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Crossdressing Cinema: an Analysis of Transgender
CROSSDRESSING CINEMA: AN ANALYSIS OF TRANSGENDER REPRESENTATION IN FILM A Dissertation by JEREMY RUSSELL MILLER Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2012 Major Subject: Communication CROSSDRESSING CINEMA: AN ANALYSIS OF TRANSGENDER REPRESENTATION IN FILM A Dissertation by JEREMY RUSSELL MILLER Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved by: Co-Chairs of Committee, Josh Heuman Aisha Durham Committee Members, Kristan Poirot Terence Hoagwood Head of Department, James A. Aune August 2012 Major Subject: Communication iii ABSTRACT Crossdressing Cinema: An Analysis of Transgender Representation in Film. (August 2012) Jeremy Russell Miller, B.A., University of Arkansas; M.A., University of Arkansas Co-Chairs of Advisory Committee: Dr. Joshua Heuman Dr. Aisha Durham Transgender representations generally distance the transgender characters from the audience as objects of ridicule, fear, and sympathy. This distancing is accomplished through the use of specific narrative conventions and visual codes. In this dissertation, I analyze representations of transgender individuals in popular film comedies, thrillers, and independent dramas. Through a textual analysis of 24 films, I argue that the narrative conventions and visual codes of the films work to prevent identification or connection between the transgender characters and the audience. The purpose of this distancing is to privilege the heteronormative identities of the characters over their transgender identities. This dissertation is grounded in a cultural studies approach to representation as constitutive and constraining and a positional approach to gender that views gender identity as a position taken in a specific social context. -
Introduction to the Warrior Ethos ■ 113
8420010_VE1_p110-119 8/15/08 12:03 PM Page 110 Section 1 INTRODUCTION TO Values and Ethics Track Values THE WARRIOR ETHOS Key Points 1 The Warrior Ethos Defined 2 The Soldier’s Creed 3 The Four Tenets of the Warrior Ethos e Every organization has an internal culture and ethos. A true Warrior Ethos must underpin the Army’s enduring traditions and values. It must drive a personal commitment to excellence and ethical mission accomplishment to make our Soldiers different from all others in the world. This ethos must be a fundamental characteristic of the U.S. Army as Soldiers imbued with an ethically grounded Warrior Ethos who clearly symbolize the Army’s unwavering commitment to the nation we serve. The Army has always embraced this ethos but the demands of Transformation will require a renewed effort to ensure all Soldiers truly understand and embody this Warrior Ethos. GEN Eric K. Shinseki 8420010_VE1_p110-119 8/15/08 12:03 PM Page 111 Introduction to the Warrior Ethos ■ 111 Introduction Every Soldier must know the Soldier’s Creed and live the Warrior Ethos. As a Cadet and future officer, you must embody high professional standards and reflect American values. The Warrior Ethos demands a commitment on the part of all Soldiers to stand prepared and confident to accomplish their assigned tasks and face all challenges, including enemy resistance—anytime, anywhere. This is not a simple or easy task. First, you must understand how the building blocks of the Warrior Ethos (see Figure 1.1) form a set of professional beliefs and attitudes that shape the American Soldier. -
1,000 Films to See Before You Die Published in the Guardian, June 2007
1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation. -
Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing -
HBO: Brand Management and Subscriber Aggregation: 1972-2007
