Capitalist Rhetoric and the Redirection of Power Through Metaphor in Reviews of Alejandro Gonzales Iñárritu Films
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Crazy Narrative in Film. Analysing Alejandro González Iñárritu's Film
Case study – media image CRAZY NARRATIVE IN FILM. ANALYSING ALEJANDRO GONZÁLEZ IÑÁRRITU’S FILM NARRATIVE TECHNIQUE Antoaneta MIHOC1 1. M.A., independent researcher, Germany. Corresponding author: [email protected] Abstract Regarding films, many critics have expressed their dissatisfaction with narrative and its Non-linear film narrative breaks the mainstream linearity. While the linear film narrative limits conventions of narrative structure and deceives the audience’s expectations. Alejandro González Iñárritu is the viewer’s participation in the film as the one of the directors that have adopted the fragmentary narrative gives no control to the public, the narration for his films, as a means of experimentation, postmodernist one breaks the mainstream con- creating a narrative puzzle that has to be reassembled by the spectators. His films could be included in the category ventions of narrative structure and destroys the of what has been called ‘hyperlink cinema.’ In hyperlink audience’s expectations in order to create a work cinema the action resides in separate stories, but a in which a less-recognizable internal logic forms connection or influence between those disparate stories is the film’s means of expression. gradually revealed to the audience. This paper will analyse the non-linear narrative technique used by the In the Story of the Lost Reflection, Paul Coates Mexican film director Alejandro González Iñárritu in his states that, trilogy: Amores perros1 , 21 Grams2 and Babel3 . Film emerges from the Trojan horse of Keywords: Non-linear Film Narrative, Hyperlink Cinema, Postmodernism. melodrama and reveals its true identity as the art form of a post-individual society. -
First-Run Smoking Presentations in U.S. Movies 1999-2006
First-Run Smoking Presentations in U.S. Movies 1999-2006 Jonathan R. Polansky Stanton Glantz, PhD CENTER FOR TOBAccO CONTROL RESEARCH AND EDUCATION UNIVERSITY OF CALIFORNIA, SAN FRANCISCO SAN FRANCISCO, CA 94143 April 2007 EXECUTIVE SUMMARY Smoking among American adults fell by half between 1950 and 2002, yet smoking on U.S. movie screens reached historic heights in 2002, topping levels observed a half century earlier.1 Tobacco’s comeback in movies has serious public health implications, because smoking on screen stimulates adolescents to start smoking,2,3 accounting for an estimated 52% of adolescent smoking initiation. Equally important, researchers have observed a dose-response relationship between teens’ exposure to on-screen smoking and smoking initiation: the greater teens’ exposure to smoking in movies, the more likely they are to start smoking. Conversely, if their exposure to smoking in movies were reduced, proportionately fewer teens would likely start smoking. To track smoking trends at the movies, previous analyses have studied the U.S. motion picture industry’s top-grossing films with the heaviest advertising support, deepest audience penetration, and highest box office earnings.4,5 This report is unique in examining the U.S. movie industry’s total output, and also in identifying smoking movies, tobacco incidents, and tobacco impressions with the companies that produced and/or distributed the films — and with their parent corporations, which claim responsibility for tobacco content choices. Examining Hollywood’s product line-up, before and after the public voted at the box office, sheds light on individual studios’ content decisions and industry-wide production patterns amenable to policy reform. -
The Man Who Refused to Die His Name Is Not Familiar to Most O[ Us
The man who refused to die His name is not familiar to most o[ us. In 1963, one author honored him this way: "He strides through the annals of the Old West, a man ol truly hcroic proportions, ye! a strangely elusive one." He was Hugh Glass, Mountain Man. He is said to have hailed from Pennsylvania as a young man. He next sailed on the Gulf of Mexico as skipper of a merchant vessel. He was intitiated into the adventurous life by none olher ttran the pirate, Jean Lafitte, who captured Glass's ship on the high seas. At this time, it is estimated Glass was in his mid-30s. Glass was taken as a prisoner to l-afitte's headquarters at what is today the city of Galveston, Texas. There he was offered a choice: become a freeboo[er, or die. Glass chose to live. The length of time he lived as a pirate is estimated as slightly oYer a year' His chance for escape came in 1818 when he and a companion dropped over the side of their ship and at night swam the two miles to the Texas mainland' At that time, Texas was a pathless wilderness. In trying to avoid hostile cannibalistic Indians, the two escapees cut away from the coasal jungles into the plains where, a thousand miles later, they were captured by the Pawnee in what is now I(ansas. Here Glass's companion was burned to death. But, he was saved. On his person was found a package of cinnabar, highly-prized by redmen in the making of brilliant red war paint. -
The Revenant
THE REVENANT by Mark L Smith Based on the novel by Michael Punke August 9, 2010 Revenge is an act of passion; vengeance of justice. - Samuel Johnson Based on a true story FADE IN: INT. FARMHOUSE - NIGHT Mostly shadows illuminated by a lantern's flame. But we can make out the dusty floor... the bucket of water with a rag hanging over the edge. We drift across the room... to a bed... an ANSTADT RIFLE standing beside it, a FRESH STAR fully carved in its stock. As we move up past the rifle, we begin to hear O.S. WHISPERS... we keep rising... to the SHAPE OF A YOUNG BOY shivering violently under blankets... ...and MAN'S HANDS stroking the boy's sweat-soaked hair... trying to comfort him. Then the shadowy face of HUGH GLASS leans into the frame... presses against the little boy's ear. GLASS (whispering) Not yet... not yet... not yet. DISSOLVE TO: EXT. UPPER MISSOURI RIVER/1820'S - EVENING As we FLOAT WITH A LEAF DOWN THE CURRENT... past a FLATBOAT BEACHED ON A SANDBAR... as DISTANT VOICES seem to rise around us... ...because beyond the flatboat are TWENTY-FIVE MEN of the Rocky Mountain Fur Company, making camp along the shore... some pitching squares of canvas for makeshift rooftops... others stacking HUNDREDS OF BEAVER PELTS and ANIMAL FURS for hauling... a few Men laughing and singing... a circle of others form a ring around a couple of WRESTLING TRAPPERS, calling out their bets as the Trappers grapple... ...while nearby, several MEN have formed a MAKESHIFT BAND, scratching out a song with fiddles, washboards and harmonicas, as a few Trappers dance along, passing a bottle of whiskey among them. -
The Revenant - a Brutal Masterpiece: Review Essay
Volume 44 Number 4 Article 2 June 2016 The Revenant - A Brutal Masterpiece: Review Essay James C. Schaap Dordt College Follow this and additional works at: https://digitalcollections.dordt.edu/pro_rege Recommended Citation Schaap, James C. (2016) "The Revenant - A Brutal Masterpiece: Review Essay," Pro Rege: Vol. 44: No. 4, 9 - 11. Available at: https://digitalcollections.dordt.edu/pro_rege/vol44/iss4/2 This Feature Article is brought to you for free and open access by the University Publications at Digital Collections @ Dordt. It has been accepted for inclusion in Pro Rege by an authorized administrator of Digital Collections @ Dordt. For more information, please contact [email protected]. The Revenant—A Brutal Masterpiece: Review Essay It’s pure rags-to-riches Americana, in a way, be- cause Hugh Glass does not die, nor will he, miles and miles from civilization. It’s revenge that he breathes, revenge that brings him life. The story goes that Hugh Glass pulled himself up and away from death itself even though he had no bootstraps at all. Slowly, with pain that’s as unendurable to imagine as it is to witness, he slogs back through American wilderness, then returns to the fort in search of Fitzgerald, the man who left him behind. In origin, the myth belongs to South Dakota. Legend has it that Glass was mauled by a she- bear somewhere near Lemmon but eventually by James Schaap fought the elements, hand over hand, all the way back to Ft. Kiowa, near Chamberlain, a 200-mile The Revenant is a film-making masterpiece trek. -
