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The Devil We Already Know: Medieval Representations of a Powerless Satan in Modern American Cinema
Journal of Religion & Film Volume 8 Issue 3 October 2004 Article 7 October 2004 The Devil We Already Know: Medieval Representations of a Powerless Satan in Modern American Cinema Kelly J. Wyman University of Missouri - Kansas City, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Wyman, Kelly J. (2004) "The Devil We Already Know: Medieval Representations of a Powerless Satan in Modern American Cinema," Journal of Religion & Film: Vol. 8 : Iss. 3 , Article 7. Available at: https://digitalcommons.unomaha.edu/jrf/vol8/iss3/7 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. The Devil We Already Know: Medieval Representations of a Powerless Satan in Modern American Cinema Abstract The character of Satan has been explored repeatedly in American films, although neither film noreligion r scholars have extensively investigated the topic. This article examines the medieval Christian roots of Satan as seen in American cinema and proposes that the most identifiable difference between the medieval Devil and the Satan shown in American films is his level of power over humanity. Hollywood's Satans echo medieval depictions of Satan in form, appearance, and ways of interacting with humans. Although less frightening, pop culture's view of Satan - even when he is treated humorously - is thus linked through movies to medieval religious beliefs. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol8/iss3/7 Wyman: The Devil We Already Know Introduction From George Méliès' 1896 film La Manoir Du Diable (The Devil's Manor), to more recent productions such as Roman Polanski's Rosemary's Baby (1968) and The Ninth Gate (1999), diabolism has been a significant foundation for films which explore religious subject matter. -
L3700 LETHAL WEAPON (USA, 1987) (Other Titles: Arma Lethale; Arme Fatale; Dodbringende Veben; Zwei Stahlharte Profis)
L3700 LETHAL WEAPON (USA, 1987) (Other titles: Arma lethale; Arme fatale; Dodbringende veben; Zwei stahlharte profis) Credits: director, Richard Donner ; writer, Shane Black. Cast: Mel Gibson, Danny Glover, Gary Busey. Summary: Police thriller set in contemporary Los Angeles. Martin Riggs (Gibson) is no ordinary cop. He is a Vietnam veteran whose killing expertise and suicidal recklessness make him a lethal weapon to anyone he works against or with. Roger Murtaugh (Glover), also a veteran, is an easy-going homicide detective with a loving family, a big house, and a pension he does not want to lose. The only thing Murtaugh and Riggs have in common is that they hate to work with partners, but their partnership becomes the key to survival when a routine murder investigation turns into an all-out war with an international heroin ring. Ansen, David. “The arts: Movies: Urban Rambo” Newsweek 109 (May 16, 1987), p. 72. [Reprinted in Film review annual 1988] “L’Arme fatale” Cine-tele-revue 31 (Jul 30, 1987), p. 16-19. Boedeker, Hal. “Lethal weapon wastes Mel Gibson” Miami herald (Mar 6, 1987), p. 5D. Canby, Vincent. “Film view: Gun movies: Big bore and small caliber” New York times 136 (May 10, 1987), sec. 2, p. 17. Carr, Jay. “‘Lethal weapon’ is high-energy bullet ballet” Boston globe (Mar 6, 1987), Arts and film, p. 36. Christensen, Johs H. “Dodbringende veben” Levende billeder 3 (Sep 1, 1987), p. 51. Cunneff, T. [Lethal weapon] People weekly 27 (Mar 23, 1987), p. 8. Darnton, Nina. “At the movies: A new hit has the industry asking why” New York times 136 (Apr 3, 1987), p. -
Suggestions for Top 100 Family Films
