115th Annual Conference - Honolulu, Hawaii
Friday, November 10 - Sunday, November 12, 2017

Film Studies III

Session Chair: 
Dawn Dietrich, Western Washington University
Session 9: Sunday 8:15 – 9:45 am
Henry 227
Topic Area: 


  1. Andrew Howe, La Sierra University
    In Dead Man, the journey undertaken by William Blake is one of insight and revelation, but also a metaphor for Manifest Destiny. In essence, the film is a two-hour dying scene, not just for Blake but also the American West.  The burial canoe in the final scene represents a physical, as well as meta-physical, merger with the land and an apology for the excesses of Manifest Destiny.  This paper explores the film's employment of burial as a trope of such remembrance.
  2. Shabnam Piryaei, San Francisco State University
    In the name of protecting the Islamic state against Western and non-Muslim infiltration, the post-Revolutionary Iranian government imparts ongoing legally sanctioned gendered violence. Iranian cinema-as-discourse provides a site at which critical interventions can be staged in state violence. Asghar Farhadi’s film The Salesman strategically employs ambiguity as a means to disclose and undermine the authority of the Iranian government’s punishing morality, and thus to challenge the laws derived from it.
  3. Ryan J. Miller, "California State University, San Bernardino"
    This project aims to look at music within American war films from the Vietnam era and the modern day. By exploring how music within war movies shifted from World War 2 and Western  to examples of the Vietnam era war film and further into 2008's Generation Kill.   
  4. Sam Johnson, Wenatchee Valley College
    This presentation examines the role paracinema played at the start of some of Hollywood's most financially successful and critically acclaimed filmmakers.
Session Cancelled: