Fall 2017 - RTVF 4415.003: Film History: Remakes Thursday 3:00Pm - 5:50Pm in RTFP 184 Office Hours: T/Th 1-2Pm in RTFP 224, and by Appointment

Total Page:16

File Type:pdf, Size:1020Kb

Fall 2017 - RTVF 4415.003: Film History: Remakes Thursday 3:00Pm - 5:50Pm in RTFP 184 Office Hours: T/Th 1-2Pm in RTFP 224, and by Appointment RTVF 4415.003: Film History: Remakes Dr. Stephen Mandiberg ([email protected]) Fall 2017 - RTVF 4415.003: Film History: Remakes Thursday 3:00pm - 5:50pm in RTFP 184 Office Hours: T/Th 1-2pm in RTFP 224, and by appointment Course Description: Remakes, they’re so hot right now! From Disney’s live action Beauty and the Beast to Spider- Man’s newest incarnation in Spider-Man: Homecoming we see a never ending supply of remakes and reboots made every year, and 2017 is no different. In this class we will be looking at the history of movie remakes from their origins as ‘dupes’ at the turn of the 20th century to their current iteration as reboots in the 21st century. We will try to understand the cultural and industry logics behind remakes over the history of film. While we will focus on Hollywood remake practices, we will also spend time looking at intersections with French, Japanese, and Bollywood cinema. Course Goals and Learning Outcomes: • Students will become familiar with a variety of historic discourses of the film remake. • Students will apply different discourses of the remake to analyses of particular films. • Students will develop their audio-visual literacy through watching and writing about films. • Students will develop their descriptive and analytic writing skills by composing three essays. • Students will develop their presentation skills effectively communicating their final arguments through a presentation. Required Materials: • all undergraduate readings are available online, on reserves, or through Blackboard as PDFs • reserves password: 1174 • Some films available online when marked with a URL; all other films are available through the Media Library Reserves (2 and 4 hour loan times) (GRAD: Additional Materials): • Jennifer Forrest and Leonard R. Koos eds. 2002. Dead Ringers: The Remake in Theory and Practice. • Nitin Govil. 2015. Orienting Hollywood: A Century of Film Culture between Los Angeles and Bombay. • Henry Jenkins. 2006. Convergence Culture: Where Old and New Media Collide. • Barbara Klinger. 2005. Beyond the Multiplex: Cinema, New Technologies, and the Home. RTVF 4415.003: Film History: Remakes Dr. Stephen Mandiberg ([email protected]) Assignments: • Weekly Quizzes (lowest two dropped; questions from current and previous weeks’ readings) • Weekly Comparative Notes - These notes should be made while watching the films. You can watch with friends and discuss the films, but you must contribute your own descriptions and interpretations (Academic Integrity matters). These notes are descriptive, but they will help you be analytic later! You must hand in the notes twice (10/5 for review; 12/7 for a final grade). Possible formats include: paper notebook, textedit file, personal blog, or summarized vlog. • Writing #1 - Comparative analysis (3-5 pages) - Describe and analyze the similarities and differences between a remake and its original. • Writing #2 - Two takes on one remake (3-5 pages) - Drawing on the course concepts, analyze a film remake from two different perspectives. • Final Analysis - Presentation and Writing #3 - Pick a film remake, analyze it, and show how it matters. Demonstrate your expertise of the course’s theories by showing my why your interpretation, and the film itself, are valuable! This assignment includes both a 5 minute presentation and a written essay. (5-7 pages) (GRAD: 20-30 pages) • (GRAD) Annotated Bibliography - An annotation for each reading (200-500 words). Each bibliographical entry provides the citation, a brief summary of the argument, an explanation of connected readings/concepts, and finally it explain the reading’s (ir)relevance to you. (See: https://owl.english.purdue.edu/owl/resource/614/01/) Formula for Final Grade: Attendance and Participation (10%), Quizzes (20%), Notes (10%), Writing #1 (15), Writing #2 (15%), Presentation (10%), Final Analysis (20%). (GRAD): Attendance and Participation (10%), Quizzes (10%), Annotated Bibliography (10%), Notes (10%), Writing #1 (15), Writing #2 (15%), Presentation (10%), Final Analysis (20%). Grading Criteria: A. The student demonstrated a firm understanding of course material, and presented clear, well-articulated analysis in written works. The student is able to intelligently employ terms and concepts introduced in class in proving his or her thesis. The student was highly motivated and nearly always participated in discussions. [90-92 = A-; 93-100 = A] B. The student demonstrated accurate comprehension of course material, but the student’s understanding did not go beyond the basic requirements. Ideas are presented in clear and direct manner with few errors. Analysis was incomplete, the thesis was unclear, or there was a gap between the thesis and argument. The student was attentive in class, and often did not participate. [80-82 = B-; 83-86 = B; 87-89 = B+] C. The student demonstrated an incomplete understanding of course material. Written ideas and arguments were incomplete, unclear, often inaccurate, and generally needed editing. The student was often distracted in class, and rarely participated. [70-72 = C-; 73-76 = C; 77-79 = C+] D. The student showed inadequate comprehension of the basic premise, and core concepts of the course. Writing did not fulfill the assignment, and was constructed poorly. The student often failed to attend class, or inattentively attended class while on a device. [60-62 = D-; 63-66 = D; 67-69 = D+] F. Work not submitted; or submitted in a way that fails to fulfill basic requirements [0-59 = F] RTVF 4415.003: Film History: Remakes Dr. Stephen Mandiberg ([email protected]) Late or Missed Assignments: Late assignments will receive an automatic F. Exceptions may be granted for religious holy days, for active military service, for official university functions, for pregnancy/parenting under Title IX, and for medical or family emergencies. In the event of emergencies, documentation (e.g., doctor’s note) must be provide within 1 week following the absence. Upon returning to class you have 1 week to reschedule the exam and/or submit the assignment. Attendance and Participation: Attendance is mandatory. There will be a sign-in/sign-out sheet available at the beginning and end of each class. Tardiness and sleeping will result in being marked absent. Four or more unexcused absences will result in a failure for the course. In addition to being in a seat, your grade depends on active participation during class. If you are unable to participate during class please talk to me to work out alternate strategies for participation. Questions: If you have any questions, ask them! Short/simple questions are best through email; long/ complex questions are best through office hours. Grades may only be disputed in person during office hours. Problems: Please talk to me if you have any problems. Email me immediately if readings are no longer available through the eLibrary, or if the links provided are dead. That said, searching for the text through the library portal (or scholar.google.com) will often solve any broken link problems. Academic Integrity: Plagiarism of any sort will not be tolerated. As a minimum, plagiarizing will result in failure for the assignment. It might also result in further sanctions at the university level. Familiarize yourself with the UNT policy at: https://policy.unt.edu/policy/06-003. Disability Accommodations: If you require or think you may require accommodations for disabilities, please register with UNT’s Office of Disability Accommodation at 940-565-4323, Sage Hall Suite 167, or https://disability.unt.edu/. If you do not register and request we cannot make arrangements to fit your needs. Trigger Warnings: This class requires that you are willing to explore issues of race, class, gender, sexuality, and religion from a critical standpoint within an educational framework. If you are unable or unwilling to do this you should think about enrolling in a different class. Graduate Level: Students taking this course at the graduate level must fulfill additional requirements that are denoted in this syllabus by the (GRAD) mark. RTVF 4415.003: Film History: Remakes Dr. Stephen Mandiberg ([email protected]) Schedule: Week 1 - August 31 - Introduction • no reading Week 2 - September 7 - 1890s-1910s - “Technological and Legal Beginnings” • Leo Braudy. 