Australian Humanities Review - Issue 51
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DVD Laser Disc Newsletter DVD Reviews Complete Index June 2008
DVD Laser Disc Newsletter DVD Reviews Complete Index June 2008 Title Issue Page *batteries not included May 99 12 "10" Jun 97 5 "Weird Al" Yankovic: The Videos Feb 98 15 'Burbs Jun 99 14 1 Giant Leap Nov 02 14 10 Things I Hate about You Apr 00 10 100 Girls by Bunny Yaeger Feb 99 18 100 Rifles Jul 07 8 100 Years of Horror May 98 20 1000 Eyes of Dr. Mabuse Sep 00 2 101 Dalmatians Jan 00 14 101 Dalmatians Apr 08 11 101 Dalmatians (remake) Jun 98 10 101 Dalmatians II Patch's London Adventure May 03 15 10:30 P.M. Summer Sep 07 6 10th Kingdom Jul 00 15 11th Hour May 08 10 11th of September Moyers in Conversation Jun 02 11 12 Monkeys May 98 14 12 Monkeys (DTS) May 99 8 123 Count with Me Jan 00 15 13 Ghosts Oct 01 4 13 Going on 30 Aug 04 4 13th Warrior Mar 00 5 15 Minutes Sep 01 9 16 Blocks Jul 07 3 1776 Sep 02 3 187 May 00 12 1900 Feb 07 1 1941 May 99 2 1942 A Love Story Oct 02 5 1962 Newport Jazz Festival Feb 04 13 1979 Cotton Bowl Notre Dame vs. Houston Jan 05 18 1984 Jun 03 7 1998 Olympic Winter Games Figure Skating Competit May 99 7 1998 Olympic Winter Games Figure Skating Exhib. Sep 98 13 1998 Olympic Winter Games Hockey Highlights May 99 7 1998 Olympic Winter Games Overall Highlights May 99 7 2 Fast 2 Furious Jan 04 2 2 Movies China 9 Liberty 287/Gone with the West Jul 07 4 Page 1 All back issues are available at $5 each or 12 issues for $47.50. -
The Evolution of the Musical Film Toward a Total Work of Art
Bard College Bard Digital Commons Senior Projects Spring 2016 Bard Undergraduate Senior Projects Spring 2016 Achieving Attunement: The Evolution of the Musical Film Toward a Total Work of Art Elena Catherine Smith Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2016 Part of the Visual Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Smith, Elena Catherine, "Achieving Attunement: The Evolution of the Musical Film Toward a Total Work of Art" (2016). Senior Projects Spring 2016. 414. https://digitalcommons.bard.edu/senproj_s2016/414 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Achieving Attunement The Evolution of the Musical Film Toward a Total Work of Art Senior Project Submitted to The Division of the Arts of Bard College by Elena Catherine Smith Annandale-on-Hudson, New York May 2016 Acknowledgements Thanks to my parents, for knowing that a musical family is a happy family, and especially to my mother Jeanne, who has always believed in me. My gratitude is owed also to Justin, without whom I may never have found my voice. -
Rock”N”Roll Cinema
Rock’n’Roll Cinema Adam Trainer Bachelor of Arts With First Class Honours in Media Studies This thesis is submitted for the degree of Doctor of Philosophy School of Media, Communication and Culture Murdoch University 2005 I declare that this thesis is my own account of my research and contains, as its main content, work which has not previously been submitted for a degree at any tertiary educational institution. Adam Trainer Refereed Publications Adam Trainer. ‘“Well I Wouldn’t Buy the Merchandise”: David Bowie as Post -Auteur’ in Senses of Cinema 28. September/October, 2003. http://www.sensesofcinema.com/contents/03/28/bowie_postmodern_auteur.html This journal article was derived from Chapter Five Adam Trainer. ‘The Business of Living: Secrets & Lies’ in Australian Screen Education 36. September, 2004. pp. 127-129. This journal article was written in association with research on cinematic realism, as featured in Chapter Four. Adam Trainer. ‘“They Made Me Do It”: The Mad World of Donnie Darko’ in Australian Screen Education 37. January, 2005. pp. 138-142. This journal article was derived from Chapter Three. Adam Trainer. ‘“It’s Not My Fault You Hate My Band”: Perth Art Rock’ in Liverpool of the South Seas: Perth and Its Popular Music. Tara Brabazon ed. Crawley: University of Western Australia Press, 2005. pp. 127-135. This chapter was written in association with research on experimental music, as presented in Chapter Six. Adam Trainer. ‘A Crooked Crooked Reign’ in Liverpool of the South Seas: Perth and Its Popular Music. Tara Brabazon ed. Crawley: University of Western Australia Press, 2005. pp. -
Friends of Australia