Mountain Men on Film Kenneth Estes Hall East Tennessee State University, [email protected]
East Tennessee State University Digital Commons @ East Tennessee State University ETSU Faculty Works Faculty Works 1-1-2016 Mountain Men on Film Kenneth Estes Hall East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/etsu-works Part of the American Film Studies Commons, and the Film and Media Studies Commons Citation Information Hall, Kenneth Estes. 2016. Mountain Men on Film. Studies in the Western. Vol.24 97-119. http://www.westernforschungszentrum.de/ This Article is brought to you for free and open access by the Faculty Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in ETSU Faculty Works by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Mountain Men on Film Copyright Statement This document was published with permission from the journal. It was originally published in the Studies in the Western. This article is available at Digital Commons @ East Tennessee State University: https://dc.etsu.edu/etsu-works/596 Peter Bischoff 53 Warshow, Robert. "Movie Chronicle: The Western." Partisan Re- view, 21 (1954), 190-203. (Quoted from reference number 33) Mountain Men on Film 54 Webb, Walter Prescott. The Great Plains. Boston: Ginn and Kenneth E. Hall Company, 1931. 55 West, Ray B. , Jr., ed. Rocky Mountain Reader. New York: E.P. Dutton, 1946. 56 Westbrook, Max. "The Authentic Western." Western American Literatu,e, 13 (Fall 1978), 213-25. 57 The Western Literature Association (sponsored by). A Literary History of the American West. Fort Worth: Texas Christian University Press, 1987. -
El Hollywood: Alejandro González Iñarritu
EL HOLLYWOOD : ALEJANDRO GONZ ÁLEZ I ÑARRITU, ALFONSO CUAR ÓN, AND GUILLERMO DEL TORO By ANA-MARIA LUNGU Bachelor of Arts in Film Edinburgh Napier University Edinburgh, United Kingdom 2016 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF ARTS July, 2018 EL HOLLYWOOD : ALEJANDRO GONZ ÁLEZ I ÑARRITU, ALFONSO CUAR ÓN, AND GUILLERMO DEL TORO Thesis Approved: Dr. Jeff Menne Thesis Adviser Dr. Stacy Takacs Dr. Graig Uhlin ii ACKNOWLEDGEMENTS I would like to express my gratitude to my committee, Dr. Jeff Menne, Dr. Stacy Takacs, and Dr. Graig Uhlin for their guidance throughout my time at Oklahoma State, especially during the thesis writing process. I would like to thank my colleagues Dillon Hawkins, Jared Ashburn, Skyler Osburn and my husband Jacob for their continuous support and their dedication to reading my work and providing helpful comments. iii Acknowledgements reflect the views of the author and are not endorsed by committee members or Oklahoma State University. Name: ANA-MARIA LUNGU Date of Degree: AUGUST, 2018 Title of Study: THESIS Major Field: ENGLISH Abstract: The three Mexican filmmakers, Alfonso Cuarón, Alejandro González Iñárritu, and Guillermo del Toro, dubbed The Three Amigos by scholar Deborah Shaw, have received a lot of critical attention in recent years. While the term Three Amigos and the scholarship that analyzes their early works from a transnational perspective seeks to other them and distinguish them from Hollywood, I argue that the three filmmakers did not depart from a place of difference, and that they embraced Hollywood filmmaking all along, from the beginning of their careers, to the most recent Academy Award recognitions. -
Legend of Hugh Glass
