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New On DVD & Blu-Ray The Magnificent Seven Collection The Magnificent Seven Academy Award® Winner* Yul Brynner stars in the landmark western that launched the film careers of Steve McQueen, Charles Bronson and James Coburn. Tired of being ravaged by marauding bandits, a small Mexican village seeks help from seven American gunfighters. Set against Elmer Bernstein’s Oscar® Nominated** score, director John Sturges’ thrilling adventure belongs in any Blu-ray collection. Return of the Magnificent Seven Yul Brynner rides tall in the saddle in this sensational sequel to The Magnificent Seven! Brynner rounds up the most unlikely septet of gunfighters—Warren Oates, Claude Akins and Robert Fuller among them—to search for their compatriot who has been taken hostage by a band of desperados. Guns of the Magnificent Seven This fast-moving western stars Oscar® Winner* George Kennedy as the revered—and feared—gunslinger Chris Adams! When a Mexican revolutionary is captured, his associates hire Adams to break him out of prison to restore hope to the people. After recruiting six experts in guns, knives, ropes and explosives, Adams leads his band of mercenaries on an adventure that will pit them against their most formidable enemy yet! *1967: Supporting Actor, Cool Hand Luke. The Magnificent Seven Ride! This rousing conclusion to the legendary Magnificent Seven series stars Lee Van Cleef as Chris Adams. Now married and working for the law, Adams’ settled life is turned upside-down when his wife is killed. Tracking the gunmen, he finds a plundered border town whose widowed women are under attack by ruthless marauders. -
The American Western and the Superhero Genre
The American Western and The Superhero Genre By: Matthew Danko Introduction The American Western was a prominent genre in literature, television, and film in the early part of the 1900's. Hollywood would make these romanticized features about the Old West every year, sometimes with the same actors. It was a way for audiences to connect with a part of their culture while still being entertained. Eventually, the classic western faded away and a new genre took it's place - The Superhero genre. This innovation in film started a new wave of storytelling while borrowing heavily from it's predecessor. Westerns like The Searchers in 1956 and The Magnificent Seven in 1960 are comparable to films like Batman from 1989 and The Avengers of 2012. Details like the characters and archetypes introduced in both genres to the types of settings these stories take place have been altered to create something new and different, but at their core, remain the same. Western Genre The Western genre has been shaping American culture since it was introduced in the 1900's. Stories of the Old West gave audiences values and beliefs like loyalty, bravery, and virtue. The protagonist of these stories were meant to reflect the American way of life - a hero that will stand up for what is right over what is wrong. When Hollywood cast men like Clint Eastwood and John Wayne over and over again to exhibit these traits they soon turned into a symbol of the very characteristics they possessed. Audiences wanted to see them return to form because they were the true American hero that our country needed. -
An Exploration of the Anti-‐Hero from Past to Present in Two Cultures
AN EXPLORATION OF THE ANTI-HERO FROM PAST TO PRESENT IN TWO CULTURES: AMERICAN AND JAPANESE HONORS THESIS Presented to the Honors College of Texas State University In PartIal FulFIllment oF the RequIrements for Graduation in the Honors College by Hunter A. Burnett San Marcos, Texas May 2016 AN EXPLORATION OF THE ANTI-HERO FROM PAST TO PRESENT IN TWO CULTURES: AMERICAN AND JAPANESE by Hunter A. Burnett Thesis Supervisor: ________________________________ Stephanie Noll, M.F.A. Department of English Second Reader: __________________________________ Roque Mendez, Ph.D, Department of Psychology Approved: ____________________________________ Heather C. Galloway, Ph.D. Dean, Honors College Abstract When we consider the anti-hero, we must understand that this hero type is very dynamic, and always evolving. The anti-hero is different across cultures, and evolves as the zeitgeist of each culture progresses. Modernly, society has seen another uprising of the anti-hero. With new films and TV shows offering practical and identifiable stories of characters that are not considered all good or all bad. The foundation Carl Jung set for archetypes and symbolic meanings, followed by more contemporary research will be recognized and considered. This paper will explore the role of the anti-hero is two separate cultures, American and Japanese. This paper will cover six films, in which the anti-hero will be identified and discussed as a function of their respective culture, and place in society. Themes of motivation, agency and control, and identity and justice will be discussed as they pertain to the anti-hero. Burnett Introduction In Diotima, Battery, Electric Personality, author Criss Jami wrote, “Oftentimes in reality, the genius is in the position of the antihero. -
Prologue 1 Setting the Scene
Notes Prologue 1. For Japanese names I have generally used the order used in Japan: surname followed by first name. However, for personages that are well known outside Japan, I have referred to them as would film critics, theorists, and audiences: first name followed by surname. 2. In fact North American cultural anthropologists have tried to do away with the “culture concept,” thereby essentially undermining their own discipline— much to the amusement of sociologists—and certainly contravening the empirical trend found in most societies, which firmly insist on the existence of their own unique cultures. 3. Although I wonder if the financial is really ignored. Recently my own chil- dren startled me by announcing that they could not believe that a certain famous director had helped produce what they thought was a terrible film. They expected him to have a better sense of where to put his money. 4. Bruner, of course, relies on the work of many others—Barthes, Ricoeur, Chomsky, Kermode—to make his points. 1 Setting the Scene 1. In contrast, the science fiction writer William Gibson (2001) seems well aware of such conceptual loci and even situates them on actual bridges—the meta- phor made real—in his novels. Building on Augé’s (1995) terms, non-places become the birthplaces of innovation. 2. Silent nonnarrative films were shown throughout the end of the nineteenth cen- tury. For example, Japan saw its first film in 1898 (cf. Anderson and Richie 1982). The first narrative film was The Great Train Robbery (1903) directed and photographed by Edwin S. -
