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7.Castrillo-Echart
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Dadun, University of Navarra Pablo Castrillo Towards a narrative definition of [email protected] PhD Candidate and Lecturer. the American political thriller film University of Navarra. Spain. Pablo Echart Abstract [email protected] Senior Lecturer in The Hollywood political thriller is a film genre of unique Screenwriting. University of relevance in the United States, often acting as a reflection of the Navarra. Spain. fears and anxieties of its historical times. At the same time, however, the definition of its identity and boundaries still leaves Submitted room for further specification, perhaps due to the frequent June 4, 2015 consideration of the political thriller as part of the broader Approved September 30, 2015 categories of either thriller narratives or political films. By revising the available literature and filmography and analyzing the narrative features of the classical political thriller, this © 2015 Communication & Society article proposes a deeper definition of the genre that takes into ISSN 0214-0039 account the nature of the broader ‘thriller’ category of films E ISSN 2386-7876 springing from a specific mode of crime fiction that focuses on a doi: 10.15581/003.28.4. 109-123 www.communication-society.com victim or threatened individual as its protagonist, depicts and conveys intense emotional states, portrays an unbalanced and highly existentialist worldview, and travels into the 2015 – Vol. 28(4), pp. 109-123 extraordinary while at the same time holding on to very concrete expectations of verisimilitude. The political thriller How to cite this article: specifies this broader form of narration and links it to dramatic Castrillo, P. -
Literariness.Org-Mareike-Jenner-Auth
Crime Files Series General Editor: Clive Bloom Since its invention in the nineteenth century, detective fiction has never been more pop- ular. In novels, short stories, films, radio, television and now in computer games, private detectives and psychopaths, prim poisoners and overworked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fiction. Every aspect of crime writing, detective fiction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. Titles include: Maurizio Ascari A COUNTER-HISTORY OF CRIME FICTION Supernatural, Gothic, Sensational Pamela Bedore DIME NOVELS AND THE ROOTS OF AMERICAN DETECTIVE FICTION Hans Bertens and Theo D’haen CONTEMPORARY AMERICAN CRIME FICTION Anita Biressi CRIME, FEAR AND THE LAW IN TRUE CRIME STORIES Clare Clarke LATE VICTORIAN CRIME FICTION IN THE SHADOWS OF SHERLOCK Paul Cobley THE AMERICAN THRILLER Generic Innovation and Social Change in the 1970s Michael Cook NARRATIVES OF ENCLOSURE IN DETECTIVE FICTION The Locked Room Mystery Michael Cook DETECTIVE FICTION AND THE GHOST STORY The Haunted Text Barry Forshaw DEATH IN A COLD CLIMATE A Guide to Scandinavian Crime Fiction Barry Forshaw BRITISH CRIME FILM Subverting -
Film: Literature and Law FM 241.01/EN244.01
Film: Literature and Law FM 241.01/EN244.01 John J. Michalczyk Tuesdays, 6:30-9:00 PM Interest in the rapport between film and literature as it relates to the law intrigues us as much today as ever. Literature can vividly capture the drama of a legal trial or an investigation into a brutal, racial murder. Film then takes this rich material and shapes it into a compelling form with dynamic visuals and other narrative techniques. This course explores the power of story-telling and the impact of film to portray the inner workings of law and its relationship to ideas about inferiority, liberty, citizenry, race, justice, crime, punishment, and social order. Short stories, plays, and novellas with their accompanying film adaptations will comprise the body of the curriculum. All texts are required and will be available at the Bookstore or can be purchased through Amazon.com. Check online for free texts. Reflection questions based on the readings and film screenings will be emailed prior to each class. Class: Date/Texts/Films 1. Jan.17 Introduction and methodology utilized in the course Literary excerpts with analysis of form and content Arthur Miller: The Crucible Film: Nicholas Hytner’s The Crucible The Salem witch trials and the sensitive conscience of John Proctor, an allegory of the McCarthy era. 2. Jan. 24 Arthur Miller: The Crucible (discussion) Film: David Helpern’s Hollywood on Trial documenting the 1948 trial of Hollywood 10. Film: High Noon, a Western allegory about standing up against oppression during the McCarthy era. 3. Jan. 31 Robert Bolt: Man for All Seasons Film: Zinneman’s Man for All Seasons Thomas More, a man of conscience, stands up against Henry VIII. -
Dil Se / from the Heart (1998, Mani Ratnam, India)
