The Yes Men Are Revolting

Total Page:16

File Type:pdf, Size:1020Kb

The Yes Men Are Revolting THE YES MEN ARE REVOLTING SYNOPSIS For the last 20 years, notorious activists the Yes Men (Mike Bonanno and Andy Bichlbaum) have staged outrageous and hilarious hoaxes to draw international attention to corporate crimes against humanity and the environment. Armed with nothing but thrift­store suits and a lack of shame, these iconoclastic revolutionaries lie their way into business events and government functions to expose the dangers of letting greed run our world. In their third cinematic outing (after The Yes Men and The Yes Men Fix The World), they are now well into their 40s, and their mid­life crises are threatening to drive them out of activism forever – even as they prepare to take on the biggest challenge they’ve ever faced, climate change. More than the first two installments, The Yes Men Are Revolting is as much a character study as it is an entertaining depiction of their latest interventions. Revealing the real people behind the ruses, at its heart lies a hopeful message about fighting for change. KEY CREATIVE PERSONNEL Laura Nix, Director and Producer Laura Nix directed and produced the documentary The Light in Her Eyes, which premiered at IDFA, was broadcast on the series POV on PBS, and toured the world as part of Sundance's Film Forward program. She co­wrote the Emmy­nominated PBS doc California State of Mind: The Legacy of Pat Brown, and her short­form nonfiction work has been shown on HBO, IFC, Planet Green, and the History Channel. She produced festival hit The Yes Men Fix the World, which was sold to HBO and won the audience award at the Berlinale. Previously, she directed the feature documentary Whether You Like It or Not: The Story of Hedwig, for New Line Cinema, which played in over a dozen film festivals in the US and worldwide. As a founding partner of Automat Pictures, Nix directed and produced dozens of non­fiction pieces for inclusion on major studio DVDs, including three documentaries commissioned by Sam Mendes for the movie Jarhead. Nix is also the writer/director of the narrative feature The Politics of Fur, which played in over 70 festivals internationally and won numerous awards, including the Grand Jury Prize at Outfest. The Yes Men, Directors Armed with nothing but quick wits and thrift store suits, the Yes Men impersonate big­time corporate criminals to draw attention to their crimes against humanity and the environment. Their outrageous satirical interventions at business events, on the internet, television, and in the streets form the basis of two award­winning feature documentaries, “The Yes Men” and “The Yes Men Fix the World”, festival favorites in Toronto, Berlin, SXSW and others. Their work has been shown in the Whitney Biennial, the Venice Biennale, ARS Electronica, and many other art exhibitions. They are the recipients of numerous awards, including Creative Time's Leonore Annenberg Prize for Art and Social Change, Grierson Documentary Award, Berlinale Panorama Audience Award, the United Nations Association Film Festival Grand Jury Award, Best Documentary Award at HBO Comedy Arts Festival, and the Audience Award at the International Documentary Festival Amsterdam. They are the authors of several books and many articles, and lecture internationally on art and social change. They are the founders of a nonprofit, the Yes Lab, and the Action Switchboard, an online platform for generating real­life direct actions in the service of social movements. Alan Hayling, Executive Producer Alan Hayling is an established documentary film producer and commissioner who has been working in the field since the early 1970s. Alan was Head of Documentaries at BBC Television from 2004­2006, and spent ten years as a Commissioning Editor in Channel 4’s documentary department from 1991 until 2001. Among the documentaries that Hayling initiated and executive produced himself at the BBC is the multi award­winning documentary Children of Beslan and the innovative and funny documentary series Mischief. At Channel 4 he worked closely with Michael Moore, commissioning his hit film Bowling for Columbine and his series The Awful Truth. Hayling also executive produced The Yes Men Fix the World. Alex Cooke is a documentary filmmaker and the co­founder and Chief Executive of Renegade Pictures. Among her films are Closing Guantanamo, about Obama’s failed promise to close Guantanamo within a year of taking office, The Governator, about Arnold Schwarzenegger’s first run for Governor of California, and the series Only in America. Prior to directing and founding Renegade, Alex was the programmer of the Sheffield Documentary Festival and a film editor. Adam McKay, Executive Producer McKay is a writer, director, and producer whose credits include Anchorman, Talladega Nights, Step Brothers, The Other Guys, The Campaign, and most recently, Anchorman: The Legend Continues. His upcoming projects include Undroppable, a documentary that tackles the dropout rate in our schools. McKay is a former