The Mise-En-Scène of a Decade: Visualizing the 70S Adam Charles Hart
REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES IMAGINATIONS JOURNAL OF CROSS-CULTURAL IMAGE STUDIES | REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE CONTRIBUTORS ANDREW PENDAKIS Publication details, including open access policy NATHAN HOLMES ISSUE 9-1 COLIN WILLIAMSON and instructions for contributors: K. R. CORNETT FRASER MCCALLUM http://imaginations.glendon.yorku.ca THE MISE-EN-SCÈNE OF A DECADE: VISUALIZING THE 70S VISUALIZING DECADE: A OF THE MISE-EN-SCÈNE ADAM CHARLES HART KAITLIN POMERANTZ SEB ROBERTS The Mise-en-scène of a Decade: Visualizing the 70s October 29, 2018 REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES THE MISE-EN-SCÈNE OF A DECADE: VISUALIZING THE 70S ISSUE 9-1, 2018 To cite this article: Williamson, Colin. “‘An Escape into Reality’: Computers, Special Effects, and the Haunting Optics of Westworld (1973).” Imaginations, vol. 9, no. 1, 2018: Web (date accessed), pp. 19-39. DOI 10.17742/ IMAGE.p70s.9.1.3. To link to this article: http://dx.doi.org/10.17742/IMAGE.p70s.9.1.3 The copyright for each article belongs to the author and has been published in this journal under a Creative Commons Attribution NonCommercial NoDerivatives 3.0 license that allows others to share for non-commercial purposes the work with an acknowledgement of the work’s authorship and initial publication in this journal. The content of this article represents the author’s original work and any third-party content, either image or text, has been included under the Fair Dealing exception in the Canadian Copyright Act, or the author has provided the required publication permissions. -
Masculinities in American Western Films, 1950-1972: a Hyper-Linear History
Masculinities in American Western films, 1950-1972: A Hyper-Linear History Emma Louise Hamilton (BA Hons I) Candidate in the degree of Doctor of Philosophy January 2013 The University of Newcastle Australia The thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository**, subject to the provisions of the Copyright Act 1968. **Unless an Embargo has been approved for a determined period. 1 ACKNOWLEDGEMENTS I wish to dedicate this doctoral dissertation to Mark Hamilton who inspired this thesis, perhaps in unintended and unexpected ways. The opportunity to study and produce this work has only been facilitated by the enormous amount of support I have received by those kind enough to indulge me. This dissertation is a joint achievement and ‘thank you’ seems hardly adequate. I hope all of those people whose support is priceless know who they are and know they are appreciated beyond words. I wish to acknowledge the enormous contribution of my family in all of its forms. I wish to acknowledge the support of the family of my birth, in particular Maree Hamilton, whose loving support and trusted ear is a constant and who first exposed me to Butch Cassidy and the Sundance Kid. -
Magnificent Seven Free Download Magnificent Seven Free Download
magnificent seven free download Magnificent seven free download. USS HENRY B. WILSON DDG-7. The film's score along with the main theme is by Elmer Bernstein. The score was nominated for an Academy Award in 1961. The original soundtrack was not released at the time until reused and rerecorded by Bernstein for the soundtrack of Return of the Seven . Instead electric guitar versions by Al Caiola in the US and John Barry in the UK were successful on the popular charts. The �Return of the Seven� wasn�t released until October of 1966 at which time the soundtrack for the original was released. As mentioned above, the version heard on most radios at the time was by Al Caiola. I too like the original but it does not function well as a background tune on a website. If you check, it takes almost 15 seconds of intro before the well known notes of the tune happen. Where the version by Caiola starts with the familiar notes. I just checked and found 7 versions of the music. Varies from Mancini to Billy Strange. The Magnificent Seven 1960 download movie online. Full length free. Watch movie online. An oppressed Mexican peasant village assembles seven gunfighters to help defend their homes. You need to watch ultimate experience this evening? The Magnificent Seven film was produced in 1960 and it belongs to Drama, Adventure, Action category. Such good actors as Steve McQueen, Charles Bronson, Yul Brynner make this Drama film exclusive. Dynamic sence of The Magnificent Seven film will make you feel good while watching it with your mates. -
Chapter 1 the Warrior Hero
CHAPtER 1 THE WARRIOR HERO The Western Hero and the Samurai In the early 1960s, when gun-toting cowboys dominated movie screens across America, audiences got to watch three Westerns with a curious connection. It was not the films’ directors, stars, or stories that linked them to each other. The Magnificent Seven (1960), directed by John Sturges, is about an ill-assorted group of gunmen who defend a Mexican village from a band of brutal bandits (see Close-up: The Magnificent Seven). The Outrage (1964), directed by Martin Ritt, centers on an incident involving a robbery, a rape, and a corpse. In A Fistful of Dollars (Per un pugno di dollari, 1964), a Man with No Name arrives in a Mexican border town and sees a chance to make some money by playing two feuding families against each other. The movie was filmed in Spain by Sergio Leone, an Italian, featuring Clint Eastwood and a cast of European actors using phony American names. What these three movies had in common was their source. Sturges’s film was based on Seven Samurai (1954), Ritt’s film on Rashomon (1950), and Leone’s on Yojimbo (Bodyguard, 1961). All three films were from Japan and directed by Akira Kurosawa. Kurosawa set his movies during the long feudal period of his nation’s history when samurai swordsmen roamed the countryside much as men with six-guns once wandered through the American West. Relics of a warrior society, masterless samurai called ronin, having lost their social status but not their skill, offered them- selves as hired swords forCOPYRIGHTED money or adventure.