Welcome back WesternU film students! We’re excited for another awesome year and for you to experience it with us. WUFS is busy planning the year ahead and some of the members are in the Old Ivey building atrium for Faculty Day so come by and say hi! Also, the Old Ivey building is our new home for this year so check your Western email for more info
Hey everybody just a reminder that the deadline to submit your paper to kino is coming up on the 11th of this month. Take a look over your papers, submit and have a chance of becoming a published author!
Welcome to the most momentous and generation-defining event you’ve all been waiting for: The WUFS 2014 Western Film Festival! We’re gonna have some awesome films this year made by some our own very talented Western students! Tickets are only $10 and that is a small price to pay considering the priceless cinematic experience! Bring all your friends! Most importantly, bring your all your Oscar-winning smiles!
PS: If you want to submit your film to the festival, be sure to drop off a copy of your film at the WUFS office in University College by Friday March 21st!
In “Notes on Film Noir”, Paul Schrader refers to Orson Welles’s film Touch of Evil (1958) as film noir’s epitaph. It is significant to look back on such a film, as it marks the end of an era of filmmaking that was not defined until several years after its life cycle. Welles’s contribution to film noir is marked by a sense of pessimism that seemed to surpass the postwar disillusionment found in the noir film of the 1940s. This is perhaps in line with the increasing sense of discontent in the middle of the Eisenhower administration, as the film’s racial themes clash with the administration’s passivity during the early years of the civil rights movement. In this regard, students will come to understand the context of the increasing sense of disenchantment in the final years of film noir.
While American audiences were not receptive to Touch of Evil upon its release, the film was well received in France, which was approaching its own era of disillusionment with the collapse of the Fourth Republic and the return to conservative politics. In his review for the film upon its initial release, Francois Truffaut praised Touch of Evil as an antithesis to “incompetent” films “designed to flatter a public which is supposed to leave the movie house feeling better or thinking it has learned something”. Orson Welles’s auteur trademarks would influence several filmmakers of the French New Wave, and it was only a year later that Truffaut would release his first film The 400 Blows (1959). Welles’s film, then, is significant not only as the concluding film of the noir era, but also as a precursor to the aesthetics and attitude of the French New Wave.
Touch of Evil was marketed as a star-studded thriller with provocative content, yet it was received under a range of categories that did not quite match its marketing classifications. The unique visual style of the film that bore the aesthetic trademarks of film noir were seen by reviewers as little more than a byproduct of Orson Welles’ unorthodox techniques. The disparity between how Touch of Evil was marketed, and how it was received by critics in the United States displays a portrait of a film with a muddled identity within American Cinema that would eventually find its place as a transitional piece between American film noir and the French New Wave.
Society for Palestinian Human Rights in collaboration with Film Studies Present
John Greyson: Israel/Palestine Agitprop Short Films
Tuesday 18 March with director
John Greyson in attendance
11:30 AM–1:00 in University College 84
Admission Free-All Welcome
The Western Undergraduate Film Society and the London Ontario Media Arts Association present:
Date of Workshop: Saturday, Feb. 15th, 2014.
Presenter: Charlie Egleston / Assisted by Sebastian Di Trolio
Location: Fanshawe’s Centre for Digital and Performance Arts (Downtown Campus) 137 Dundas St. Room 420
Number of Participants: 12 – on a first come, first serve basis (with 4 places reserved for Western students)
This will an excellent skill-building opportunity for students looking to work in the medium
The cost of materials is $15 for students
If you are interested please contact email@example.com or firstname.lastname@example.org as soon as possible
Kathy Wazana’s They Were Promised the Sea is an intimate journey into a family’s history that brings Wazana across the world. Her research into her origins in Morocco unleashea a complex web of questions about dual identity, political opportunism, and the challenges faced by those torn between home and exile. Wazana gives us an intimate picture of her fractured homeland, where history, religion, and politics clash, leading many to exile in America and abroad. Director Wazana will be in attendance at the film’s screening on Thursday, Jan. 16 at 7:30 pm in UC 85.
Come out for a screening of the film with a Q&A by the director, all free of charge! Hosted by the Faculty of Arts and Humanities at Western University.