RTF S352 (73294) GLOBAL CULT CINEMA COURSE DESCRIPTION
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Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema. -
H K a N D C U L T F I L M N E W S
More Next Blog» Create Blog Sign In H K A N D C U L T F I L M N E W S H K A N D C U LT F I L M N E W S ' S FA N B O X W E L C O M E ! HK and Cult Film News on Facebook I just wanted to welcome all of you to Hong Kong and Cult Film News. If you have any questions or comments M O N D AY, D E C E M B E R 4 , 2 0 1 7 feel free to email us at "SURGE OF POWER: REVENGE OF THE [email protected] SEQUEL" Brings Cinema's First Out Gay Superhero Back to Theaters in January B L O G A R C H I V E ▼ 2017 (471) ▼ December (34) "MORTAL ENGINES" New Peter Jackson Sci-Fi Epic -- ... AND NOW THE SCREAMING STARTS -- Blu-ray Review by ... ASYLUM -- Blu-ray Review by Porfle She Demons Dance to "I Eat Cannibals" (Toto Coelo)... Presenting -- The JOHN WAYNE/ "GREEN BERETS" Lunch... Gravitas Ventures "THE BILL MURRAY EXPERIENCE"-- i... NUTCRACKER, THE MOTION PICTURE -- DVD Review by Po... John Wayne: The Crooning Cowpoke "EXTRAORDINARY MISSION" From the Writer of "The De... "MOLLY'S GAME" True High- Stakes Poker Thriller In ... Surge of Power: Revenge of the Sequel Hits Theaters "SHOCK WAVE" With Andy Lau Cinema's First Out Gay Superhero Faces His Greatest -- China’s #1 Box Offic... Challenge Hollywood Legends Face Off in a New Star-Packed Adventure Modern Vehicle Blooper in Nationwide Rollout Begins in January 2018 "SHANE" (1953) "ANNIHILATION" Sci-Fi "A must-see for fans of the TV Avengers, the Fantastic Four Thriller With Natalie and the Hulk" -- Buzzfeed Portma.. -
Why Call Them "Cult Movies"? American Independent Filmmaking and the Counterculture in the 1960S Mark Shiel, University of Leicester, UK
Why Call them "Cult Movies"? American Independent Filmmaking and the Counterculture in the 1960s Mark Shiel, University of Leicester, UK Preface In response to the recent increased prominence of studies of "cult movies" in academic circles, this essay aims to question the critical usefulness of that term, indeed the very notion of "cult" as a way of talking about cultural practice in general. My intention is to inject a note of caution into that current discourse in Film Studies which valorizes and celebrates "cult movies" in particular, and "cult" in general, by arguing that "cult" is a negative symptom of, rather than a positive response to, the social, cultural, and cinematic conditions in which we live today. The essay consists of two parts: firstly, a general critique of recent "cult movies" criticism; and, secondly, a specific critique of the term "cult movies" as it is sometimes applied to 1960s American independent biker movies -- particularly films by Roger Corman such as The Wild Angels (1966) and The Trip (1967), by Richard Rush such as Hell's Angels on Wheels (1967), The Savage Seven, and Psych-Out (both 1968), and, most famously, Easy Rider (1969) directed by Dennis Hopper. Of course, no-one would want to suggest that it is not acceptable to be a "fan" of movies which have attracted the label "cult". But this essay begins from a position which assumes that the business of Film Studies should be to view films of all types as profoundly and positively "political", in the sense in which Fredric Jameson uses that adjective in his argument that all culture and every cultural object is most fruitfully and meaningfully understood as an articulation of the "political unconscious" of the social and historical context in which it originates, an understanding achieved through "the unmasking of cultural artifacts as socially symbolic acts" (Jameson, 1989: 20). -
Movie Review: ‘Creed II’
Movie Review: ‘Creed II’ NEW YORK — Moviegoers under 33 take note: You had yet to be born when “Rocky IV,” the 1985 film that hovers in the background of the sports drama “Creed II” (MGM), was released. While viewers of any age will know what to expect from this latest extension of the durable franchise long before they buy a ticket, the tried and true, against-the-odds formula still works somehow. Early on in this chapter of the saga, Adonis Creed (Michael B. Jordan), with the help of his hard-driving trainer, Rocky Balboa (Sylvester Stallone), wins the world heavyweight championship. He also proposes to his live-in girlfriend, Bianca (Tessa Thompson), a singer who suffers from hearing loss. But the rise of Viktor Drago (Florian Munteanu), a rival Adonis feels compelled to take on, sets up an emotionally fraught match since the up-and-comer’s father and coach, Ivan (Dolph Lundgren), is the Russian fighter whose blows killed Adonis’ dad, Apollo, back in the Reagan era. (Rocky subsequently fought and beat Ivan.) Rocky continues to feel remorse over his opponent-turned-ally Apollo’s death and urges Adonis not to accept Viktor’s challenge, a stance that threatens to cause a breach in their close relationship. It’s a conflict Rocky can ill afford since the death of his wife and alienation from his son have left him emotionally isolated. He can still count on the loyal friendship of Apollo’s widow and Adonis’ adoptive mom, Mary Anne (Phylicia Rashad), however. Working from a script Stallone co-wrote with Juel Taylor, director Steven Caple Jr. -
Best Enjoyed As Property, Shoe and Hairdo Porn.”
