DOCSLIB.ORG

Hollywood Utopia Intellect Is Chair Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hollywood Utopia Intellect Is Chair Of Utopianism, alongside its more prevalent dystopian Pat Brereton Pat Brereton opposite, together with ecological study has become a magnet for interdisciplinary research and is used extensively to examine the most influential global medium of all time. This book applies a range of interdisciplinary strategies to trace the evolution of ecological representations in Hollywood film from the 1950s to the present. Such a study has not been done on this scale before. Many popular science fiction, Westerns, nature and road movies are extensively analysed, while privileging particular ecological Hollywood Utopia moments of sublime expression often dramatized in the closing moments of these films. Dr. Pat Brereton is Chair of the B.Sc. in Multimedia, and a Lecturer in Film and Ecology in Contemporary American Cinema Contents include: Media Studies at Dublin City University. • Hollywood Utopia: Ecology and Contempoary American • Cinema “...Its clarity, its reach, its • Nature Film and Ecology: Westerns, Landscape and Road honesty and its originality should • Movies ensure this book a place on the shelves of any media scholar and • Conspiracy Thrillers and Science Fiction: 1950s to1990s many Green activists.” • Postmodernist Science Fiction Films and Ecology This book offers an intriguing and ambitious prospect: an attempt to unearth the emergence of an ecologically-based worldview pervading at least Western consciousness. The author adopts a Raymond Williams-style approach to this project, engaging in deep textual analysis of the Hollywood blockbuster with a view to identifying whether those projects are implicitly informed by some kind of subliminal eco- consciousness. (Dr. Roddy Flynn, Dublin City University) intellect ISBN 1-84150-117-4 intellect PO Box 862 Bristol BS99 1DE United Kingdom www.intellectbooks.com 9 781841 501178 Utopianism, alongside its more prevalent dystopian Pat Brereton Pat Brereton opposite, together with ecological study has become a magnet for interdisciplinary research and is used extensively to examine the most influential global medium of all time. This book applies a range of interdisciplinary strategies to trace the evolution of ecological representations in Hollywood film from the 1950s to the present. Such a study has not been done on this scale before. Many popular science fiction, Westerns, nature and road movies are extensively analysed, while privileging particular ecological Hollywood Utopia moments of sublime expression often dramatized in the closing moments of these films. Dr. Pat Brereton is Chair of the B.Sc. in Multimedia, and a Lecturer in Film and Ecology in Contemporary American Cinema Contents include: Media Studies at Dublin City University. • Hollywood Utopia: Ecology and Contempoary American • Cinema “...Its clarity, its reach, its • Nature Film and Ecology: Westerns, Landscape and Road honesty and its originality should • Movies ensure this book a place on the shelves of any media scholar and • Conspiracy Thrillers and Science Fiction: 1950s to1990s many Green activists.” • Postmodernist Science Fiction Films and Ecology This book offers an intriguing and ambitious prospect: an attempt to unearth the emergence of an ecologically-based worldview pervading at least Western consciousness. The author adopts a Raymond Williams-style approach to this project, engaging in deep textual analysis of the Hollywood blockbuster with a view to identifying whether those projects are implicitly informed by some kind of subliminal eco- consciousness. (Dr. Roddy Flynn, Dublin City University) intellect ISBN 1-84150-117-4 intellect PO Box 862 Bristol BS99 1DE United Kingdom www.intellectbooks.com 9 781841 501178 Hollywoodutopialayout 20/10/04 4:54 pm Page 1 The fruit of years of painstaking study, Pat Brereton's Hollywood Utopia is a landmark in the emerging field of ecological media criticism. The more urban human societies