DOCSLIB.ORG

El Mitema De La Venganza En El Cine: El Mito De La Orestía

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
El Mitema De La Venganza En El Cine: El Mito De La Orestía Facultad de Filosofía y Letras MÁSTER EN CULTURA Y PENSAMIENTO EUROPEO Y SU PROYECCIÓN TRABAJO DE FIN DE MÁSTER El mitema de la venganza en el cine: el mito de La Orestía The mytheme of revenge in films: the myth of The Oresteia Ana María López Saludes León, junio 2013 Facultad de Filosofía y Letras MÁSTER EN CULTURA Y PENSAMIENTO EUROPEO Y SU PROYECCIÓN TRABAJO DE FIN DE MÁSTER El mitema de la venganza en el cine: el mito de La Orestía The mytheme of revenge in films: the myth of The Oresteia - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - V.B Dr. Jesús-Mª Nieto Ibáñez Ana María López Saludes León, junio 2013 2 AGRADECIMIENTOS A Amor López Jimeno y a Alejandro Valverde García, porque sin conocerme de nada, me han facilitado información sobre artículos, libros y enlaces de interés para el trabajo. Alejandro además ha sido una pieza clave en la visión global del proyecto, y su dedicación y esfuerzo enormes. A mis compañeras de máster Andrea Patricia Durán Cingerli y Esperanza de los Reyes Aguilar por escucharme, aconsejarme y brindarme también su ayuda. Por último a Erika Loreti, traductora en alguna de las películas y a las demás personas que me han escuchado y apoyado, sobre todo a mi madre. 3 ÍNDICE CAPÍTULO I.- INTRODUCCIÓN .............................................................................. 6 1.1.- Objeto de estudio .................................................................................................. 9 1.2.- Metodología y referentes .................................................................................... 10 1.3.- Estado de la cuestión .......................................................................................... 12 CAPÍTULO II.- LA ORESTÍA: MITO Y TRAGEDIA ............................................ 17 2.1.- Definición de mito y términos afines ................................................................. 17 2.2.- La Orestía ........................................................................................................... 31 2.2.1.- Antecedentes................................................................................................ 31 2.2.1.1.- Tántalo .................................................................................................. 31 2.2.1.2.- Pélope e Hipodamía ............................................................................. 33 2.2.1.3.- Los hijos de Pélope: Atreo, Tiestes y Piteo .......................................... 36 2.2.1.4.- Atreo y Tiestes ...................................................................................... 38 2.2.1.5.- Los Atridas ........................................................................................... 41 2.2.2.- Mito y mitema ............................................................................................. 44 2.2.2.1.- Mito ...................................................................................................... 44 2.2.2.2.- Mitema ................................................................................................. 50 2.3.- La tragedia .......................................................................................................... 52 2.3.1.- La Orestía y sus distintas representaciones trágicas.................................... 55 2.3.1.1.- De la Épica a la Lírica: Homero, Hesíodo, Estesícoro y Píndaro ....... 56 2.3.1.2.- Los trágicos: Esquilo, Sófocles y Eurípides ......................................... 60 2.3.1.2.1.- Personajes ...................................................................................... 61 2.3.1.2.2.- El sueño que atormenta a Clitemnestra ......................................... 73 2.3.1.2.3.- Reencuentro y reconocimiento entre los hermanos ...................... 74 2.3.1.2.4.- Plan y realización de la venganza ................................................. 75 2.3.1.2.5.- Acto de venganza y escenario del mismo...................................... 77 2.3.1.2.6.- Actitud de los protagonistas frente al acto que han cometido ....... 78 2.3.1.2.7.- Matricidio y oráculo ...................................................................... 79 2.3.1.2.8.- Castigo ........................................................................................... 80 2.3.1.2.9.- Areópago y Atenea ........................................................................ 82 2.3.1.2.10.- Lo divino, lo religioso y la justicia .............................................. 82 2.3.1.3.- Eurípides. Orestes ................................................................................ 83 2.3.1.4.- Otras fuentes mitográficas .................................................................... 86 2.3.1.5.- Séneca. Agamenón ............................................................................... 87 CAPÍTULO III.- EL SÉPTIMO ARTE Y LA VENGANZA .................................... 91 3.1.- Orígenes del Séptimo arte .................................................................................. 91 3.2.- Los géneros cinematográficos ............................................................................ 94 3.3.- Cómo analizar un film ...................................................................................... 100 3.4.- La venganza desde la Antigüedad .................................................................... 105 3.5.- El tema de la venganza en el cine ..................................................................... 114 CAPÍTULO IV.- EL CINE Y SU APLICACIÓN DIDÁCTICA EN EL AULA .... 119 4.1.