Outside-In-History.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Gus Van Sant Regis Dialogue Formatted
Gus Van Sant Regis Dialogue with Scott Macaulay, 2003 Scott Macaulay: We're here at the Walker Art Center for Regis dialogue with American filmmaker Gus Van Sant. He'll be discussing the unique artistic vision that runs through his entire body of work. Gus was first recognized for a trilogy of films that dealt with street hustlers, Mala Noche, Drugstore Cowboy, My Own Private Idaho. He then went on to experiment with forum and a number of other films including To Die For, Psycho and even Cowgirls Get the Blues. Gus is perhaps best known for his films, Goodwill Hunting and Finding Forrester, but all of his work including his latest film, Gerry, has his own unique touch. We'll be discussing Gus' films today during this Regis dialogue. I'm Scott Macaulay, producer and editor of Filmmaker Magazine. I'll be your guide through Gus' work today in this Regis dialogue. Thanks. Gus Van Sant: Thank you. Scott Macaulay: It's a real pleasure to be here with Gus Van Sant on this retrospective ... Which is called on the road again. I guess there are a lot of different illusions in that title, a lot of very obvious ones because a lot of Gus' movies deal with travel and change and people going different places, both locations within America but also in their lives. But another interesting implication of the title is that this retrospective is occurring on the eve of the release here and also nationwide of Gerry, which is really one of Gus' best and most moving films but it's also yet sort of another new direction for Gus as a filmmaker. -
Another Look at the Cultural Politics of My Own Private Idaho
Journal X Volume 7 Number 1 Autumn 2002 Article 3 2020 Toward a Postmodern Pastoral: Another Look at the Cultural Politics of My Own Private Idaho Sharon O'Dair University of Alabama Follow this and additional works at: https://egrove.olemiss.edu/jx Part of the American Film Studies Commons Recommended Citation O'Dair, Sharon (2020) "Toward a Postmodern Pastoral: Another Look at the Cultural Politics of My Own Private Idaho," Journal X: Vol. 7 : No. 1 , Article 3. Available at: https://egrove.olemiss.edu/jx/vol7/iss1/3 This Article is brought to you for free and open access by the English at eGrove. It has been accepted for inclusion in Journal X by an authorized editor of eGrove. For more information, please contact [email protected]. O'Dair: Toward a Postmodern Pastoral: Another Look at the Cultural Politi Toward a Postmodern Pastoral: Another Look at the Cultural Politics of My Own Private Idaho Sharon O'Dair Sharon O'Dair is Gus Van Sant's My Own Private Idaho (1991) is a professor of English film that rewrites Shakespeare's Henriad1 by fol at the University of lowing the adventures in the Pacific Northwest Alabama, where she of two male prostitutes, Scott Favor (played by teaches in the Hub- Keanu Reeves) and Mike Waters (played by son Strode Program in Renaissanc Stud River Phoenix). The film is a spicy conceit, but ies. She is the author in the criticism produced so far on it, cultural of Class, Critics, critique is bland and predictable, a register less and Shakespeare: of the film's politics than the critics'. -
Gus Van Sant Retrospective Carte B
30.06 — 26.08.2018 English Exhibition An exhibition produced by Gus Van Sant 22.06 — 16.09.2018 Galleries A CONVERSATION LA TERRAZA D and E WITH GUS VAN SANT MAGNÉTICA CARTE BLANCHE PREVIEW OF For Gus Van Sant GUS VAN SANT’S LATEST FILM In the months of July and August, the Terrace of La Casa Encendida will once again transform into La Terraza Magnética. This year the programme will have an early start on Saturday, 30 June, with a double session to kick off the film cycle Carte Blanche for Gus Van Sant, a survey of the films that have most influenced the American director’s creative output, selected by Van Sant himself filmoteca espaÑola: for the exhibition. With this Carte Blanche, the director plunges us into his pecu- GUS VAN SANT liar world through his cinematographic and musical influences. The drowsy, sometimes melancholy, experimental and psychedelic atmospheres of his films will inspire an eclectic soundtrack RETROSPECTIVE that will fill with sound the sunsets at La Terraza Magnética. La Casa Encendida Opening hours facebook.com/lacasaencendida Ronda de Valencia, 2 Tuesday to Sunday twitter.com/lacasaencendida 28012 Madrid from 10 am to 10 pm. instagram.com/lacasaencendida T 902 430 322 The exhibition spaces youtube.com/lacasaencendida close at 9:45 pm vimeo.com/lacasaencendida blog.lacasaencendida.es lacasaencendida.es With the collaboration of Cervezas Alhambra “When I shoot my films, the tension between the story and abstraction is essential. Because I learned cinema through films made by painters. Through their way of reworking cinema and not sticking to the traditional rules that govern it. -
