DOCSLIB.ORG

Shining Through (1992), Directed by David Seltzer

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Shining Through (1992), Directed by David Seltzer Romancing the War Shining Through (1992), Directed by David Seltzer By Fearless Young Orphan Hang on tight. A lot of crap happens in this movie. Linda Voss (Melanie Griffith) is a smart young Jewish woman living in Queens who was raised in a home where she was taught to speak the German of her immigrant grandmother. While World War II is ravaging Europe but the United States is still staying out of things, she lands a job in a prestigious law firm for her ability to speak and translate a much-needed language. Her boss, Ed Leland (Michael Douglas – playing his role stoic to the point of constipated) is a mysterious character and mighty hard to please, but you’d better believe that plucky Linda soon has him singing her praises as she proves herself to be smart and intuitive. Intuitive enough, she is, to discover that Ed is a spy! Well, that just makes him even more dishy. Linda is an unknowing forerunner of feminism (she won’t let the male bosses bully her) but that does not prevent her from engaging in the workplace no-no of becoming Ed’s lover. There is much swooning and such, and a little bit of class insecurity – as an ordinary girl from Queens with no pedigree, she does not seem to fit into tight-jawed Ed’s world of privilege. While all that romantic stuff is happening, World War II comes to America, or vice versa I guess, and Ed must race off to fight the Nazis. You might enjoy as much as I did the scene at the foggy airport where Linda and Ed part ways and try with considerable seriousness to mimic the goodbyes of Casablanca. This is a film full of corny lines, but Linda’s entreaty to Ed is a howler. Ed can’t be the only guy who used the war as an excuse to break up with his slummy girlfriend, right? Oh never mind; I was wrong. The plane is facing the other way. Also, a note: Ingrid Bergman never had a slummy day in her life. After a somewhat pointless (but earnest in a very chick-flicky way) bout of heartbreak, Linda finds Ed again at a USO dance and cries until he takes her back – well, as his secretary at least – and your guess is as good as mine, what the status of their relationship might be for the next few weeks. Doesn’t matter much, because soon thereafter Linda volunteers herself for spy work in Germany. She knows the language and feels she can insert herself into a prestigious German household as a servant so she can get information on a factory location. It’s one of those Macguffiny pieces of vital information that will change the tide of the war. Ed balks: No way! She has absolutely no espionage training at all! Sending her to spy in Nazi Germany is about as stupid as having an American spy posing as a high-ranking Nazi official when said spy can neither speak nor understand a word of German . oh, um, wait. Never mind. That’s exactly what Ed has been doing. Dressed as a high-ranking Nazi official, he’s been infiltrating Germany without even an inkling how to ask where the watercloset might be, so he fakes a throat injury explaining his inability to speak. Doesn’t really explain his inability to understand, does it? But the thing is, we have to suppose that if Ed and his organization (the O.S.S., or so says Linda, though that seems historically improbable . ANYWAY . .) don’t mind having Ed galloping all about Germany on deep cover assignments without a clue what’s being said to him or the ability to reply, then sending a secretary in to do some deep cover spy work is no big deal. Linda’s mission into Nazi Germany is fraught with zany coincidences and features a cameo by John Gielgud, who cannot seem to get off-screen fast enough. He looks like a man literally about to claw his way through the scenery rather than show himself one more moment than necessary. He puts Linda in contact with a German noblewoman named Margrete (Joely Richardson) who is spying for the Americans. Margrete and Linda become besty friendies in ten hot minutes and Margrete, as far as I can tell, does Linda absolutely no good except to introduce her to someone who can ruin the whole plan later. Not important. Linda fails miserably at her job as a cook – turns out, she can’t freakin’ cook – and is fired by the master of the house. As she wanders dejectedly away, she is picked up and offered a job by Dietrich (Liam Neeson), a party guest who felt sorry for her, happens to need a nanny, and who also happens to have vital papers sticking out of a briefcase. What an incredible stroke of luck for the Allies! Despite the fact that it goes