DOCSLIB.ORG

Munchausen Syndrome by Proxy in the Cinema

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Munchausen Syndrome by Proxy in the Cinema María Lucila Merino Marcos J Med Mov 2 (2006): 10-20 JMM Munchausen Syndrome by Proxy in the cinema. From The Sixth Sense (1999) to A Child's Cry for Help (1994) María Lucila Merino Marcos Departamento de Pediatría del Hospital Universitario de Salamanca (Spain) Correspondence: María Lucila Merino Marcos. Hospital Universitario. Paseo de S. Vicente s/n. 37007. Salamanca (Spain). e-mail: [email protected] Received 6 November 2005; accepted 10 December 2005 Summary One form of child abuse that has been included in the script of several films is the Munchausen syndrome by proxy. The plot of A Child's Cry for Help (1994) portrays a clinical case of this syndrome, while in Chakushin ari/ One Missed Call (2003) it underlies the whole plot, and in The Sixth Sense (1999) it is part of the subplot. Keywords: Munchausen's Syndrome by Proxy (MBP), Child Abuse, Child Maltreatment, Paediatric Condition Falsification (PCF), Personality Disorders.. Many rare illnesses form the core or are part resemblance to Munchausen's Syndrome, which of the screenplay of some films1. One of them is involves people (generally adults) who feign or pro- Munchausen's Syndrome by proxy, a form of child duce symptoms in order to gain admission to hospital. abuse. The impact of this syndrome in the cinema is This syndrome was described in 1955 by Richard scarce. Among the films addressing it in some way are Asher, who named it after Baron Von Munchausen, The Sixth Sense (1999) by M. Night Shyamalan, One the great narrator of invented stories4. Both of them Missed Call/ Chakushin ari (2003) by Takashi Miike and are included within the sphere of factitious disorders2, A Child's Cry for Help (1994) by Sandor Stern. Mama/ characterised by the patient or someone close wanting M.A.M.A. (2003) by Nonny de la Peña and A Boy's to give the impression that there is an illness. Life (2003) by Rory Kennedy and Nick Doob are two Munchausen's syndrome by proxy has attracted huge documentaries whose interest also focuses on this professional interest; in 2004 alone twenty-one articles syndrome. appeared in PubMed. Munchausen's Syndrome by Proxy Munchausen's syndrome by proxy involves two players: the child that suffers the abuse and the This is a serious form of child abuse with person who inflicts it. The American Professional high rates of recidivism and a high mortality. Those Society on Abuse of Children has proposed that they involved are people who take care of the abused child, should be diagnosed respectively as a "paediatric con- usually the mother. The perpetrator gives the impres- dition falsification" and a "factitious disorder by sion that the child is ill, pretending that he or she has proxy"1, 2. symptoms, or even provoking them, so that the child must be sent to hospital and undergo diagnostic pro- In most cases the perpetrator is the abused cedures and invasive therapeutic techniques. It child's mother. She (or he) nearly always alone or involves both the abused and the abuser, who is char- cohabits with a partner who is not really relevant in acterised by not gaining any benefit, unless psycholog- the relationship and hence contact with doctors can ical, from the abuse meted out1, 2. replace this absence of affection. Many such perpe- trators have some degree of medical knowledge: they It was described by the British paediatrician may be nurses, clinical assistants or child carers. This Roy Medow in 19773, who gave this name for its circumstance facilitates not only the actual carrying 10 © Ediciones Universidad de Salamanca María Lucila Merino Marcos J Med Mov 2 (2006): 10-20 through the abuse, because they know how it should best of cases, a diagnosis of abuse is given. On aver- be done, but -worse- it allows them to continue their age, the duration of the abuse surpasses one year. tragic actions in hospital, because they gain the confi- Many of these children suffer physical alterations and dence of the staff, who then allow them to take care nearly all are subjected to psychological abuse, with of the child. The apparent dedication they show sequellae many years later1, 6. Among the damage towards their children leads them to gain the medical elicited is that derived from the health personnel's staff's recognition and that of their family, although actions, induced by the symptoms provoked by the when they are not being watched, of course, they can perpetrator1. continue with their dark deeds. Very often they give a thoroughly detailed and complete case history of their The suspicion of abuse obliges a thorough children. Thus, they are undoubtedly psychologically analysis of the child's case history and those of the or psychiatrically disturbed. Indeed, they often have child's siblings, searching for