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Rebellious Women in Men's Dystopia: Katniss and Furiosa
Article Info/Makale Bilgisi Received/Geliş: 20.09.2016 Accepted/Kabul: 30.10.2016 DOİ: 10.5505/pausbed.2017.22599 REBELLIOUS WOMEN IN MEN’S DYSTOPIA: KATNISS AND FURIOSA ∗ Cenk TAN Abstract Dystopian fiction serves as a premonition against possible future perils of humanity. Its popularity is largely attributed to its overdose of action and commercial success which explains the high number of film adaptations in Hollywood. However, the genre is commonly acclaimed to be dominated by men whereas women usually exist as vague, trivial personalities. The Hunger Games and Mad Max are two major film productions (the former adapted from novel) which have subverted this general understanding and turned the notion of the male hero upside-down by creating the rebellious heroine. Katniss and Furiosa are perfect illustrations of determined, powerful women whom rebel against the patriarchal order in the hegemonic, male dystopia. This study places Katniss and Furiosa in spotlight and analyses both movies from an ecofeminist perspective which maintains a special bond between women and nature. This essay thus aims to reveal environmental issues in relationship with the female protagonists. Key Words: Dystopia, Ecofeminism, Hunger Games, Mad Max, Film Studies. ERKEKLERİN DİSTOPYASINDA İSYANCI KADINLAR: KATNISS VE FURIOSA Özet Distopya türünün amacı insanlığı geleceğin muhtemel felaketlerine karşı uyarmaktır. Türün popülerliği bol dozda aksiyon içermesine ve ticari başarısına bağlıdır ki bu başarı Hollywood film sektöründeki çok sayıdaki film uyarlamalarını açıklamaktadır. Fakat tür genel olarak erkeklerin egemen oldukları ve kadınların silik karakterler olarak arka planda kaldıkları bir tür olarak görülmektedir. Açlık Oyunları ve Mad Max: Fury Road, geleneksel erkek kahramanın yerine isyancı kadın kahraman konseptini yaratarak bu genel kanıyı tersine çevirmeyi başaran iki önemli yapıtı oluşturmaktadır. -
Au Nom Du Père Mad Mel, Vraiment
5 AU NOM DU PÈRE 12 MAD MEL, VRAIMENT ? 22 LARMES FATALES 28 LA NAISSANCE D’UNE ICON 36 CINÉASTE APRÈS TOUT 44 LA PATIENCE ET LA PASSION 54 APRÈS LUI, L’APOCALYPSE 64 LE COMPLEXE DU REPENTI 70 TU NE CHANGERAS POINT AU NOM DU PÈRE 4 novembre 1968. Le Herald, journal de l’après- midi connu des habitants de Melbourne pour ses petites annonces et ses cartoons de William Ellis Green, publie une photo s’étirant sur toute la lon- gueur de son format tabloïd. Le cliché présente une famille nombreuse, très nombreuse, et sa légende annonce : « Faites connaissance avec chacun des douze Gibson ! » Hutton “Red” Gibson, sa femme Anne et leurs dix enfants viennent à peine de poser le pied en Australie qu’un photographe de l’aéroport de Melbourne a voulu immortaliser l’occasion. Après tout, ça n’est pas tous les jours qu’on croise une fratrie capable de constituer une équipe de foot- ball — ou une Cène, c’est selon — à elle toute seule. Le texte qui joint la photo décrit Hutton Gibson 5 comme un programmeur informatique américain venu s’installer en Australie parce qu’il « pense que ce pays offre d’assez bonnes chances pour moi et pour mes enfants ». Pour mieux saisir la personna- lité pour le moins paradoxale — pour ne pas dire autre chose — de l’acteur et réalisateur américain révélé par la trilogie Mad Max, il faut se pencher sur son enfance, sur la personnalité de “Red” le patriarche, sur l’éducation prodiguée par ce der- nier. Un homme qui disait, et qui dit sans doute encore du bout de ses 100 ans que « le plus grand avantage qu’un homme peut avoir est d’être catholique, car cela donne la satisfaction d’avoir raison à vie ». -
Read Book # Mel Gibson Adult Coloring Book: Academy Award