Friends of Australia Friends of Australia is Tourism Australia’s global ambassador network that recognises bright and influential opinion leaders who share a passion for Australia. Friends of Australia OUR GLOBAL AMBASSADOR Friends of Australia CHRIS HEMSWORTH ACTOR Based in Byron Bay, Australia Chris Hemsworth is an Chris Hemsworth was born in It was Hemsworth’s role as Thor in Los Angeles to beachside town, Byron Australian actor well known Melbourne and saw quite a bit of the Marvel Cinematic Universe which Bay, Australia, famous for its pristine for portraying comic book hero the Australian country in his youth, thrust him to worldwide prominence beaches and surf culture. moving with his family including in 2011. He has reprised the character Thor in the Marvel Cinematic brothers Liam and Luke, to the five times and starred amongst a Chris Hemsworth was appointed as Universe franchise. Northern Territory before settling top tier cast of actors which has only Tourism Australia’s global ambassador down on Phillip Island, south furthered his presence in the world of in 2015. Chris was appointed as he of Melbourne. Hollywood stars. is passionate about Australia and provides an authentic Australian voice Hemsworth followed in the footsteps Hemsworth has also appeared to help tell the country’s story globally. of other famous Aussies like Heath in a number of other Hollywood Ledger, Isla Fisher, Simon Baker and films including Snow White and the Naomi Watts by becoming a regular Huntsman (2012), Red Dawn (2012), on the soap opera Home and Away Rush (2013) In the Heart of the Sea (2004-2007), whilst also competing (2015) and Ghostbusters (2016). -
Bertolt Brecht, in a Discussion on Film and Theatre, Notes That
ABSTRACT EVERETT, MARY ELIZABETH. “Spectacular, Spectacular”: The Mythology of Theatre and Cinema within Baz Luhrmann’s Red Curtain Trilogy. (Under the direction of Marsha Orgeron.) “Spectacular, Spectacular” looks at Baz Luhrmann’s Red Curtain Trilogy—Strictly Ballroom (1992), Romeo + Juliet (1996), and Moulin Rouge (2001)—in the context of the mythologies of the theatre and cinema that Luhrmann builds. Evoking themes, images, and concepts found within these two mediums, Luhrmann goes to great lengths to signify both the cinematic and the theatrical within these films through references to popular culture, and these references incrementally mesh the worlds of theatre and cinema throughout the trilogy. In Strictly Ballroom, Luhrmann explores the concepts of performance, spectacle, and realism while at the same time replicating a popular cinematic form of the time, the non-diegetic musical. Moving further away from the popular genre that Strictly Ballroom mirrored, Luhrmann next made Romeo + Juliet, a film that speaks to many of the same conventions of theatre and film while also adding features of diegetic song and self-referentiality to heighten this connection. Moulin Rouge, Luhrmann’s final film, is an overt musical homage, complete with internal and external references to both theatre and film with an overwhelming sense of awareness of popular culture. Although many critics, including Luhrmann himself, have praised him for his innovative style, this thesis argues that Luhrmann’s trilogy does not create a new film form. Rather, “Spectacular, Spectacular” will demonstrate that his self- proclaimed genre, Red Curtain Cinema, is a modernized echo of an earlier idea—using popular culture and referentiality to pay tribute to a fading genre—found in one of the most popular movie musicals of all time, Singin’ in the Rain. -
Great Gatsby - Movie Tie-In Pdf, Epub, Ebook
GREAT GATSBY - MOVIE TIE-IN PDF, EPUB, EBOOK F. Scott Fitzgerald | 261 pages | 12 Apr 2013 | SIMON & SCHUSTER | 9781476740553 | English | United States Great Gatsby - Movie Tie-In PDF Book Add to Watchlist Unwatch. Seller Image. Full Cast and Crew. Running time. Red Curtain Trilogy No. The book behind this Will Smith cover is sure to disappoint fans of the movie, as this edition of Isaac Asimov's short story collection I, Robot contains nine stories — none of which were actually depicted in the film. No additional import charges at delivery! Stock Image. Is it really you? Retrieved April 4, The seller has not specified a shipping method to Germany. Klipspringer Elliott Sullivan Perry Freeman, Amazon. I think this one came closest to the original novel,yet much different from the original Fitzgerald novel-which,by the way is one of the best,if not the absolute best American novel ever to be written. Academy Awards [71] [72]. Log in again Return to the free version of the site. Scott Fitzgerald , at the time of writing the screenplay for this movie. Collectors Weekly. Retrieved May 19, There are seven books in C. Views Read Edit View history. It's a question many asked last week when Scribner released a special movie tie-in edition of F. Craig Armstrong. Great Gatsby - Movie Tie-In Writer Learn More - opens in a new window or tab. Nick Carraway. Light to moderate cover wear. Empire Awards [78]. User Ratings. Louis Gateway Film Critics Association. December 14, Download as PDF Printable version. The Get Down — Monitor Daily Current Issue. -
