MOB-#17 HED: the Untouchables (TV Series) DEK: Episodic
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PUNKS! TOPICALITY and the 1950S GANGSTER BIO-PIC CYCLE
cHAPTER 6 PUnKs! TOPIcALItY AnD tHe 1950s gANGSTER BIo-PIc cYcLe ------------------------------- PeteR stAnfield “This is a re-creation of an era. An era of jazz Jalopies Prohibition And Trigger-Happy Punks.” — Baby Face Nelson this essay examines a distinctive and coherent cycle of films, pro- duced in the late 1950s and early 1960s, which exploited the notoriety of Prohibition-era gangsters such as Baby Face Nelson, Al Capone, Bonnie Parker, Ma Barker, Mad Dog Coll, Pretty Boy Floyd, Machine Gun Kelly, John Dillinger, and Legs Diamond. Despite the historical specificity of the gangsters portrayed in these “bio-pics,” the films each display a marked interest in relating their exploits to contemporary topical con- cerns. Not the least of these was a desire to exploit headline-grabbing, sensational stories of delinquent youth in the 1950s and to link these to equally sensational stories of punk hoodlums from 1920s and 1930s. In the following pages, some of the crossovers and overlaps between cycles of juvenile delinquency films and gangster bio-pics will be critically eval- uated. At the centre of analysis is the manner in which many of the films in the 1950s bio-pic gangster cycle present only a passing interest in pe- riod verisimilitude; producing a display of complex alignments between the historical and the contemporary. 185 peter stanfield DeLInQUENTS, gANGSTERs, AnD PUnKs In the 1950s, the representation of gangsters and of juvenile delinquents shared a common concern with explaining deviancy in terms of a rudi- mentary psychology, -
Horror, Crime, and War: Some Comment on the Films of Brian De Palma, 1980-1989
FILMHISTORIA Online Vol. 31, núm. 1 (2021) · ISSN: 2014-668X Horror, Crime, and War: Some Comment on the Films of Brian De Palma, 1980-1989 ROBERT J. CARDULLO University of Michigan Abstract This review-essay revisits four films by Brian De Palma made between 1980 and 1989—Dressed to Kill, Scarface, The Untouchables, and Casualties of War—in an attempt to reconsider the most successful decade of De Palma’s career and at the same time to counter the received wisdom that he is somehow a “great” or “visionary” director. In fact, De Palma has built his career largely on the imitation of old movies, usually by Alfred Hitchcock, beginning with his very first film, Murder à la Mod (1968), and extending all the way through to Passion (2012). Keywords: Brian De Palma, Dressed to Kill, Scarface, The Untouchables, Casualties of War, American cinema. Resumen Este ensayo-retrospectiva revisita cuatro películas de Brian De Palma realizadas entre 1980 y 1989 —Dressed to Kill, Scarface, The Untouchables y Casualties of War— en un intento de valorar la década más exitosa de la carrera de De Palma en la que se deposita toda la sabiduría recibida del de alguna manera, uno de los grandes directores y un "visionario". De hecho, De Palma ha construido su carrera en gran parte sobre la imitación de películas clásicas, generalmente de Alfred Hitchcock, comenzando con su primera película, Murder à la Mod (1968), y extendiéndose hasta Passion (2012). Palabras clave: Brian De Palma, Dressed to Kill, Scarface, The Untouchables, Casualties of War, Cine norteamericano. Introduction I’d like to begin this review-essay with what, by now, sadly, is the received wisdom on Brian De Palma, from none other than Robin Wood: The conventional dismissal of Brian De Palma—that he is a mere “Hitchcock imitator”—[is] certainly unjust . -
