Osher at JHU Course Catalog Baltimore/Columbia Fall 2021
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Gone Girl : a Novel / Gillian Flynn
ALSO BY GILLIAN FLYNN Dark Places Sharp Objects This author is available for select readings and lectures. To inquire about a possible appearance, please contact the Random House Speakers Bureau at [email protected] or (212) 572-2013. http://www.rhspeakers.com/ This book is a work of ction. Names, characters, businesses, organizations, places, events, and incidents either are the product of the author’s imagination or are used ctitiously. Any resemblance to actual persons, living or dead, events, or locales is entirely coincidental. Copyright © 2012 by Gillian Flynn Excerpt from “Dark Places” copyright © 2009 by Gillian Flynn Excerpt from “Sharp Objects” copyright © 2006 by Gillian Flynn All rights reserved. Published in the United States by Crown Publishers, an imprint of the Crown Publishing Group, a division of Random House, Inc., New York. www.crownpublishing.com CROWN and the Crown colophon are registered trademarks of Random House, Inc. Library of Congress Cataloging-in-Publication Data Flynn, Gillian, 1971– Gone girl : a novel / Gillian Flynn. p. cm. 1. Husbands—Fiction. 2. Married people—Fiction. 3. Wives—Crimes against—Fiction. I. Title. PS3606.L935G66 2012 813’.6—dc23 2011041525 eISBN: 978-0-307-58838-8 JACKET DESIGN BY DARREN HAGGAR JACKET PHOTOGRAPH BY BERND OTT v3.1_r5 To Brett: light of my life, senior and Flynn: light of my life, junior Love is the world’s innite mutability; lies, hatred, murder even, are all knit up in it; it is the inevitable blossoming of its opposites, a magnicent rose smelling faintly of blood. -
'Nomadland' Finds a Home with WAFCA Critics
FOR IMMEDIATE RELEASE The Washington, D.C. Area Film Critics Association Contact: [email protected], Tim Gordon 202-374-3305 On the Web: www.wafca.com Facebook.com/wafca Twitter.com/wafca February 8, 2021 ‘Nomadland’ Finds a Home with WAFCA Critics Washington, D.C. — “Nomadland” triumphed with five wins when The Washington, D.C. Area Film Critics Association (WAFCA) announced their top honorees for 2020 this morning. A slice-of-life from filmmaker Chloé Zhao about a widow who loses her job and sells her belongings to travel the American West, “Nomadland” won Best Film, Best Director, Best Actress for Frances McDormand, Best Adapted Screenplay, and Best Cinematography. WAFCA posthumously awarded Best Actor to the late Chadwick Boseman for his searing turn as a talented trumpeter and songwriter struggling to make a name for himself in 1927 Chicago in George C. Wolfe’s film adaptation of August Wilson’s play “Ma Rainey’s Black Bottom.” Best Supporting Actor was awarded to Leslie Odom, Jr. for his powerful performance as soul musician Sam Cooke in Regina King’s 1964-set “One Night in Miami…” and Best Supporting Actress went to Yuh-Jung Youn, a standout in Lee Isaac Chung’s “Minari.” Best Youth Performance also went to “Minari,” for Alan Kim’s memorable work as the young son of South Korean immigrants relocating from California to rural Arkansas in the 1980s. Best Acting Ensemble accolades were awarded to “One Night in Miami…,” a drama about a fictionalized February 1964 meeting between Malcolm X, Muhammad Ali, Jim Brown, and Sam Cooke, starring Kingsley Ben-Adir, Eli Goree, Aldis Hodge, and Leslie Odom, Jr. -
Executive Producer)
