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Everybody Loves a Muscle Boi”: Homos, Heroes, and Foes in Post-9/11 Spoofs of the 300 Spartans
1 “Everybody Loves a Muscle Boi”: Homos, Heroes, and Foes in Post-9/11 Spoofs of the 300 Spartans Ralph J. Poole “It’s Greek to whom?” In 2007-2008, a significant accumulation of cinematic and other visual media took up a celebrated episode of Greek antiquity recounting in different genres and styles the rise of the Spartans against the Persians. Amongst them are the documentary The Last Stand of the 300 (2007, David Padrusch), the film 300 (2007, Zack Snyder), the video game 300: March to Glory (2007, Collision Studios), the short film United 300 (2007, Andy Signore), and the comedy Meet the Spartans (2008, Jason Friedberg/Aaron Seltzer). Why is the legend of the 300 Spartans so attractive for contemporary American cinema? A possible, if surprising account for the interest in this ancient theme stems from an economic perspective. Written at the dawn of the worldwide financial crisis, the fight of the 300 Spartans has served as point of reference for the serious loss of confidence in the banking system, but also in national politics in general. William Streeter of the ABA Banking Journal succinctly wonders about what robs bankers’ precious resting hours: What a fragile thing confidence is. Events of the past six months have seen it coalesce and evaporate several times. […] This is what keeps central bankers awake at night. But then that is their primary reason for being, because the workings of economies and, indeed, governments, hinge upon trust and confidence. […] With any group, whether it be 300 Spartans holding off a million Persians at Thermopylae or a group of central bankers trying to keep a global financial community from bolting, trust is a matter of individual decisions. -
The Participatory Networks of 9/11 Media Culture
The Politics of Ethical Witnessing: The Participatory Networks of 9/11 Media Culture A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Emanuelle Wessels IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Adviser: Ronald Walter Greene September 2010 © Emanuelle Wessels 2010 Acknowledgements First, I would like to thank my advisor, Ronald Walter Greene. Professor Greene consistently went above and beyond to guide me through this project, and his insight, patience, and encouragement throughout the process gave me the motivation and inspiration to see this dissertation to the end. Thank you for everything, Ron. Thank you to Professors Laurie Ouellette, Cesare Casarino, and Gilbert Rodman for conversing with me about the project and providing helpful and thoughtful suggestions for future revisions. I would also like to thank Professor Mary Vavrus for serving on my committee, and for assisting me with crucial practical and administrative matters. Professor Edward Schiappa, whose pragmatic assistance has also been much appreciated, has been invaluably supportive and helpful to me throughout my graduate career. I would also like to acknowledge the many professors who have inspired me throughout the years, including Karlyn Kohrs Campbell, Donald Browne, Thomas Pepper, Elizabeth Kotz, Greta Gaard, and Richa Nagar. Without the kindness and friendship of the many wonderful people I have had the pleasure of meeting in graduate school, none of this would have been possible either. A heartfelt thank you to my friends, including Julie Wilson, Joseph Tompkins, Alyssa Isaacs, Carolina and Eric Branson, Kate Ranachan, Matthew Bost, Kaitlyn Patia, Alice Leppert, Anthony Nadler, Helen and Justin Parmett, Thomas Johnson, and Rebecca Juriz. -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
Michael T. Ryan
MICHAEL T. RYAN Music Editor Credits Feature Screen Credits Year Film Director Composer 2014 Dolphin Tail 2 Charles Martin Smith Rachel Portman 2014 Superfast Aaron Seltzer & Timothy Wynn Jason Friedberg 2014 Patient Killer Casper Van Dien Chad Rehmann 2014 Lucky Stiff (music driven) Christopher Ashley Stephen Flaherty 2013 Skating To New York Charles Minsky Dave Grusin 2013 The Starving Games Aaron Seltzer & Timothy Wynn Jason Friedberg 2013 Assumed Killer Bernard Salzmann Chad Rehmann 2012 Atlas Shrugged: Part 2 John Putch Chris Bacon 2012 For Greater Glory Dean Wright James Horner 2012 High Ground Michael Brown Chris Bacon 2011 Beethoven’s Christmas Adventure * John Putch Chris Bacon 2011 Source Code Duncan Jones Chris Bacon 2010 Vampires Suck Aaron Seltzer & Christopher Lennertz Jason Friedberg 2010 The Twilight Saga Eclipse David Slade Howard Shore 2010 Love Ranch Taylor Hackford Chris Bacon 2009 Year One Harold Ramis Teddy Shapiro 2009 Bitch Slap Rick Jacobson John R. Graham 2008 Disaster Movie Aaron Seltzer & Christopher Lennertz Jason Friedberg 2008 Mirrors Alexandre Aja Javier