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Screening the Male: Exploring Masculinities in Hollywood Cinema I
SCREENING THE MALE Exploring masculinities in Hollywood cinema Edited by Steven Cohan and Ina Rae Hark London and New York First published 1993 by Routledge 11 New Fetter Lane, London EC4P 4EE This edition published in the Taylor & Francis e-Library, 2002. Disclaimer: For copyright reasons, some images in the original version of this book are not available for inclusion in the eBook. Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 © 1993 Routledge, collection as a whole Individual chapters © 1993 respective authors All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data Screening the Male: Exploring Masculinities in Hollywood Cinema I. Cohan, Steven II. Hark, Ina Rae 791.4309 Library of Congress Cataloguing in Publication Data Screening the male: exploring masculinities in Hollywood cinema/edited by Steven Cohan and Ina Rae Hark. p. cm. 1. Men in motion pictures. 2. Sex in motion pictures. I. Cohan, Steven. II. Hark, Ina Rae. PN1995.9.M46S36 1993 791.43´652041–dc20 92–5815 ISBN 0–415–07758–3 (hbk) ISBN 0–415–07759–1 (pbk) ISBN 0–203–14221–7 Master e-book ISBN ISBN 0–203–22072–2 (Glassbook Format) 8 ANIMALS OR ROMANS Looking at masculinity in Spartacus Ina Rae Hark When Laura Mulvey’s ‘Visual Pleasure and Narrative Cinema’ detailed how the cinematic apparatus and the conditions of cinema spectatorship invariably place woman as an object of the desiring male gaze, required to present herself as spectacle, its argument did not necessarily exclude the possibility that the apparatus could similarly objectify men who symbolically if not biologically lacked the signifying phallus. -
Event RECAP July 21-23 Wired Café San Diego, CA July 21-23 July 21-23 2011 WIRED Café
EVENT RECAP JULY 21-23 WIRED CAFÉ SAN DIEGO, CA JULY 21-23 JULY 21-23 2011 WIRED CAFÉ From July 21-23, 2011, WIRED hosted the 3rd Annual WIRED Café @ Comic-Con. Throughout the weekend, over 3,000 guests received invitation-only access to WIRED’s full-service Café, which provided a media preview lounge, gadget lab, cuisine, cocktails, and a host of activities and interactive demos from WIRED partners, including HBO, Microsoft, History Channel, MGM Casinos, Budweiser Select, and Pringles. An all-star cast of celebs stopped by to sample the food, drinks, and gear, including Justin Timberlake, Amanda Seyfried, Jon Favreau, Rose McGowan, Natasha Henstridge, Olivia Munn, John Landis, Adam West, Billy Dee Williams, Kevin Smith, Nikki Reed, Kellan Lutz, and the entire cast of HBO’s True Blood. All of these celebs were captured by the WIRED.com video crew and featured on WIRED.com. Both Access Hollywood and CNN camped out all day to interview the stars of True Blood. PRESENTED BY SPONSORED BY WIRED CAFÉ SAN DIEGO, CA JULY 21-23 SAN DIEGO, CA JULY 21-23 WIRED CAFÉ 5 “I love the WIRED Café, it’s one of my favorite spots at Comic-Con.” —Kellan Lutz KellanWIRED Lutz CAF/ TwilightÉ SAN DIEGO, CA JULY 21-23 SAN DIEGO, CA JULY 21-23 WIRED CAFÉ 7 Lucy LawlessWIRED CAF /É SpartacusSAN DIEGO, CA JULY 21-23 JULY 21-23 CELEBRITY ATTENDEES 6 / 7 / 8 / 1 / 9 / 10 / 2 / 3 / 4 / 5 / 11 / 12 / 1 / Justin Timberlake and Amanda Seyfried, In Time 2 / Rose McGowan, Conan the Barbarian 3 / Rutina Wesley, True Blood 6 / Eric Balfour, Haven 7 / Aisha Tyler, Archer 8 / Nikki Reed, Twilight 9 / Jon Favreau, Cowboys and Aliens 4 / Skyler Samuels, The Nine Lives of Chloe King 5 / Tony Hale, Alan Tudyk, Adam Brody, and Jake Busey, Good Vibes 10 / Dominic Monaghan, X-Men Origins: Wolverine 11 / Kristin Bauer and Alexander Skarsgard, True Blood 12 / Kevin Smith, 4.3.2.1. -
The Narrative Functions of Television Dreams by Cynthia A. Burkhead A
