Red Dragon: (Hannibal Lecter) Free
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Les Suites II / the Exorcist III, William Peter Blatty, États-Unis, 1990, 105
Document généré le 1 oct. 2021 14:04 Séquences La revue de cinéma Les Suites II The Exorcist III, William Peter Blatty, États-Unis, 1990, 105 minutes Young Guns II, Geoff Murphy, États-Unis, 1990, 110 minutes The Two Jakes, Jack Nicholson, États-Unis, 1990, 138 minutes Martin Girard et Johanne Larue Numéro 149, novembre 1990 URI : https://id.erudit.org/iderudit/50371ac 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 Girard, M. & Larue, J. (1990). Compte rendu de [Les Suites II / The Exorcist III, William Peter Blatty, États-Unis, 1990, 105 minutes / Young Guns II, Geoff Murphy, États-Unis, 1990, 110 minutes / The Two Jakes, Jack Nicholson, États-Unis, 1990, 138 minutes]. Séquences, (149), 36–39. Tous droits réservés © La revue Séquences Inc., 1990 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/ ETUDE Les Suites II The Exorcist III de William Peter Blatty Nous abordons ici trois films qui complètent le cru estival 1990 dire que Boorman a profité du train qui passe pour faire oeuvre THE EXORCIST III — des suites cinématographiques, dont le premier arrivage a été traité personnelle (ou pour faire n'importe quoi, selon qu'on aime ou pas). -
University of Pardubice Faculty of Arts and Philosophy Monstrosity in The
University of Pardubice Faculty of Arts and Philosophy Monstrosity in the Works of Thomas Harris Bachelor Thesis 2020 Tereza Houžvičková Univerzita Pardubice Fakulta filozofická Akademický rok: 2018/2019 ZADÁNÍ BAKALARSKEPRAČE (projektu, uměleckého díla, uměleckého výkonu) Jméno a příjmení: Tereza Houžvičková Osobní číslo: H17199 Studijní program: B7310 Filologie Studijní obor: Anglický jazyk pro odbornou praxi Téma práce: Monstróznost v díle Thomase Harrise Zadávající katedra: Katedra anglistiky a amerikanistiky Zásady pro vypracování Závěrečná bakalářská práce se bude věnovat populárnímu žánru detektivky, specificky jejímu poddruhu přesa hujícímu do hororu. V úvodu práce studentka stručně charakterizuje žánr detektivní prózy a zvoleného autora zařadí do tohoto literáního kontextu. Stručně uvede teoretický rámec (např. poetika místa, žánr detektivky), do něhož svou analýzu zasadí. Dále bude definovat důležité pojmy a koncepty, s nimiž bude pracovat - např. criminal psychology, monstrosity, apod. Jádrem práce bude analýza vybraných děl, v níž se studentka soustře dí především na způsoby zobrazení geniality, zla, monstróznosti. Zamyslí se rovněž nad literárními prostředky, které autor využívá, případně pojedná o filmových verzích děl. Své analýzy bude ilustrovat ukázkami z primár ních děl a opírat (či konfrontovat) s kritickými zdroji. Závěrem své analýzy přehledně shrne a vysloví obecnější závěr o obrazu zla a monstróznosti v Harrisově díle. Rozsah pracovní zprávy: Rozsah grafických prací: Forma zpracování bakalářské práce: tištěná/elektronická Jazyk zpracování: Angličtina Seznam doporučené literatury: Primární díla Zvolená díla Thomase Harrise Sekundární díla: Creed, Barbara. Freuďs Worst Nightmare: Dining with Dr. Hannibal Lecter. Cambridge Uni versity Press, print publication: 2004. online publication: 2009. Mittman, Asa Simon and Peter Dendle. The Ashgate Research Companion to Monsters and the Monstrous. -
Pulp Fiction © Jami Bernard the a List: the National Society of Film Critics’ 100 Essential Films, 2002
Pulp Fiction © Jami Bernard The A List: The National Society of Film Critics’ 100 Essential Films, 2002 When Quentin Tarantino traveled for the first time to Amsterdam and Paris, flush with the critical success of “Reservoir Dogs” and still piecing together the quilt of “Pulp Fiction,” he was tickled by the absence of any Quarter Pounders with Cheese on the European culinary scene, a casualty of the metric system. It was just the kind of thing that comes up among friends who are stoned or killing Harvey Keitel (left) and Quentin Tarantino attempt to resolve “The Bonnie Situation.” time. Later, when every