MATTHEW Himself—Again
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True Detective Provides Talented Acting and Exciting Plot
True Detective provides talented acting and exciting plot HBO’s True Detective has been one of the best shows to come to television in recent years. With its riveting action sequences, sizzling erotic scenes, and amazing cast, this program, directed by Cary Fukanaga, truly provides audiences with gripping television. Set in the mid-1990s and filmed in Louisiana, detectives Martin Hart (Woody Harrelson) and Rustin “Rust” Cohle (Matthew McConaughey) are on the trail of a ritual-obsessed serial killer who adorns his victims’ bodies with antlers and other symbols. Told mostly through flashbacks, the show cuts to scenes of the detectives being interviewed in present day, with hints at their possible corruption. The excitement of the program comes with the transition between seasons, with each season having a completely new story and cast. This format ensures that the viewer is never left with a cliffhanger, as all the questions have to be answered by the last episode of each season. For me, actors have done their job when they are completely absorbed in their part and the audience no longer sees an actor, but only a character. McConaughey and Harrelson achieve this feat and truly bring these characters off the screen and into our living rooms. However, where these actors really excel is their power to tell a story. Now, one might think that storytelling comes from the writer, but the detectives’ use of facial expressions, along with slight mannerisms to get their intended message across, certainly brings the show to a whole new level. However, the area in which this series is lacking is where so many other great shows today excel—the presence of strong female characters. -
True Detective Stories: Media Textuality and the Anthology Format Between Remediation and Transmedia Narratives
True detective stories: media textuality and the anthology format between remediation and transmedia narratives Cristina Demaria Premises: which ‘theory’? In a recently published essay “Print is Flat, Code is Deep: The Importance of Media-Specific Analysis”, now part of a book aptly entitled Transmedia Frictions. The Digital, the Arts, and the Humanities (Kinder and McPherson 2014), Katherine Hayles reaffirms the “importance” of Media-Specific analysis as a way to substitute the language of text with «a more precise vocabulary of screen and page, digital program and analog interface, code and ink (…) texton and scripton, computer and book» (pos. 733)1. Participating in a now considerably vast interdisciplinary debate on materiality and affect2, MSA - Media-Specific Analysis - deals mainly with contemporary 1 I am quoting here a book I have bought and downloaded through Kindle, where the text one has access to does not have page numbers, only “positions”. Even though the practice of reading books via computers and I- Pads has become more than common, I am not aware of an accepted and shared way to quote them. I have chosen to mention the position in the book file of the quotation. 2 It is too wide a debate to be able to summarize it here: see for example Bruno 2014. For a gender studies perspective on materiality see Braidotti 2014. Between, vol. IV, n. 8 (Novembre/November 2014) Cristina Demaria, True Detective stories examples of how a literary genre «mutates and transforms when it is instantiated in different media (…) MSA insists that texts must always be embodied to exist in the world. -
60 Moral Emotions, Antiheroes and the Limits of Allegiance Alberto N
Pre-copy-edited version of “Moral Emotions, Antiheroes and the Limits of Allegiance”, in Emotions in Contemporary TV Series, García, Alberto N. (eds), Palgrave McMillan, Basingstoke, 2016, pp. 52-70. (See Springer website) Moral Emotions, Antiheroes and the Limits of Allegiance Alberto N. García 1. Introduction According to its creator, Vince Gilligan, Breaking Bad (AMC, 2008-13) describes the moral corruption of a normal man, the conversion of Mr. Chips to Scarface. In ‘Full Measures’ (3.13), the moral and emotional complexity of the story is encapsulated in a seemingly incidental scene. We see Walter White in his living room, giving little Holly a bottle of milk. A close up shows how the baby grabs at his glasses, and in this moment of paternal tenderness, the writers cunningly re-humanize a character who just executed two thugs and minutes later ordered the death of his lab partner, as if to remind us that, at heart, ‘he’s really just a family man’ forced by circumstances to take matters into his own hands. This important step in the metamorphosis of Walter is again mitigated by several factors: children, the family and everyday domestic life. Self-defence is of course the justification for these deaths, but the devotion of a father towards his little baby also enter into the moral and emotional equation that characterises Breaking Bad. Like AMC’s acclaimed hit, many contemporary series—especially those on cable TV—are full of characters that we love, broadly speaking, despite the many vile actions they have committed: Tony Soprano, Nancy Botwin, Don Draper, Jackie Peyton and Al Swearengen. -