Dancing Dwarfs and Talking Fish: The Narrative Functions of Television Dreams By Cynthia A. Burkhead A Dissertation Submitted in Partial Fulfillment of the Requirements for the Ph.D. Department of English Middle Tennessee State University December, 2010 UMI Number: 3459290 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3459290 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DANCING DWARFS AND TALKING FISH: THE NARRATIVE FUNCTIONS OF TELEVISION DREAMS CYNTHIA BURKHEAD Approved: jr^QL^^lAo Qjrg/XA ^ Dr. David Lavery, Committee Chair c^&^^Ce~y Dr. Linda Badley, Reader A>& l-Lr 7i Dr./ Jill Hague, Rea J <7VM Dr. Tom Strawman, Chair, English Department Dr. Michael D. Allen, Dean, College of Graduate Studies DEDICATION First and foremost, I dedicate this work to my husband, John Burkhead, who lovingly carved for me the space and time that made this dissertation possible and then protected that space and time as fiercely as if it were his own. I dedicate this project also to my children, Joshua Scanlan, Daniel Scanlan, Stephen Burkhead, and Juliette Van Hoff, my son-in-law and daughter-in-law, and my grandchildren, Johnathan Burkhead and Olivia Van Hoff, who have all been so impressively patient during this process. -
New York Office 550 Mamaroneck Ave Harrison, NY 10528 1-800-345-3787 Phone
Addison June Advance Akita Alfred Grille Almand’s Joy Alva’s Regalia Alva’s Supreme Ambition American Dawn American Dream American Sun Andrea Lawson Anna Cornelia Apricot Desire Apricot Star Arabian Night Arbatax Arthur Hambley Askwith Minnie Autumn Orange Babette Babylon Bronze Babylon Lila Babylon Paars Babylon Rood Bacardi Bantling Barbarossa Barbarry Alex Barbarry Maverick Beatrice Belle of Barmera Bergers Record Berner Oberland Big Brother Bistro Black Destiny Black Diamond Black Jack Blondee Blue Bayou Blue Bell Blue Boy Blue Wish Bluetiful Blyton Golden Girl Bodacious Bohemian Spartacus Bon Odori Bonanza Bonesta Boom Boom Red Boom Boom White Boom Boom Yellow Boy Scout Break Out Bridge View Aloha Bright Diamond Bristol Stripe Bronze Queen Brown Sugar Burlesca Buttercup Cabana Banana Cafe au Lait Cafe au Lait Rosé Cafe au Lait Royal Caitlin’s Joy Caribean Fantasy Carston Vailiant Cartouche Chat Noir Checkers Cheerio Chick a Dee Chimacum Davi Christine Clair Obscur Clarence Clyde’s Choice Color Spectacle Colorado Classic Con Amore Contraste Cornel Cornel Bronze Crazy Legs Crème de Cassis Crème de Cognac Creve Coeur Cryfield Harmony Cynthia Louise Dad’s Favorite Daisy Duke Dark Butterfly Dark Spirit David Howard Dazzling Magic Diana’s Memory Diva Us Dominique Doris Duke Downham Royal Dr. P.H. Riedell Duet El Santo Elga Elma Elisabeth Emory Paul Engelhardt’s Matador England’s Glory Esli Eternal Snow Eveline Excentric Fairway Spur Fatima Ferncliff Illusion Fiorentina Fleurel Floorinoor Floyd’s Fluffles Forrestal Franz Kafka Fringed Star -
Michael Gold & Dalton Trumbo on Spartacus, Blacklist Hollywood
LH 19_1 FInal.qxp_Left History 19.1.qxd 2015-08-28 4:01 PM Page 57 Michael Gold & Dalton Trumbo on Spartacus, Blacklist Hollywood, Howard Fast, and the Demise of American Communism 1 Henry I. MacAdam, DeVry University Howard Fast is in town, helping them carpenter a six-million dollar production of his Spartacus . It is to be one of those super-duper Cecil deMille epics, all swollen up with cos - tumes and the genuine furniture, with the slave revolution far in the background and a love tri - angle bigger than the Empire State Building huge in the foreground . Michael Gold, 30 May 1959 —— Mike Gold has made savage comments about a book he clearly knows nothing about. Then he has announced, in advance of seeing it, precisely what sort of film will be made from the book. He knows nothing about the book, nothing about the film, nothing about the screenplay or who wrote it, nothing about [how] the book was purchased . Dalton Trumbo, 2 June 1959 Introduction Of the three tumultuous years (1958-1960) needed to transform Howard Fast’s novel Spartacus into the film of the same name, 1959 was the most problematic. From the start of production in late January until the end of all but re-shoots by late December, the project itself, the careers of its creators and financiers, and the studio that sponsored it were in jeopardy a half-dozen times. Blacklist Hollywood was a scary place to make a film based on a self-published novel by a “Commie author” (Fast), and a script by a “Commie screenwriter” (Trumbo). -
