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Influence of Michael Corleone's Personalities on His Relationship
Advances in Social Science, Education and Humanities Research, volume 497 Proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020) Influence of Michael Corleone’s Personalities on His Relationship With Other Characters in Trilogy of The Godfather Longhe Cao Shenzhen Middle School, Shenzhen, Guangdong 518034, China *Corresponding author. Email: [email protected] ABSTRACT Analyzing the personalities and relationship of the characters is an effective method for both the professionals and the ordinary audience to comprehend movies. By discovering and explaining how Michael Corleone in The Godfather influences his relationship with other characters, this dissertation is aimed at assisting readers to fully comprehend the essence of movies in detail. This paper utilizes the method which extracts a variety of conflicts and major transitions between Michael and other characters to reflect how Michael’s personalities work on these relationships. Based on the facts in the movie, Michael demonstrates different attitudes to his family members and the outsiders of his family. It will be helpful for the audience if there are researches which can deeply analyze a more well-rounded image of Michael’s Corleone, besides analyzing his relationship and personalities appears in the future. This paper finally concludes that Michael’s personalities cause him to have completely different relationships with two types of character, as the family members and the outsiders. Keywords: Personalities, relationship, influence, gangster, Godfather 1. INTRODUCTION 2. OVERVIEW OF MICHAEL CORLEONE’S PERSONALITIES The Godfather, as a classic and representative Italian gangster movie, reflects the conflicts between Corleone Overall, Michael has two types of personalities, including family and other forces in United States as well as the stable personalities and the variational personalities. -
2. the Godfather Returns.Pdf
The Godfather Returns Mark Winegardner alla mia famiglia "Whoever forsakes the old way for the new knows what he is losing, but not what he will find. " Sicilian proverb "They were killing my friends." AUDIE MURPHY, most decorated U.S. soldier of World War II, when asked how he had found the courage to fight an entire German infantry company *The Godfather II also covers the early life of Vito Corleone (1910-1939) in flashback scenes. **The second half of The Godfather Returns also covers the early life of Michael Corleone (1920-1945) in flashback scenes. THE CORLEONE FAMILY Vito Corleone, the first godfather of New York's most powerful crime family Carmela Corleone, Vito Corleone's wife and mother of their four children Sonny Corleone, Vito and Carmela Corleone's oldest son Sandra Corleone, Sonny's wife, now living in Florida Francesca, Kathy, Frankie, and Chip Corleone, Sonny and Sandra Corleone's children Tom Hagen, consigliere and unofficially adopted son Theresa Hagen, Tom's wife and mother of their three children Andrew, Frank, and Gianna Frederico "Fredo" Corleone, Vito and Carmela's second-born son (underboss 1955-1959) Deanna Dunn, Oscar-winning actress and Fredo's wife Michael Corleone, Vito's youngest son and the reigning Don of the Corleone Family Kay Adams Corleone, Michael's second wife Anthony and Mary Corleone, children of Michael and Kay Corleone Connie Corleone, Vito and Carmela's daughter Carlo Rizzi, Connie Corleone's deceased husband Ed Federici, Connie Corleone's second husband THE CORLEONE FAMILY ORGANIZATION Cosimo "Momo the Roach" Barone, soldato under Geraci and nephew of Sally Tessio Pete Clemenza, caporegime Fausto Dominick "Nick" Geraci, Jr. -
Absent Presence: Women in American Gangster Narrative
