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University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies The Representation of Hispanic masculinity in US cinema 1998-2008: Genre, Stardom and Machismo by Victoria Lynn Kearley Thesis for the degree of Doctor of Philosophy May 2014 UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies Thesis for the degree of Doctor of Philosophy ABSTRACT The Representation of Hispanic masculinity in US cinema 1998-2008: Genre, Stardom and Machismo Victoria Lynn Kearley This thesis examines how the conventions of four distinct genres, the star personas of two key Hispanic male stars and conceptions of Hispanic men as 'macho' intersected in constructing images of Hispanic masculinity in Hollywood between the years 1998 and 2008. The work makes an original contribution to knowledge as the first extensive study of Hispanic masculinity in contemporary Hollywood and affording new insights into the way in which genre conventions and star personas contributed to these representations.
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Out-Siders: Auteurs in Place by Nathan B. Koob a Dissertation
Out-siders: Auteurs in Place by Nathan B. Koob A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Screen Arts and Cultures) in the University of Michigan 2015 Doctoral Committee: Professor Caryl Flinn, Co-Chair Associate Professor Daniel Chilcote Herbert, Co-Chair Emeritus Professor Richard Abel Distinguished Professor Lucy Fischer, University of Pittsburgh Professor Johannes von Moltke © Nathan B. Koob 2015 For My Family: Elise, Mom, Dad, Lisa, Crew Whose love and support never wavers and is always in place. ii ACKNOWLEDGEMENTS I imagine that every dissertation feels like a journey and in this case I feel like it is more a descriptor than a metaphor at this point given the amount of travel and discovery involved. I am overwhelmed by just thinking about the many people who have helped me to reach this place where I am at and I am so incredibly grateful. I would be remiss to not start at the beginning and mention my Senior High School English teacher who first began to teach me that cinema was something I could both love and engage with intellectually. I will never forget that John Erwin started me on this path by loaning me great films and being kind enough to sit down and talk with me about them. In my undergrad at Oklahoma State University I was lucky to have a mentor who understood my passion for the subject of media studies and how best to direct it. Hugh Manon was extremely important to my early development as a scholar and encouraging me to go to graduate school.
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The Adventures of Antoine Doinel
The Adventures of Antoine Doinel Dir: Francois Truffaut, France, 1959, 1962, 1968, 1970 and 1979 A review by Richard Harrison, Norwich City College, UK May 5th, 2004 marks the sixtieth birthday of Jean-Pierre Leaud, perhaps the most famous juvenile in world cinema history. As Antoine Doinel, his rise from pre-pubescent adolescent to fully grown man across five Francois Truffaut films between 1959 and 1979 is chronicled in a luxurious five DVD set from the Criterion Collection. The 400 Blows (1959), Antoine And Colette (1962), Stolen Kisses (1968), Bed And Board (1970) and Love On The Run (1979) provide not only a detailed insight into the cycle’s eponymous star but also a semi- autobiographical portrait of their director. The five DVD set is well packaged, with each film having been painstakingly remastered. The picture quality is outstanding, and reveals the true beauty of the films (compare the films with the short clips that appear in the television show extracts). Antoine and Colette appears on the same disc as the The 400 Blows which enables the fifth disc to include Les Mistons (1957), a delightful short film which acts as precursor to the Doinel cycle, and a fascinating documentary piece Working With Francois Truffaut: Claude de Givray and Bernard Revon (1986). All the discs have extras of some sort, ranging from Brian Stonehill’s superb, friendly commentary that accompanies the The 400 Blows to newsreel footage of the 1959 and 1968 Cannes Film Festivals, and numerous television interviews with Francois Truffaut and Jean- Pierre Leaud. An informative and nicely illustrated seventy-two page booklet completes what is an essential purchase for any film enthusiast, and reveals why Truffaut’s premature death in 1984 was such a catastrophic loss, not only for the world in general but for cinema in particular.