The Queer History of Films and Filming by Justin Bengry
The Queer History of Films and Filming By Justin Bengry It would be hard to exaggerate the sense of repression that many queer men felt in 1950s Britain. Assailed by the press, stalked by the police and dispar- aged by the state, homosexuals experienced almost universal hostility. In 1952, for example, the Sunday Pictorial’s infamous ‘Evil Men’ series ridiculed queer men as “freaks” and “degenerates”; they were, the Pictorial warned, a potent threat to British society.1 In 1953 alone, sensational coverage of charges against Labour M.P. William Field for importuning, author Rupert Croft-Cooke for gross indecency and Shakespearean actor Sir John Gielgud for importuning in a Chelsea lavatory all highlighted the plight of homosexuals. More than any other case, however, the Lord Montagu affair of 1953-4 exposed the dangers posed to homosexuals in Britain. At its conclusion, Lord Montagu, his cousin Michael Pitt-Rivers and Daily Mail diplomatic correspondent Peter Wildeblood were all imprisoned. By 1954, the scandals, trials and social disruption had reached such a frenzy, that amid calls for state intervention, the government relented and called the Departmental Committee on Homosexual Offences and Prostitution (The Wolfenden Committee) to evaluate the state of criminal law in Britain. That same year, Philip Dosse introduced Films and Filming. Long before homosexual activity between consenting men was decrimina- lised in Britain in 1967, Films and Filming subtly included articles and images, erotically charged commercial advertisements and same-sex contact ads that established its queer leanings. From its initial issues in 1954, the magazine sought Britain’s queer market segment by including articles on the censorship of homosexual themes in film and theatre, profiles and images of sexually ambigu- ous male actors like Dirk Bogarde and Rock Hudson and photo spreads selected specifically for their display of male flesh. -
IN PLAIN SIGHT: DETAILED OBJECT INFORMATION Sadie Barnette For
Henry IN PLAIN SIGHT: DETAILED OBJECT INFORMATION Sadie Barnette For Sadie Barnette, the personal is political. Through the Freedom of Information Act, Barnette and her family obtained a 500-page FBI file documenting the everyday activities of her father, Rodney Barnette. Rodney founded the Compton chapter of the Black Panther Party in the 60s, and opened the first black gay bar in San Francisco. Under the COINTELPRO program, the FBI targeted Rodney and other Black Panther Party members as extremists, and aggressively surveilled the community organizers. This invasion of privacy and policing of black lives moved the younger Barnette to re-appropriate the document as a source material to tell her dad’s story as well as the story of the government and its efforts to destroy civil rights movements. Anchoring this installation, Barnette’s diptych Untitled (Agitator Index) juxtaposes a document expressing the Bureau’s concerns about protecting its informants with a list of Black Panther Party members. Barnette redacts the names and birthdates of the Black Panthers with glitter and crosses out the CONFIDENTIAL stamps, restoring anonymity and security of their identities. Barnette obscures the already impenetrable legal language to uncover the brutality of the government’s efforts and to reclaim personal and political histories. Barnette further unpacks the ongoing histories of surveillance to envision possible futures. In her reimagining of the (black) home place, the domestic scene shimmers. Barnette works with glitter as an element of “transcendence or ecstasy, escape—it’s mesmerizing, it’s hypnotizing, we are all drawn to it and it can transport you somewhere.” Barnette decorates the pink glittered space with a holographic couch and black American cultural articles. -