1 HBO: Brand Management and Subscriber Aggregation: 1972-2007 Submitted by Gareth Andrew James to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, January 2011. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ........................................ 2 Abstract The thesis offers a revised institutional history of US cable network Home Box Office that expands on its under-examined identity as a monthly subscriber service from 1972 to 1994. This is used to better explain extensive discussions of HBO‟s rebranding from 1995 to 2007 around high-quality original content and experimentation with new media platforms. The first half of the thesis particularly expands on HBO‟s origins and early identity as part of publisher Time Inc. from 1972 to 1988, before examining how this affected the network‟s programming strategies as part of global conglomerate Time Warner from 1989 to 1994. Within this, evidence of ongoing processes for aggregating subscribers, or packaging multiple entertainment attractions around stable production cycles, are identified as defining HBO‟s promotion of general monthly value over rivals. Arguing that these specific exhibition and production strategies are glossed over in existing HBO scholarship as a result of an over-valuing of post-1995 examples of „quality‟ television, their ongoing importance to the network‟s contemporary management of its brand across media platforms is mapped over distinctions from rivals to 2007. -
View / Open Final Thesis-Slavit I.Pdf
THE INFLUENCE OF NEOCONSERVATISM IN THE DEPICTION OF VIOLENT NON-NORMATIVE WOMEN IN EROTIC THRILLERS FROM 1980 TO 2000 by ILANA SLAVIT A THESIS Presented to the Department of Cinema Studies and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2020 An Abstract of the Thesis of Ilana Slavit for the degree of Bachelor of Arts in the Department of Cinema Studies to be taken June 2020 Title: The Influence of Neoconservatism in the Depiction of Non-normative Women in Erotic Thrillers from 1980 to 2000 Approved: Peter Alilunas Primary Thesis Advisor U.S. erotic thrillers of the 1980s and 1990s are intrinsically intertwined with the socio-political history of the culture wars. Both the counter-culture movements and a laxation of cinematic censorship during the 1960s resulted in an increase in sex and violence on-screen, in addition to non-normative behavior. Thus, the culture wars began, with neoconservatives and antifeminists in the late 1970s to the 1990s pushing for traditional family values against a backdrop of loosening social mores. Violent non- normative women in erotic thrillers of the 1980s and 1990s highlighted antifeminist sentiments of the era through literalization of non-normative lifestyles as dangerous to traditional family values and U.S. culture. ii Acknowledgements I would like to thank Professor Alilunas for his guidance with film history and analysis, in addition to textual and formatting suggestions from a media studies lens. I would also like to thank Professor Millán for helping me to fully examine the film history from an intersectional feminist theory perspective. -
The Femme Fatale: a Recurrent Manifestation of Patriarchal Fears
THE FEMME FATALE: A RECURRENT MANIFESTATION OF PATRIARCHAL FEARS by LESLEY CECILE MARIE ANDERSON B.A., The University of Western Ontario, 1987 B.A. (Honours), The University of Toronto, 1992 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Theatre and Film) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA July 1995 © Lesley C. M. Anderson, 1995 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree: that permission for extensive copying of this thesis "lor scholarly purposes may be - granted by the head of my department or by his or her representatives. It is j understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Theatre c\ncA F^wi The University of British Columbia Vancouver, Canada Date 2o Jut-V \9>°iS DE-6 (2/88) II ABSTRACT The Femme Fatale: A Recurrent Manifestation of Patriarchal Fears This thesis examines how and why the representation of the femme fatale is constructed and recycled by a dominant patriarchal ideology throughout history by outlining the catalysts that have produced and continue to produce such a figure. The image of the femme fatale is utilised as an ideological contrivance, occurring in the cultural discourses of various historical epochs in an attempt to quell any social change considered to be threatening to the patriarchal infrastructure. -
Ben Kingsley Téa Leoni Luke Wilson T S O P K R O Y W