Αφηγηση Και Εστιαση Στισ Επικιν∆Υνεσ Σχεσεισ Του Choderlos De Laclos Kai Τισ Τεσσερισ Κινηματογραφικεσ Μεταφορεσ Του Μυθιστορηματοσ
ΑΦΗΓΗΣΗ ΚΑΙ ΕΣΤΙΑΣΗ ΣΤΙΣ ΕΠΙΚΙΝ∆ΥΝΕΣ ΣΧΕΣΕΙΣ ΤΟΥ CHODERLOS DE LACLOS KAI ΤΙΣ ΤΕΣΣΕΡΙΣ ΚΙΝΗΜΑΤΟΓΡΑΦΙΚΕΣ ΜΕΤΑΦΟΡΕΣ ΤΟΥ ΜΥΘΙΣΤΟΡΗΜΑΤΟΣ Της ∆έσποινας Κακλαµανίδου ∆ιδακτορική διατριβή που υποβλήθηκε στο Τµήµα Αγγλικής Γλώσσας και Φιλολογίας, της Φιλοσοφικής Σχολής του Αριστοτελείου Πανεπιστηµίου Θεσσαλονίκης, Ελλάδα Η διατριβή ολοκληρώθηκε σύµφωνα µε τις απαιτήσεις του διπλώµατος του ∆ιδάκτορα Φιλοσοφίας 2005 2 ΠΕΡΙΕΧΟΜΕΝΑ ΠΡΟΛΟΓΟΣ ......1 1. ΜΕΤΑΦΟΡΑ ΜΥΘΙΣΤΟΡΗΜΑΤΩΝ ΣΤΟΝ ΚΙΝΗΜΑΤΟΓΡΑΦΟ 1.1. Εισαγωγή ......6 1.2. Σχέσεις µεταξύ κινηµατογράφου-λογοτεχνίας ......12 1.2.1. ∆ιαφορές µεταξύ κινηµατογράφου-λογοτεχνίας ......13 1.2.2. Οπτική γωνία ......28 1.3. Σύντοµη ιστορική αναδροµή µεταφοράς µυθιστορηµάτων στον κινηµατογράφο ......30 1.4. Μεταφορά µυθιστορηµάτων στον κινηµατογράφο ......33 1.5. Σοβαρή και µαζική τέχνη ......40 2. ΑΦΗΓΗΣΗ – ΕΣΤΙΑΣΗ: ΠΟΙΟΣ ΜΙΛΑ (ΑΦΗΓΗΤΗΣ) – ΠΟΙΟΣ ΒΛΕΠΕΙ (ΕΣΤΙΑΣΤΗΣ); 2.1. Εισαγωγή ......43 2.2. Η αφηγηµατολογική προσέγγιση των Greimas και Genette ......45 2.3. Αφηγητής και εστιαστής στη λογοτεχνία ......50 2.4. Αφήγηση και εστίαση στον κινηµατογράφο ......59 2.5. Επιλογή θεωρητικού εργαλείου ......67 3. ΕΠΙΛΟΓΗ ΚΕΙΜΕΝΩΝ 3.1. Εισαγωγή ......70 3.2. Παρατηρήσεις µε βάση το corpus ......72 3.3. Κριτήρια επιλογής του έργου του Laclos ......79 4. ΟΙ ΕΠΙΚΙΝ∆ΥΝΕΣ ΣΧΕΣΕΙΣ: ΤΟ ΜΥΘΙΣΤΟΡΗΜΑ 4.1. Choderlos de Laclos (1741-1803) και η γαλλική κοινωνία του . 18ου αιώνα .....86 4.2. Η πορεία των Επικίνδυνων Σχέσεων ......90 4.3. Σύντοµη περίληψη των Επικίνδυνων Σχέσεων ......95 4.4. Η χρήση των επιστολών ......96 4.5. Ανάλυση της Γραµµατικής των Επικίνδυνων Σχέσεων: ......101 Πρόσωπα ......107 4.5.1. Συνταγµατική ανάλυση των Επικίνδυνων Σχέσεων . 4.5.2. Τα αφηγηµατικά προγράµµατα των πρωταγωνιστών των .....125 Επικίνδυνων Σχέσεων ......129 4. 6. Αφήγηση και εστίαση στις Επικίνδυνες Σχέσεις ......133 ......144 4.6.1. -
The Guy Mckone Collection at the TIFF Film Reference Library
CATALOGUING A MAN’S LOVE OF MID TO LATE 20th CENTURY POSTERS The Guy McKone Collection at the TIFF Film Reference Library By Sasha Danielle Blais, Honours BA Near Eastern and Classical Archaeology, Wilfrid Laurier University, 2014 A Thesis presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Arts in the Program of Film and Photographic Preservation and Collections Management Toronto, Ontario, Canada, 2016 © Sasha Danielle Blais 2016 I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my thesis may be made electronically available to the public. ii Cataloguing a Man’s Love of Mid to Late 20th Century Posters: The Guy McKone Collection at the TIFF Film Reference Library Sasha Danielle Blais Master of Arts, Film & Photographic Preservation and Collections Management, Fall 2016 Ryerson University, Toronto, Ontario, Canada Abstract Despite the renewed interest in ephemera, there is limited research available on film ephemera. A survey of current literature shows there is a clear lack of work being done to study and preserve this material in public institutions. This thesis looked at the management and care of ephemera collections, specifically poster collections. -
Crime Wave for Clara CRIME WAVE
