1 CHAPTER I INTRODUCTION A. Background of the Study Sherlock
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It's a Kind of Magic: Situating Nostalgia for Technological Progress and The
IT’S A KIND OF MAGIC IT’S A KIND OF MAGIC: SITUATING NOSTALGIA FOR TECHNOLOGICAL PROGRESS AND THE OCCULT IN GUY RITCHIE’S SHERLOCK HOLMES MARKUS REISENLEITNER | YORK UNIVERSITY Guy Ritchie’s recent blockbuster success Le succès récent du blockbuster de Guy with a revisionist Sherlock Holmes is Ritchie revisitant la figure de Sherlock the latest in a series of popular films and Holmes s’inscrit dans une lignée récente fiction to have reinvigorated a nostalgic de films et de récits populaires qui ont imaginary of London’s past that places revivifié un imaginaire nostalgique du the former capital of the Empire at the passé londonien dans lequel le centre de crossroads of a persistent Manichean l’ancien empire britannique se trouve au battle between empiricist-driven croisement d’un conflit manichéen entre technological progress and traditions of un progrès scientifico-technologique occult knowledge supposedly submerged et les traditions d’un savoir occulte in the 17th century yet continuing to supposément enfouis dans les siècles trickle into the heart of the Empire précédents mais qui continue à s’insinuer from its colonies. By tracing some au cœur de l’empire à partir de ses of these historical layers sedimented colonies. En retraçant certaines de ces into 21st-century popular imaginaries couches historiques dans les recréations of London’s past, this paper explores contemporaines du Londres impérial, the mechanisms of popular culture’s cet article explore les mécanismes de production of nostalgia that mediate production de la nostalgie dans la culture public memories and histories and suture populaire en tant qu’ils font le pont them to the imaginary urban geographies entre la mémoire publique et la mémoire that constitute the space of the global historique en rattachant celles-ci à un city through its metonymic sites and its imaginaire de la géographie urbaine qui materialized histories. -
Photos Et Dossier De Presse Téléchargeables
PHOTOS ET DOSSIER DE PRESSE TÉLÉCHARGEABLES SUR WWW.STUDIOCANAL.COM SANS IDENTITÉ STUDIOCANAL présente En association avec DARK CASTLE ENTERTAINMENT une coproduction STUDIOBABELSBERG HORTICUS UK STUDIOCANAL un film de Jaume Collet-Serra DISTRIBUTION STUDIOCANAL avec Diane Kruger 1, place du Spectacle JanuarY Jones 92863 Issy-les-Moulineaux Tél. : 01 71 35 08 85 Aidan QUINN et Frank Langella Fax : 01 71 35 11 88 PRESSE BCG Myriam Bruguière, Olivier Guigues, Durée : 1h50 Thomas Percy et Wendy Chemla 23, rue Malar - 75007 Paris Tél. : 01 45 51 13 00 Fax : 01 45 51 18 19 [email protected] Sortie le 2 mars 2011 Après un accident de voiture à Berlin, le docteur Martin Harris (Liam Neeson) reprend conscience pour découvrir que sa femme (January Jones) ne le reconnaît plus et qu’un autre homme (Aidan Quinn) a pris son identité. Plus grave encore, il va très vite s’apercevoir que de mystérieux assassins le traquent. Face aux autorités qui ne le croient pas, il se retrouve seul, épuisé et en fuite. Avec l’aide de Gina (Diane Kruger), une alliée inattendue, le docteur va tout faire pour percer le secret de la machination qui le menace. Entre les pièges et les questions qu’il commence à se poser sur lui-même, Harris n’échappera à aucun danger. Jusqu’où est-il prêt à aller pour découvrir la vérité ? «Ce type n’est pas Martin Harris. C’est moi, Martin Harris. Cet homme se fait passer pour moi.» Imaginez que, bien que sachant parfaitement qui vous êtes, vous soyez C’est le producteur Leonard Goldberg qui a fait découvrir le roman de l’auteur incapable de le prouver. -
Aladdin Movie 2019” Based on Disney’S Aladdin