”Best enjoyed as property, shoe and hairdo porn.” Creating New Vocabulary in Present-Day English: A Study on Film-Related Neologisms in Total Film Rauno Sainio Tampere University School of Language, Translation and Literary Studies English Philology Pro Gradu Thesis May 2011 ii Tampereen yliopisto Englantilainen filologia Kieli-, käännös- ja kirjallisuustieteiden yksikkö SAINIO, RAUNO: ”Best enjoyed as property, shoe and hairdo porn.” Creating New Vocabulary in Present-Day English: A Study on Film-Related Neologisms in Total Film Pro gradu -tutkielma, 135 sivua + liite (6 sivua) Kevät 2011 Tämän pro gradu -tutkielman tarkoituksena oli tutustua eri menetelmiin, joiden avulla englannin kielen sanastoa voidaan laajentaa. Lähdekirjallisuudesta kerättyä tietoa käsiteltiin tutkielman teoriaosuudessa, minkä jälkeen empiirinen osuus selvitti, kuinka kyseisiä menetelmiä sovelletaan käytännössä nykyenglannissa. Tämän selvittämiseksi käytiin manuaalisesti läpi korpusaineisto, joka koostui isobritannialaisen Total Film -elokuvalehden yhden vuoden aikana julkaistuista numeroista. Elokuvajournalismissa käytettävä kieli valittiin tutkimuksen kohteeksi kirjoittajan henkilökohtaisen kiinnostuksen vuoksi sekä siksi, että elokuva on paitsi merkittävä, myös jatkuvasti kehittyvä taiteen ja populaarikulttuurin muoto. Niinpä tämän tutkielman tarkoitus on myös tutustuttaa lukija sellaiseen sanastoon, jota alaa käsittelevä lehdistö nykypäivänä Isossa-Britanniassa käyttää. Korpuksen pohjalta koottu, 466 elokuva-aiheista uudissanaa käsittävä sanaluettelo analysoitiin -
Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation
Intellectual Property Brief Volume 8 Issue 2 Article 1 2016 Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation Mynda Rae Krato George Washington University Follow this and additional works at: https://digitalcommons.wcl.american.edu/ipbrief Part of the Intellectual Property Law Commons Recommended Citation Krato, Mynda Rae (2016) "Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation," Intellectual Property Brief: Vol. 8 : Iss. 2 , Article 1. Available at: https://digitalcommons.wcl.american.edu/ipbrief/vol8/iss2/1 This Article is brought to you for free and open access by the Washington College of Law Journals & Law Reviews at Digital Commons @ American University Washington College of Law. It has been accepted for inclusion in Intellectual Property Brief by an authorized editor of Digital Commons @ American University Washington College of Law. For more information, please contact [email protected]. Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation This article is available in Intellectual Property Brief: https://digitalcommons.wcl.american.edu/ipbrief/vol8/iss2/1 FICTITIOUS FLATTERY: FAIR USE, FANFICTION, AND THE BUSINESS OF IMITATION Mynda Rae Krato INTRODUCTION ............. 92 L Background............................................................. 94 A. Foundational Statutory and Case Law..................................94 B. Fanfiction Case Law..............................................96 C. Popular Culture and the Power of Fandoms ............................. -
Hollywood's Ageing Ensemble Action Hero Series
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Wilfrid Laurier University Wilfrid Laurier University Scholars Commons @ Laurier English and Film Studies Faculty Publications English and Film Studies 2017 Ageing in Action: Hollywood’s Ageing Ensemble Action Hero Series Philippa Gates Wilfrid Laurier University, [email protected] Follow this and additional works at: https://scholars.wlu.ca/engl_faculty Part of the English Language and Literature Commons, and the Film and Media Studies Commons Recommended Citation Gates, Philippa, "Ageing in Action: Hollywood’s Ageing Ensemble Action Hero Series" (2017). English and Film Studies Faculty Publications. 