Cinema & Multiculturalism Selected Proceedings by Sheryl L. Postman, J. Heli Hernandez

By Sheryl L. Postman, J. Heli Hernandez

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Béla Balázs says: “Because of cinematographic art, the eye of the cinema, the cinematographic culture was born. The expressive types of film have been developed by degrees but with great rapidity, and at the same time they have stimulated in the public the power to grasp the new knowledge. ” My friend from the mountains of Molise, whose name was – and probably is – Pico Piccolini detto anche Mirandolino, stopped right here his rehashing of cinema notions and theories, and started again his singsongy lullaby that runs this way: Every Night & every Morn Some to Mysery are Born.

New York: Redgrave, V. 2, N. 3, August 1977: 257–272. 9. See “Communications 23”, Paris: Centre d’Etudes Transdisciplinaires, 1975. 10. Raymond Queneau. ” The Penguin Book of French Verse. 4. The Twentieth Century. Introduced and Edited by Anthony Hartley: 282– 285. 35 Film As A Tool For Teaching Multiculturalism: Philosophy and Politics: The case of Independence Day Jane Freimiller and Jeffrey Gerson In the spring of 1998, the authors team-taught a course, Politics, Philosophy and Film at the University of Massachusetts Lowell which offered an interdisciplinary approach to the fields of political science and philosophy as well as teaching.

The medium of films is physical reality as such. Examples include the recreation of nineteenth-century cities or areas, such as the Moulin Rouge cabaret in Paris and the sunflower and corn fields in Arles, as well as the enactment of documented or biographical accounts on the lives of personages, such as painters van Gogh and Toulouse-Lautrec. The physical reality of these objects, persons and areas can be arranged in all sorts of ways, using, for example, make-up techniques, props, lighting and camera work; but there is no escaping them.

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