XIXYEHJ8ENQU » Book » Mel Gibson Adult Coloring Book: Academy Award Winner and Braveheart, Passion the... Read eBook MEL GIBSON ADULT COLORING BOOK: ACADEMY AWARD WINNER AND BRAVEHEART, PASSION THE CHRIST AND MAD MAX STAR INSPIRED ADULT COLORING BOOK (PAPERBACK) Createspace Independent Publishing Platform, 2018. Paperback. Condition: New. Language: English . Brand New Book ***** Print on Demand *****. This is work of creative art and satire (17 U.S. Code 107) Mel Gibson is an American actor and lmmaker. He is best known for his action hero roles, namely his breakout role as Max Rockatansky in the rst three lms in the Mad Max post- apocalyptic action series, and as Martin Riggs in the Lethal Weapon buddy cop film series. Download PDF Mel Gibson Adult Coloring Book: Academy Award Winner and Braveheart, Passion the Christ and Mad Max Star Inspired Adult Coloring Book (Paperback) Authored by Anna Dave Released at 2018 Filesize: 3.52 MB Reviews This kind of publication is almost everything and taught me to seeking ahead and a lot more. I really could comprehended almost everything out of this created e publication. I am effortlessly can get a pleasure of reading through a created ebook. -- Keon Lowe An extremely wonderful book with perfect and lucid explanations. This really is for those who statte that there had not been a worth reading. Your way of life span will be convert when you comprehensive reading this book. -- Effie Douglas TERMS | DMCA NZUU3M4PQLBW » Doc » Mel Gibson Adult Coloring Book: Academy Award Winner and Braveheart, Passion the... Related Books Weebies Family Halloween Night English Language: English Language British Full Colour Childrens Educational Book Junior Vincent van Gogh A Kids Introduction to the Artist and his Paintings. -
Mad Max» Series 147-151
236 Δόξα / Докса.– 2015. – Вип. 2 (24). Δόξα / Докса.– 2015. – Вип. 2 (24). 237 5. Hardashchuk T. V. (2001) Suchasnyi ekolohizm: teoretychni zasady ta UDC 1-929.1/.3)+778.5 Konstantin Rayhert praktychni implikatsii [Modern environmentalism: the theoretical THE SOCIAL CRITICISM OF AUSTRALIAN ROADKILL foundations and practical implications], Praktychna filosofiia, № 1, pp. CULTURE IN GEORGE MILLER’S «MAD MAX» SERIES 147-151. Film series “Mad Max” is the George Miller’s social critical statement about 6. Ivanenko I. (2002) Pryroda yak zasib konstruiuvannia konfliktu v drami- the Australian car culture that is based on auto-fetishism. The Australian car feierii «Lisova pisnia» Lesi Ukrainky [Nature as a means of constructing culture is a kind of consumerism. The car murder culture, within what car is the conflict in Lesya Ukrainka’s fйerie «Forest Song»], Slobozhanshchyna, considered as a weapon of murder, is embedded into the Australian car culture. № 22, pp. 136–145. Keywords: Australia, culture, car, murder, consumerism. 7. Kontseptualni vymiry ekolohichnoi svidomosti: monohrafiia (2003) [Conceptual dimensions of environmental awareness: Monograms] / George Miller’s Mad Maxis a bright representative of Ozploitation1and [Kyselov M. M., Derkach V. L., Tolstoukhov A. V. ta in.], K., Vyd-vo the significant and emblematic film series in the history of Western popular „Parapan”, 312 p. culture. In particular the second film of the series influenced violently on Post- 8. Meterlink M. (2006) Synii ptakh: kazka [The Blue Bird: Tale] / perekazav apocalyptic thematic in cinema (for example: Lance Hool’s Steel Dawn(1987) z fr. L. Yakhnin ; per. z ros. Iu. Nadzbruchanets ; khudozh. I. Bodrova. K., starring Patrick Swayze, Lee H. -
Mad Max: Fury Road Challenging Narrative and Gender Representation in the Action Genre
3 Mad Max: Fury Road Challenging Narrative and Gender Representation in the Action Genre Kyle Barrett eorge Miller redefined the ‘post- Theron), a character that at first appears threat of climate change, among Gapocalyptic’ genre with his Mad to be in league with, or at least working other predictors of doom and gloom. Max series (1979-2015). It appeared as for the antagonist, Immortan Joe (Hugh (Crewe 2016: 34) though the franchise was dead due to Keays-Byrne). However, Furiosa quickly the somewhat lacklustre response to the becomes the chief protagonist of the Miller developed and combined many concluding film of the original series,Mad narrative. This article will explore the of these fears of real-world disasters Max: Beyond Thunderdome in 1985. After key components that made the film to create his dilapidated environment. years of attempting to revive the series, a subversive text within the action/ Mad Max: The Road Warrior (1981), Mad Max: Fury Road began production post-apocalyptic genre. There will be a for instance, includes a prologue that in 2013 amongst a degree of scepticism discussion of the film’s narrative (or lack features ‘archive footage’ of a nuclear from fans of the series. Miller had moved of), Miller’s visual language and gender disaster, causing the ruin of the planet. away from post-apocalyptic worlds representation. Miller’s films also make effective use and turned ‘family-friendly’, giving us of their national landscapes, turning the adaptation of Babe (1995) and its Narrative and Genre the nightmare of the apocalypse into a underrated sequel Babe: Pig in the City The end of the world has been a site of believable reality when, ‘[ . -