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Friday, September 19, 2003
Rose-Hulman Institute of Technology Rose-Hulman Scholar The Rose Thorn Archive Student Newspaper Fall 9-19-2003 Volume 39 - Issue 02 - Friday, September 19, 2003 Rose Thorn Staff Rose-Hulman Institute of Technology, [email protected] Follow this and additional works at: https://scholar.rose-hulman.edu/rosethorn Recommended Citation Rose Thorn Staff, "Volume 39 - Issue 02 - Friday, September 19, 2003" (2003). The Rose Thorn Archive. 252. https://scholar.rose-hulman.edu/rosethorn/252 THE MATERIAL POSTED ON THIS ROSE-HULMAN REPOSITORY IS TO BE USED FOR PRIVATE STUDY, SCHOLARSHIP, OR RESEARCH AND MAY NOT BE USED FOR ANY OTHER PURPOSE. SOME CONTENT IN THE MATERIAL POSTED ON THIS REPOSITORY MAY BE PROTECTED BY COPYRIGHT. ANYONE HAVING ACCESS TO THE MATERIAL SHOULD NOT REPRODUCE OR DISTRIBUTE BY ANY MEANS COPIES OF ANY OF THE MATERIAL OR USE THE MATERIAL FOR DIRECT OR INDIRECT COMMERCIAL ADVANTAGE WITHOUT DETERMINING THAT SUCH ACT OR ACTS WILL NOT INFRINGE THE COPYRIGHT RIGHTS OF ANY PERSON OR ENTITY. ANY REPRODUCTION OR DISTRIBUTION OF ANY MATERIAL POSTED ON THIS REPOSITORY IS AT THE SOLE RISK OF THE PARTY THAT DOES SO. This Book is brought to you for free and open access by the Student Newspaper at Rose-Hulman Scholar. It has been accepted for inclusion in The Rose Thorn Archive by an authorized administrator of Rose-Hulman Scholar. For more information, please contact [email protected]. THE ROSE-HULMAN INSTITUTE OF TECHNOLOGY TERRE HAUTE, INDIANA Friday, September 19, 2003 Volume 39, Issue 2 SGA - “Secret” Government Association direction of SGA. SGA currently the Senators channel decisions Stuart Nash sponsors over 25 clubs, giving from their constituents to Staff Writer ﬁ nancial advice and approval the governing body, much for funds so that these clubs like how a real parliamentary ere at Rose, we work can carry out their events.
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Attila Szalay
ETHAN MANIQUIS EDITOR FEATURES: YEAR OF THE BEETLE C. Strange Films LLC Prod: Creighton Vero, Noona Yoon Dir: Creighton Vero GULLY Reset Content/Sums Film Prod: Alex Georgiou, Ben Pugh Dir: Elderkin Nabil *Official Selection – Narrative Competition – Tribeca Film Festival, 2019 THE ROW Emmett/Furla/Oasis Prod: Randall Emmett, George Furla Dir: Matty Beckerman DISTORTION StageCraft Productions Prod: Tonya Cannon Dir: Mayon Denton FERAL Halcyon Prod: John Landolfi, Mark Young Dir: Mark Young HANDS OF STONE El Fuego Films Prod: Carlos Garcia de Paredes, Dir: Jonathan Jakubowicz Jonathan Jakubowicz, Jay Weisleder THE BADGER GAME Independent Prod: R. J. Gallentine, Joshua Wagner Dir: Joshua Wagner, Thomas Zambeck PANIC 5 BRAVO Videocine Prod: Kuno Becker, Pablo Martinez de Velasco, Dir: Kuno Becker Fernando Perez Gavilan, Jorge Levy SHORTS Warner Bros. Prod: Robert Rodriguez, Alvaro Rodriguez Dir: Robert Rodriguez THE OTHER END OF THE LINE MGM Prod: Ashok Amritraj, Pete Chiarelly, Dir: James Dodson Elizabeth Ingold PLANET TERROR Dimension Flims Prod: Elizabeth Avellan, Robert Rodriguez, Dir: Robert Rodriguez Quentin Tarantino GRINDHOUSE Dimension Films Prod: Robert Rodriguez, Rob Zombie, Dir: Robert Rodriguez, Edgar Wright, Jeff Rendell Quentin Tarantino BEHIND ENEMY LINES II: AXIS OF EVIL 20th Century Fox Prod: James Dodson, Roee Sharon Dir: James Dodson SECUESTRO EXPRESS Mirimax Prod: Sandra Condito, Salomon Jakubowicz, Dir: Jonathan Jakubowicz Jonathan Jakubowicz 405 S Beverly Drive, Beverly Hills, California 90212 - T 310.888.4200 - F
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El Mariachi Download 720P
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Masculinities in Robert Rodríguez's Mexico Trilogy
iMex. México Interdisciplinario/Interdisciplinary Mexico I, 2, verano/summer 2012 Masculinities in Robert Rodríguez’s Mexico Trilogy Alexandra Simon-López (University of Eastern Finland) 1) Introduction The aim of this article is to deconstructively unveil and critically discuss the various layers of masculinity and the notion of machismo used by Robert Rodríguez in his Mexico Trilogy , which comprises the films El Mariachi (1992), Desperado (1995), and Once upon a time in Mexico (2003). For the theoretical framework, I am interested in the interplay of socio- historical concepts of (Latin American) masculinity and the usage of masculine stereotypes in motion pictures, for which Connell’s (1995 and 2005) theory of hegemonic masculinity and Berg’s (2002) notions on Latin American stereotypes proved