head writer of Saturday Night Live and one of the founding members of the Upright Citizens Brigade. Other credits include writing for Michael Moore's show The Awful Truth and co­founding the comedy website Funny or Die with Will Ferrell. McKay also produces HBO's hit comedy series Eastbound and Down, now in its fourth season, through his and Ferrell’s company, Gary Sanchez Productions. In 2009 he took to the stage, directing the Tony nominated Broadway show You're Welcome America: A Final Night with George W. Bush. Motto Pictures (Julie Goldman and Christopher Clements), Co­Executive Producers Julie Goldman founded Motto Pictures in 2009. She has produced a wide range of award­winning documentaries, working with a lineup of talented and acclaimed filmmakers. Julie was nominated by the Producers Guild of America for the 2010 Producer of the Year Award. Recent producing credits include Sergio, the Academy Award­winning The Cove, Valentino The Last Emperor, and Sons of Perdition, which premiered on OWN in June. Other recent credits include: Ai Weiwei: Never Sorry, God Loves Uganda, A Place at the Table, and Buck. Prior to launching Motto Pictures, Goldman was Senior Vice President of Production and Co­Production at Wellspring Media and Head of Sales and Co­productions at First Run/Icarus Films. Christopher Clements has served as production/editorial consultant for Motto Pictures on a wide variety of films including: Beware of Mr. Baker directed by Jay Bulger, Our School directed by Mona Nicoara, Sons of Perdition directed by Jennilyn Merten and Tyler Measom, and Gideon's Army, directed by Dawn Porter, which won the US Documentary Editing Award at the 2013 Sundance Film Festival. Rita Dagher, Señorita Films, Co­Producer Dagher is an independent producer dedicated to the production of original, unique, and innovative feature films. Films she produced include Miss Julie, directed by Liv Ullmann; My Enemy’s Enemy, by Oscar­winner Kevin Macdonald; Terror’s Advocate, by Barbet Schroeder; and Pa­ra­da, by Marco Pontecorvo. She co­produced Oliver Stone’s Persona Non Grata, and was Associate Producer of Michael Moore’s Fahrenheit 9/11. She also served as Executive Producer of Chris Morris’s Four Lions, and Shadow Dancer directed by James Marsh. She worked from 2007 to 2012 as Head of Acquisition for the international sales arm of Wild Bunch. She is director of Senorita Films, Paris. Ole Tornbjerg, Chili Film, Co­Producer Since 2000, Tornbjerg has been working as a director and producer of TV documentaries and films about international issues. He has produced several prize­winning documentaries, including Blood in the Mobile, about conflict minerals in cell phones; Arif Hossein, ETV, Dhaka, about child workers in Bangladesh; and Diplomacy: The Responsibility to Protect, about the decision process of the UN Security Council in the Darfur case. Until 2000, Tornbjerg worked as a journalist for TV2 Denmark and DR (Danish Broadcasting Corporation). In 2007, he started his own production company, Chili Film. Pieter van Huystee, Pieter van Huystee Film, Co­Producer Pieter van Huystee founded his own production company in 1995 and has produced documentaries, feature films and single plays with well­known Dutch directors like Johan van der Keuken, Heddy Honigmann and Peter Delpeut. By combining daring with decisiveness, Pieter van Huystee Film has become one of the leading Dutch independent production companies, highly esteemed for the quality and wide range of its projects. In 1999 the distribution department Public Film was added, to release ‘Dutch Docs’ in local cinemas. Many van Huystee documentaries and features are screened at festivals all over the world, receiving many awards. Christian Beetz, Co­Producer Christian Beetz, author and CEO of beetz brothers filmproduction, is one of the leading documentary film producers in Germany. Under his leadership, beetz brothers filmproduction has realised more than 120 high­quality documentaries for the international market, which compete regularly at all major international film festivals and have won numerous prestigious awards, including three German Grimme Awards, an Oscar nomination in 2013, and a nomination for the International Emmy® Award in 2014. The focus of beetz brothers’ documentary output is in the fields of culture, history and society. Productions range from feature­film and television documentaries to docudramas, TV­series and cross­media formats. Geraud Brisson, Editor Geraud Brisson collaborated on narrative films such as The Great Debaters by Denzel Washington, Conviction by Tony Goldwyn, and Brothers by Jim Sheridan. His narrative and documentary work has been shown in festivals like Sundance (The Adventures of Power, 2008), Telluride (The Road of the Little Song, 2003) and Toronto International where From the Sky Down, directed by Davis Guggenheim, opened the festival in 2011. He recently edited the adaptation of Jack Kerouac’s Big Sur, directed by Michael Polish, and edited a piece for the Obama campaign directed by Davis Guggenheim.