nook and cranny Courtesy Library of Congress of “Pulp Fiction” had become quoted and quantified, this minor burger observation entered pop (something a new generation certainly related to through culture with a flourish as part of what fans call the video games, which are similarly structured). Travolta “Tarantinoverse.” gets to stare down Willis (whom he dismisses as “Punchy”), something that could only happen in a movie With its interlocking story structure, looping time frame, directed by an ardent fan of “Welcome Back Kotter.” In and electric jolts, “Pulp Fiction” uses the grammar of film each grouping, the alpha male is soon determined, and to explore the amusement park of the Tarantinoverse, a the scene involves appeasing him. (In the segment called stylized merging of the mundane with the unthinkable, “The Bonnie Situation,” for example, even the big crime all set in a 1970s time warp. Tarantino is the first of a boss is so inexplicably afraid of upsetting Bonnie, a night slacker generation to be idolized and deconstructed as nurse, that he sends in his top guy, played by Harvey Kei- much for his attitude, quirks, and knowledge of pop- tel, to keep from getting on her bad side.) culture arcana as for his output, which as of this writing has been Jack-Rabbit slim. -
School of Teacher Training and Education Muhammadiyah University of Surakarta 2014
DUAL CONTRARY PERSONALITIES OF DR.HANNIBAL LECTER REFLECTED THE SILENCE OF THE LAMBS NOVEL (1988): A PSYCHOANALYTIC APPROACH RESEARCH PUBLICATION Submitted as a Partial Fulfillment of the Requirement for Getting Bachelor Degree of Education in English Department by: FACHRUR BROSNAN A 320 070 303 SCHOOL OF TEACHER TRAINING AND EDUCATION MUHAMMADIYAH UNIVERSITY OF SURAKARTA 2014 DUAL CONTRARY PERSONALITIES OF DR.HANNIBAL LECTER REFLECTED THE SILENCE OF THE LAMBS NOVEL (1988): A PSYCHOANALYTIC APPROACH FACHRUR BROSNAN A320070303 English Department, FKIP-UMS [email protected] Abstract The major problem in this study is to show person with dual contrary personality reflected Thomas Harris The Silence of the Lambs novel by using psychoanalytic approach. It is conducted by analyzing the movie based on its structural elements and based on psychoanalytic criticism. This research is qualitative research. Type of data of the study is text and image taken from two data sources: primary and secondary. The primary data source is The Silence of the Lambs novel written by Thomas Harris released in 1988. While the secondary data sources are taken from the books of literature, internet, and other relevant information. Both data are collected through library research and analyzed by descriptive analysis. Using a psychoanalytic criticism as the theoretical framework, the research shows the following findings. First, based on structural analysis of this novel, it is clear for the researcher to conclude that the literary elements of The Silence of the Lambs form a unity in which one element supports the others and the whole elements reflect the theme of the novel. Thomas Harris has proven by delivering a message through its theme that the unnatural obsession can cause negative ability in this novel. -
Buffet Froid”
Executive Producer: Bryan Fuller Executive Producer: Martha De Laurentiis Executive Producer: Jesse Alexander Executive Producer: Chris Brancato “Buffet Froid” Written by Andy Black & Chris Brancato and Bryan Fuller Directed by John Dahl Based on the characters created by Thomas Harris Prod. #110/Air #110 Final Shooting Script PROPERTY OF: GAUMONT INTERNATIONAL TELEVISION LLC ©2013 CHISWICK PRODUCTIONS LLC. ALL RIGHTS RESERVED. NO PORTIONS OF THIS SCRIPT MAY BE PERFORMED, OR REPRODUCED BY ANY MEANS, OR QUOTED, OR PUBLISHED IN ANY MEDIUM WITHOUT THE PRIOR WRITTEN CONSENT OF GAUMONT INTERNATIONAL TELEVISION LLC. HANNIBAL "Buffet Froid" TEASER 1 EXT. HANNIBAL’S OFFICE - NIGHT 1 1 TIME-LAPSE ESTABLISHING. 2 INT. HANNIBAL’S OFFICE - NIGHT 1 2 WILL GRAHAM sits opposite HANNIBAL, mid-therapy: WILL GRAHAM I feel my nerves clicking like roller coaster cogs pulling up to the inevitable long plunge. HANNIBAL Quick sounds. Quickly ended. WILL GRAHAM Abigail ended Nicholas Boyle like a burst balloon. She took a life. HANNIBAL You’ve taken a life. WILL GRAHAM So have you. HANNIBAL You’re grieving, Will. Not for the life you have taken, but for the life that was taken from you. (off his look) If Abigail could have started over, left the horror of her father behind, so could’ve you. You could untangle yourself from the madness and the murder, clear your mind. WILL GRAHAM My mind has never been clear. HANNIBAL And now you fear it never will. WILL GRAHAM We lied for her. (CONTINUED) HANNIBAL - PROD. #110 - DBL WHITE Collated 4/27/13 2. 2 CONTINUED: 2 HANNIBAL We both know the unreality of taking a life, of people who die when we have no other choice. -
2018 – Volume 6, Number
THE POPULAR CULTURE STUDIES JOURNAL VOLUME 6 NUMBER 2 & 3 2018 Editor NORMA JONES Liquid Flicks Media, Inc./IXMachine Managing Editor JULIA LARGENT McPherson College Assistant Editor GARRET L. CASTLEBERRY Mid-America Christian University Copy Editor KEVIN CALCAMP Queens University of Charlotte Reviews Editor MALYNNDA JOHNSON Indiana State University Assistant Reviews Editor JESSICA BENHAM University of Pittsburgh Please visit the PCSJ at: http://mpcaaca.org/the-popular-culture- studies-journal/ The Popular Culture Studies Journal is the official journal of the Midwest Popular and American Culture Association. Copyright © 2018 Midwest Popular and American Culture Association. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 Cover credit: Cover Artwork: “Bump in the Night” by Brent Jones © 2018 Courtesy of Pixabay/Kellepics EDITORIAL ADVISORY BOARD ANTHONY ADAH PAUL BOOTH Minnesota State University, Moorhead DePaul University GARY BURNS ANNE M. CANAVAN Northern Illinois University Salt Lake Community College BRIAN COGAN ASHLEY M. DONNELLY Molloy College Ball State University LEIGH H. EDWARDS KATIE FREDICKS Florida State University Rutgers University ART HERBIG ANDREW F. HERRMANN Indiana University - Purdue University, Fort Wayne East Tennessee State University JESSE KAVADLO KATHLEEN A. KENNEDY Maryville University of St. Louis Missouri State University SARAH MCFARLAND TAYLOR KIT MEDJESKY Northwestern University University of Findlay CARLOS D. MORRISON SALVADOR MURGUIA Alabama State University Akita International -
Red Dragon, the Cleft-Lip, and the Politics of Recognition
The Monster Without: Red Dragon, the Cleft-Lip, and the Politics of Recognition Timothy D. Harfield Rarely represented in popular film, the cleft lip and palate is more often than not used as the locus of some kind of monstrosity. Of films featuring characters affected by cleft lip and palate, for example, at least five figure them as agents of violence or death. From the school bully,1 to a hired killer,2 to a serial killer,3 to a zombie,4 it is common to use the cleft lip as a cue for menace, or as a thing to be feared. On the other side of violence, the recent film Psycho Beach Party5 features a young girl with a cleft lip as the first to be killed by a serial killer targeting youth with disabilities. Even the Swedish film Den Enfoldige Mördaren,6 or "The Simple-minded Murderer," acclaimed for the sympathetic portrayal of its protagonist, features a killer with a cleft lip. Following in this tradition, the recent film Red Dragon7 features a serial killer whose cleft lip is the primary factor motivating his murderous behaviour. Although the film initially capitalizes upon the tradition of linking cleft lip and palate with homicidal psychopathy, however, it does so through a keen awareness of the politics of identity formation, and so has the effect of ultimately shifting the locus of monstrosity away from the cleft lip, and toward those social systems of 1 Frank Whaley, Joe the King (USA: Lions Gate, 1999), videorecording. 2 Frank Tuttle, This Gun for Hire (USA: Universal Studios, 1942), videorecording. -
Set in Scotland a Film Fan's Odyssey
Set in Scotland A Film Fan’s Odyssey visitscotland.com Cover Image: Daniel Craig as James Bond 007 in Skyfall, filmed in Glen Coe. Picture: United Archives/TopFoto This page: Eilean Donan Castle Contents 01 * >> Foreword 02-03 A Aberdeen & Aberdeenshire 04-07 B Argyll & The Isles 08-11 C Ayrshire & Arran 12-15 D Dumfries & Galloway 16-19 E Dundee & Angus 20-23 F Edinburgh & The Lothians 24-27 G Glasgow & The Clyde Valley 28-31 H The Highlands & Skye 32-35 I The Kingdom of Fife 36-39 J Orkney 40-43 K The Outer Hebrides 44-47 L Perthshire 48-51 M Scottish Borders 52-55 N Shetland 56-59 O Stirling, Loch Lomond, The Trossachs & Forth Valley 60-63 Hooray for Bollywood 64-65 Licensed to Thrill 66-67 Locations Guide 68-69 Set in Scotland Christopher Lambert in Highlander. Picture: Studiocanal 03 Foreword 03 >> In a 2015 online poll by USA Today, Scotland was voted the world’s Best Cinematic Destination. And it’s easy to see why. Films from all around the world have been shot in Scotland. Its rich array of film locations include ancient mountain ranges, mysterious stone circles, lush green glens, deep lochs, castles, stately homes, and vibrant cities complete with festivals, bustling streets and colourful night life. Little wonder the country has attracted filmmakers and cinemagoers since the movies began. This guide provides an introduction to just some of the many Scottish locations seen on the silver screen. The Inaccessible Pinnacle. Numerous Holy Grail to Stardust, The Dark Knight Scottish stars have twinkled in Hollywood’s Rises, Prometheus, Cloud Atlas, World firmament, from Sean Connery to War Z and Brave, various hidden gems Tilda Swinton and Ewan McGregor. -
308 "The Great Red Dragon" FINAL DRAFT 01/26/15 2
Executive Producer: Bryan Fuller Executive Producer: Martha De Laurentiis !Executive Producer: Steve Lightfoot “The Great Red! Dragon” Written by Nick Antosca & Steve Lightfoot and Bryan !Fuller Directed by Neil Marshall! ! Based on the characters created by Thomas !Harris ! ! ! ! ! Episode #308 Final Shooting Script PROPERTY OF: GAUMONT INTERNATIONAL TELEVISION LLC ©2015 CHISWICK PRODUCTIONS LLC. ALL RIGHTS RESERVED. NO PORTIONS OF THIS SCRIPT MAY BE PERFORMED, OR REPRODUCED BY ANY MEANS, OR QUOTED, OR PUBLISHED IN ANY MEDIUM WITHOUT THE PRIOR WRITTEN CONSENT OF GAUMONT INTERNATIONAL TELEVISION LLC. HANNIBAL "The Great Red Dragon" TEASER SURFACE OF A DESERT PLANET A craggy, dry, arid landscape. Patterned ridges alternate with troughs as deep as canyons. A sense of aridness and desolation. It feels a thousand years old. CAMERA VERY SLOWLY PULLS OUT, moving upward, revealing this is no landscape... as the ridges resolve into -- THE CREASED SKIN OF A MAN'S KNUCKLE. PULL EVEN FURTHER OUT, and the back of a hand comes into view. The hand rests on a Formica table, beside a magazine. It is a strong, well-formed hand. But not a young one. Every wrinkle and crease is detailed in CRISP FOCUS. To look on this hand is to be aware of its age, its imperfections. Now reveal the man staring down at it -- its owner: FRANCIS DOLARHYDE. Dolarhyde, early 40s, is a large man, strong, muscular. With a hint of vulnerability and diffidence. The look in his eyes as he gazes down at that hand -- as if suddenly really seeing it for the first time -- might be mournful, fearful or both. -
Hannibal Lecter) Pdf, Epub, Ebook
SILENCE OF THE LAMBS: (HANNIBAL LECTER) PDF, EPUB, EBOOK Thomas Harris | 432 pages | 01 Jun 2009 | Cornerstone | 9780099532927 | English | London, United Kingdom Silence of the Lambs: (Hannibal Lecter) PDF Book June I took one lamb, and I ran away as fast as I could. Despite his seemingly comfortable life, Lecter is consumed by a savage obsession with avenging Mischa's death. Hannibal Lecter : Jack Crawford is helping your career isn't he? Hopkins wrote a screenplay for a Hannibal sequel, ending with Starling killing Lecter, but it was never produced. Hannibal Lecter : First principles, Clarice. Retrieved May 5, She then offers him her breast, and they become lovers. Harris himself wrote the screenplay for this film. August 29, Buffalo Bill abducts Catherine Martin, a U. Season 