DOCSLIB.ORG

Redalyc.Free As a Butterfly: Symbology and Palliative Care

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Redalyc.Free As a Butterfly: Symbology and Palliative Care Revista Brasileira de Geriatria e Gerontologia ISSN: 1809-9823 [email protected] Universidade do Estado do Rio de Janeiro Brasil Fernandes Costa, Mariana; Coelho Soares, Jorge Free as a butterfly: symbology and palliative care Revista Brasileira de Geriatria e Gerontologia, vol. 18, núm. 3, julio-septiembre, 2015, pp. 631-641 Universidade do Estado do Rio de Janeiro Rio de Janeiro, Brasil Available in: http://www.redalyc.org/articulo.oa?id=403842640016 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative http://dx.doi.org/10.1590/1809-9823.2015.14236 631 Free as a butterfly: symbology and palliative care RTICLES A RIGINAL O Mariana Fernandes Costa1,2 Jorge Coelho Soares2 Abstract The aim of this study was to investigate the relationship between butterflies and palliative care. A qualitative ethnographic study was performed, based on participant observation in two Oncology Palliative Care Services in Brazil and in Portugal. A literature review on the etymological and symbolic meaning of butterflies, followed by discussions with experts who have studied this insect and its presence in art, books and movies, was undertaken. Butterfly symbols vary from place to place and from people to people, and the semantics and representation of the insect are associated with various forms of life, culture, religion and belief. The constant and intriguing presence Key words: Palliative Care; of butterflies on the walls and windows of the hospitals studied has a significance for Death; Butterflies. palliative care. The metamorphosis of butterflies is symbolically associated with radical changes in human lives, with death perceived as a possibility for renewal. Therefore, the breaking of the cocoon is the death of the body, when the soul achieves freedom in the image of the butterfly. Thus, palliative care, in its theoretical philosophy and applied practice, assists and eases this process of change in the lives of patients and their families, without denying the death, pain nor suffering experienced by the elderly during an advanced disease. 1 Hospital do Câncer IV. Instituto Nacional do Câncer. Rio de Janeiro-RJ, Brasil. 2 Universidade do Estado do Rio de Janeiro, Instituto de Psicologia. Rio de Janeiro-RJ, Brasil. Correspondence Mariana Fernandes Costa E-mail: [email protected] 632 REV. BRAS. GERIATR. GERONTOL., RIO DE JANEIRO, 2015; 18(3):631-641 INTRODUCTION research project. During such research, I noticed that one image was repeated in palliative care Concepts and ideas about death and dying units: the butterfly. Wherever I looked, there have undergone a number of historical and they were, sometimes big and sometimes small, social changes over the centuries. Today, death but always extremely colorful, like a rainbow. suggests something painful for humans, and Sometimes they were accompanied by flowers, conjures up feelings of loss, the pain of grief, giving the idea of a garden. It is likely they a sense of finitude and the fear of an uncertain have been pasted onto walls and windows as future. It is a certainty that we will all die, and yet part of a strategy to “humanize” the hospital we live our lives without thinking about death. environment. But the images made me wonder, Witnessing the arrival of death is no longer a why butterflies? Undoubtedly there was a special custom in our society, and waiting for death is significance behind the use of these images. But difficult to bear. The exclusion of death and the what? These questions intrigued me enough to dying are cited as key features of contemporary lead me to investigate the relationship between society, highlighting the loss of autonomy of the the symbolism of butterflies and palliative care. individual and his or her non-participation in decision-making within the hospital.1 METHODOLOGY According to the World Health Organization, A qualitative ethnographic study was carried the palliative care approach improves the quality out in 2013, based on participant observation of life of patients and their families when faced in the field. Qualitative research involves an with problems associated with terminal illness, interpretive approach, in which the researcher through the prevention and relief of suffering by studies the phenomenon from within, seeking identifying, assessing and treating pain and other to identify the meaning of such a phenomenon physical, psychosocial and spiritual problems.2 while respecting the significance that people The crucial issue in palliative care is the quality attribute to it.5 of life in question, and not simply the amount of time an individual has left to live. The principles Field work is an essential part of qualitative of palliative care affirm life and treat facing death research.6 The institutions