Crime Wave For Clara CRIME WAVE The Filmgoers’ Guide to the Great Crime Movies HOWARD HUGHES Disclaimer: Some images in the original version of this book are not available for inclusion in the eBook. Published in 2006 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com In the United States and Canada distributed by Palgrave Macmillan, a division of St. Martin’s Press, 175 Fifth Avenue, New York NY 10010 Copyright © Howard Hughes, 2006 The right of Howard Hughes to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. The TCM logo and trademark and all related elements are trademarks of and © Turner Entertainment Networks International Limited. A Time Warner Company. All rights reserved. © and TM 2006 Turner Entertainment Networks International Limited. ISBN 10: 1 84511 219 9 EAN 13: 978 1 84511 219 6 A full CIP record for this book is available from the British Library A full CIP record for this book is available from the Library of Congress Library of Congress catalog card: available Typeset in Ehrhardt by Dexter Haven Associates Ltd, London Printed and bound in Great Britain by TJ International, -
Darum Gangsterfilme Beim Filmpodium
Darum Gangsterfilme beim Filmpodium Autor(en): Uhlmann, Bernhard Objekttyp: Article Zeitschrift: Filmbulletin : Zeitschrift für Film und Kino Band (Jahr): 24 (1982) Heft 127 PDF erstellt am: 29.09.2021 Persistenter Link: http://doi.org/10.5169/seals-867686 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Filmbulletin 12*7 / eins / die Erste DARUM GANGSTERFILME BEIM FILMPODIUM Das Filmpodium zeigt filmhistorische Zyklen, nicht nur zu Regisseuren, einem Schauspieler oder einem Land, sondern auch zu Filmgenres - wie etwa zum Film Noir oder zum Film im Film, zu denen wir bereits umfangreichere Programme gestaltet haben - weil wir in Zürich keine Cinémathèque haben, wo solches zu sehen wäre. -
Filmografía Y Bibliografía Del Cine Negro Americano (19301960)
13/3/2015 Sánchez Noriega, José Luis (1999): Filmografía y bibliografía del cine negro americano (19301960). Revista Latina de Comunicación Social, 24. Ad by LizardSales | Close Revista Latina de Comunicación Social 24 – diciembre de 1999 Edita: LAboratorio de Tecnologías de la Información y Nuevos Análisis de Comunicación Social DEPÓSITO Legal: TF13598 / ISSN: 11385820 Año 2º – Director: Dr. José Manuel de Pablos Coello, catedrático de Periodismo Facultad de Ciencias de la Información: Pirámide del CAMPUS de Guajara Universidad de La Laguna 38200 La Laguna (Tenerife, Canarias; España) Teléfonos: (34) 922 31 72 31 / 41 Fax: (34) 922 31 72 54 Filmografía y bibliografía del cine negro americano (19301960) (5.679 palabras 26 + 31 páginas) Dr. José Luis Sánchez Noriega © [email protected] La actualidad del cine negro queda patente con el éxito de crítica y de público de obras recientes como CASINO (Martin Scorsese, 1995), La brigada del sombrero (Lee Tamahori, 1996), Al caer el sol (Robert Benton, 1996) o Donnie Brasco (Mike Newell, 1996). Hace unos meses han aparecido dos libros que se ocupan de este género y ofrecen una selección de un centenar de películas: El cine negro en 100 películas de Antonio Santamarina (Alianza, Madrid, 1999) y Obras maestras del cine negro (Mensajero, Bilbao, 1998), de quien firma estas líneas. ?Qué interés tiene el cine negro clásico para que se vuelva sobre él? Probablemente el rasgo definitivo que caracteriza el cine negro sea una visión dual de lo real, la consideración numénica de que por debajo del ORDEN aparente existe una realidad de mayor calado y más importante que tiene un talante sustancialmente conflictivo. -
Media, Popular Culture, and the American Century
