DOCSLIB.ORG

© 2019 Melissa Bobe ALL RIGHTS RESERVED

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
© 2019 Melissa Bobe ALL RIGHTS RESERVED © 2019 Melissa Bobe ALL RIGHTS RESERVED SPECTACULAR TRANSIENTS: TRAUMATIC CHILDHOOD AND THE FANTASTIC by MELISSA BOBE A dissertation submitted to the School of Graduate Studies Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in English Written under the direction of Michelle A. Stephens And approved by _____________________________________ _____________________________________ _____________________________________ _____________________________________ New Brunswick, New Jersey JANUARY 2019 ABSTRACT OF THE DISSERTATION Spectacular Transients: Traumatic Childhood and the Fantastic By MELISSA BOBE Dissertation Director: Michelle A. Stephens This dissertation considers narrative representations of the child as it exists in contexts of conflict. The project looks specifically at contemporary speculative fiction in order to conduct this examination: Guillermo del Toro's El laberinto del fauno, Tarsem Singh's The Fall, Benh Zeitlin's Beasts of the Southern Wild, Rosario Ferré's "La muñeca menor," Octavia Butler's Kindred, Phyllis Alesia Perry's Stigmata, Yvonne Vera's Under the Tongue, Bessie Head's A Question of Power, and Helen Oyeyemi's White Is for Witching. Bringing together theories of the gothic and the fantastic, psychoanalysis and trauma theory, and visual and memory studies, the dissertation proves that speculative narrative functions as a unique genre where that which resists representation is imagined, articulated, and explored. Furthermore, the project contends that the relationship between childhood, trauma, and the fantastic is one of shared imaginative space and experience within the pages and frames of these narratives. The dissertation first argues that trauma- inducing events posit children at the margins of their fictional worlds, where they inevitably encounter the also-marginalized fantastic. Then, the project demonstrates how trauma that children inherit from parents who have survived catastrophe alters the quotidian nature of their day-to-day such that it becomes fantastic. Subsequently, the ii dissertation asserts that in the face of mass trauma that unites entire collectives, descendants are haunted by the experience of those generations that precede them, and their experience of time and everyday life are violently disrupted by a restless traumatic past. Ultimately, the dissertation finds that the traumatic imaginary of these contemporary fictions propels fantastic narrative into a new period, one that finds the horrors of traumatic pasts and the potential of fantastic emergence in response to trauma contained within the interior of the narrative self. The children of the new millennium, unlike their predecessors, do not fear gothic monsters or feel the need to go out in search of the fantastic; they find within themselves those monstrosities that echo back the call of the unsettled and unsettling as it continues to haunt their narrative realities. iii ACKNOWLEDGMENTS The warmest of thanks to Michelle Stephens for the years of consistent support, feedback, advice, and lovely conversation. I’m so grateful to have learned from you and gotten to know you through this process, and I appreciate all of the time and energy you put in with me over these last several years. Thanks also to Evie Shockley, Stéphane Robolin, and Rebekah Sheldon for serving as the committee on this project, and for your collective guidance on revising the document over the last few crucial months of the process. A note of gratitude to Abena Busia, as well, who along with Michelle, Evie, and Stéphane helped me prepare to begin writing the dissertation during my exams. The project would never have taken shape without the four of you and that rigorous year of growth, for which I continue