participating in the as a natural process; do not seek to postpone present study were the Hospital do Câncer IV or prolong death; provide relief from pain and (HC IV) of the Instituto Nacional de Câncer José other symptoms by integrating care and offering Alencar Gomes da Silva (INCA), Rio de Janeiro support so that patients can live as actively as (RJ), Brazil; and the Palliative Care Service possible, and help family members and caregivers (PCS) of the Instituto Português de Oncologia in the grieving process.3 Palliative care, then, seeks Francisco Gentil (IPO), Porto, Portugal. to “humanize” dying. According to Saunders,4 The study was approved by the Research it is important to ensure the care of the human Ethics Committees of NCA and IPO under being as a whole, promoting overall wellness and record numbers 462.858/2013 and 108/2013, maintaining dignity, so that he or she can live his respectively. or her death and not be dispossessed pf his or her own life. It is worthy of note that many patients The ease of access to the HC IV of INCA that in palliative care are elderly. I enjoyed, a result of my professional role as a nutritionist at this institution, allowed immersive The present study is an ethnographic essay study of this unit, its physical structure, staff based on Oncology Palliative Care Services in and patients, and how its palliative care strategy Brazil and Portugal, and forms part of a doctoral functions. I sought to perform a similar Free as a butterfly 633 observation at the IPO PCS, where I spent a new Osiris. The butterfly acquires an important period of 15 days as a visiting professional in the semantic significance, becoming the symbol of Nutrition and Food Service. An ethnographic a life that is constantly renewing itself, a sign of approach was used to describe the field of study, rebirth following death.10 identify the social scenario and contextualize the data collection, in order to provide continuity Symbolism of this kind is used in the Greek with the other phases of the study. myth of Psyche, who is drawn with butterfly wings, as well as in the frescoes of Pompeii, in While participant observation includes which she appears as a winged girl, similar to involvement in daily or routine activities in the a butterfly.8 The Greek term psych, from psyche, research stage, when researchers decide to study which means “breath, breath of life, soul”, a community considered to be well-known or forms part of a number of words in the Greek well-understood, they should realize that the language and later in many terms introduced dynamics of change lead to the inclusion of into international scientific language from the certain determinant factors hitherto ignored in nineteenth century onwards. The word psychology, 7 the network of social interaction. for example, means the “science of nature, human functions and phenomena of the soul or The first step in analyzing the relationship mind” in a definition dating from 1844.11 between butterflies and palliative care was to perform a review of literature on the etymological In works of art, Psyche is represented, together and symbolic meaning of butterflies. This was with Cupid, as a young woman with butterfly followed by meetings with experts in the study wings in the various scenes described in the of this insect and its presence in art, books and story.12 Such was Psyche’s beauty that Venus came movies. To deepen the symbolic connection to be jealous of her. The goddess ordered Cupid between butterflies and palliative care, the ideas to make Psyche fall in love with an evil-looking of Elizabeth Kübler-Ross were analyzed as a creature, but instead Cupid himself became her theoretical framework. lover. To keep their love secret, Cupid put her in a palace, but only visited her in the dark and RESULTS forbid her to try to see him. Driven by jealousy, Psyche’s sisters told her that he was a monster One aspect of the symbolism of butterflies is and would devour her. One night, Psyche used based on metamorphosis: the chrysalis is the egg a lamp to light the room so that see could see that contains the potentiality of a living being, Cupid when he was sleeping, but a drop of oil fell and the butterfly that appears from within it is from the lamp and woke him. As a consequence, a symbol of resurrection, a kind of emergence Cupid abandoned her. Alone and full of remorse, from the grave.8 In other words, the life stages Psyche sought her lover throughout the land, and of this insect, namely caterpillar, chrysalis and was set several challenges by Venus before she butterfly signify, respectively, life, death and could see him again. All the tasks were eventually resurrection, and as such represent the Christian completed except the last, which was to descend metamorphosis.9 The butterfly is, therefore, to Hades and bring back a box containing a associated with this natural phenomenon of dose of the beauty of Persephone.