- Educación en valores: educación para la no violencia .................................... 128 4.2.- El complejo de Electra y la psicología evolutiva del niño ............................... 132 4 CAPÍTULO V.- PELÍCULAS................................................................................... 135 5.1.- Versión actualización de los antecedentes: Los Atridas ................................... 137 5.2.- Versión mítica ................................................................................................... 144 5.3.- Versión moderna del mito ................................................................................ 149 5.4.- Versión mitema en la familia ............................................................................ 176 5.5.- Versión mitema amplio: la venganza ............................................................... 196 CONCLUSIONES ...................................................................................................... 224 FUENTES DOCUMENTALES ................................................................................. 229 ÍNDICE DE FIGURAS .............................................................................................. 239 5 CAPÍTULO I.- INTRODUCCIÓN La pervivencia de los mitos en el devenir histórico y en las diversas artes pone de manifiesto la relevancia de continuar profundizando en una de las expresiones más interesantes de la cultura occidental. Es así que el tema elegido para este trabajo, -que guarda una estrecha relación con la asignatura “De la mitología griega a los mitemas universales” del máster Cultura y Pensamiento Europeo y su Proyección-, pretende indagar en el valor del mitema como elemento constitutivo de los aspectos sociales y culturales de los grupos humanos. La razón que ha motivado la elección de este proyecto es doble. Por una parte, para aportar algo más de luz sobre la incidencia de los mitos dentro del Séptimo Arte. La escasez de estudios al respecto hace por un lado difícil encontrar material suficiente para apoyarse en la investigación, pero por otro lado, deja abierto un abanico de posibilidades en la contribución a la materia. Y por otra parte, por una motivación personal, al ser el mundo de los mitos clásicos un tema que siempre nos ha resultado fascinante. Una selección de películas, que compondrán el corpus metodológico, permitirá identificar en ellas el mitema en el cine. Los distintos films mostrarán en su argumento, sino es el mismo, una estrecha relación con el mitema de La Orestía, más concretamente, de la venganza dentro de la familia. Esta cuestión será tratada en el presente volumen de acuerdo con el orden que se especifica a continuación. El trabajo consta de cinco capítulos y las conclusiones, alguno de los cuales conlleva subdivisiones. Se propondrá un recorrido por los principales puntos sin ahondar en particularidades que profundicen en demasía, ya que 6 se trata de temas amplios, sobre los que hay infinidad de trabajos y no son el objeto de estudio de este proyecto realmente. El primer apartado del trabajo se dedica a la introducción, al objeto de estudio del presente proyecto, a la metodología y las fuentes utilizadas para llevarlo a cabo y al estudio de caso. El capítulo II denominado La Orestía: mito y tragedia, que está formado por tres partes. La primera parte, Definición de mito y términos afines, en la que se ha intentado identificar lo que se entiende por mito y sus palabras vinculadas. La segunda, La Orestía constituida por antecedentes y mito y mitema. En el primero se ha hecho un recorrido por las generaciones de esta familia, que como se comentará, están marcadas por mentiras, tramas, asesinatos, venganzas y una serie de acciones que hacen comprensible entender el contexto de odio en el que está enmarcado el mito. En el segundo -no resulta sencillo como en otros mitos- se narra el mito de La Orestía, aunque se ha vuelto imposible describirlo de una única forma, pues no solo un autor trágico lo ha escrito,
Load more

Recommended publications
  • Mafia Motifs in Andrea Camilleri's Detective
    MAFIA MOTIFS IN ANDREA CAMILLERI’S DETECTIVE MONTALBANO NOVELS: FROM THE CULTURE AND BREAKDOWN OF OMERTÀ TO MAFIA AS A SCAPEGOAT FOR THE FAILURE OF STATE Adriana Nicole Cerami A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Languages and Literatures (Italian). Chapel Hill 2015 Approved by: Dino S. Cervigni Amy Chambless Roberto Dainotto Federico Luisetti Ennio I. Rao © 2015 Adriana Nicole Cerami ALL RIGHTS RESERVED ii ABSTRACT Adriana Nicole Cerami: Mafia Motifs in Andrea Camilleri’s Detective Montalbano Novels: From the Culture and Breakdown of Omertà to Mafia as a Scapegoat for the Failure of State (Under the direction of Ennio I. Rao) Twenty out of twenty-six of Andrea Camilleri’s detective Montalbano novels feature three motifs related to the mafia. First, although the mafia is not necessarily the main subject of the narratives, mafioso behavior and communication are present in all novels through both mafia and non-mafia-affiliated characters and dialogue. Second, within the narratives there is a distinction between the old and the new generations of the mafia, and a preference for the old mafia ways. Last, the mafia is illustrated as the usual suspect in everyday crime, consequentially diverting attention and accountability away from government authorities. Few critics have focused on Camilleri’s representations of the mafia and their literary significance in mafia and detective fiction. The purpose of the present study is to cast light on these three motifs through a close reading and analysis of the detective Montalbano novels, lending a new twist to the genre of detective fiction.
