The inaugural Latina/o Queer Arts and Film Festival (LQAFF) in collaboration with the Gay and Lesbian Center of LA will showcase the only film festival for latino queers. Latin@ Queer Arts and Film Festival will take place April 10-13 at The Village, located at the Gay and Lesbian Center. This four day celebration of art and film will include a launch party, art gallery, spoken word, feature films, documentaries, short films, mini-workshops/ info sessions, food trucks, music, networking opportunities, Q&A’s with filmmakers, and featured cast members.
This course provides intermediate-level students in film and media arts with hands-on opportunities to advance student basic filmmaking skills, including pre-production, camera operation, lighting, directing, and digital non-linear editing. Students work directly with film and video students from Tec De Monterrey University in Mexico and a university in Canada via video conferences, email, Facebook, web cam, Skype and face-to-face meetings to produce mini- documentaries on culture, politics, or policy that affect daily lives in all three countries. Students are encouraged but not required to travel with the class during the semester to Mexico or Canada as a component of the course.
Although I outline below the theoretical categories of experience I extrapolated from case study responses, I chose not to use such a posteriori categories to structure my presentation of informant responses in this project. Instead, I present informant responses under question/response area headings, where the quotations and other information in each section corresponds to what informants said or wrote in response to certain questions and/or responses that have a bearing on the area in question. So, initially I identify the perspectives from which informants experience martial arts action cinema, and then move to illustrate why it is that informants watch or don’t watch, enjoy or dislike, martial arts action films, using their words. I continue in this vein - using often long but sometimes a number of brief, juxtaposed quotations - illustrating informant responses and experiences of martial arts action cinema, commenting on similarities and differences between, as well as the possible significances of, their words as expressions of experience as well as attitude. I do this primarily to make clear the context in which informant comments are elicited in response to my own questions, so as not to give any impression that informant quotations are from film experiencers in a research vacuum, as it were. I also found this form of presentation preferable to others I considered because setting out the information under aspect of experience category headings would involve a great deal of repetition, since individual informant comments can be discussed under more than one category heading in almost every case.
The School of Theatre, Television, and Film offers graduate study leading to the Master of Arts degree and the Master of Fine Arts degree in theatre arts. Graduates in these programs learn in the artist- scholar model and are prepared for careers as practitioners and educators. The Master of Fine Arts degree is offered in the areas of acting, design/technical theatre, and musical theatre. The M.A. is a 30-unit program; the M.F.A. a 60-unit program. Both programs of study limit the number of students accepted in order to offer individual attention and extensive opportunity to participate in theatre production. The Dramatic Arts building contains the proscenium-style Don Powell Theatre seating 500, with state-of-the-art computer lighting and sound control, and the flexible Experimental Theatre seating 200, rehearsal and recording areas, a design studio and CADD laboratory, paint shop, wagon house, scene shop, and fully equipped costume laboratory. The theatre arts degree is accredited by the National Association of Schools of Theatre (N.A.S.T.).
While film has long been included in English language arts instruction, it has typically been relegated to the position of supplementary resource and considered a nontraditional text. The interest in expanding English language arts instruction to address twenty-first century literacies demands difficult choices about what textual forms to include and necessitates a reassessment of film‟s importance. Because they are at an important juncture in their experience with the English language arts, preservice teachers offer an interesting perspective on this question. They are completing years of study in which they have been the recipients of English language arts instruction. Now students of a teacher preparation program, they receive direct instruction from faculty who are closely attuned to the theoretical movements within the discipline. Simultaneously, they are engaging in fieldwork that allows them to observe K-12 teachers‟ instructional practices. As they form their own philosophies of English language arts instruction, they must reconcile these multiple perspectives into a personal understanding that will shape the ways in which they teach – in effect, their refined understandings represent the future of English language arts instruction.
Greene’s reflections on her film, Veracity, is a resource for contem- porary media arts educators wishing to use media to craft a critical approach to a post-racial classroom conversation. Research in art education has demonstrated the value of media literacy and the arts in helping students critically engage with (as opposed to passively consuming) the films, television shows, news and other forms of mass media that permeate their lives (Wyrick, 1994; Duncum, 2001). The media arts classroom is an important place to explore students’ ideas about the conflicts and contradictions within representation in post-racial America, not least of all because mainstream media stories about race and racism subject young people to simplified, often ste- reotypical narratives about themselves. For example, in the context of recent media attention to police shootings of young African American males, the stereotypical discourse of masculinity and race positions the victims of these shootings as inherently threatening and danger- ous. 4
This year, the festival saw more than 200 film submissions in a range of languages, including French, Hindi, Vietnamese, Mandarin and Tamil. In line with the festival’s accessibility mandate, each film has English subtitles. Also due to that mandate, the entire festival, which takes place from Nov. 2 to 5 at various locations in Toronto, is free.
Based in a programme that is research-based, conceptually strong and innovative practice that works equally well across the arts and media. There is a thriving research culture including research hubs in Photography and The Contemporary Imaginary, Photography and Conflict, and a planned one in Photography Futures, as well as the Photography and the Archive Research Centre, and a growing number of PhD students. All these areas hold
ARH 5907 Directed Studies (1-6). A group of students, with the approval of the art faculty, may select a master teacher of theory, research or criticism in selected areas as film, painting, sculpture, architecture, crafts, art history, multimedia art, etc. Arrangements must be made at least a semester before course is offered. May be repeated.