PRODUCTION BIOGRAPHIES STEVEN SODERBERGH (Executive Producer) Steven Soderbergh has produced or executive-produced a wide range of projects, most recently Gregory Jacobs' Magic Mike XXL, as well as his own series "The Knick" on Cinemax, and the current Amazon Studios series "Red Oaks." Previously, he produced or executive-produced Jacobs' films Wind Chill and Criminal; Laura Poitras' Citizenfour; Marina Zenovich's Roman Polanski: Odd Man Out, Roman Polanski: Wanted and Desired, and Who Is Bernard Tapie?; Lynne Ramsay's We Need to Talk About Kevin; the HBO documentary His Way, directed by Douglas McGrath; Lodge Kerrigan's Rebecca H. (Return to the Dogs) and Keane; Brian Koppelman and David Levien's Solitary Man; Todd Haynes' I'm Not There and Far From Heaven; Tony Gilroy's Michael Clayton; George Clooney's Good Night and Good Luck and Confessions of a Dangerous Mind; Scott Z. Burns' Pu-239; Richard Linklater's A Scanner Darkly; Rob Reiner's Rumor Has It...; Stephen Gaghan'sSyriana; John Maybury's The Jacket; Christopher Nolan's Insomnia; Godfrey Reggio's Naqoyqatsi; Anthony and Joseph Russo's Welcome to Collinwood; Gary Ross' Pleasantville; and Greg Mottola's The Daytrippers. LODGE KERRIGAN (Co-Creator, Executive Producer, Writer, Director) Co-Creators and Executive Producers Lodge Kerrigan and Amy Seimetz wrote and directed all 13 episodes of “The Girlfriend Experience.” Prior to “The Girlfriend Experience,” Kerrigan wrote and directed the features Rebecca H. (Return to the Dogs), Keane, Claire Dolan and Clean, Shaven. His directorial credits also include episodes of “The Killing” (AMC / Netflix), “The Americans” (FX), “Bates Motel” (A&E) and “Homeland” (Showtime). -
FILMS MANK Makeup Artist Netflix Director: David Fincher SUN DOGS
KRIS EVANS Member Academy of Makeup Artist Motion Picture Arts and Sciences IATSE 706, 798 and 891 BAFTA Los Angeles [email protected] (323) 251-4013 FILMS MANK Makeup Artist Netflix Director: David Fincher SUN DOGS Makeup Department Head Fabrica De Cine Director: Jennifer Morrison Cast: Ed O’Neill, Allison Janney, Melissa Benoist, Michael Angarano FREE STATE OF JONES Key Makeup STX Entertainment Director: Gary Ross Cast: Mahershala Ali, Matthew McConaughey, GuGu Mbatha-Raw THE PERFECT GUY Key Makeup Screen Gems Director: David M Rosenthal Cast: Sanaa Lathan, Michael Ealy, Morris Chestnut NIGHTCRAWLER Key Makeup, Additional Photography Bold Films Director: Dan Gilroy HUNGER GAMES MOCKINGJAY PART 1 & 2 Background Makeup Supervisor Lionsgate Director: Francis Lawrence THE HUNGER GAMES: CATCHING FIRE Background Makeup Supervisor Lionsgate Director: Francis Lawrence THE FACE OF LOVE Assistant Department Head Mockingbird Pictures Director: Arie Posen THE RELUCTANT FUNDAMENTALIST Makeup Department Head Cine Mosaic Director: Mira Nair Cast: Riz Ahmed, Kate Hudson, Kiefer Sutherland ABRAHAM LINCOLN VAMPIRE HUNTER 2012 Special Effects Makeup Artists th 20 Century Fox Director: Timur Bekmambetov THE AMAZING SPIDER-MAN 2012 Makeup Artist Columbia Pictures Director: Marc Webb THE HUNGER GAMES Background Makeup Supervisor Lionsgate Director: Gary Ross THE RUM DIARY Key Makeup Warner Independent Pictures Director: Bruce Robinson Cast: Amber Heard, Giovanni Ribisi, Amaury Nolasco, Richard Jenkins 1 KRIS EVANS Member Academy of Makeup Artist -
Toxic Masculinity and the Revolutionary Anti-Hero
FIGHTING HACKING AND STALKING: TOXIC MASCULINITY AND THE REVOLUTIONARY ANTI-HERO A thesis submitted to the faculty of San Francisco State University A In partial fulfillment of 3^ the requirements for the Degree kJQ Masters of Arts *0 4S In Women and Gender Studies by Robyn Michelle Ollodort San Francisco, California May 2017 Copyright by Robyn Michelle Ollodort 2017 CERTIFICATION OF APPROVAL I certify that I have read Fighting, Hacking, and Stalking: Toxic Masculinity and the Revolutionary Anti-Hero by Robyn Michelle Ollodort, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Women and Gender Studies at San Francisco State University. Martha Kenney; Ph.D. Assistant Professor, Women and Gender Studies Professor, History FIGHTING, HACKING, AND STALKING: TOXIC MASCULINITY AND THE REVOLUTIONARY ANTI-HERO Robyn Michelle Ollodort San Francisco, California 2017 Through my analyses of the films Taxi Driver (1976) and Fight Club (1999), and the television series Mr. Robot (2105), I will unpack the ways each text represents masculinity and mental illness through the trope of revolutionary psychosis, the ways these representations reflect contemporaneous political and social anxieties, and how critical analyses of each text can account for the ways that this trope fails to accurately represent the lived experiences of men and those with mental illnesses. In recognizing the harmful nature of each of these representations’ depictions of both masculinity and mental illness, we can understand why such bad tropes circulate, and how to recognize and refuse them, or make them better. -