A Level Film Studies - Focus Film Factsheet Dil Se / From the Heart (1998, Mani Ratnam, India) Component 2: Global Filmmaking • Sumptuous colour cinematography by Perspectives (AL) Santosh Sivan covers the different regions of the Indian sub-continent evoking the Core Study Areas contrasting geographic and ethnic features. Key Elements of Film Form • After the interval the story moves to New Meaning & Response Delhi with consequent tighter framing. The Contexts of Film • In Dil Se the songs (apart from E Ajnabi) are fantasies bookended by realities. The Rationale for study cinematography signals the change between these two modes. During the dance sequences Dil Se demonstrates the key characteristics frequent use of camera zoom, moving of a mainstream Bollywood film: a two-part camera, change of camera angles echo the structure, big stars, spectacular song and dance rhythmic pattern of the song. At the ending sequences, themes of Indian identity and the of the film the cinematography is much more struggle between love and duty. However, it tied to the conventions of realism. goes against the usual Bollywood narrative in its mixing of a romantic obsessive love story with a Mise-en-Scène serious and thought provoking political thriller. • Lavish mise-en-scène in terms of the costumes as well as the scenery. During the song and dance sequences both change constantly STARTING POINTS - Useful which is one of the features of the Bollywood Sequences and timings/links film. In Satrangi Re Meghna starts off in black, then white, orange, yellow, green, red, Satrangi Re – a song and dance sequence inspired blue, white, purple then white again. -
CONSIGNES Semaine Du 23 Au 27 Mars Travail À Faire Sur La
CONSIGNES Semaine du 23 au 27 mars Travail à faire sur la thématique des films Pour suivre le cours de cette semaine voici les étapes à suivre : 1- D’abord, vous lisez attentivement la trace écrite en page 2 puis vous la recopiez dans votre cahier. 2- Ensuite, vous compléter au crayon à papier la fiche en page 3. Pour faire cela, vous devez d’abord lire toutes les phrases à trou puis lire chaque proposition et ensuite essayez de compléter les trous. 3- Pour terminer, vous faites votre autocorrection grâce au corrigé qui se trouve en page 4 1 Monday, March 23rd Objectif : Parler des films Film vocabulary I know (vocabulaire de film que je connais) : - film (UK) / movie (USA) - actor = acteur / actress = actrice - a trailer = une bande annonce - a character = un personnage 1. Different types of films - Activity 2 a 1 page 66 (read, listen and translate the film types) An action film = un film d’action / a comedy = une comédie / a drama = un drame / an adventure film = un film d’aventure / an animation film = un film d’animation = un dessin animé / a fantasy film = un film fantastique / a musical = une comédie musicale/ a spy film = un film espionnage / a horror film = un film d’horreur / a science fiction film = un film de science fiction. - Activity 2 a 2 page 66 (listen to the film critic and classify the films) Johnny English Frankenweenie The Hobbit Les Misérables The Star Wars Reborn (French) series - A comedy, - An animation - A fantasy film - a musical - the series are film, science fiction - An action film - an adventure - a drama films and and - A comedy and film - adventure films - A spy film - A horror film 2. -
Lights, Camera, Action: Romantic Comedies from The
LIGHTS, CAMERA, ACTION: ROMANTIC COMEDIES FROM THE MALE PERSPECTIVE By TERESA TACKETT Bachelor of Arts in Public Relations Oklahoma State University Stillwater, Oklahoma 2011 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 SCIENCE May, 2016 LIGHTS, CAMERA, ACTION: ROMANTIC COMEDIES FROM THE MALE PERSPECTIVE Thesis Approved: Dr. Danny Shipka Thesis Adviser Dr. Cynthia Nichols Dr. BobbiKay Lewis ii Name: TERESA TACKETT Date of Degree: MAY, 2016 Title of Study: LIGHTS, CAMERA, ACTION: ROMANTIC COMEDIES FROM THE MALE PERSPECTIVE Major Field: MASS COMMUNICATIONS Abstract: Romantic comedies are cited as the highest-viewed film genre of the twenty-first century, yet there is a lack of academic research concerning film consumers’ attitudes toward the genre and the plausibility of learning and adopting behavior because of romantic content. This thesis addresses those gaps in the literature. A qualitative interview analysis was conducted with ten male film consumers who reported their ideas, opinions and experiences with the top ten highest-grossing romantic comedies from 2009-2015. As a result, five main themes emerged, which are (a) men cite romantic comedies as setting unrealistic expectations for relationships; (b) men are put off by the predictability of the genre; (c) men do not consume the genre with other men; (d) men use romantic comedies as a learning tool; and, (e) men cite drama in relationships as the most relatable aspect of romantic comedies. The data set was rich and descriptive in nature and the qualitative interview analysis supported the advancement of four theories, including Social Cognitive Theory, Cultivation Theory, Third-person Effect Theory and Spiral of Silence Theory. -
UNREASONABLE DOUBTS by Reyna Marder Gentin
