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Mal's spell book
\"When Mal first got to Auradon, she used her spell book to try and destroy the place, and then she used it to fit in there. And then it fell into the wrong hands. . . Or should we say tentacles? This spell book has been completely updated with fresh spells, plus brand new comments, photos, and inside information from villain kids Mal, Evie, Jay, Carlos ... and Uma. This is the next chapter in their story.\"--Provided by publisher.
Book
“One more fine technician for the Dream Factory”? George Lucas’s Early Film Career, 1964–1971
This essay traces George Lucas’s development as a filmmaker from his arrival at film school in 1964 to the 1971 release of his first feature THX 1138. It follows his decision, also in 1971 but prior to the release of THX, to commit to a semi-autobiographical project about teenagers that would eventually become American Graffiti (1973). I discuss the thematic and stylistic characteristics of Lucas’s early film work in the context of his shifting outlook on his career, his professional networks, box-office trends, and transformative changes in the American film industry.
Journal Article
Policies and Cinephilia: The First Three Decades of the Spanish National Film Archives Filmoteca
The article examines the history of the Spanish National Film Archives, Filmoteca, from its inception in 1953 until its institutional stabilization in the 1980s. Filmoteca was an official body, integrated within the Spanish state, both during the dictatorship and in the democratic years that followed. But it was also—and this is the interpretation that this article highlights—an institution deeply intertwined with the possibilities and limitations of the Spanish film culture of the time. State policies, cinephile activism, individual engagement, and governmental intervention came together to shape its history and especially its institutional reinvention during the 1970s.
Journal Article
In Limited Edition: The First Decade of the Film Discussion Clubs Movement in Poland, 1955–64
Film societies—or rather, film discussion clubs, as they used to be called in Poland—have come to represent one of the most mythologized elements of history in Polish film culture. Drawing primarily on newsletters of individual film clubs, as well as the official bulletin of the film club's federation, the article elaborates on specific roles that film clubs played within Poland's broader film culture, particularly against the backdrop of state-controlled film distribution. The first section of this article discusses the beginnings of the film club movement in Poland during the political thaw. Next, the programming policy of film clubs, including diverse sources of films, is thoroughly analyzed. The focus of the final section is the crisis in 1961–64 that affected the clubs at the end of the first decade of their existence.
Journal Article
Perspectives on the future of film education in Europe
This paper explores potential avenues for the future development of film education in Europe, emphasizing how ongoing technological, social, and institutional transformations affect both the medium of film in itself but also the pedagogical approaches implemented within film schools. Acknowledging rapid advancements like virtual and augmented reality, artificial intelligence, and shifting audience behaviors, the paper argues for a paradigm shift toward educating through film, rather than merely about it. The authors present FilmEU – one of the new “European Universities” Alliance – as a model for the future development of film education, highlighting its interdisciplinary and trans-European approach to creative arts. Additionally, the “Samsara” pedagogical framework is introduced. This is a pedagogical framework designed to foster a holistic learning experience that balances technical training with a broader media literacy and critical thinking focus. The paper advocates for innovative, project-driven approaches that enable film schools to remain relevant and impactful in the cultural and creative industries in the midst of the profound ongoing transformations.
Journal Article
Film Courses in Art Schools
Fendt translates Harun Farocki's \"Filmklassen an Kunsthochschulen.\" Here, Farocki cite that there are film schools in Munich and Berlin, even if we don't know what happens there or what is concretely done there. They know practically nothing about the film courses in Braunschweig, Kassel, Hamburg, and Dusseldorf. He has given seminars in some of these courses over the past few years; he was in Stuttgart for one year, as a lecturer from early 70 to early 71 in the basic film course. Based on these experiences, he'd like to give some information about film courses in art schools.
Journal Article
Narrating the preservation of a film school archive – Re-configuring the hero’s journey across the nexus of conservation and film production
Narrating the preservation of a film school archive–Re-configuring the hero’s journey across the nexus of conservation and film production. In 2013, a program to secure the future of the more than 1800 films produced by students in the Victorian College of Arts’ Department of Film and Television commenced at the University of Melbourne. This is a highly significant collection, with films from 1966 to the present, that contains work by some of Australia’s pre-eminent producers, cinematographers, scriptwriters, and others. Utilising narrative frameworks theory, and particularly the victim to hero narrative, this paper explores the journey taken to preserve this archive and make it accessible to current and future students and the public. This makes explicit the value of narrative inquiry as a method for active rethinking and reframing of the project, the opportunities for democratisation and increasing plurality during the project and highlighted the need to contest the celebratory narrative of project completion to ensure that the continued risk to the hero-archive remains a central institutional concern.
Journal Article
Film and the Inexorable Wheels of History
The author later expanded on the topic in his short monographs of the most important figures mentioned in the article such as Jan Szczepanik,3 Kazimierz Prószyński,4 and Władysław Starewicz.5 The references to these books still appear in the literature on the subject, including foreign publications. 6 The first two were reissued with additions, and Jewsiewicki also served as a consultant for Vadim Berestovsky's film documentaries about Starewicz.7 His next area of research interest became the early period of Polish cinema. [...]the outbreak of the war, this field of study was practically non-existent in Poland, lacking well-developed methodologies, relevant studies, and systematic state film collections and documentation.8 Tadeusz Lubelski noted that in the early 1950s, Jewsiewicki was considered a harmless eccentric9 as he was practically the only researcher of pre-war film history. With the destruction of Warsaw, the primary sources for film history were also destroyed, as the film industry during the interwar period was primarily concentrated in the capital.10 Therefore, in his findings, he used (in his own words) derivative materials such as published government communiqués, legal acts of the state and industry institutions, statistical yearbooks, press enunciations (incomplete, as part of the film press was also destroyed or considered lost), memoirs, and - a practice he often used as a historian - interviews and correspondence with living witnesses and participants of events. Working in difficult, solitary conditions, based on his own limited resources, he provided the first essential components for the history of Polish cinema.13 The information gathered by Jewsiewicki was helpful to the authors of this volume, although it was subject to some verification, which was possible due to a much richer filmographic database than before.14 Władysław Jewsiewicki was also an educator, and a significant part of his writing activity had an educational message aimed at students of the Łódź Film School.
Journal Article
Producer Cary Woods on discovering the next generation of auteur filmmakers
The sleek, industrial-style furniture is covered with beer bottles and solo cups as producers, publicists, and directors affiliated with the firm celebrate the youngest guest in their midst. Tzvi, who was born in an ultra-orthodox enclave of one of New York’s ultra-orthodox Jewish communities and raised to become a Talmud scholar like his grandfather, didn’t have to work in a used vinyl store or a gluten-free ice cream shop while waiting for his big break; he just wrote a script, picked up a camera, and made his movie. [...]being backed by Woods is a big deal because, in addition to producing a string of eclectic, indelible hits, Woods has an enviable track record for spotting A-List talent well before anyone else in Hollywood sees their potential. In the following interview, Woods – who returned to the industry after a near-fatal car accident in 2013 – reveals how he identifies a great filmmaker in the making. Tim Brinkhof is a Dutch-born, New York-based journalist whose writing on art and culture has appeared in PopMatters, High Times, History Today and The New York Observer among
Journal Article