Absent Presence: Women in American Gangster Narrative Carmela Coccimiglio Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfilment of the requirements for a doctoral degree in English Literature Department of English Faculty of Arts University of Ottawa © Carmela Coccimiglio, Ottawa, Canada, 2013 TABLE OF CONTENTS Abstract iii Acknowledgements v Introduction 1 Chapter One 27 “Senza Mamma”: Mothers, Stereotypes, and Self-Empowerment Chapter Two 57 “Three Corners Road”: Molls and Triangular Relationship Structures Chapter Three 90 “[M]arriage and our thing don’t jive”: Wives and the Precarious Balance of the Marital Union Chapter Four 126 “[Y]ou have to fucking deal with me”: Female Gangsters and Textual Outcomes Chapter Five 159 “I’m a bitch with a gun”: African-American Female Gangsters and the Intersection of Race, Sexual Orientation, and Gender Conclusion 186 Works Cited 193 iii ABSTRACT Absent Presence: Women in American Gangster Narrative investigates women characters in American gangster narratives through the principal roles accorded to them. It argues that women in these texts function as an “absent presence,” by which I mean that they are a convention of the patriarchal gangster landscape and often with little import while at the same time they cultivate resistant strategies from within this backgrounded positioning. Whereas previous scholarly work on gangster texts has identified how women are characterized as stereotypes, this dissertation argues that women characters frequently employ the marginal positions to which they are relegated for empowering effect. This dissertation begins by surveying existing gangster scholarship. There is a preoccupation with male characters in this work, as is the case in most gangster texts themselves. -
In Sicily, Women Are More Dangerous Than Shotguns
“IN SICILY , WOMEN ARE MORE DANGEROUS THAN SHOTGUNS ” DE NARRATIEVE FUNCTIE VAN HET VROUWELIJKE PERSONAGE IN FRANCIS FORD COPPOLA ’S THE GODFATHER TRILOGIE MASTERSCRIPTIE FILM - & TELEVISIEWETENSCHAPPEN EVA MARIE SCIARONE UNIVERSITEIT UTRECHT STUDIEJAAR 2011-2012, BLOK 4 STUDENTNUMMER : 3197905 INLEVERDATUM : 1 AUGUSTUS 2012 SCRIPTIEBELEIDER : FRANK KESSLER TWEEDE CORRECTOR : NANNA VERHOEF AANTAL WOORDEN : 12844 INHOUDSOPGAVE 1. DE VERANKERING VAN FRANCIS FORD COPPOLA ’S THE GODFATHER TRILOGIE 3 IN DE HEDENDAAGSE POPULAIRE CULTUUR 2. EEN VERSPLINTERING IN HET FILMWETENSCHAPPELIJK DISCOURS 7 2.1 MEER AANDACHT VOOR DE ACTIEVE FUNCTIE VAN HET 9 VROUWELIJKE PERSONAGE BINNEN HET NARRATIEF 3. DRIE NIVEAUS VAN ONDERZOEK NAAR DE NARRATIEVE FUNCTIE VAN 12 DE VROUWELIJKE PERSONAGES : CONSTRUCTIE , NETWERK EN DE RELATIE PERSONAGE – TOESCHOUWER 3.1 CASUSMATERIAAL 17 4. ANALYSE VAN DE NARRATIEVE FUNCTIE VAN VROUWELIJKE PERSONAGES 18 IN THE GODFATHER TRILOGIE 4.1 DE VROUW IN THE GODFATHER TRILOGIE EN LA VIA VECCHIA 18 4.2 CARMELA “M AMA CORLEONE ” (M ORGANA KING ) 20 4.3 APOLLONIA VITELLI – CORLEONE (S IMONETTA STEFANELLI ) 23 4.4 KAY ADAMS (D IANE KEATON ) 26 4.5 COSTANZIA “C ONNIE ” CORLEONE (T ALIA SHIRE ) 33 4.6 MARY CORLEONE (S OFIA COPPOLA ) 37 5. EEN CRUCIALE ACTIEVE ROL VOOR HET VROUWELIJKE PERSONAGE 42 BINNEN HET NARRATIEF VAN THE GODFATHER TRILOGIE 6. LITERATUURLIJST 47 2 1. DE VERANKERING VAN FRANCIS FORD COPPOLA ’S THE GODFATHER TRILOGIE IN DE HEDENDAAGSE POPULAIRE CULTUUR THE GODFATHER (1972) van regisseur Francis Ford Coppola wordt vaak bestempeld al één van de beste films aller tijden. Ook de vervolgfilms, THE GODFATHER : PART II (1974) en THE GODFATHER : PART III (1990), worden beschouwd als klassiekers uit de Amerikaanse filmgeschiedenis. -
Le Tryptique Des Godfather : Cent'anni
Document généré le 24 sept. 2021 17:10 Séquences La revue de cinéma Le tryptique des Godfather Cent’Anni : La saga de la famille Corleone selon Francis Ford Coppola André Caron Numéro 151, mars 1991 URI : https://id.erudit.org/iderudit/50326ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer cet article Caron, A. (1991). Le tryptique des Godfather : cent’Anni : La saga de la famille Corleone selon Francis Ford Coppola. Séquences, (151), 39–52. Tous droits réservés © La revue Séquences Inc., 1991 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ ETUDE LE TRYPTIQUE DES GODFATHER CENT'ANNI: LA SAGA DE LA FAMILLE CORLEONE SELON FRANCIS FORD COPPOLA André Caron The Godfather Part