become, the more our media reflect upon the landscapes, the animals and the fragile unities of our planet. Of no media formation is this more true than of Hollywood, as Brereton argues in this meticulously researched and carefully organised work. Far from trashing the planet, Hollywood films have, Brereton claims, a tradition stretching back to the 1950s of care and concern for humanity estranged from its roots, and a world at risk of destruction. Through innovative analyses of Jurassic Park, Easy Rider, Thelma and Louise, Star Trek, Terminator 2 and Blade Runner among countless older and newer films, Brereton traces a utopianism often overlooked in traditional film criticism. Not only films with explicitly Green agendas like Emerald Forest and Medicine Man, but in films noted for far different qualities exhibit the saving grace of nature. Films like Dances With Wolves or the towering spectacle of the tornado's heart in Twister provide grist for an original and far-reaching account of the place of nature in contemporary popular cinema. Dissent and disorder emerge in science fiction films of the 1950s and blockbusters of the early 21st century. The book traces complex negotiations with the meanings of nature and humananity's place in it through costume dramas and high-tech special effects bonanzas, always with an eye to the telling contradiction and the emergence of a generalised and liberal but nonetheless impressive and perhaps heartfelt need to restore the bonds that have been sundered between humans and their environment. To these analyses Brereton adds a powerful and persuasive thesis concerning the spatial concerns of contemporary Hollywood, a thesis that leads him through a broad overview of the literature of green cultural studies and postmodernism. Throughout, Brereton manages an easy, graceful prose to immense purpose. Its clarity, its reach, its honesty and its originality should ensure this book a place on the shelves of any media scholar and many Green activists, The ultimate optimism of its case is a challenge to other critics to write for makers and audiences who want more from cinema, both the cinema we have and the cinema we may yet make in the new century. (Sean Cubitt, University of Waikato, New Zealand) Hollywoodutopialayout 20/10/04 4:54 pm Page 2 Hollywoodutopialayout 20/10/04 4:54 pm Page 3 Hollywood Utopia Ecology in Contemporary American Cinema Pat Brereton Hollywoodutopialayout 20/10/04 4:54 pm Page 4 First Published in the UK in 2005 by Intellect Books, PO Box 862, Bristol BS99 1DE, UK First Published in the USA in 2005 by Intellect Books, ISBS, 920 NE 58th Ave. Suite 300, Portland, Oregon 97213-3786, USA Copyright ©2005 Intellect Ltd All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission. A catalogue record for this book is available from the British Library Electronic ISBN 1-84150-912-4 / ISBN 1-84150117-4 Cover Design: Gabriel Solomons Copy Editor: Wendi Momen Hollywood Utopia 4 Hollywoodutopialayout 20/10/04 4:54 pm Page 5 Contents 7 ACKNOWLEDGEMENTS 9 FILMOGRAPHY 11 1. HOLLYWOOD UTOPIA: ECOLOGY AND CONTEMPORARY AMERICAN CINEMA 51 2. NATURE FILM AND ECOLOGY 91 3. WESTERNS, LANDSCAPE AND ROAD MOVIES 139 4. CONSPIRACY THRILLERS AND SCIENCE FICTION: 1950s TO 1990s 185 5. POSTMODERNIST SCIENCE FICTION FILMS AND ECOLOGY 233 CONCLUSION 241 BIBLIOGRAPHY 259 GLOSSARY OF TERMS Contents 5 Hollywoodutopialayout 20/10/04 4:54 pm Page 6 Hollywoodutopialayout 20/10/04 4:54 pm Page 7 ACKNOWLEDGEMENTS I would like to thank media staff at my previous university in Luton as well as in DCU for their assistance and encouragement. Other readers who helped in various ways include Nick Heffernan, Peter Brooker, Christine Geraghty and Steve Neale. Finally I wish to thank Angela and my family for their support over the many years it took to complete this project. Acknowledgements 7 Hollywoodutopialayout 20/10/04 4:54 pm Page 8 Hollywoodutopialayout 20/10/04 4:54 pm Page 9 SELECT FILMOGRAPHY Andromeda Strain (1970) Robert Wise Alien Resurrection (1997) Jean-Pierre Jeunet