The Aboriginal Voice and the Left-Leaning'australia'(Baz
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Starrs, D. Bruno (2012) The Aboriginal voice and the left-leaning ’Australia’ (Baz Luhrmann, 2008). Continuum: Journal of Media and Cultural Studies, 26(4), pp. 625-636. This file was downloaded from: https://eprints.qut.edu.au/43359/ c Copyright 2012 Taylor & Francis This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. https://doi.org/10.1080/10304312.2012.630144 The Aboriginal voice in the left-leaning Australia (Baz Luhrmann, 2008). Abstract. Arguing that Baz Luhrmann’s Australia (2008) is a big-budget, non-independent film espousing a left-leaning political ideology in its non-racist representations of Aborigines on film, this paper suggests the addition of a ‘fourth formation’ to the 1984 Moore and Muecke model is warranted. -
Xavier University Newswire
Xavier University Exhibit All Xavier Student Newspapers Xavier Student Newspapers 2008-11-12 Xavier University Newswire Xavier University (Cincinnati, Ohio) Follow this and additional works at: https://www.exhibit.xavier.edu/student_newspaper Recommended Citation Xavier University (Cincinnati, Ohio), "Xavier University Newswire" (2008). All Xavier Student Newspapers. 550. https://www.exhibit.xavier.edu/student_newspaper/550 This Book is brought to you for free and open access by the Xavier Student Newspapers at Exhibit. It has been accepted for inclusion in All Xavier Student Newspapers by an authorized administrator of Exhibit. For more information, please contact [email protected]. November 12, 2008 XAVIER NEWSWIRE Volume XCIV Published since 1915 by the students of Xavier University Issue 12 CAMPUS NEWS, pg 3 SPORTS, pg 8 Ready to rumble Need some Stick-Um? ALWAYS ONLINE: Rival university clubs bring Fight Men’s basketball team turns over xavier.edu/ Night to Xavier the ball 28 times in Findlay win newswire inside @ Fallout from offensive Survey shows satisfaction with Xavier costumes continues New students, graduating seniors polled on Xavier experience BY JOHN LAFOLLETTE Simons said. Editor-in-Chief Dave Johnson, the director of A meeting of university offi- the Peace and Justice programs, cials and student representatives said that Thursday’s town hall concluded that recent events re- meeting was needed to make sure lated to racial insensitivity around that everyone on campus is on the Xavier’s campus require both same page. short and long term responses, “We need to have a community participants at the meeting said. conversation now about how this The university is still dealing event has impacted Xavier,” he with fallout from costumes worn said. -
“From Nihilistic Implosion to Creative Explosion”: the Representation of the South Bronx from the Warriors to the Get Down
Master’s Degree Programme – Second Cycle (D.M. 270/2004) in Relazioni Internazionali Comparate – International Relations Final Thesis “From Nihilistic Implosion to Creative Explosion”: the Representation of the South Bronx from The Warriors to The Get Down. Supervisor Ch. Prof.ssa Francesca Bisutti Co-Supervisor Ch. Prof.ssa Daniela Ciani Forza Graduand Demetrio Antolini Matriculation Number: 850770 Academic Year 2015 / 2016 0 Table of Contents Introduction p. 3 Chapter 1 The evolution of the neighborhood From “Wonder Borough” to “America’s third world” p. 11 1.1 Introduction p. 12 1.2 The South Bronx after World War II: symptoms of an announced disaster p. 14 1.3 Conclusion p. 25 Chapter 2 The South Bronx Youth gangs’ amusement park p. 30 2.1 Introduction p. 30 2.2 Birth, death and rebirth of gangs in postwar New York City p. 32 2.3 Conclusion p. 41 Chapter 3 The representation of the South Bronx From The Warriors to Beat Street p. 44 3.1 Introduction p. 44 3.2 “You know, this is the Bronx. Nothing is worse than this hellhole”: the “nihilistic implosion” of the South Bronx p. 45 3.3 “You can keep your dreams, but get something to fall back on”: the “creative explosion” of the South Bronx p. 53 3.4 Conclusion p. 64 Chapter 4 The South Bronx in The Get Down p. 68 4.1 Introduction p. 68 4.2 Luhrmann’s signature style p. 72 4.3 “Where there is ruin, there is hope for a treasure”: an analysis of The Get Down p. -