13. https://scholars.wlu.ca/engl_faculty/13 This Article is brought to you for free and open access by the English and Film Studies at Scholars Commons @ Laurier. It has been accepted for inclusion in English and Film Studies Faculty Publications by an authorized administrator of Scholars Commons @ Laurier. For more information, please contact [email protected]. Ageing in Action: Hollywood’s Ageing Ensemble Action Hero Series By Philippa Gates Note: This is the English language version of a paper published in French as « Vieillir, agir: les héros d’âge mûr dans deux séries de films d’action hollywoodiens.» L’Âge des stars: des images à l’épreuve du vieillissement. Eds. Charles-Antoine Courcoux, Gwénaëlle Le Gras, Raphaëlle Moine. L’Âge d’homme, 2017. pp 130-50. Permission to reprint the paper in English is graciously given by the editors of the collection. Summary This paper explores the treatment of ageing in the ensemble action hero series RED (2010 and 2013) starring Bruce Willis and Helen Mirren and The Expendables (2010, 2012, and 2014) starring Sylvester Stallone and other 1980s action stars. -
Dora Budor New Galerie
DORA BUDOR NEW GALERIE Selected press June 2015 From Mousse magazine Interview MOUSSE 49 52 D. BUDOR THE WAY THEY HAVE SEX IS TO CUDDLE, THEN THIS STRANGE ECTOPLASM BY KATHY NOBLE Kathy Noble met with Dora Budor —an artist of Croatian origin based in New York—to discuss the influence of cinema on her work, interweaving the staged fiction of film with lived experience: ranging from cyberpunk and symbiogenesis, to the endless worries and politics of being a human body and mind, via physical scars, infection, illness, ageing, the survival of our psyche, and the body’s lymphatic relationship to physical environments—all of which manifest in Budor’s work. Discussing ideas related to science fiction —from the disturbing visions of David Cronenberg, to popular Hollywood blockbusters—they consider cinema as a space in which alternative worlds can be constructed to form a social commentary that addresses contemporaneous issues and anxieties; from ecological apocalypse to the evolution of artificial intelligence. And situated this in a wider consideration of the affect of conscious and unconscious fantasy in relation to “real” experience. Opposite - Mental Parasite Retreat 1, 2014. Courtesy: the artist and New Galerie, Paris DORA BUDOR NEW GALERIE June 2015 From Mousse magazine Interview MOUSSE 49 THE WAY THEY HAVE SEX (...) 53 52 D. BUDOR K. NOBLE THE WAY THEYLIQUID COMES HAVE SEX ISOUT TO OF CUDDLE, THENDIFFERENT THIS STRANGEPARTS OF ECTOPLASMTHEIR BODIES Dora Budor (b. 1984 in Croatia) lives and works in New York. Her work considers the representation of emotional and physical experience within the ideological subtexts that occur in mainstream cinema—particularly within Hollywood production methods, where ideas transfer between different states of materialization, fictionalization and digitalization. -
The Cultural Traffic of Classic Indonesian Exploitation Cinema
The Cultural Traffic of Classic Indonesian Exploitation Cinema Ekky Imanjaya Thesis submitted for the degree of Doctor of Philosophy University of East Anglia School of Art, Media and American Studies December 2016 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 1 Abstract Classic Indonesian exploitation films (originally produced, distributed, and exhibited in the New Order’s Indonesia from 1979 to 1995) are commonly negligible in both national and transnational cinema contexts, in the discourses of film criticism, journalism, and studies. Nonetheless, in the 2000s, there has been a global interest in re-circulating and consuming this kind of films. The films are internationally considered as “cult movies” and celebrated by global fans. This thesis will focus on the cultural traffic of the films, from late 1970s to early 2010s, from Indonesia to other countries. By analyzing the global flows of the films I will argue that despite the marginal status of the films, classic Indonesian exploitation films become the center of a taste battle among a variety of interest groups and agencies. The process will include challenging the official history of Indonesian cinema by investigating the framework of cultural traffic as well as politics of taste, and highlighting the significance of exploitation and B-films, paving the way into some findings that recommend accommodating the movies in serious discourses on cinema, nationally and globally. -
9. List of Film Genres and Sub-Genres PDF HANDOUT