Load more

Recommended publications
  • Film & Literature
    Name_____________________ Date__________________ Film & Literature Mr. Corbo Film & Literature “Underneath their surfaces, all movies, even the most blatantly commercial ones, contain layers of complexity and meaning that can be studied, analyzed and appreciated.” --Richard Barsam, Looking at Movies Curriculum Outline Form and Function: To equip students, by raising their awareness of the development and complexities of the cinema, to read and write about films as trained and informed viewers. From this base, students can progress to a deeper understanding of film and the proper in-depth study of cinema. By the end of this course, you will have a deeper sense of the major components of film form and function and also an understanding of the “language” of film. You will write essays which will discuss and analyze several of the films we will study using accurate vocabulary and language relating to cinematic methods and techniques. Just as an author uses literary devices to convey ideas in a story or novel, filmmakers use specific techniques to present their ideas on screen in the world of the film. Tentative Film List: The Godfather (dir: Francis Ford Coppola); Rushmore (dir: Wes Anderson); Do the Right Thing (dir: Spike Lee); The Dark Knight (dir: Christopher Nolan); Psycho (dir: Alfred Hitchcock); The Graduate (dir: Mike Nichols); Office Space (dir: Mike Judge); Donnie Darko (dir: Richard Kelly); The Hurt Locker (dir: Kathryn Bigelow); The Ice Storm (dir: Ang Lee); Bicycle Thives (dir: Vittorio di Sica); On the Waterfront (dir: Elia Kazan); Traffic (dir: Steven Soderbergh); Batman (dir: Tim Burton); GoodFellas (dir: Martin Scorsese); Mean Girls (dir: Mark Waters); Pulp Fiction (dir: Quentin Tarantino); The Silence of the Lambs (dir: Jonathan Demme); The Third Man (dir: Carol Reed); The Lord of the Rings trilogy (dir: Peter Jackson); The Wizard of Oz (dir: Victor Fleming); Edward Scissorhands (dir: Tim Burton); Raiders of the Lost Ark (dir: Steven Spielberg); Star Wars trilogy (dirs: George Lucas, et.
    [Show full text]
  • The Eddie Awards Issue
    THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE EDDIE AWARDS ISSUE IN THIS ISSUE Golden Eddie Honoree GUILLERMO DEL TORO Career Achievement Honorees JERROLD L. LUDWIG, ACE and CRAIG MCKAY, ACE PLUS ALL THE WINNERS... FEATURING DUMBO HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD AND MUCH MORE! US $8.95 / Canada $8.95 QTR 1 / 2019 / VOL 69 Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. All other trademarks are the property of their respective owners. Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries.
    [Show full text]
  • Exploring Movie Construction & Production
    SUNY Geneseo KnightScholar Milne Open Textbooks Open Educational Resources 2017 Exploring Movie Construction & Production: What’s So Exciting about Movies? John Reich SUNY Genesee Community College Follow this and additional works at: https://knightscholar.geneseo.edu/oer-ost Part of the Film and Media Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License. Recommended Citation Reich, John, "Exploring Movie Construction & Production: What’s So Exciting about Movies?" (2017). Milne Open Textbooks. 2. https://knightscholar.geneseo.edu/oer-ost/2 This Book is brought to you for free and open access by the Open Educational Resources at KnightScholar. It has been accepted for inclusion in Milne Open Textbooks by an authorized administrator of KnightScholar. For more information, please contact [email protected]. Exploring Movie Construction and Production Exploring Movie Construction and Production What's so exciting about movies? John Reich Open SUNY Textbooks © 2017 John Reich ISBN: 978-1-942341-46-8 ebook This publication was made possible by a SUNY Innovative Instruction Technology Grant (IITG). IITG is a competitive grants program open to SUNY faculty and support staff across all disciplines. IITG encourages development of innovations that meet the Power of SUNY’s transformative vision. Published by Open SUNY Textbooks Milne Library State University of New York at Geneseo Geneseo, NY 14454 This book was produced using Pressbooks.com, and PDF rendering was done by PrinceXML. Exploring Movie Construction and Production by John Reich is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License, except where otherwise noted. Dedication For my wife, Suzie, for a lifetime of beautiful memories, each one a movie in itself.
    [Show full text]
  • Coen Brothers' Fargo in the Noir Melting Pot of Genre Patterns
    Acta Universitatis Wratislaviensis • No 3869 Literatura i Kultura Popularna XXIV, Wrocław 2018 DOI: 10.19195/0867-7441.24.4 Kamila Żyto ORCID: 0000-0003-2822-8341 University of Łódź Detours of absurdity: Coen brothers’ Fargo in the noir melting pot of genre patterns Keywords: film noir, film history, film genres, cinema of Coen brothers Słowa kluczowe: film noir, historia filmu, gatunki filmowe, kino braci Coen The long-lasting debate over whether film noir should be seen as a genre, a cycle or a tendency in the history of cinema remains unsettled. No definitive solution has been found, nor any consensus reached, owing to the fact that the film noir phenomenon is particularly complex and convoluted. Much of the debate revolves around questions of approach and genre. But many movies, both those released in the 1940s and 1950s (the classical period) and those released in the following decades (the neo-noir, or postclassical, period), do not obviously fit any genre pattern or other ordering scheme. The diversity among films that are now unquestionably classified as noir, provokes controversy and raises numerous questions. What does Sunset Boulevard (dir. Billy Wilder, 1950) have in common with The Killers (dir. Robert Siodmak, 1946)? The first one is simultaneously a crime story, melodrama and horror. The second one is, without a doubt, a gang- ster movie. Do all noir films really constitute a single genre? I will leave this question unanswered, as to support any of the various opinions about the generic identity of film noir is not the main aim of this paper.1 From my perspective, there is little utility in joining this on-going debate, which has reached a standstill some time ago.
