Publication Type: Invited Paper
Abstract: The purpose of this investigation is to discuss American Christ Films and how the promotional strategies and cultural restraints have influenced the portrayal of Jesus. The study seeks to understand each film in the particular period that it was produced. These films have become part of the rhetorical dialogue and add to the discussion of Christianity. Six films have been selected for analyses that represent both the successes and failures of the Christ Film genre. The films selected are From the Manger to the Cross (1912), The King of Kings (1927), The Greatest Story Ever Told (1965), Jesus Christ Superstar (1973), The Last Temptation of Christ (1988), and The Passion of The Christ (2004). Using rhetorical analysis and history data, this investigation attempts to understand the ways that films about Jesus aid in spreading the message of the Gospels.

Publication Type: Conference Paper/Unpublished Manuscript
Abstract: Do films that have been shown at the three major film festivals in Europe or have won a major award a better chance at the box office? This research covers the performance of films over three years in The Netherlands.

Publication Type: Conference Paper/Unpublished Manuscript
Abstract: At the culminant sesssions of the course Legal Anthropology and Ethnographic film in Southern Italy (Humbolt University in Berlin 2007) the students were proposed the re-enactment of two Italian cases of ADR (Alternative Dispute Resolution) under the guidance of a lawyer from the University of Pavia (Italy). With a little training, the students alternated behind a camera during the enactment and the first screening of the footage. The overall aims of the experience was to raise awarness on the stakes of the legal process from the actors' perspective, and to practicing various options for representing the legal process. This paper will relate of the many reactions coming from the students in relation to their own basic assumption about law, justice, impartiality etc. The purpouse of this paper will be to discuss the pedagogical limitations and advantages of this teaching experience, and how to frame it within a conventional teaching structure. Excerpts of films produced in the classroom will be screened during the presentation of the paper and some students will intervene in the discussion.

Publication Type: Conference Paper/Unpublished Manuscript
Abstract: For decades, film festivals have provided sites for creation and exchange of film knowledge through screenings, discussion and other interpersonal exchanges. This has been especially evident in the power relations of European nations and wider national industries and films of the global South. In the last twenty years, many festivals have also taken more active roles in production through arrangements of co-production and funding, again allowing European festivals to promote films from specific areas, groups or figures of the developing world.
This paper draws on interviews, film analysis and festival structures to explore this important ongoing change, its functions and impact from Rotterdam, Berlin and Locarno to Pusan and Hong Kong. This analysis also allows us to understand the implications of this changing role for global power, within the world of film as well as across other global parameters.

Publication Type: Conference Paper/Unpublished Manuscript
Review Method: Peer Reviewed
Abstract: Postmodernist films in post-Tiananmen China, corresponded for Deleuze's micro political philosophy to the aesthetics of politics in the independent frameworks._x000d__x000d_Both graduated from Beijing Film Academy, Lou Ye and Wang Chao were considered as the Sixth Generation of Chinese film makers. This paper will try to examine Wang Chao's "The Orphan Of Anyang", Lou Ye's "Suzhou River", the two films which were composed around the year 2000 and recognized in Europe through international film festivals._x000d__x000d_The theories of Deleuze, Foucault and Andre Bazin will be studied with the Mise-en-scene film analysis as a method. It will do so within the wider context of debates around the theme of the Sixth-Generation Chinese film, politics of aesthetics and the cultural memory in the present.