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Irish Gothic Fiction
THE ‘If the Gothic emerges in the shadows cast by modernity and its pasts, Ireland proved EME an unhappy haunting ground for the new genre. In this incisive study, Jarlath Killeen shows how the struggle of the Anglican establishment between competing myths of civility and barbarism in eighteenth-century Ireland defined itself repeatedly in terms R The Emergence of of the excesses of Gothic form.’ GENCE Luke Gibbons, National University of Ireland (Maynooth), author of Gaelic Gothic ‘A work of passion and precision which explains why and how Ireland has been not only a background site but also a major imaginative source of Gothic writing. IRISH GOTHIC Jarlath Killeen moves well beyond narrowly political readings of Irish Gothic by OF IRISH GOTHIC using the form as a way of narrating the history of the Anglican faith in Ireland. He reintroduces many forgotten old books into the debate, thereby making some of the more familiar texts seem suddenly strange and definitely troubling. With FICTION his characteristic blend of intellectual audacity and scholarly rigour, he reminds us that each text from previous centuries was written at the mercy of its immediate moment as a crucial intervention in a developing debate – and by this brilliant HIST ORY, O RIGI NS,THE ORIES historicising of the material he indicates a way forward for Gothic amidst the ruins of post-Tiger Ireland.’ Declan Kiberd, University of Notre Dame Provides a new account of the emergence of Irish Gothic fiction in the mid-eighteenth century FI This new study provides a robustly theorised and thoroughly historicised account of CTI the beginnings of Irish Gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland. -
2012 Sundance Film Festival Announces Awards
FOR IMMEDIATE RELEASE Media Contacts: January 28, 2012 Casey De La Rosa 310.360.1981 [email protected] 2012 SUNDANCE FILM FESTIVAL ANNOUNCES AWARDS The House I Live In, Beasts of the Southern Wild, The Law in These Parts and Violeta Went to Heaven Earn Grand Jury Prizes Audience Favorites Include The Invisible War, The Surrogate, SEARCHING FOR SUGAR MAN and Valley of Saints Sleepwalk With Me Receives Best of NEXT <=> Audience Award Park City, UT — Sundance Institute this evening announced the Jury, Audience, NEXT <=> and other special awards of the 2012 Sundance Film Festival at the Festival‘s Awards Ceremony, hosted by Parker Posey in Park City, Utah. An archived video of the ceremony in its entirety is available at www.sundance.org/live. ―Every year the Sundance Film Festival brings to light exciting new directions and fresh voices in independent film, and this year is no different,‖ said John Cooper, Director of the Sundance Film Festival. ―While these awards further distinguish those that have had the most impact on audiences and our jury, the level of talent showcased across the board at the Festival was really impressive, and all are to be congratulated and thanked for sharing their work with us.‖ Keri Putnam, Executive Director of Sundance Institute, said, ―As we close what was a remarkable 10 days of the 2012 Sundance Film Festival, we look to the year ahead with incredible optimism for the independent film community. As filmmakers continue to push each other to achieve new heights in storytelling we are excited to see what‘s next.‖ The 2012 Sundance Film Festival Awards presented this evening were: The Grand Jury Prize: Documentary was presented by Charles Ferguson to: The House I Live In / U.S.A. -
Sofia Coppola and the Significance of an Appealing Aesthetic
SOFIA COPPOLA AND THE SIGNIFICANCE OF AN APPEALING AESTHETIC by LEILA OZERAN 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 2016 An Abstract of the Thesis of Leila Ozeran for the degree of Bachelor of Arts in the Department of Cinema Studies to be taken June 2016 Title: Sofia Coppola and the Significance of an Appealing Aesthetic Approved: r--~ ~ Professor Priscilla Pena Ovalle This thesis grew out of an interest in the films of female directors, producers, and writers and the substantially lower opportunities for such filmmakers in Hollywood and Independent film. The particular look and atmosphere which Sofia Coppola is able to compose in her five films is a point of interest and a viable course of study. This project uses her fifth and latest film, Bling Ring (2013), to showcase Coppola's merits as a filmmaker at the intersection of box office and critical appeal. I first describe the current filmmaking landscape in terms of gender. Using studies by Dr. Martha Lauzen from San Diego State University and the Geena Davis Institute on Gender in Media to illustrate the statistical lack of a female presence in creative film roles and also why it is important to have women represented in above-the-line positions. Then I used close readings of Bling Ring to analyze formal aspects of Sofia Coppola's filmmaking style namely her use of distinct color palettes, provocative soundtracks, car shots, and tableaus. Third and lastly I went on to describe the sociocultural aspects of Coppola's interpretation of the "Sling Ring." The way the film explores the relationships between characters, portrays parents as absent or misguided, and through film form shows the pervasiveness of celebrity culture, Sofia Coppola has given Bling Ring has a central ii message, substance, and meaning: glamorous contemporary celebrity culture can have dangerous consequences on unchecked youth. -