1. In , Hannibal was adapted to film, with Hopkins reprising his role. Lecter is fascinated by Graham's ability to empathize with psychopaths, and he spends much of the series trying to undermine Graham's fragile sanity and push him into becoming a killer. Hopkins wrote a screenplay for a Hannibal sequel, ending with Starling killing Lecter, but it was never produced. Episode 2. In the third novel, Hannibal , Lecter becomes a protagonist. Graham survives, but is so traumatized by the incident that he takes early retirement from the FBI. The website's critical consensus reads: "Director Jonathan Demme's smart, taut thriller teeters on the edge between psychological study and all-out horror, and benefits greatly from stellar performances by Anthony Hopkins and Jodie Foster. Lecter then stabs Graham and cuts Abigail's throat in front of him, and flees before the police arrive. -
What Price Australian Naway and an R Ami I R Fugees, 'Illegals' AUSTRALIAN BOOK REVIEW
The Vatic -Edmund Campion on the Australia What price Australian naway and An r ami I r fugees, 'illegals' AUSTRALIAN BOOK REVIEW SEPTEMBER: Humphrey McQueen on Chris wattace~-Gra th e Chinese connecti on Dorothy Porter, Michael Hofmann, Fay Zwicky, Anthony Lawrence, Rolling Column by Mark Davis Anita Heiss, Merlinda Bobis, Tien Hoang Nguyen, Deb Westbury, Kerryn Goldsworthy on Thea Astley' s MTC Cronin, Dry lands Geoff Goodfellow and many mo re Marilyn Lake on Beryl Beaurepajre I melbourne Mari on Halli gan on Andrew Riemer's new memoir festival of Subscribers $55 for ten issues plus a free book Ph (03) 9429 6700 or Fax (03) 9429 2288 poetry september Art Monthly 1999 AUSTRALIA IN THE SEPTEMBER ISSUE chapel off Peter Hill interYiews Liz Ann Macgregor, new Director of the Museum of chapel Contemporary Art • prahran Daniel Thomas talks about being a curator 9522 3382 ArtRage - Mat Gallois on r;"t.,~;:;:;::::;-;;;;;::rn!l:;n~..r.w,,.,;::;;=rr-""""IIPII Off Chapel being an emerging artist in Sydney inHiative supported by Arts The Immigration Museum and the Victoria Millionth Migrant exhibition Out now _ S-1.9.'i, .fimn good boohlwps and ncii'Sagcnls. Or plu111c ()] 62-19 3986 jin· your mbsaiption Volume 9 Number 7 September 1999 A magazine of public affairs, the arts and theology CoNTENTS 4 COMMENT With Mark McKenna and 32 Francis Sullivan. AFTER THE BIG WAVE Photographic essay by Peter Davis. 'He loved to 7 speculate, CAPITAL LETTER 34 INDONESIAN WITNESS sometimes almost 8 Peter Mares interviews Ibu Sulami, dangerously, LETTERS activist, feminist and political survivor. -
"RED DRAGON" Screenplay by Michael Mann SECOND DRAFT
"RED DRAGON" Screenplay By Michael Mann SECOND DRAFT July 20, 1984 EXT. MARATHON, FLORIDA, BEACH - GRAHAM + CRAWFORD - DAY The highlit aqua water burns out sections of the two men imposed in front of it. The beach is white sand. JACK CRAWFORD -- mid-forties, large -- came down from Washington. His suitcoat over the driftwood log and his rolled-up white sleeves says City, not Florida Keys. WILL GRAHAM -- late thirties -- in a faded Hawaiian number and sun-bleached vio- let shorts, belongs. Graham smokes. Crawford drinks from a glass of iced tea. Then: CRAWFORD I should have caught you at the boat yard when you got off work. You don't want to talk about it here... GRAHAM I don't want to talk about it Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library anywhere. (beat) If you brought pictures, leave them in the briefcase. Molly and Kevin will be back soon. CRAWFORD How much do you know? GRAHAM What was in the 'Miami Herald' and the 'Times.' (beat) Confessions? CRAWFORD Eighty-six so far. All cranks. He smashes the mirrors and uses the pieces. (beat) None of them knew that; GRAHAM What else did you keep out of the papers? CRAWFORD Blond, right-handed, really strong, wears a size eleven shoe. The prints are all smooth gloves. He's on a full moon cycle. Both times. His blood is AB Positive. GRAHAM Somebody hurt him? CRAWFORD Typed him from semen. He's a secretor. Crawford takes a sip of the iced tea and looks at Graham.