Music, Myth and the Pursuit of Meaning in Moulin Rouge! Mmus(R) Thesis
Alexander, Helen (2010) Music, myth and the pursuit of meaning in Moulin Rouge! MMus(R) thesis. http://theses.gla.ac.uk/3433/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Music, Myth and the Pursuit of Meaning in Moulin Rouge! Helen Alexander Submitted to The University of Glasgow Music Department as part of the Master of Music (MMus) Course August 2009 ©Helen Alexander 2009 2 Contents Introduction p. 3 1. The Construction of the Film p. 10 2. The Story p. 28 3. The Intertextual Web p. 44 Conclusion p. 56 Filmography p. 59 Bibliography p. 60 3 Introduction The reception of Moulin Rouge! by newspaper and magazine critics has been mixed, at best. The two most common complaints are that the film is a visual assault on the senses, and that meaning is thin on the ground. Descriptions of Moulin Rouge!‟s visual impact, particularly the first twenty minutes, include „a harrowing sensory assault,‟1 „a whole lot of whooshing,‟2 and „a hurtling, vertiginous, computer-assisted -
The Composite Score: Indiewood Film Music at the Turn of the Twenty-First Century by Jennifer Lauren Psujek
Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-15-2016 The ompC osite Score: Indiewood Film Music at the Turn of the Twenty-First Century Jennifer Lauren Psujek Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Film and Media Studies Commons, and the Music Commons Recommended Citation Psujek, Jennifer Lauren, "The ompositC e Score: Indiewood Film Music at the Turn of the Twenty-First Century" (2016). Arts & Sciences Electronic Theses and Dissertations. 795. https://openscholarship.wustl.edu/art_sci_etds/795 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Todd Decker, Chair Patrick Burke Claudia Gorbman Paul Steinbeck Gaylyn Studlar The Composite Score: Indiewood Film Music at the Turn of the Twenty-First Century by Jennifer Lauren Psujek A dissertation presented to the Graduate School of Arts & Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2016 St. Louis, Missouri © 2016, Jennifer Lauren Psujek All rights reserved. TABLE OF CONTENTS List of Figures iii List of Tables iv Acknowledgements v INTRODUCTION 1 Indiewood, Composite Scores, and the Mélomanes CHAPTER 1 32 Molding the Composite Score in Eyes Wide Shut (1999) CHAPTER 2 93 Collaboration and Quirkiness in Magnolia (1999) CHAPTER 3 144 Blurred Boundaries in Fight Club (1999) CHAPTER 4 191 Moulin Rouge! (2001) and the Blended Composite Score CONCLUSION 245 BIBLIOGRAPHY 251 ii LIST OF FIGURES 1.1 Alex North’s Notes, pg. -
Screen Sound: a Tribute to Rebecca Coyle
SCREEN SOUND The Australasian Journal of Soundtrack Studies Screen Sound n4, 2013 Screen Sound: The Australasian Journal of Soundtrack Studies Number 4, 2013 Screen Sound is a peer-refereed research journal founded by the late A/Prof Rebecca Coyle (Southern Cross University, Australia). The team includes acting co- editors Sarah Keith, Natalie Lewandowski and Alex Mesker (Macquarie University, Sydney). Editorial Board: • Giorgio Biancorosso (University of Hong Kong) • Anne Cranny-Francis (University of Technology, Sydney, Australia) • Mark Evans (Macquarie University, Sydney, Australia) • Jon Fitzgerald (Southern Cross University, Australia) • Michael Hannan (Southern Cross University, Australia) • Roger Hillman (Australian National University, ACT) • Henry Johnson (University of Otago, Dunedin, NZ) • Kyoko Koizumi (Otsuma Women’s University, Tokyo, Japan) • Theo Van Leeuwen (University of Technology, Sydney, Australia) • James Wierzbicki (University of Sydney, Australia) • Nabeel Zuberi (University of Auckland, NZ) Industry Advisory Board: • Martin Armiger (AFTRS) • Matthew Davies (NFSA, ASRA) • Matthew Hancock (Screen Australia) • Dr Glenda Keam (Composers Association of NZ) • Jo Smith (AGSC) • Mark Ward ISSN 1838-3343 (Print) ISSN 1838-3351 (Online) e-correspondence address: [email protected] The opinions expressed in articles in this journal are those of the authors alone. Copyright for articles published in this journal is held jointly by the authors and Screen Sound and no reproduction of material is permitted without