SUGGESTIONS FOR TOP 100 FAMILY FILMS Title Cert Released Director 101 Dalmatians U 1961 Wolfgang Reitherman; Hamilton Luske; Clyde Geronimi Bee Movie U 2008 Steve Hickner, Simon J. Smith A Bug’s Life U 1998 John Lasseter A Christmas Carol PG 2009 Robert Zemeckis Aladdin U 1993 Ron Clements, John Musker Alice in Wonderland PG 2010 Tim Burton Annie U 1981 John Huston The Aristocats U 1970 Wolfgang Reitherman Babe U 1995 Chris Noonan Baby’s Day Out PG 1994 Patrick Read Johnson Back to the Future PG 1985 Robert Zemeckis Bambi U 1942 James Algar, Samuel Armstrong Beauty and the Beast U 1991 Gary Trousdale, Kirk Wise Bedknobs and Broomsticks U 1971 Robert Stevenson Beethoven U 1992 Brian Levant Black Beauty U 1994 Caroline Thompson Bolt PG 2008 Byron Howard, Chris Williams The Borrowers U 1997 Peter Hewitt Cars PG 2006 John Lasseter, Joe Ranft Charlie and The Chocolate Factory PG 2005 Tim Burton Charlotte’s Web U 2006 Gary Winick Chicken Little U 2005 Mark Dindal Chicken Run U 2000 Peter Lord, Nick Park Chitty Chitty Bang Bang U 1968 Ken Hughes Chronicles of Narnia: The Lion, PG 2005 Adam Adamson the Witch and the Wardrobe Cinderella U 1950 Clyde Geronimi, Wilfred Jackson Despicable Me U 2010 Pierre Coffin, Chris Renaud Doctor Dolittle PG 1998 Betty Thomas Dumbo U 1941 Wilfred Jackson, Ben Sharpsteen, Norman Ferguson Edward Scissorhands PG 1990 Tim Burton Escape to Witch Mountain U 1974 John Hough ET: The Extra-Terrestrial U 1982 Steven Spielberg Activity Link: Handling Data/Collecting Data 1 ©2011 Film Education SUGGESTIONS FOR TOP 100 FAMILY FILMS CONT.. -
Robert Wise's the Day the Earth Stood Still Part I
Robert Wise’s The Day the Earth Stood Still Part I: A Religious Film? By Anton Karl Kozlovic Fall 2013 Issue of KINEMA ROBERT WISE’S THE DAY THE EARTH STOOD STILL Part I: A RELIGIOUS FILM? Abstract Science fiction (SF) films have frequently been the home for subtextual biblical characters, particularly Christ-figures. Crafting these sacred subtexts can make the difference between an ordinary filmandan exceptional one. This investigation intends to explore the religious and other dimensions of the 1951 SF cult classic The Day the Earth Stood Still directed by Robert Wise. In Part 1 of this analytical triptych, the film’s reception as a UFO film with political, artificial intelligence (AI), police and philosophical dimensions was canvassed. It was argued that Wise’s film contains all of the above genre dimensions; however, it can bemore fully appreciated as a profoundly religious film wrapped in contemporary scientific garb. The forthcoming parts will explore the factual elements of this proposition in far greater analytical detail. Introduction: SF and Sacred Storytelling Historically speaking, science fiction (SF) films(1) have harboured numerous hidden biblical characters in typically covert forms. For example, Barry McMillan described many an SF alien as ”a ’transcendent’ being - a benign entity who brings wisdom and knowledge, the imparting of which brings resolution, insight and the beginnings of personal or political harmony” (360). Whilst Bonnie Brain argued that: ”The ascendancy of the aliens derives strongly from their aura of religious authority. Teachers, mystics, priests, or prophets, capable of ”miracles” and, in some cases, ”resurrection,” these aliens flirt with divinity” (226). -
Film Reviews
Page 117 FILM REVIEWS Year of the Remake: The Omen 666 and The Wicker Man Jenny McDonnell The current trend for remakes of 1970s horror movies continued throughout 2006, with the release on 6 June of John Moore’s The Omen 666 (a sceneforscene reconstruction of Richard Donner’s 1976 The Omen) and the release on 1 September of Neil LaBute’s The Wicker Man (a reimagining of Robin Hardy’s 1973 film of the same name). In addition, audiences were treated to remakes of The Hills Have Eyes, Black Christmas (due Christmas 2006) and When a Stranger Calls (a film that had previously been ‘remade’ as the opening sequence of Scream). Finally, there was Pulse, a remake of the Japanese film Kairo, and another addition to the body of remakes of nonEnglish language horror films such as The Ring, The Grudge and Dark