Navarette 2008 Fools Gold Andy Tennant George Fenton 2007 What Happens In Vegas Tom Vaughan Christophe Beck 2007 Spiderman 3* Sam Raimi Chris Young 2007 Epic Movie Aaron Seltzer & Edward Shearmur Jason Friedberg 2007 Firehouse Dog Todd Holland Jeff Cardoni 2006 Click* Frank Coraci Rupert Gregson-Williams 2006 Date Movie Aaron Seltzer & David Kitay Jason Friedberg 2006 Even Money Mark Rydell Dave Grusin 2005 Fantastic Four Tim Story John Ottman 2004 Hitch Andy Tennant George Fenton 2004 Man of the House Stephen Herek David Newman 2004 Raise Your Voice* (music driven) Sean McNamera Aaron Zigman 2004 The Passion of the Christ Mel Gibson John Debney 2003 Eurotrip Jeff Schaffer, James Venable Alec Berg, Dave Mandel 2003 Grind Casey LaScala Ralph Sall 2002 The Fighting Temptations* (music driven) Jonathan Lynn Terry Lewis 2002 Sweet Home Alabama Andy Tennant George Fenton 2002 Clockstoppers Jonathan Frakes Jamshied Sharifi 5622 Irvine Ave. -
Disaster Study Guide
Sacramento Theatre Company Study Guide The Disaster! By Seth Rudetsky and Jack Plotnick Concept by Seth Rudetsky and Drew Geraci Additional Material by Drew Geraci Study Guide Materials Compiled by Anna Miles 1 Sacramento Theatre Company Mission Statement The Sacramento Theatre Company (STC) strives to be the leader in integrating professional theatre with theatre arts education. STC produces engaging professional theatre, provides exceptional theatre training, and uses theatre as a tool for educational engagement. Our History The theatre was originally formed as the Sacramento Civic Repertory Theatre in 1942, an ad hoc troupe formed to entertain locally-stationed troops during World War II. On October 18, 1949, the Sacramento Civic Repertory Theatre acquired a space of its own with the opening of the Eaglet Theatre, named in honor of the Eagle, a Gold Rush-era theatre built largely of canvas that had stood on the city’s riverfront in the 1850s. The Eaglet Theatre eventually became the Main Stage of the not-for-profit Sacramento Theatre Company, which evolved from a community theatre to professional theatre company in the 1980s. Now producing shows in three performance spaces, it is the oldest theatre company in Sacramento. After five decades of use, the Main Stage was renovated as part of the H Street Theatre Complex Project. Features now include an expanded and modernized lobby and a Cabaret Stage for special performances. The facility also added expanded dressing rooms, laundry capabilities, and other equipment allowing the transformation of these performance spaces, used nine months of the year by STC, into backstage and administration places for three months each summer to be used by California Musical Theatre for Music Circus. -
Exposure to On-Screen Tobacco in Movies Among Ontario Youth, 2004-2013
Exposure to On-Screen Tobacco in Movies Among Ontario Youth, 2004-2013 1434 Top-grossing Movies Released in the Domestic Market (Canada and US), 2004-2013, in Alphabetic Order by Year Movie Title (Alpha Order) OFRB MPAA Tobacco Ontario, OFRB Detail OFRB Detail OFRB Rating Rating Incidents In-Theatre Observation Observation Content Bold = tobacco incidents at at Bracket Tobacco "Tobacco "Illustrated" Advisory Shaded = lower rating in Ontario Releasea Releasea (TUTD)b Impressionsc Use" d "Tobacco Use" 2004 13 Going on 30 PG PG-13 1-9 1,722,000 50 First Dates PG PG-13 0 0 After the Sunset PG PG-13 10-29 2,959,000 Against the Ropes 14A PG-13 30-49 1,229,000 Agent Cody Banks 2: Destination London G PG 10-29 1,569,000 Alamo, The PG PG-13 10-29 3,029,000 Alexander 14A R 0 0 Alfie 14A R 50+ 14,074,000 Alien vs. Predator PG PG-13 0 0 Along Came Polly PG PG-13 0 0 Anacondas: The Hunt for the Blood Orchid PG PG-13 1-9 387,000 Anchorman PG PG-13 50+ 53,243,000 Around the World in 80 Days PG PG 10-29 2,212,000 Aviator, The 14A PG-13 50+ 65,960,000 Barbershop 2: Back in Business PG PG-13 30-49 12,771,000 Big Fish PG PG-13 1-9 1,628,000 Blade: Trinity 18A R 10-29 7,726,000 Bourne Supremacy, The PG PG-13 1-9 5,408,000 Breakin' All the Rules PG PG-13 10-29 1,235,000 Bridget Jones: The Edge of Reason 14A R 50+ 21,736,000 Butterfly Effect, The 14A R 50+ 24,794,000 Calendar Girls PG PG-13 1-9 1,715,000 Catch that Kid G PG 0 0 Ontario Tobacco Research Unit 1 Exposure to On-Screen Tobacco in Movies Among Ontario Youth, 2004-2013 Movie Title (Alpha Order) OFRB -
How the Three Little Pigs Came to Star in Independence Day