    [Show full text]
  • The Godfather Part II Lay in Coppola ' S Eye for Detail and His Need for a Verisimilitude Transcending the Limits of Perfunctory Storytelling
    A N I L L U M I N E D I L L U S I O N S E S S A Y B Y I A N C . B L O O M TT HH EE GG OO DD FF AA TT HH EE RR PP AA RR TT II II Directed by Francis Ford Coppola Produced by Francis Ford Coppola Distributed by Paramount Pictures Released in 1974 mboldened by press accounts documenting the Apocalypse Now shoot as a self - destructive E odyssey, some c ritics confronting the film for the first time in 1979 tried to undermine Francis Ford Coppola ' s monumental achievement. Though its filming was as arduous as the war itself, they faulted him, a man who had never served in uniform, for promoting Apocalypse Now as the definitive statement on Viet Nam. To this day the film retains its primal angst and resolute daring, while film critics everywhere jealously disparage the pioneering work of yet another generation. Coppola is a keen observer, a progressive th inker who learns as much from talking to others as he does consulting his cherished collection of books. His early films find their genesis in childhood experiences — his mother ' s strange departure and subsequent return to the pressures of family became The Rain People (1969); a love of musicals nourished by his father led to Finian ' s Rainbow (1968); and his Manhattan misadventures as an AWOL military school cadet fostered You ' re A Big Boy Now (1967). Similarly, the ultimate triumph of The Godfather Part II lay in Coppola ' s eye for detail and his need for a verisimilitude transcending the limits of perfunctory storytelling.
    [Show full text]
  • New Hollywood As Political Discourse
    CAPTURING TURMOIL: NEW HOLLYWOOD AS POLITICAL DISCOURSE by DANA ALSTON 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 2018 An Abstract of the Thesis of Dana Alston for the degree of Bachelor of Arts in the Department of Cinema Studies to be taken June 2018 Title: Capturing Turmoil: New Hollywood as Political Discourse Approved: _______________________________________ Dr. Erin Hanna This thesis is an argumentative close analysis of themes, aesthetics, and political meanings within three New Hollywood films. It emerged out of an interest in the films of the 1960s and 70s and the changes within that era’s film industry. Those changes granted young, educated filmmaker opportunities to helm studio-driven projects, weaving material into their narratives that would have been impossible in a system ruled by the Hollywood Production Code. The era also included significant social and political unrest, and the films therein reflect that reality. In this project, I perform content analyses for three films within the New Hollywood movement — Bonnie and Clyde (1967), Dog Day Afternoon (1975), and Nashville (1975) — in order to understand how films in the movement used themes of celebrity, violence, and oppression to act as a form of discourse. All three films employ on-screen violence to complicate the audience’s initial assumptions of characters, and each film critiques the social and political issues of its time through this violence. For each analysis, I discuss several sequences’ mise-en-scène — the arrangement of elements within the entire frame — and connect them to broad socio-political ideas.