1998. “Afterword: Rethinking Remakes.” In Play It Again, Sam: Retakes on Remakes: pp. 327-333 [eLibrary: https://libproxy.library.unt.edu/login?url=http:// www.netLibrary.com/urlapi.asp?action=summary&v=1&bookid=41970] • Jennifer Forrest. 2002. “The ‘Personal’ Touch: The Original, the Remake, and the Dupe in Early Cinema.” In Dead Ringers: The Remake in Theory and Practice: pp. 89-126. [PDF/ RESERVES] • (GRAD) Jennifer Forrest and Leonard R. Koos. 2002. “Reviewing Remakes: An Introduction.” In Dead Ringers: The Remake in Theory and Practice: pp. 1-36. • The Arrival of a Train at La Ciotat Station (1895) [https://unt.kanopystreaming.com/video/ new-beginnings], [https://www.youtube.com/watch?v=1dgLEDdFddk] • Workers Leaving the Factory (1896) [https://unt.kanopystreaming.com/video/new-beginnings], [https://www.youtube.com/watch?v=DEQeIRLxaM4] Week 3 - September 14 - 1920s-30s - “From Book to Film to Film” • Thomas Leitch. 2008. Adaptations Without Sources: The Adventures of Robin Hood. Literature-Film Quarterly 36. pp: 21-30. [https://search.proquest.com/openview/ 970209ca8aaefc8e/1?pq-origsite=gscholar&cbl=5939] • Stephen Knight. 1999. A Garland of Robin Hood Films. Film & History: An Interdisciplinary Journal of Film and Television Studies Vol. 29, No 3-4: pp. 34-44 [https://muse.jhu.edu/article/ 396066/pdf] • (GRAD) Dan Georgakas. 1998. “Robin Hood: From Roosevelt to Reagan.” In Play It Again, Sam: Retakes on Remakes: pp. 70-79. [eLibrary: https://libproxy.library.unt.edu/login? url=http://www.netLibrary.com/urlapi.asp?action=summary&v=1&bookid=41970] • Robin Hood (1922) [DVD 15138] - Adventures of Robin Hood (1938) [DVD 2308] • (GRAD) Robin Hood: Prince of Thieves (1991) [MV 13269] Week 4 - September 21 - 1920s-30s - Sound From Silence • Ginette Vincendeau. (1988). “Hollywood Babel: The Multiple Language Version” in The Classical Hollywood Reader.
Recommended publications
  • Mean Streets: Death and Disfiguration in Hawks's Scarface
    Mean Streets: Death and Disfiguration in Hawks's Scarface ASBJØRN GRØNSTAD Consider this paradox: in Howard Hawks' Scarface, The Shame of the Nation, violence is virtually all-encompassing, yet it is a film from an era before American movies really got violent. There are no graphic close-ups of bullet wounds or slow-motion dissection of agonized faces and bodies, only a series of abrupt, almost perfunctory liquidations seemingly devoid of the heat and passion that characterize the deaths of the spastic Lyle Gotch in The Wild Bunch or the anguished Mr. Orange, slowly bleeding to death, in Reservoir Dogs. Nonetheless, as Bernie Cook correctly points out, Scarface is the most violent of all the gangster films of the eatly 1930s cycle (1999: 545).' Hawks's camera desists from examining the anatomy of the punctured flesh and the extended convulsions of corporeality in transition. The film's approach, conforming to the period style of ptc-Bonnie and Clyde depictions of violence, is understated, euphemistic, in its attention to the particulars of what Mark Ledbetter sees as "narrative scarring" (1996: x). It would not be illegitimate to describe the form of violence in Scarface as discreet, were it not for the fact that appraisals of the aesthetics of violence are primarily a question of kinds, and not degrees. In Hawks's film, as we shall see, violence orchestrates the deep structure of the narrative logic, yielding an hysterical form of plotting that hovers between the impulse toward self- effacement and the desire to advance an ethics of emasculation. Scarface is a film in which violence completely takes over the narrative, becoming both its vehicle and its determination.