Fiction TRUE DETECTIVE
380 hours of new programming | 133 hours of OPs | 6 new original series NEW – Home Renovation, Decoration & Real Estate À LA CONQUÊTE D’UNE MAISON Ten couples in dire need of a home face off in an epic construction battle. To become homeowners, they’ll have to complete every phase of construction from scratch, and avoid elimination every step of the way. Pierre-Alexandre Fortin is our host, and contractors Stéphanie Lévesque and Daniel Pitre will coach our contestants and judge their work. Everyone has to build the same house, but only one couple will get to keep it – a grand prize worth $350,000! LA RÉNO CASSE-COU DE RICHARD Richard Turcotte and his wife Josée have just bought a home on a vast and scenic property, but they know nothing about renovation. Richard sees lots of potential and he’s convinced Josée will love the house once the work is finished, but on their very first visit with their contractor, their dream comes up against harsh reality. It seems they didn’t bother doing a house inspection and underestimated the work to be done, which means their project is now in jeopardy. Over the next few months, their journey will be long and their learning curve will be steep, as they confront the realities of home improvement. NEW – Documentary Series SPCA EN ACTION Four charismatic SPCA agents shine each week as they fight animal cruelty and strive to give pets better lives. SPCA EN ACTION takes us behind the scenes with an animal-welfare squad, in a human adventure filled with powerful emotions. -
A Case Study of Female Detectives on HBO
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 9-26-2017 10:00 AM (Not) One of the Boys: A Case Study of Female Detectives on HBO Darcy Griffin The University of Western Ontario Supervisor Dr. Susan Knabe The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Darcy Griffin 2017 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Film and Media Studies Commons, Television Commons, and the Women's Studies Commons Recommended Citation Griffin, Darcy, "(Not) One of the Boys: A Case Study of Female Detectives on HBO" (2017). Electronic Thesis and Dissertation Repository. 4995. https://ir.lib.uwo.ca/etd/4995 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract In 1997 HBO aired its first original drama series, Oz. In the years that have followed the network has positioned itself as vanguard in the television landscape, however, HBO drama series have remained a complicated, and often dangerous site for female characters. Moreover, with a few exceptions (Sex and the City, or True Blood for example), original HBO drama series remain focused on the network’s primary audience demographic: the predominantly male, relatively affluent consumers of quality television. This research explores the representation of female detectives within original HBO crime drama series, The Wire (2002--8) and Season Two of True Detective (2014 -), in order to examine how female officers, operate within the male-dominated world of HBO drama. -
True Detective and the States of American Wound Culture
True Detective and the States of American Wound Culture RODNEY TAVEIRA “Criminals should be publically displayed ... at the frontiers of the country.” Plato (qtd. in Girard 298) HE STATE INSTITUTIONS PORTRAYED IN THE HBO CRIME PROCEDU- ral True Detective are innately and structurally corrupt. Local T mayors’, state governors’, and district attorneys’ offices, city and county police, and sheriff’s departments commit and cover up violent crimes. These offices and departments comprise mostly mid- dle-aged white men. Masculinist desires for power and domination manifest as interpersonal ends and contact points between the indi- vidual and the state. The state here is a mutable system, both abstract and concrete. It encompasses the functions of the legal and political offices whose corruption is taken for granted in their shady rela- tions to criminal networks, commercial enterprises, and religious institutions. There is nothing particularly novel about this vision of the state. Masculinist violence and institutional corruption further damage vic- tims in the system (typically women, children, and disempowered and disenfranchised others, like migrant workers) who need a hero to solve the crimes committed against them—these tropes are staples of detective fiction, film noir, and many television crime procedurals. What then explains the popular and critical success of True Detective? Moreover, what does the show’s representation of the state—its aes- thetic strategies, narratives, and images—reveal about contemporary The Journal of Popular Culture, Vol. 50, No. 3, 2017 © 2017 Wiley Periodicals, Inc. 585 586 Rodney Taveira understandings and imaginings of the state, the individual, and the relations between them? While tracing the complex entanglement of the entertainment industries with femicidal and spectacular violence within a critical regionalism, carried out through digital modes of distribution, one can also see how government agencies shape content. -
