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Robert De Niro's Raging Bull
003.TAIT_20.1_TAIT 11-05-12 9:17 AM Page 20 R. COLIN TAIT ROBERT DE NIRO’S RAGING BULL: THE HISTORY OF A PERFORMANCE AND A PERFORMANCE OF HISTORY Résumé: Cet article fait une utilisation des archives de Robert De Niro, récemment acquises par le Harry Ransom Center, pour fournir une analyse théorique et histo- rique de la contribution singulière de l’acteur au film Raging Bull (Martin Scorcese, 1980). En utilisant les notes considérables de De Niro, cet article désire montrer que le travail de cheminement du comédien s’est étendu de la pré à la postproduction, ce qui est particulièrement bien démontré par la contribution significative mais non mentionnée au générique, de l’acteur au scénario. La performance de De Niro brouille les frontières des classes de l’auteur, de la « star » et du travail de collabo- ration et permet de faire un portrait plus nuancé du travail de réalisation d’un film. Cet article dresse le catalogue du processus, durant près de six ans, entrepris par le comédien pour jouer le rôle du boxeur Jacke LaMotta : De la phase d’écriture du scénario à sa victoire aux Oscars, en passant par l’entrainement d’un an à la boxe et par la prise de soixante livres. Enfin, en se fondant sur des données concrètes qui sont restées jusqu’à maintenant inaccessibles, en raison de la modestie et du désir du comédien de conserver sa vie privée, cet article apporte une nouvelle perspective pour considérer la contribution importante de De Niro à l’histoire américaine du jeu d’acteur. -
Judges As Film Critics: New Approaches to Filmic Evidence
University of Michigan Journal of Law Reform Volume 37 2004 Judges As Film Critics: New Approaches To Filmic Evidence Jessica M. Silbey Foley Hoag L.L.P. Follow this and additional works at: https://repository.law.umich.edu/mjlr Part of the Evidence Commons, Law and Society Commons, and the Litigation Commons Recommended Citation Jessica M. Silbey, Judges As Film Critics: New Approaches To Filmic Evidence, 37 U. MICH. J. L. REFORM 493 (2004). Available at: https://repository.law.umich.edu/mjlr/vol37/iss2/5 This Article is brought to you for free and open access by the University of Michigan Journal of Law Reform at University of Michigan Law School Scholarship Repository. It has been accepted for inclusion in University of Michigan Journal of Law Reform by an authorized editor of University of Michigan Law School Scholarship Repository. For more information, please contact [email protected]. JUDGES AS FILM CRITICS: NEW APPROACHES TO FILMIC EVIDENCE Jessica M. Silbey* This Article exposes internalcontradictions in case law concerning the use and ad- missibility of film as evidence. Based on a review of more than ninety state and federal cases datingfrom 1923 to the present, the Article explains how the source of these contradictionsis the frequent miscategorizationoffilm as "demonstrativeevi- dence, "evidence that purports to illustrate other evidence, ratherthan to be directly probative of some fact at issue. The Articlefurtherdemonstrates how these contradic- tions are based on two venerablejurisprudential anxieties. One is the concern about the growing trend toward replacing the traditionaltestimony of live witnesses in court with communications via video and film technology. -
Civil Trials: a Film Illusion?