HOW THE THREE LITTLE PIGS CAME TO STAR IN INDEPENDENCE DAY The Relationship Between the European Fairy Tale and the American Disaster Movie by Roz Williams Ph.D. Thesis December 2015 How The Three Little Pigs Came to Star in Independence Day/Ph.D.Thesis !"#$%!&$! HOW THE THREE LITTLE PIGS CAME TO STAR IN INDEPENDENCE DAY by Roz Williams This thesis sets out to determine the relationship between European fairy tales and the American disaster movie genre. It examines how these fairy tales may have impacted on a fledgling film industry through its European creators. It does this by drawing on examples of mythology, folklore and fairy tale, anthropology, archaeology, psychology, political and social history, geopolitics and sociology. It also investigates film genre, story structure and the history of Hollywood and its creators; and is told in a personal narrative style with supporting anecdotal contributions to illustrate the effect of the disaster movie on the individual. The thesis exposes how the motifs of myth and fairy tale are prevalent in this genre of film, using case studies and analysing them against social anthropological paradigms to argue that European fairy tales have influenced American disaster movies. It demonstrates how geopolitical and sociological events have shaped the stories told in these films throughout the decades since the genre's inception at the birth of film, and the author posits that disaster movies will continue to be relevant not only to audiences and storytellers, but also to disaster relief agencies. In conclusion, the thesis argues that disaster movies are the fairy tales of our modern times and that they serve a purpose in telling the stories that explore our concerns and allay our fears. -
The Functions of Apocalyptic Cinema in American Film
Journal of Religion & Film Volume 21 Article 36 Issue 1 April 2017 4-1-2017 Global Catastrophe in Motion Pictures as Meaning and Message: The uncF tions of Apocalyptic Cinema in American Film Wynn Gerald Hamonic Thompson Rivers University, [email protected] Recommended Citation Hamonic, Wynn Gerald (2017) "Global Catastrophe in Motion Pictures as Meaning and Message: The unctF ions of Apocalyptic Cinema in American Film," Journal of Religion & Film: Vol. 21 : Iss. 1 , Article 36. Available at: https://digitalcommons.unomaha.edu/jrf/vol21/iss1/36 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Global Catastrophe in Motion Pictures as Meaning and Message: The Functions of Apocalyptic Cinema in American Film Abstract The ts eady rise in production of American apocalyptic films and the genre's enduring popularity over the last seven decades can be explained by the functions the film genre serves. Through an analysis of a broad range of apocalyptic films along with the application of several theoretical and critical approaches to the study of film, the author describes seven functions commonly found in American apocalyptic cinema expressed both in terms of its meaning (the underlying purpose of the film) and its message (the ideas the filmmakers want to convey to the audience). Apocalyptic cinema helps the viewer make sense of the world, offers audiences strategies for managing crises, documents our hopes, fears, discourses, ideologies and socio-political conflicts, critiques the existing social order, warns people to change their ways in order to avert an imminent apocalypse, refutes or ridicules apocalyptic hysteria, and seeks to bring people to a religious renewal, spiritual awakening and salvation message. -
The Contemporary American Horror Film Remake, 2003-2013
RE-ANIMATED: THE CONTEMPORARY AMERICAN HORROR FILM REMAKE, 2003-2013 Thesis submitted by Laura Mee In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2014 Abstract This doctoral thesis is a study of American horror remakes produced in the years 2003-2013, and it represents a significant academic intervention into an understanding of the horror remaking trend. It addresses the remaking process as one of adaptation, examines the remakes as texts in their own right, and situates them within key cultural, industry and reception contexts. It also shows how remakes have contributed to the horror genre’s evolution over the last decade, despite their frequent denigration by critics and scholars. Chapter One introduces the topic, and sets out the context, scope and approach of the work. Chapter Two reviews the key literature which informs this study, considering studies in adaptation, remaking, horror remakes specifically, and the genre more broadly. Chapter Three explores broad theoretical questions surrounding the remake’s position in a wider culture of cinematic recycling and repetition, and issues of fidelity and taxonomy. Chapter Four examines the ‘reboots’ of one key production company, exploring how changes are made across versions even as promotion relies on nostalgic connections with the originals. Chapter Five discusses a diverse range of slasher film remakes to show how they represent variety and contribute to genre development. Chapter Six considers socio-political themes in 1970s horror films and their contemporary post-9/11 remakes, and Chapter Seven focuses on gender representation and recent genre trends in the rape-revenge remake. -