Blade Runner (1982) Ridley Scott Blade Runner: The Director's Cut (1991) Ridley Scott Contact (1997) Robert Zemeckis Dances with Wolves (1990) Kevin Costner Dances with Wolves - Special Edition (1991) Kevin Costner Dark City (1998) Alex Proyas Easy Rider (1969) Denis Hopper Emerald Forest (1985) John Boorman Endangered Species (1982) Alan Rudolph Fifth Element, The (1997) Luc Besson Grand Canyon (1991) Lawrence Kasdan Incredible Shrinking Man (The) (1957) Jack Arnold Invasion of the Body Snatchers (1956) Don Siegel Jaws (1975) Steven Spielberg Jurassic Park (1993) Steven Spielberg Last of the Mohicans (1992) Michael Mann 9 Filmography Logan's Run (1976) Michael Anderson Lost World, The: Jurassic Park (1997) Steven Spielberg Hollywoodutopialayout 20/10/04 4:54 pm Page 10 Medicine Man, The (1992) John McTiernan Men in Black (1997) Barry Sonnenfeld Safe (1995) Todd Haynes Searchers, The (1956) John Ford Soylent Green (1973) Richard Fleischer Star Trek: First Contact (1996) Jonathan Frakes Straight Story, The (1999) David Lynch Terminator (1984) James Cameron Terminator 2: Judgement Day (1991) James Cameron Thelma and Louise (1991) Ridley Scott Them(1954) Gordon Douglas Titanic (1997) James Cameron Twister (1996) Jan De Bont Waterworld (1995) Kevin Reynolds Yearling, The (1946) Clarence Brown 10 Hollywood Utopia Hollywoodutopialayout 20/10/04 4:54 pm Page 11 1 HOLLYWOOD UTOPIA: ECOLOGY AND CONTEMPORARY AMERICAN CINEMA Prologue Ecology has become a new, all-inclusive, yet often contradictory meta-narrative1, which this book will show to have been clearly present within Hollywood film since the 1950s. This study focuses particularly on feel-good films whose therapeutic character often leads to their being dismissed as ideologically regressive. By concentrating on narrative closure and especially the way space is used to foreground and dramatise the sublime pleasure of nature, Hollywood cinema can be seen to have within it a ‘certain tendency’2 that dramatises core ecological values and ideas. The study is committed to a strategy of building bridges and creating cross- connections between film and other disciplines.
Load more

Recommended publications
  • Premiererne Eastmancolor(?)
    Muo, Ma San. Udi: Panorama. Prem: 15.3.76 World Cinema. Karatevold. DERSU UZALA Dersu Uzala. USSR/Japan 1975. P-selskab: Sovex- port/Mosfilm. Instr: Akira Kurosawa. Manus: Akira Kurosawa, Yuri Nagibin. Efter: rejseskildring af Vladimir Arsenjev (1872-1930), da. overs. 1946: »Jægeren fra den sibiriske urskov«. Foto: Asakadru Nakat, Yuri Gantman, Fjodor Dobrovravov. Farve: Premiererne Eastmancolor(?). Medv: Maxim Munzuk (Dersu Uzala), Yuri Nagibin (Arsenjev). Længde: 137 min. 3840 m. Censur: Rød. Udi: Posthusteatret. Prem: 1.1.-31.3.76/ved Claus Hesselberg 15.3.76 Alexandra. Tilkendt en Oscar som bedste udenlandske film. Anm. Kos. 130. DET FRÆKKE ER OGSÅ GODT Quirk. USA. Farve: Eastmancolor(?). Længde: 75 min. 2000 m. Censur: Hvid. Fb.u.16. Udi: Dansk- Anvendte forkortelser: Svensk. Prem: 23.2.76 Carlton. Porno. Adapt: = Adaption Komp: = Komponist DIAMANTKUPPET Ark: = Filmarkitekt Kost: = Kostumer Diamonds. USA/lsrael 1975. P-selskab: AmeriEuro Arr: = Musikarrangør Medv: = Medvirkende skuespillere Productions. P: Menahem Golan. Ex-P: Harry N. As-P: = Associate Producer P: Producere Blum. As-P: Yoram Globus. P-leder: Arik Dichner. Instr: Instr-ass: = P-leder: = Produktionsleder Menahem Golan. Zion Chen, Ass: Assistent Shmuel Firstenberg, Roger Richman. Manus: David Dekor: = Scenedekorationer Prem: = Dansk premiere Paulsen, Menahem Golan, Ken Globus. Efter: for­ Dir: = Dirigent P-selskab: = Produktionsselskab tælling af Menahem Golan. Foto: Adam Greenberg. Dist: = Udlejer i oprindelsesland P-sup: = Produktions-superviser Farve: Eastmancolor. Klip: Dov Hoenig. Ark: Kuli Ex-P: = Executive Producer P-tegn: = Produktionstegner (design) Sander. Dekor: Alfred Gershoni. Sp-E: Hanz Kram­ Foto: = Cheffotograf Rekvis: = Rekvisitør sky. Musik: Roy Budd. Sang: »Diamonds« af Roy Budd, Jack Fishman. Solister: The Three Degrees.