Recommended publications
  • A Pilot Method for Movie Selection and Initial Results
    Movies for use in Public Health Training: A Pilot Method for Movie Selection and Initial Results Nick Wilson,* Rachael Cowie, Michael G Baker, Philippa Howden-Chapman Department of Public Health, University of Otago, Wellington, New Zealand October 2009 *Correspondence to: Dr Nick Wilson Department of Public Health, University of Otago, Wellington PO Box 7343 Wellington South, New Zealand. Phone (64)-4-385 5541 ext. 6469 Fax (64)-4-389 5319 Email: [email protected] Abstract Background: A method for systematically identifying, selecting, and ranking high quality movies for public health training does not exist. We therefore aimed to pilot a method and use it to generate an initial selection of suitable movies in a range of public health categories. Methods: To identify possible movies, systematic searches were undertaken of two large movie databases. If meeting minimal criteria for entertainment value (using public and critic ratings), the movies were then systematically evaluated for training suitability. Results: Using the search strategy we developed, it appeared feasible to systematically identify movies of potential educational value for public health training. Out of a total of 29 movies selected for viewing and more detailed assessment, the top ranked 15 were selected as having reasonable potential for training. There was a high correlation between scores of the movie assessors (Spearman’s rho = 0.80, p<0.00001). Also 75% of the top 15 movies were found to be referred to in Medline-indexed publications. Conclusion: This pilot study was able to develop a method for systematically identifying and selecting movies that could potentially be used for public health training.
    [Show full text]
  • Recruiting Al Gore
    RECRUITING AL GORE For years, he was introduced as the “next President of the United States” -- but in the wake of a personally devastating and controversial defeat in the 2000 election, Al Gore did something entirely unexpected. He hit the road, not in search of exile, but as a traveling showman. His “show” is a non-partisan, multimedia presentation that reveals, via an original mix of humor, cartoons and convincing scientific evidence, the resonant effects that global warming is wreaking upon our planet. It is also an arresting, inspirational “call to arms,” pointing out the opportunity that stands before the nation to put American ingenuity and spirit to work in attacking this crisis. With little fanfare, Gore has presented his show more than 1,000 times in cramped school auditoriums and hotel conference rooms in cities large and small, hoping to propel audiences to make a difference in what might otherwise turn out to be the biggest catastrophe of human history. Two people who became entranced by Gore’s show are leading environmental activist Laurie David and movie producer Lawrence Bender. David hosted two of Gore’s sold-out presentations in New York and Los Angeles, where it had a transforming effect on her. “I felt like Al Gore had become the Paul Revere of our times,” says David, “traveling around the country calling out this vital warning that we really can’t ignore.” She also realized that Gore faced a daunting uphill battle in getting his message out into the zeitgeist. “Having researched this subject for some 40 years, nobody understands the issue better than Al Gore and nobody can explain it more clearly and compellingly to the lay person,” notes David.