AN ANALYSIS OF MORAL VALUES IN GUY RITCHIE’S MOVIE “ALADDIN MOVIE 2019” BASED ON DISNEY’S ALADDIN THESIS BY DONNA TARULI AGUSTIA SILABAN NIM 372016024 UNIVERSITAS MUHAMMADIYAH PALEMBANG FACULTY OF TEACHER TRAINING AND EDUCATION ENGLISH EDUCATION STUDY PROGRAM AUGUST 2020 i AN ANALYSIS OF MORAL VALUES IN GUY RITCHIE’S MOVIE “ALADDIN MOVIE 2019” BASED ON DISNEY’S ALADDIN THESIS Presented to Universitas Muhammadiyah Palembang In partial fulfillment of the requirement For the degree of Sarjana in English Language Education By Donna Taruli Agustia Silaban NIM 372016024 UNIVERSITAS MUHAMMADIYAH PALEMBANG FACULTY OF TEACHER TRAINING AND EDUCATION ENGLISH EDUCATION STUDY PROGRAM August 2020 ii iii iv v ABSTRACT Donna Taruli Agustia Silaban, 2020. An Analysis of Moral Values in Guy Ritchie’s movie “Aladdin Movie 2019” Based on Disney’s Aladdin. Thesis, English Education Study Program, Sarjana Degree (S1), Faculty of Teacher Training and Education, Universitas Muhammadiyah Palembang. Advisor: (I) Kurnia Saputri,M.Pd. (II) Masagus Sulaiman, M.Pd. Keywords: Movie, Moral Values, Aladdin 2019 Movie The objectives of the research were to find out the types and meanings of moral values and the dominant moral value in Guy Ritchie’s movie “Aladdin 2019”. The researcher used a qualitative method in this research. The sources of this data were primary data and secondary data. In this research, the researcher used a documentation technique. In analyzing the data, the researcher used a literary analysis.There were some procedures in doing this research, such as identifying the conflict in the characters, classifying and categorizing of the conflicts found in the movie, identifying the important points related research, classifying the characters personalities and moral values in the movie, identifying the development of the plot and describing the conclusion.There were 7 moral values found in the “Aladdin 2019” movie directed by Guy Ritchie such as kindness, empathy, self-control, wisdom, cooperation, loyalty, and justice. -
Not Your Grandfather's Sherlock Holmes
d “nOt YOuR GRandFatHeR’S SHeRlOCk HOlMeS”: Guy Ritchie’s 21st Century Reboot of a 19th Century british Icon Ashley Liening Sherlock Holmes “has enjoyed the most vigorous afterlife of any fictional character” posits thomas leitch, adaptation scholar and author of Film Adaptation and Its Discontents (leitch 207). Indeed, a franchise has been built around Sir arthur Conan doyle’s quirky detective, so much so that Sherlock Holmes has become one of the most adapted literary figures of all time, outnumbered only by Frankenstein’s monster, tarzan, and dracula (207). Clare Parody asserts, “Franchise practice has produced and surrounded some of the highest grossing and best-known fictional texts, characters, plots, and worlds of the twentieth and twenty-first centuries,” and Sherlock Holmes is no exception (211). From 1900 till the present day, Sherlock Holmes has been portrayed by “nearly 100 actors, in over 200 films, from more than a dozen different countries,” and it does not appear like “Sir arthur Conan doyle’s violin- playing, pipe-smoking, cocaine-injecting sleuth” is going any- where anytime soon (Cook 31). In fact, the twenty-first century has experienced a resurgence in more “straightforward” Holmes adaptations, namely bbC’s Sherlock (2010), which aired in three ninety-minute episodes and portrays a tech-savvy twenty-first century Holmes, and Guy Ritchie’s 2009 and 2011 35 big screen adaptations, the latter of which will be the focus of this essay. I aim to explore the ways in which Guy Ritchie’s Sher lock Holmes (2009) adaptation, while inextricably bound to Conan doyle’s storytelling franchise, diverges from its prede- cessors in that it is not an amalgamation of other Holmes adap- tations. -
MELISSA GIROTTI Cell: 416-268-0425 E-Mail: [email protected]
MELISSA GIROTTI Cell: 416-268-0425 E-mail: [email protected] Production “Downsizing” Feature Film Paramount Pictures Coordinator Producers: Mark Johnson 2016 Director: Alexander Payne Line Producer: Diana Pokorny UPM: Regina Robb Cast: Matt Damon, Kristen Wiig, Jason Sudeikis, Christoph Waltz Production “11.22.63” Mini Series Bad Robot / Warner Bros. Coordinator Producers: JJ Abrams, Kathy Lingg, Bridget Carpenter 2015 Director: Various Line Producer: Joseph Boccia UPM: Anna Beben Cast: James Franco, Sarah Gadon, Chris Cooper, Josh Duhamel, George MacKay Production “MARILYN” Mini Series Asylum / Lifetime Supervisor Producers: Don Carmody, David Cormican 2014 - 2015 Director: Laurie Collyer Line Producer / UPM: Joseph Boccia Cast: Susan Sarandon, Emily Watson, Kelli Garner, Jeffrey Dean Morgan Production “POLTERGEIST” (Reshoots Only) Feature Film MGM Coordinator Producers: Sam Raimi, Nathan Kahane, Roy Lee 2014 Director: Gil Kenan (Re-shoots) Line Producer: Becki Trujillo UPM: Joseph Boccia Cast: Sam Rockwell, Rosemarie DeWitt, Jared Harris Production “AGATHA” TV Pilot ABC Studios Coordinator Exec. Producers: Mark Gordon, Nick Pepper, Michael McDonald 2014 Director: Jace Alexander Line Producer: Todd Arnow UPM: Joseph Boccia Cast: Bojana Novakovic, Clancy Brown, Meta Golding Production “MAPS TO THE STARS” Feature Film Independent Supervisor Producers: Martin Katz, Saïd Ben Saïd, Michel Merkt 2013 France / Canada Director: David Cronenberg Co-Production Line Producer / UPM: Joseph Boccia Cast: Julianne Moore, John Cusack, Mia Wasikowska, -