(English-Kreyol Dictionary). Educa Vision Inc., 7130
DOCUMENT RESUME ED 401 713 FL 023 664 AUTHOR Vilsaint, Fequiere TITLE Diksyone Angle Kreyol (English-Kreyol Dictionary). PUB DATE 91 NOTE 294p. AVAILABLE FROM Educa Vision Inc., 7130 Cove Place, Temple Terrace, FL 33617. PUB TYPE Reference Materials Vocabularies /Classifications /Dictionaries (134) LANGUAGE English; Haitian Creole EDRS PRICE MFO1 /PC12 Plus Postage. DESCRIPTORS Alphabets; Comparative Analysis; English; *Haitian Creole; *Phoneme Grapheme Correspondence; *Pronunciation; Uncommonly Taught Languages; *Vocabulary IDENTIFIERS *Bilingual Dictionaries ABSTRACT The English-to-Haitian Creole (HC) dictionary defines about 10,000 English words in common usage, and was intended to help improve communication between HC native speakers and the English-speaking community. An introduction, in both English and HC, details the origins and sources for the dictionary. Two additional preliminary sections provide information on HC phonetics and the alphabet and notes on pronunciation. The dictionary entries are arranged alphabetically. (MSE) *********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** DIKSIONt 7f-ngigxrzyd Vilsaint tick VISION U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement EDU ATIONAL RESOURCES INFORMATION "PERMISSION TO REPRODUCE THIS CENTER (ERIC) MATERIAL HAS BEEN GRANTED BY This document has been reproduced as received from the person or organization originating it. \hkavt Minor changes have been made to improve reproduction quality. BEST COPY AVAILABLE Points of view or opinions stated in this document do not necessarily represent TO THE EDUCATIONAL RESOURCES official OERI position or policy. INFORMATION CENTER (ERIC)." 2 DIKSYCAlik 74)25fg _wczyd Vilsaint EDW. 'VDRON Diksyone Angle-Kreyal F. Vilsaint 1992 2 Copyright e 1991 by Fequiere Vilsaint All rights reserved. -
Female Anti-Heroes in Contemporary Literature, Film, and Television Sara A
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 2016 Female Anti-Heroes in Contemporary Literature, Film, and Television Sara A. Amato Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Amato, Sara A., "Female Anti-Heroes in Contemporary Literature, Film, and Television" (2016). Masters Theses. 2481. https://thekeep.eiu.edu/theses/2481 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. The Graduate School� f.AsTE�ILLINOIS UNIVERSITY" Thesis Maintenance and Reproduction Certificate FOR: Graduate Candidates Completing Theses in Partial Fulfillment of the Degree Graduate Faculty Advisors Directing the Theses RE: Preservation, Reproduction, andDistribution of Thesis Research Preserving, reproducing, and distributing thesis research is an important part of Booth Library's responsibility to provide access to scholarship. In order to further this goal, Booth Library makes all graduate theses completed as part of a degree program at Eastern Illinois University available for personal study, research, and other not-for-profit educational purposes. Under 17 U.S.C. § 108, the library may reproduce and distribute a copy without infringing on copyright; however, professional courtesy dictates that permission be requested from the author before doing so. Your signatures affirm the following: • The graduate candidate is the author of this thesis. • The graduate candidate retains the copyright and intellectual property rights associated with the original research, creative activity, and intellectual or artistic content of the thesis. -
Download the Gone Girl Screenplay PDF for Personal, Private