    [Show full text]
  • Copyright Infringement in the Indian Film Industry
    Vanderbilt Journal of Entertainment & Technology Law Volume 7 Issue 2 Issue 2 - Spring 2005 Article 4 2005 Copyright Infringement in the Indian Film Industry Rachana Desai Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Rachana Desai, Copyright Infringement in the Indian Film Industry, 7 Vanderbilt Journal of Entertainment and Technology Law 259 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol7/iss2/4 This Note is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. Copyright Infringement in the Indian Film Industry By Rachana Desai" On July 7, 1896, India's first India, unlike America, has several cinematographic film was shown in film industries. This Note focuses on the Mumbai.1 Today, India's mammoth film largest of these industries: Bollywood, the industry produces more movies than any center of Hindi language cinema. In recent other country in the world and employs years, nearly eight out of every ten over two million people. 2 In 2001, India's Bollywood scripts have been "inspired" by entertainment industry (which includes one or more Hollywood films. 7 Previously, film, music, television, radio and live this widespread problem was not visible to entertainment) was one of the fastest those outside of India. The emergence of growing sectors of the economy, the Internet and better global experiencing over a 30% growth.
    [Show full text]
  • A Look Into the South According to Quentin Tarantino Justin Tyler Necaise University of Mississippi
    University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2018 The ineC matic South: A Look into the South According to Quentin Tarantino Justin Tyler Necaise University of Mississippi. Sally McDonnell Barksdale Honors College Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Part of the American Studies Commons Recommended Citation Necaise, Justin Tyler, "The ineC matic South: A Look into the South According to Quentin Tarantino" (2018). Honors Theses. 493. https://egrove.olemiss.edu/hon_thesis/493 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. THE CINEMATIC SOUTH: A LOOK INTO THE SOUTH ACCORDING TO QUENTIN TARANTINO by Justin Tyler Necaise A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2018 Approved by __________________________ Advisor: Dr. Andy Harper ___________________________ Reader: Dr. Kathryn McKee ____________________________ Reader: Dr. Debra Young © 2018 Justin Tyler Necaise ALL RIGHTS RESERVED ii To Laney The most pure-hearted person I have ever met. iii ACKNOWLEDGEMENTS Thank you to my family for being the most supportive group of people I could have ever asked for. Thank you to my father, Heath, who instilled my love for cinema and popular culture and for shaping the man I am today. Thank you to my mother, Angie, who taught me compassion and a knack for looking past the surface to see the truth that I will carry with me through life.
    [Show full text]
  • Bollywood and Postmodernism Popular Indian Cinema in the 21St Century
    Bollywood and Postmodernism Popular Indian Cinema in the 21st Century Neelam Sidhar Wright For my parents, Kiran and Sharda In memory of Rameshwar Dutt Sidhar © Neelam Sidhar Wright, 2015 Edinburgh University Press Ltd The Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ www.euppublishing.com Typeset in 11/13 Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY A CIP record for this book is available from the British Library ISBN 978 0 7486 9634 5 (hardback) ISBN 978 0 7486 9635 2 (webready PDF) ISBN 978 1 4744 0356 6 (epub) The right of Neelam Sidhar Wright to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents Acknowledgements vi List of Figures vii List of Abbreviations of Film Titles viii 1 Introduction: The Bollywood Eclipse 1 2 Anti-Bollywood: Traditional Modes of Studying Indian Cinema 21 3 Pedagogic Practices and Newer Approaches to Contemporary Bollywood Cinema 46 4 Postmodernism and India 63 5 Postmodern Bollywood 79 6 Indian Cinema: A History of Repetition 128 7 Contemporary Bollywood Remakes 148 8 Conclusion: A Bollywood Renaissance? 190 Bibliography 201 List of Additional Reading 213 Appendix: Popular Indian Film Remakes 215 Filmography 220 Index 225 Acknowledgements I am grateful to the following people for all their support, guidance, feedback and encouragement throughout the course of researching and writing this book: Richard Murphy, Thomas Austin, Andy Medhurst, Sue Thornham, Shohini Chaudhuri, Margaret Reynolds, Steve Jones, Sharif Mowlabocus, the D.Phil.