Guide to Film Movements
This was originally published by Empire ( here is their Best of 2020 list) but no longer available. A Guide to Film Movements . FRENCH IMPRESSIONISM (1918-1930) Key filmmakers: Abel Gance, Louis Delluc, Germaine Dulac, Marcel L'Herbier, Jean Epstein What is it? The French Impressionist filmmakers took their name from their painterly compatriots and applied it to a 1920s boom in silent film that jolted cinema in thrilling new directions. The devastation of World War I parlayed into films that delved into the darker corners of the human psyche and had a good rummage about while they were there. New techniques in non-linear editing, point-of-view storytelling and camera work abounded. Abel Gance’s Napoleon introduced the widescreen camera and even stuck a camera operator on rollerskates to get a shot, while Marcel L'Herbier experimented with stark new lighting styles. Directors like Gance, Germaine Dulac and Jean Epstein found valuable support from Pathé Fréres and Leon Gaumont, France’s main production houses, in a reaction to the stifling influx of American films. As Empire writer and cineguru David Parkinson points out in 100 Ideas That Changed Film, the group’s figurehead, Louis Delluc, was instrumental in the still-new art form being embraced as something apart, artistically and geographically. “French cinema must be cinema,” he stressed. “French cinema must be French.” And being French, it wasn’t afraid to get a little sexy if the circumstances demanded. Germaine Dulac’s The Seashell And The Clergyman, an early step towards surrealism, gets into the head of a lascivious priest gingering after a general’s wife in a way usually frowned on in religious circles. -
Mad Max: Fury Road (George Miller, 2015)
Undergraduate Dissertation Trabajo Fin de Grado Beyond Traditional Herstory: Furiosa in Mad Max: Fury Road (George Miller, 2015) Author Olena Novikova Supervisor María del Mar Azcona Montoliú FACULTY OF ARTS June 2020 Table of Contents 1. Introduction………………………………………………………….1 2. Context: Women in Action Films…………………………………...4 3. Mad Max: Fury Road………………………………………………..9 3.1. Women in Mad Max: Fury Road: The Prisoners, the Wise and the Survivors………………………………………………….9 3.2. Furiosa: The One who Puts the Fury in Fury Road…………13 3.3. She’s a Bitch, a Lover, a Child and a Mother……………….15 3.4. “A true leader does not need others to make him strong. A true leader gives others the strength to stand alone.”…………….17 4. Conclusion…………………………………………………………22 5. Works Cited………………………………………………………..24 6. Films Cited…………………………………………………………27 1. Introduction The Oscar winning blockbuster Mad Max: Fury Road is a 2015 action film directed by George Miller. In the film’s post-apocalyptic world the chief of the Citadel, Immortan Joe (Hugh Keats-Byrne), has taken over all of the survival resources and created an army of half-life War Boys who are willing to die for him and ride eternally in Valhalla. Some of the few healthy people in the Citadel are the women that Immortan Joe keeps captive and mainly uses as breeders. The story begins with Joe sending a small group of War Boys led by Imperator Furiosa (Charlize Theron) to Gas Town. Yet, Furiosa suddenly decides to stray off from the route. As soon as Joe notices that she is not going to Gas Town, he sends another group of War Boys to go after her, one of which is Nux (Nicholas Hoult), who has to bring with him his blood bag Max (Tom Hardy) because of his weak health. -
University of California Riverside