SCRIPT TITLE Written by Name of First Writer Based on, If Any Address Phone Number BLACK SCREEN NICK (V.O.) When I think of my wife, I always think of her head. FADE IN: INT. BEDROOM-SOMETIME We see the back of AMY DUNNE’S HEAD, resting on a pillow. NICK (V.O.) I picture cracking her lovely skull, unspooling her brain, Nick runs his fingers into Amy’s hair. NICK (V.O.) Trying to get answers. He twirls and twirls a lock, a screw tightening. NICK (V.O.) The primal questions of a marriage: What are you thinking? How are you feeling? What have we done to each other? AMY wakes, turns, gives a look of anger...or alarm. NICK (V.O.) What will we do? BLACK SCREEN EXT. CARTHAGE - MORNING The sun rises on the small town of Carthage, Missouri. We see in flashes: A giant decrepit MEGAMALL, boarded up, a series of downtown buildings with CLOSED or FOR SALE signs. A carved marble entry—reading FOREST GLEN—ushers us into a ruined HOUSING DEVELOPMENT. The majority of McMansions are empty. FORECLOSED, FOR SALE signs everywhere. The place has an almost bucolic air: swaying grasses, stray wildlife. EXT.- NICK DUNNE’S BACKYARD - DAWN TITLE CARD: THE MORNING OF 2. Nick Dunne, 30s, handsome, is watching bits of trash float along the Mississippi River; a McMansion behind him. His yard is the only one mowed—all around him wilderness encroaches. The SUN rises over the treeline and blares its FIRST-DEGREE SPOTLIGHT in his face. He looks, fearful, ill. -
Morgan Wallen's 'Dangerous' Spends Fourth Week at No. 1 on Billboard
BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; ENTERTAINMENTBrett Young ‘Catc NEWSh UPDATE’-es Fifth AirplayFEBRUARY 8, 2021 Page 1 of 25 Leader; Travis Denning Makes History INSIDE Morgan Wallen’s ‘Dangerous’ Spends Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music GroupFourth Nashville), debuts at No. Week1 on Billboard’s lion at audience No. impressions, 1 upon 16%). Billboard Top Country• Olivia AlbumsRodrigo’s chart dated April 18. In its first week (ending April 9), it earned‘Drivers 46,000 License’ equivalent album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cordingLeads to Hot Nielsen 100 for Music/MRC 4th Data. 200 Albumsand total Country Airplay ChartNo. 1 as “Catch” (Big Machine Label Group) ascends SouthsideWeek, The marks Weeknd Hunt’s second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chart &and CJ fourth Hit Top top 10 10. It follows freshman LP BY KEITH CAULFIELD Young’s first of six chart entries, “Sleep With- Montevallo• Super ,Bowl which Synch arrived at the summit in No - out You,” reached No. 2 in December 2016. He vember 2014 and reigned for nine weeks. To date, followed with the multiweek No. 1s “In Case You Report: Sony/ATV Morgan Wallen’s Dangerous: The Double Album holds demand streams of the album’s songs), album sales Montevallo has earned 3.9 million units, with 1.4 Didn’t Know” (two weeks, June 2017), “Like I Loved Walking on Air at No. -
Taylor Muller Honors Thesis
CONTEMPORARY REPRESENTATIONS OF MARRIAGE IN LITERATURE AND POP CULTURE by Taylor Muller Submitted in partial fulfillment of the requirements for Departmental Honors in the Department of English Texas Christian University Fort Worth, Texas May 2, 2014 ii CONTEMPORARY REPRESENTATIONS OF MARRIAGE IN LITERATURE AND POP CULTURE Project Approved: Supervising Professor: Ariane Balizet, Ph.D. Department of English Carrie Leverenz, Ph.D. Department of English Sharon Fairchild, Ph.D. Department of Modern Language Studies iii ABSTRACT This research examines the representations of marriage in the novels The Marriage Plot and Gone Girl, reality television shows including Say Yes to the Dress, Four Weddings, and The Bachelor, and social media websites such as Pinterest. The analysis focuses on how these contemporary representations demonstrate normative gender roles, and what claims they make about marriage today. Several patterns emerged when using in particular the theories of Judith Butler and Frances Dolan as a framework for understanding the portrayals of marriage. The depictions of marriage included individuals adopting some sort of role-performance, often gender specific, and reiterated the conflict for power in marriage between the two parties. These were magnified in the dramatization of real life, such as reality television shows, and frequently reiterated traditional understandings of marriage within a modern context. iv TABLE OF CONTENTS INTRODUCTION...............................................................................................................1 -