applicable. Connell presents hierarchically organised key categories of masculinity in terms of patriarchal power, starting with hegemonic masculinity which guarantees the continuation of men’s dominance over women because it can be perceived as “the pattern of practice (i.e., things done, not just a set of role expectations or an identity)” (Connell and Messerschmidt 2005: 832). According to Bradley (2007: 46), this form of identity is what “we refer to as “macho”: tough, competitive, self-reliant, controlling, aggressive and fiercely heterosexual.” Complicit, marginalized, and subordinate masculinities serve as associated categories, although the main emphasis for the analysis of the selected films will be placed upon hegemonic masculinity. In addition to this, I argue that Connell’s typology needs to be enhanced by including more hybrid types of masculinity as a means of resistance to patriarchal masculinity, as hybridity can be considered a means of “strategic reversal of the process of domination” (Bhabha 1994: 112).
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UNIVERSITY of CALIFORNIA Los Angeles United
UNIVERSITY OF CALIFORNIA Los Angeles United States-Based Latina Producers of Feature Films (1976-Present): The Role of Community, Creativity, and Currency in Synergistic Authorship A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Film and Television by Mirasol Aurelia Riojas 2012 ©copyright by Mirasol Aurelia Riojas 2012 ABSTRACT OF THE DISSERTATION United States-Based Latina Producers of Feature Films (1976-Present): The Role of Community, Creativity, and Currency in Synergistic Authorship by Mirasol Aurelia Riojas Doctor of Philosophy in Film and Television University of California, Los Angeles, 2012 Professor Chon A. Noriega, Chair Latinas’ marginalization within the film industry has been reproduced in the writing of film history as a result of many factors, including (but not limited to) male-centered notions of history and dominant models of authorship that center the director as the principle creative force behind the filmmaking process. Motivated by a commitment to securing Latina filmmakers’ place in film history, this study of U.S.-based Latina producers of Latina/o-themed feature films proposes a “synergistic” model of authorship that makes visible creative contributions of authors who do not occupy designated roles such as “director” or (less so) “writer,” traditionally associated with authorship. Instead, it acknowledges the way numerous creative, institutional, historical, sociological, and economic forces come together to shape a film. ii This dissertation involves
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Robert Rodriguez and the Transformation of a Microbudget
FROM EL MARICHI TO EL REY: ROBERT RODRIGUEZ AND THE TRANSFORMATION OF A MICROBUDGET FILMMAKER INTO A LATINO MEDIA MOGUL By Copyright 2015 Zachary Ingle Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chairperson _______________________________ Tamara Falicov, Ph.D. ______________________________ Michael Baskett, Ph.D. ______________________________ Germaine Halegoua, Ph.D. ______________________________ John Tibbetts, Ph.D. ______________________________ Ben Chappell, Ph.D. Date Defended: April 24, 2015 The Dissertation Committee for Zachary Ingle certifies that this is the approved version of the following dissertation: FROM EL MARICHI TO EL REY: ROBERT RODRIGUEZ AND THE TRANSFORMATION OF A MICROBUDGET FILMMAKER INTO A LATINO MEDIA MOGUL ________________________________ Chairperson Tamara Falicov Date approved: April 24, 2015 ii ABSTRACT Studies based on a director often follow a common model, generally resorting to an overview of that director’s films and examining shared aesthetic qualities and themes. This sort of study was grounded in the auteur theory—following authorship approaches in literature—and was invested in a consistency that justified the place of film authorship as a worthy pursuit in academia. In this study, however, I examine Mexican-American filmmaker Robert Rodriguez through a discursive analysis, unencumbered to textual analysis or even a chronological approach, with a look at the media discourse, Rodriguez’s own writings and interviews, and the pertinent scholarship. His debut award-winning debut feature, El Mariachi (1992), as well as the production diary that would soon follow, Rebel Without a Crew: Or How a 23-Year-Old Filmmaker with $7,000 Became a Hollywood Player inspired a generation of filmmakers into making ultra-low (or microbudget) films.