SCHW ÄRZER KANNEINEK OMÖDIE NICHTSEIN LUKE WILSON LUKE TÉA LEONI BEN KINGSLEY EINE KILLERKOMÖDIE VON JOHNDAHL VON EINE KILLERKOMÖDIE NEW YORK POST SCHWÄRZER KANN EINE KOMÖDIE NICHT SEIN NEW YORK POST FRANK BEN KINGSLEY LAUREL TÉA LEONI TOM LUKE WILSON BEN KINGSLEY TÉA LEONI LUKE WILSON O'LEARY DENNIS FARINA ROMAN PHILIP BAKER HALL YOU KILL ME DAVE BILL PULLMAN REGIE JOHN DAHL EINE RABENSCHWARZE KILLERKOMÖDIE DREHBUCH CHRISTOPHER MARKUS VON JOHN DAHL STEPHEN MCFEELY PRODUKTION CAROL BAUM AL CORLEY MIKE MARCUS USA 2007 EUGENE MUSSO BART ROSENBLATT 92 MINUTEN ZVI HOWARD ROSENMAN 2.35:1 KOPRODUKTION KIM OLSEN KAMERA JEFFREY JUR, A.S.R. DOLBY SRD SCHNITT SCOTT CHESTNUT AUSSTATTUNG JOHN DONDERTMAN KOSTÜME LINDA MADDEN MUSIK MARCELO ZARVOS SYNOPSIS Frank ist ein Gangster, ein Mafia-Killer und Auftragsmörder. Zynisch und gelassen sieht er das Töten als eine Art des Geldverdienens. Wären seine ausgeprägten Alkoholprobleme nicht, hätte er mit dem auf Disziplin gegründeten mafiösen Familiengeist keine Probleme. Doch leider verschläft er einen wichtigen Auftragsmord im Alkoholrausch, und das bisher in festem Familienbesitz stehende Geschäft mit Schneepflügen ist ernsthaft in Gefahr. Der Buffaloer Schnee- und Stadtlandschaft steht ein Machtwechsel ins Haus. Nachdem sein Onkel ein Machtwort gesprochen hat, wird Frank ohne viel Federlesen nach San Francisco verfrachtet, wo der zwielichtige Dave ihm Wohnung, Job und eine 12-Punkte-Therapie bei den anonymen Alkoholikern verschafft. Als frisch gebackener Leichen- kosmetiker in einem Bestattungsunternehmen darf er sich nun nicht mehr mit dem Töten, sondern nur noch mit den Toten beschäftigen. Inmitten einer kuriosen Schar von Freunden, Feinden, Auf- passern, lebensbejahenden Alkoholikern und untröstlichen Angehörigen wird Franks Leben völlig auf den Kopf gestellt. -
The Fate of the Davao Penal Colony #502 "Branch" of the LDS Churc
BYU Studies Quarterly Volume 50 | Issue 4 Article 7 12-1-2011 The aF te of the Davao Penal Colony #502 "Branch" of the LDS Church, 1944 David L. Clark Bart J. Kowallis Follow this and additional works at: https://scholarsarchive.byu.edu/byusq Recommended Citation Clark, David L. and Kowallis, Bart J. (2011) "The aF te of the Davao Penal Colony #502 "Branch" of the LDS Church, 1944," BYU Studies Quarterly: Vol. 50 : Iss. 4 , Article 7. Available at: https://scholarsarchive.byu.edu/byusq/vol50/iss4/7 This Article is brought to you for free and open access by the All Journals at BYU ScholarsArchive. It has been accepted for inclusion in BYU Studies Quarterly by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Clark and Kowallis: The Fate of the Davao Penal Colony #502 "Branch" of the LDS Churc Figure 1. The Philippine Islands and locations of prison camps, cities, and villages important for the story of the LDS POWs. Courtesy Bart J. Kowallis. Published by BYU ScholarsArchive, 2011 1 BYU Studies Quarterly, Vol. 50, Iss. 4 [2011], Art. 7 The Fate of the Davao Penal Colony #502 “Branch” of the LDS Church, 1944 David L. Clark and Bart J. Kowallis The Sinking of the Shinyo Maru At 4:37 p.m. on September 7, 1944, the USS Paddle, a submarine on its fifth war patrol, reached N 08o 11', E 122o 04 ', just off Sindangan Point on the southwest coast of the Philippine island of Mindanao in the Sulu Sea, having sailed from Fremantle, Western Australia, on August 22; its mission was to attack Japanese shipping in the east Sulu Sea. -
War and Cinema
Theatres of Representation Discourses of War and Cinema Daniel Binns SID: 16123117 ! ! ! ! Doctor of Philosophy, 2013 University of Western Sydney Table of Contents Acknowledgements i. Dedication ii. Abstract iii. 1. Introduction – War and Cinema 1 2. Survey of the Field & Analytic Narrative 23 3. For Glory: World Wars I and II 58 4. Fear, Frustration, Paranoia: Vietnam 103 5. Live from the Front Line: Conflict in the Middle East 148 6. Extended Discourses of War: Video Games & Comic Books 192 7. Conclusion: Cycles of Violence, Repeat Performances 225 Sources 238 Appendix: Sample Film Analysis 254 Acknowledgements This thesis has felt, at times, like a battle. Now that the battle is over, I must take some time to thank my comrades-in-arms, without whom none of what you hold would have been possible. To the various people with whom I had