vol. 54 Issue 1, p66, 10p-75; (AN 13437881)

The article explores the ethical and erotic dimensions of physical brutality against the male body as they appear in theological discourses and cinematic texts, specially in the motion picture Reservoir Dogs, directed by Quentin Tarantino

Title:	American Culture X: Identity, Homosexuality, and the Search for a New American Hero
Author(s):	Brandt, Stefan
Source:	pp. 67-93 IN: West, Russell (ed.); Lay, Frank (ed.); Subverting Masculinity: Hegemonic and Alternative Versions of Masculinity in Contemporary Culture. Amsterdam, Netherlands: Rodopi; 2000. (267 pp.)