against her orders, Linda seizes the opportunity and disappears into Dietrich’s household to take care of his kids. Neeson’s Dietrich may be a Nazi, but in many ways he’s more emotionally accessible than Ed Leland. Taller, too. My god, there is still so much movie to get through. I’ll have to summarize better. In addition to hunting for information on the factory, Linda is also searching for three family members who have been hiding somewhere in Berlin. Her efforts to find her family members are touching, yes, but one has to wonder how smart she is to take the two children of her high-ranking Nazi official boss on these searches with her. So not only is Linda a terrible cook and a fairly terrible spy, she’s also a terrible nanny. The handling of the subplot with Linda’s hidden relatives may be off-putting to some: while the film treats it with care and Linda is genuinely (if naively) determined to perform a rescue, it all smacks a bit of the drama-queen scenario. That’s my personal reaction, and I simply felt that the subject was too delicate to be handled in such a histrionic movie without feeling very awkward. Oh, so much for summarizing. We simply don’t have time, as any plot point I mention from here on out would require a term paper’s worth of words to clear the confusion. Just trust me. There is a lot left to happen and most of it is terribly funny in the sheer audacity of its schmaltz while also remaining, I admit, fairly entertaining. Let’s face it: Shining Through is an extremely silly movie. It is so full of silly historical inaccuracies, plot holes, goofy conveniences, over-the-top dialog, and chest-heaving passions that you almost can miss – but don’t worry, you won’t – how inept is every spy working in the whole organization. The mistakes these people make are fundamentally unbelievable unless they are purposely trying to screw the pooch. That being said, at just over two hours in length, the whole ridiculous affair manages a momentum that simply does not allow for boredom. Melanie Griffith is a highly watchable actress and something about the strength of her convictions to the role made me want her to be successful in her “mission.” The film is beautiful looking, lush and vibrant, made in the pre-CGI era when care was taken with sets. It looks rich, the art deco is a delight, the costumes (damn historical accuracy anyway!) are lovely. For all that it is derivative of a hundred better films, it is still enjoyable to watch its numerous references and nods. The soundtrack is sweeping. The names are big. If Shining Through had been made in 1962 rather than 1992, we’d probably consider it a girly classic, one of those grand melodramatic pictures that made up in style what it lacked in substance. It may be one of the best bad movies I’ve seen. See that train back there? Its purpose is to haul all the bullshit in the climax. Now, as far as spy movies goes, this one is so far into the “fluff” end of the spectrum that you may need to take an antihistamine to stop sneezing. But it is, technically, about spies. Not often we see a spy movie that is re-conjured as a sudsy romance, still, what’s wrong with that? Nothing wrong with the theory, I guess. I’ll tell you what: you can judge by now if you want to take your time seeing this or not. If you’re on the fence, consider that at the very least, there are many good laughs to be had at the expense of the script, and at the very best, you can channel your girly-film needs for the week in one fell swoop. It’s all here: romance, adventure, swank clothes, career fulfillment, and handsome inaccessible men who make great projects for plucky girls. Well come on! A widowed Nazi official? If he’s not a project, ladies, I don’t know who is. .
Load more

Recommended publications
  • Motion Picture Posters, 1924-1996 (Bulk 1952-1996)
    http://oac.cdlib.org/findaid/ark:/13030/kt187034n6 No online items Finding Aid for the Collection of Motion picture posters, 1924-1996 (bulk 1952-1996) Processed Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 200 1 Motion picture posters, 1924-1996 (bulk 1952-1996) Descriptive Summary Title: Motion picture posters, Date (inclusive): 1924-1996 Date (bulk): (bulk 1952-1996) Collection number: 200 Extent: 58 map folders Abstract: Motion picture posters have been used to publicize movies almost since the beginning of the film industry. The collection consists of primarily American film posters for films produced by various studios including Columbia Pictures, 20th Century Fox, MGM, Paramount, Universal, United Artists, and Warner Brothers, among others. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections.
