Ego Defense Mechanism in Edward Zwick's Blood
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The Last Samurai À Vaincre Sans Humilité, on Triomphe Sans Gloire Le Dernier Samurai, États-Unis / Nouvelle-Zélande / Japon 2003, 154 Minutes Charles-Stéphane Roy
Document généré le 29 sept. 2021 09:16 Séquences La revue de cinéma The Last Samurai À vaincre sans humilité, on triomphe sans gloire Le Dernier Samurai, États-Unis / Nouvelle-Zélande / Japon 2003, 154 minutes Charles-Stéphane Roy Numéro 230, mars–avril 2004 URI : https://id.erudit.org/iderudit/59099ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer ce compte rendu Roy, C.-S. (2004). Compte rendu de [The Last Samurai : à vaincre sans humilité, on triomphe sans gloire / Le Dernier Samurai, États-Unis / Nouvelle-Zélande / Japon 2003, 154 minutes]. Séquences, (230), 51–51. Tous droits réservés © La revue Séquences Inc., 2004 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ JHE LAST SAMURAI À vaincre sans humilité, on triomphe sans gloire uisant dans des valeurs viriles et des thèmes mili Ptaires (Glory, Courage Under Fire, Legends of the Fall, The Siege), la filmographie de Edward Zwick prône avec insistance la notion d'honneur individuel, la fraternité clanique et l'esprit de loyauté. -
49Th USA Film Festival Schedule of Events
HIGH FASHION HIGH FINANCE 49th Annual H I G H L I F E USA Film Festival April 24-28, 2019 Angelika Film Center Dallas Sienna Miller in American Woman “A R O L L E R C O A S T E R O F FABULOUSNESS AND FOLLY ” FROM THE DIRECTOR OF DIOR AND I H AL STON A F I L M B Y FRÉDERIC TCHENG prODUCeD THE ORCHARD CNN FILMS DOGWOOF TDOG preSeNT a FILM by FrÉDÉrIC TCHeNG IN aSSOCIaTION WITH pOSSIbILITy eNTerTaINMeNT SHarp HOUSe GLOSS “HaLSTON” by rOLaND baLLeSTer CO- DIreCTOr OF eDITeD MUSIC OrIGINaL SCrIpTeD prODUCerS STepHaNIe LeVy paUL DaLLaS prODUCer MICHaeL praLL pHOTOGrapHy CHrIS W. JOHNSON by ÈLIa GaSULL baLaDa FrÉDÉrIC TCHeNG SUperVISOr TraCy MCKNIGHT MUSIC by STaNLey CLarKe CINeMaTOGrapHy by aarON KOVaLCHIK exeCUTIVe prODUCerS aMy eNTeLIS COUrTNey SexTON aNNa GODaS OLI HarbOTTLe LeSLey FrOWICK IaN SHarp rebeCCa JOerIN-SHarp eMMa DUTTON LaWreNCe beNeNSON eLySe beNeNSON DOUGLaS SCHWaLbe LOUIS a. MarTaraNO CO-exeCUTIVe WrITTeN, prODUCeD prODUCerS ELSA PERETTI HARVEY REESE MAGNUS ANDERSSON RAJA SETHURAMAN FeaTUrING TaVI GeVINSON aND DIreCTeD by FrÉDÉrIC TCHeNG Fest Tix On@HALSTONFILM WWW.HALSTON.SaleFILM 4 /10 IMAGE © STAN SHAFFER Udo Kier The White Crow Ed Asner: Constance Towers in The Naked Kiss Constance Towers On Stage and Off Timothy Busfield Melissa Gilbert Jeff Daniels in Guest Artist Bryn Vale and Taylor Schilling in Family Denise Crosby Laura Steinel Traci Lords Frédéric Tcheng Ed Zwick Stephen Tobolowsky Bryn Vale Chris Roe Foster Wilson Kurt Jacobsen Josh Zuckerman Cheryl Allison Eli Powers Olicer Muñoz Wendy Davis in Christina Beck -
WFLDP Leadership in Cinema – Courage Under Fire 2 of 16 Facilitator Reference
Facilitator Reference COURAGE UNDER FIRE Submitted by: Pam McDonald ........................................................... E-mail: [email protected] Phone: 208-387-5318 Studio: Twentieth Century Fox ............................................................................. Released: 1996 Genre: Drama ......................................................... Audience Rating: R (inappropriate language) Runtime: 117 minutes Materials VCR or DVD, television or projection system, Wildland Fire Leadership Values and Principles handouts (single-sided), Leading in the Wildland Fire Service, Incident Response Pocket Guide (IRPG), notepads, writing utensils Objective Students will identify Wildland Fire Leadership Values and Principles illustrated within Courage Under Fire and discuss leadership lessons learned with group members or mentors. Basic Plot While investigating Captain Karen Walden’s candidacy for a posthumous Medal of Honor award, Colonel Nat Serling finds inconsistencies in the stories told by the late pilot’s crew members. Serling is also forced to deal with his own disillusionment and guilt surrounding personal involvement in a friendly fire mishap that resulted in the death of his best friend. Leadership lessons focus on leading in a high-risk operational environment, female leadership, conflict, and moral leadership. Some links in this document will direct you to a non-government website that may have different policies from those of NWCG. Facilitator Reference Cast of Main Characters Colonel Nat Serling ........................................................................... -
Rising (Star A&M Senior James Jackson Made His Acting Debut in the Summer Hit Courage Under Fire
d Prici The Battalion enter Hake; 1(?d a five-yes on tract ext Sockets. 33, hadji SE; TUESDAY GGIE Page 3 gent'Xr '"'y 16' 1996 a. ortunatethf | opportunity "e career icl rm — a pri players dot m said. 's are my fan i 'ited to conti the vvonderf. :«ijra(;e under firi liiTTie Corps of Cadets traveled to Austin Washington and Ryan ISBfor a week to participate as extras give Oscar performances iation suppli * By Jeffrey Cranor be exposed. The Battalion By coming to terms with iose canbe By Kristina Buffin what one knows as ' ^^ngd^HE Battalion real, one can move forward in life. pi in ary cenii he Texas A&M Corps of Montfriez cannot hing for ms] Courage Under tiro face the events, er ere are usulI Starring Denzel Washington and^t rors or victims of its workinf f Meg Ryan Cadets had a second op the night of the res ige studeml f- - Directed by Edward Zurich; cue attempt. earn. Phillips gives an ;ar reactors f portunity to be show- Oscar-caliber por and resear trayal of Mont — the NSC friez’s struggle. rport. NSC ased in a major motion picture when )enzel Washington’s latest Ryan, who has research movie, Courage Under Fire, little screen time in the film, proves Hollywood formulas can plays the most significant fig the casting director of Courage Under result in a well-made film. ure. Karen Walden is symbolic Courage Under Fire has ac of all the characters’ buried r vice preafe tion, a love story, over-simplifi truths. -
Zborn in Winnetka, Edward Zwick Began Directing and Acting in High
HONOREE HONOREE James Collins Warren Edward M. Zwick Class of 1942 Class of 1970 Lt. Col. James Collins Warren grew up in the northern suburbs of Born in Winnetka, Edward Zwick began directing and acting in high Chicago and graduated from New Trier High School in 1942. He enlisted school and trained as an apprentice at the Academy Festival in Lake Forest. in the Army Air Forces in November 1942 and entered active duty in March While studying literature at Harvard, he continued writing and directing 1943. He participated in aviation cadet training at Tuskegee Army Air Field for the theatre. Upon graduation, he was awarded a Rockefeller Fellowship and served as a member of the 477th Bombardment Group. to study in Europe with some of the major innovative theatre companies. From 1947 to 1950, he attended the University of Illinois and Zwick was accepted as a Directing Fellow at the American Film majoreWd in Architecture. He was employed with the firm of Holsman, Institute in 1975. ZTimothy and the Angel , Zwick’s AFI short film, won first Holsman, Klekamp and Taylor. place in the student film competition at the 1976 Chicago Film Festival and During the Korean War, Warren was recalled to active duty and flew caught the attention of the producers of the television series Family . 50 combat missions. Over his flying career of more than 12,000 hours, he He served as story editor on Family and subsequently became a director and flew several missions of note: e Bob Hope Christmas Show from Vietnam producer. to Los Angeles in 1964, the Apollo Moon Crew from splashdown in the e television movie Special Bulletin marked the beginning of Zwick’s Pacific near American Samoa to Houston, Texas, and as Navigator on the collaboration with Marshall Herskovitz, with whom he created the Emmy “Homecoming One” mission to return the first group of American ex-POWs Award- winning television series thirty something . -
Denzel Washington: Notes on the Construction of a Black Matinee Idol
www.thecine-files.com DOSSIER ON FILM PERFORMANCE Denzel Washington: Notes on the Construction of a Black Matinee Idol Cynthia Baron Denzel Washington, with Albert Hall and Brazylia Kotere, in Devil in a Blue Dress (1995). Donald Bogle describes Denzel Washington as an actor who reconfigured “the concept of classic movie stardom.”1 His observation suggests that as a consequence of Washington’s career, Hollywood stardom no longer requires a link with whiteness, but can now emerge from screen performances that have “liberated black images from the shackles of ghettocentricity and neominstrelsy.”2 Washington’s body of work, which includes regular-guy roles in films such as Devil in a Blue Dress (1995), He Got Game (1998), John Q (2002), and The Taking of Pelham 123 (2009), transcends the predator-saint categories generated by white norms. As a “star performer,” Washington has come to embody a residual and alternative vision of black masculinity grounded in skill and mastery of technique.3 His performances recall the grace and proficiency of Bill Robinson, a performance mode lifted and popularized by Fred Astaire.4 Washington’s career thus provides a site for interrogating larger questions of identity and mainstream representation. Bogle’s observation that Denzel Washington reshaped “classic movie stardom” also intimates that Washington is best understood as an earlier iteration of romantic leading man, in part because his characters tend to share emotional, rather than physical intimacy with female characters. To understand that emphasis, one might recall that Washington was born in 1954, the year Brown v Board of Education made school segregation unconstitutional and the year Joseph Breen retired after twenty years as The Cine-Files 6 (Spring 2014) 2 head of Hollywood’s Production Code Administration. -
Assuming Rape: the Reproduction of Fear in American Military Female Pows William Junior Hillius a Thesis Submitted in Partial Fu
Assuming Rape: The Reproduction of Fear in American Military Female POWs William Junior Hillius A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Interdisciplinary Studies University of Washington 2012 Committee: Dr. Emily Noelle Ignacio Dr. David Coon Program Authorized to Offer Degree: Interdisciplinary Arts and Sciences Tacoma Table of Contents Introduction: Your Mother wears Combat Boots……………………………………..………..6 Overview………………………………………………………………….……...7 The Vulnerable White Woman……………………………………………….…..8 The Military and Women………………………………………………………..10 The Evolution of Gender and the Media………………………………………...10 Women in the Military...................................................................................…....12 POWs in General…………………………………………………………………15 Women as POWs…………………………………………………………………16 Methods and General Findings…………………………………………………...18 The Importance of Analyzing the Discourse of Rape……………………………19 The Role of the Media……………………………………………………………19 Summary of Chapters…………………………………………………………….20 Chapter I: Captured Women: A Historical Background of American Military Female POWs. 22 Overview……………………………………………………………………….….23 Guam: 10 December 1941…………………………………………………………27 Near Baguio Philippines 28 December 1941………………………………………28 Manila Philippines 03 January 1942……………………………………………….30 Corregidor Philippine 06 May 1942………………………………………………..31 Mindanao Philippines 10 May 1942………………………………………………..35 Aachen Germany 27 September 1944……………………………………………...36 The Interim Years 1946-1991………………………………………………………37 -
View Full Catalog of Encoded Compatible Content
D-BOX HOME ENTERTAINEMENT IMMERSIVE EXPERIENCES (Hold the Ctrl keyboard key and press the F (Ctrl+F) to search for a specific movie) HaptiCode Release Date RECENTLY ADDED (Year-Month-Day) Star Wars: The Bad Batch - 1st Season EP11 2021-07-09 Black Widow 2021-07-09 Lupin 1st Season EP 6,7 2021-07-07 Loki 1st Season EP 4 2021-07-06 Ace Venture - When Nature Calls 2021-07-06 Ace Ventura - Pet Detective 2021-07-06 Star Wars: The Bad Batch - 1st Season EP10 2021-07-02 Lupin 1st Season EP 4,5 2021-06-30 Loki 1st Season EP 3 2021-06-29 Star Wars: The Bad Batch - 1st Season EP9 2021-06-25 Always 2021-06-23 Lupin 1st Season EP 2,3 2021-06-23 Loki 1st Season EP 2 2021-06-22 Jack Ryan - 2nd Season EP 7,8 2021-06-22 Star Wars: The Bad Batch - 1st Season EP8 2021-06-18 Astérix - The Mansion of the Gods 2021-06-17 Lupin 1st Season EP 1 2021-06-16 Wandavision 1st Season EP 9 2021-06-16 Loki 1st Season EP 1 2021-06-15 Jack Ryan - 2nd Season EP 5,6 2021-06-15 Star Wars: The Bad Batch - 1st Season EP7 2021-06-11 In the Heights 2021-06-11 Wandavision 1st Season EP 7,8 2021-06-09 Jack Ryan - 2nd Season EP 3,4 2021-06-08 Star Wars: The Bad Batch - 1st Season EP6 2021-04-06 Conjuring : The Devil Made Me Do It 2021-06-04 Wandavision 1st Season EP 5,6 2021-06-02 Jack Ryan - 2nd Season EP 1,2 2021-06-01 Star Wars: The Bad Batch - 1st Season EP5 2021-05-28 Cruella 2021-05-28 Star Wars: The Clone Wars S07 EP 9,10,11,12 2021-05-27 Wandavision 1st Season EP 3,4 2021-05-26 Get Him to the Greek 2021-05-25 Jack Ryan 1st Season EP 7,8 2021-05-25 Star Wars: The Bad Batch -
Armored Fighting Vehicals Preserved in the United States
The USA Historical AFV Register Armored Fighting Vehicles Preserved in the United States of America V3.1 20 May 2011 Neil Baumgardner with help from Michel van Loon For the AFV Association 1 TABLE OF CONTENTS INTRODUCTION................................................................................................ 3 ALABAMA.......................................................................................................... 5 ALASKA............................................................................................................. 12 ARIZONA...........................................................................................................13 ARKANSAS........................................................................................................ 16 CALIFORNIA......................................................................................................19 Military Vehicle Technology Foundation................................................. 27 COLORADO........................................................................................................ 36 CONNECTICUT...................................................................................................39 DELAWARE........................................................................................................ 41 DISTRICT OF COLUMBIA................................................................................... 42 FLORIDA.......................................................................................................... -
HI 408 War in Film and Literature
HI 408 War in Film and Literature Cathal J. Nolan Associate Professor of History Executive Director, International History Institute Combat, killing, suffering, death. This course explores these vivid human experiences through great, and lesser, works of film and literature. Topics range widely, from medieval Japan to Africa, the Americas and Europe, the two 20th century world wars and various “small wars” of the 19th through 21st centuries. W e explore "the angle of vision" problem: who should we trust more, eye-witness accounts of war, great poets and novelists, modern film-makers, or military and other historians? W ho gets us closest to the "truth" about war as a fundamental element of the human experience and condition? Can we draw general conclusions about the experience of war? Or do we falsely impose our own ideas on history? Note: The course is thematic rather than narrative. Some of you will find it necessary to do extra reading on the general history of war, or reading that situates specific wars in overarching patterns of military and world history. I will post a