to be grateful. There are many people at Rutgers to whom I am grateful. A huge thank you to Paul Bielecki and Ann Jurecic for their years of guidance in teaching—my students and I are the better for you and the time and care you gave in helping me grow as a teacher. Thanks also to Richard Miller, Lynda Dexheimer, and Trinyan Mariano for wonderful contributions to my teaching at Rutgers and beyond. Gratitude to Marianne DeKoven and Cheryl Wall for consistent mentorship and support, especially during coursework years. So many thanks to the English graduate office, particularly Courtney Borack, who saved me in this process repeatedly (thanks to Charlotte, too, as I know she helps inspire the work you do, Courtney!). Gratitude to my peers in Lynn Festa’s dissertation workshop, and to Lynn herself—I learned so much from everyone and was glad for the chance to write and grow together. Also, many thanks to Lyn Di Iorio and my classmates at the iv Graduate Center for a fruitful change of scenery during that time I was at CUNY and Rutgers simultaneously: it was a magical semester in so many ways. I thank friends whose presence at Rutgers brightened my time there: Nadia Alahmed, Luc Barton, Suzanne Boswell, Megan Brovan, Miya Carey, Lauren Choplin, Corey Clawson, Isaac Cowell, Emily Coyle, Phedra Deonarine, Adebe DeRango-Adem, Bakary Diaby, Mark DiGiacomo, Kathryn Goldstein, Elizabeth Greeniaus, Alina Gregorian, Jason Gulya, Alexis Haynie, Dan Herbert, Jessica Herbert, Beth Hightower, Stephanie Hunt, Christina Jen, Melanie Kelliher, Carrie Kholi, Becky Makulowich, Ariel Martino, Julie McIsaac, Bernie Mendoza, Tasia Milton, Nina Narang, Lizzie Oldfather, Amadi Ozier, Andrew Pankratz, Caro Pirri, Nimanthi Rajasingham, Donavan Ramon, Charlotte Rose, Mike Sobieski, Elliott Souder, Jamison Standridge, JD Thomas, Carolyn Ureña, and Dara Walker. The conversations over coffee and piles of student papers were more meaningful than many of you know. To Robert Palmer and Erik Wade: thanks for the time in the tunnelbridge. I couldn’t ask for better friends or memories. To those friends in academia at large whose continued support helped see me through to the end, I offer gratitude for midnight texts and regular doses of sanity. Kate Schnur and Omari Weekes, I hope you know how much I appreciate the love: I never would have made it without the two of you. Also much gratitude to Jonathan Alexandratos, Rachel Altvater, Tracy Bealer, Emily Berliner, Cesar Bustamante, Kelly Centrelli, Samantha Chiu, Dalia Davoudi, Barbara Emanuele, Jason Fischedick, Mary Ellen Holden, Jess Iannuzzo, Sharon Jackson, Susan Jacobowitz, Panagiota Lilikaki, Camille Lofters, Emily Macchia, Nadia Misir, Rajiv Mohabir, Andrés Montoya-Castillo, Aaron Muller, Tristan Naraine, Ilaria Papini, Megan Pindling, Ann Podracky, Anne Posten, Sadia Rahman, v John Rice, Cheryl Spinner, Rani Srinivasan, and Chana Tropp for their glowing friendship, a happy reminder of what the wider world of the academy can look like. Thanks also to my teachers and mentors from Queens College who continued to support me long after I’d left their classrooms: Jeff Cassvan, Hugh English, Richard Pisciotta, Veronica Schanoes, John Troynaski, and John Weir, thank you for always welcoming me back whenever I needed to visit my roots. A note to my students: as skillfully as some of you manage to stalk your faculty on social media, I doubt that any of you will find your way here. That said, in case one of you does and is reading this now, you should know that the opportunity to teach you and learn from you was easily the best thing about my experience in the academy, and I’m grateful for every moment I had with all of you in the many classrooms I’ve taught in. To my friends and family, I’m grateful for endless love and lifelines that extend well beyond the years in this program. Some of you I’ve already thanked above; those I haven’t named yet include: Maureen, Jen, Marissa, Cat, Emily, Jess, Shifa, Ginalysse, and Kristen. I’m privileged beyond belief to have a family of friends who have been there for me no matter what; your support and friendship has meant everything. Eva and Sara, this is the one book I won’t ask you to read, but you should know that like the others, it wouldn’t have happened without the two of you and the magic for which I am grateful every single day. Thanks for the inspiration, the wisdom, and the faith; I am honored to write alongside you and to call you my dear friends. Mom and Dad, you’ve already demanded a copy, and so I hope it makes you smile when you open to this page and see me say that I count myself as exceptionally lucky to have the two of you as lifelong support that made every achievement to this point vi possible. You are the greatest teachers I’ve ever known, and it is your example that led me to my most important accomplishments. You taught me not only how to be a teacher, but also why teaching matters, and I hope that I have honored what is now a family tradition that I am incredibly proud of. Thank you for giving me the most important gifts I have. Danny, my love, it has been with excitement, anticipation, and pure joy that I’ve watched you also turn towards that family tradition. You tell me every day that you are proud of me; I hope that you know that every day, it’s you who I see shining a light into the world that truly makes it better. You are already an incredible teacher, and once you’ve reached your “on-paper” goals, I know that the path you’re working so hard to forge right now will open up into a wide and beautiful future. I’m grateful to get to travel forward with the best person I know; here’s to many more years of us kicking down the doors and shining the light with all our hearts. vii TABLE
Load more

Recommended publications
  • Polyamory and Holy Union in Metropolitan Community Churches
    Polyamory and Holy Union In Metropolitan Community Churches Frances Luella Mayes May 5, 2003 Ecumenical Theological Seminary Submitted in partial fulfillment of the requirements for the Doctor of Ministry Degree. Approved: Date: 5 May 2003 ___________________________________________ __________ The Rev. Dr. David Swink, D.Min., Committee Chair ___________________________________________ __________ Dr. Virginia Ramey Mollenkott, Phd., Content Specialist ___________________________________________ __________ Dr. Anneliese Sinnott, Phd., O.P., Faculty Reader ___________________________________________ __________ The Rev. Paul Jaramogi, D.Min., Peer Reader Rev. Frances Mayes, MCC Holy Union All rights reserved. Frances L. Mayes, 2003 ii Rev. Frances Mayes, MCC Holy Union Abstract Metropolitan Community Churches have performed Holy Union commitment ceremonies for same-sex couples since 1969. An ongoing internal dialogue concerns whether to expand the definition to include families with more than two adult partners. This paper summarizes historical definitions of marriage and family, development of sexual theology, and current descriptions of contemporary families of varying compositions. Fourteen interviews were conducted to elicit the stories of non- monogamous MCC families. Portions of the interviews are presented as input into the discussion. iii Rev. Frances Mayes, MCC Holy Union Acknowledgements The author would like to acknowledge the help and support given to her by the dissertation committee: Chairman Rev. Dr. David Swink, Content Specialist Dr. Virginia Ramey Mollenkott, Reader Dr. Anneliese Sinnot, OP, and Peer Reader Rev. Paul Jaramogi, who nurtured this paper’s evolution. Thanks also to the Emmaus Colleague Group who patiently stood with me as my theology and practice changed and developed, and who gestated with me the four mini- project papers that preceded the dissertation.
    [Show full text]
  • Film Guide April 2018
    FILM GUIDE APRIL 2018 www.loftcinema.org BEST F(R)IENDS & THE DISASTER ARTIST W/ GREG SESTERO IN PERSON! LAWRENCE OF ARABIA PRESENTED IN 70MM • SUNDAY, APRIL 15 AT NOON! ENJOY BEER & WINE AT THE LOFT CINEMA! We also offer Fresco Pizza*, Tucson Tamale Factory Tamales, Burritos from Tumerico, Ethiopian Wraps from Cafe Desta and Sandwiches from the 4th Ave. Deli, along with organic popcorn, craft chocolate bars, vegan cookies and more! *Pizza served after 5pm daily. APRIL 2018 SPECIAL ENGAGEMENTS 4-23 JOURNALISM ON SCREEN 6 BEER OF THE MONTH: LOFT MEMBERSHIPS 8 FIRESTONE LAGER LOFT JR. 12 BY FIRESTONE WALKER BREWING CO. ESSENTIAL CINEMA 14 ONLY $3.50 ALL THROUGH APRIL! SCIENCE ON SCREEN 16 NATIONAL THEATRE LIVE 17 NEW AT THE LOFT CINEMA! MONTH-LONG SERIES 19-20 The Loft Cinema now offers Closed Captions and Audio LOFT STAFF SELECTS 21 Descriptions for films whenever they are available. Check our COMMUNITY RENTALS 23-24 website to see which films offer this technology. NEW FILMS 25-34 REEL READS SELECTION 32 FILM GUIDES ARE AVAILABLE AT: MONDO MONDAYS 35 • aLoft Hotel • Espresso Art • Revolutionary Grounds • Antigone Books • Fantasy Comics • Rincon Market CULT CLASSICS 36 • Aqua Vita • First American Title • Rocco’s Little Chicago • Art Institute of Tucson • Fresco Pizza • Rogue Theatre THE LOFT CINEMA • AZ Title Security • Fronimos • Santa Barbara Ice Cream 3233 E. Speedway Blvd. • Bentley’s • Heroes & Villains • Shot in the Dark Café Tucson, AZ 85716 • Black Crown Coffee • Hotel Congress • Southern AZ AIDS • Bookman’s • How Sweet It Was
    [Show full text]
  • P38 2 Layout 1
    lifestyle MONDAY, NOVEMBER 10, 2014 Featurs Oscars: Will Christopher Nolan finally land a director nomination? his year’s director race is all about the other British biopic of the year, “The Not look promising Hollywood drama “Birdman or (The pair of actor-directors who could be last- the Oscar virgins. Most of the con- Theory of Everything,” directed by James But the burning question in the race Unexpected Virtue of Ignorance),” minute game changers. Clint Eastwood’s Ttenders in the running-starting Marsh. is if the Academy will finally come to its despite the film’s polarizing third act. “American Sniper” hasn’t officially with Richard Linklater (“Boyhood”) — For Marsh to land a nod, the doc film- senses and honor the Susan Lucci of the He’ll probably land the Paul Thomas screened yet, but those who have seen it have never been nominated in the cate- maker will need to campaign hard with category. At first glance, the odds might Anderson vote, since the director of “The say it’s another strong effort from the gory before. But one caveat to remem- the narrative that his Stephen Hawking not look promising for Christopher Master” will be sitting out of this year’s prolific director, who hasn’t factored into ber: predictors have been wary of declar- story isn’t just a vehicle for stars Eddie Nolan, who was snubbed for “Dark ceremony for his out-there “Inherent this category since 2007’s “Letters from ing any locks in this competition since Redmayne and Felicity Jones. Marsh laid Knight” trilogy and “Inception.” But Vice.” If Chazelle manages to grab the Iwo Jima.” (He definitely isn’t getting the Academy snubbed sure-thing con- the intricate groundwork for creating “Interstellar” is his most Academy-friend- Bennett Miller spot, will there still be nominated for “Jersey Boys.”) And then tenders Ben Affleck (“Argo”) and Kathryn such a true-to-life story that made ly film to date-and I mean that as a com- room for the real Bennett Miller? there’s Angelina Jolie, who makes her Bigelow (“Zero Dark Thirty”) two years Hawking himself cry at a screening.
    [Show full text]
  • 2020 Sundance Film Festival: 118 Feature Films Announced
    FOR IMMEDIATE RELEASE Media Contact: December 4, 2019 Spencer Alcorn 310.360.1981 [email protected] 2020 SUNDANCE FILM FESTIVAL: 118 FEATURE FILMS ANNOUNCED Drawn From a Record High of 15,100 Submissions Across The Program, Including 3,853 Features, Selected Films Represent 27 Countries Once Upon A Time in Venezuela, photo by John Marquez; The Mountains Are a Dream That Call to Me, photo by Jake Magee; Bloody ​ ​ ​ ​ Nose, Empty Pockets, courtesy of Sundance Institute; Beast Beast, photo by Kristian Zuniga; I Carry You With Me, photo by Alejandro ​ ​ ​ ​ ​ López; Ema, courtesy of Sundance Institute. ​ ​ Park City, UT — The nonprofit Sundance Institute announced today the showcase of new independent feature ​ films selected across all categories for the 2020 Sundance Film Festival. The Festival hosts screenings in Park ​ ​ City, Salt Lake City and at Sundance Mountain Resort, from January 23–February 2, 2020. The Sundance Film Festival is Sundance Institute’s flagship public program, widely regarded as the largest American independent film festival and attended by more than 120,000 people and 1,300 accredited press, and powered by more than 2,000 volunteers last year. Sundance Institute also presents public programs throughout the year and around the world, including Festivals in Hong Kong and London, an international short film tour, an indigenous shorts program, a free summer screening series in Utah, and more. Alongside these public programs, the majority of the nonprofit Institute's resources ​ support independent artists around the world as they make and develop new work, via Labs, direct grants, fellowships, residencies and other strategic and tactical interventions.