    [Show full text]
  • Tape ID Title Language Type System
    Tape ID Title Language Type System 1361 10 English 4 PAL 1089D 10 Things I Hate About You (DVD) English 10 DVD 7326D 100 Women (DVD) English 9 DVD KD019 101 Dalmatians (Walt Disney) English 3 PAL 0361sn 101 Dalmatians - Live Action (NTSC) English 6 NTSC 0362sn 101 Dalmatians II (NTSC) English 6 NTSC KD040 101 Dalmations (Live) English 3 PAL KD041 102 Dalmatians English 3 PAL 0665 12 Angry Men English 4 PAL 0044D 12 Angry Men (DVD) English 10 DVD 6826 12 Monkeys (NTSC) English 3 NTSC i031 120 Days Of Sodom - Salo (Not Subtitled) Italian 4 PAL 6016 13 Conversations About One Thing (NTSC) English 1 NTSC 0189DN 13 Going On 30 (DVD 1) English 9 DVD 7080D 13 Going On 30 (DVD) English 9 DVD 0179DN 13 Moons (DVD 1) English 9 DVD 3050D 13th Warrior (DVD) English 10 DVD 6291 13th Warrior (NTSC) English 3 nTSC 5172D 1492 - Conquest Of Paradise (DVD) English 10 DVD 3165D 15 Minutes (DVD) English 10 DVD 6568 15 Minutes (NTSC) English 3 NTSC 7122D 16 Years Of Alcohol (DVD) English 9 DVD 1078 18 Again English 4 Pal 5163a 1900 - Part I English 4 pAL 5163b 1900 - Part II English 4 pAL 1244 1941 English 4 PAL 0072DN 1Love (DVD 1) English 9 DVD 0141DN 2 Days (DVD 1) English 9 DVD 0172sn 2 Days In The Valley (NTSC) English 6 NTSC 3256D 2 Fast 2 Furious (DVD) English 10 DVD 5276D 2 Gs And A Key (DVD) English 4 DVD f085 2 Ou 3 Choses Que Je Sais D Elle (Subtitled) French 4 PAL X059D 20 30 40 (DVD) English 9 DVD 1304 200 Cigarettes English 4 Pal 6474 200 Cigarettes (NTSC) English 3 NTSC 3172D 2001 - A Space Odyssey (DVD) English 10 DVD 3032D 2010 - The Year
    [Show full text]
  • Film Front Weimar’ 30-10-2002 14:10 Pagina 1
    * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933. These films shed light on the way Ger- many chose to remember its recent past. A body of twenty-five films is analysed. For insight into the understanding and reception of these films at the time, hundreds of film reviews, censorship re- ports and some popular history books are discussed. This is the first rigorous study of these hitherto unacknowledged war films. The chapters are ordered themati- cally: war documentaries, films on the causes of the war, the front life, the war at sea and the home front. Bernadette Kester is a researcher at the Institute of Military History (RNLA) in the Netherlands and teaches at the International School for Humanities and Social Sciences at the University of Am- sterdam. She received her PhD in History FilmFilm FrontFront of Society at the Erasmus University of Rotterdam. She has regular publications on subjects concerning historical representation. WeimarWeimar Representations of the First World War ISBN 90-5356-597-3
    [Show full text]
  • Lycra, Legs, and Legitimacy: Performances of Feminine Power in Twentieth Century American Popular Culture
    LYCRA, LEGS, AND LEGITIMACY: PERFORMANCES OF FEMININE POWER IN TWENTIETH CENTURY AMERICAN POPULAR CULTURE Quincy Thomas 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 May 2018 Committee: Jonathan Chambers, Advisor Francisco Cabanillas, Graduate Faculty Representative Bradford Clark Lesa Lockford © 2018 Quincy Thomas All Rights Reserved iii ABSTRACT Jonathan Chambers, Advisor As a child, when I consumed fictional narratives that centered on strong female characters, all I noticed was the enviable power that they exhibited. From my point of view, every performance by a powerful character like Wonder Woman, Daisy Duke, or Princess Leia, served to highlight her drive, ability, and intellect in a wholly uncomplicated way. What I did not notice then was the often-problematic performances of female power that accompanied those narratives. As a performance studies and theatre scholar, with a decades’ old love of all things popular culture, I began to ponder the troubling question: Why are there so many popular narratives focused on female characters who are, on a surface level, portrayed as bastions of strength, that fall woefully short of being true representations of empowerment when subjected to close analysis? In an endeavor to answer this question, in this dissertation I examine what I contend are some of the paradoxical performances of female heroism, womanhood, and feminine aggression from the 1960s to the 1990s. To facilitate this investigation, I engage in close readings of several key aesthetic and cultural texts from these decades. While the Wonder Woman comic book universe serves as the centerpiece of this study, I also consider troublesome performances and representations of female power in the television shows Bewitched, I Dream of Jeannie, and Buffy the Vampire Slayer, the film Grease, the stage musical Les Misérables, and the video game Tomb Raider.
    [Show full text]
  • Blues Symphony in Atlanta Two Years Ago, Wynton Marsalis Embarked on a New Challenge: Fuse Classical Music with Jazz, Ragtime and Gospel
    01_COVER.qxd 12/10/09 11:44 AM Page 1 DOWNBEAT DOWNBEAT BUDDY GUY BUDDY // ERIC BIBB // JOE HENRY JOE HENRY // MYRON WALDEN MYRON WALDEN DownBeat.com $4.99 02 FEBRUARY 2010 FEBRUARY 0 09281 01493 5 FEBRUARY 2010 U.K. £3.50 02-27_FRONT.qxd 12/15/09 1:50 PM Page 2 02-27_FRONT.qxd 12/15/09 1:50 PM Page 3 02-27_FRONT.qxd 12/15/09 1:50 PM Page 4 February 2010 VOLUME 77 – NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Contributing Designer Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • GSC Films: S-Z
    GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything.