personal correspondence or conversation during the course of this research, thank you for your time and expertise. These fine souls include, but are not limited to, Bill Nichols, Bruce Isaacs, Richard Smith, David Burchell, David Axe, Brendan Keogh, Elizabeth Roberts, and Hunter Cordaiy. Thanks to Jonathan Foye, and JT Velikovsky, for casting an objective eye over the piece in its final stages – and for your validation. To the employers who have graciously worked around my research commitments, continuing to further my experience in the film industry and academia, thank you. To my supervisors – Dr. Paul Ryder and Dr. Peter Dallow – your patience, commitment, wisdom, and good humour have been invaluable. It is needless to say that this document would not exist without you both. -
The Great Rescue Free
FREE THE GREAT RESCUE PDF Jan Burchett,Sara Vogler,Leo Hartas | 160 pages | 01 Jun 2014 | Hachette Children's Group | 9781444007633 | English | London, United Kingdom The 10 Most Exciting Rescues - Seeker Early in the morning on May 23,the state-of-the-art diesel electric submarine USS Squalus was conducting a test dive off the Isle of Shoals when a catastrophic valve failure caused the sub to sink to feet. Due to the extreme depth and difficulty of the rescue attempt, the search was called off The Great Rescue the next day, as the 33 passengers watched the crew compartment, engine and torpedo rooms The Great Rescue with water. At a. It's known as the most epic and complex mission of World War II. In January,volunteer U. Army Rangers set out to rescue more than allied prisoners of war who had already survived the Bataan Death March, a brutal multi-day forced walk through the searing heat of the Philippine jungles. Thousands of men died. Those who didn't were imprisoned in the notoriously brutal camp, Cabanatuan. To free their fellow soldiers, the Rangers snuck behind enemy lines and launched a surprise attack on the Japanese. The assault lasted 30 minutes and freed hundreds of soldiers, with The Great Rescue American casualties. On July 25,when Italian luxury liner SS Andrea Doria collided at a combined speed of 40 knots with the MS Stockholm in the fog-shrouded water of the North Atlantic near Nantucket Island, the collision had Titanic potential: The Andrea Doria was carrying 1, passengers and crew when the Stockholm's prow plowed through the ship's starboard side at a degree angle, piercing five tanks of fuel, which quickly filled with tons of seawater. -
Raid on the Bataan Death Camp
Raid on the bataan death camp click here to download The raid on Cabanatuan remains the most successful rescue mission in My father escaped the Death March. It's been 70 years since a daring raid freed captured Americans. It leads across the plain toward the death camp where prisoners of the horrors of the Bataan Death March -- when the men who had surrendered at. And while Hitler's concentration camps deserve their worldwide in it the Bataan Death March after thousands of USAFFE soldiers died from. December 8th, With the American fleet still smoldering in Pearl Harbor, the Japanese unleash their war machine on the Philippines. Thousands of. POW Camp Fukuoka Includes veterans biographies, Bataan Death March, Rules laid down by the Japanese camp commandant were: . Stoop, Little Speedo, Air Raid, Laughing Boy, Donald Duck, Many Many, Beetle Brain, Fish Eyes. Great Raid on Cabanatuan Prison information and photos from defense of Bataan and Corregidor and the infamous Bataan Death. The Great Raid--The Facts Behind the Story survivors of the infamous Bataan Death March who had been imprisoned for Of particular concern was the fate of some allied POWs being held in the Cabanatuan Camp in central Luzon. Documentary · Add a Plot» History | Episode aired 1 December Season 2 | Episode 5. Previous · All Episodes (23) · Next · WWII: Raid on the Bataan Death Camp Poster. All the Bataan prisoners initially ended up at Camp O'Donnell. (It was and 10, Filipinos died at Camp O'Donnell within the first six weeks. Before the Cabanatuan raid was carried out, prisoners in a camp near and torture after the battle for Corregidor and the Bataan Death March.