    [Show full text]
  • Half Title>NEW TRANSNATIONALISMS in CONTEMPORARY LATIN AMERICAN
    <half title>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS</half title> i Traditions in World Cinema General Editors Linda Badley (Middle Tennessee State University) R. Barton Palmer (Clemson University) Founding Editor Steven Jay Schneider (New York University) Titles in the series include: Traditions in World Cinema Linda Badley, R. Barton Palmer, and Steven Jay Schneider (eds) Japanese Horror Cinema Jay McRoy (ed.) New Punk Cinema Nicholas Rombes (ed.) African Filmmaking Roy Armes Palestinian Cinema Nurith Gertz and George Khleifi Czech and Slovak Cinema Peter Hames The New Neapolitan Cinema Alex Marlow-Mann American Smart Cinema Claire Perkins The International Film Musical Corey Creekmur and Linda Mokdad (eds) Italian Neorealist Cinema Torunn Haaland Magic Realist Cinema in East Central Europe Aga Skrodzka Italian Post-Neorealist Cinema Luca Barattoni Spanish Horror Film Antonio Lázaro-Reboll Post-beur Cinema ii Will Higbee New Taiwanese Cinema in Focus Flannery Wilson International Noir Homer B. Pettey and R. Barton Palmer (eds) Films on Ice Scott MacKenzie and Anna Westerståhl Stenport (eds) Nordic Genre Film Tommy Gustafsson and Pietari Kääpä (eds) Contemporary Japanese Cinema Since Hana-Bi Adam Bingham Chinese Martial Arts Cinema (2nd edition) Stephen Teo Slow Cinema Tiago de Luca and Nuno Barradas Jorge Expressionism in Cinema Olaf Brill and Gary D. Rhodes (eds) French Language Road Cinema: Borders,Diasporas, Migration and ‘NewEurope’ Michael Gott Transnational Film Remakes Iain Robert Smith and Constantine Verevis Coming-of-age Cinema in New Zealand Alistair Fox New Transnationalisms in Contemporary Latin American Cinemas Dolores Tierney www.euppublishing.com/series/tiwc iii <title page>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS Dolores Tierney <EUP title page logo> </title page> iv <imprint page> Edinburgh University Press is one of the leading university presses in the UK.
