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--></style><title>Media Film and Theatre seminars at
UNSW</title></head><body>
<div align="center">UNSW Media Film and Theatre Seminars</div>
<div align="center">5 p.m. Webster Building Cinema 327</div>
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<div align="center"><font face="Trebuchet MS">Wednesday 6
September</font></div>
<div align="center"><font face="Trebuchet MS" size="+3"
color="#FF0000"><b>Run Deleuze Run</b></font></div>
<div align="center"><font face="Trebuchet MS" size="+1">Cinema
Semiotics and Indigenous Representation</font></div>
<div align="center"><font face="Trebuchet MS" size="+1">(<i>Bush
Mechanics</i>,<i> Ten Canoes</i> and<i> Run Lola Run</i>)</font></div>
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size="+1"><br></font></div>
<div align="center"><font face="Trebuchet MS" size="+1">ROGER
DAWKINS</font></div>
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<div><font face="Trebuchet MS" size="+1">This paper is about
Indigenous representation. I take as my starting point the idea that
any representation that draws on colonial ideology is<i>
unethical</i>. In response I envisage some ways the image (sign) can
avoid such ideology, resulting in<i> ethical</i> representations of
Indigenous peoples. My semiotic thesis is the product of two studies:
Gilles Deleuze's<i> Difference and Repetition</i> and his (more
practical) semiotics of the cinema, outlined in<i> The
Movement-Image</i> and<i> The Time-Image</i>. This paper is an
interpretation of both studies, the inspiration for which comes from
the very link between the two. Three texts will illustrate my
discussion:<i> Bush Mechanics</i>,<i> Ten Canoes</i> and<i> Run Lola
Run</i>. These texts were chosen because, in the arrangement of their
moving images, they suggest potential ways to create ethical
representations. My reasoning was something like this:<i> Based on the
intersection and overlap of</i> Difference and Repetition<i> and</i>
the cinema books<i>, I have an idea of what an ethical representation
may be, and I think</i> Bush Mechanics<i> etc. already demonstrates
this idea to some extent, so why not put theory and practice together
and see what happens?</i> The thesis I arrive at is that the three
texts give us a structure for developing ethical representations of
Indigenous peoples because they avoid colonial ideology by maintaining
viewers' thoughts within the parameters of their images.</font></div>
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<div><font face="Trebuchet MS"><i>Roger Dawkins lectures in Film at
UNSW.</i></font></div>
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<div><font face="Trebuchet MS">Wednesday 13 September</font></div>
<div align="center"><font face="Trebuchet MS" size="+3"
color="#FF0000">Porn DoxXx</font></div>
<div align="center"><font face="Trebuchet MS" size="+2">Documentary as
a discourse of domination, titillation and the emotional money
shot</font></div>
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<div align="center"><font face="Trebuchet MS" size="+2">GREG
DOLGOPOLOV</font></div>
<div><font face="Trebuchet MS"> </font></div>
<div><font face="Trebuchet MS" size="+1">The distinctions between
pornography and documentary are disappearing. Recently there has
been an upsurge of feature documentaries about pornography, the
notorious films of the 1970s, the porn industry now and then, moving
biopics of porn "stars" and the girls next door and even porn
musicals. Traditionally, the porn documentary allowed viewers to claim
a redeeming social, educational value while facilitating a proper
prurience. The new wave of documentaries provide all that and
more. Looking at<i> Porn Star: The Legend Ron Jeremy</i> (Gill
2001),<i> Pornography: The Musical</i> (Hill 2003)<i> Inside Deep
Throat</i> (Bailey & Barbato 2005) as well as the digital
storytelling movement this paper seeks to interrogate these hybrid
genre formats and experiential documentary strategies and
discourses.</font></div>
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<div><font face="Trebuchet MS"><i>Greg Dolgopolov lectures in Film at
UNSW.</i></font></div>
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<div><font face="Trebuchet MS"><br></font></div>
<div align="center"><font face="Trebuchet MS">Wednesday 20
September</font></div>
<div align="center"><font face="Trebuchet MS" size="+2">SEAN
CUBITT</font></div>
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<div><font face="Trebuchet MS" size="+1">Details to
follow.</font></div>
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<div><i>Sean Cubitt is Chair of Media and Communications at Melbourne
University.</i></div>
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<div><tt><font size="-1" color="#000000">Dr James Donald<br>
Associate Dean (Education), Faculty of Arts and Social Sciences<br>
Professor of Film Studies, School of Media, Film and Theatre<br>
University of New South Wales<br>
Sydney<br>
NSW 2052<br>
Australia<br>
<br>
Telephone<x-tab> </x-tab>(02)9385 4858<br>
Mobile<x-tab>
</x-tab><x-tab> </x-tab>0433
126445</font></tt></div>
<div><tt><font size="-1"
color="#000000">Facsimile<x-tab>
</x-tab><x-tab> </x-tab>(02)
9385 6812<br>
<br>
International<br>
Telephone<x-tab> </x-tab>+612 9385 4858<br>
Mobile<x-tab>
</x-tab><x-tab>
</x-tab>+61433 126445</font></tt></div>
<div><tt><font size="-1"
color="#000000">Facsimile<x-tab>
</x-tab><x-tab> </x-tab>+612
9385 6812</font></tt></div>
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