I Le 12 décembre 1974 sortait la deuxième partie du film le plus mérites que les précédentes, quoiqu'elle soit aussi différente de ces célèbre et le plus rentable de son époque, The Godfather. Quant à dernières que la deuxième se démarquait de la première. The Godfather, Part II, il allait redéfinir la notion de suite, allait Aujourd'hui, la famille Corleone s'est intégrée à la culture populaire dépasser en envergure et en originalité son modèle et devait passer américaine, quasiment au même titre que les familles Kennedy et à l'histoire comme la seule suite ayant récolté plus d'Oscars que le Rockefeller. -
Daddy's Girl the Private World of Sofia Coppola
15.06.13 i am a mighty sex god alan titchmarsh daddy’s (best in show) girl teen cyber the private bullies world of what goes on inside sofia coppola britain’s schools Sofia Coppola with her father in 1990. Opposite: with Emma Watson Her father is the legendary director, her husband is coppolacoppola a rock star, she is an Oscar-winning film-maker. Life seems so easy for Sofia Coppola. But in private, she tells TimTeeman, she has experienced the public failure of uncovereduncovered her first marriage and the death of her brother From left: with Marc Jacobs at New York Fashion Week in February; with second husband Thomas Mars, frontman of French band Phoenix left Sofia Coppola’s latest film, The Bling Ring, feeling deliriously happy about ‘It was really brutal. To be on the cover of a magazine being older and squarer than Coppola’s spoilt, vile characters. My mouth in a with the headline “She Ruined Her Dad’s Movie”’ sour, cat’s-bum pout, I tutted throughout the movie, a stylish drama about a group of Los Angeles teenagers who, in a sonorousness, given that everything The Bling at this year’s Met Ball (in 2002 she modelled free-wheeling spree between 2008 and Ring personifies – brattish acquisitiveness, as the “face” of his fragrance). She speaks I 2009, robbed the homes of celebrities wealth, a veneration of fame and notoriety in a listless monotone, with “That’s private” including Orlando Bloom, Lindsay – stands in opposition to her blue-chip such a favoured response she’d probably Lohan, Megan Fox and Paris Hilton, netting Hollywood lineage: her father is The Godfather use it if I asked how she felt about the $3 million worth of goods. -
Stereotypical Representations of Italian Americans in Film
ETHNICITY, CLASS AND HUMOR: STEREOTYPICAL REPRESENTATIONS OF ITALIAN AMERICANS IN FILM by Alessandra Senzani Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the English Program YOUNGSTOWN STATE UNIVERSITY May, 2004 Ethnicity, Class and Humor: Stereotypical Representations ofItalian Americans in Film Alessandra Senzani I hereby release this thesis to the public. I understand that this thesis will be made available from OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University and other individuals to make copies ofthis thesis as needed for scholarly research. Signature: Alessandra Senzani, Student Date Approvals: Dr. Salvatore Attardo, Thesis Advisor Date . kon, Committee Member Date iii ABSTRACT The paper explores the intersections between representations ofethnicity and class, focusing on the role humor plays in constructing ethnic and class identity on the big screen. The aim of the study is to show that humor can be used to subvert mainstream negative stereotypes, while still signaling acknowledgment and appreciation for past ingroup stereotypical representations. Object of the study are mafia films and, specifically for the analysis of the humor, mafia comedies featuring Italian Americans. Sociological and semantic studies of humor have been brought together and the overlapping between semantic scripts, ethnic stereotypes and sociological findings on ethnic jokes has been shown. This provided a theoretical framework to analyze humor as a manifestation of both class and ethnic stereotypes. The analysis of the two mafia comedies, The Freshman (1990) and Analyze This (1999), has confirmed the hypothesis that humor functions as a commentary on ethnic and class identity. -