An Analysis of the Perennial Big-Screen Representations of the Famed Detective, Sherlock Holmes Brody Challinor College of Dupage
ESSAI Volume 11 Article 12 Spring 2013 An Analysis of the Perennial Big-Screen Representations of the Famed Detective, Sherlock Holmes Brody Challinor College of DuPage Follow this and additional works at: http://dc.cod.edu/essai Recommended Citation Challinor, Brody (2013) "An Analysis of the Perennial Big-Screen Representations of the Famed Detective, Sherlock Holmes," ESSAI: Vol. 11, Article 12. Available at: http://dc.cod.edu/essai/vol11/iss1/12 This Selection is brought to you for free and open access by the College Publications at DigitalCommons@COD. It has been accepted for inclusion in ESSAI by an authorized administrator of DigitalCommons@COD. For more information, please contact [email protected]. Challinor: An Analysis of the Perennial Big-Screen Representations of An Analysis of the Perennial Big-Screen Representations of the Famed Detective, Sherlock Holmes by Brody Challinor (English 1154) n the 1939 movie, The Adventures of Sherlock Holmes, Conan Doyle‘s famous detective [Basil Rathbone] finds himself up against his greatest nemesis, Professor Moriarty, [George Zucco] I whom he must fight on two different fronts; protecting a young lady and her brother from the deadly implications of a series of cryptic notes, while simultaneously protecting the Crown Jewels. This portrayal of the character was released to a backdrop of a world in tension, hitting theaters on the first official day of World War II, once Nazi Germany invaded Poland. In sharp contrast to its predecessor, however, the 1979 Murder by Decree pitted Holmes [Christopher Plummer] against what some might call the ‗phantom‘ menace of a fictionalized Jack the Ripper, following hot on the heels of both the Watergate scandal as well as the American feminist movement. -
QUEBEC FILM SOURCEBOOK 2016 Update 2015-12
QUEBEC FILM SOURCEBOOK 2016 Update 2015-12 WE ARE UNIFIED CREATIVE FORCES VFX STAGES CAMERAS GRIP RIGGING LIGHTING DOLLY FRONT END FILM LABORATORY DI VIDEO POST AUDIO POST MELSSTUDIOS.COMCanada’s largest supplier of services to the fi lm and television industry VISIONGLOBALE_Publicite QFSB - SPREAD.indd All Pages 2015-08-19 11:02 AM WE ARE UNIFIED CREATIVE FORCES VFX STAGES CAMERAS GRIP RIGGING LIGHTING DOLLY FRONT END FILM LABORATORY DI VIDEO POST AUDIO POST MELSSTUDIOS.COMCanada’s largest supplier of services to the fi lm and television industry VISIONGLOBALE_Publicite QFSB - SPREAD.indd All Pages 2015-08-19 11:02 AM QUEBEC FILM AND TELEVISION COUNCIL TOLL FREE: 1 866 320 FILM (3456) Telephone: 514 499-7070 Fax: 514 499-7018 [email protected] www.qftc.ca For the e-book version go to www.quebecfilmsourcebook.com DISCLAIMER Although every effort has been made to ensure that this information is correct, the publisher cannot guarantee accuracy. Please take note that the information herein is meant to be used as a guide only. © Copyright 2015, Quebec Film and Televison Council. 2015 Edition Published by Quebec Film and Television Council It is a pleasure for us to provide you with this invaluable tool that is the Quebec Film SourceBook (QFSB), the annual directory of the Quebec film and television industry. Now in its 5th edition, the QFSB is a comprehensive guide to the best of what Quebec has to offer in terms of labor, services, resources and infrastructures to help you film your production in our province. In it, you will also find all you need to know about our generous tax incentives, our unions and guilds, as well as our regional and municipal film offices – everything to ensure your film or TV shoot runs as smoothly as possible, from pre-produc- tion to the production, post-production and VFX stages. -
Accountant Profile in the Cinema of the 21St Century