    [Show full text]
  • Classic Film Series
    Pay-as-you-wish Friday Nights! CLASSIC PAID Non-Profit U.S. Postage Permit #1782 FILM SERIES White Plains, NY Fall 2014/Winter 2015 Pay-as-you-wish Friday Nights! Bernard and Irene Schwartz Classic Film Series Join us for the New-York Historical Society’s film series, featuring opening remarks by notable directors, writers, actors, and historians. Justice in Film This series explores how film has tackled social conflict, morality, and the perennial struggles between right and wrong that are waged from the highest levels of government to the smallest of local communities. Entrance to the film series is included with Museum Admission during New-York Historical’s Pay-as-you-wish Friday Nights (6–8 pm). No advanced reservations. Tickets are distributed on a first-come, first-served basis beginning at 6 pm. New-York Historical Society members receive priority. For more information on our featured films and speakers, please visit nyhistory.org/programs or call (212) 485-9205. Classic Film Series Film Classic Publication Team: Dale Gregory Vice President for Public Programs | Alex Kassl Manager of Public Programs | Genna Sarnak Assistant Manager of Public Programs | Katelyn Williams 170 Central Park170 West at Richard Gilder (77th Way Street) NY 10024New York, NEW-YORK HISTORICAL SOCIETY MUSEUM LIBRARY Don Pollard Don ZanettiLorella Collection of the Supreme Court of the United States Justice in Film Chang Lia Friday, October 17, 7 pm Flower Drum Song | 1961 | 133 min. Judge Denny Chin and distinguished playwright David Henry Hwang introduce this classic adaptation of C. Y. Lee’s novel, where Old World tradition and American romanticism collide in San Joan MarcusJoan Denis Racine Denis Francisco’s Chinatown.
    [Show full text]
  • ANNUAL REPORT — 2016 a GREAT LEAP FORWARD Austin Film Society 1901 East 51St Street Austin, TX 78723 512.322.0145 Austinfilm.Org to OUR STAKEHOLDERS
    ANNUAL REPORT — 2016 A GREAT LEAP FORWARD Austin Film Society 1901 East 51st Street Austin, TX 78723 512.322.0145 austinfilm.org TO OUR STAKEHOLDERS The Austin Film Society has long held the dream of our own full-time cinema, a local place where people can assemble to communally explore all that international film culture has to offer. This was the year we took action on that dream and signed a long-term lease with The Linc to create the AFS Cinema. Two full-time screens will support interesting, challenging and entertaining cinematic events, lovingly curated by our brilliant team of programmers. A kitchen, lobby bar and event hall will support community gatherings and provide extra income to supplement ticket sales. The AFS Cinema was not AFS’s only program expansion in fiscal 2016. We also opened Austin Public, a 7,000-square-foot television studio in East Austin open to anyone in Austin who wants to explore filmmaking. By virtue of a contract with the City of Austin, AFS is able to offer classes, studio space and equipment at an incredibly low barrier to entry, and distribute locally made work on our channels and website. Additionally, we are making progress on plans for building out the former National Guard Armory into a creative media hub with the help of the 2012 bonds. Our facilities team expects to have schematic designs to show in 2017 as well as a plan for obtaining the $3.5 million-plus needed to create a fully functioning building. Meanwhile at AFS, it’s business as usual, with our instructors delivering youth media programs at under-resourced schools in Austin and our programmers planning screenings at various beloved Austin theaters while the AFS Cinema is dark for renovations (November 2016 –Spring 2017).