    [Show full text]
  • American Repertory Theater in Association with Harvard University Office for the Arts and Stagesource Will Hold a Memorial Servi
    For Immediate Release: February 24, 2012 Contact: Kati Mitchell 617-495-2668 [email protected] American Repertory Theater in association with Harvard University Office for the Arts and StageSource will hold a Memorial Service for Director DAVID WHEELER Monday, May 14 at 6:00pm Loeb Drama Center Cambridge, Mass — The American Repertory Theater (A.R.T.), in association with Harvard University Office for the Arts and StageSource, will host a memorial service to celebrate the life and accomplishments of its longtime Resident Director, Harvard University alumnus, and Boston director David Wheeler, who passed away unexpectedly on January 4th of this year. The celebration will include friends, colleagues, and family who knew and loved David, and all are invited to attend. The memorial will be held at 6:00pm on Monday, May 14th in the theater of the Loeb Drama Center, 64 Brattle Street, Cambridge where many of David’s productions were performed, and will be followed by a reception in the lobby of the theater. David Wheeler directed over two hundred plays in his long career. As Resident Director at the A.R.T. since 1984 and later Associate Artist, he directed over twenty productions, most recently Harold Pinter’s No Man’s Land in 2007 (receiving the Elliot Norton and IRNE Awards for Best Director, and IRNE for Best Production). Other highlights at A.R.T. include The Homecoming, The Caretaker, Misalliance, Man and Superman (Eliot Norton, Best Production), David Mamet’s adaptation of Uncle Vanya (with Christopher Walken), Don DeLillo’s Valparaiso and The Day Room, How I Learned to Drive (with Debra Winger), What the Butler Saw, Picasso at the Lapin Agile, Waiting for Godot, Gillette, and Sam Shepard’s Angel City and True West.
    [Show full text]
  • I Knew It Was You (2009) La Straordinaria Storia Di John Cazale, Talento Immenso Mai Riconosciuto Dal Grande Pubblico
    I Knew It Was You (2009) La straordinaria storia di John Cazale, talento immenso mai riconosciuto dal grande pubblico. Un film di Richard Shepard con Steve Buscemi, Steve Casale, Francis Ford Coppola, Robert De Niro, Richard Dreyfuss, Olympia Dukakis, Robyn Goodman, Gene Hackman, Mark Harris (III), Philip Seymour Hoffman. Genere Documentario durata 40 minuti. Produzione USA 2009. Lo conosciamo tutti anche se non sappiamo ricollegare quel nome a quel volto. Ha fatto solo 5 film ma è stato uno degli attori più importanti di Hollywood Gabriele Niola - www.mymovies.it Tutti ci ricordiamo di lui anche se non sappiamo chi sia. Ha realizzato solo 5 film in carriera, tutti nominati all'Oscar come miglior film e i cui attori in totale hanno collezionato 15 nomination. Compare in 'Il padrino', 'Il padrino parte II', 'Quel pomeriggio di un giorno da cani', 'Il cacciatore' e 'La conversazione' e in ogni film ha un ruolo importante. Al Pacino ne parla come del suo vero grande maestro, un attore immenso da cui si poteva solo imparare e che riusciva sempre a nascondere se stesso per far recitare meglio gli altri, Meryl Streep è stata sua compagna fino alla precoce morte per cancro ai polmoni poco prima dell'uscita di 'Il cacciatore', Coppola ne parla come del vero autore del personaggio di Fredo, Sidney Lumet ne rimase foglorato e gli attori di oggi lo venerano come un Dio. E' John Cazale, talento misconosciuto di Hollywood. Il documentario di appena una quarantina di minuti girato da Richard Shepard sembra quasi un finto documentario per la sorpresa che coglie lo spettatore nello scoprire che un attore così marginale per il grande pubblico (eppure così fortemente stampato nell'immaginario collettivo) è stata una personalità così importante all'interno della new Hollywood, ovvero quel nucleo di autori e attori che negli anni '70 rivoluzionarono l'industria del cinema americano, riportandola al centro dell'interesse mondiale, con un cinema tutto nuovo.