The Rhetoric of the Benign Scapegoat: President Reagan and the Federal Government
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 2000 The Rhetoric of the Benign Scapegoat: President Reagan and the Federal Government. Stephen Wayne Braden Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Braden, Stephen Wayne, "The Rhetoric of the Benign Scapegoat: President Reagan and the Federal Government." (2000). LSU Historical Dissertations and Theses. 7340. https://digitalcommons.lsu.edu/gradschool_disstheses/7340 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Good Books for Examining Racial History
Anti‐Racism Biased: Uncovering the Hidden Prejudice that Shapes What We See Jennifer Eberhardt Anti‐Racism The Conversation Robert Livingston Anti‐Racism How to be An Antiracist Ibraim X. Kendi Anti‐Racism Reading, Writing, and Racism Bree Picower Anti‐Racism So you want to Talk About Race Ijeoma Oluo Anti‐Racism Speaking of Race: How to Have Anti‐Racist Conversations that Bring Us Together Patricia Roberts‐Miller Anti‐Racism Tears We Cannot Stop Michael Eric Dyson Anti‐Racism Tell Me Who You Are: A Roadmap for Cultivating Racial Literacy Winona Guo Anti‐Racism Uncomfortable Conversations with a Black Man Emmanuel Acho Anti‐Racism Why Are All the Black Kids Sitting Together in the Cafeteria Beverly Daniel Tatum Anti‐Racism Mindful of Race Ruth King Anti‐Racism Biography and Memoir Beautiful Struggle Ta‐Nehisi Coates Memoir Between the World and Me Ta‐Nehisi Coates Memoir Born A Crime Trevor Noah Memoir Dead are Arising: Life of Malcolm X Les Payne Biography Doctors Blackwell: How Two Pioneering Sisters Janice Nimura Biography Frederick Douglass: Prophet of Freedom David Blight Biography Heavy: An American Memoir Kiese Laymon Memoir I am Not Your Negro James Baldwin Biography I'm Still Here: Black Dignity in a World made for Whiteness Austin Channing Brown Memoir What Doesn't Kill You Makes You Blacker Damon Young Memoir Black Lives Matter Long Time Coming Michael Eric Dyson Black Lives Matter Purpose of Power Alicia Garza Black Lives Matter When They Call You a Terrorist Patrisse Kahn‐Cullors Black Lives Matter Church and Reconciliation America's Oringinal Sin: Racism, White Privilege & Bridge to a New America Jim Wallis Church Color of Compromise Jemar Tisby Church White Lies Daniel Hill Church White Too Long Robert P. -
Finding Forrester Forrester – Gefunden! a La Rencontre De Forrester
Wettbewerb/IFB 2001 FINDING FORRESTER FORRESTER – GEFUNDEN! A LA RENCONTRE DE FORRESTER Regie: Gus Van Sant USA 2000 Darsteller William Forrester Sean Connery Länge 136 Min. Jamal Wallace Rob Brown Format 35 mm, Prof.Crawford F.Murray Abraham Cinemascope Claire Spence Anna Paquin Farbe Terrell Busta Rhymes Ms.Joyce April Grace Stabliste Coleridge Michael Pitt Buch Mike Rich Dr.Spence Michael Nouri Kamera Harris Savides Matthews Richad Easton Kameraführung Craig Haagensen Massie Glenn Fitzgerald Kameraassistenz Eric C.Swanek Damon Zane R.Copeland Jr. Michael Cambria Janice Stephanie Berry Caesar S.Carnevale Fly Fly Williams III Schnitt Valdis Oskarsdottir Kenzo Damany Mathis Schnittassistenz Helen Hand Clay Damien Lee Tonschnitt Kelley Baker Trainer Garrick Tom Kearns Tonassistenz Paul Koronkiewicz Hartwell Matthew Noah Word Alfredo Viteri Dr.Simon Charles Bernstein Mischung Brian Miksis Bradley Matt Malloy Musik Bill Brown Sean Connery, Rob Brown Foto:G.Kraychyk Sanderson Matt Damon Production Design Jane Musky Ausstattung Darrell K.Keister Kostüm Ann Roth FORRESTER – GEFUNDEN! Maske Michael Bigger Ein abbruchreifes Backsteinhaus in der South-Bronx. Zwischen den vielen Regieassistenz David Webb schmucklos in die Höhe gezogenen Mietskasernen ist dieser übrig geblie- Produktionsltg. Michele Giordano bene Bau ein Fremdkörper in der Gegend. Auf die schwarzen Kids, die auf Aufnahmeleitung Trish Adlesic dem Platz davor Basketball spielen, macht es einen geheimnisvollen Ein- Produzenten Laurence Mark Sean Connery druck – auch wegen des silberhaarigen alten Mannes, der das Haus nie zu Rhonda Tellefson verlassen scheint und immer hinter den blank geputzten Fenstern in der Executive Producers Dany Wolf dritten Etage zu sehen ist. Jamal, Basketball-Ass, Leseratte und überdurch- Jonathan King schnittlich intelligenter Bursche, der sein Licht im Kreise seiner Kumpels allerdings unter den Scheffel stellt, wird von den anderen dazu angesta- Produktion Fountainbridge Films chelt, in die ominöse Wohnung einzusteigen und sich dort mal umzu- c/o Columbia Tristar schauen. -
President Barack Obama's Proverbial Inaugural Address