    [Show full text]
  • SL Shining Through” in Translational Language
    “SL Shining Through” in Translational Language: A Corpus-based Study of Chinese Translation of English Passives Guangrong Dai, Richard Xiao Fujian University of Technology, Edge Hill University Abstract: Translational language as a “third code” has been found to be different from both source and target languages. Recent studies have proposed a number of translation universal (TU) hypotheses which include, for example, simplification, explicitation and normalization. This paper investigates the “source language shining through” put forward by Teich (2003). The hypothesis is that “In a translation into a given target language (TL), the translation may be oriented more towards the source language (SL), i.e. the SL shines through” (Teich 2003: 207), which has attracted little attention in translation studies. If this feature of translational language that has been reported on the basis of translated English or German can be generalized as one of translational universals, it is of vital importance to find supporting evidence from non-European languages. The evidence from genetically distinct language pairs such as English and Chinese is arguably more convincing. This study presents a detailed case study of English passive constructions and their Chinese translations based on comparable corpora and parallel corpora. This research explores a new aspect of TUs and offers another perspective for translation studies. 1 1. Introduction Translational language has been shown to exhibit certain linguistic features indicating that it is a special type of text different from both source and target languages, or a “third code” (Frawley 1984). Just as Hansen & Teich (2001:44) suggests, “It is commonly assumed in translation studies that translations are specific kinds of texts that are not only different from their original source language (SL) texts, but also from comparable original texts in the same language as the target language (TL)”.
    [Show full text]
  • The Crooked Median
    UNLV Theses, Dissertations, Professional Papers, and Capstones 12-2010 The Crooked median Monica Zarazua University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the American Literature Commons, Literature in English, North America Commons, and the Modern Literature Commons Repository Citation Zarazua, Monica, "The Crooked median" (2010). UNLV Theses, Dissertations, Professional Papers, and Capstones. 731. http://dx.doi.org/10.34917/2002069 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. THE CROOKED MEDIAN by Monica Zarazua Bachelor of Arts University of Illinois, Urbana-Champaign 2001 A thesis submitted in partial fulfillment of the requirements for the Master of Fine Arts in Creative Writing Department of English College of Liberal Arts Graduate College University of Nevada, Las Vegas August 2010 Copyright by Monica Zarazua 2010 All Rights Reserved THE GRADUATE COLLEGE We recommend the thesis prepared under our supervision by Monica Zarazua entitled The Crooked Median be accepted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Writing English Douglas Unger, Committee Chair Dave Hickey, Committee Member Vincent Perez, Committee Member Jorge Villavicencio Grossmann, Graduate Faculty Representative Ronald Smith, Ph.
    [Show full text]
  • Reality & Effect: a Cultural History of Visual Effects
    Georgia State University ScholarWorks @ Georgia State University Communication Dissertations Department of Communication 5-3-2007 Reality & Effect: A Cultural History of Visual Effects Jae Hyung Ryu Follow this and additional works at: https://scholarworks.gsu.edu/communication_diss Part of the Communication Commons Recommended Citation Ryu, Jae Hyung, "Reality & Effect: A Cultural History of Visual Effects." Dissertation, Georgia State University, 2007. https://scholarworks.gsu.edu/communication_diss/13 This Dissertation is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. REALITY & EFFECT: A CULTURAL HISTORY OF VISUAL EFFECTS by JAE HYUNG RYU Under the Direction of Ted Friedman ABSTRACT The purpose of this dissertation is to chart how the development of visual effects has changed popular cinema’s vision of the real, producing the powerful reality effect. My investigation of the history of visual effects studies not only the industrial and economic context of visual effects, but also the aesthetic characteristics of the reality effect. In terms of methodology, this study employs a theoretical discourse which compares the parallels between visual effects and the discourse of modernity/postmodernity, utilizing close textual analysis to understand the symptomatic meanings of key texts. The transition in the techniques and meanings of creating visual effects reflects the cultural transformation from modernism to postmodernism. Visual effects have developed by adapting to the structural transformation of production systems and with the advance of technology.