    [Show full text]
  • Source Guides
    source guides National Library quentin tarantino 16 + Source Guide contents IMPORTANT NOTE . .i GENERAL INFORMATION . .ii APPROACHES TO RESEARCH, by Samantha Bakhurst . .iii INTRODUCTION . .1 BOOKS . .2 JOURNAL ARTICLES . .5 PRESS ARTICLES . .8 WEBSITES . .9 FILMOGRAPHY . .10 Compiled by: Victoria Crabbe Nicola Clarke Design/Layout: Ian O’Sullivan Project Manager: David Sharp © BFI NATIONAL LIBRARY 21 Stephen Street London W1P 2LN 2004 16+ MEDIA STUDIES INFORMATION GUIDE STATEMENT “Candidates should note that examiners have copies of this guide and will not give credit for mere reproduction of the information it contains. Candidates are reminded that all research sources must be credited”. BFI National Library i accessing research materials BFI NATIONAL copies of articles Local bookshops LIBRARY Some of the books mentioned in If you are unable to visit the the bibliography will be in print library or would like materials All the materials referred to in this and your bookshop should be able referred to in this guide sent to to order items for you. guide are available for consulta- you, the BFI Information Service tion at the BFI National Library. If can supply copies of articles via its you wish to visit the reading room The British Library Newspaper Research Services. Research is Library of the library and do not already charged at a range of hourly rates, hold membership, you will need to with a minimum charge for half The Newspaper Library will have take out a one-day, five-day or an hour’s research – full details of annual pass. Full details of access all the newspaper items referred services and charges can be found to in this guide.
    [Show full text]
  • The New-Brutality Film
    New Brutality final.Qrk 20/7/05 9:14 am Page 1 Gormley The 1990s saw the emergence of a new kind of American Paul Gormley cinema, which this book calls the ‘new-brutality film.’ Violence and race have been at the heart of Hollywood cinema since its birth, but the new-brutality film was the first kind of popular American cinema to begin making this relationship explicit. The rise of this cinema coincided with the rebirth of a long-neglected strand of film theory, which seeks to unravel the complex relations of affect between the screen and the viewer. This book analyses and connects both of these developments, arguing that films like Falling Down, Reservoir Dogs, Se7en and Strange Days sought to reanimate the affective impact of white The New-Brutality Film Hollywood cinema by miming the power of African-American and particularly hip-hop culture. The book uses several films as Race and Affect in Contemporary Hollywood Cinema case-studies to chart these developments: • Falling Down both appropriates of the political black rage of the ‘hood film and is a transition point between the white postmodern blockbuster and the new-brutality film. Paul Gormley is Senior Lecturer and Course Tutor The New-BrutalityFilm • Gangsta films like Boyz N the Hood and Menace II Society for Media Studies in the provided the inspiration for much of the new-brutality film’s School of Cultural and mimesis of African-American culture. Innovation Studies at the University of East London. • The films of Quentin Tarantino (including Reservoir Dogs and He has published articles on Pulp Fiction) are new-brutality films that attempt to reanimate contemporary Hollywood the affective power of Hollywood cinema.