Water. Unsurprisingly, this slew of remakes has raised eyebrows and questions alike about Hollywood’s apparent inability to produce innovative material. As the remakes have mounted in recent years, from Planet of the Apes to King Kong, the cries have grown ever louder: Hollywood, it would appear, has run out of fresh ideas and has contributed to its evergrowing bank balance by quarrying the classics. Amid these accusations of Hollywood’s imaginative and moral bankruptcy to commercial ends in tampering with the films on which generations of cinephiles have been reared, it can prove difficult to keep a level head when viewing films like The Omen 666 and The Wicker Man. -
L3702 LETHAL WEAPON 2 (USA, 1989) (Other Titles: Arma Lethale 2; Arme Fatale 2; Brennpunkt L.A.; Dodbringende Veben 2)
L3702 LETHAL WEAPON 2 (USA, 1989) (Other titles: Arma lethale 2; Arme fatale 2; Brennpunkt L.A.; Dodbringende veben 2) Credits: director, Richard Donner ; writer, Jeffrey Boam. Cast: Mel Gibson, Danny Glover, Joe Pesci, Joss Ackland. Summary: Police thriller set in contemporary Los Angeles. Detectives Riggs (Gibson) and Murtaugh (Glover) must guard a free-wheeling witness (Pesci) in a drug money laundering scheme run by South African diplomats. A comedy of car chases, gun battles, and under-water escapes. Ansen, David. “The arts: Movies: Gibson and Glover return: ‘Lethal weapon 2’ serves up sadism with a smile” 114 Newsweek (Jul 17, 1989), p. 53. [Reprinted in Film review annual 1990] Avins, Mimi. “Shot by shot” Premiere 2/12 (Aug 1989), p. 72-6. Baumann, Paul D. “Screen: Scorching the screen” Commonweal 116 (Oct 6, 1989), p. 529-30. Blair, Iain. “Movies: Mel’s lethal appeal: He’s got killer looks, but shucks, Gibson’s just one of the guys” Chicago tribune (Jul 9, 1989), Arts, p. 4. Blois, Marco de. “Lethal weapon II” 24 images 44-45 (autumn 1989), p. 109. Broeske, Pat H. “A high-caliber Danny Glover” Los Angeles times (Jul 11, 1989), Calendar, p. 1. “Business: Talk about placements” Newsweek 114 (Jul 31, 1989), p. 50. Carr, Jay. “Three stooges with guns” Boston globe (Jul 7, 1989), Arts and film, p. 41. Christensen, Johs H. “Dodbringende veben 2” Levende billeder 5 (Sep 1989), p. 47. Clark, Mike. “‘Lethal 2’ is loaded with bang and blanks” USA today (Jul 7, 1989), p. 1D. Cliff, Paul. “Movie trax” Film monthly 1 (Dec 1989), p. -
06 7-26-11 TV Guide.Indd
Page 6 THE NORTON TELEGRAM Tuesday, July 26, 2011 Monday Evening August 1, 2011 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 11:30 KHGI/ABC The Bachelorette The Bachelorette Local Nightline Jimmy Kimmel Live WEEK OF FRIDAY , JULY 29 THROUGH THURSDAY , AUG . 4 KBSH/CBS How I Met Mike Two Men Mike Hawaii Five-0 Local Late Show Letterman Late KSNK/NBC America's Got Talent Law Order: CI Harry's Law Local Tonight Show w/Leno Late FOX Hell's Kitchen MasterChef Local Cable Channels A&E Hoarders Hoarders Intervention Intervention Hoarders AMC The Godfather The Godfather ANIM I Shouldn't Be Alive I Shouldn't Be Alive Hostage in Paradise I Shouldn't Be Alive I Shouldn't Be Alive CNN In the Arena Piers Morgan Tonight Anderson Cooper 360 To Be Announced Piers Morgan Tonight DISC Jaws of the Pacific Rogue Sharks Summer of the Shark Rogue Sharks Summer of the Shark DISN Good Luck Shake It Bolt Phineas Phineas Wizards Wizards E! Sex-City Sex-City Ice-Coco Ice-Coco True Hollywood Story Chelsea E! News Chelsea Norton TV ESPN MLB Baseball Baseball Tonight SportsCenter Baseball NFL Live ESPN2 SportsNation Soccer World, Poker World, Poker FAM Secret-Teen Switched at Birth Secret-Teen The 700 Club My Wife My Wife FX Earth Stood Earth Stood HGTV House Hunters Design Star High Low Hunters House House Design Star HIST Pawn Pawn American Pickers Pawn Pawn Top Gear Pawn Pawn LIFE Craigslist Killer The Protector The Protector Chris How I Met Listings: MTV True Life MTV Special Teen Wolf Teen Wolf Awkward. -
Where Are They Now?