comprehensive reading list to Blackboard. On the course site are additional features, from photos and music files to videos, to still and animated maps. Administrative Information Office hours: Tuesdays & Thursdays 2:00-3:00 pm. Thursday 11:00-12:00 in B-13, 725 Commonwealth Avenue. Phone: (617) 353-1165 e-mail: [email protected] Email is best method of contact. Grading: Attendance and participation is required, including making formal class presentations. C Film review (4-6 pages) 20% Due February 23 C Book review (6-8 pages) 20% Due March 23 C Research paper (15-18 pages) 40% Due April 20 C Participation 20% Includes reports to class In your research paper you must engage the main historical issues but also how your chosen topic is represented or misrepresented in different media. -
Four Star Films, Box Office Hits, Indies and Imports, Movies A
Four Star Films, Box Office Hits, Indies and Imports, Movies A - Z FOUR STAR FILMS Top rated movies and made-for-TV films airing the week of the week of Nov 15 - 21, 2020 Dances With Wolves (1990) Encore Tues. 2:42 a.m. Encore Tues. 1:42 p.m. The Dark Knight (2008) UNIMAS Sun. 4 p.m. KFTR Sun. 7:30 p.m. The Deer Hunter (1978) Showtime Tues. 2 p.m. Dr. Strangelove Or: How I Learned to Stop Worrying and Love the Bomb (1964) TCM Sat. 1:15 p.m. The Gay Divorcee (1934) TCM Sun. 5 a.m. Goldfinger (1964) BBC America Fri. 5:30 p.m. Gunga Din (1939) TCM Sat. 11 a.m. Intruder in the Dust (1949) TCM Thur. 10:45 p.m. The Maltese Falcon (1941) TCM Tues. 10 a.m. Man on a Tightrope (1953) TCM Fri. 5 p.m. Planet of the Apes (1968) Cinemax Wed. 3:50 a.m. Pulp Fiction (1994) Encore Sun. 11:40 p.m. Encore Mon. 2:55 p.m. Raging Bull (1980) EPIX Thur. 10 p.m. Rocky (1976) KVEA Fri. 7 p.m. Schindler's List (1993) Showtime Fri. 2 a.m. Shane (1953) Encore Tues. 7:19 a.m. The Silence of the Lambs (1991) Sundance Tues. 2:30 p.m. Sundance Wed. 11:30 a.m. La Strada (1954) TCM Fri. 9 p.m. Terminator 2: Judgment Day (1991) IFC Mon. 11:30 a.m. IFC Tues. 8 a.m. BBC America Tues. 8 p.m. BBC America Wed. 5 p.m. -
Preserving the Samurai Tradition in Edward Zwick's
PRESERVING THE SAMURAI TRADITION IN EDWARD ZWICK’S THE LAST SAMURAI (2003): A SOCIOLOGICAL APPROACH Research Paper Submitted as a Partial Fulfillment of the Requirement for Getting Bachelor Degree of Education in English Department Compiled By : KARTIKA ADIANTI RUHMANA A320060035 ENGLISH DEPARTMENT TEACHING AND EDUCATION FACULTY MUHAMMADIYAH UNIVERSITY OF SURAKARTA 2010 CHAPTER I INTRODUCTION In this chapter the researcher will present about background of the study, literature review, problem statement, limitation of the study, objectives of the study, and benefits of the study, theoretical approach, research method, and research organization. A. Background of the Study Literary works have given valuable contribution for the world of movie. Many directors get the idea of movie from novel. A play or drama offers another classical literary form that has continued to evolve over the years. It is also “The Last Samurai (2003).” While Japan undergoes tumultuous transition to a more Westernized society in 1876-77, The Last Samurai (2003) gives epic sweep to an intimate story of cultures at a crossroads. In America, tormented Civil War veteran Capt. Nathan Algren (Tom Cruise) is coerced by a mercenary officer (Tony Goldwyn) to train the Japanese Emperor's troops in the use of modern weaponry. Opposing this "progress" is a rebellion of samurai warriors, holding fast to their traditions of honor despite strategic disadvantage. As a captive of the samurai leader (Ken Watanabe), Algren learns, appreciates, and adopts the samurai code, switching sides for a climactic battle that will put everyone's honor to the ultimate test. This makes director Edward Zwick’s entire noble epic eminently worthwhile, even if its Hollywood trappings (including an all-too- 1 2 conventional ending) prevent it from being the masterpiece that Zwick and screenwriter John Logan clearly wanted it to be.