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Destiny of Love of Tyler Hawkins in Allen Coulter's
DESTINY OF LOVE OF TYLER HAWKINS IN ALLEN COULTER’S REMEMBER ME MOVIE (2010): A PSYCHOANALYTIC APPROACH PUBLICATION ARTICLES Submitted as a Partial Fulfillment of the Requirements for Getting Bachelor Degree of Education in English Departement by NIKE NURHAYATI A 320 080 339 SCHOOL OF TEACHER TRAINING AND EDUCATION MUHAMMADIYAH UNIVERSITY OF SURAKARTA 2013 DESTINY OF LOVE OF TYLER HAWKINS IN ALLEN COULTER’S REMEMBER ME MOVIE (2010): A PSYCHOANALYTIC APPROACH Nike Nurhayati A 320 080 339 Abdillah Nugroho (Consultant I) Titis Setyabudi (Consultant II) (School of Teacher Training and Education, Muhammadiyah University of Surakarta) [email protected] ABSTRACT This study is aimed to show destiny of love a young rebellious man who ended to death in Allen Coulter’s Remember Me movie by using psychoanalytic approach. It is done by establishing two objectives: the first is analyzing the movie based on structural elements of the movie and the second is analyzing the movie based on the psychoanalytic approach. This research is qualitative research. Type of data of the study is text and image taken from two data sources: primary and secondary. The primary data source is Remember Me movie directed by Allen Coulter released in 2010. While the secondary data sources are other materials taken from books, encyclopedia, and internet related to the study. Both data are collected through library research and analyzed by descriptive analysis. The study comes to the following conclusions. Firstly, based on the structural analysis of each elements, it shows that the character and characterization, casting, plot, setting, point of view, theme, mise-en scene, cinematography, sound and editing are related to each other and form the unity into good quality movie, secondly, based on the psychoanalytic analysis, there is a close relationship between the movie story and the reality condition of young man who falls in love.
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Knowing Good Sex Pays Off: the Image of the Journalist As a Famous, Exciting and Chic Sex Columnist Named Carrie Bradshaw in HBO’S Sex and the City
Knowing Good Sex Pays Off: The Image of the Journalist as a Famous, Exciting and Chic Sex Columnist Named Carrie Bradshaw in HBO’s Sex and the City By Bibi Wardak Abstract New York Star sex columnist Carrie Bradshaw lives the life of a celebrity in HBO’s Sex and the City. She mingles with the New York City elite at extravagant parties, dates the city’s most influential men and enjoys the adoration of fans. But Bradshaw echoes the image of many female journalists in popular culture when it comes to romance. Bradshaw is thirty-something, unmarried and unsure about having children. Despite having a successful career and loyal friends, she feels unfulfilled after each failed romantic relationship. I. Introduction “A wildly successful career and a relationship -- I was afraid…women only get one or the other.”1 That’s a fear Carrie Bradshaw just can’t shake. The sex columnist for the New York Star is unmarried, career-oriented and unsure if she will ever have a traditional family.2 Just like other modern sob sisters, she is romantically unfulfilled and has sacrificed aspects of her personal life for professional success.3 Bradshaw, played by Sarah Jessica Parker in HBO’s hit television show Sex and the City, portrays a stereotypical image of female journalists found in television and film.4 She and other female journalists in the series struggle to balance a successful Knowing Good Sex Pays Off: The Image of the Journalist as a Famous, Exciting and Chic Sex Columnist Named Carrie Bradshaw in HBO’s Sex and the City By Bibi Wardak 2 career and satisfying romantic life.
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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.
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The Rebellion of Tyler in Allen Coulter's Remember
THE REBELLION OF TYLER IN ALLEN COULTER’S REMEMBER MEMOVIE (2010): A PSYCHOANALYTIC APPROACH SCIENTIFIC JOURNAL Submitted as a Partial Fulfillment of the Requirements for Getting Bachelor Degree of Education in English Department Arranged by: RISKA DIAN AYU WARDANI A. 320 080 264 SCHOOL OF TEACHER TRAINING AND EDUCATION MUHAMMADIYAH UNIVERSITY OF SURAKARTA 2013 THE REBELLION OF TYLER IN ALLEN COULTER’S REMEMBER ME MOVIE (2010): A PSYCHOANALYTIC APPROACH RESEARCH PAPER Riska Dian Ayu Wardani A320080264 Drs. Abdillah Nugroho, M.Hum Nur Hidayat, S.Pd Department of English Education Muhammadiyah University of Surakarta ABSTRACT The object of the research is the movie entitled Remember Me by Allen Coulter. The study gives focus on Psychoanalytic Approach as reflected in Allen Coulter’s Remember Me movie. The study investigates how the rebellion influences the personality development of Tyler in Allen Coulter’s Remember Me especially viewed from psychoanalytic approach. In this research the writer employs the qualitative method. In this method,the writer uses two data sources, namely primary data and secondary data sources. Theprimary data source is the movie itself. The secondary data sources include references and materials related to the study picking up from the books or internet. The method of data collection is literary research anddocumentation meanwhile the technique of data collection is descriptive technique. Having analyzed the movie, the writer concludes two points. First, based on the structural analysis, Allan Coulter wants to convey an idea that someone has a rebellious soul because the past experience. Second, based on the psychoanalytic analysis, the result of the study reveals the rebellion of Tyler who gets some influences from his life.