    [Show full text]
  • The Instrument Ofchoice
    The instrument of choice. As an editor at the keys, you need a system that helps make every session a fine performance: The Grass ValleyGroup Editing System. Designed to take the best from your production system to the screen. Built to grow as you grow. So if you demand an instrument with capabilities equal to your own, there's only one choice: The Grass Valley Group Editing System. Grass Valley Grou-@ ~'r'V""t'\lAt)"'l..IV \,IIJIIiI From the Editor used to be common agreement that twO things were certain for everyone _ death and taxes. Now you can't be certain IChange.of WHICHMy dictionarytaxes. rambles for approximately 700 words explaining what you can do with that single word, "change." you can run dailies late at night with a director, or habits can change, and the director can take a video cassette home for relaxed viewing after a 12 hour day. For easier viewing some editors are changing from the use of an 8 plate Kem to the use of tWO4 plate models interlocked together. A f¡\m editor works in a cutting room, but when the editing on the sarne show is changed to video tape, he or she is then working in an editing bay. Change is obvious in some (hings, such as more dialogue TV series going to video tape editing. Some change is not so obvious, such s as the faster delivery of difficult film optical because computer camera controls can prograrn so many things with the sarne pass throughIf RiptheVanopticalWinklecamera.had been an editor before his "big sleep," one drowsy glance at a 1986cutting schedulewould snap him awake.
    [Show full text]
  • The Hollywood Cinema Industry's Coming of Digital Age: The
    The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 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 education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication.
    [Show full text]
  • Premiererne Overton Jr., Bill Mccaughey, Mike Kohut, Lyle J
    son. P-tegn: Albert Brenner. Dekor: Marvin March. P-ill: Leon Harris. Kost: Patricia Norris, Ann Roth. Makeup: Charles Schram. Sp-E : Robert Dawson, Augie Lohman. Musik: Claude Bolling. Musikere: Hubert Laws, Bud Shank, Tommy Tedesco, Ralph Grierson, Chuck Domanico, Shelly Manne. Tone: Al Premiererne Overton Jr., Bill McCaughey, Mike Kohut, Lyle J. Burbridge, Sam Shaw. Medv: Alan Alda (Bill War­ 1.4.-30.6.79 / ved Claus Hesselberg ren), Michael Caine (Sidney Cochran), Bill Cosby (Dr. Willia Panama), Jane Fonda (Hannah Warren), Walter Matthau (Marvin Michaels), Elaine May (Mil- Anvendte forkortelser: lie Michaels), Richard Pryor (Dr. Chauncey Gump), Maggie Smith (Diana Barrie), Gloria Gifford (Lola Adapt: = Adaption Komp: = Komponist Gump), Sheila Frazier (Bettina Panama), Herbert Ark: = Filmarkitekt Kost: = Kostumer Edelman (Harry Michaels). På hotellet: Denise Ga- Arr: = Musikarrangør Medv: = Medvirkende skuespillere lik (Bunny), David Sheehan (Sig selv), Michael Boyle (Receptionist), Len Lawson (Frank), Dino Ar- As-P: = Associate Producer P: = Producere dito (Blikkenslager), Jerry Ziman (Mand ved telefon), Ass: = Assistent P-leder: = Produktionsleder Clint Young (Dørvogter), David Matthau (Piccolo). Dekor- = Scenedekorationer Prem: = Dansk premiere Ved Oscar-festen: Army Archerd (Sig selv), Paolo Dir: = Dirigent P-selskab: = Produktionsselskab Frediani (Smuk skuespiller), Judith Hannah Brown Dist: = Udlejer i oprindelsesland P-sup: = Produktions-superviser (Oscar-vinder), Gary Hendrix (Vinderens ledsager), Ex-P: = Executive Producer P-tegn: = Produktionstegner (design) Christopher Pennock (Politimand). Længde: 103 Foto: = Cheffotograf Rekvis: = Rekvisitør min., 2820 m. Censur: Rød. Udi: Columbia-Fox Prem: 27.4.1979 ABCinema, Cinema 1-5. Indspil­ Instr: = Instruktør Sp-E: = Specielle effekter ningen startet 20.3.78. Anm. Kos. 142. Kamera: =Kameraoperatør Udi: = Dansk udlejning CHEFENS LIDERLIGE LYSTER Couples complices.
    [Show full text]
  • La Leyenda De MOVIELAND; Historia Del Cine En El Estado De Durango
    La Leyenda de MOVIELAND; Historia del Cine en el Estado de Durango (1897 - 2004) Antonio Avitia Hernández México, 2005 Introducción De manera casi tan fortuita y tan veleidosa como los criterios y las posibilidades económicas de las compañías cinematográficas, de los productores y de los directores de cine, algunos paisajes naturales del estado de Durango han sido seleccionados como escenario del rodaje de diversas películas. Hasta donde se ha podido investigar, entre los años de 1897 a 2004, se han filmado un total de doscientos setenta y ocho (278) cintas en la entidad. De éstas, treinta (30) son de la época del cine silente, producidas entre 1897 y 1936. Noventa y ocho (98) son de formato de ocho, super ocho y dieciséis milímetros, independientes, así como filmes documentales científicos, antropológicos y culturales, entre otros. Con respecto al cine industrial, ciento cincuenta (150) han sido los filmes rodados en territorio durangueño entre los años de 1954 a 2004. Los objetivos principales de esta historia del cine en Durango son: hacer el recuento cuantitativo y cronológico, la ubicación histórica, la reseña de las sinopsis argumentales, las fichas filmográficas y la relación de los personajes y locaciones sobresalientes de las películas rodadas en la entidad, así como describir la impresión que, en el imaginario colectivo regional, ha tenido el cinematógrafo, en tanto séptimo arte e industria cinematográfica. De manera colateral, hasta donde ha sido posible, se hace referencia a la suerte de los filmes en lo que respecta a su distribución. En el primer capítulo El cine silente en Durango se hace el recuento, sinopsis argumental, situación histórica y establecimiento de los treinta filmes del periodo silente rodados en la entidad, desde el arribo de los enviados de Edison en 1897 hasta la cinta documental de propaganda política laudatoria, grabada por encargo del gobernador del estado coronel Enrique R.
    [Show full text]
  • Point Break Pb Ita Def
    presenta di Ericson Core con Edgar Ramirez, Luke Bracey, Teresa Palmer, Delroy Lindo e Ray Winstone AL CINEMA DAL 27 GENNAIO Durata: 114 minuti I materiali sono scaricabili dall’area stampa di www.eaglepictures.com Ufficio stampa film Ufficio stampa Eagle Pictures Ornato Comunicazione Via Flaminia, 954 [email protected] 00191 Roma Tel. + 39 06.3341017 + 39 06.33213374 [email protected] 2 CAST TECNICO Diretto da Ericson Core Sceneggiatura di Kurt Wimmer Storia di Rick King Peter Iliff Kurt Wimmer Produttori Andrew A. Kosove Broderick Johnson John Baldecchi David Valdes Christopher Taylor Kurt Wimmer Produttori Esecutivi Robert L. Levy Peter Abrams Dan Mintz Wu Bing John McMurrick Direttore della fotografia Ericson Core Scenografia Udo Kramer Montaggio Thom Noble Jerry Greenberg, A.C.E. John Duffy, A.C.E. Costumi Lisy Christl Musiche Tom Holkenborg Casting John Papsidera, CSA 3 CAST ARTISTICO BODHI Edgar Ramirez UTAH Luke Bracey SAMSARA Teresa Palmer PAPPAS Ray Winstone ISTRUTTORE HALL Delroy Lindo GROMMET Matias Varela ROACH Clemens Schick CHOWDER Tobias Santelmann SURFISTA VAGABONDO Laird Hamilton CAMEO FESTA YACHT Bob Burnquist Faris Al-Sultan Sal Masekela Seth Troxler CAMEO FESTA CHALET Steve Aoki Jeb Corliss Xavier De Le Rue Chris Sharma 4 In POINT BREAK, action thriller concentrato di pura adrenalina della Alcon Entertainment, Johnny Utah (Luke Bracey, che vedremo prossimamente in “Hacksaw Ridge” di Mel Gibson), giovane agente dell’FBI, s’infiltra in un gruppo itinerante di atleti amanti del brivido, capeggiati dal carismatico Bodhi (Edgar Ramirez, che vedremo prossimamente in “Joy” di David O. Russell). Gli atleti sono sospettati di crimini perpetrati in maniera estremamente inusuale.
    [Show full text]
  • Cineeco2009 XV Festival Internacional De Cinema E Vídeo De Ambiente Serra Da Estrela Seia Portugal
    cineeco2009 XV festival internacional de cinema e vídeo de ambiente serra da estrela seia_portugal PRÉMIO NACIONAL DO AMBIENTE 2006 atribuido pela Confederação Portuguesa de Associações de Defesa do Ambiente membro fundador da ASSOCIAÇÃO DE FESTIVAIS DE CINEMA DE MEIO AMBIENTE (EFFN - ENVIRONMENTAL FILM FESTIVAL NETWORK) juntamente com cinemambiente . environmental film festival . turim . itália festival internacional del medi ambient sant feliu de guíxols . barcelona . espanha ecocinema . festival internacional de cinema ambiental . grécia parceiro dos festival internacional de cinema e vídeo ambiental goiás . brasil festival internacional de cinema do ambiente washington . eua vizionária . international video festival . siena . itália wild and scenic environmental film festival . nevada city . eua em formação plataforma atlântica de festivais de ambiente de colaboração com festival internacional de cinema e vídeo ambiental goiás . brasil festival internacional de cinema e vídeo ambiental do mindelo . cabo verde extensões do cineeco centro das artes . casa das mudas . calheta . madeira dep. ambiente da câmara municipal de lisboa sec. regional do ambiente . ponta delgada . horta . praia da vitória . açores inatel . albufeira . vidigueira. quarteira . beja biblioteca municipal . braga centro de ciência viva . bio blitz . semana de cultura cientifica . tavira quinzena do comércio justo . almada Edição: CineEco Título: Programa do CineEco’2008 XV Festival Internacional de Cinema e Vídeo de Ambiente da Serra da Estrela Coordenação, textos e design gráfico: Lauro António (os textos assinados são da responsabilidade dos seus autores) Capa segundo imagem de Yann Arthus-Bertrand (Lusomundo Audiovisuais) Tiragem: 1000 exemplares Impressão: DPI · Cromotipo Depósito Legal: 116857/97 | 3 | cineeco2009 A cidade de Seia acolhe com orgulho e satisfação a 15ª edição do CineEco Por isso, em meu nome e em nome da Empresa Municipal de Cultura e Recreio – EMCR de Seia, apraz-me receber com simpatia e afecto os convidados do Festival, formulando-lhe votos de bom trabalho.
    [Show full text]
  • THOM NOBLE Editor
    THOM NOBLE Editor RAJMA CHAWAL - Netflix - Leena Yadav, director SOUL OF AN ARTIST - Odyssey One Media - Ted Kotcheff/Yorgo Lorandos, director A FAMILY MAN - Vertical Entertainment - Mark Williams, director ALPHA (additional editor) - Studio 8 - Albert Hughes, director POINT BREAK - Warner Bros. - Ericson Core, director NOW YOU SEE ME (recut) - Lionsgate/Summit - Louis Leterrier, director ALEX CROSS - QED/Summit - Rob Cohen, director RED - Summit Entertainment - Robert Schwentke, director THE TIME TRAVELER’S WIFE - New Line - Robert Schwentke, director PASSENGERS - Columbia/Mandate - Rodrigo Garcia, director FLIGHT PLAN - Walt Disney Pictures - Robert Schwentke, director REIGN OF FIRE - Spyglass - Rob Bowman, director VERTICAL LIMIT - Sony - Martin Campbell, director INSPECTOR GADGET - Disney - David Kellogg, director THE MASK OF ZORRO - TriStar - Martin Campbell, director THE SCARLET LETTER - Buena Vista Pictures/Cinergi - Roland Joffe, director THE HUDSUCKER PROXY - Warner Bros. - Joel & Ethan Coen BODY OF EVIDENCE - MGM/DeLaurentiis - Uli Edel, director FINAL ANALYSIS - Warner Bros. - Phil Joanou, director THELMA & LOUISE - Pathe - Ridley Scott, director Academy Award Nominee - Best Film Editing MOUNTAINS OF THE MOON - TriStar - Bob Rafelson, director WINTER PEOPLE - Columbia - Ted Kotcheff, director THE MOSQUITO COAST - Warner Bros. - Peter Weir, director POLTERGEIST II: THE OTHER SIDE - MGM/UA - Brian Gibson, director WITNESS - Paramount - Peter Weir, director Academy Award - Best Film Editing RED DAWN - MGM/UA - John Milius, director FIRST BLOOD - Orion - Ted Kotcheff, director NORTH DALLAS FORTY - Paramount - Ted Kotcheff, director WHO IS KILLING THE GREAT CHEFS OF EUROPE? - Warner Bros. - Ted Kotcheff, director THE APPRENTICESHIP OF DUDDY KRAVITZ - Paramount - Ted Kotcheff, director FAHRENHEIT 451 - Universal - Francoise Truffaut, director .
    [Show full text]
  • Newsletter #1
    l- (o Australian Screen Editors If you wish to canvass an opinion or o) seek feedback from other members you PO Box 6, St Leonards, o) can do rt vta a letter to the editor. o NSNtr, 2065, Australia Ph:950 3753 -c Filling these pages with enough +, O Fax:950 3798 up *, o interesting information to make a newsletter each month be (Newsletter: Fax: 413 8603 useful will hard work - and thats where you come o em ail : m atth ewt@mpx. c om. au) in! If you have anything to contribute, o be it an article you have written, a J Committee - a Presidmt Henry Dangar newsclipping we might have missed, an o a VPraidentJohn Pleffer editing-room hint or amusing anecdote (I'm sure there are hundreds out there), Treasurer Barbar a Bedf ord please hesitate share us. Secretary Fiona Strain don't to it with o Steven Barbour E Any inpwt is most appreciated! o= f Benita Carey Emma Hay F b Michael Honey - Helen Martin Matthew Tucker Marc Van Buuren Contributions should be typed or Frans Vandenburg \Ward preferably on floppy disk or sent via Jenny email. If you are sending contributions electronically please save and send them Committee meets on the first as ASCII text only. Monday of every month. The deadline for contributions to this Newsletter will be the Friday prior to that meeting. ASE General Meeting and Election. This Newsletter is published by Australian Screen Editors Inc. in NSN(. The meeting that was held on opinions expressed in this \flednesday Zth Feb, was attended by a newsletter are not necessarily those large number of members.
    [Show full text]
  • The Films of Peter Weir
    THE CINEMATIC MYSTICAL GAZE: The films of Peter Weir RICHARD JAMES LEONARD Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy August 2003 Cinema Studies Program School of Fine Arts, Classical Studies and Archaeology The University of Melbourne Abstract Peter Weir is one of Australia’s most critically acclaimed and commercially successful directors. Ever since Weir’s feature film debut with The Cars that Ate Paris in 1974, his work has been explored for unifying themes. Scholars have analysed his films from many perspectives: the establishment of identification and identity especially through binary oppositions in the diegesis;1 the creation of an oneiric atmosphere as a way of exploiting the spectator’s dream experience;2 a clash of value systems;3 the ambiguous nature of narrative structure and character motivations leading to the creation of a sense of wonder;4 the experience of the protagonist placed in a foreign culture wherein conflict arises from social clashes and personal misunderstandings;5 and at the particular ways his films adapt generic codes in service of a discernible ideological agenda.6 To the best of my knowledge there has been no study of the mystical element of Weir’s work in relation to the construction of a cinematic mystical gaze or act of spectatorship. Within a culture defined by its secularity and a national cinema marked by quirky comedies and social realism, almost all of Weir’s films have been described as mystical, arcane or interested in metaphysics. Such an observation could warrant no further investigation if it is held that this critical commentary is but hyperbole in its attempt to grasp what constitutes a Peter Weir film.
