In recognition of Fair Use/Fair Dealing Week 2018, we recognize student work that represent the doctrines of Fair Use. This post was submitted by Elena Deng, a freshman in the School of Design, about her collage, "10th Street Bridge." Additional examples of student art can be found in the exhibit "The Art of the Remix," on the first floor of Hunt Library through March 30, 2018.
The people, collections, and services that support the University Libraries’ mission to build, steward, and enhance the information environment of CMU.
In recognition of Fair Use/Fair Dealing Week 2018, we recognize student work that represent the doctrines of Fair Use. This post was submitted by Keegan Barone, a sophomore in the School of Art, about her video remix, "To Play Football." Additional examples of student art can be found in the exhibit "The Art of the Remix," on the first floor of Hunt Library through March 30, 2018.
Christopher Warren is an Associate Professor of English, co-Director of the English Department’s minor in Humanities Analytics (HumAn), and Director of the Bachelor of Arts in English Program. A member of the Dietrich faculty since 2010, he recently wrapped up the digital humanities project, “Six Degrees of Francis Bacon,” which re-creates the British early modern social network to trace the personal relationships among figures like Bacon, Shakespeare, Isaac Newton and many others.
Professor Barbara Anderson’s house has seen its share of history. Nestled on a beautiful, tree-lined street in Pittsburgh, passersby would never know that it played a role in some of the best-known films made in the city. Barbara Anderson and her husband Cletus Anderson taught at the School of Drama at Carnegie Mellon University for more than 40 years, and they formed a professional partnership with one of the city’s favorite filmmakers, George A. Romero.
Mention the name of George Romero and “zombies” is the next word to pop into nearly anyone’s head. It’s ironic then that the filmmaker frequently lamented that he was “stuck in this niche with horror” and that his two favorite films were Martin (a vampire story) and his pseudo-Arthurian drama Knightriders. Released in 1981, Knightriders is the major outlier of Romero’s career. It’s his longest film, it includes no horror elements, and it was one of his least successful efforts at the box-office. At the same time, however, it features some o
Whether satire, camp, or homage, the art of the remix has always been prevalent in American society. When Marcel Duchamp defaced the Moana Lisa by drawing a mustache on her upper lip, he helped to inspire a host of others to create works of parody. As new technologies have created greater opportunities for artistic and creative expression, Remix Culture and Creative Commons advocates such as Lawrence Lessig argue that appropriation and remixing are vital to advancing culture.
Happy Halloween! Join the CMU International Film Fest as they screen Night of the Living Dead tonight in CMU’s McConomy Auditorium at 6pm! Along with the screening of the film, viewers will enjoy a specially recorded introduction from George’s wife, Suzanne Desrocher-Romero, and a costume contest.
In 1968 George Romero changed everything about zombie movies – except, of course, that he didn’t. Though it’s often cited as the key film in the now ubiquitous zombie genre, Romero’s Night of the Living Dead never used the term “zombie.” Instead, it referred to it’s reanimated undead characters as “ghouls.” Initially, the filmmaker himself avoided any zombie references, and cited Richard Matheson’s novel “I Am Legend” as the main inspiration for his horror opus.
By the mid 1980s in America, it was very clear that the manufacturing economy that had led the United States to unprecedented economic heights was crumbling like a corroded steel bridge. Thousands of blue-collar workers were losing their jobs; across the Midwest and Northeast, from Cleveland and Detroit to Pittsburgh and beyond. Politicians and business owners made vague promises of revival, but the industry was already transitioning into newer, leaner, automated forms of manufacturing that required higher-precision technology, but less manpower.
George Romero left his zombie films behind with the end of the Cold War, only to return to the genre with "Land of the Dead" in 2005. As America began to polarize into red states and blue states during the early years of the War on Terror, Land picks up several years after the initial zombie outbreak with an equally divided society. In it Romero’s attention to the arming of America satirizes private security forces and the use of the military or National Guard to protect wealthy enclaves.