Fordham Law Review Volume 85 Issue 5 Article 3 2017 Civil Trials: A Film Illusion? Taunya L. Banks University of Maryland Francis King Carey School of Law Follow this and additional works at: https://ir.lawnet.fordham.edu/flr Part of the Civil Law Commons, and the Law and Society Commons Recommended Citation Taunya L. Banks, Civil Trials: A Film Illusion?, 85 Fordham L. Rev. 1969 (2017). Available at: https://ir.lawnet.fordham.edu/flr/vol85/iss5/3 This Colloquium is brought to you for free and open access by FLASH: The Fordham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Law Review by an authorized editor of FLASH: The Fordham Law Archive of Scholarship and History. For more information, please contact [email protected]. CIVIL TRIALS: A FILM ILLUSION? Taunya Lovell Banks* INTRODUCTION The right to trial in civil cases is enshrined in the U.S. Constitution1 and most state constitutions.2 The lack of a provision for civil jury trials in the original draft of the Constitution “almost derailed the entire project.”3 According to the French social scientist Alexis de Tocqueville, the American jury system is so deeply engrained in American culture “that it turns up in and structures even the sheerest forms of play.”4 De Tocqueville’s observation, made in the early nineteenth century, is still true today. Most people, laypersons and legal professionals alike, consider trials an essential component of American democracy. In fact, “the adversarial structure is one of the most salient cultural features of the American legal system. -
The Ethics of Preemptive Action
Danger: The Ethics of Preemptive Action Larry Alexander* & Kimberly Kessler Ferzan"* The law has developed principlesfor dealing with morally and legally responsible actors who act in ways that endanger others, the principles governing crime and punishment. And it has developed principles for dealing with the morally and legally nonresponsible but dangerous actors, the principles governing civil commitments. It has failed, however, to develop a cogent andjustifiable set ofprinciples for dealing with responsible actors who have not yet acted in ways that endanger, others but who are likely to do so in the future, those whom we label "responsible but dangerous" actors (RBDs). Indeed, as we argue, the criminal law has sought to punish RBDs through its expansive use of inchoate criminality; however, current criminalization and punishment practicespunish those who have yet to perform a culpable act. In this article, we attempt to establish defensible grounds for preventive restrictions of liberty (PRLs) of RBDs in lieu of contorting the criminal law. Specifically, we argue that just as a culpable aggressor becomes liable to defensive force, an RBD can become liable to PRLs more generally. Although there are many examples ofPRLs of RBDs currently in operation, the principles, if any, thatjustify and limit such PRLs have yet to be satisfactorilyestablished. In the movie Cape Fear, Sam Bowden, a lawyer in New Essex, North Carolina, is menaced by a recently released convict, Max Cady, whom Bowden had, in Cady's view, inadequately defended against a charge of a violent sexual crime.' In the first movie version, Bowden was played by Gregory Peck and Cady by Robert Mitchum; in the remake, Bowden was played by Nick Nolte and Cady by Robert DeNiro-with Gregory Peck and Robert Mitchum now making cameo appearances respectively as a lawyer and police officer. -
Courtroom Drama with Chinese Characteristics: a Comparative Approach to Legal Process in Chinese Cinema
Courtroom Drama With Chinese Characteristics: A Comparative Approach to Legal Process in Chinese Cinema Stephen McIntyre* While previous “law and film” scholarship has concentrated mainly on Hollywood films, this article examines legal themes in Chinese cinema. It argues that Chinese films do not simply mimic Western conventions when portraying the courtroom, but draw upon a centuries-old, indigenous tradition of “court case” (gong’an) melodrama. Like Hollywood cinema, gong’an drama seizes upon the dramatic and narrative potential of legal trials. Yet, while Hollywood trial films turn viewers into jurors, pushing them back and forth between the competing stories that emerge from the adversarial process, gong’an drama eschews any recognition of opposing narratives, instead centering on the punishment of decidedly guilty criminals. The moral clarity and punitive sense of justice that characterize gong’an drama are manifest in China’s modern-day legal system and in Chinese cinema. An analysis of Tokyo Trial, a 2006 Chinese film about the post-World War II war crimes trial in Japan, demonstrates the lasting influence of gong’an drama. Although Tokyo Trial resembles Hollywood courtroom drama in many respects, it remains faithful to the gong’an model. This highlights the robustness of China’s native gong’an tradition and the attitudes underlying it. * J.D., Duke University School of Law; M.A., East Asian Studies, Duke University; B.A., Chinese, Brigham Young University. I thank Professor Guo Juin Hong for his valuable comments and encouragement. I also thank those who attended and participated in the 2011 Kentucky Foreign Language Conference at the University of Kentucky, at which I presented an earlier version of this article. -
Proquest Dissertations
JUSTICE AT 24 FRAMES PER SECOND: LAW AND SPECTACLE IN THE REVENGE FILM By Robert John Tougas B.A. (Hons.), LL.B., B.A. A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Masters of Arts in Film Studies Carleton University OTTAWA, Ontario (May 15,2008) 2008, Robert John Tougas Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-43498-7 Our file Notre reference ISBN: 978-0-494-43498-7 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. -
Civil Trials: a Film Illusion?
Fordham Law Review Volume 85 Issue 5 Article 26 2017 Civil Trials: A Film Illusion? Taunya L. Banks University of Maryland Francis King Carey School of Law Follow this and additional works at: https://ir.lawnet.fordham.edu/flr Part of the Civil Law Commons, and the Law and Society Commons Recommended Citation Taunya L. Banks, Civil Trials: A Film Illusion?, 85 Fordham L. Rev. 1969 (2017). Available at: https://ir.lawnet.fordham.edu/flr/vol85/iss5/26 This Colloquium is brought to you for free and open access by FLASH: The Fordham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Law Review by an authorized editor of FLASH: The Fordham Law Archive of Scholarship and History. For more information, please contact [email protected]. CIVIL TRIALS: A FILM ILLUSION? Taunya Lovell Banks* INTRODUCTION The right to trial in civil cases is enshrined in the U.S. Constitution1 and most state constitutions.2 The lack of a provision for civil jury trials in the original draft of the Constitution “almost derailed the entire project.”3 According to the French social scientist Alexis de Tocqueville, the American jury system is so deeply engrained in American culture “that it turns up in and structures even the sheerest forms of play.”4 De Tocqueville’s observation, made in the early nineteenth century, is still true today. Most people, laypersons and legal professionals alike, consider trials an essential component of American democracy. In fact, “the adversarial structure is one of the most salient cultural features of the American legal system. -
2012 Kill the Rapist Movie Free Download in Hindi Mp4 Free
2012 Kill The Rapist Movie Free Download In Hindi Mp4 Free 2012 Kill The Rapist Movie Free Download In Hindi Mp4 Free 1 / 4 2 / 4 It's no longer a man's world " -tagline for Ms. 45 Rape and revenge films . Start your free trial; Film Schools Program Gift MUBI Ways to Watch; Help . Rape/revenge movies generally follow the same three act structure: Act I: A . In some cases, the woman is killed at the end of the first act, and the . 7 December 2012.. 5 Sep 2018 . India changed its rape laws after the 2012 Delhi gang rape in which a female . Australian man guilty of child sex offences in India set free.. 26 May 2014 - 143 min - Uploaded by NewIndiaDigitalHaunted Hindi movies 2016 Full Movie HD Hindi Movies Haunted -- 3D is part of 2011 .. 12 Sep 2016 . A Muslim woman who was gang raped in India has said her attackers asked her whether she ate beef in what some suspect was another crime.. Movie Title/Year and Film/Scene Description . American Reunion (2012) . However, Jules was almost immediately killed and decapitated by zombies. She was rape-attacked (mostly off-screen) by an invisible demonic figure. existential angst and frequent free sex, was highlighted in this randomly-episodic film.. 10 Apr 2018 . Kill The Rapist (2013) Hindi Full Movie Watch Online . Watch Download. Kill The . Mp4 Hd Befikre Download Free Mp4 Hd . Kill The Rapist . Download Kill Bill: Vol. Hate Story (2012) Hindi Full Movie. Watch Hate story 4.. 1 Jun 2018 . Find Where Full Movies Is . -
Contemporary TV Legal Drama As (Post-)Postmodern Publ Ic Sphere
Keua KeNzrpn Of Lega I Rou lette a nd Eccentric Cl ients: Contemporary TV Legal Drama as (Post-)Postmodern Publ ic Sphere Abstract: This afticle explores the specific capacity of TV courtroom drama to dramalize civic issues and to seduce viewers to an active engagement with such issues. I argue that television series of this genre exploit the apparent theatricality of their subject matter-trials-to invite their audiences to the deliberation of social or political issues, issues that they negotiate in their courtroom plots. Contemporary coufiroom dramas amend this issue orientation with a self-reflexive dimension in which they encourage viewers to also reflect on how the dramatic construction of issues' shapes their civic debate. I unfold this argument through a reading of episodes from two very different legal dramas, Boston Legal (2004-2008) and The Good Wife (2009-). lntroduction On TV.com's discussion board for the legal drama series ,Bosfon Legal, one of the longest and most intense discussions concems the ideas reflected in the recunent lawsuits against the US goverarment that the series imagines, a discussion that ultimately revolves around questions of US politics and national identity ("Alan vs. the U.S.");t legal scholars, in a special issue of The Yale Law Journal, applaud the way in which popular legal dramas engage with ethical questions;2 among the past winners of the Humanitas Prize, an award dedicated to honoring TV programs that raise 'humanitarian awareness,'3 are a notable number of legal drama series, incfudtng The Of course, the discussion of characters and story lines tlpical of such fan forums takes up most space, but the thread "A1an vs. -
Shots in the Mirror. Crime Films and Society
SHOTST IN THE MIRROR This page intentionally left blank SHOTS IN THE MIRROR Crime Films and Society Nicole Rafter OXFORD UNIVERSITY PRESS 2000 OXFORD UNIVERSITY PRESS Oxford New York Athens Auckland Bangkok Bogota Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris Sao Paulo Singapore Taipei Tokyo Toronto Warsaw and associated companies in Berlin Ibadan Copyright © 2000 by Nicole Rafter Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Rafter, Nicole Hahn, 1939- Crime films and society/ Nicole Rafter, p. cm. Filmography: p. Includes bibliographical reference and index. ISBN 0-19-512982-2; 0-19-512983-0 (pbk.) 1. Gangster films—History and criticism. 2. Police films-—History and criticism. 3. Prison films—History and criticism. 4, justice, Administration of, in motion pictures. 5. Motion pictures—Social aspects—United States. I. Title. PN1995.9. G3R34 2000 791.43'655— dc21 9933411 987654321 Printed in the United States of America on acid-free paper FOR CHARLES ALEXANDER HAHN This page intentionally left blank Preface Some will say I wrote this book so I could spend a couple of years watching movies. While there may be some truth to that, I prefer to think that the book grew out of my misgivings about the way my col- leagues and I were teaching criminology courses. -
Bernard Herrmann's Score for Cape Fear
Bernard Herrmann’s Score for Cape Fear and its Continued Relevance for Young Film Composers A Master’s Thesis in Scoring for Film, Television and Video Games Aaron Ramsey Berklee College of Music Class of 2014 2 Thesis Goal Bernard Herrmann was an innovator in writing music to picture as an emotional narrative. He employed many techniques, in common usage today, that were not being used by the film composers of his day. His music was ahead of its time and is still relevant to the art and evolution of film music. My goal is to show what today’s young film composer can learn from this master composer’s approach to the score of Cape Fear. About the Film Cape Fear was released on April 12, 1962 and directed by J. Lee Thompson. This film is based on a novel called The Executioners written by John D. MacDonald. The story is about an attorney named Sam Bowden (Gregory Peck) whose family is stalked and terrorized by a criminal named Max Cady (Robert Mitchum) who was just released from jail. Cady holds Bowden personally responsible for his conviction of eight years after witnessing Cady in a crime of violence and testifying against him in court. 3 Bernard Herrmann’s Film Scoring Innovations A staple of Herrmann’s style of composition was his use of unorthodox ensembles. “He frequently used unusual instruments or unique combinations of instruments, sometimes adding to or eliminating whole orchestra sections, and was among the first film composers to 1 utilize electronic instruments”. Herrmann used a very unconventional ensemble to perform this score of Cape Fear. -
Bad Lawyers in the Movies
Nova Law Review Volume 24, Issue 2 2000 Article 3 Bad Lawyers in the Movies Michael Asimow∗ ∗ Copyright c 2000 by the authors. Nova Law Review is produced by The Berkeley Electronic Press (bepress). https://nsuworks.nova.edu/nlr Asimow: Bad Lawyers in the Movies Bad Lawyers In The Movies Michael Asimow* TABLE OF CONTENTS I. INTRODUCTION .............................................................................. 533 I. THE POPULAR PERCEPTION OF LAWYERS ..................................... 536 El. DOES POPULAR LEGAL CULTURE FOLLOW OR LEAD PUBLIC OPINION ABOUT LAWYERS? ......................................................... 549 A. PopularCulture as a Followerof Public Opinion ................ 549 B. PopularCulture as a Leader of Public Opinion-The Relevant Interpretive Community .......................................... 550 C. The CultivationEffect ............................................................ 553 D. Lawyer Portrayalson Television as Compared to Movies ....556 IV. PORTRAYALS OF LAWYERS IN THE MOVIES .................................. 561 A. Methodological Issues ........................................................... 562 B. Movie lawyers: 1929-1969................................................... 569 C. Movie lawyers: the 1970s ..................................................... 576 D. Movie lawyers: 1980s and 1990s.......................................... 576 1. Lawyers as Bad People ..................................................... 578 2. Lawyers as Bad Professionals ..........................................