    [Show full text]
  • A Communication Study of Contemporary Documentary Film
    University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2007 Art and Persuasion: A Communication Study of Contemporary Documentary Film Lauren Elizabeth Freeman Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Recommended Citation Freeman, Lauren Elizabeth, "Art and Persuasion: A Communication Study of Contemporary Documentary Film" (2007). Honors Theses. 2004. https://egrove.olemiss.edu/hon_thesis/2004 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]. ART AND PERSUASION: A COMMUNICATION STUDY OF CONTEMPORARY DOCUMENTARY FILM By Lauren Elizabeth Freeman 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 2007 Approved by , , L Ad^or: Professor Joe Atkins Readei1p^fessoLPmch£ll££maiiuel,PhD Reader: Professor Charles Gates, PhD ©2007 Lauren Elizabeth Freeman ALL RIGHTS RESRERVED ACKNOWLEDGEMENTS The author of this paper incurs many debts of gratitude throughout the long and tedious process of completing this honors senior thesis. A special expression of gratitude goes to my thesis adviser, Professor Joseph Atkins, for his supportive direction throughout the preparation of this research project. Sincere appreciation is extended to niy thesis readers. Dr. Michelle Emanuel and Dr. Charles Gates, and to those filmmakers who shared their time and thoughts with me on documentary filmmaking. I extend my heartfelt gratitude to my family and fnends for their continued support and encouragement.
    [Show full text]
  • 485 Svilicic.Vp
    Coll. Antropol. 37 (2013) 4: 1327–1338 Original scientific paper The Popularization of the Ethnological Documentary Film at the Beginning of the 21st Century Nik{a Svili~i}1 and Zlatko Vida~kovi}2 1 Institute for Anthropological Research, Zagreb, Croatia 2 University of Zagreb, Academy of Dramatic Art, Zagreb, Croatia ABSTRACT This paper seeks to explain the reasons for the rising popularity of the ethnological documentary genre in all its forms, emphasizing its correlation with contemporary social events or trends. The paper presents the origins and the de- velopment of the ethnological documentary film in the anthropological domain. Special attention is given to the most in- fluential documentaries of the last decade, dealing with politics: (Fahrenheit 9/1, Bush’s Brain), gun control (Bowling for Columbine), health (Sicko), the economy (Capitalism: A Love Story), ecology An Inconvenient Truth) and food (Super Size Me). The paper further analyzes the popularization of the documentary film in Croatia, the most watched Croatian documentaries in theatres, and the most controversial Croatian documentaries. It determines the structure and methods in the making of a documentary film, presents the basic types of scripts for a documentary film, and points out the differ- ences between scripts for a documentary and a feature film. Finally, the paper questions the possibility of capturing the whole truth and whether some documentaries, such as the Croatian classics: A Little Village Performance and Green Love, are documentaries at all. Key words: documentary film, anthropological topics, script, ethnographic film, methods, production, Croatian doc- umentaries Introduction This paper deals with the phenomenon of the popu- the same time, creating a work of art.
    [Show full text]
  • Film Review Aggregators and Their Effect on Sustained Box Office Performance" (2011)
    Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2011 Film Review Aggregators and Their ffecE t on Sustained Box Officee P rformance Nicholas Krishnamurthy Claremont McKenna College Recommended Citation Krishnamurthy, Nicholas, "Film Review Aggregators and Their Effect on Sustained Box Office Performance" (2011). CMC Senior Theses. Paper 291. http://scholarship.claremont.edu/cmc_theses/291 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. CLAREMONT McKENNA COLLEGE FILM REVIEW AGGREGATORS AND THEIR EFFECT ON SUSTAINED BOX OFFICE PERFORMANCE SUBMITTED TO PROFESSOR DARREN FILSON AND DEAN GREGORY HESS BY NICHOLAS KRISHNAMURTHY FOR SENIOR THESIS FALL / 2011 November 28, 2011 Acknowledgements I would like to thank my parents for their constant support of my academic and career endeavors, my brother for his advice throughout college, and my friends for always helping to keep things in perspective. I would also like to thank Professor Filson for his help and support during the development and execution of this thesis. Abstract This thesis will discuss the emerging influence of film review aggregators and their effect on the changing landscape for reviews in the film industry. Specifically, this study will look at the top 150 domestic grossing films of 2010 to empirically study the effects of two specific review aggregators. A time-delayed approach to regression analysis is used to measure the influencing effects of these aggregators in the long run. Subsequently, other factors crucial to predicting film success are also analyzed in the context of sustained earnings.
