| from: | sguthrie@oscars.org | ||
| to: | JORGEVILLACORTA1@gmail.com | ||
| cc: | grants@oscars.org | ||
| date: | May 3, 2019, 2:15 PM | ||
| subject: | Academy Grants Program | ||
| security: |  Standard encryption (TLS) Learn more | ||
 : | Important according to Google magic. |
Dear Jorge:
Recently, the Academy’s Grants Committee met to select the recipients of the 2019 Academy Film Scholars Grants. Out of 58 applications received, the Committee members were pleased and excited to discover a number of exceptional proposals. After a great deal of discussion including praise for a number of the proposals, the committee ultimately selected two. Regrettably, your proposal was not selected.
A press release announcing the two newest Academy Film Scholars will be distributed in the near future and I will make sure a copy is e-mailed to you.
The committee asked me to inform the applicants how much they enjoyed reading the proposals and how worthy many of them seemed. They anticipate that a number of the proposals will come to fruition. If you wish to re-apply, the online application form will be available once again in late summer or early fall.
Best of luck in all your future endeavors.
Sincerely,
Shawn Guthrie
Sr. Manager, Grants and Student Academy Awards
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Project Statement
By Jorge Villacorta
Donald Trump: Actor's Actor. A Marxist Perspective.
a. Description of the
Project.
This is a beautiful and
entertaining book that explains why from a Marxist perspective, Donald Trump is
an awesome actor.
b. Definitions:
Objective: To explain
why from a Marxist perspective Donald Trump is an awesome actor.
Methodology: Observation
from a Marxist perspective of those movies where Mr. Trump appears. Description
of those appearances in the context of class struggle. Explanation of the
social importance of those appearances as an actor from a Marxist perspective.
c. Portions of my
project that examine film industry subjects or ideas that have been underrepresented in the canon of film scholarship to date.
Trumpism as well as Marxism and the concept of class struggle are underrepresented in the canon of film scholarship to date. The scholars prefer to take distance from the political position of Donald Trump and due to the fact that mainstream movies are investments, the investors don't want to ptomote the concept of class struggle. My project applies Marxism and class struggle to show what an amazing and tremendous, truly terrific, classy actor Donald Trump is.
Trumpism as well as Marxism and the concept of class struggle are underrepresented in the canon of film scholarship to date. The scholars prefer to take distance from the political position of Donald Trump and due to the fact that mainstream movies are investments, the investors don't want to ptomote the concept of class struggle. My project applies Marxism and class struggle to show what an amazing and tremendous, truly terrific, classy actor Donald Trump is.
c. Academic and
Professional Context.
Donald Trump
communicates brilliantly with the film audiences and it is important to analyze
his style and techniques. The book Reagan:
An Icon, by Ewan Morgan, recognized that Mr. Reagan, who used to be an
actor, had also great communication skills, but that book isn’t written from a
Marxist perspective. In fact, most books on actor or performers turned
politicians (Clint Eastwood, Sonny Bono, John Gavin, George Murphy, Jesse
Ventura, etc.) don’t deal with the subject from a Marxist perspective. This
fact makes my project unique.
e. Significance of the
project in its field of study.
Most media scholars
aren’t linking the contribution of Mr. Trump’s film appearances to the building
of his political image. Mr. Trump’s film image is, precisely, a subliminal
construction of this political image. These scholars separate entertainment and
politics, but a Marxist perspective considers both of them as diferente aspect
of one phenomenon: the class struggle.
f. How my profesional
experience is relevant to the project.
As a scholar,
researcher, actor, assistant director, editor, media adviser, and curator, I
see how different moments of exposure build on an public image. Living in a
Third World country increases my political awareness due to the characteristics
of the daily local life.
g. Timetable for
completing the project.
Date
|
Activity
|
May
1, 2019.
|
I
begin to gather information in order to write Donald Trump: Actor’s Actor. A Marxist Perspective.
|
June
1, 2019.
|
I
begin to write the book.
|
August
1, 2019.
|
I
finish the first draft of the book.
|
August
2 – December 24, 2019.
|
I
revise the book and prepare it for printing.
|
December
25, 2019
|
The
book is printed.
|
h. Grants, residencies,
and additional resources available to me. How I intend to use the Academy
grant.
There aren’t additional
resources but mine. I intend to use the Academy grant wisely.
-----
Select Bibliography
By Jorge Villacorta
Donald Trump: Actor's Actor. A Marxist Perspective
Select Bibliography
By Jorge Villacorta
Donald Trump: Actor's Actor. A Marxist Perspective
Alford, Matthew (2010). Reel Power. Hollywod Cinema and America
Supremacy. London: Pluto Press.
Blouin, Michael (2016). Magical thinking, fantastic film, and the
illusions of neoliberalism. New York: Palgrave Macmillan.
Bongino, Dan (2018). Spygate: The Attempted Sabotage of Donald J.
Trump. Nasville, Tenn: Post Hill Press.
Bourdieu, Pierre (1993). The Field of Cultural Production.
Cambridge: Columbia University Press.
Bourdieu, Pierre and Susan
Emanuel (2006). The Rules of Art: Genesis
and Structure of the Literary Field. Stanford, California: Stanford
University Press.
Buskirk, Chris and Leibsohn, Seth
(2017). How Conservatism, Inc. Missed the
2016 Election & what the D.C. Establishment Needs to Learn. Washington
D.C.: WND Books.
García Espinoza, Julio (1983).
“For an imperfect cinema” from Twenty-five
years of the New Latin American cinema pp 28-33, London BFI.
Gutiérrez Alea, Tomás and Sánchez
Oliva, Iralda (1988). The viewer’s
dialectic. La Habana: Editorial José Martí.
Hadjinicolaou, Nicos (1978). Art History and Class Struggle. London: Pluto Press.
Hadjinicolaou, Nicos (1981). La producción artística frente a sus
significados. Mexico City: Siglo XXI Editores.
Haiven, Max (2018). Art after money, Money after Art. Creative
Strategies Against Financialization. London: Pluto Press.
Hathherley, Owen (2016). The Chaplin Machine: Slapstick, Fordism and
the Communist Avant-Garde. London: Pluto Press.
Hauser, Arnold (2016). The Social History of Art: Naturalism,
Impressionism, the Film Age. New York, NY: Routledge.
James, David E. and Berg, Rick
(1996). The hidden foundation: cinema and
the question of class. Minneapolis, Minn: University of Minnesota Press.
Jordan, Chris (2003). Movies and the Reagan Presidency: Success
and Ethics. Wesport, Conn: Praeger.
Kornbluh, Anna (May 02, 2019). Marxist Film Theory and Fight Club.
Unknown: Bloomsbury Academic.
Leigh, Mary K. and Durand, Kevin
K. (2013). Marxism and the Movies.
Critical Essays On Class Struggle In The Cinema. North Carolina: McFarland
& Company, Inc.
Metzger, Robert P. (1989). Reagan. American icon. Lewisburg, Pa:
Bucknell University.
O’Neill, Deirdre (2018). Film as
a radical pedagogic tool. New York: Routledge.
Sayer, Sean (1998). Marxism and human nature. London:
Routledge.
Trump, Ivana and Fraser, Alison (2017).
Raising Trump. New York, NY: Gallery
Books.
Usual Gang Of Idiots (2017). Mad about Trump: a Brilliant Look at Our
Brainless President. New York, NY: Mad Publications.
Walker, John A. (2002) Art and celebrity. London: Pluto Press.
Wayne, Mike (2005). Understanding film: Marxist perspectives.
London: Pluto Press.
Woods, Allan (2001). Art and Class Struggle. St. Paul, Minn:
Wellred.
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