218 ACCOUNTANT PROFILE IN THE CINEMA OF THE 21ST CENTURY PERFIL DO CONTADOR NO CINEMA DO SÉCULO XXI PERFIL DEL CONTADOR EN EL CINEMA DEL SIGLO XXI DOI: http://dx.doi.org/10.18028/2238-5320/ rgfc.v7n2p218-239 Joyce Dominic Alves Tavares Graduada em Ciências Contábeis (UFRN) Endereço: Rua Luiz XV, 287 – Bairro Nordeste 59.042-140 – Natal/RN, Brasil Email: [email protected] Marke Geisy da Silva Dantas Mestre em Ciências Contábeis (UnB, UFPB, UFRN) Professor Substituto da Universidade Federal do Rio Grande do Norte (UFRN) Endereço: Avenida Governador Rafael Fernandes, 930 – Alecrim 59.040-040 – Natal/RN, Brasil Email: [email protected] ABSTRACT This study aims to analyse the portrayed image of the accounting professional in the cinematographic production of the 21st century. Six movies were chosen for this analysis: Casino Royale, Wanted, The Dark Knight, RocknRolla, Too Big to Fail and The Accountant. The results indicate that some stereotypes remain linear in relation to previous studies. The demystification of some stereotypes is already being made in film production, as it is also noticeable that the accountant characters have more performances in the films. In general, considering the movies in this analysis, the accountants were portrayed in a positive way. However, some features are still represented negatively. In the movies, the professional was characterized as neutral (not exactly good or bad), peaceful, unhappy, neutral (not exactly cheerful or grumpy), intelligent, efficient, fulfilled, confident, trustworthy, incommunicative, influential and proactive. This research brings to light the accountants presented in the films, contributing to the public and society views of how accountants really behave. -
UK TALENT and AWARDS BFI Research and Statistics PUBLISHED NOVEMBER 2015 Image: the Theory of Everything © 2014 Universal City Studios
UK TALENT AND AWARDS BFI Research and Statistics PUBLISHED NOVEMBER 2015 Image: The Theory of Everything © 2014 Universal City Studios. Courtesy of Universal Studios Licensing LLC UK TALENT AND AWARDS UK ACTORS, DIRECTORS AND WRITERS CONSISTENTLY WIN ACCLAIM AT THE GLOBAL BOX OFFICE AND INTERNATIONAL AWARDS CEREMONIES. IN 2014, UK TALENT AND STORY MATERIAL CONTINUED TO REACH ENTHUSIASTIC AUDIENCES AND SHOWCASE OUR CULTURE AND IDENTITY TO THE WORLD. FACTS IN FOCUS ■ Of the top 200 global box office successes of 2001-2014, 33 films are based on stories and characters created by UK writers. Together they have earned $25 billion (£16 billion) at the worldwide box office. ■ Seven of the top 20 global box office successes of the last 14 years are based on novels by UK writers. ■ Nearly two thirds of the top 200 films released worldwide since 2001 have featured UK actors in lead or prominent supporting roles. ■ UK directors were behind 26 of the 200 biggest films of the last 14 years with Harry Potter director, David Yates, topping the box office league. ■ UK films and talent won 31 major film awards in 2014/15, including six Oscars® and 13 BAFTAs. UK TALENT AND AWARDS UK TALENT UK STORY MATERIAL The global box office performance of UK films and foreign productions which draw on UK source material is a good indicator of the international impact and exposure of British culture. Of the top 200 grossing films released worldwide between 2001 and 2014, 42 are UK qualifying films, and UK-originated story material provided the inspiration for 33 films, a feat bettered only by US story material. -
An Excremental Vision of the City and Nostalgic Images of 'Unreconstructed' Forms of Working-Class Masculinity [Are] Found in Guy Ritchie's Films” (Dave 2006: 12)
“… an excremental vision of the city and nostalgic images of 'unreconstructed' forms of working-class masculinity [are] found in Guy Ritchie's films” (Dave 2006: 12). Discuss this statement in relation to Ritchie’s Lock, Stock and Two Smoking Barrels (1998) and/or Snatch (2000). During the period Guy Ritchie’s films were released, the British film industry was seeing a shift in taste – particularly towards the Gangster film genre – largely due to the similarly shifting social climate. For some, Ritchie’s films were a godsend (Fisher, 1998, cited in Chibnall, 2001) and for others it was a debasing of traditional British culture (Appleyard, 2000, cited in Chibnall, 2001). Nevertheless, regardless of which stance is taken, it is hard to deny that these films presented “an excremental vision of the city and nostalgic images of ‘unreconstructed’ forms of working-class masculinity” as Dave (2006) states. Therefore, through a textual analysis of Lock, Stock and Two Smoking Barrels (1998) this essay aims to delve into the various methods Ritchie took to achieve the verity of the above statement, as well as why doing so was significant. The foundation for the arguments presented in this essay will largely be sourced from The British Cinema Book (Murphy, 2001), with some reference to British Crime Cinema (Chibnall & Murphy, 1999); but will also employ the help of more sociological arguments made by the likes of R.W. Connell (1987) in Gender and Power, and Linda McDowell (2003) in Redundant Masculinities? Before any textual analysis of Lock, Stock, and Two Smoking Barrels (LSTSB) is attempted, it is imperative that the shifting tastes in film and social climate mentioned in the introduction are discussed in order to put the film in context. -
Tarantino Unchained
Alumne: Pablo Nogueras Tutora: Montserrat Gispert Tarantino unchained Presentation I have always loved cinema. Since I was little my father would bring me to watch any Disney animated movie and I really enjoyed them. As years passed, my likes evolved and movies such as the Star Wars and Indiana Jones sagas had a great impact on me. Then I discovered Christopher Nolan, Ridley Scott, Guy Ritchie, Scors- ese… and a new world of cinema appeared in my life and it made me realize it was what I really wanted to do in the future. Then Reservoir Dogs appeared and it changed my way of seeing things. I ended watching all Tarantino’s movies and never would be the same again. The way the directors sees things, and then represents them in his movies, it’s a completely dif- ferent way from the typical Hollywood cinema. He had a huge impact on me, and I wanted to know how he did it. That’s how appeared the ide of making the research project about Quentin Tarantino. Objectives When one sees a film by Quentin Tarantino one unconsciously knows that is one of his works. But, what makes Tarantino so Tarantino? This project aims to identify and analyze the most relevant traits of Quentin Tarantino’s films. Other objectives are: —Find the connections between the movies. —Relate the semblance of his productions to the action movies spaghetti westerns from the 70s, find the movies which Tarantino was inspired by and examine how accurately he uses those references in his films. —Account the number of deaths and bullets shot in each film, and which weapons were used. -
Published in the Irish in Us: Irishness, Performativity and Popular Culture, Edited by Diane Negra, Durham, NC: Duke University Press, 2006: 282 – 317
Published in The Irish In Us: Irishness, Performativity and Popular Culture, edited by Diane Negra, Durham, NC: Duke University Press, 2006: 282 – 317. “A Bit of a Traveller in Everybody”: Traveller Identities in Irish and American Culture TITO RILEY: Are the Travellers cowboys or Indians Papa? PAPA RILEY: There’s a bit of a Traveller in everybody, Tito, very few of us know where we’re going. Introduction As a relatively self-conscious fusion of Anglo-Irish literature and revisionist Hollywood Western, Into the West (dir. Mike Newell, 1992) would seem to constitute an exemplary postmodern text. The central theme of this highly intertextual narrative, scripted by Jim Sheridan, is the loss and recovery of cultural identity and familial stability through recourse to a rural, pre-industrial past. But significantly, in Into the West, this typically postmodern crisis is displaced onto a community of Irish Travellers, an indigenous ethnic minority whose culture and lifestyle becomes the subject of a highly romantic representation. Although not related to Gypsies or Roma, Travellers share both their nomadic tradition and their history of persecution and social exclusion. Of the 25,000 Travellers in Ireland (less than 1% of the total Irish population) one quarter live in unserviced caravan sites by the side of the road, without regular refuse collection or running water. They suffer higher mortality rates that the settled population, as well as restricted access to education and healthcare. The opening section of Into the West, set in and around the campsites and tower blocks of North Dublin, foregrounds the marginalization of the Irish Traveling Community but any attempt at realism is abandoned at an early stage.