WHERE ARE THEY NOW? Eric Biefeld (1983-86) Sam George (1988-1991) Firefi ghter in La Habra Runs the Newport Printing Services company … Coaches youth *** soccer in the Coast Soccer Premier League Mike Brewin (1987) *** Seth George (1995-98) Corporate account executive for Nextel Runs a soccer academy in Arizona *** *** Bill Bugbee (1979-81) Chester Goodson (1995-98) Assistant professor of orthope- Works in business development for PriceGrabber.com … Resides dic surgery at UC San Diego … in West LA Specializes in Arthritis Surgery *** and Joint Reconstruction Tim Harris (1980-83) *** Senior Vice President of Business Operations, Chief Marketing Andy Burke (1984-87) Offi cer of the Los Angeles Lakers Resides in Newport Beach … *** National accounts manager for Craig Hart (1995-98) Andy Burke Qwest Communications Works for SoCal Edison *** *** Mike Callan (1977-80) Sean Henderson (1990-93) Divorce lawyer in Seattle Money manager for Wachovia Bank in Seattle, Wash. *** *** Grant Clark (1981-83) Tayt Ianni (1990-93) Lives in Seattle, Wash. and was one of the founding members of Mortgage broker for Nation’s Funding Limited in Newport U.S. Club Soccer, a non-profi t organization committed to the sup- Beach port and development of competitive soccer clubs … Currently the Coaching Director for Bainbridge Island Youth Soccer Club *** *** Robbie LaBelle (1992-95) Shaun Del Grande (1983-87) Works for Nike with Grassroot Soccer in Marina Del Rey President of Del Grande Dealer Group *** *** Ryan Lee (1997-2000) Aldo Del Piccolo (1980-81) Works for the LA Police Department … Resides in Culver City City attorney in Denver *** *** Drew Leonard (1984-87) Peter Drummond (1983-86) Director of Marketing for Switch & Data Management Company in Tampa, Fla. -
“Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World
ABSTRACT “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD by Kyle Andrew Moody This thesis analyzes a trend in a subgenre of motion pictures that are designed to not only entertain, but also provide a message for the modern world after the terrorist attacks of September 11, 2001. The analysis provides a critical look at three different films as artifacts of post-9/11 culture, showing how the integration of certain elements made them allegorical works regarding the status of the United States in the aftermath of the attacks. Jean Baudrillard‟s postmodern theory of simulation and simulacra was utilized to provide a context for the films that tap into themes reflecting post-9/11 reality. The results were analyzed by critically examining the source material, with a cultural criticism emerging regarding the progression of this subgenre of motion pictures as meaningful work. “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Communications Mass Communications Area by Kyle Andrew Moody Miami University Oxford, Ohio 2009 Advisor ___________________ Dr. Bruce Drushel Reader ___________________ Dr. Ronald Scott Reader ___________________ Dr. David Sholle TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... III CHAPTER ONE: COMIC BOOK MOVIES AND THE REAL WORLD ............................................. 1 PURPOSE OF STUDY ................................................................................................................................... -
HH Available Entries.Pages
Greetings! If Hollywood Heroines: The Most Influential Women in Film History sounds like a project you would like be involved with, whether on a small or large-scale level, I would love to have you on-board! Please look at the list of names below and send your top 3 choices in descending order to [email protected]. If you’re interested in writing more than one entry, please send me your top 5 choices. You’ll notice there are several women who will have a “D," “P," “W,” and/or “A" following their name which signals that they rightfully belong to more than one category. Due to the organization of the book, names have been placed in categories for which they have been most formally recognized, however, all their roles should be addressed in their