suggestive information. personality disorders: factitious, somatoform, narcis- Special precautions must be taken with the child's sistic, histrionic and/or borderline. Many of them suf- safety and well-being and also as regards the possibil- fer from Munchausen's syndrome or have been vic- ity of future legal demands. Diagnosis is confirmed by tims of Munchausen's syndrome by proxy in their forensic and toxicological analyses, video surveillance childhood. It is hard to know why they carry out this (depending on the legislation of each country) and type of voluntary, deliberate abuse. One reason that with a "separation test" between the two people might induce them to do it is the need to use the child involved, at which moment the symptoms should pre- as a way to draw the attention of doctors and other sumably disappear. For the diagnosis and handling of health staff. Thus, they assume the role of a patient the syndrome, it is essential to have multidisciplinary through another person. Contrary to other types of teams involving doctors, social workers and lawyers1. abuse, in this syndrome the person responsible for the During treatment it is crucial to separate the child abuse does not gain any profit or benefit for him or from the abuser and ensure future psychiatric treat- herself unless it be psychological1, 2, 5. ment of the perpetrator. It should be borne in mind that the latter, once discovered, may commit suicide6; Most children that suffer abuse are less than evidently, the necessary measures must be taken to five years old, and most of them are infants1, 2, prevent this. although even teenagers may be subjected to it5.In most cases, the abuse is directed at two siblings. THE SIXTH SENSE The symptoms aimed at calling the medical Technical details staff's attention can be feigned, deriving from tamper- Title: The Sixth Sense ing with analysis samples (e.g., by adding blood) or, Country: USA more often, they are induced. Examples of the latter Year: 1999 often involve to obstruction of the respiratory tract or Director: M. Night Shyamalan the administration of exogenous substances. These Music: James Newton Howard usually involve drugs (emetics, laxatives, psychoactive Screenwriter: M. Night Shyamalan drugs, hypoglycaemic agents, etc.), but there may also Cast: Bruce Willis, Haley Joel Osment, Toni be other elements, such as cleaning products and flu- Collette, Olivia Williams, Mischa Barton, ids containing microorganisms. Apart from suffoca- Donnie Wahlberg, Peter Tambakis, Jeffrey tion, direct physical abuse has also been used, involv- Zubernis, Bruce Norris, Glenn Fitzgerald, Greg ing lacerations, changes to the diet, etc. The induction Wood, Trevor Morgan and Angelica Torn. of infection is also frequent5, 6. The abused child Color: Color shows atypical symptoms that do not match known ill- Runtime: 107 minutes nesses and the process is either not controlled or Genre: Drama, Thriller when it seems to be controlled unexpected relapses Production Companies: Hollywood Pic- appear2. The clinical manifestations vary; the most fre- tures, Spyglass Entertainment and The quent ones are apnoea, depression of the CNS, con- Kennedy/Marshall Company. vulsions, vomiting, diarrhoea, fever, exanthema, clini- Synopsis: A child psychiatrist takes as a cal allergies and psychiatric symptoms1. The children patient a child who is suffering from the same illness as a patient whom he previously failed may be admitted to hospital several times and be shut- to cure and who committed suicide after tled from hospital to hospital until in the end, in the shooting him. 11 © Ediciones Universidad de Salamanca María Lucila Merino Marcos J Med Mov 2 (2006): 10-20 The Sixth Sense is a film of drama and intrigue where in a subplot, limited to a single sequence, Munchausen's syndrome by Proxy appears. From the cinematographic point of view, this is a good film that succeeds in what it attempts to portray and has "twists" for the spectator. Bruce Willis' acting is excel- lent. The film Malcom Crowe (Bruce Willis) is a child psy- chiatrist who has just received an award in acknowl- edgment of his professional work. The night he receives the prize, a patient Crowe had treated when the former was a child, and whom he failed to cure, enters his house. After the patient reproaches the psy- chiatrist for his earlier failures, he shoots Crowe and then commits suicide. Soon after, we learn that the psychiatrist treats an eight year old child, Cole Sear (Haley Joel Osment), who has the same symptoms; he sees dead people. He becomes obsessed with the child's condition and even neglects his wife and mar- riage until he manages to cure the child. Munchausen's Syndrome by Proxy in The Sixth Sense As mentioned before, this syndrome is simply a subplot in the film. After a young woman's funeral ONE MISSED CALL/ CHAKUSHIN ARI Kyra (Mischa Barton) , Cole goes to his room.