    [Show full text]
  • The Future: the Fall and Rise of the British Film Industry in the 1980S
    THE FALL AND RISE OF THE BRITISH FILM INDUSTRY IN THE 1980S AN INFORMATION BRIEFING National Library Back to the Future the fall and rise of the British Film Industry in the 1980s an information briefing contents THIS PDF IS FULLY NAVIGABLE BY USING THE “BOOKMARKS” FACILITY IN ADOBE ACROBAT READER SECTION I: REPORT Introduction . .1 Britain in the 1980s . .1 Production . .1 Exhibition . .3 TV and Film . .5 Video . .7 “Video Nasties” & Regulation . .8 LEADING COMPANIES Merchant Ivory . .9 HandMade Films . .11 BFI Production Board . .12 Channel Four . .13 Goldcrest . .14 Palace Pictures . .15 Bibliography . .17 SECTION II: STATISTICS NOTES TO TABLE . .18 TABLE: UK FILM PRODUCTIONS 1980 - 1990 . .19 Written and Researched by: Phil Wickham Erinna Mettler Additional Research by: Elena Marcarini Design/Layout: Ian O’Sullivan © 2005 BFI INFORMATION SERVICES BFI NATIONAL LIBRARY 21 Stephen Street London W1T 1LN ISBN: 1-84457-108-4 Phil Wickham is an Information Officer in the Information Services of the BFI National Library. He writes and lectures extensively on British film and television. Erinna Mettler worked as an Information Officer in the Information Services of the BFI National Library from 1990 – 2004. Ian O’Sullivan is also an Information Officer in the Information Services of the BFI National Library and has designed a number of publications for the BFI. Elena Marcarini has worked as an Information Officer in the Information Services Unit of the BFI National Library. The opinions contained within this Information Briefing are those of the authors and are not expressed on behalf of the British Film Institute. Information Services BFI National Library British Film Institute 21 Stephen Street London W1T 1LN Tel: + 44 (0) 20 7255 1444 Fax: + 44 (0) 20 7436 0165 Try the BFI website for film and television information 24 hours a day, 52 weeks a year… Film & TV Info – www.bfi.org.uk/filmtvinfo - contains a range of information to help find answers to your queries.
    [Show full text]
  • Terrence Malick's Emersonian Cinema
    AN ABSTRACT OF THE THESIS OF Bill Fech for the degree of Master of Arts in English presented on May 31, 2013 Title: The Soul Announces Itself: Terrence Malick’s Emersonian Cinema Abstract approved: Jon R. Lewis This thesis takes an auteurist approach to the films of director Terrence Malick by reading them through the spiritual philosophy of Ralph Waldo Emerson. I establish Malick’s thematic concern with the human struggle to achieve better existences in a broken material world, a concern buoyed by his signature aesthetic that includes expressive voice-overs and sublime photography of nature. I close- read each of Malick’s six films, drawing upon tenants of Emersonian philosophy to reveal Malick’s expression of transcendent events of the soul against brutal earthly realities. In chapter one I put forth Badlands and Days of Heaven as Emersonian “cautionary tales” for lives lived bereft of meaningful communion with the world. Chapter two sees The Thin Red Line as Malick’s turn toward an explicitly philosophical cinema where the spiritual/material divide becomes paramount. In chapter three I focus on The New World and The Tree of Life as refined versions of Malick’s renewed philosophical interests and style. I conclude on Malick’s latest film, To the Wonder, finding that despite his depictions of an increasingly fractured modern world, Malick retains an Emersonian faith in the individual’s ability to spiritually transcend material life. ©Copyright by Bill Fech May 31, 2013 All Rights Reserved The Soul Announces Itself: Terrence Malick’s Emersonian Cinema by Bill Fech A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts Presented May 31, 2013 Commencement June 2013 Master of Arts thesis of Bill Fech presented on May 31, 2013.
    [Show full text]
  • The Case of Phrasal Verbs in Translated English Bert Cappelle, Rudy Loock
    Typological differences shining through: The case of phrasal verbs in translated English Bert Cappelle, Rudy Loock To cite this version: Bert Cappelle, Rudy Loock. Typological differences shining through: The case of phrasal verbs in translated English. Gert De Sutter; Marie-Aude Lefer; Isabelle Delaere. Empirical Translation Studies. New Theoretical and Methodological Traditions, Mouton de Gruyter, pp.235-264, 2017. hal-01496966 HAL Id: hal-01496966 https://hal.archives-ouvertes.fr/hal-01496966 Submitted on 28 Mar 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Typological differences shining through: The case of phrasal verbs in translated English Bert Cappelle and Rudy Loock Abstract Are phrasal verbs less numerous in English translations if the source lan- guage is a Romance language than if the source language is a Germanic one? This chapter sets out to answer that question. In a subcorpus of Eng- lish fictional texts translated from Romance languages, up, out and down, which represent phrasal verb use rather well, are indeed underused when compared with non-translated English fiction from the British National Corpus, while no significant difference is to be found for this set of items- between non-translated English and English translated from Germanic lan- guages.
    [Show full text]