individual entry. Each entry is brief, 1000 words (approximately 4 double-spaced pages) unless otherwise noted with an asterisk. Contributors receive full credit for any entry they write. Deadlines will be assigned throughout November and early December 2017. Please let me know if you have any questions and I’m excited to begin working with you! Sincerely, Laura Bauer Laura L. S. Bauer l 310.600.3610 Film Studies Editor, Women's Studies: An Interdisciplinary Journal Ph.D. Program l English Department l Claremont Graduate University Cross-reference Key ENTRIES STILL AVAILABLE Screenwriter - W Director - D as of 9/8/17 Producer - P Actor - A DIRECTORS Lois Weber (P, W, A) *1500 Major early Hollywood female director-screenwriter Penny Marshall (P, A) Big, A League of Their Own, Renaissance Man Martha -
To Academy Oral Histories Marvin J. Levy
Index to Academy Oral Histories Marvin J. Levy Marvin J. Levy (Publicist) Call number: OH167 60 MINUTES (television), 405, 625, 663 ABC (television network) see American Broadcasting Company (ABC) ABC Circle Films, 110, 151 ABC Pictures, 84 A.I. ARTIFICIAL INTELLIGENCE, 500-504, 615 Aardman (animation studio), 489, 495 AARP Movies for Grownups Film Festival, 475 Abagnale, Frank, 536-537 Abramowitz, Rachel, 273 Abrams, J. J., 629 ABSENCE OF MALICE, 227-228, 247 Academy Awards, 107, 185, 203-204, 230, 233, 236, 246, 292, 340, 353, 361, 387, 432, 396, 454, 471, 577, 606, 618 Nominees' luncheon, 348 Student Academy Awards, 360 Academy of Motion Pictures Arts and Sciences, 361-362, 411 Academy Board of Governors, 312, 342, 346-349, 357, 521 Academy Film Archive, 361, 388, 391, 468 Public Relations Branch, 342, 344, 348, 356 Visiting Artists Program, 614, 618 ACCESS HOLLYWOOD (television), 100, 365 Ackerman, Malin, 604 Activision, 544 Actors Studio, 139 Adams, Amy, 535 THE ADVENTURES OF HUCKLEBERRY FINN, 71, 458 THE ADVENTURES OF TINTIN, 126 Aghdashloo, Shohreh, 543 Aldiss, Brian, 502 Aldrich, Robert, 102, 107, 111 Alexander, Jane, 232, 237 Ali, Muhammad, 177 ALICE IN WONDERLAND (2010), 172, 396 ALIVE, 335 Allen, Debbie, 432 Allen, Herbert, 201, 205 Allen, Joan, 527-528 Allen, Karen, 318, 610 Allen, Paul, 403-404 Allen, Woody, 119, 522-523, 527 ALMOST FAMOUS, 525-526, 595 ALWAYS (1989), 32, 323, 326, 342, 549 Amateau, Rod, 133-134 Amazing Stories (comic book), 279 AMAZING STORIES (television), 278-281, 401 Amblimation, 327, 335-336, 338, 409-410 -
Ese Two Books Are Very Different Beasts. Superman: E Movie
Medien / Kultur 47 Sammelrezension: Superman: Comics, Film, Brand ese two books are very diff erent are stories from e New York Times, beasts. Superman: e Movie – e 40th Rolling Stone or Newsweek. Two or three Anniversary Interviews is focused on a references hail from University Pres- single fi lm text, whereas Superman and ses, and yet this material underpins the Comic Book Brand Continuity ranges whole book. across the cultural history of Superman. Whilst Bettinson’s interviews are However, the diff erences between these always interesting, ranging across two studies go far deeper. people such as executive producer Ilya Bettinson’s book is an “oral history Salkind, director Richard Donner, and [… ] of big-budget fi lm production in Lois Lane herself, Margot Kidder – the new Hollywood era” (p.11), but interviewed relatively shortly before it assumes that such a thing requires her passing in 2018 – it is diffi cult to nothing much in terms of methodolo- see how they diff er from standard fan gical discussion or theoretical framing. convention fare or DVD/blu-ray extras. Consequently, it contains almost no What, if anything, is added to the pro- content communally identifi able as ‘aca- ject via its publication by an academic demic’ – the References page (p.131) press, and having been written by a lists a mere 13 entries, of which several Senior Lecturer? e entire volume 48 MEDIENwissenschaft 01/2020 seems to be aimed at a fan readership, of academia’s cultural distinctiveness. and not as a crossover from the acade- If hybridised aca-fandom lies beneath mic market, but in place of it instead.