International Center Host to Woes
r The Weather Local news Arts Sports Partly cloudy, highs 55 to 60 pages 15, 16 TODAY Rain likely tomorrow. pages 4, 5, 13 pages 10, 11 (Emmectiait Sa% (Eampua Serving Storrs Since 1896 w VOL. LXXXI NO. Afr- J30RRS, CONNECTICUT WEDNESDAY. NOVEMBER 16. 1977 —A special report International Center host to woes By VIVIAN B. MARTIN Copyright, 1977, The Connecticut Dally Campos The International Center and the University's foreign student program are suffering from problems that have caused many students to boycott the center, and have prompted others to question how dedicated I'Conn is in its commitment to the International community. The Daily Campus has learned that the 11-year-old center is having problems defining the status of a foreign student advisor who by job title and description does not exist, as well as handling factional differences and low morale that some have blamed on unrespon- siveness of the center's director and a lack of support by the University. Very few people can pinpoint when exactly foreign students' problems started. However, most of the major problems began to surface three to four years ago. Four years ago, Vivian Putnam, who is now employed in the Registrar's Office, was the International Center's foreign student advisor, as well as the director of the Robert B. Knapp center. Putnam, who says she now tries to keep her distance International Center. from the situation because she doesn't want to interfer, Until about two years ago, the Graduate Center had a advised students with problems that were other than position titled Director of Foreign Students and academic, and was also familiar with visa and Minority Affairs. -
Supreme Court of the State of New York
SUPREME COURT OF THE STATE OF NEW YORK APPELLATE DIVISION : FOURTH JUDICIAL DEPARTMENT DECISIONS FILED JUNE 7, 2019 HON. GERALD J. WHALEN, PRESIDING JUSTICE HON. NANCY E. SMITH HON. JOHN V. CENTRA HON. ERIN M. PERADOTTO HON. EDWARD D. CARNI HON. STEPHEN K. LINDLEY HON. BRIAN F. DEJOSEPH HON. PATRICK H. NEMOYER HON. JOHN M. CURRAN HON. SHIRLEY TROUTMAN HON. JOANNE M. WINSLOW, ASSOCIATE JUSTICES MARK W. BENNETT, CLERK SUPREME COURT OF THE STATE OF NEW YORK Appellate Division, Fourth Judicial Department 1147 KA 16-00800 PRESENT: CARNI, J.P., LINDLEY, DEJOSEPH, NEMOYER, AND WINSLOW, JJ. THE PEOPLE OF THE STATE OF NEW YORK, RESPONDENT, V MEMORANDUM AND ORDER ROBERT GREEN, DEFENDANT-APPELLANT. THE LEGAL AID BUREAU OF BUFFALO, INC., BUFFALO, HODGSON RUSS LLP (PATRICK E. FITZSIMMONS OF COUNSEL), FOR DEFENDANT-APPELLANT. JOHN J. FLYNN, DISTRICT ATTORNEY, BUFFALO (MICHAEL J. HILLERY OF COUNSEL), FOR RESPONDENT. Appeal from a judgment of the Supreme Court, Erie County (Russell P. Buscaglia, A.J.), rendered February 20, 2015. The judgment convicted defendant, upon his plea of guilty, of criminal possession of a weapon in the second degree. It is hereby ORDERED that the case is held, the decision is reserved and the matter is remitted to Supreme Court, Erie County, for further proceedings in accordance with the following memorandum: Defendant appeals from a judgment convicting him upon his plea of guilty of criminal possession of a weapon in the second degree (Penal Law § 265.03 [3]). The charge arose after a police officer observed the vehicle in which defendant was a passenger being operated in violation of the Vehicle and Traffic Law. -