Load more

Recommended publications
  • THE “TENET” THEORY Written by Esmarelda Villalobos
    THE “TENET” THEORY Written by Esmarelda VillaLobos WARNING: MAJOR SPOILERS AHEAD. “Tenet” begins with an attack on the arts. It is the first event in the film, right out of the gate, that sets the tone for the rest of the movie. In fact, in this film there are multiple attacks on art, but in the first few minutes of this topsy-turvy ride, we as the audience witness some kind of terrorist attack that occurs during the preparations for an orchestral performance somewhere in Russia, which, given the number of public shootings and horrific terrorist attacks that have plagued the world throughout the last decade, is not that far of a stretch from the truth. The first line of the film is “Time to wake up the Americans” to which we are now introduced to John David Washington’s character as The Protagonist. Through a series of what seems to be party-switching and criss-crossery (if that’s even a word), John David Washington is eventually caught. While under capture and interrogation, The Protagonist decides to sacrifice his own life for the good of the cause and swallow a cyanide pill given to him by the CIA. Cut to black. When we as the audience come back, John David Washington is in a hospital bed on a very large ship, somewhere beyond the sea. Now, on first viewing if you are to watch this film, you believe everything that is said – the cyanide pill is a fake, his taking it was a test to see if he would sacrifice himself in order to avoid torture and potentially give up secrets – which he did.
    [Show full text]
  • Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era
    Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era. Edited by Murray Leeder. Bloomsbury Academic, 2015 (307 pages). Anton Karl Kozlovic Murray Leeder’s exciting new book sits comfortably alongside The Haunted Screen: Ghosts in Literature & Film (Kovacs), Ghost Images: Cinema of the Afterlife (Ruffles), Dark Places: The Haunted House in Film (Curtis), Popular Ghosts: The Haunted Spaces of Everyday Culture (Blanco and Peeren), The Spectralities Reader: Ghost and Haunting in Contemporary Cultural Theory (Blanco and Peeren), The Ghostly and the Ghosted in Literature and Film: Spectral Identities (Kröger and Anderson), and The Spectral Metaphor: Living Ghosts and the Agency of Invisibility (Peeren) amongst others. Within his Introduction Leeder claims that “[g]hosts have been with cinema since its first days” (4), that “cinematic double exposures, [were] the first conventional strategy for displaying ghosts on screen” (5), and that “[c]inema does not need to depict ghosts to be ghostly and haunted” (3). However, despite the above-listed texts and his own reference list (9–10), Leeder somewhat surprisingly goes on to claim that “this volume marks the first collection of essays specifically about cinematic ghosts” (9), and that the “principal focus here is on films featuring ‘non-figurative ghosts’—that is, ghosts supposed, at least diegetically, to be ‘real’— in contrast to ‘figurative ghosts’” (10). In what follows, his collection of fifteen essays is divided across three main parts chronologically examining the phenomenon. Part One of the book is devoted to the ghosts of precinema and silent cinema. In Chapter One, “Phantom Images and Modern Manifestations: Spirit Photography, Magic Theater, Trick Films, and Photography’s Uncanny”, Tom Gunning links “Freud’s uncanny, the hope to use modern technology to overcoming [sic] death or contact the afterlife, and the technologies and practices that led to cinema” (10).
    [Show full text]
  • 2. the Uncanny Child of the Millennial Turn
    2. The Uncanny Child of the Millennial Turn Abstract Chapter Two focuses on two American films released in 1999, The Sixth Sense (M. Night Shyamalan) and Stir of Echoes (David Koepp) to il- lustrate how, at the cusp of the millennium, the uncanny child character became a precisely realized embodiment of the adult protagonist’s personal trauma. These films engage with anxieties of the period: in 1999, the im- minent transition into the new century – and millennium – was a strongly felt condition that unsettled a naturalized sense of temporal, personal, and historical progression. The chapter then turns to a later amplification of this trend, Insidious (James Wan, 2010), in which the uncanny child’s imbrication with the adult patriarch’s trauma is self-reflexively addressed. Keywords: Uncanny, Childhood, Trauma, Secret, Millennial turn, The Sixth Sense The uncanny child cycle was reignited in the U.S. at the cusp of the mil- lennium by The Sixth Sense (Shyamalan) and Stir of Echoes (Koepp), released within months of each other in 1999. In particular, The Sixth Sense was the second highest-grossing film of the year, earning $293 million at the box office behind only the highly anticipated Star Wars Episode 1: The Phantom Menace (George Lucas) (Kendrick, 2010, 142). As James Kendrick points out, the horror genre had not produced a blockbuster of this cultural and financial magnitude since Jaws (Steven Spielberg, 1975), and, prior to that, The Exorcist. He asserts that: the cycle of films that emerged in the wake of The Sixth Sense is particu- larly important and worthy of attention because, not only was it extremely concentrated, but it marked a decided shift in the horror genre as it was currently constituted, which served a dual function.
    [Show full text]
  • An October Film List for Cooler Evenings and Candlelit Rooms
    AUTUMN An October Film List For cooler evenings and candlelit rooms. For tricks and treats and witches with brooms. For magic and mischief and fall feelings too. And good ghosts and bad ghosts who scare with a “boo!” For dark haunted houses and shadows about. And things unexplained that might make you shout. For autumn bliss with colorful trees or creepier classics... you’ll want to watch these. FESTIVE HALLOWEEN ANIMATED FAVORITES GOOD AUTUMN FEELS BEETLEJUICE CORALINE AUTUMN IN NEW YORK CASPER CORPSE BRIDE BAREFOOT IN THE PARK CLUE FANTASTIC MR. FOX BREAKFAST AT TIFFANY’S DARK SHADOWS FRANKENWEENIE DEAD POET’S SOCIETY DOUBLE DOUBLE TOIL AND TROUBLE HOTEL TRANSYLVANIA MOVIES GOOD WILL HUNTING E.T. JAMES AND THE GIANT PEACH ONE FINE DAY EDWARD SCISSORHANDS MONSTER HOUSE PRACTICAL MAGIC GHOSTBUSTERS PARANORMAN THE CRAFT HALLOWEENTOWN THE GREAT PUMPKIN CHARLIE BROWN THE WITCHES OF EASTWICK HOCUS POCUS THE NIGHTMARE BEFORE CHRISTMAS WHEN HARRY MET SALLY LABYRINTH YOU’VE GOT MAIL SLEEPY HOLLOW THE ADAMS FAMILY MOVIES THE HAUNTED MANSION THE WITCHES SCARY MOVIES A HAUNTING IN CONNECTICUT RELIC THE LODGE A NIGHTMARE ON ELM STREET ROSEMARY’S BABY THE MOTHMAN PROPHECIES AMMITYVILLE HORROR THE AUTOPSY OF JANE DOE THE NUN ANNABELLE MOVIES THE BABADOOK THE OTHERS AS ABOVE SO BELOW THE BIRDS THE POSSESSION CARRIE THE BLACKCOAT’S DAUGHTER THE POSSESSION OF HANNAH GRACE HALLOWEEN MOVIES THE BLAIR WITCH PROJECT THE SHINING HOUSE ON HAUNTED HILL THE CONJURING MOVIES THE SIXTH SENSE INSIDIOUS MOVIES THE EXORCISM OF EMILY ROSE THE VILLAGE IT THE EXORCIST THE VISIT LIGHTS OUT THE GRUDGE THE WITCH MAMA THE HAUNTING THE WOMAN IN BLACK POLTERGEIST THE LAST EXORCISM It’s alljust a bit of hocus pocus..