    [Show full text]
  • Course Summary
    PRELIMINARY COURSE SYLLABUS Course Title: THE NEW HOLLYWOOD: Revolution in American Cinema, 1967 - 1975 Course Code: FLM 146 Instructor: Elliot Lavine Course Summary: This course is designed to provide an overview of the dramatically and often radically reinvigorated American film industry that emerged in the mid-1960s as both an answer to the draconian censorship laws still being applied to films, as well as the rapidly changing political and social landscape occurring at this time. We will watch and discuss some of the more influential films from this exciting period. *Please see course page for full description and additional details. Note About Live Attendance and Recording: These class sessions will be recorded. Live attendance is required to earn Credit. Grade Options and Requirements: • No Grade Requested (NGR) o This is the default option. No work will be required; no credit shall be received; no proof of attendance can be provided. • Credit/No Credit (CR/NC) *Please Note: If you require proof that you completed a Continuing Studies course for any reason (for example, employer reimbursement), you must the Credit/No Credit option. Courses taken for NGR will not appear on official transcripts or grade reports. Tentative Weekly Outline: Please watch the listed films before the class session that week. They can be purchased or rented via YouTube Movies or Amazon, and some might be on services such as Hulu or Netflix. Typically, if you do a Google search for a title, it will display the various streaming options. Here is the tentative list of films we’ll be watching and discussing… Week 1: BONNIE & CLYDE (1967) Arthur Penn’s seminal retelling of the lives of these two desperados was a brash introduction of a new sensibility revolving around sex and violence and the Cinema.
    [Show full text]
  • Diplomarbeit
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit „The Italianness of The Godfather – Die Darstellung von italienischer Ethnizität und Kultur in The Godfather und The Godfather – Part II“ Verfasserin: Barbara Wallner angestrebter akademischer Grad Magistra der Philosophie (Mag. Phil) Wien, 2010 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Diplomstudium Theater-, Film- und Medienwissenschaft UniStG Betreuer: Mag. Dr. Claus Tieber Danksagung Ich möchte meinem Betreuer Mag. Dr. Claus Tieber für sein fachliches und persönliches Interesse an dieser Arbeit herzlich danken. Mein Dank gilt außerdem Dr. Ulrike Kerschbaum, die diese Arbeit sicher durch den Dschungel der neuen Rechtschreibung geführt hat. Danke schließlich auch meinen Eltern, insbesondere meiner Mutter, sowie allen anderen, die mich in den letzten Monaten ertragen mussten und immer noch mit mir sprechen. Inhaltsverzeichnis 0. Einleitung ..................................................................................................................... 1 1. Eine kleine Geschichte des Gangsterfilms ................................................................... 4 1.1. THE GODFATHER – der Gangsterfilm schlechthin ..................................................................... 11 2. „A Natural Inclination Towards Criminality“ – Die Stereotypisierung der Italo-Amerikaner ............................................................... 18 2.1. Ein Volk von Al Capones?
    [Show full text]
  • ​Dog Day Afternoonаа
    th Dog Day Afternoon / 40 ​ Anniversary – Page 1 ​ ​ “A tense classic!” ✮✮✮✮✮ ­ Empire ​ DOG DAY AFTERNOON ​ TH TM 40 ​ Anniversary on Blu­ray ​ from 7th ​ ​ September Includes Director Commentary, Vintage Featurettes and more On September 7th 2015, Warner Bros. Home Entertainment (WBHE) will celebrate director Sidney th Lumet’s Dog Day Afternoon, the explosive drama starring Al Pacino, with a new 40 ​ Anniversary ​ ​ ​ ​ ​ ​ ​ ​ edition Blu­ray available for the first time in the UK. ​ ​ This unique thriller, filled with sardonic comedy and based on a real­life incident, earned six Academy ® 1 Award ​ nominations ​ (including Best Picture) and won an Oscar® for Frank Pierson’s streetwise ​ ® screenplay. John Cazale, Charles Durning (Golden Globe ­​ nominated for their roles) and James ​ Broderick co­star. Pacino and Lumet (collaborators on Serpico) reteam for the drama which currently has a 97% ​ ​ Fresh Rotten Tomatoes® Score. Pacino plays mastermind Sonny and John Cazale is his partner Sal ­ two optimistic nobodies who set out to rob a bank, and unexpectedly create a media circus and a complete disaster. Cazale’s short six­year acting career included only four other films besides Dog Day Afternoon – The ​ ​ ​ Godfather, The Godfather: Part II, The Conversation and The Deer Hunter. In 1978, just after ​ ​ ​ ​ ​ wrapping the latter, Cazale died tragically at age 42 and cinema was robbed of one of its brightest talents. 1 1975 (48th) ACTOR ­­ Al Pacino ​ ​ ​ ACTOR IN A SUPPORTING ROLE ­­ Chris Sarandon DIRECTING ­­ Sidney Lumet FILM EDITING ­­ Dede Allen BEST PICTURE ­­ Martin Bregman and Martin Elfand, Producers *WRITING (Original Screenplay) ­­ Frank Pierson * indicates win th Dog Day Afternoon / 40 ​ Anniversary – Page 2 ​ ​ ABOUT THE FILM On a hot Brooklyn afternoon, two optimistic nobodies set out to rob a bank.
