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NEW for 2008: Research visit funding available for scholars - apply for the ARSC Visiting Researcher Stipend UCLA Film & Television Archive Conferences
April 2006: "Out of the Closet, Into the Vaults: LGBT Film Preservation and Access Strategies" The Archive Research and Study Center (ARSC), in association with Outfest and the Association of Moving Image Archivists LGBT Interest Group, co-sponsored the symposium "Out of the Closet, Into the Vaults", bringing together panels of filmmakers, scholars and moving image archivists to discuss the challenges of insuring the survival and accessibility of LGBT cinema.
August 1999: Visible Evidence VII March 1998: New Vietnamese Cinema May 1997: Chips and Bits: A Digital Symposium May 1997: Designated Mourner Film Preview and Panel Discussion October 1996: Viewers and Voters: The Impact of Media Coverage on the 1996 Presidential Election January 1996: American and Russian Film: A Post-Cold War Perspective This conference explored the connections between the film cultures of the former Soviet Union and the United States, focusing on such issues as the development of film scholarship in each community in the absence of the other, how films of each culture have been received historically, and access in Russia to formerly-restricted materials.
Scholars from around the world gathered to discuss the economic, political, and creative issues which arise from the interchange and conflicts between Hollywood and European film industries. The conference focused in particular on the complex interplay between issues of economic interest on the one hand and cultural identity on the other.
The Archive Research and Study Center in association with UCLA's Chicano Studies Research Center hosted an afternoon workshop on Mexican film history. Professor Chon Noriega of UCLA's Film and Television Department moderated the workshops. Discussion topics included the impact of Mexican film heritage in the United States, representation of women in Mexican Cinema history, possibilities for increased regional and international distribution, preservation and restoration of Mexican films within public archives.
A discussion on representation in news programming, focusing on the impact advocacy groups have on television.
This symposium featured panelists from the City of Los Angeles and representing six European countries (Austria, France, Germany, Italy, Sweden and Switzerland). The panel explored issues of immigration and multiculturalism in today's Europe.
The films of Michelangelo Antonioni have influenced filmmakers as diverse as Wim Wenders, Francis Ford Coppola and Taiwanese director Edward Yang. Because of Antonioni's concern for the tenuousness of meaning, his underlying stylistic consistencies are often clearer in the works of those he has influenced. A diverse and distinguished panel led an informal discussion of the director whose work spanned three significant decades in World Cinema.
October 1992: Turning Points: Columbia Pictures and The Social Film This symposium looked at the history of Columbia Pictures, the impact of social, economical and political currents on production, and the representation of the studio system to the realities of the 1990s.
This was a workshop of an informal dialogue around questions of enduring importance in relation to the representation of history in narrative film. Most recently this issue has entered popular debate and discussion in the extraordinary attention given to the validity of JFKas an historical document.
This forum marked the thirteenth anniversary of John F. Kennedy's inaugration and the nation's first lived televised press conference. The panel discussed the transformtion of the medium during the New Frontier.
This workshop drew together five leading film historians to exchange information about original document research and to address questions such as: Where are documents? What historiography models can be used to situate documents in relationship to films? Where does a film text end and the document begins? Are there histories that can now be written?
An all-day symposium on the film and literary work of Pier Paolo Pasolini accompanied a film series.
This inaugural Workshop presented a selection of eight rare Soviet films on loan to UCLA from Gosfilmofond, the national archive of the Soviet Union. The screenings provided an extraordinary glimpse at the controversial Stalinist-era filmmaking practices, as it went through critical re-evaluation.
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