British Crime Film
Crime Files Series General Editor: Clive Bloom Since its invention in the nineteenth century, detective fiction has never been more popular. In novels, short stories, films, radio, television and now in computer games, private detectives and psychopaths, prim poisoners and overworked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular con- sciousness. Crime Files is a groundbreaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fiction. Every aspect of crime writing, detective fiction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive cover- age and theoretical sophistication. Published titles include: Maurizio Ascari A COUNTER-HISTORY OF CRIME FICTION Supernatural, Gothic, Sensational Hans Bertens and Theo D’haen CONTEMPORARY AMERICAN CRIME FICTION Anita Biressi CRIME, FEAR AND THE LAW IN TRUE CRIME STORIES Ed Christian (editor) THE POST-COLONIAL DETECTIVE Paul Cobley THE AMERICAN THRILLER Generic Innovation and Social Change in the 1970s Michael Cook NARRATIVES OF ENCLOSURE IN DETECTIVE FICTION The Locked Room Mystery Barry Forshaw DEATH IN A COLD CLIMATE A Guide to Scandinavian Crime Fiction Barry Forshaw BRITISH CRIME FILM Subverting the Social Order Emelyne Godfrey MASCULINITY, CRIME AND SELF-DEFENCE IN VICTORIAN LITERATURE Emelyne Godfrey FEMININITY, CRIME AND SELF-DEFENCE -
Contemporary Documentary Fiction
UNIVERSITY OF CINCINNATI Date:August 27, 2007 I, Stephen Francis Criniti, hereby submit this work as part of the requirements for the degree of: Doctorate of Philosophy (Ph.D.) in: English and Comparative Literature It is entitled: Navigating the Torrent: Documentary Fiction in the Age of Mass Media This work and its defense approved by: Chair:Dr. Tom LeClair Dr. Stan Corkin Dr. Brock Clarke Navigating the Torrent: Documentary Fiction in the Age of Mass Media A dissertation submitted to The Graduate School Division of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctorate of Philosophy (Ph.D.) in the Department of English and Comparative Literature of the College of Arts and Sciences 2007 by Stephen F. Criniti B.S. Wheeling Jesuit University, 2000 M.A. University of Dayton, 2002 Committee Chair: Thomas LeClair, Ph.D. iii ABSTRACT This dissertation examines the role of documentary fiction within contemporary media culture. Through the authors’ inclusion of documented historical events/personages and their critical mediation of these documents, the writers show an awareness of the mediated nature of historical knowledge—including a consciousness of their own act of novelistic mediation. As a result, I argue that contemporary documentary fiction, through its recognition of the inevitability of mediation and the challenges it brings to entrenched cultural notions, is best equipped to thrive in the media-saturated marketplace. In order to explore the variety of ways contemporary documentary fictions “navigate the media torrent,” I have paired the texts according to similarities in form and mode of mediation. Each chapter examines the authors’ novelistic renderings of history against dominant nonfictional accounts in order to analyze the authors’ mediations of and challenges to hegemonic conceptions of that history. -
The Tell-Tale Artist Poe at 200 by BROOKE ALLEN Natural Gas Ugh Years
TED’SHURRAH LAST ANDREW FERGUSON SEPTEMBER 28, 2009 • $4.95 The Tell-Tale Artist Poe at 200 BY BROOKE ALLEN natural gas ugh years. 