    [Show full text]
  • Cowboys, Postmodern Heroes, and Anti-Heroes: the Many Faces
    COWBOYS, POSTMODERN HEROES, AND ANTI-HEROES: THE MANY FACES OF THE ALTERIZED WHITE MAN Hyon Joo Yoo Murphree, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2000 APPROVED: Diane Negra, Major Professor Olaf Hoerschelmann, Committee Member Diana York Blaine, Committee Member C. Melinda Levin, Graduate Coordinator of the Department of Radio, TV and Film Steve Craig, Chair of the Department of Radio, TV and Film C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Murphree, Hyon Joo Yoo, Cowboys, Postmodern Heroes, and Anti-heroes: The Many Faces of the Alterized White Man. Master of Arts (Radio, Television and Film), August 2000, 131 pp., references, 48 titles. This thesis investigates how hegemonic white masculinity adopts a new mode of material accumulation by entering into an ambivalent existence as a historical agent and metahistory at the same time and continues to function as a performative identity that offers a point of identification for the working class white man suggesting that bourgeois identity is obtainable through the performance of bourgeois ethics. The thesis postulates that the phenomenal transitions brought on by industrialization and deindustrialization of 50’s through 90’s coincide with the representational changes of white masculinity from paradigmatic cowboy incarnations to the postmodern action heroes, specifically as embodied by Bruce Willis. The thesis also examines how postmodern heroes’ “intero-alterity” is further problematized by antiheroes in Tim Burton’s films. TABLE OF CONTENTS INTRODUCTION...........................................................................................................................................3 1. Reading a Dynamic Connection between the 1950’s and 1990’s..........................................................6 2.
    [Show full text]
  • Capital Logic: Inception and Dream Labour in the Information Age
    Capital Logic: Inception and Dream Labour in the Information Age Roshaya Rodness I was sitting writing on my textbook, but the work did not progress; my thoughts were elsewhere. I turned my chair to the fire and dozed. Again the atoms were gamboling before my eyes. This time the smaller groups kept modestly in the background. My mental eye, rendered conformation; long rows sometimes more closely fitted together all twining and twisting in snake- like motion. But look! What was that? One of the snakes had seized hold of its own tail, and the form whirled mockingly before my eyes. As if by a flash of lightning I awoke; and this time also I spent the rest of the night in working out the consequences of the hypothesis. —August Kekulé von Stradonitz [T]ime is money. —Gilles Deleuze There are hours when Ariadne’s thread is broken: I am nothing but empty irritation; I no longer know what I am; I am hungry, cold and thirsty. At such moments, no resort to will would make sense. —Georges Bataille It is a well-known part of scientific lore that August Kekulé (1829-1896) discovered the circular shape of the benzene molecule after daydreaming one evening of a snake biting its own tail. The benzene molecule is a ring of six carbon atoms each with a hydrogen atom attached. Much of the organic chemistry used today in the oil, plastics, and pesticide industries is derived from compounds containing benzene. One can almost imagine the scene as a sequel to Christopher Nolan’s blockbuster film Inception (2010), in which a time travelling-enabled man named Dominick Cobb (Leonardo DiCaprio) must incept the structure of benzene in Kekulé’s unconscious so that the modern organic chemistry industry can be born.