    [Show full text]
  • (XXXVIII:10) Michael Cimino: the DEER HUNTER (1978, 183 Min.) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
    April 9, 2019 (XXXVIII:10) Michael Cimino: THE DEER HUNTER (1978, 183 min.) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. DIRECTOR Michael Cimino WRITING Michael Cimino, Deric Washburn, Louis Garfinkle, and Quinn K. Redeker developed the story, and Deric Washburn wrote the screenplay. PRODUCED BY Michael Cimino, Michael Deeley, John Peverall, and Barry Spikings CINEMATOGRAPHY Vilmos Zsigmond MUSIC Stanley Myers EDITING Peter Zinner At the 1979 Academy Awards, the film won Oscars for Best Picture, Best Director, Best Film Editing, Best Actor in a Supporting Role, and Best Sound, and it was nominated for Oscars for Best Actor in a Leading Role, Best Actress in a Supporting Role, Best Writing, and Best Cinematography. CAST Robert De Niro...Michael John Cazale...Stan John Savage...Steven Christopher Walken...Nick was the first of a “spate of pictures. .articulat[ing] the effect on Meryl Streep...Linda the American psyche of the Vietnam war” (The Guardian). George Dzundza...John Cimino won Oscars for Best Picture and Best Directing and was Chuck Aspegren...Axel nominated for Best Writing for The Deer Hunter. The film was Shirley Stoler...Steven's Mother such an artistic and critical accomplishment that he was given Rutanya Alda...Angela carte blanche from United Artists to make his next film, the Pierre Segui...Julien western Heaven’s Gate* (1980). This decision was a serious Mady Kaplan...Axel's Girl blow to Cimino’s directorial career, and it brought about the Amy Wright... Bridesmaid downfall of United Artists, forcing its sale to MGM in 1981 (The Mary Ann Haenel...Stan's Girl Guardian).
    [Show full text]
  • Case 1:21-Cv-04400 Document 1 Filed 08/05/21 Page 1 of 606 Pageid #: 1
    Case 1:21-cv-04400 Document 1 Filed 08/05/21 Page 1 of 606 PageID #: 1 IN THE UNITED STATES DISTRICT COURT FOR THE EASTERN DISTRICT OF NEW YORK AUGUST WILDMAN, CORBIN CABRERA, DANIEL MATIAS CABRERA, GILLIAN LEIGH CABRERA, M.G.C. BY AND THROUGH HIS NEXT FRIEND AUGUST CABRERA, R.X.C. BY AND THROUGH HIS NEXT FRIEND AUGUST COMPLAINT UNDER THE CABRERA, ROBERT CABRERA, RONALD PAUL ANTI-TERRORISM ACT HOPKINS, SUZANNE RENAE MARTINEZ, JD (18 U.S.C. § 2333) PROSSER, GLORIA DIANE TRELFA, JONATHAN L. ASHLEY III, JONATHAN LEIGH ASHLEY IV, JORDAN T. ASHLEY, TAMMIE MARIA ASHLEY, JURY TRIAL DEMANDED CHERYL ATWELL, ERIN RIEDEL, ANGELA KAHLER, PAMELA E. ALEXANDER BELL, JAMES BELL, LONDON JACINDA BELL, ANDREA ROE, FREDERICK C. BENSON, BEVERLY MILLS, MAGGIE MAE BILYEU, No. 21-cv-4400 KATHERINE ABREU-BORDER, MARY BORDER, DELAYNIE K. PEEK, FRANCISCO JAVIER BRISEÑO GUTIERREZ, LUIS BRISEÑO, MARISSA BROWN, ARIELL S. TAYLOR, INDIVIDUALLY AND ON BEHALF OF THE ESTATE OF CHRISTOPHER L. BROWN, WILLIAM A. BURLEY, WILLIAM MICHAEL BURLEY, MICHAEL COLLINS, DAN OLMSTEAD, TAMMY OLMSTEAD, CYNTHIA CAROL CAMPBELL, RAMIRO CARDOZA JR., RAMIRO CARDOZA SR., MARIA CARDOZA, BRITTANI MARIE CARNER, T.M.C. BY AND THROUGH HIS NEXT FRIEND TIMOTHY NORMAN CARNER, TIMOTHY NORMAN CARNER, CORDARO DEVONE CLARK, CORTEIZE CLARK, KEYKO D. CLARK, PRECIOUS CLARK, CLEVELAND DAVIS, APRIL CLEARY, JONATHAN CLEARY, B.C. BY AND THROUGH HIS NEXT FRIEND HOLLY CONRAD, HOLLY CONRAD, PEYTON COONEY, A.C. BY AND THROUGH HIS NEXT FRIEND NICOLE COX, BRENNAN COX, H.C. BY AND THROUGH HER NEXT FRIEND NICOLE COX, NICOLE COX, ROSS COX, ANTHONY D’AUGUSTINE, JENNIFER D'AUGUSTINE, NICOLE D'AUGUSTINE, PATRICIA D’AUGUSTINE, MICHELE KULESA, ADAM DAEHLING, BRENDA DAEHLING, KAYLA MARIE Case 1:21-cv-04400 Document 1 Filed 08/05/21 Page 2 of 606 PageID #: 2 DAEHLING, KIRK W.