Legend of Hugh Glass The story of Hugh Glass ranks as one of the most remarkable stories of survival in American history. So much so, that Hugh Glass became a legend in his own time. Little is actually known about Glass. It was said that he was a former pirate who gave up his life at sea to travel to the West as a scout and fur trapper. Exactly when is unknown. He is believed to have been born in Philadelphia around 1783. He had already been in the Western wilderness for several years when he signed on for an expedition up the Missouri River in 1823 with the company of William Ashley and Andrew Henry. The expedition used long-boats similar to those used by Lewis and Clark 19 years earlier to ascend the Missouri as far as the Grand River near present-day Mobridge, SD. There Glass along with a small group of men led by Henry started overland toward Yellowstone. At a point about 12 miles south of Lemmon, SD, now marked by a small monument, Glass surprised a grizzly bear and her two cubs while scouting for the party. He was away from the rest of the group at the time and the grizzly attacked him before he could fire his rifle. Using only his knife and bare hands, Glass wrestled the full-grown bear to the ground and killed it, but in the process he was badly mauled and bitten. His companions, hearing his screams, arrived on the scene to see a bloody and badly maimed Glass barely alive and the bear lying on top of him. -
The Magical Neoliberalism of Network Films
International Journal of Communication 8 (2014), 2680–2704 1932–8036/20140005 The Magical Neoliberalism of Network Films AMANDA CIAFONE1 The University of Illinois at Urbana-Champaign, USA Transnational network narrative films attempt a cognitive mapping of global systems through a narrative form interconnecting disparate or seemingly unrelated characters, plotlines, and geographies. These films demonstrate networks on three levels: a network narrative form, themes of networked social relations, and networked industrial production. While they emphasize realism in their aesthetics, these films rely on risk and randomness to map a fantastic network of interrelations, resulting in the magical meeting of multiple and divergent characters and storylines, spectacularizing the reality of social relations, and giving a negative valence to human connection. Over the last 20 years, the network narrative has become a prominent means of representing and containing social relations under neoliberalism. Keywords: globalization, neoliberalism, network theory, network narrative films, political economy, international film markets After seeing Alejandro González Iñárritu’s Amores Perros (2000) and Rodrigo García’s Things You Can Tell Just by Looking at Her (2000), Chilean writer Alberto Fuguet confirmed his excitement about being part of the new Latin American cultural boom he called “McOndo.” McOndo, he wrote, had achieved the global recognition of Latin America’s earlier boom time, “magical realism,” as represented in Macondo, the fictional town of Gabriel García Marquez’s Cien Años de Soledad. But now the “flying abuelitas and the obsessively constructed genealogies” (Fuguet, 2001, p. 71) (and the politics) had been replaced with the globalized, popular commercial world of McDonalds: Macondo was now McOndo. -
The Trapper: a Hollywood Ghost
1 The Trapper: a Hollywood Ghost On Alejandro González Iñárritu’s The Revenant Gilles HAVARD We should not be misled by the The Revenant’s hyperrealism: Iñárritu’s film is a brilliant filmmaker’s ego trip more than it is an accurate depiction of the trapper’s role in conquering the American West. Despite its meticulous reconstruction of living conditions at the time, the film is teeming with clichés and approximations. The Revenant: in terms of the history of the Western, Alejandro González Iñárritu’s film is aptly titled. By recreating a story of survival, that of Hugh Glass, an unfortunate member of a fur trade expedition on the Missouri in 1823, the Mexican director renews a genre in decline (the Western) while also bringing a cinematographic ghost back to life: the trapper in the American West. The adventures of hunters in the Great Plains and the Rocky Mountains spanned from the late eighteenth century to the mid-nineteenth