Visions of Petrochemical America in HBO's True Detective (2014)
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Papers in Communication Studies Communication Studies, Department of 3-2017 The oT xic Screen: Visions of Petrochemical America in HBO’s True Detective (2014) Casey Ryan Kelly Butler University, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/commstudiespapers Part of the Critical and Cultural Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, and the Other Communication Commons Kelly, Casey Ryan, "The oT xic Screen: Visions of Petrochemical America in HBO’s True Detective (2014)" (2017). Papers in Communication Studies. 201. http://digitalcommons.unl.edu/commstudiespapers/201 This Article is brought to you for free and open access by the Communication Studies, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Papers in Communication Studies by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in Communication, Culture & Critique 10:1 (March 2017), pp. 39–57; doi: 10.1111/cccr.12148 Copyright © 2016 International Communication Association; published by Wiley. Used by permission. Submitted September 7, 2015; revised October 30, 2015; accepted November 6, 2015; published online January 19, 2016. The Toxic Screen: Visions of Petrochemical America in HBO’s True Detective (2014) Casey Ryan Kelly Department of Critical Communication and Media Studies, Butler University, Indianapolis, Indiana, USA Corresponding author – Casey Ryan Kelly, email [email protected] Abstract This article argues that the use of toxic visual and narrative tropes in contemporary dramatic televi- sion can expand our capacity to envision and critique the deadly effects of industrial pollution. -
Film Calendar February 8 - April 4, 2019
FILM CALENDAR FEBRUARY 8 - APRIL 4, 2019 TRANSIT A Christian Petzold Film Opens March 15 Chicago’s Year-Round Film Festival 3733 N. Southport Avenue, Chicago www.musicboxtheatre.com 773.871.6607 CATVIDEOFEST RUBEN BRANDT, THE FILMS OF CHRISTIAN PETZOLD IDA LUPINO’S FEBRUARY COLLECTOR HARMONY KORINE MATINEE SERIES THE HITCH-HIKER 16, 17 & 19 OPENS MARCH 1 MARCH 15-21 WEEKENDS AT 11:30AM MARCH 4 AT 7PM Welcome TO THE MUSIC BOX THEATRE! FEATURE FILMS 4 COLD WAR NOW PLAYING 4 OSCAR-NOMINATED DOC SHORTS OPENS FEBRUARY 8 6 AMONG WOLVES FEBRUARY 8-14 6 NEVER LOOK AWAY OPENS FEBRUARY 15 8 AUDITION FEBRUARY 15 & 16 9 LORDS OF CHAOS OPENS FEBRUARY 22 9 RUBEN BRANDT, COLLECTOR OPENS MARCH 1 11 BIRDS OF PASSAGE OPENS MARCH 8 FILM SCHOOL DEDICATED 12 TRANSIT OPENS MARCH 15 The World’s Only 17 WOMAN AT WAR OPENS MARCH 22 TO COMEDY 18 COMMENTARY SERIES Comedy Theory. Storytelling. Filmmaking. Industry Leader Masterclasses. 24 CLASSIC MATINEES Come make history with us. RamisFilmSchool.com 26 CHICAGO FILM SOCIETY 28 SILENT CINEMA 30 MIDNIGHTS SPECIAL EVENTS 7 VALENTINE’S DAY: CASABLANCA FEBRUARY 10 VALENTINE’S DAY: THE PRINCESS BRIDE FEBRUARY 13 & 14 8 CAT VIDEO FEST FEBRUARY 16, 17 & 19 10 JEWISH FILM FESTIVAL MARCH 1-17 10 THE HITCH-HIKER MARCH 4 11 PARTS OF SPEECH: HARI KUNZRU MARCH 12 14 HARMONY KORINE FILM SERIES MARCH 15-21 17 DECONSTRUCTING THE BEATLES MARCH 30 & APRIL 3 Brian Andreotti, Director of Programming VOLUME 37 ISSUE 154 Ryan Oestreich, General Manager Copyright 2019 Southport Music Box Corp. -
TROUBLE in the “PSYCHOSPHERE”: HBO‟S TRUE DETECTIVE (2014) AS a HYBRID GENRE Elisabete Lopes ABSTRACT Recently, Many Conte
TROUBLE IN THE “PSYCHOSPHERE”: HBO‟S TRUE DETECTIVE (2014) AS A HYBRID GENRE Elisabete Lopes1 ABSTRACT Recently, many contemporary TV shows have raised the stakes as far as the quality of their contents is concerned. They welcomed certain challenges that contributed to lend them the status of cult series. True Detective (2014) certainly forms part of this selective group. Nic Pizzolatto, the creative mind behind True Detective (2014), decided to take up all these challenges and ended up by creating a hybrid show in the sense that it gathers elements of Gothic genre, weird fiction, criminal investigation, and film noir that, once mixed up, paved the way to the upcoming success. Other feature that fuels True Detective‟s allure lies precisely in the ties that it openly shares with literature, since it purports references that point to well-known oeuvres or authors. In this light, it is the purpose of this essay to examine how Pizzolatto‟s eclectic recipe combine its ingredients that result in a TV show anchored upon the parameters of originality and quality. The undeniable quality of True Detective (2014) goes beyond the well-thought script, Adam Arkapaw‟s mesmerizing photography, the protagonists‟ amazing performance, and the careful direction of Cary Fukunaga. It has become a true postmodern visual monster that unexpectedly came straight from the Lousiana bayous to haunt us, bringing along an aura of cosmic horror that, interlinked with suspense and criminal investigation, will relentlessly take a grip on us. Keywords: True Detective (2014); Gothic; Southern Gothic; Film Noir; Cosmic Horror; criminal investigation. PERTURBAÇÕES NA „PSICOESFERA‟: TRUE DETECTIVE (2014) ENQUANTO GÉNERO HÍBRIDO RESUMO Recentemente, tem-se assistido a uma crescente qualidade a nível das séries televisivas. -