    [Show full text]
  • Genre, Justice & Quentin Tarantino
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 11-6-2015 Genre, Justice & Quentin Tarantino Eric Michael Blake University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Film and Media Studies Commons, and the Theory and Criticism Commons Scholar Commons Citation Blake, Eric Michael, "Genre, Justice & Quentin Tarantino" (2015). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/5911 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Genre, Justice, & Quentin Tarantino by Eric M. Blake A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of Humanities and Cultural Studies With a concentration in Film Studies College of Arts & Sciences University of South Florida Major Professor: Andrew Berish, Ph.D. Amy Rust, Ph.D. Daniel Belgrad, Ph.D. Date of Approval: October 23, 2015 Keywords: Cinema, Film, Film Studies, Realism, Postmodernism, Crime Film Copyright © 2015, Eric M. Blake TABLE OF CONTENTS Abstract ................................................................................................................................. ii Introduction ..................................................................................................................................1
    [Show full text]
  • Tarantino Unchained
    Alumne: Pablo Nogueras Tutora: Montserrat Gispert Tarantino unchained Presentation I have always loved cinema. Since I was little my father would bring me to watch any Disney animated movie and I really enjoyed them. As years passed, my likes evolved and movies such as the Star Wars and Indiana Jones sagas had a great impact on me. Then I discovered Christopher Nolan, Ridley Scott, Guy Ritchie, Scors- ese… and a new world of cinema appeared in my life and it made me realize it was what I really wanted to do in the future. Then Reservoir Dogs appeared and it changed my way of seeing things. I ended watching all Tarantino’s movies and never would be the same again. The way the directors sees things, and then represents them in his movies, it’s a completely dif- ferent way from the typical Hollywood cinema. He had a huge impact on me, and I wanted to know how he did it. That’s how appeared the ide of making the research project about Quentin Tarantino. Objectives When one sees a film by Quentin Tarantino one unconsciously knows that is one of his works. But, what makes Tarantino so Tarantino? This project aims to identify and analyze the most relevant traits of Quentin Tarantino’s films. Other objectives are: —Find the connections between the movies. —Relate the semblance of his productions to the action movies spaghetti westerns from the 70s, find the movies which Tarantino was inspired by and examine how accurately he uses those references in his films. —Account the number of deaths and bullets shot in each film, and which weapons were used.
    [Show full text]
  • Profanity and Blasphemy in the Subtitling of English Into
    Quaderns. Revista de Traducció 27, 2020 125-141 Profanity and blasphemy in the subtitling of English into European Spanish: four case studies based on a selection of Tarantino’s films José Javier Ávila-Cabrera Universidad Complutense de Madrid. Departamento de Estudios Ingleses: Lingüística y Literatura 28040 Madrid [email protected] ORCID: 0000-0001-5338-3584 Abstract The combination of profanity and blasphemy can be said to be one of the most delicate taboo categories to deal with on the screen. It is in the context of audiovisual translation (AVT) where professionals have to make challenging decisions when transferring these elements. Thus, should audiovisual translators be faithful to the source text or is it legitimate that they tone down the load of profanity and blasphemy? This paper describes the subtitling into European Spanish of a corpus composed of some of Tarantino’s films on the grounds of profane and blas- phemous phrases which could provoke a strong reaction from the audience. Among the main goals of this paper are: scrutinising (1) if the religious phrases under analysis are transferred faithfully; and (2) whether or not cases of blasphemy in the target text have been encountered. In a nutshell, this study aims to explore the treatment of profanity and blasphemy in the subti- tles produced for the Spanish audience. Keywords: blasphemy and profanity; interlingual subtitling; Descriptive Translation Studies; faithfulness; self-censorship Resum. Profanitat i blasfèmia en la subtitulació de l’anglès al castellà europeu: quatre estudis de cas basats en una selecció de les pel·lícules de Tarantino La combinació de la profanitat i la blasfèmia es pot dir que és una de les categories de tabús més delicades per tractar a la pantalla.
    [Show full text]
  • Romanov Thesis.Pdf
    INTRODUCTION Quentin Tarantino is a writer and director of films widely known for his nonlinear storylines, pert dialogue, excessive violence, and 60s and 70s era music scores. Tarantino has an impressive knowledge of television, movies, and film history and deeply admires exploitation films, Hong Kong action cinema and Spaghetti Westerns. His films often duplicate and incorporate the themes, style and music of a wide assortment of film genres. Tarantino got his start in film while employed as a video store clerk. In 1987, he wrote the script for True Romance and sold it in 1992, followed by the sale of another script entitled Natural Born Killers. This eventually led to Reservoir Dogs (1992), the first film he wrote and directed, followed by Pulp Fiction (1994), Jackie Brown (1997), Kill Bill Vol. 1 (2003), and Kill Bill Vol. 2 (2004). In all of the films written and directed by Tarantino, the soundtrack music plays an integral role. As he states, “The thing I’m coming from is listening to music to be the guide to a movie” (Miklitsch, 289). The music he uses as his guide shares several common characteristics: “It is old and it is referential to distinct musical, film or media genres” (Garner, 192). Tarantino uses this music to connect his audience to the physical and emotional sensations of the characters in his films. If the audience is connected, then they will understand the emotions associated with the character or be intrigued by the juxtaposition of the aural and visual elements in the scene. Therefore, as Frith generally states, music “becomes our teacher, making sure we got the film’s emotional message” (79).
