Professor of Classics, Dr. Roger Macfarlane speaks about Michael Cacoyannis’s classic adaptation, Iphegenia (1977). While breaking down each character in the play, Dr. Macfarlane suggests keeping an eye on the visual framing devices used for certain characters and how the film uses these frames to present its own interpretation of Euripides’ tragedy. It is this interpretation that also helps make sense of why Cacoyannis would choose to shoot this play in 1977 Greece.
This week, IC Directors Marie-Laure Oscarson and Doug Weatherford are joined by Professor Valerie Hegstrom (Spanish & Portuguese) to discuss this week’s films, which focus on the experiences of different women during times of war.
This week, former IC Director Chip Oscarson is joined by Professors Quinn Mecham (Political Science) and Seth Jeppesen (Classics) to discuss this week’s films Capital in the Twenty-First Century and Iphigenia.
In this episode they talk about the intersection of democracy and art. What do ancient dramatist and contemporary filmmakers understand about art and maintaining a healthy democracy?
This week, Prof. Marc Olivier (French and Italian) speaks with IC co-directors Doug Weatherford and Marc Yamada about The Eye (2002, dir. Pang Brothers). Additionally, the trio discuss horror as a genre and offer viewing recommendations for other great horror films from around the world.
Dr. Rex Nielson, professor of Portuguese with an interest in Luso-Brazilian studies, elaborates on the “Upstairs-Downstairs” narrative in The Second Mother (2015) by zooming in starting with the migrations from Northeastern Brazil to the southeast, then the layout and position of the city, and finally the foundations of colonial-era homes. By drawing out what Brazilian audiences would recognize in accents, architecture, and articulation, Dr. Nielson presents a framework by which to read this film’s political critique.
This week IC Directors Marie-Laure Oscarson and Doug Weatherford are joined by Comparative Arts and Letters professor Marlene Hansen Esplin to discuss the films Our Mothers and The Milk of Sorrow.
Dr. Doug Weatherford, current co-director of the International Cinema and professor of Spanish language literature and film, gives a deep dive into the visual themes of The Milk of Sorrow (2009). Dr. Weatherford offers up not only a historical context for this Peruvian film but explanations for how the film’s setting and visual language build on that context to present a narrative he ultimately finds hopeful.