“No Reason to Be Seen”: Cinema, Exploitation, and the Political
“No Reason to Be Seen”: Cinema, Exploitation, and the Political by Gordon Sullivan B.A., University of Central Florida, 2004 M.A., North Carolina State University, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2017 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Gordon Sullivan It was defended on October 20, 2017 and approved by Marcia Landy, Distinguished Professor, Department of English Jennifer Waldron, Associate Professor, Department of English Daniel Morgan, Associate Professor, Department of Cinema and Media Studies, University of Chicago Dissertation Advisor: Adam Lowenstein, Professor, Department of English ii Copyright © by Gordon Sullivan 2017 iii “NO REASON TO BE SEEN”: CINEMA, EXPLOITATION, AND THE POLITICAL Gordon Sullivan, PhD University of Pittsburgh, 2017 This dissertation argues that we can best understand exploitation films as a mode of political cinema. Following the work of Peter Brooks on melodrama, the exploitation film is a mode concerned with spectacular violence and its relationship to the political, as defined by French philosopher Jacques Rancière. For Rancière, the political is an “intervention into the visible and sayable,” where members of a community who are otherwise uncounted come to be seen as part of the community through a “redistribution of the sensible.” This aesthetic rupture allows the demands of the formerly-invisible to be seen and considered. We can see this operation at work in the exploitation film, and by investigating a series of exploitation auteurs, we can augment our understanding of what Rancière means by the political. -
Transatlantica, 2 | 2017 Marianne Kac-Vergne, Masculinity in Contemporary Science Fiction Cinema
Transatlantica Revue d’études américaines. American Studies Journal 2 | 2017 (Hi)stories of American Women: Writings and Re- writings / Call and Answer: Dialoguing the American West in France Marianne Kac-Vergne, Masculinity in Contemporary Science Fiction Cinema. Cyborgs, Troopers and Other Men of the Future Mehdi Achouche Electronic version URL: https://journals.openedition.org/transatlantica/10482 DOI: 10.4000/transatlantica.10482 ISSN: 1765-2766 Publisher Association française d'Etudes Américaines (AFEA) Electronic reference Mehdi Achouche, “Marianne Kac-Vergne, Masculinity in Contemporary Science Fiction Cinema. Cyborgs, Troopers and Other Men of the Future”, Transatlantica [Online], 2 | 2017, Online since 19 April 2019, connection on 20 May 2021. URL: http://journals.openedition.org/transatlantica/10482 ; DOI: https:// doi.org/10.4000/transatlantica.10482 This text was automatically generated on 20 May 2021. Transatlantica – Revue d'études américaines est mise à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Marianne Kac-Vergne, Masculinity in Contemporary Science Fiction Cinema. Cybo... 1 Marianne Kac-Vergne, Masculinity in Contemporary Science Fiction Cinema. Cyborgs, Troopers and Other Men of the Future Mehdi Achouche REFERENCES Marianne Kac-Vergne, Masculinity in Contemporary Science Fiction Cinema. Cyborgs, Troopers and Other Men of the Future, London, I.B. Tauris, 2018, 246 pages, ISBN 978-1-78076-748-2, 3 1 If, as J.P. Telotte has pointed out, science fiction cinema “has focused its attention on the problematic nature of human being and the difficult task of being human” (2), this “humanist” proclivity is in fact often, like da Vinci’s Vitruvian Man, about making white men the heart of the system. -
Recommended Films: a Preparation for a Level Film Studies
Preparation for A-Level Film Studies: First and foremost a knowledge of film is needed for this course, often in lessons, teachers will reference films other than the ones being studied. Ideally you should be watching films regularly, not just the big mainstream films, but also a range of films both old and new. We have put together a list of highly useful films to have watched. We recommend you begin watching some these, as and where you can. There are also a great many online lists of ‘greatest films of all time’, which are worth looking through. Citizen Kane: Orson Welles 1941 Arguably the greatest film ever made and often features at the top of film critic and film historian lists. Welles is also regarded as one the greatest filmmakers and in this film: he directed, wrote and starred. It pioneered numerous film making techniques and is oft parodied, it is one of the best. It’s a Wonderful Life: Frank Capra, 1946 One of my personal favourite films and one I watch every Christmas. It’s a Wonderful Life is another film which often appears high on lists of greatest films, it is a genuinely happy and uplifting film without being too sweet. James Stewart is one of the best actors of his generation and this is one of his strongest performances. Casablanca: Michael Curtiz, 1942 This is a masterclass in storytelling, staring Humphrey Bogart and Ingrid Bergman. It probably has some of the most memorable lines of dialogue for its time including, ‘here’s looking at you’ and ‘of all the gin joints in all the towns in all the world, she walks into mine’. -
Tagged Gold Hackrar
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Filmic Bodies As Terministic (Silver) Screens: Embodied Social Anxieties in Videodrome
FILMIC BODIES AS TERMINISTIC (SILVER) SCREENS: EMBODIED SOCIAL ANXIETIES IN VIDEODROME BY DANIEL STEVEN BAGWELL A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Communication May 2014 Winston-Salem, North Carolina Approved By: Ron Von Burg, Ph.D., Advisor Mary Dalton, Ph.D., Chair R. Jarrod Atchison, Ph.D. ACKNOWLEDGMENTS A number of people have contributed to my incredible time at Wake Forest, which I wouldn’t trade for the world. My non-Deac family and friends are too numerous to mention, but nonetheless have my love and thanks for their consistent support. I send a hearty shout-out, appreciative snap, and Roll Tide to every member of the Wake Debate team; working and laughing with you all has been the most fun of my academic career, and I’m a better person for it. My GTA cohort has been a blast to work with and made every class entertaining. I wouldn’t be at Wake without Dr. Louden, for which I’m eternally grateful. No student could survive without Patty and Kimberly, both of whom I suspect might have superpowers. I couldn’t have picked a better committee. RonVon has been an incredibly helpful and patient advisor, whose copious notes were more than welcome (and necessary); Mary Dalton has endured a fair share of my film rants and is the most fun professor that I’ve had the pleasure of knowing; Jarrod is brilliant and is one of the only people with a knowledge of super-violent films that rivals my own. -
Sydney Film Festival 6-17 June 2012 Program Launch
MEDIA RELEASE Wednesday 9 May, 2012 Sydney Film Festival 6-17 June 2012 Program Launch The 59th Sydney Film Festival program was officially launched today by The Hon Barry O’Farrell, MP, Premier of NSW. “It is with great pleasure that I welcome the new Sydney Film Festival Director, Nashen Moodley, to present the 2012 Sydney Film Festival program,” said NSW Premier Barry O’Farrell. “The Sydney Film Festival is a much-loved part of the arts calendar providing film-makers with a wonderful opportunity to showcase their work, as well as providing an injection into the State economy.” SFF Festival Director Nashen Moodley said, “I’m excited to present my first Sydney Film Festival program, opening with the world premiere of the uplifting Australian comedy Not Suitable for Children, a quintessentially Sydney film. The joy of a film festival is the breadth and diversity of program, and this year’s will span music documentaries, horror flicks and Bertolucci classics; and the Official Competition films made by exciting new talents and masters of the form, will continue to provoke, court controversy and broaden our understanding of the world.” “The NSW Government, through Destination NSW, is proud to support the Sydney Film Festival, one of Australia’s oldest films festivals and one of the most internationally recognised as well as a key event on the NSW Events Calendar,” said NSW Minister for Tourism, Major Events and the Arts, George Souris. “The NSW Government is committed to supporting creative industries, and the Sydney Film Festival firmly positions Sydney as Australia’s creative capital and global city for film.” This year SFF is proud to announce Blackfella Films as a new programming partner to jointly curate and present the best and newest Indigenous work from Australia and around the world. -
A Quantitative Study on In-App Purchases
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work 5-2014 Alternative Revenues: A Quantitative Study on In-App Purchases John X. Qiu University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Part of the E-Commerce Commons, and the Marketing Commons Recommended Citation Qiu, John X., "Alternative Revenues: A Quantitative Study on In-App Purchases" (2014). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/1774 This Dissertation/Thesis is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. University of Tennessee- Knoxville College of Business Administration University Honors Thesis – UNHO 498 Alternative Revenues: A Quantitative Study on In-App Purchases John Qiu Advisor: Dr. Kelly Hewett Spring 2014 1 Table of Contents: 1. Abstract & Acknowledgements ………………………………………………… 2 2. Introduction ………………………………………………… 3 In-App Purchases in Practice 3. Hypothesis Development ………………………………………………… 7 Experience Goods Network Effects Price Positioning 4. Data ………………………………………………… 11 Measures 5. Hypothesis Testing ………………………………………………… 14 Results 6. Discussion ………………………………………………… 17 Contributions Directions for Future Research 7. References Cited ………………………………………………… 22 2 Acknowledgements: The author wishes to sincerely thank Dr. Kelly Hewett as for serving as Advisor on this project. The time and expertise she contributed to the completion of this Honors Thesis project has been tremendously helpful, and author wishes to express his utmost appreciation. -
Blockbusters Als Event Movies: Over De Lancering Van the Lord of the Rings: the Return of the King
Daniel Biltereyst Blockbusters als event movies: over de lancering van The Lord of the Rings: The Return of the King Films als Titanic en The Lord of the Rings worden veelal gezien als mijlpalen in de geschiedenis van de hedendaagse blockbusterfilmcultuur. In de litera- tuur over New Hollywood en blockbusters worden dit soort films veelal aan- geduid als event movies. Aan de hand van de lancering van The Return of the King in België tracht deze bijdrage enkele cruciale dimensies in het eventkarakter van hedendaagse blockbusters te begrijpen. Inleiding Titanic (1997) van de Amerikaanse filmregisseur James Cameron wordt in de literatuur over de hedendaagse ‘filmed entertainment industry’ in vele opzichten beschouwd als een absolute mijlpaal. Titanic was niet alleen een grandioze spektakelfilm met ongeziene special effects en bijzondere produc- tiemiddelen. Camerons film brak ook alle records inzake productie-, distri- butie- en releasebudgetten en releasestrategieën. Titanic werd het school- voorbeeld van de manier waarop de Amerikaanse filmindustrie een wereldpubliek wil bereiken. De productiehuizen achter dit succesvolle megaspektakel (Paramount en 20th Century Fox) slaagden erin om de film te laten uitgroeien tot een wereldwijde hype en een publieke gebeurtenis (of event) van de eerste orde. De film staat symbool voor de manier waarop Hollywood op een geïntegreerde wijze invulling tracht te geven aan de defi- nitie van blockbusters als event movies (o.a. Elsaesser, 2001; Blanchet, 2003, pp. 255-256; Neale, 2003, p. 47; Stringer, 2003, p. 2). Binnen het onderzoek en de literatuur over hedendaagse populaire (film)cultuur groeit de interesse voor het fenomeen van de global block- busters (Stringer, 2003). -
Understanding Mobile Game Success: a Study of Features Related to Acquisition, Retention And
2 SBC Journal on Interactive Systems, volume 5, number 2, 2014 Understanding mobile game success: a study of features related to acquisition, retention and monetization Átila V. M. Moreira, Vicente V. Filho, Geber L. Ramalho Center of Informatics (CIn) Federal University of Pernambuco Recife-PE, Brazil {avmm, vvf, glr}@cin.ufpe.br Abstract— As mobile game distribution costs gets near zero, with game performance. The aspects of games that have been the number of available games on app stores, which is already considered for analysis and optimization include: enormous, continues to grow. It gets increasingly difficult for game developers to build a mobile game and achieve the top • Research projects that study the effect of narrative on positions on charts. With it in mind, this paper’s main purpose is games [1][2][3]. to investigate the relationship between game features and the performance achieved by mobile games in terms of number of • Studies that examine the relationship between level design downloads and gross revenue. A total of 37 game features were parameters of games and player experience [4][5][6]. analyzed in order to study how each of them influence mobile games’ performance on app stores. The performance of mobile • Research studies that investigate the development of game games is measured based on their current position in download rules in a dynamic and automatic way [7][8]. and revenue charts on Google Play store. A linear regression model that maps game features and charts performance is • Articles that investigate the aesthetic side of games and trained using a M5 prime classifier and data from 64 mobile their influence in players’ experience [9][10].