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JM. Persánch. Laberinto de espejos: estereotipos latinos, blanquitud y memoria colectiva estadounidenses a través de El Mariachi (1992) Procesos Históricos. Revista de Historia y Ciencias Sociales, 34, julio-diciembre, 2018, 17-31. Universidad de Los Andes, Mérida (Venezuela) ISSN 1690-4818. JM. Persánch* [[email protected]] Western Oregon University Estados Unidos de América Resumen Este ensayo tiene por objeto ofrecer respuestas a cuál ha sido el discurso hacia el latino en Estados Unidos. Concretamente, este ensayo se plantea qué revelan los estereotipos acerca de la posición del latino en el imaginario colectivo estadounidense. Con dicho fin, y con la perspectiva que nos ofrecen veinticinco años desde su estreno, este ensayo revisita El Mariachi (1992) de Robert Rodríguez con la intención de ofrecer respuesta a la pregunta planteada rastreando la presencia de estereotipos latinos. Con ello, reflexionaremos sobre la forma en que se invoca la memoria social compartida, se selecciona y se ejecuta el recuerdo cultural en relación con la blanquitud. Palabras clave: El Mariachi (1992); Representación; Cine U.S. latino; Estereotipos latinos; Memoria colectiva; Estudios de género; Estudios de etnicidad; Estudios hispanos de la blanquitud. Abstract Mirrors' Labyrinth: Latino Stereotypes, Whiteness and Collective Memory in El Marianchi. This essay has the goal to offer responses to how the discourse toward Latinos has been in the United States. Specifically, this essay sets out what Latino stereotypes may reveal about their location in the American collective memory. With this objective in mind, and with the perspective that twenty-five years offer to us since the film first came out, the paper revisits Robert Rodríguez‟s El Mariachi (1992) to trace the presence of Latino stereotypes.
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Doctoral Dissertation Template
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE CHARRO: THE TRANSNATIONAL HISTORY OF A CULTURAL ICON A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By GARY MORENO Norman, Oklahoma 2014 CHARRO: THE TRANSNATIONAL HISTORY OF A CULTURAL ICON A DISSERTATION APPROVED FOR THE DEPARTMENT OF HISTORY BY ______________________________ Dr. Sterling Evans, Chair ______________________________ Dr. James Cane-Carrasco ______________________________ Dr. Raphael Folsom ______________________________ Dr. José Juan Colín ______________________________ Mr. Byron Price © Copyright by GARY MORENO 2014 All Rights Reserved. Table of Contents List of Figures .................................................................................................................. vi Abstract ........................................................................................................................ viiiv Introduction ...................................................................................................................... 1 Chapter 1: From Chinaco to Charro: Hombres a caballo in Nineteenth Century Art and Literature .............................................................................................................. 9 Horsemen on Canvas ................................................................................................ 11 Maximilian I of Mexico ............................................................................................ 20 Horsemen
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El Mariachi Trilogy 720P 110
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