    [Show full text]
  • Academy Award-Winning Composer Howard Shore Takes Center Stage with Career Achievement Award from Chicago International Film Festival
    FOR IMMEDIATE RELEASE Contact: Lisa Dell Cinema/Chicago Media Relations [email protected] ACADEMY AWARD-WINNING COMPOSER HOWARD SHORE TAKES CENTER STAGE WITH CAREER ACHIEVEMENT AWARD FROM CHICAGO INTERNATIONAL FILM FESTIVAL (CHICAGO, August 19, 2015) - The 51st Chicago International Film Festival, presented by Cinema/Chicago, will honor acclaimed composer and orchestrator Howard Shore in recognition of his contributions to film and television with a tribute and award ceremony on Sunday, October 18, 2015. Howard Shore is one of the most versatile, talented, and respected composers and music conductors working today. He has collaborated with such prominent directors as Martin Scorsese, Jonathan Demme, Tim Burton, David Fincher, Arnaud Desplechin, and David Cronenberg, among numerous others. Shore’s work on Peter Jackson’s The Lord of the Rings trilogy was recognized with three Academy Awards, two Golden Globes and many other honors. Presented by Gold Festival Partner Wintrust Community Banks, the Howard Shore Tribute will include an on-stage interview with Shore, film clips, and music celebrating his remarkable career. The Festival will present him with a Gold Hugo Career Achievement Award. Passes for the Chicago International Film Festival are now on sale. Individual tickets and the complete Festival schedule will be available on September 22. Visit http://www.chicagofilmfestival.com for information. A photo of Mr. Shore may be downloaded from here. (more) ABOUT HOWARD SHORE Howard Shore has composed music for more than 75 films, including Panic Room, A History of Violence, Doubt, Hugo, The Departed, The Aviator, Gangs of New York, Ed Wood, The Silence of the Lambs, Philadelphia, and Mrs Doubtfire.
    [Show full text]
  • Bamcinématek Presents Indie 80S, a Comprehensive, 60+ Film Series Highlighting the Decade Between 70S New Hollywood and the 90S Indie Boom, Jul 17—Aug 27
    BAMcinématek presents Indie 80s, a comprehensive, 60+ film series highlighting the decade between 70s New Hollywood and the 90s indie boom, Jul 17—Aug 27 Co-presented by Cinema Conservancy The Wall Street Journal is the title sponsor of BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/June 11, 2015—From Friday, July 17 through Thursday, August 27, BAMcinématek and Cinema Conservancy present Indie 80s, a sweeping survey of nearly 70 films from the rough-and-tumble early days of modern American independent cinema. An aesthetic and political rebuke to the greed-is-good culture of bloated blockbusters and the trumped-up monoculture of Reagan-era America, Indie 80s showcases acclaimed works like Jim Jarmusch’s Stranger Than Paradise (1984—Jul 18), David Lynch’s Blue Velvet (1986—Aug 8), and Steven Soderbergh’s sex, lies, and videotape (1989—Aug 14) alongside many lesser- known but equally accomplished works that struggled to find proper distribution in the era before studio classics divisions. Filmmakers including Ross McElwee, William Lustig, Rob Nilsson, and more will appear in person to discuss their work. Like the returning expatriate’s odyssey in Robert Kramer’s four-hour road movie Route One/USA (1989—Aug 16), a sampling of 80s indie cinema comprises an expansive journey through the less-traveled byways of America. From the wintry Twin Cities of the improvised, hilariously profane road trip Patti Rocks (1988—Aug 25) to the psychopath’s stark Chicago hunting grounds in John McNaughton’s Henry: Portrait of a Serial Killer (1986—Jul 29) to the muggy Keys of Florida in filmmaker Victor Nuñez’s eco-thriller A Flash of Green (1984—Aug 12), regional filmmakers’ cameras canvassed an America largely invisible to Hollywood.
    [Show full text]
  • Hollywood Abroad: Audiences and Cultural Exchange
    Hollywood Abroad: Audiences and Cultural Exchange By Melvyn Stokes and Richard Maltby (eds.) London, British Film Institute 2004. ISBN: 1-84457-018-5 (hbk), 1-84457-051-7 (pbk). 164 pp. £16.99 (pbk), £50 (hbk) A review by Martin Barker, University of Wales, Aberystwyth This is the fourth in a line of excellent books to have come out of two conferences held in London, on Hollywood and its audiences. This fourth collection deals specifically with the reception of Hollywood films in some very different counties and cultural contexts. The quality and the verve of the essays in here (they are all, without exception, beautifully written) is testimony to the rise and the potentials of the new historical approaches to audiences (which has, I am pleased to see, sedimented into some on-going cross-cultural research projects on local film exhibition histories). I recommend this book, unreservedly. Its contributors demonstrate so well the potential for many kinds of archival research to extend our understanding of film reception. In here you will find essays on the reception of the phenomenon of Hollywood, and sometimes of specific films, in contexts as different as a mining town in Australia in the 1920s (Nancy Huggett and Kate Bowles), in and through an upmarket Japanese cinema in the aftermath of Japan's defeat in 1946 (Hiroshi Kitamura), in colonial Northern Rhodesia in the period leading up to independence (Charles Ambler), and in and around the rising nationalist movements in India in the 1920-30s (Priya Jaikumar). It is important, in understanding this book, that we pay attention to the specificities of these contexts.