“We Must Pick Ourselves Up, Dust Ourselves Off” President Barack Obama’s Proverbial Inaugural Address Wolfgang MIEDER University of Vermont, Burlington, Vermont, USA [email protected] Recibido: 04-02-2009 Aceptado: 26-02-2009 Abstract: The pressures and expectations for Barack Obama to give a memorable inaugural address were enormous, and there was much conjecture about what he would include and how he would verbalize his thoughts. Many expected him to quote Lincoln, Roosevelt, or Kennedy, as he had done in numerous speeches before. But Obama, impressive rhetorician and orator that he is, refrained from using well- known quotations and instead created a number of his own formulaic statements in the form of pseudo- proverbs that might over time become proverbial, to wit “Greatness is never a given, it must be earned” or “People will judge you on what you can build, not what you can destroy.” In addition, he employed a considerable amount of folk speech in the form of proverbial phrases, with these emotive metaphors giving his speech a solid balance between intellectual rhetoric and traditional folk language. Uplifting as this epideictic address needed to be, Obama’s rhetoric was once again informed by practical wisdom and pragmatic judgment expressed at least in part by quotable and proverbial statements. The amazing aspect of this use of formulaic language is that Barack Obama does not merely adhere to traditional language but that he insists on its innovative use as he calls for socioeconomic change and a better life for all. Keywords: Paremiology. Proverb. Proverbial expression. Quotation. Pseudo-proverb. -
And the Winner Is
And the Winner Is . • • Nation's Film Critics Find Few Hits, a Lot of Misses in '91 1 01 9 1 By Pat McGilligan and Mark Rowland Special in The Wa3hington Post ever mind that Hollywood had a bad year, finan- cially speaking. What kind of movie year was 1991, artistically speaking? NIt sucked," Owen Gleiberman, film critic for Entertainment Weekly, put it succinctly. "The worst movie year 1 can remember," echoed Tony Lucia of the Reading (Pa.) Eagle. "I had trouble putting together a Top 10." "Grim," agreed David Ansen of Newsweek. "The big studio product, with few exceptions, was timid, unimagi- native and dumb. And Hollywood is encouraging the au- dience to have the same attributes." No wonder audiences stayed away in droves. If there was any unanimity among the nation's film critics, it was that 1991 produced one of the all-time worst crops of movies. But the critics concur on little else. The Los Angeles Film Critics Association hailed the sweeping gangster saga "Bugsy" as Best Film of 1991. The New York Film Critics Circle tilted toward the chill- ing "The Silence of the Lambs." The National Society of Film Critics, also New York-based, gave its nod to "Life Is Sweet," a funny, oddball look at a British working-class family by director Mike Leigh. - To seek a more democratic consensus, we went out- side the big-city organizations and conducted a poll of 81 newspaper, magazine and television film critics—a sam- pling from across the country. Critics were asked to vote the best film achievements of 1991—in effect, "Critics' Oscars." The results showed some surprising winners— and the most splintered voting in the 12-year history of this poll. -
A Conversation with Professor Eddie S. Glaude, Jr., Author, ‘Begin Again, James Baldwin’S America and Its Urgent Lessons for Our Own’
A Conversation with Professor Eddie S. Glaude, Jr., Author, ‘Begin Again, James Baldwin’s America and Its Urgent Lessons for Our Own’ Join Michael Zeldin in his conversation with Professor Eddie Glaude, Jr., the James S. McDonnell Distinguished Professor of African American Studies at Princeton University and author of Begin Again, James Baldwin’s America and Its Urgent Lessons for Our Own. The writings of James Baldwin and Dr. Glaude’s elicitation of the important lessons they have to teach us about the aftertimes in which we find ourselves and the steps we need to take if we are to find a progressive path forward for our country couldn’t be timelier. It is a discussion of monumental importance in 21st century America. Guest Professor Eddie S. Glaude Jr. Eddie S. Glaude Jr. is an intellectual who speaks to the complex dynamics of the American experience. His most well- known books, Democracy in Black: How Race Still Enslaves the American Soul, and In a Shade of Blue: Pragmatism and the Politics of Black America, take a wide look at black communities, the difficulties of race in the United States, and the challenges our democracy face. He is an American critic in the tradition of James Baldwin and Ralph Waldo Emerson. In his writings, the country’s complexities, vulnerabilities, and the opportunities for hope come into full view. Hope that is, in one of his favorite quotes from W.E.B Du Bois, “not hopeless, but a bit unhopeful.” He is the James S. McDonnell Distinguished University Professor and chair of the Department of African American Studies, a program he first became involved with shaping as a doctoral candidate in Religion at Princeton. -