media, popular culture, and the american century Edited by kingsley bolton and jan olsson den här boken är utgiven med en creative commons-licens: Erkännande, Icke-kommersiell, Inga bearbetningar 3.0. media, popular culture, and the american century Edited by kingsley bolton and jan olsson national library of sweden p. o. box 5039, 102 41 stockholm, sweden ©the authors & national library of sweden 2010 designed by jens andersson/www.bokochform.se printed in sweden by fälth & hässler, 2010 issn 1654-6601 isbn 978-0-86196-698-1 MEDIEHISTORISKT ARKIV 20 contents 7 introduction: Jan Olsson and Kingsley Bolton (eds.) mediated america: americana as hollywoodiana part 1: cinema and americanization 35 Jan Olsson, italian marionettes meet cinematic modernity 62 Joel Frykholm, “a red-blooded romance”; or, americanizing early multi-reel feature cinema: the case of the spoilers 101 Meredith C. Ward, song of the sonic body: noise, the audience, and early american moving picture culture 125 Kingsley Bolton, constructing the global vernacular: american english and the media part 2: americans at the margins 155 Esther Sonnet, you only live once: repetitions of crime as desire in the films of sylvia sidney, 1930–1937 185 Peter Stanfield, punks! topicality and the 1950s gangster bio-pic cycle 216 Ann-Kristin Wallengren, importing evil: the american gangster, swedish cinema, and anti-american propaganda part 3: american dreams/american nightmares 227 Corrado Neri, sun yu and the early americanization of chinese cinema 249 Gregory Lee, if america were really china or how christopher columbus discovered asia 270 Michael Renov, civil rights on the screen part 4: america goes digital 285 Lisa Parks, goodbye rabbit ears: visualizing and mapping the u.s. -
Filmografía Y Bibliografía Del Cine Negro Americano (1930-1960)
Sánchez Noriega, José Luis (1999): Filmografía y bibliografía del cine negro americano (1930-1960). Revista Latina de Comunicación Social, 24. Revista Latina de Comunicación Social 24 – diciembre de 1999 Edita: LAboratorio de Tecnologías de la Información y Nuevos Análisis de Comunicación Social Depósito Legal: TF-135-98 / ISSN: 1138-5820 Año 2º – Director: Dr. José Manuel de Pablos Coello, catedrático de Periodismo Facultad de Ciencias de la Información: Pirámide del Campus de Guajara - Universidad de La Laguna 38200 La Laguna (Tenerife, Canarias; España) Teléfonos: (34) 922 31 72 31 / 41 - Fax: (34) 922 31 72 54 Filmografía y bibliografía del cine negro americano (1930-1960) (5.679 palabras - 26 + 31 páginas) Dr. José Luis Sánchez Noriega © [email protected] La actualidad del cine negro queda patente con el éxito de crítica y de público de obras recientes como Casino (Martin Scorsese, 1995), La brigada del sombrero (Lee Tamahori, 1996), Al caer el sol (Robert Benton, 1996) o Donnie Brasco (Mike Newell, 1996). Hace unos meses han aparecido dos libros que se ocupan de este género y ofrecen una selección de un centenar de películas: El cine negro en 100 películas de Antonio Santamarina (Alianza, Madrid, 1999) y Obras maestras del cine negro (Mensajero, Bilbao, 1998), de quien firma estas líneas. ?Qué interés tiene el cine negro clásico para que se vuelva sobre él? Probablemente el rasgo definitivo que caracteriza el cine negro sea una visión dual de lo real, la consideración numénica de que por debajo del orden aparente existe una realidad -de mayor calado y más importante- que tiene un talante sustancialmente conflictivo. -
Crimen O Suicidio?