My Movies Collection
My Movies Collection The [REC] Collection [REC] Type: Movie Type: Movie Year: 1900 Rel. Date: - Year: 2007 Rel. Date: - Director: - Runtime: 5h 38min Director: Paco Plaza Runtime: 1h 18min Actors: - Actors: Paco Plaza, Manuela Velasco, Ferran Terraza. Audio: - Audio: Subtitles: - Subtitles: [REC] 2 [REC] 3: Genesis Type: Movie Type: Movie Year: 2009 Rel. Date: - Year: 2012 Rel. Date: - Director: Paco Plaza Runtime: 1h 25min Director: Paco Plaza Runtime: 1h 20min Actors: Paco Plaza, Jonathan D. Mellor, Óscar Zafra, Ariel Casas. Actors: Paco Plaza, Leticia Dolera, Diego Martín. Audio: Audio: Subtitles: Subtitles: [REC] 4: Apocalypse 10 Cloverfield Lane Type: Movie Type: Movie Year: 2014 Rel. Date: - Year: 2016 Rel. Date: - Director: Jaume Balagueró Runtime: 1h 35min Director: Dan Trachtenbe... Runtime: 1h 43min Actors: Jaume Balagueró, Manuela Velasco, Paco Manzanedo. Actors: Dan Trachtenberg, John Goodman. Audio: Audio: Subtitles: Subtitles: 12 Angry Men 28 Days Later Type: Movie Type: Movie Year: 1957 Rel. Date: - Year: 2002 Rel. Date: - Director: Sidney Lumet Runtime: 1h 36min Director: Danny Boyle Runtime: 1h 53min Actors: Sidney Lumet, Martin Balsam, John Savoca. Actors: Danny Boyle, Alex Palmer, Bindu De Stoppani. Audio: Audio: Subtitles: Subtitles: 28 Weeks Later 3 Silent Classics by Josef Von Sternberg Type: Movie Type: Movie Year: 2007 Rel. Date: - Year: 1900 Rel. Date: - Director: Juan Carlos Fres... Runtime: 1h 40min Director: - Runtime: 4h 04min Actors: Juan Carlos Fresnadillo, Robert Carlyle, Rose Byrne. Actors: - Audio: Audio: - Subtitles: Subtitles: - The 39 Steps Abrakadabra Type: Movie Type: Movie Year: 1935 Rel. Date: - Year: 2018 Rel. Date: - Director: Alfred Hitchcock Runtime: 1h 26min Director: Nicolás Onetti Runtime: - Actors: Alfred Hitchcock, Robert Donat, Madeleine Carroll. -
Loft-Film-Fest-2019-Program.Pdf
GET YOUR TICKETS LOFT FILM FEST SPONSORS FILM FESTIVAL BADGE TITLE SPONSORS General: $180 Loft Members: $150 FILMS General: $12 Loft Members: $10 OFFICIAL FEST SITE LoftFilmFest.org SCREENINGS TAKE PLACE AT The Loft Cinema 3233 E. Speedway Blvd. Tucson, AZ 85716 PRESENTING SPONSORS CONTACT [email protected] (520) 795-0844 FULL SCHEDULE ON PAGES 12-13 LOFT FILM FEST STAFF FESTIVAL EXECUTIVE DIRECTOR OFFICIAL HOTEL OF OFFICIAL BEER OF Peggy Johnson LOFT FILM FEST LOFT FILM FEST FESTIVAL DIRECTORS J.J. Giddings, Jeff Yanc MANAGING DIRECTOR Zach Breneman FESTIVAL PROGRAMMING CONSULTANTS Cassie Ramirez Breneman, Anthony Cutrone, Christine Hill, Debi Chess Mabie, Max McCauslin, SUPPORTING SPONSORS Mike Plante, Ernie Quiroz, Nikki Sanchez, VR Consultant Eric Carr FINANCE DIRECTOR Jonathan Kleefeld MARKETING/DESIGN Ben Mackey, Matt McCoy SPONSORSHIP DIRECTOR Amber Kleefeld PROGRAM SPONSORS DIRECTOR OF EDUCATION & ENGAGEMENT Shawna Dacosta GUEST RELATIONS Anthony Cutrone, Shawna Dacosta, Ben Mackey, Daniela Ontiveros, Emily Quinn DIRECTOR OF THEATRE OPERATIONS FILM SPONSORS Jason Denholm Anonymous, Max McCauslin, Hal Melfi, Patricia & John Whitehill, OPERATIONS MANAGER University of Arizona School of Theatre, Film & Television, Joe Tarver, Brenda Rodriguez Claire Scheuren ASSISTANT MANAGERS Marcel Jeanisse, Madeline McClure, Candace Ripley, IN-KIND DONATIONS Pedro Robles-Hill, A.J. Simon Old Pueblo Trolley , Proud Source H2O THE LOFTY ACHIEVEMENT AWARD The Loft Film Fest is awarding two Lofty Awards this year. The Lofty is presented each year at the Loft Film Fest to an individual whose career and body of work have significantly contributed to the world of cinema, and who continues to The Loft Film Fest was proud to receive a $20,000 Art inspire, entertain and enlighten audiences. -
The Hollywood Cinema Industry's Coming of Digital Age: The
The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication.