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Miradas, Voces, E Imágenes Latinoamericanas
rshll rjevic dres Es un libro que transita por los temas de la identidad, modernidad y transformación social de América Latina, intentando ensanchar la mirada sobre la región al incluir imágenes sobre sus abuelos: el asiático, el indígena, el negro y el blanco e integrando las voces de los poetas, no- velistas y del cronista con el registro filmográfico de los cineastas. Se inicia constatando el cambio profundo que ioerics L está experimentando la sociedad civil latinoamericana, que luego de haber sido históricamente dependiente del Estado y maltratada por el mercado, comienza a tener gees gees una palabra respecto del desarrollo que sería bueno para I sus comunidades. Concluye planteando la necesidad de “Construir territorios sustentables guiados por gobiernos oces E V ciudadanos, dotados de economías competitivas, con comunidades movilizadas por la expansión de las capaci- dades humanas de sus gentes.” irds irds ISBN: 978-607-97331-6-2 Miradas, Voces e Imágenes Latinoamericanas se une a la colección del Libro del Año UNIVA Campus La Piedad cuyos titulos anteriores son: • El Señor de la Piedad Es un libro que transita por los temas de la identidad, Andrés Yurjevic Marshall • Un sueño, una voluntad, un camino modernidad y transformación social de América Latina, • La Purisima, Corazón de la intentando ensanchar la mirada sobre la región al incluir Economista chileno titulado por la identidad piedadense imágenes sobre sus abuelos: el asiático, el indígena, el Universidad de Chile, Magister en Estudios Latinoamericanos por la University of • Antología fotográfica de La Piedad, negro y el blanco e integrando las voces de los poetas, no- Michoacán London, Ph.D. -
Miami Vice: Protecting White America in the 1980S’ in Television and New Media, Vol 10, No 2, 2009, Pp
(This article is a version of ‘Michael Mann’s Miami Vice: Protecting White America in the 1980s’ in Television and New Media, vol 10, no 2, 2009, pp. 195-215.) Michael Mann’s Miami Vice: Protecting White America in the 1980s Miami Vice ran for five seasons on NBC, from September 1984 to January 1990. However, the first two seasons, when Michael Mann was Executive Producer, are usually considered to be definitive. The later seasons were darker, more cynical, expressing more the mood of a country weighed down by the consequences of Ronald Reagan’s presidency—a soaring national debt coupled with an individualistic ‘greed is good’ mentality and a foreign policy that was increasingly mired in accusations of conspiracy. Certainly the first two seasons were the most popular with the show regularly featuring in the top ten most watched programs up to 1986, according to the Nielsen ratings. Miami Vice compared in popularity with the prime-time soap operas Dallas and Dynasty though regularly beaten by The Cosby Show. Vice was the top rating cop show. It was created by Anthony Yerkovich who had worked on the gritty, New York-based Hill Street Blues. In this article I will argue that Mann’s own worldview, as it can be extrapolated from his films, is central to the conservative vision of Miami Vice. As we shall see, in Mann’s films there is an understanding of the role of law as foundational to the organisation of society. Living outside the law means living in a different world, a world where social institutions such as the family cannot exist. -
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scarface video game pc download Scarface video game pc download. FIFA 1. 7To reach download page dont forget to use Skip. Ad button in right corner up on adfly page . FIFA 1. 7 PC game nos. TEAM download here Download full game here http q. Doc. 9L or http adf. QYKx To fully working game download patch in your game folder and install it FIFA 1. TEAM download here Download patch here http adf. To reach download page dont forget to use SkipAd button in right corner up on adfly page. FIFA 17 PC game nosTEAM download here Download full game here http. Charlie Pierce on all this ESPN nonsense and newspapering and what not is so fantastic and Im bitter we didnt run it. Go check it out. SI. On paper, all three finalist flavors in Lays 2017 Do Us A Flavor potato chip contestCrispy Taco, Fried Green Tomato and Everything Bagelsound pretty. Batman Arkham Knight is a 2015 actionadventure video game developed by Rocksteady Studios. It. QX2a or http q. Doc. 2w. Notes Always run game as Administrator to avoid crashes. This game require all available Windows updates to be installed. REQUIRED SOFTWARE TO PLAY THIS GAME Must install before launch game Direct. X update patch http adf. Microsoft Expression Design Export Svg To Pdf here. E5wv or http q. EjuP4HvMJd4/Vtp5Tj8StkI/AAAAAAAAHiM/CrtnViqelVE/s1600/Scarface%2B- %2BThe%2BWorld%2BIs%2BYours%2B%2Bscreenshot%2B1.jpg' alt='Scarface Pc Game Crack Download' title='Scarface Pc Game Crack Download' />Cp. HM1. Framework for Games http adf. Cib. 4 or http q. -
Representações Cinematográficas Da Máfia Norte-Americana E Suas Relações Com a História
UNIVERSIDADE FEDERAL DE PELOTAS Programa de Pós-Graduação em História Dissertação Representações Cinematográficas da Máfia Norte-Americana e suas relações com a História Vitor Bernardi Bündchen Pelotas, 2015. 2 VITOR BERNARDI BUNDCHEN Representações Cinematográficas da Máfia Norte-Americana e suas relações com a História Dissertação apresentada ao Programa de Pós-Graduação em História da Universidade Federal de Pelotas, como requisito parcial à obtenção do título de Mestre em História. Orientador(a): Prof. Dr. Aristeu Elisandro Machado Lopes Pelotas, 2015 3 4 Data da Defesa: 06/07/2015. BANCA EXAMINADORA: Prof. Dr. Aristeu Elisandro Machado Lopes (UFPel-orientador) Profa. Dra. Larissa Patron Chaves (UFPel) Profa. Dra. Clarice Gontarski Speranza (UFPel) Prof. Dr. Eduardo Ferreira Veras (UFRGS) 5 Ofereço este trabalho aos que por algum momento compartilharam experiências comigo e me tornaram uma pessoa melhor. 6 AGRADECIMENTOS Agradeço aos meus pais, Ivanir e Cátia, que sempre estimularam o meu desenvolvimento como pessoa e são até hoje minhas principais referências. Não tenho palavras para agradecer a dedicação em provir um ambiente saudável de convivência. Eu amo vocês! Ao Programa de Pós-Graduação em História pela oportunidade concedida e aos professores que ministraram as disciplinas do mestrado e contribuíram de forma determinante para a construção de convicções que levarei para toda vida: Ana Inês Klein, Alexandre de Oliveira Karsburg, Sebastião Peres e Larissa Patron Chaves. Aos meus tios, tias, primos e primas, afilhadas, amigos e amigas. A gigantesca família unida não somente pelo sangue, mas pela sintonia. Estaremos sempre juntos. Ao professor Aristeu Elisandro Machado Lopes, pela orientação sempre dedicada, estando de prontidão para ajudar em qualquer situação, tanto na confecção do projeto quanto no desenvolvimento do trabalho ao longo destes dois anos. -
Scarface Now Appears -- in His Killing Wrath
#00766 "Enjoy yourself -- every day above ground is a good day." ANONYMOUS, MIAMI 1981 1 A PROLOGUE 1 crawls up the screen -- with Narrator. NARRATOR In May 1900, Fidel Castro -- in an effort to normalize relations with the Carter Administration -- opened the harbor at Mariel, Cuba with the apparent intention of letting some of his people join their relatives in the United States. Within seventy- two hours, 3,000 U.S. boats were headed for Cuba. In the next few weeks, it became evident that Castro was forcing the boat owners to carry back with them not only their relatives but the dregs of his jail population. 3y the time the port was closed 125,000 'Marielitos' had landed in Florida. An estimated 25,000 had criminal records. This is the story of that minority -- those they call 'Los Bandidos.' The prologue is shredded diagonally by the blade of a stilleto and in the empty black void we: CUT TO Opening Montage - Documentary Footage: 2 THE DISEMBARKATION 2 from the harbor in Mariel, Cuba. Vessels of every nature, waving masses, demonstrations.... ; I I . 3 THE CROSSING 3 7i Sun and storm. , 1 4 THE LANDING - KEY WEST 4 The flag of the United States. Choppers swooping over the ragged coastline of the Keys. Emerald waters dotted with fishing trawlers and pleasure craft, an "America the Beautiful" -type Immigration theme surging over 'this. #02154 2 Rev. 11/22/82 5 THE PROCESSING 5 Long lines. Immigration and Nationalization Officials, customs, Public Health, FBI, Church and Relief Organizations. Babies bawling, arguments over paperwork, refugees being interviewed by TV news, people crying, people eating, families huddled on floors...chaos. -
Gender, Genre, and Seriality in the Wire and Weeds
DEALING WITH DRUGS: GENDER, GENRE, AND SERIALITY IN THE WIRE AND WEEDS By AMY LONG A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2008 1 © 2008 Amy Long 2 ACKNOWLEDGMENTS I would like especially to thank my director, Trysh Travis, for her guidance, encouragement, and support throughout the writing process and my time at the University of Florida as a whole. Additionally, my committee members, Florence Babb and Joseph Spillane, deserve thanks for their participation in the project and particularly for, respectively, allowing me to work out some of the ideas presented here in here in her seminar fall 2007, Sex Love & Globalization, and providing me with useful reference materials and guidance. I would also like to thank LaMonda Horton Stallings for giving me the opportunity to develop substantial portions of my chapter on The Wire in her fall 2007 seminar, Theoretical Approaches to Black Popular Culture. In her spring 2008 seminar, History of Masculinities, Louise Newman also provided me with valuable theoretical resources, particularly with regard to the thesis’ first chapter. Mallory Szymanski, my Women’s Studies colleague, deserves acknowledgement for her role in making the last two years enjoyable and productive, particularly during the thesis writing process. I would also like to thank my parents for their support in all my endeavors. Lastly, my sisters, Beverly and Cassie Long, and friends who are too numerous to name (but know who they are) deserve special acknowledgment for giving me much needed diversions and generally putting up with me during this busy time. -
Paradoks American Dream Pada Tokoh Tony Montana Dalam Film Scarface
PARADOKS AMERICAN DREAM PADA TOKOH TONY MONTANA DALAM FILM SCARFACE Skripsi Sebagai Salah Satu Syarat Mendapatkan Gelar Strata 1 pada Seksi Kajian Budaya Amerika, Jurusan Sastra Inggris Disusun oleh DANI BRAMANTI NIM. A2B 006 024 FAKULTAS ILMU BUDAYA UNIVERSITAS DIPONEGORO SEMARANG 2011 PERNYATAAN Dengan ini saya Dani Bramanti, menyatakan bahwa skripsi ini adalah karya saya sendiri dan belum pernah diajukan sebagai pemenuhan persyaratan untuk memperoleh gelar kesarjanaan strata satu (S1) dari Universitas Diponegoro maupun perguruan tinggi lain. Semua informasi yang dibuat dalam skripsi ini yang berasal dari karya orang lain, baik yang dipublikasikan maupun tidak, telah diberikan penghargaan dengan mengutip nama sumber penulis secara benar dan semua isi skripsi ini sepenuhnya menjadi tanggung jawab saya sebagai penulis. Semarang, November 2011 Penulis, Dani Bramanti NIM. A2B 006 024 ii PERSETUJUAN Disetujui oleh: Dosen Pembimbing, Drs. Sunarwoto, M.S. M.A. NIP. 19480619 198003 1 001 PENGESAHAN Skripsi ini telah disetujui dan disahkan oleh Panitia Ujian Skripsi Jurusan Sastra Inggris Reguler 1, Fakultas Ilmu Budaya, Universitas Diponegoro, pada: Hari : Selasa Tanggal : 27 Desember 2011 Ketua, Dra. Dewi Murni, M.A. NIP. 19491207 197603 2 001 Anggota I Anggota II Drs. Sunarwoto, M.S., M.A. Arido Laksono, S.S., M.Hum. NIP. 19480619 198003 1 001 NIP. 19750711 199903 1 002 MOTTO DAN PERSEMBAHAN I always tell the truth even when I lie (Tony Montana). Skripsiku adalah buah karya kesabaran dalam mengolah kemarahan dan kekalahan, maka kupersembahkan untuk keduanya. KATA PENGANTAR Segala puji bagi Allah SWT, Tuhan semesta alam, atas segala nikmat yang telah kusyukuri maupun yang belum sempat kusyukuri dan atas sumpahNya yang benar bahwa samudra ampunannya sungguh luas dan tak terbatas. -
Culture Cinéma « Scarface » ©
Culture Cinéma « Scarface » Réalisation Brian de Palma Al Pacino Steven Bauer Acteurs principaux Michelle Pfeiffer Mary Elizabeth Mastrantonio Scénario Oliver Stone Décors Ferdinando Scarfiotti Costumes Patricia Norris Photographie Edward Richardson Gerald B. Greenberg & David Montage Ray Musique Giorgio Moroder Production Martin Bregman © http://fr.wikipedia.org/wiki/Scarface_(film,_1983) 1 Culture Cinéma « Scarface » Société(s) de production Universal Pictures Budget 25 millions $ Pays d’origine États-Unis Langue(s) originale(s) Anglaise & Espagnole Format 35 mm Genre drame, film de gangsters Durée 170 minutes États-Unis : 1er décembre Sortie 1983 Scarface est un film de gangsters américain réalisé par Brian de Palma et sorti en 1983 avec Al Pacino et Michelle Pfeiffer, remake actualisé du Scarface