Commencement to Honor Classes '20 And
DEREK CHAUVIN TRIAL REACTIONS FROM THE WABASH COMMUNITY SEE PAGE FIVE APRILFebruary 30, 19,2021 2021 Commencement to Honor Classes ’20 and ’21 COURTESY OF COMMUNICATIONS AND MARKETING With Commencement not being held last yeardue to the pandemic, the forthcoming celebration of the class of 2020 and 2021 will allow for a larger group of recent Wabash graduates to receieve a formal, in-person celebration for the efforts and achievements garnered over the last four years. JAKOB GOODWIN ’23 | STAFF format. In that email, he said that get to join the Class of 2021 for their the College and Dr. Butler as a long- WRITER • “We were devastated a year there was a hope to hold an in-person first time. time professor in the political science ago when we were forced to hold commencement at some point in the Rather than on the Mall in front department. They join the ranks of our 2020 Commencement Ceremony future. The administration probably of the chapel, this year’s ceremony former Wabash Presidents, legendary in a virtual format.” That is what did not expect it to take a year to will take place in the newly built professors, and campus leaders. Jim Amidon ‘87, Chief of Staff to make an in-person ceremony possible, Little Giant Stadium. Amidon told me Surely, in this year where nothing President Feller, told me when but this has created an opportunity that the stadium was chosen because has been the same, graduation would I asked him about the upcoming for a ceremony unlike any other, it had the space for the necessary be no different. -
Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DCU Online Research Access Service Smart cinema as trans-generic mode: a study of industrial transgression and assimilation 1990-2005 Laura Canning B.A., M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. November 2013 School of Communications Supervisor: Dr. Pat Brereton 1 I hereby certify that that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_________________________________ (Candidate) ID No.: 58118276 Date: ________________ 2 Table of Contents Chapter One: Introduction p.6 Chapter Two: Literature Review p.27 Chapter Three: The industrial history of Smart cinema p.53 Chapter Four: Smart cinema, the auteur as commodity, and cult film p.82 Chapter Five: The Smart film, prestige, and ‘indie’ culture p.105 Chapter Six: Smart cinema and industrial categorisations p.137 Chapter Seven: ‘Double Coding’ and the Smart canon p.159 Chapter Eight: Smart inside and outside the system – two case studies p.210 Chapter Nine: Conclusions p.236 References and Bibliography p.259 3 Abstract Following from Sconce’s “Irony, nihilism, and the new American ‘smart’ film”, describing an American school of filmmaking that “survives (and at times thrives) at the symbolic and material intersection of ‘Hollywood’, the ‘indie’ scene and the vestiges of what cinephiles used to call ‘art films’” (Sconce, 2002, 351), I seek to link industrial and textual studies in order to explore Smart cinema as a transgeneric mode. -
James Newlin
The State(s) They‘re In: Intersections of the Henriad, Hustler Narratives, And Alternative Music in Gus Van Sant‘s My Own Private Idaho James Newlin The State(s) They‘re In: Intersections of the Henriad, Hustler Narratives, and Alternative Music in Gus Van Sant‘s My Own Private Idaho By James Newlin “An inheritance,‖ Derrida writes in Specters of Marx, ―is always the reaffirmation of a debt, but a critical, selective, and filtering reaffirmation…‖ (114). Gus Van Sant‘s highly allusive film My Own Private Idaho marks itself as an heir to various histories and genres— including the genre the History, demonstrated by the film‘s oft-noted reworking of Shakespeare‘s Henriad—and in this paper, I investigate a similar ―critical, selective, and filtering reaffirmation‖ in the film, in order to interrogate Idaho‘s collage-effect and structure. I contend that the way Van Sant juxtaposes Shakespeare‘s History with his other sources—Orson Welles‘s earlier filmed version of the Henry Plays, Chimes at Midnight, hustler narratives, and, punk, folk, popular, and ―alternative‖ music—must be read as a thoroughly personal vision, constructed out of engagements with historically situated genres and texts that force Idaho‘s viewers to resist their expectations about those genres and texts. By defying genre, Van Sant challenges our notions of what makes an ―authentic‖ Shakespeare adaptation, hustler narrative, or punk song; he produces something that goes beyond ―authentic,‖ and becomes something fantastical. Consider one blind spot found in some earlier analyses of My Own Private Idaho: i.e. the ―gritty, realistic‖ reading of the film.