century, reaching their peak with the rendezvous system – fur meetings drawing several hundred White men and Indians to a chosen spot in the mountains every summer. This long period offers historical material with a wealth of dramatic potential: wild animal attacks, skirmishes with American Indians, rivalry between fur companies, the cult of firearms, the clash of cultures, exotic romance, the mixing of cultures, etc. Overshadowed by cowboys, cavalry, and stagecoaches, the trapper or mountain man – and more broadly the ‘coureur de bois’1 – is nonetheless a minor figure in the Western. Trapper films or ‘Conradian’ Westerns In fact, the western genre really came into its own depicting a later period, between 1865 and 1890 which was, strictly speaking, the time of the ‘conquest of the West’. -
John G. Neihart, Doane Robinson, and Jedediah Smith
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications, College of Journalism & Journalism and Mass Communications, College Mass Communications of 3-2009 Memorializing a Mountain Man: John G. Neihart, Doane Robinson, and Jedediah Smith Timothy G. Anderson University of Nebraska - Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/journalismfacpub Part of the Journalism Studies Commons Anderson, Timothy G., "Memorializing a Mountain Man: John G. Neihart, Doane Robinson, and Jedediah Smith" (2009). Faculty Publications, College of Journalism & Mass Communications. 48. https://digitalcommons.unl.edu/journalismfacpub/48 This Article is brought to you for free and open access by the Journalism and Mass Communications, College of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications, College of Journalism & Mass Communications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in SOUTH DAKOTA HISTORY 39:1 (Spring 2009), pp. 1-26. Copyright © 2009 South Dakota State Historical Society. Used by permission. TIMOTHY G. ANDERSON Memorializing a Mountain Man John G. Neihart, Doane Robinson, and Jedediah Smith In the middle of September 1908, a "sort [of] trampish looking fellow" called on Doane Robinson, secretary of the South Dakota State Histor- ical Society and head ofthe state's Department of History.' The visitor had just spent more than forty days on the Upper Missouri River, mak- ing his way in a small boat from Fort Benton, Montana, to Pierre, South Dakota. He had written Robinson a week earlier to warn him that he might not be looking his best. -
Films in the AMC A
Films in the AMC "O" (Tim Blake Nelson, 2001, USA, 90 min) “O” (Othello) (2001,J.Hartnett/J. Stiles/M. Phifer; 90 min.) 11'09"01 - September 11 (Ken Loach et al., USA, 2002, 123 min.) 12 Angry Men (Sidney Lumet, 1957, USA, 92 min.) 12 Years a Slave (Steve McQueen, 2013, USA, UK, 134 min.) 2001: A Space Oddisey (Stanley Kubrick, 1968, USA, 141min.) 2012 (Roland Emmerich, 2009, USA, 158 min) 21 Grams (Alejandro González Iñárritu, 2003, USA, 120 min.) 25th hour (Spike Lee, 2002, USA, 129 min. - German Title: 25 Stunden) 32A (Marian Quinn, 2007, IRL, 89 min.) 500 years later (Owen Alik Shahadah, 2005, UK/USA, 106min.) 7 Zwerge Part 1 + 2 (Sven Unterwaldt) 8 Mile (Curtis Hanson, 2002, USA, 106 min.) A brief history of time (Errol Morris, 1991, UK/Japan; USA, 80min.) German Title: Eine A kurze Geschichte der Zeit. Based on the book by Stephen Hawking A Cat in Paris (Felicioli; Gagnol, 62 min.) A Collection of 2005 Academy Award Nominated Short Films (5 Live Action Short Films and 3 Animated Short Films) A Day Without A Mexican (Sergio Arau, 2004, USA, 100min.) A Midsummernight's Dream (Michael Hoffman, 1999, Italy/UK/USA, 115 min.) A Street Cat Named Bob (Spottiswoode, 2016, 99 min.) A Streetcar Named Desire (Elia Kazan, 1951, USA, 120 min.) A Thousand Acres (Jocelyn Moonhouse, 1997, USA, 101min.) (Loosely based on King Lear) A United Kingdom (Asante, 106 min.) A Way of Life (Amma Asante, 2004, UK, 87 min.) About a Boy (Chris Weitz, 2002, GB, 97 min.) About Schmidt (Alexander Payne, 2002, USA, 120 min.) Acadie Liberté (Tim Radford, 1993, Canada/USA,