Cloverfield the Game
Master Film and Photographic Studies University of Leiden Master thesis Esthella Hoebe s1799762 CLOVERFIELD THE GAME Film theory is focussed on (dis-)identification however new media and (video) games changed film by introducing new aesthetics and conventions, which means new analytical methods of media are also needed. Supervisor dr. Peter Verstraten & second reader dr. Yasco Horsman 17-8-2017 TABLE OF CONTENTS INTRODUCTION 3 PART ONE 4 Chapter 1 4 Early narration 4 The narrative agent and the viewer 5 Focalisation 6 Chapter 2 7 Identification 7 Estrangement of art cinema 9 Filmic excess 11 The melodrama 11 Chapter 3 13 The mind-game film 13 Approaches 14 Immersion 16 The text as game 17 About film 17 PART TWO 19 Chapter 4 19 New media 19 Video games 20 Ludology 22 Chapter 5 23 Game theory 23 The games played by von Trier 24 The Wire 26 Game analysis 26 CASE STUDY 28 Chapter 6 28 Cloverfield 28 Film genre 29 The plot 30 9/11 31 Chapter 7 33 Identification 33 Realism 34 Tension 35 1 Chapter 8 36 Viral campaign 36 Direct address 38 Technical fragility 40 Cloverfield as a video game 41 Conclusion 43 Bibliography 44 2 Introduction Cinema is seen as the perfect medium to tell a story and video games enable the player to be completely immersed. This type of immersion is not the same as the one we know from the traditional novel or classic cinema therefore a re-appreciation of immersion was needed. (Dis-)Identification is still predominantly linked with narratology and interactivity is strongly linked to ludology (game studies). -
A-Z Movies August
AUGUST 2021 A-Z MOVIES 1% Mickey Mantle compete against each Of SHARKBOY Sci-Fi/Fantasy (M lv) Based on a true story. An American John Cleese, Amy Irving. MOVIES PREMIERE 2017 other to break Babe Ruth’s single- AND LAVAGIRL August 7, 16 student spending a semester abroad Lured out to the Old West, Fievel the Drama (MA 15+ alsv) season home run record. MOVIES KIDS 2005 Family Sigourney Weaver, Charles S Dutton. in Perugia, Italy, garners international mouse joins forces with a famed dog After being put into an extended sleep attention after she is put on trial sheriff to thwart a sinister plot. August 22 August 6, 15, 25 Matt Nable, Ryan Corr. 100% WOLF Taylor Lautner, Taylor Dooley. state after her last fight with the aliens, for her part in the murder of British The heir to the throne of a notorious MOVIES FAMILY 2020 Family (PG) A boy’s imaginary superhero friends Ellen Ripley crash-lands onto a planet housemate, Meredith Kercher. AN AMISH MURDER outlaw motorcycle club must betray August 9, 18, 31 come to life and join him on a series which is inhabited by the former LIFETIME MOVIES 2013 his president to save his brother’s life. Jai Courtney, Samara Weaving. of adventures. inmates of a maximum-security prison. AMERIcaN DREAMZ Thriller/Suspense (M av) The heir to a family of werewolves MOVIES COMEDY 2006 Comedy (M ls) August 5, 10, 14, 20, 24, 29 12 STRONG experiences his first transformation ALIEN: RESURRECTION August 13, 19 Neve Campbell, Noam Jenkins. MOVIES ACTION 2018 on his 13th birthday, morphing into THE ADVENTURES OF TOM MOVIES GREATS 1997 Hugh Grant, Dennis Quaid. -
Recent Comedy Movie Releases
Recent Comedy Movie Releases Deductible and dyslectic Hogan often haes some jackboots perniciously or corrugates frivolously. Headed Clarke hurries baldly or grades genotypically when Blaine is vermiculated. Untethering Nikki sometimes tally-ho his Algernon northerly and sizzled so discursively! Now streaming a comedy movie with a dreaded gangster Follow us real fun time comedy movies of comedies that corporate ladder is about hitler and master their alpha bosses together while a huge success. Graham Chapman stars as Arthur, tasked with locating the Holy Grail, a quest that sends him and his idiot knights on one absurd and unforgettable mission after another, to accomplish tasks like buying shrubberies, ruining arranged weddings and not having sex. So funny scenes, murphy and north central asian countries in their fandoms very small film itself, who is a clever spin on? Of course, they get sucked right back in. We manage well sex in Camelot, We can ham and jam and spam a lot. Good luck finding any! When Pintoo tries to leave the country with his money, all hell breaks loose, leading to hilarious circumstances. What did you think of the movie? The film opened at during several first subject of release that went downhill from there Paramount Pictures 9 The Flintstones in Viva Rock Vegas 2000. Affiliate Partnerships with retailers. There are not lot of is, dumb jokes out there. The Proposal again and again. The Best Comedy Movies of 2019 Film School Rejects. Funniest new Comedy movies in 2021 & 2020 Netflix Prime. Marie, a former actress who has struggled with drug addiction.