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The Museum of Modern Art Presents a Discussion of the HBO Series the Sopranos with the Series Writer/Director David Chase and No
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Cleopatra Vii, Livia Augusta, Servilia Caepionis and the Three
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The Sopranos
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Transatlantica, 2 | 2012 “Lemme Tell You a Couple of Three Things” : La Littérature Selon Les Sopranos
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No one goes quietly in the final season of HBO's Boardwalk Empire Miami FL – August 21, 2014 – HBO’s Emmy® and Golden Globe winning original drama series Boardwalk Empire returns for its eight-episode, fifth and final season on Sunday, September 7th in the Caribbean, simultaneously with the United States. Created by Terence Winter (Emmy®-winning writer of “The Sopranos”) and directed by Martin Scorsese (Academy Award winner), this Prohibition era series chronicles the life and times of Atlantic City’s undisputed ruler, Enoch “Nucky” Thompson, portrayed by award-winning actor Steve Buscemi. The first four seasons took place during the 1920s, and this new season leaps seven years forward to the depths of the Great Depression in 1931, where Nucky recalls his Atlantic City roots and plots a post-Prohibition future. As the country struggles to cope with the Depression, and with the end of Prohibition in sight, Nucky looks to legitimize himself through alliances with liquor producers, while rivals Lucky Luciano and Meyer Lansky seek to consolidate their power in the wake of Arnold Rothstein’s death and eliminate all competition – by any means necessary. In addition to Buscemi, Boardwalk Empire stars Kelly Macdonald as Margaret, Nucky’s estranged wife; Michael Shannon as former Federal Agent Nelson Van Alden, caught up in gangland conflicts; Shea Whigham as Nucky’s brother Eli, who went underground after killing a federal agent; Stephen Graham as gangster Al Capone; Vincent Piazza as gangster Lucky Luciano; Paul Sparks as gangster Mickey Doyle; Michael Kenneth Williams as Nucky’s former ally Chalky White; Gretchen Mol as Gillian, now battling her demons; and Jeffrey Wright as Valentin Narcisse, Chalky’s nemesis.
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50000 Smog Renovation Postponed Budget Forum Coverage
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From the Instructor
From the Instructor Morgan’s study brings to conscious critical attention the deeper affective dimensions of The Sopranos subtly crafted in the interplay between the dominant level of the visual text and the more elusive dimensions effected through various auditory elements. Many viewers will have some conscious awareness of certain more obvious aspects of the soundtrack. So, as Nochimson points out, the contrast between the tough A2 gangster cut rolling through the credit sequence and the opening scene with Tony sitting in the cloistered silence of the psychoanalyst’s waiting room is abrupt enough to be read more or less on the surface. So also is some of the narrative content of the lyrical associations playing out in apposition to overall episodes with rolling credits, or at times embedded as soundtrack accompaniment in specific scenes. Morgan’s analysis, however, goes beyond these relatively obvious jux- tapositions to explore how not only the more overt narrative lyrical content reinforces narrative lines in the dramatic action, but also how more subtle aesthetic elements not only of sound, including animals, telephones, and other ambient elements, but even also of the absence of sound, as in the sessions with Melfi, play into the richly developed texture of the psychoan- alytical process that sets The Sopranos apart from all that had preceded it in the genre. Morgan quite rightly detected how the layered mysteries of the psychoanalytic process playing out in Soprano’s troubled and contradic- tory psychology are expressed through the subtle aesthetics of sound, and how specifically the various dynamics of sound serve not only to convey the un-, or sub-conscious processes unfolding in Soprano’s psychoanalytic adventure, but also how they serve to engage unconscious mechanisms of our own sympathy with and in their suspension—revulsion at the monster within.
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