UNIVERSITY OF CALIFORNIA RIVERSIDE Omega Men The Masculinist Discourse of Apocalyptic Manhood in Postwar American Cinema A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Ezekiel Crago June 2019 Dissertation Committee: Dr. Sherryl Vint, Co-Chairperson Dr. Derek Burrill, Co-Chairperson Dr. Carole-Anne Tyler Copyright by Ezekiel Crago 2019 The Dissertation of Ezekiel Crago is approved: __________________________________________ __________________________________________ Committee Co-Chairperson __________________________________________ Committee Co-Chairperson University of California, Riverside Acknowledgments I wish to thank my committee chairs, Sherryl Vint and Derek Burrill, for their constant help and encouragement. Carole-Anne Tyler helped me greatly by discussing gender and queer theory with me. Josh Pearson read drafts of chapters and gave me invaluable advice. I was able to work out chapters by presenting them at the annual conference of the Science Fiction Research Association, and I am grateful to the members of the organization for being so welcoming. I owe Erika Anderson undying gratitude for meticulously aiding me in research and proofreading the entire project. iv ABSTRACT OF THE DISSERTATION Omega Men The Masculinist Discourse of Apocalyptic Manhood in Postwar American Cinema by Ezekiel Crago Doctor of Philosophy, Graduate Program in English University of California, Riverside, June 2019 Dr. Sherryl Vint, Co-Chairperson Dr. Derek Burrill, Co-Chairperson This study investigates anxieties over the role of white masculinity in American society after World War Two articulated in speculative films of the post-apocalypse. It treats the nascent genre of films as attempts to recenter white masculinity in the national imagination while navigating the increased visibility of this subject position, one that maintains dominance in society through its invisibility as superordinate standard of manhood. -
DVD Suggestions
What to Watch Next (DVD Suggestions) Paul Robeson: Portraits of the Artist All-American ath- lete, scholar, renowned baritone, stage actor, and social activist, Paul Robeson was a towering figure and a trailblazer many times over. He was perhaps most groundbreaking, however, in the medium of film. The son of an escaped slave, Robeson managed to become a top-billed movie star during the time of Jim Crow America, headlining everything from fellow pioneer Oscar Micheaux’s si- lent drama Body and Soul to British studio showcases to socially engaged docu- mentaries, all the while striving to project positive images of black characters. Freedom Riders (Documentary) This inspirational docu- mentary is about a band of courageous civil-rights activists calling themselves the Freedom Riders. Gaining impressive access to influential figures on both sides of the issue, it chronicles a chapter of American history that stands as an astonishing testament to the accomplishment of youth and what can result from the incredible combination of personal conviction and the courage to organize against all odds. Malcolm X A tribute to the controversial black activist and leader of the struggle for black liberation. He hit bottom during his imprisonment in the '50s, he became a Black Muslim and then a leader in the Nation of Islam. His assassi- nation in 1965 left a legacy of self-determination and racial pride. Featuring a career-defining role for Denzel Washington, this film remains one of the pinna- cles of Spike Lee’s diverse career. The Black Panthers (Documentary) In the turbulent 1960s, change was coming to America and the fault lines could no longer be ignored—cities were burning, Vietnam was exploding, and disputes raged over equality and civil rights. -
Tyler Hickey 1 the Green Place: Mad Max: Fury Road As George Miller's
Tyler Hickey 1 The Green Place: Mad Max: Fury Road as George Miller’s Feminist Fairytale George Miller has spent the better part of four decades building the universe of Mad Max and the post-apocalyptic adventures that take place in it, all of them surrounding the eponymous Max Rockatansky. The four films set in the George Miller’s Mad Max universe, Mad Max (1980), The Road Warrior (1981), Mad Max: Beyond Thunderdome (1985), and Mad Max: Fury Road (2015), are unconventional in more than just their premises and over-the-top vehicular action sequences; the four films are not set on a chronological timeline. There are certainly aspects of the films that lend themselves to a timeline, for example there is some semblance of