100 America has eno ing. to last morepply than is grow And su Thanks to new advanced technologies our supplies have doubled in the past fi ve years and are expected to double again in the next fi ve. That gives us more than 100 years of safe, secure, domestic energy. It’s America’s way forward. America’s clean energy alternative. ©2009 Ammerica’sa Natural Gas Alliance %JTDPWFSNPSFBU/FX/BUVSBM(BT0SH Copyright © 2000-2008 Digitalvision/Inmagine. Chaos Made Clear It has been called the third great revolution of 20th-century phys- Chaos ics, after relativity and quantum theory. But how can something Taught by Professor Steven Strogatz, Cornell University called chaos theory help you understand an orderly world? What practical things might it be good for? What, in fact, is Lecture Titles chaos theory? Chaos takes you to the heart of chaos theory as 1. The Chaos Revolution 12. Experimental Tests of the it is understood today. Your guide is Cornell University Profes- 2. The Clockwork Universe New Theory sor Steven Strogatz, author of Nonlinear Dynamics and Chaos, 3. From Clockwork to Chaos 13. Fractals—The Geometry the most widely used chaos theory textbook in America. In 24 4. Chaos Found and Lost Again of Chaos thought-provoking lectures, he introduces you to a fascinating 5. The Return of Chaos 14. The Properties of Fractals discipline that has more to do with your everyday life than you 6. -
Graves-Thesis
THE ESTRANGED WORLD: THE GROTESQUE IN SOFIA COPPOLA’S YOUNG GIRLS TRILOGY by Stephanie A. Graves A thesis submitted in Partial Fulfillment of the requirements for the Degree of Master of Arts in English Middle Tennessee State University 2014 Thesis Committee: Dr. David Lavery, Chair Dr. Robert Holtzclaw I dedicate this work to my amazing coterie of friends and academic companions, Lisa Williams, Nancy Roche, and Jessica Szalacinski, whose interest in this project and tireless support has meant the world to me. I’d also like to dedicate this thesis to my family: Sarah Chamlee, who has always made me feel that what I’ve been working on was interesting; Roy and Mary Beth Chamlee, who have gifted me with their love and welcomed me into their family; my mother, Ann Graves, who has been a steadfast cheerleader and source of love and inspiration as well as a model of strength; and to my beloved husband, Zeb Chamlee, for his endless support, for all the meals he cooked and dishes he washed while I was indisposed with this project, and for his unyielding love and friendship. Thanks, y’all. ii Acknowledgements I would like to express my most sincere gratitude to Dr. Marion Hollings, who first suggested that I was well suited to academic endeavors. Her guidance and instruction have been invaluable. Many thanks also to Dr. Allen Hibbard, who taught me how to engage with critical theory in a forthright and fearless manner. I am particularly grateful to Dr. Robert Holtzclaw for serving as my reader; his insights and encouragement certainly improved my work. -
THE GODFATHER While This Remains, We-HEAR: "Alas Constantine, How Much Misfortune You Caused ••• " SUDDENLY, We Are Watching in CLOSE VIEW, a Man in His Sixties
XHE GODFATHER lII: Screenplay by MARIO PUZO and Fa.MfCIS FORD COPPOLA PART III Third Draft Novembers,· 1989 FADE IN: 1 INT. VATICAN BANK - DA;{ The PARAMOUNT LOGO is presented austerely over a black D bacicground. We HEAR the SOUND of a trumpet playing a waltz. There is a moment's hesitation, and then the simple words in white lettering: · Mario Puzo's THE GODFATHER While this remains, we-HEAR: "Alas Constantine, how much misfortune you caused ••• " SUDDENLY, we are watching in CLOSE VIEW, a man in his sixties. Emotional and a little nervous. ARCHBISHOP "··· Not by becomin9" Christian, but by thy. dowry which the first rich F.ather accepted. from you. " As he speaks,, the VIEW imper(:eptibly begins to LOOSEN. We SEE hands resting on a table;. a large jeweled ring. ARCHBISHOP How true Dante's words were. Even the sins of the flesh are simple, compared to the burden of ·money. Finally, we reveal the man is an ARCHBISHOP, ROCCO GRAZIADEI. Member of the Holy See, confidant of the Pope, and head .of the IOR, the Institute per le Opere di Religione. He is dressed in dark suit, Roman collar. on his head is a magenta skullcap. ARCHBISHOP But I was never a banker. Mea Culpa, I trusted my "friends." MICHAEL (O.S.) ·Friendship and money, oil and water. ARCHBISHOP These "friends" used the good name of the Church to feed their greed. our bank is comparatively small,_. but the operation is very complex. If money is lost then I am to blame. Ah, if only prayer could pay off our 700 ~illion dollar deficit.