9. List of film genres and sub-genres PDF HANDOUT The following list of film genres and sub-genres has been adapted from “Film Sub-Genres Types (and Hybrids)” written by Tim Dirks29. Genre Film sub-genres types and hybrids Action or adventure • Action or Adventure Comedy • Literature/Folklore Adventure • Action/Adventure Drama Heroes • Alien Invasion • Martial Arts Action (Kung-Fu) • Animal • Man- or Woman-In-Peril • Biker • Man vs. Nature • Blaxploitation • Mountain • Blockbusters • Period Action Films • Buddy • Political Conspiracies, Thrillers • Buddy Cops (or Odd Couple) • Poliziotteschi (Italian) • Caper • Prison • Chase Films or Thrillers • Psychological Thriller • Comic-Book Action • Quest • Confined Space Action • Rape and Revenge Films • Conspiracy Thriller (Paranoid • Road Thriller) • Romantic Adventures • Cop Action • Sci-Fi Action/Adventure • Costume Adventures • Samurai • Crime Films • Sea Adventures • Desert Epics • Searches/Expeditions for Lost • Disaster or Doomsday Continents • Epic Adventure Films • Serialized films • Erotic Thrillers • Space Adventures • Escape • Sports—Action • Espionage • Spy • Exploitation (ie Nunsploitation, • Straight Action/Conflict Naziploitation • Super-Heroes • Family-oriented Adventure • Surfing or Surf Films • Fantasy Adventure • Survival • Futuristic • Swashbuckler • Girls With Guns • Sword and Sorcery (or “Sword and • Guy Films Sandal”) • Heist—Caper Films • (Action) Suspense Thrillers • Heroic Bloodshed Films • Techno-Thrillers • Historical Spectacles • Treasure Hunts • Hong Kong • Undercover -
Amongst Friends: the Australian Cult Film Experience Renee Michelle Middlemost University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2013 Amongst friends: the Australian cult film experience Renee Michelle Middlemost University of Wollongong Recommended Citation Middlemost, Renee Michelle, Amongst friends: the Australian cult film experience, Doctor of Philosophy thesis, School of Social Sciences, Media and Communication, University of Wollongong, 2013. http://ro.uow.edu.au/theses/4063 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Amongst Friends: The Australian Cult Film Experience A thesis submitted in fulfillment of the requirements for the award of the degree DOCTOR OF PHILOSOPHY From UNIVERSITY OF WOLLONGONG By Renee Michelle MIDDLEMOST (B Arts (Honours) School of Social Sciences, Media and Communications Faculty of Law, Humanities and The Arts 2013 1 Certification I, Renee Michelle Middlemost, declare that this thesis, submitted in fulfillment of the requirements for the award of Doctor of Philosophy, in the Department of Social Sciences, Media and Communications, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Renee Middlemost December 2013 2 Table of Contents Title 1 Certification 2 Table of Contents 3 List of Special Names or Abbreviations 6 Abstract 7 Acknowledgements 8 Introduction -
Rocky (1976) Movie Script by Sylvester Stallone
Rocky (1976) movie script by Sylvester Stallone. Final draft, 1/7/76. More info about this movie on IMDb.com INT. BLUE DOOR FIGHT CLUB - NIGHT SUPERIMPOSE OVER ACTION... "NOVEMBER 12, 1975 - PHILADELPHIA" ... The club itself resembles a large unemptied trash-can. The boxing ring is extra small to insure constant battle. The lights overhead have barely enough wattage to see who is fighting. In the ring are two heavyweights, one white the other black. The white fighter is ROCKY BALBOA. He is thirty years old. His face is scarred and thick around the nose... His black hair shines and hangs in his eyes. Rocky fights in a plodding, machine-like style. The BLACK FIGHTER dances and bangs combinations into Rocky's face with great accuracy. But the punches do not even cause Rocky to blink... He grins at his opponent and keeps grinding ahead. The people at ringside sit on folding chairs and clamor for blood... They lean out of their seats and heckle the fighters. In the thick smoke they resemble spectres. Everyone is hustling bets... The action is even heavier in the balcony. A housewife yells for somebody to cover a two dollar bet. The BELL RINGS and the fighters return to their corner... Somebody heaves a beer can into the ring. The Black Fighter spits something red in a bucket and sneers across the ring at Rocky. BLACK FIGHTER (to cornerman) ... I'm gonna bust his head wide open! In Rocky's corner he is being assisted by a shriveled, balding CORNERMAN, who is an employee of the club..