de Howard Hawks. Synopsis En 1980, lors de l'exode de Mariel, les États-Unis de Jimmy Carter offrent l'asile politique et le rêve capitaliste américain aux immigrés opposants au communisme que Fidel Castro expulse de Cuba après les avoir dépouillés, mais il en profite également pour se débarrasser des prisonniers de droit commun, dont on estime qu'ils étaient 25 000 parmi les expulsés cubains. Antonio Montana (Al Pacino) dit Tony et son ami Manolo "Manny" Ribera (Steven Bauer), deux petits malfrats cubains issus de la rue, font partie des expulsés et profitent de cette chance pour migrer vers Miami dans l'espoir de faire fortune. À leur arrivée sur le sol américain, ils sont accueillis dans un camp de réfugiés. Manny trouve alors une combine auprès d'un caïd de Miami qui leur propose une carte verte américaine contre un contrat d'assassinat qu'ils honorent en exécutant un ressortissant communiste du camp. -
Humanizing the Gangster: an Examination Into the Character
HUMANIZING THE GANGSTER: AN EXAMINATION INTO THE CHARACTER FROM HAWKS' TO DePALMA'S SCARFACE Nicholas B. Kirby Except where reference is made to the work of others, the work described in this thesis is my own or was done in collaboration with my advisory committee. This thesis does not include proprietary or classified information. ____________________________________ Nicholas B. Kirby Certificate of Approval: ___________________________ ___________________________ Kristen Hoerl George Plasketes, Chair Associate Professor Professor Communication and Journalism Communication and Journalism ___________________________ ___________________________ Hollie Lavenstein George T. Flowers Assistant Professor Interim Dean Communication and Journalism Graduate School HUMANIZING THE GANGSTER: AN EXAMINATION INTO THE CHARACTER FROM HAWKS' TO DePALMA'S SCARFACE Nicholas B. Kirby A Thesis Submitted to the Graduate Faculty of Auburn University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Auburn, Alabama August 9, 2008 HUMANIZING THE GANGSTER: AN EXAMINATION INTO THE CHARACTER FROM HAWKS' TO DePALMA'S SCARFACE Nicholas B. Kirby Permission is granted to Auburn University to make copies of this thesis at its discretion, upon request of individuals or institutions at their expense. The author reserves all publication rights. ______________________________ Signature of Author ______________________________ Date of Graduation iii VITA Nicholas B. Kirby, son of Charles and Phyllis Kirby, was born June 8, 1984, in East Point, Georgia. Nicholas graduated from the Department of Mass Communications and Theatre Arts at the University of West Georgia in 2006 with a Bachelor of Arts degree and a minor in History. Later that year, Nicholas started his two years of study in the Department of Communication and Journalism at Auburn University. -
De Palma's Scarface, Cinema Spectatorship, and the Hip Hop Gangsta As Urban Superhero
SAY HELLO TO MY LITTLE FRIEND: DE PALMA'S SCARFACE, CINEMA SPECTATORSHIP, AND THE HIP HOP GANGSTA AS URBAN SUPERHERO Rob Prince A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2009 Committee: Donald McQuarie, Advisor Priscilla K. Coleman Graduate Faculty Representative Halifu Osumare Awad Ibrahim © 2009 Rob Prince All Rights Reserved iii ABSTRACT Donald McQuarie, Advisor The objective of the study is to intervene in the ongoing discourse that interrogates the relationship between fictional ultraviolent film representations and real life behavior in audiences that these types of films are marketed to. Using a case study approach to apparatus and audience reception theories, the dissertation investigates the significant role Scarface, the 1983 gangster film directed by Brian De Palma, has played in influencing the cultural and social development of young African-American males who live in American inner cities. The study focuses on how the inner city portion of the Scarface audience came to self-identify themselves as “gangstas” (a Hip-hop term for gangster) and why one particular character in the film, a murderous drug dealer, has served as the gangsta role model for heroic behavior for over twenty-five years. The study found that performing the gangsta male identity emotionally satisfies these economic and socially disconnected young men and that this group viewed the violent and illegal behavior in Scarface as