    [Show full text]
  • The Nerve Interview: It Might Get Loud Director Davis Guggenheim | Nerve Entertainment 10/11/09 7:59 PM
    The Nerve Interview: It Might Get Loud director Davis Guggenheim | Nerve Entertainment 10/11/09 7:59 PM PERSONALS | RSS | HELP | SITE MAP | ADVERTISE ON NERVE FEATURES ADVICE ENTERTAINMENT PHOTOGRAPHY BLOGS DATING CONFESSIONS 1 Aug 11th, 2009 With It Might Get Loud, director Davis Guggenheim wanted to tell the personal stories of three guitar legends from different generations: Jack White from the White Stripes, The Edge from U2, and Jimmy Page from Led Zeppelin. Guggenheim, who directed the 2007 global-warming doc An Inconvenient Truth, wanted to stay away from typical rock-documentary tactics. It Might Get Loud has no rock critics, no ex-girlfriends, and no narration. Instead Guggenheim focuses on why these three write and play the way they do and how they developed their personal styles. Guggenheim wanted the three to open up — and they did. Jimmy Page plays air guitar while listening to music that influenced him as a kid, Jack White writes an original song on camera, and The Edge talks about how he drives everyone crazy trying to get the music in his head to come out of the amps. The movie brings the three together on a soundstage to share stories, show one another their songs, and play. Nerve spoke with Guggenheim about the men behind the legends. — Emily Wilson You won an Oscar for An Inconvenient Truth. After that, why did you choose to do a movie about the electric guitar? I just make movies about people that fascinate me. The next one could be about an archeologist or I don’t know, a proctologist.
    [Show full text]
  • Bowling for Columbine 5
    Institut for Informations- og Medievidenskab Aarhus Universitet p.o.v. A Danish Journal of Film Studies Editor Richard Raskin Number 16 December 2003 Department of Information and Media Studies University of Aarhus 2 p.o.v. number 16 December 2003 Udgiver: Institut for Informations- og Medievidenskab Aarhus Universitet Helsingforsgade 14 DK-8200 Aarhus N Oplag: 350 eksemplarer Trykkested: Repro-Afdeling, Det Humanistiske Fakultet Aarhus Universitet ISSN-nr.: 1396-1160 Omslag: Jakob Elias Nielsen Articles Copyright © 2003 the authors. The publication of this issue of p.o.v. was made possible by a grant from the Aarhus University Research Foundation. All correspondence should be addressed to: Richard Raskin Department of Information and Media Studies Helsingforsgade 14 DK-8200 Aarhus N, Denmark e-mail: [email protected] telephone: +45 89 42 9223 All issues of p.o.v. can be found on the Internet at: http://imv.au.dk/publikationer/pov/POV.html The contents of this journal are indexed in the MLA International Bibliography, the Film Literature Index and the International Index of Film Periodicals. STATEMENT OF PURPOSE The principal purpose of p.o.v. is to provide a framework for collaborative publication for those of us who study and teach film at the Department of Information and Media Studies at the University of Aarhus. We will also invite contributions from colleagues in other departments and at other universities. Our emphasis is on collaborative projects, enabling us to combine our efforts, each bringing his or her own point of view to bear on a given film or genre or theoretical problem.