    [Show full text]
  • Cultural Analysis of Jonathan Demme's "The Silence of the Lambs"
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1996 Cultural analysis of Jonathan Demme's "The Silence of the Lambs" Arthur S. Almquist The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Almquist, Arthur S., "Cultural analysis of Jonathan Demme's "The Silence of the Lambs"" (1996). Graduate Student Theses, Dissertations, & Professional Papers. 1952. https://scholarworks.umt.edu/etd/1952 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Maureen and Mike " - MANSFIELD LIBRARY ' - The University of MONTANA Pennission is granted by the author to reproduce tliis material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. ** Please check "Yes" or "No" and provide signature ** Yes, I grant permission No, I do not grant permission Author's Signature Date ^ Any copying for commercial purposes or financial gain may be undertaken only with tlie author's explicit consent. A CULTURAL ANALYSIS OF JONATHAN DEMME'S THE SILENCE OF THE LAMBS by Arthur S. Almquist presented in partial fulfillment of the requirements for the degree of Master of Arts The University of Montana 1996 Approved by: Chairperson Dean, Graduate School 5- Date UMI Number; EP35166 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted.
    [Show full text]
  • The Philosophy of the Coen Brothers
    University of Kentucky UKnowledge American Popular Culture American Studies 12-12-2008 The Philosophy of the Coen Brothers Mark T. Conard Marymount College Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Conard, Mark T., "The Philosophy of the Coen Brothers" (2008). American Popular Culture. 5. https://uknowledge.uky.edu/upk_american_popular_culture/5 conard_coen_dj2:Layout 1 9/29/08 6:18 PM Page 1 CONARD (continued from front flap) FILM/PHILOSOPHY THE PHILOSOPHY OF systems. The tale of love, marriage, betrayal, and divorce THE PHILOSOPHY OF in Intolerable Cruelty transcends the plight of the charac- “The Philosophy of the Coen Brothers offers a very ters to illuminate competing theories of justice. Even in smart, provocative, and stylishly written set of lighter fare, such as Raising Arizona and The Big Lebowski, essays on the films of the Coen brothers. The THE COEN the comedy emerges from characters’ journeys to the volume makes a convincing case for reading their brink of an amoral abyss. However, the Coens often films within a wide array of philosophical contexts knowingly and gleefully subvert conventions and occa- and persuasively demonstrates that the films of sionally offer symbolic rebirths and other hopeful out- BROTHERS the Coen brothers often implicitly and sometimes comes.
    [Show full text]
  • International & Festivals
    COMPANY CV – INTERNATIONAL & FESTIVALS INTERNATIONAL CAMPAIGNS / JUNKETS / TOURS (selected) Below we list the key elements of the international campaigns we have handled, but our work often also involves working closely with the local distributors and the film-makers and their representatives to ensure that all publicity opportunities are maximised. We have set up face-to-face and telephone interviews for actors and film-makers, working around their schedules to ensure that the key territories in particular are given as much access as possible, highlighting syndication opportunities, supplying information on special photography, incorporating international press into UK schedules that we are running, and looking at creative ways of scheduling press. THE AFTERMATH / James Kent / Fox Searchlight • International campaign support COLETTE / Wash Westmoreland / HanWay Films • International campaign BEAUTIFUL BOY / Felix van Groeningen / FilmNation • International campaign THE FAVOURITE / Yorgos Lanthimos / Fox Searchlight • International campaign support SUSPIRIA / Luca Guadagnino / Amazon Studios • International campaign LIFE ITSELF / Dan Fogelman / FilmNation • International campaign DISOBEDIENCE / Sebastián Lelio / FilmNation • International campaign THE CHILDREN ACT / Richard Eyre / FilmNation • International campaign DON’T WORRY, HE WON’T GET FAR ON FOOT / Gus Van Sant / Amazon Studios & FilmNation • International campaign ISLE OF DOGS / Wes Anderson / Fox Searchlight • International campaign THREE BILLBOARDS OUTSIDE EBBING, MISSOURI /
    [Show full text]