    [Show full text]
  • Killing Jesus the Last Suit
    Fabrizia Palazzo: [email protected] / +34 628 936 032 Loews Hotel, 8th floor – Stand 817, EUROPEAN FILM PROMOTION BOOTH AFM 2017 TRAILER Special Mention of the Jury - New Directors ★ Youth Audience Award ★ SIGNIS Award ★ Fedeora Award ★ COMPETITION KILLING JESUS BASED ON TRUE EVENTS MATAR A JESÚS From the producers of Dog Eat Dog & DRAMA, THRILLER / Co-production: Colombia, Argentina / Language: Spanish / 99 min. All Your Dead Ones by Carlos Moreno Directed by LAURA MORA By the co-director of the TV SERIES Paula, a young Colombian student, witnesses the cold-blooded murder of her Pablo Escobar, The Drug Lord father. After facing the inefficiency of the police, she accidentally crosses paths with the hitman who did the job. Driven by her anger, frustration and pain, the “The explosive climax leaves audiences reeling” choice of revenge seems to be the only possible reaction... But what if both of SCREENDAILY see full review them are victims of a violent and corrupt system? TRAILER THE LAST SUIT EL ÚLTIMO TRAJE DRAMATIC COMEDY, ROAD MOVIE / Co-production: Spain, Argentina / Starring Language: Spanish / 89 min. Directed by PABLO SOLARZ MIGUEL ÁNGEL SOLÁ (Tango, Fausto 5.0, The Escape) ÁNGELA MOLINA (Blancanieves, Broken Embraces, THE LAST SUIT follows Abraham, an 88-year old Argentinian Jewish tailor, as Live Flesh) he sets out on a journey to find the Polish friend who saved his life during the holocaust, more than 7 decades earlier. From Argentina to Poland, forced to From the scriptwriter of Intimate stories, cross Europe, along the way, Abraham will meet various characters who will help A boyfriend for my wife him in his quest to fulfil the promise he made to his friend.
    [Show full text]
  • Legal, Literary, and Journalistic Textualities of Gender Violence in Post-War Nicaragua DISSERTATION P
    Mediated Intimacies: Legal, Literary, and Journalistic Textualities of Gender Violence in Post-War Nicaragua DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Alicia Zoe Miklos, M.A. Graduate Program in Spanish and Portuguese The Ohio State University 2015 Dissertation Committee: Ileana Rodríguez, Advisor Ignacio Corona Laura Podalsky Copyright by Alicia Zoe Miklos 2015 Abstract My dissertation examines representations of femicide as gender violence in legal, journalistic, literary, and online cultural production in contemporary post-war Nicaragua. I begin with the passing of Law 779, the Integral Law Against Violence Towards Women, approved by the Nicaraguan National Assembly in February 2012. The law fills a legal vacuum in the country by codifying femicide, as well as sexual, psychological, patrimonial, and labor abuse into Nicaraguan law as gender specific crimes. Prohibiting the long-standing practice of police and judicial mediation between accusers and aggressors, Law 779 set out to endow women with judicial agency in what had been largely hostile and re-victimizing institutional spaces. The focus of the project is cultural, examining representations of gender violence as part of a social dialogue about Law 779, covering a variety of textual realms. The goal of the project is to explain how different mediums and social actors explain gender violence by studying discourse and narrative modes. The debate centered on Law 779’s re-balancing of power relations and its controversy stemmed from its challenge to existing family structures, which disguise masculine authority and impunity. The inertia of the status quo proved strong, with Law 779 being reformed and regulated between 2012 and 2014, reverting its original radical spirit.
    [Show full text]
  • PAUL MEZEY / EXECUTIVE PRODUCER Slamdance 2010 for SEED, Which He Co-Directed and Shot
    INTERNATIONAL PRESS INTERNATIONAL SALES Wolf Consultants +33 7 6119 0120 [email protected] www.wolf-con.com Entertainment One Films International FRENCH PRESS In Cannes Bossa-Nova THE GRAND HOTEL +336 07 555 888 (Bengali entrance, Apt 2D) [email protected] 45 Boulevard de la Croisette T: +33 (0) 493 30 1226 SCREENINGS Fri 18th May 11:00 Debussy Official Fri 18th May 16:45 Debussy Press Click For Sat 19th May 11:00 Bazin Additional PRESS MATERIAL TRAILER FACEBOOK Director: Benh Zeitlin Screenwriters: Lucy Alibar, Benh Zeitlin Cast: Quvenzhané Wallis, Dwight Henry Producers: Michael Gottwald, Dan Janvey, Josh Penn Executive Producers: Philipp Engelhorn, Paul Mezey, Michael Raisler Running Time: 92 minutes Location: Filmed in English on location in the USA Shot on: Super 16mm and RED Exhibited on HDCam Aspect Ratio: 1:1.85 AUDIO EXHIBIT FORMAT Logline Waters gonna rise up, wild animals gonna re-run from the grave, and everything south of the levee is goin’ under, in this tale of a six year-old named Hushpuppy, who lives with her daddy at the edge of the world. Wink and Hushpuppy collect the other holdouts, and as is custom, greet their disposition with celebration instead Synopsis of remorse: they throw a party with all the shrimp, crab, and beer that’s left. Miss Bathsheba kills the mood by reminding Wink that the excess of salt water in the Bathtub has likely killed all the flora and fauna that usually In a forgotten but defiant bayou community cut off from the rest of the world by a sprawling levee, six year-old provides them with their sustenance; they could be consuming the last the bayou has to offer.