    [Show full text]
  • Documentary Movies
    Libraries DOCUMENTARY MOVIES The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 10 Days that Unexpectedly Changed America DVD-2043 56 Up DVD-8322 180 DVD-3999 60's DVD-0410 1-800-India: Importing a White-Collar Economy DVD-3263 7 Up/7 Plus Seven DVD-1056 1930s (Discs 1-3) DVD-5348 Discs 1 70 Acres in Chicago: Cabrini Green DVD-8778 1930s (Discs 4-5) DVD-5348 Discs 4 70 Acres in Chicago: Cabrini Green c.2 DVD-8778 c.2 1964 DVD-7724 9/11 c.2 DVD-0056 c.2 1968 with Tom Brokaw DVD-5235 9500 Liberty DVD-8572 1983 Riegelman's Closing/2008 Update DVD-7715 Abandoned: The Betrayal of America's Immigrants DVD-5835 20 Years Old in the Middle East DVD-6111 Abolitionists DVD-7362 DVD-4941 Aboriginal Architecture: Living Architecture DVD-3261 21 Up DVD-1061 Abraham and Mary Lincoln: A House Divided DVD-0001 21 Up South Africa DVD-3691 Absent from the Academy DVD-8351 24 City DVD-9072 Absolutely Positive DVD-8796 24 Hours 24 Million Meals: Feeding New York DVD-8157 Absolutely Positive c.2 DVD-8796 c.2 28 Up DVD-1066 Accidental Hero: Room 408 DVD-5980 3 Times Divorced DVD-5100 Act of Killing DVD-4434 30 Days Season 3 DVD-3708 Addicted to Plastic DVD-8168 35 Up DVD-1072 Addiction DVD-2884 4 Little Girls DVD-0051 Address DVD-8002 42 Up DVD-1079 Adonis Factor DVD-2607 49 Up DVD-1913 Adventure of English DVD-5957 500 Nations DVD-0778 Advertising and the End of the World DVD-1460
    [Show full text]
  • When All Else Fails, Move Home - COMEDY CENTRAL's(R) 'Big Lake,' Starring Chris Gethard, Horatio Sanz and Chris Parnell, Debuts on Tuesday, August 17 at 10:00 P.M.*
    When All Else Fails, Move Home - COMEDY CENTRAL'S(R) 'Big Lake,' Starring Chris Gethard, Horatio Sanz and Chris Parnell, Debuts on Tuesday, August 17 at 10:00 P.M.* Multi-Camera Sitcom From Writer-Producers Will Ferrell, Adam McKay And Chris Henchy Series Created And Written By Emmy(R) Award-Winner Lew Morton And Directed By Emmy(R) Award- Winning Director Don Scardino James Rebhorn, Deborah Rush, Dylan Blue And Britt Lower Also Star Users Can Visit comedycentral.com To Get "Big Lake" Web-Exclusive Content, Including Interviews With The Cast, Episode Previews And Highlights, And A Behind-The Scenes Look At The Making Of The Show NEW YORK, July 26, 2010 /PRNewswire via COMTEX/ -- Coming home isn't always easy, especially when you're diving back into the dysfunctional arms of your crazy family and mismatched friends. Chris Gethard, Horatio Sanz and Chris Parnell star in COMEDY CENTRAL's "Big Lake," a new half-hour, multi-camera family sitcom about a big city banker (Gethard) who loses his job and moves home to his parents' couch in Big Lake, PA. Produced by Gary Sanchez Productions ("The Other Guys," "Talladega Nights," "Anchorman") and distributed by Debmar-Mercury, "Big Lake" premieres on Tuesday, August 17 at 10:00 p.m. with two back-to-back episodes. "Big Lake" centers on Josh (Gethard, Upright Citizens Brigade), who, after losing not only his lucrative banking job in the big city, but his father's entire nest egg as well, is forced to move back home to his parents' couch in Big Lake, PA.
    [Show full text]
  • Representations of Masculinity in Contemporary Hollywood Comedies a Thesis Presented to the Facult
    In the Company of Modern Men: Representations of Masculinity in Contemporary Hollywood Comedies A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Nicholas D. Bambach August 2016 © 2016 Nicholas D. Bambach. All Rights Reserved. 2 This thesis titled In the Company of Modern Men: Representations of Masculinity in Contemporary Hollywood Comedies by NICHOLAS D. BAMBACH has been approved for the School of Film and the College of Fine Arts by Ofer Eliaz Assistant Professor of Film Elizabeth Sayrs Interim Dean, College of Fine Arts 3 ABSTRACT BAMBACH, NICHOLAS D., M.A., August 2016, Film In the Company of Modern Men: Representations of Masculinity in Contemporary Hollywood Comedies Director of Thesis: Ofer Eliaz This thesis discusses the increasing visibility of masculine identity in contemporary Hollywood comedies. I examine how shifting developments in economic, societal, cultural, and gender relations impacted the perception of cinematic masculinity. The men, more specifically white and heterosexual, in these films position themselves as victims and, as a result, turn to alternative outlets to ease their frustrations and anxieties. In order to broadly survey the genre of the past two decades, I focus on three consistently popular character tropes in Hollywood comedies: slackers, office workers, and bromantic friendships. All the male characters discussed throughout the thesis are plagued by their innermost anxieties and desires that compromise their gendered identities. However, these films resort to a regressive understanding of masculinity and functions within the dominant heteronormative structures. This thesis demonstrates how Hollywood comedies present a contradictory and multifaceted image of modern masculinity.