Reading for Fictional Worlds in Literature and Film
Reading for Fictional Worlds in Literature and Film Danielle Simard Doctor of Philosophy University of York English and Related Literature March, 2020 2 Abstract The aim of this thesis is to establish a critical methodology which reads for fictional worlds in literature and film. Close readings of literary and cinematic texts are presented in support of the proposition that the fictional world is, and arguably should be, central to the critical process. These readings demonstrate how fictional world-centric readings challenge the conclusions generated by approaches which prioritise the author, the reader and the viewer. I establish a definition of independent fictional worlds, and show how characters rather than narrative are the means by which readers access the fictional world in order to analyse it. This interdisciplinary project engages predominantly with theoretical and critical work on literature and film to consider four distinct groups of contemporary novels and films. These texts demand readings that pose potential problems for my approach, and therefore test the scope and viability of my thesis. I evaluate character and narrative through Fight Club (novel, Chuck Palahniuk [1996] film, David Fincher [1999]); genre, context, and intertextuality in Solaris (novel, Stanisław Lem [1961] film, Andrei Tarkovsky [1974] film, Steven Soderbergh [2002]); mythic thinking and character’s authority with American Gods (novel, Neil Gaiman [2001]) and Anansi Boys (novel, Neil Gaiman [2005]); and temporality and nationality in Cronos (film, Guillermo -
Dissociative Identity Disorder in Film Madison Verhulst with Dr
ABSTRACT “Psycho,” “Fight Club,” and “Split:” Dissociative Identity Disorder in Film Madison Verhulst with Dr. Michael Brown Communication University of Wyoming Oral Presentation Honors Program Sidney, NE Dissociative identity disorder, also known as multiple personality disorder, has been portrayed in many films over the decades. Dissociative identity disorder (DID) is characterized by the presence of two or more distinct identities or personality states that recurrently take control of the individual’s behavior, accompanied by the inability to recall important personal information that is too extensive to be explained by ordinary forgetfulness (American Psychiatric Association, 2000, p. 519). This disorder draws attention in entertainment because of its rarity, complexity, and potential danger. Films have sometimes demonstrated the disorder incorrectly, receiving criticism from psychologists, while others have shown its true characteristics. This project will first, explain DID and second, examine three American films that have incorporated dissociative identity disorder in their stories. I will look at Psycho (1960), Fight Club (1999), and Split (2016). These films are from different decades of America and will have different social and cultural influences that affect the way the disease is portrayed. I will explain how the films accurately and inaccurately depicted the disorder, leading to the conclusion that there are many different ways to incorporate DID in film and that only some are correct. Psycho, Fight Club, and Split: Dissociative Identity Disorder in Film By: Madison Verhulst Dissociative identity disorder (DID), also known as multiple personality disorder, has been used as a literary plot device for centuries. Less recently in literature, more recently in film.