    [Show full text]
  • CANNES 2020 Memory House a JOÃO PAULO MIRANDA MARIA Picture Memory House a JOÃO PAULO MIRANDA MARIA Picture
    CANNES 2020 Memory House a JOÃO PAULO MIRANDA MARIA picture Memory House a JOÃO PAULO MIRANDA MARIA picture Modern day Brazil, but lost in time. Cristovam, a native Black man from the rural North, moves to a former Austrian colony in the South to work in a milk factory. Confronted with xenophobic conservative people, he feels isolated and estranged from the white world. He discovers an abandoned house, filled with objects and memorabilia reminding him of his origins. He settles in, reconnecting with his roots. As if this memory house were alive, more objects start to appear. Slowly, Cristovam begins a metamorphosis. JOÃO PAULO MIRANDA MARIA For his feature debut, director João Paulo Miranda Maria uses spiritual SHORTS: and fantastical story-telling to encapsulate the social and racial tensions MENINAS FORMICIDA of modern day Brazil. Venice Orizzonti 2017 Memory House is the only Latin American film under the Cannes 2020 THE GIRL WHO DANCED Official Selection Label. WITH THE DEVIL PRODUCERS Paula Cosenza, Denise Gomes (BeBossa Entertainment - Cannes 2016 Brazil) and Didar Domehri (Maneki Films - France) Winner Special Mention of Jury Prize BRAZIL - FRANCE / 2020 / 90’ / Portuguese - German COMMAND ACTION Critics’ Week 2015 DIRECTOR’S STATEMENT The surreal invasion of the invisible into the visible has always been present in my films. Different times and dimensions meet within one another in the same scene. Cristovam seeks his origins, finding traces of his ancestry. The figure of the old black man is mythical in Brazilian popular culture, as a spiritual presence for the humblest. The visual effects in the movie, especially those on Cristovam’s face, with his skin and soul marked by age, are a projection of strength coming from his distant ancestors, an embodiment of the past, with a spiritual dimension.
    [Show full text]
  • Detecting Japanese Vernacular Modernism: Shinseinen Magazine and the Development of the Tantei Shôsetsu Genre, 1920-1931
    DETECTING JAPANESE VERNACULAR MODERNISM: SHINSEINEN MAGAZINE AND THE DEVELOPMENT OF THE TANTEI SHÔSETSU GENRE, 1920-1931 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Kyoko Omori * * * * * The Ohio State University 2003 Dissertation Committee: Professor William J. Tyler, Adviser Approved by Professor Richard Torrance Professor Mark Bender Adviser Department of East Asian Languages and Literatures ABSTRACT The post-war discourse on modern Japanese literature has presented the binary opposition between “pure” versus “popular” literature as a historical fact, configuring popular literature as the disposable “other” of “pure” literature. Consequently, Japanese literary studies have paid relatively little attention to popular forms such as mystery fiction, samurai “period” fiction, the romance novel, and “nansensu” humor. This dissertation examines the discursive formation of the Japanese modernist popular genre known as “tantei shôsetsu” or “detective fiction.” Focusing on the popular monthly magazine Shinseinen and several of its writers, it discusses the theoretical and practical dimensions of “tantei shôsetsu” as a vernacular form of modernist literary production. In doing so, it situates the genre within contemporaneous debates about the meaning of both modernity and literature in Japan during the 1920s. Chapter One establishes the theoretical terms for “vernacular modernism” by illuminating the ways in which popular literary production engaged with the forces of commercialism and Westernization that also shaped the development of canonical Japanese literature during the early twentieth century. Chapter Two surveys established critical views of Modernism in Japan and shows that they fail to account for the significance of vernacular expression.