    [Show full text]
  • Documentaries on Acting
    C O R E Y P A R K E R Documentaries on Acting “Uta Hagen’s Acting Class” Actors, directors, and teachers now have the opportunity to study with the legendary actress and teacher Uta Hagen for the first time on DVD. Shot over the course of two years, the interaction between Ms. Hagen and the actors and audience puts the viewer right in the room. All ten of her celebrated Object Exercises are clarified and performed. Jack Lemmon, Whoopi Goldberg and Christine Lahti, among others - all former students - recall their classes with Ms. Hagen and her enduring influence on their work. As Ms. Hagen herself states, "When I believe that there is a human being in action up there, in that moment, alive - right there - then I get spellbound. When you really achieve that understanding of human nature, the ability to place yourselves in the shoes of another human being and reveal that life onstage, is to me the ultimate experience." W W W . C O R E Y P A R K E R A C T I N G . C O M C O R E Y P A R K E R Documentaries on Acting “Special Thanks to Roy London” Documentarist Christopher Monger's Special Thanks to Roy London profiles famed acting coach London (1943-93), a man with resounding professional success (including a litany of former pupils who graduated to A-list Hollywood triumph), but who remained guarded about his teaching methods and philosophies on acting. In this program, Monger examines London through the eyes of many of the said pupils, including Jeff Goldblum, Hank Azaria, Garry Shandling, Geena Davis and Patrick Swayze.
    [Show full text]
  • The Godfather Brando During the Shooting of Apocalypse Now (1979) and His Ambitious Attempt to Form His Own Studio/Distributor Conglomerate, Zoetrope Studios, in 1980
    GODFATHER ENCYCLOPEDIA OF POPULAR CULTURE The Godfather Brando during the shooting of Apocalypse Now (1979) and his ambitious attempt to form his own studio/distributor conglomerate, Zoetrope Studios, in 1980. One of American popular culture’s most resilient narratives is In 1972, Coppola adapted Mario Puzo’s popular novel for the that of the Mafia and its antiheroic gangsters, and one of this genre’s screen, and although the two worked together on the script, Coppola most popular and poignant products is Francis Ford Coppola’s The dramatically shaped the project during the shooting. The second Godfather trilogy, based on Mario Puzo’s novel of the same name. installment was entirely his creation. Cutting out much of the novel’s Released in 1972 to universal acclaim and rewarded with several romanticized violence, the director decided to instead focus on the Academy Awards, including Best Picture, The Godfather instantly Corleone family dynamics, personalizing the film in accordance with fixed its place in the American cultural psyche, establishing itself as his own experience growing up as the second-generation son of an the de facto gangster film to which all other subsequent exercises in the genre would be compared. Italian immigrant. The Mafia, as always, was the perfect vehicle for Powered by Marlon Brando’s timeless delivery of the film’s the consideration of American culture and values, Coppola asserted in namesake, Godfather Vito Corleone, the film also established the an interview: ‘‘I feel that the Mafia is an incredible metaphor for this futures of Hollywood royalty Al Pacino (Michael Corleone), Robert country.
    [Show full text]