    [Show full text]
  • Race in Hollywood: Quantifying the Effect of Race on Movie Performance
    Race in Hollywood: Quantifying the Effect of Race on Movie Performance Kaden Lee Brown University 20 December 2014 Abstract I. Introduction This study investigates the effect of a movie’s racial The underrepresentation of minorities in Hollywood composition on three aspects of its performance: ticket films has long been an issue of social discussion and sales, critical reception, and audience satisfaction. Movies discontent. According to the Census Bureau, minorities featuring minority actors are classified as either composed 37.4% of the U.S. population in 2013, up ‘nonwhite films’ or ‘black films,’ with black films defined from 32.6% in 2004.3 Despite this, a study from USC’s as movies featuring predominantly black actors with Media, Diversity, & Social Change Initiative found that white actors playing peripheral roles. After controlling among 600 popular films, only 25.9% of speaking for various production, distribution, and industry factors, characters were from minority groups (Smith, Choueiti the study finds no statistically significant differences & Pieper 2013). Minorities are even more between films starring white and nonwhite leading actors underrepresented in top roles. Only 15.5% of 1,070 in all three aspects of movie performance. In contrast, movies released from 2004-2013 featured a minority black films outperform in estimated ticket sales by actor in the leading role. almost 40% and earn 5-6 more points on Metacritic’s Directors and production studios have often been 100-point Metascore, a composite score of various movie criticized for ‘whitewashing’ major films. In December critics’ reviews. 1 However, the black film factor reduces 2014, director Ridley Scott faced scrutiny for his movie the film’s Internet Movie Database (IMDb) user rating 2 by 0.6 points out of a scale of 10.
    [Show full text]
  • The Rhetoric of Humour and Irony in Michael Moore's Bowling For
    ISSN: 2083-5701 e-ISSN: 2545-2568 MEDIA I SPOŁECZEŃSTWO GICID: 71.0000.1500.1589 MEDIOZNAWSTWO KOMUNIKOLOGIA SEMIOLOGIA SOCJOLOGIA MEDIÓW MEDIA A PEDAGOGIKA Nr 12/2020 Ewa Skał1 University of Opole, Poland ORCID ID: 0000-0001-7550-3292 e-mail: [email protected] The Rhetoric of Humour and Irony in Michael Moore’s Bowling for Columbine and Fahrenheit 11/9 ABSTRAKT Retoryka humoru i ironii w Zabawach z Bronią oraz Fahrenheit 11/9 Michaela Moore’a Celem artykułu jest przeanalizowanie humoru i ironii jako narzędzia perswazji. Owa analiza poparta będzie obserwacjami dwóch filmów dokumentalnych Michaela Moore’a. Poprzez szczegółową i dogłębną analizę filmów Zabawy z Bronią oraz Fahrenheit 11/9 autorka artykułu ukazuje szerokie starania reżysera, aby wpłynąć na widzów. W tym celu stosuje on retoryczne metody perswazji, w tym metody Arystotelesa, w połączeniu z humorem i ironią, wspomagając się również teoriami innych naukowców. W konsekwencji artykuł ujawnia intencje reżysera, który dąży do poparcia przez widzów jego własnych opinii na temat omawianych kwestii politycznych. Ten wniosek ukazuje omawiane filmy jako formę propagandy, szczególnie widoczną w narzędziach perswazji, którymi są głównie humor oraz ironia. SŁOWA KLUCZOWE: humor, ironia, Michael Moore, Zabawy z Bronią, Fahrenheit 11/9 Introduction David Blakesley, in his analysis of film theory, describes rhetoric as “a terministic screen for the analysis and interpretation of film”2. Rhetoric in film studies has been thoroughly investigated, especially for its diverse use by filmmakers. Blakesley states that the rhetorical methods used in films constitute their “power and value”, their main goal being to reach a number of audiences through images and speech.
    [Show full text]