    [Show full text]
  • "It's Aimed at Kids - the Kid in Everybody": George Lucas, Star Wars and Children's Entertainment by Peter Krämer, University of East Anglia, UK
    "It's aimed at kids - the kid in everybody": George Lucas, Star Wars and Children's Entertainment By Peter Krämer, University of East Anglia, UK When Star Wars was released in May 1977, Time magazine hailed it as "The Year's Best Movie" and characterised the special quality of the film with the statement: "It's aimed at kids - the kid in everybody" (Anon., 1977). Many film scholars, highly critical of the aesthetic and ideological preoccupations of Star Wars and of contemporary Hollywood cinema in general, have elaborated on the second part in Time magazine's formula. They have argued that Star Wars is indeed aimed at "the kid in everybody", that is it invites adult spectators to regress to an earlier phase in their social and psychic development and to indulge in infantile fantasies of omnipotence and oedipal strife as well as nostalgically returning to an earlier period in history (the 1950s) when they were kids and the world around them could be imagined as a better place. For these scholars, much of post-1977 Hollywood cinema is characterised by such infantilisation, regression and nostalgia (see, for example, Wood, 1985). I will return to this ideological critique at the end of this essay. For now, however, I want to address a different set of questions about production and marketing strategies as well as actual audiences: What about the first part of Time magazine's formula? Was Star Wars aimed at children? If it was, how did it try to appeal to them, and did it succeed? I am going to address these questions first of all by looking forward from 1977 to the status Star Wars has achieved in the popular culture of the late 1990s.
    [Show full text]
  • Green Horror: the Use of Environmental Themes in Modern American Horror Cinema
    Green Horror: The Use of Environmental Themes in Modern American Horror Cinema by Dana (Devorah) Gordin August 2019 Master’s Thesis School for Environment and Sustainability, University of Michigan Thesis Committee: Associate Professor Rebecca Hardin, Chair Associate Professor Julia Wondolleck Abstract This study began with the question of what environmental themes may be present in contemporary American horror media and what any trends in these narratives or works may suggest about American understanding of, beliefs towards and fears about the potential environmental future. With guidance from current and former staff at the Askwith Media Library at the University of Michigan, I conducted a review of films that elicit much of their audience engagement through horror while having clear environmental themes or narratives, then selected twelve cinema-released films for critical analysis. Each shared a central premise in which nature shows a widespread response to collective human abuse of the natural world. My criteria excluded numerous examples of works with similar themes, but which did not have as direct a message. I also privileged films that were critically acclaimed and more widely discussed. Finally, I honed for comparative analysis of tropes and themes on storylines with an overall sense that the environment itself is not as much of a threat as other humans when it comes to survival. My results and discussion raise concerns with some of the messaging in recent environmentally progressive discourse that uses a similar framing of threat to bolster environmental support. While there has been an understanding that specific discussions of human threat in relationship to the environment compels people emotionally, it is not the result of greater environmental care or understanding, but often heavily influenced by other fears, including anxiety about increasing human mobility, demographic pressures, and cultural differences.
    [Show full text]
  • Cinematic Illustrations in Christian Theology
    Journal of Religion & Film Volume 6 Issue 2 October 2002 Article 4 October 2002 Cinematic Illustrations in Christian Theology James S. Spiegel Taylor University, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Spiegel, James S. (2002) "Cinematic Illustrations in Christian Theology," Journal of Religion & Film: Vol. 6 : Iss. 2 , Article 4. Available at: https://digitalcommons.unomaha.edu/jrf/vol6/iss2/4 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]. Cinematic Illustrations in Christian Theology Abstract Three recent films, The Sixth Sense, The Matrix, and American Beauty, richly illustrate numerous classical Christian doctrines, including themes in ethics, epistemology, metaphysics, and aesthetics. The Sixth Sense offers powerful metaphors for original sin and conversion. The Matrix portrays an Ecclesiastes-like linkage between wisdom and sorrow and features a potential model for a strong view of divine providence. And belief in strong providence is actually endorsed in American Beauty in the form of a Leibnizian aesthetic theodicy. Whether consciously or not, the makers of these films develop themes that have significant potential for illuminating key elements of Christian theology. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol6/iss2/4 Spiegel: Cinematic Illustrations in Christian Theology Introduction Hollywood is not the first place most Christians look for theological insight. But the last few years have seen the release of several films that are not only aesthetically pleasing but theologically provocative, at least for those who, like me, look to glean from the arts insights about God's nature and relationship to the world.
    [Show full text]
  • 101 Films for Filmmakers
    101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers.
    [Show full text]
  • Frankie -- Aka : Frankenstein: Jokes and Cartoons in Black + White Pdf, Epub, Ebook
    FRANKIE -- AKA : FRANKENSTEIN: JOKES AND CARTOONS IN BLACK + WHITE PDF, EPUB, EBOOK Desi Northup | 156 pages | 04 Jul 2014 | Createspace Independent Publishing Platform | 9781500440701 | English | none Frankie -- AKA : Frankenstein: Jokes and Cartoons in Black + White PDF Book Which was the first underground strip in full color. But, when his wife left him, a year into their marriage, Byron was forced never to see his wife or daughter again, lest his wife reveal the scandal of his affair with Leigh. Movie Year 1. Once underwater, he was befriended by a playful white dolphin named Splasher and a bare-chested mermaid girl named Neptina whose supposed special power was the ability to see the future although I think that her real special power was the magical ability to keep her long flowing hair strategically covering her breasts, even underwater! The Silence of the Lambs. The Flintstones and The Jetsons both do, however. When Harry Met Sally… His collaboration with Wueste Film also dates from this time. Robinson Selene, a beautiful vampire warrior, is entrenched in a war between the vampire and werewolf races. Gimme Head imports 1 ; 1st Printing ;. Jean-Luc Godard was born in Paris on December 3, , the second of four children in a bourgeois Franco-Swiss family. These cookies do not store any personal information. Celebrating 20 Years of Batman Beyond. Ingrid Bergman 5. The show never actually appeared on Saturday mornings, unless a local station placed it there during its syndication run. Watch all Reviews. Realizing that Space Ghost was too powerful for any single foe, in the second season the producers and writers teamed up the six most dangerous foes: Zorak, Brak, Moltar, Metallus, Spider-Woman formerly The Black Widow , and Creature King — known collectively as the Council of Doom — and they all took on Space Ghost.
    [Show full text]
  • Digital Cinema and the Legacy of George Lucas
    DOCTOR OF PHILOSOPHY Digital cinema and the legacy of George Lucas Willis, Daniel Award date: 2021 Awarding institution: Queen's University Belfast Link to publication Terms of use All those accessing thesis content in Queen’s University Belfast Research Portal are subject to the following terms and conditions of use • Copyright is subject to the Copyright, Designs and Patent Act 1988, or as modified by any successor legislation • Copyright and moral rights for thesis content are retained by the author and/or other copyright owners • A copy of a thesis may be downloaded for personal non-commercial research/study without the need for permission or charge • Distribution or reproduction of thesis content in any format is not permitted without the permission of the copyright holder • When citing this work, full bibliographic details should be supplied, including the author, title, awarding institution and date of thesis Take down policy A thesis can be removed from the Research Portal if there has been a breach of copyright, or a similarly robust reason. If you believe this document breaches copyright, or there is sufficient cause to take down, please contact us, citing details. Email: [email protected] Supplementary materials Where possible, we endeavour to provide supplementary materials to theses. This may include video, audio and other types of files. We endeavour to capture all content and upload as part of the Pure record for each thesis. Note, it may not be possible in all instances to convert analogue formats to usable digital formats for some supplementary materials. We exercise best efforts on our behalf and, in such instances, encourage the individual to consult the physical thesis for further information.
    [Show full text]