    [Show full text]
  • Berichte Und Papiere
    Medienwissenschaft / Hamburg: Berichte und Papiere. 47, 2003: Montage. Redaktion und Copyright dieser Ausgabe: Gerhard Schumm. Letzte Änderung: 13. März 2001. Bibliographie Montagetheorie Zusammengestellt von Gerhard Schumm Künstlerische Filmmontage ist beides: theoretisch reflektierte ästhetische Praxis und praktisch gewendete Theorie. Die Bibliographie “Montagetheorie“ soll anderen die Arbeit an solchem breiten Montagebegriff erleichtern. Sie ist von Studierenden und mir als Arbeitsmaterial für den “Studiengang Schnitt/Montage“ an der HFF-Babelsberg zusammengetragen worden. (Die nicht getilgten Signaturen der HFF-Bibliothek und auch die studiengangsinternen nicht-öffentlichen Arbeitspapiere (Übersetzungen, Typoskripte usw.) lassen das erkennen.) Es wäre rücksichtsvoll, wenn ich nicht für Literaturrecherchen, sondern lediglich für Danksagungen kontaktiert werden würde. Meine Danksagungen gehen an Tina Hillmann, Eberhard Nuffer und viele andere, deren Arbeit hier eingegangen ist. Die Arbeitsbibliographie “Montagetheorie“ umfaßt: A: Material- und werkzeugorientiert: Montagetechnologie A.1 Montagetechnologie allgemein A.2 Montagetechnologie-Geschichte A.3 Montagetechnologie - speziell 16mm/35mm-Filmmontage A.4 Montagetechnologie - speziell Analoge Videomontage A.5 Montagetechnologie - speziell Digitale Videomontage B: Prozeßorientiert: Ästhetische Verfahrensweisen, Montagegespräche, Berufsbild B.1 Werkstattberichte, Werkstattgespräche, Biografien, Berufsbild, Cutter(innen) C: Werkorientiert:Montageanalysen, montagebezogene Filmtheorie C.1
    [Show full text]
  • THE REPRESENTA Non of WOMEN WHO KILL in CONTEMPORARY HOLLYWOOD FILMS
    SIGNS OF TRANSGRESSION: THE REPRESENTA nON OF WOMEN WHO KILL IN CONTEMPORARY HOLLYWOOD FILMS Isabelle Doyle Thesis submitted for the degree of PhD Department of English Literature September 1998 CONTENTS Introduction Signs of Transgression p. 1 Chapter One "Kill the Bitch!": Women and Crime p. 10 Chapter Two "Where Did You Learn To Shoot Like That?" Thelma and Louise and the Rise of the Female Criminal p.64 Chapter Three The Spectre of the Other Woman: Single White Female and Lethal Femininity p. 116 Chapter Four "Blow-jobs and Homemade Lasagne": The Role of the Wife in The Hand that Rocks the Cradle p. 169 Chapter Five " ... And Woman Inherits the Earth!": Sex, Gender and Reproduction in Jurassic Park p.220 Conclusion p.270 Bibliography p.275 Filmography p.284 LIST OF ILLUSTRATIONS Figure 1: 'Smiling face of student's "wicked" killer' . p.30 Figure 2: 'Kinky killer'. p. 31 Figure 3: 'Road rage attack that never was'. p. 34 Figure 4: 'Mad, Bad and Dangerous to Know'. p.35 Figure 5: 'Women killers'. p.38 Figure 6: Marcus Harvey's 'Myra'. p. 41 ACKNOWLEDGMENTS I would like to thank the following: The British Academy for funding. Dr Sue Vice, for supervision beyond the norm. The Staff of the Department of English Literature, especially Dr Bryan Burns, for their support. Staff at University of Sheffield Library; Psalter Lane Library, Sheffield Hallam University; Sheffield City Central Library. Fellow post-graduates for encouragement and support, especially Annette Davison and the Hollywood Film team. All those who sent me newspaper cuttings, and those who lent me videos and books - especially James Rose, Ben Pinelli, Liz Quarty, Duncan Law, Tony Lowe, Ashley Barnes at Waters tones Bookshop, Helen Murdoch and Mariette Smit.
    [Show full text]