    [Show full text]
  • The Dead Don't Die — They Rise from Their Graves and Savagely Attack and Feast on the Living, and the Citizens of the Town Must Battle for Their Survival
    THE DEAD DON’T DIE The Greatest Zombie Cast Ever Disassembled Bill Murray ~ Cliff Robertson Adam Driver ~ Ronnie Peterson Tilda Swinton ~ Zelda Wintson Chloë Sevigny ~ Mindy Morrison Steve Buscemi ~ Farmer Miller Danny Glover ~ Hank Thompson Caleb Landry Jones ~ Bobby Wiggins Rosie Perez ~ Posie Juarez Iggy Pop ~ Coffee Zombie Sara Driver ~ Coffee Zombie RZA ~ Dean Carol Kane ~ Mallory O’Brien Austin Butler ~ Jack Luka Sabbat ~ Zach Selena Gomez ~ Zoe and Tom Waits ~ Hermit Bob The Filmmakers Written and Directed by Jim Jarmusch Produced by Joshua Astrachan Carter Logan TABLE OF CONTENTS I. Synopsis . 4 II. “The Dead Don’t Die” Music and Lyrics by Sturgill Simpson 5 III. About the Production . 6 IV. Zombie Apocalypse Now . 8 V. State of the Nation . 11 VI. A Family Affair . 15 VII. Day For Night . 18 VIII. Bringing the Undead to Life . 20 IX. Anatomy of a Scene: Coffee! . 23 X. A Flurry of Zombies . 27 XI. Finding Centerville . 29 XII. Ghosts Inside a Dream . 31 XIII. About the Filmmaker – Jim Jarmusch . 33 XIV. About the Cast . 33 XV. About the Filmmakers . 49 XVI. Credits . 54 2 SYNOPSIS In the sleepy small town of Centerville, something is not quite right. The moon hangs large and low in the sky, the hours of daylight are becoming unpredictable, and animals are beginning to exhibit unusual behaviors. No one quite knows why. News reports are scary and scientists are concerned. But no one foresees the strangest and most dangerous repercussion that will soon start plaguing Centerville: The Dead Don't Die — they rise from their graves and savagely attack and feast on the living, and the citizens of the town must battle for their survival.
    [Show full text]
  • Writing Emotions
    Ingeborg Jandl, Susanne Knaller, Sabine Schönfellner, Gudrun Tockner (eds.) Writing Emotions Lettre 2017-05-15 15-01-57 --- Projekt: transcript.titeleien / Dokument: FAX ID 0247461218271772|(S. 1- 4) TIT3793_KU.p 461218271780 2017-05-15 15-01-57 --- Projekt: transcript.titeleien / Dokument: FAX ID 0247461218271772|(S. 1- 4) TIT3793_KU.p 461218271780 Ingeborg Jandl, Susanne Knaller, Sabine Schönfellner, Gudrun Tockner (eds.) Writing Emotions Theoretical Concepts and Selected Case Studies in Literature 2017-05-15 15-01-57 --- Projekt: transcript.titeleien / Dokument: FAX ID 0247461218271772|(S. 1- 4) TIT3793_KU.p 461218271780 Printed with the support of the State of Styria (Department for Health, Care and Science/Department Science and Research), the University of Graz, and the Faculty of Arts and Humanities University of Graz. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-3793-3. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. This work is licensed under the Creative Commons Attribution-NonCommercial-No- Derivs 4.0 (BY-NC-ND) which means that the text may be used for non-commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. To create an adaptation, translation, or derivative
    [Show full text]