The Burden of Talent
WHAT’S ON — Film The burden of talent Editor’s Choice The protagonists of these three new releases are cursed with extraordinary gifts. By Paul O’Callaghan f you’re the kind of individual Bum, retains the setting and hedonis- ing turns by Jonah Hill as a dandyish DON’T MISS who experiences a jolt of ir- tic vibe, but shifts the satirical focus literary agent and Martin Lawrence I rational paranoia every time towards middle-aged dropouts. The as a dolphin-obsessed Vietnam vet. you pass through airport security, beach bum of the title is Moondog Julian Schnabel is responsible for Berlin Sci-Fi Border (photo) may prove triggering. (Matthew McConaughey), a once- several distinctive screen portraits Filmfest rerun On the second This oddity from Iranian-Swedish great poet who now spends most of trailblazing creative talents, Tuesday of each filmmaker Ali Abbasi tells the story of his time getting high and chasing including The Diving Bell and the month between now of Tina, a customs officer with the younger women – a lifestyle funded Butterfly, his formally dazzling ad- and August, head to Il Kino in Neukölln remarkable ability to smell fear and by his independently wealthy wife aptation of the bestselling memoir for a selection of shame on unsuspecting passen- Minnie (Isla Fisher). But when a by French writer Jean-Dominique highlights from last gers. Her downtrodden demeanour change of circumstances disrupts his Bauby. With At Eternity’s Gate, he year’s fest. April’s suggests a lack of self-esteem, and cash flow, Moondog is encouraged turns his attention to the archetypal picks include Ray Raghavan’s twisty her facial abnormalities make her a by loved ones to clean up his act and tortured genius, Dutch Post-Impres- mind-control target for bullies. -
Charting the Mcconaissance, Film by Film
SATURDAY, FEBRUARY 22, 2014 This film image shows Matthew McConaughey in a scene This image shows Matthew McConaughey as Ron This film image shows Matthew McConaughey in a scene from “Mud.” Woodroof in a scene from the film, “Dallas Buyers Club.” from “Magic Mike.” Charting the McConaissance, film by film ix years ago, Matthew McConaughey was starring in a movie called “Surfer, Dude,” a film about as good as its Stitle implies. He played a shirtless surfer plunged into an existential crises when his good luck with waves runs out. McConaughey did undergo an existential crisis around that time, but it wasn’t about the surf. His career had bottomed out in rom-com mediocrity (his second comedy with Kate Hudson, “Fool’s Gold,” followed “Surfer, Dude”), overly depending on the charm of his Texas drawl. McConaughey resolved to do something about it. What has followed - the so-called McConaissance - has been one of the most remarkable mid-career metamorphoses in movies. McConaughey has abruptly shifted to more chal- lenging roles and films in a creative burst that has clearly re- energized him. He’s taken his matinee idol chips and exchanged them for an actor’s freedom. It’s been a steady renewal, building part by part. His best-actor Academy Award nomination for “Dallas Buyers Club” represents a culmination, and most expect McConaughey will be crowned with a win at the Oscars on March 2. Here is a film-by-film account of how he got here, a step-by-step guide to the McConaissance: THE LINCOLN LAWYER - This 2011 film came after a two- year gap in McConaughey’s filmography. -
True Detective: a Case for Neo-Noir
True Detective: A Case for Neo-noir by Alicia Berdan Retrospectively, the film industry now looks back on a period of cinema from the 1940s to the early 1950s as the golden age of film noir. Film noir is defined as a period of film history that “portrayed the world of dark, slick city streets, crime, and corruption.”1 These films were released in American theaters during WWII, but were not released outside of the U.S. until after the war. In the wake of the post-WWI atmosphere, members of the younger French generation, such as Raymond Borde and Étienne Chaumeton, helped elevate American film noir through the study of the films’ intellectualism and existentialism.2 The term “film noir” means black film, which is indicative of the heavy shadows used in these films and also as a description of the darkness of their storylines and characters. For the cinema industry, the influence of the French helped to bring these films into the world of fine art.3 The classical noir films not only defined a decade in film history, but also inspired the continuation of noir-influenced films through the next 70 years. The classical film noirs were created out of a response “to a certain kind of emotional resonance” that was relative to the viewers of that era.4 Neo-noirs use the elements of classical noir films, but present them in a context that is relatable to contemporary viewers. In the 1990s, the world saw another change in the art form of film, the television series.