    [Show full text]
  • Transfigurations: Violence, Death and Masculinity in American Cinema
    Repositorium für die Medienwissenschaft Asbjørn Grønstad Transfigurations: Violence, Death and Masculinity in American Cinema 2008 https://doi.org/10.25969/mediarep/4110 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Grønstad, Asbjørn: Transfigurations: Violence, Death and Masculinity in American Cinema. Amsterdam: Amsterdam University Press 2008 (Film Culture in Transition). DOI: https://doi.org/10.25969/mediarep/4110. Erstmalig hier erschienen / Initial publication here: http://library.oapen.org/handle/20.500.12657/35288 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell 3.0/ Lizenz zur Verfügung Attribution - Non Commercial 3.0/ License. For more information gestellt. Nähere Auskünfte zu dieser Lizenz finden Sie hier: see: https://creativecommons.org/licenses/by-nc/3.0/ https://creativecommons.org/licenses/by-nc/3.0/ FILM CULTURE IN TRANSITION VIOLENCE,VIOLENCE, DEATH,DEATH, ANDAND MASCULINITYMASCULINITY ININ AMERICANAMERICAN CINEMACINEMA TRANSTRANS-- FIGURATIONSFIGURATIONS ASBJØRN GRØNSTAD Amsterdam University Press Transfigurations Transfigurations Violence, Death and Masculinity in American Cinema Asbjørn Grønstad Front cover illustration: Still from the movie American Psycho (), starring Christian Bale Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn (paperback) isbn (hardcover) nur © Asbjørn Grønstad / Amsterdam University
    [Show full text]
  • Postmodern Graphic: Gore, Humor, Cartoons Professor Eugenie Brinkema 21L.435/CMS.840 - at the Limit: Violence in Contemporary Representation
    Session Eleven Lecture Notes: Postmodern Graphic: Gore, Humor, Cartoons Professor Eugenie Brinkema 21L.435/CMS.840 - At the Limit: Violence in Contemporary Representation Last week, on Natural Born Killers and Man Bites Dog, we talked about mediation and the media, but also remediation, immediacy, television, reality TV, liveness, media celebrity, and complicity. (This week, radio and the tv again key) Continuation Natural Born Killers, written by Tarantino, and this week, we watched his directorial debut from 1992: Reservoir Dogs. NBK: Cartoonish / graphic novel as one of the forms… The cartoon poses the question of differentiation on the level of form and ethical and corporeal questions about the status of the body being done violence to. We asked the questions: does documentation always lead to participation or collusion? What is the relationship between, and is there a crucial difference between being an observer and being a participant? What does it mean to profit from violence? Today, we’re still dealing with postmodern formal issues and issues of mediation, but this week our turn is towards the cartoonish, the garish, gore, humor, and issues dealing with style. That’s where I want to begin tonight – make a few comments on style; then coolness; then a few comments on the cartoonish. STYLE A way of thinking about today’s class, asks: WHAT IS THE POINT OF VIOLENCE? (point as in style / inscription; point as in purpose…) Etymology style: c.1300, stile, "designation, title, manner or mode of expression," from O.Fr. estile "a stake, pale," from L. stilus "stake, instrument for writing, manner of writing, mode of expression," from PIE *sti-lo-, from base *sti- "point, prick, pierce" (see stick (v.)).
    [Show full text]