modern government in the original Mad Max, which suggests that it takes place earlier than the other films. However, there is more evidence to support the idea that the films are not actually connected to each other except in their settings and their protagonist. Rather, it is likely that the character of Mad Max is nothing more than a legendary characterization of police officer Max Rockatansky made into a wasteland myth, and each film tells a story of almost fairytale-esque quality. It follows that if the Mad Max films are George Miller’s attempts at telling legends rather than grounded narratives, then each of the films is imbued with a heightened sense of intention and potential symbolism. Such is the case in Miller’s most recent foray into the wasteland: Mad Max: Fury Road. -
Il Professore E Il Pazzo
presenta I PREMI OSCARâ MEL GIBSON SEAN PENN in IL PROFESSORE E IL PAZZO un film di P.B. SHEMRAN con JEREMY IRVINE NATALIE DORMER STEVE COOGAN distribuito da EAGLE PICTURES durata 124' AL CINEMA DAL 21 MARZO 2019 WWW.EAGLEPICTURES.COM MANZOPICCIRILLO ENTERTAINMENT PRESS & CONSULTING [email protected] - WWW.MANZOPICCIRILLO.COM IL PROFESSORE E IL PAZZO CAST ARTISTICO MEL GIBSON James Murray SEAN PENN William Chester Minor EDDIE MARSAN Mr. Muncie NATALIE DORMER Eliza Merrett JENNIFER EHLE Ada Murray STEVE COOGAN Frederick Furnivall STEPHEN DILLANE Richard Brayn IOAN GRUFFUDD Henry Bradley JEREMY IRVINE Charles Hall LAURENCE FOX Phili Lyttelton Gell ANTHONY ANDREWS Benjamin Jowett LARS BRYGMANN Max Mueller BRYAN MURRAY Henry Liddell DAVID O’HARA Church SEAN DUGGAN Coleman OLIVIA MCKEVITT Clare Merrett EMILY DALY Iris Merrett LUKE HARMAN Jack Merrett TEEGAN DEVLIN Peggy Merrett 2 IL PROFESSORE E IL PAZZO CAST TECNICO Diretto da P.B. SHEMRAN Scritto da P.B. SHEMRAN JOHN BOORMAN TODD KOMARNICKI SIMON WINCHESTER Basato sul romanzo di SIMON WINCHESTER Prodotto da BRUCE DAVEY MEL GIBSON NICOLAS CHARTIER Produttori esecutivi ZEV FOREMAN MANU GARGI PETER MCALEESE DOMINIC RUSTAM TYLER ZACHARIA Case di produzione FASTNET FILM ICON ENTERTAINMENT VOLTAGE PICTURES Fotografia KASPER TUXEN Scenografie TOM CONROY Montaggio JOHN GILBERT Casting DANIEL HUBBARD Costumi EIMER NI MHAOLDOMHNAIGH Musiche BEAR MCCREARY Distribuito da EAGLE PICTURES Ufficio Stampa MANZOPICCIRILLO 3 IL PROFESSORE E IL PAZZO SINOSSI Il film racconta la vera storia della creazione dell’Oxford English Dictionary, un progetto di compilazione tra i più ambiziosi della storia, un racconto che scava nella follia e nel genio di due uomini straordinari e ossessivi che hanno cambiato per sempre il corso della storia della letteratura. -
Mad Max; Fury Road
Arts and Humanities Open Access Journal Review Article Open Access Incompleteness and punishment in the female body: mad max: fury road Abstract Volume 3 Issue 2 - 2019 Stemming from the dismantling of the traditional female role in action films, this Carolina Sanabria article studies the movie Mad Max: Fury Road as of an investigation of the body of Professor Humanities of the University of Costa Rica, Costa the female figure, which holds the lead role here. Angrily is alien to conventional Rica eroticism usually applied to represent female characters in hegemonic narrative films, even tough, in the end, the movie ends up Reaffirming established cannons. Correspondence: Carolina Sanabria, Professor of Humanities of the University of Costa Rica, Costa Rica, Keywords: protagonism, Female, incompleteness, body punishment Email Received: March 07, 2019 | Published: April 04, 2019 Introduction the second had his dog and occasionally eccentric Captain Gyro as helpers in the third group of children joined, bringing their opposition 1 This essay focuses on a study of the film Mad Max: Fury Road. to the tyranny of the system came to be updated in a new context. And This is the fourth installment of the series starring and popularized by from here collaborative work is shone through with minorities, with 2 Mel Gibson that started in the late 80s: Mad Max, followed by Mad marginal power levels, according to the speeches of inclusivity that 3 4 Max: The Road Warrior and the third Mad Max beyond Thunderdome consolidates the present time. Thus, displacement of the role of a male with an antagonistic role of Tina Turner.