cabalgada de los malditos, La - A Time for Killing (1967) Crimen o suicidio? - Grissly's millions (1945) Cabalgando hacia la muerte (El Zorro) - L'ombra di Zorro (1962) Cabalgando sobre un tigre - He Who Rides a Tiger (1965) Caballería del imperio (modelo 1) - Caballería del imperio (1942) Caballería del imperio (modelo 2) - Caballería del imperio (1942) Caballero a la medida - Caballero a la medida (1953) caballero andaluz, Un - Un caballero andaluz (1954) caballero de Gascuña, El - Le chevalier de Pardaillan(1962) caballero de la banda negra, El - Giovanni dalle bande nere (1958) caballero de los cien rostros, El - Il cavaliere dai cento volti(1960) caballero del Mississippi, El (modelo 1) - The Mississippi Gambler (1953) caballero del Mississippi, El (modelo 2) - The Mississippi Gambler (1953) caballero del rey, El - Le capitan (1946) caballero en la noche, Un - A Gentleman After Dark (1942) caballero enmascarado, El - The Highwayman (1951) caballero famoso, Un - Un caballero famoso (1942) caballero misterioso, El - Il cavaliere misterioso (1948) caballero negro, El - The Black Knight (1954) caballero negro, El - Marco Visconti (1941) Caballero por un día - White Tie and Tails (1946) caballero sin ley, El - Le avventure di Mandrin (1952) caballeros del botón de ancla, Los - Los caballeros del botón de ancla (1974) caballeros del infierno, Los - The Hellfire Club (1961) caballeros del rey Arturo, Los (modelo 1) - Knights of the Round Table (1953) caballeros del rey Arturo, Los (modelo 2) - Knights of the Round Table (1953) caballeros -
Cops and the Counterculture
“THERE’S A MAN WITH A GUN OVER THERE”: COPS AND THE COUNTERCULTURE Terry Moellinger, B.A. Thesis Prepared for the Degree of MASTER OF SCIENCE UNIVERSITY OF NORTH TEXAS December 2001 APPROVED: Olaf Hoerschelmann, Major Professor Harry Benshoff, Committee Member Steve Craig, Committee Member C. Melinda Levin, Graduate Coordinator Alan Albarran, Chair, Department of Radio, Television, Film C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Moellinger, Terry, There’s A Man With A Gun Over There: Cops And The Counterculture, Master of Science, December 2001, 304 pp., 2 tables, references, 236. By 1960, television advertisers recognized the economic potential of American youth, and producers were expected to develop programs to attract them, while still maintaining appeal for the older audience members. This task was to prove difficult as the decade wore on. While continuing to link the nation’s cold war concerns to the portrayal of good and evil, some shows, like 77 Sunset Strip, and The Mod Squad, explored alternative lifestyles, but still accepted American values. As the 1960s developed, crime programs continued to promote American hegemony but became increasingly more open to alternative reading strategies. This study examines the strategies developed to draw a youth audience to 1960s crime programs, while also supporting the dominant ideology of American society. Copyright 2001 by Terry Moellinger ii TABLE OF CONTENTS Page LIST OF TABLES ……………………………………………………….. v Chapter 1. “THERE’S A MAN WITH A GUN OVER THERE”: COPS AND THE COUNTERCULTURE………………………………….. 1 The Subculture and the Media The Crime Show Genre Ritual Approach Aesthetic Approach Ideological Approach Reading the Text of Police and Detective Programs Limitations and Outline of the Study 2. -
Read Ebook {PDF EPUB} Untouchable by Kitty Burroughs Untouchable
Read Ebook {PDF EPUB} Untouchable by Kitty Burroughs Untouchable. Untouchable is the seventh story in the Timely Tales series of stand-alone short stories, which highlight various characters in the Posterchildren universe. It was written by Kitty Burroughs, with cover artwork by Margaret Houang. The story revolves around Vee Kim. It was released on February 17, 2014. Plot Summary. Vee Kim prides herself on doing the right thing. As the lieutenant of the Valkyrie Squad, she is charged with protecting those who cannot protect themselves. She may have started out on the wrong side of the law, but that only means that she has an intimate understanding of the situations and circumstances that lead people to criminal activity. Now that she is a Collector, she holds herself to a higher standard. Of all her squadmates, she is the one most known for not letting the perp get away. Except for that one time, with that one boy. Once upon a time, Vee Kim made an exception for a blue-eyed boy who’d been kind to her when she’d needed it the most. She let him go, but he keeps coming back. Untouchable. Untouchable is the seventh story in the Timely Tales series of stand-alone short stories, which highlight various characters in the Posterchildren universe. It was written by Kitty Burroughs, with cover artwork by Margaret Houang. The story revolves around Vee Kim. It was released on February 17, 2014. Plot Summary. Vee Kim prides herself on doing the right thing. As the lieutenant of the Valkyrie Squad, she is charged with protecting those who cannot protect themselves.