2019 WOMEN’S FICTION WRITERS ASSOCIATION STAR AWARD FINALIST IN OUTSTANDING DEBUT FICTION "An intriguing blend of romance and legal suspense from a new writer to watch.” —WILLIAM LANDAY, New York Times bestselling author of Defending Jacob “…not only intelligent, but deeply moving. She knows the law and she knows her characters. Well done!” —SUSAN ISAACS, author of Compromising Positions, After All These Years, and As Husbands Go “Fans of Allison Leotta and Lisa Scottoline will appreciate the domestic and romantic elements as well as the legal intrigue.” —BOOKLIST UNREASONABLE DOUBTS By Reyna Marder Gentin Reyna Marder Gentin’s novel, UNREASONABLE DOUBTS—equal parts legal thriller and love story—has earned strong praise from top writers across genres, including Susan Isaacs, William Landay, and Rabbi Joseph Telushkin. The novel’s protagonist, Liana Cohen, looks like she has it all—a meaningful job as a public interest lawyer, an adoring boyfriend, and an apartment on Manhattan’s trendy Upper West Side. But as her thirtieth birthday approaches, Liana feels lost. At the New York City Public Defender’s office, she has drifted from idealist to jaded realist; her experience representing hardened criminals and repeat offenders has chipped away at her faith in herself and the system. Liana would give anything to have one client in whom she can believe. And when Unreasonable Doubts, page 2 of 4 her do-gooder job is ridiculed by her boyfriend Jakob’s high-powered law firm colleagues, that only adds to the increasing strain in their once enviably happy relationship. Enter imprisoned felon Danny Shea, whose unforgivable crime would raise a moral conflict in an attorney at the height of her idealism - and that hasn't been Liana in quite a while. -
The Representation of Women in Romantic Comedies Jordan A
Ursinus College Digital Commons @ Ursinus College Media and Communication Studies Honors Papers Student Research 4-24-2017 Female Moments / Male Structures: The Representation of Women in Romantic Comedies Jordan A. Scharaga Ursinus College, [email protected] Adviser: Jennifer Fleeger Follow this and additional works at: https://digitalcommons.ursinus.edu/media_com_hon Part of the Communication Commons, Film and Media Studies Commons, and the Gender and Sexuality Commons Click here to let us know how access to this document benefits oy u. Recommended Citation Scharaga, Jordan A., "Female Moments / Male Structures: The Representation of Women in Romantic Comedies" (2017). Media and Communication Studies Honors Papers. 6. https://digitalcommons.ursinus.edu/media_com_hon/6 This Paper is brought to you for free and open access by the Student Research at Digital Commons @ Ursinus College. It has been accepted for inclusion in Media and Communication Studies Honors Papers by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. Female Moments/Male Structures: The Representation of Women in Romantic Comedies Jordan Scharaga April 24, 2017 Submitted to the Faculty of Ursinus College in fulfillment of the requirements for Distinguished Honors in the Media and Communication Studies Department. Abstract: Boy meets girl, boy loses girl, boy gets girl again. With this formula it seems that romantic comedies are actually meant for men instead of women. If this is the case, then why do women watch these films? The repetition of female stars like Katharine Hepburn, Doris Day and Meg Ryan in romantic comedies allows audiences to find elements of truth in their characters as they grapple with the input of others in their life choices, combat the anxiety of being single, and prove they are less sexually naïve than society would like to admit. -
Lesson Forensic Science Crime Dramas
LESSON PLAN Level: Grades 10-12 About the Author: Aaron Bawn Duration: 4-6 hours Forensic Science Crime Dramas Overview This lesson encourages students to analyze the forensic science crime drama as a television show genre. Students will evaluate previous knowledge of criminal investigations, how they have acquired this knowledge and the role the media plays in teaching such information. Students will develop a basic understanding of how to categorize a television show based on genre, as well as unique characteristics about forensic science crime dramas as a genre of television. Students will then research and present various topics associated with forensic science both on television and in the actual criminal justice system to obtain an understanding of the discrepancies between the two. Finally, students will use what they have learned to develop a forensic science crime drama of their own. Learning Outcomes Students will demonstrate the ability to: understand what a forensic crime drama is learn how to watch and evaluate the images shown to them in forensic science crime dramas understand why forensic science crime dramas promote misconceptions learn to ask questions regarding the representation of the justice system on television Preparation and Materials Photocopy or print as transparencies the following: Crime Scene Photo Examples of Television Genres Common Characteristics of Forensic Science Crime Dramas Read the following backgrounders: Common Characteristics of Forensic Science Crime Dramas: Teacher Form Assumptions Made by Forensic Science Crime Dramas Forensic Science: The Facts The CSI Effect www.mediasmarts.ca 1 © 2012 MediaSmarts Forensic Science Crime Dramas ● Lesson Plan ● Grades 10-12 Photocopy: Classify the Show by Genre Forensic Science Research Assignment Pitch a Realistic Forensic Science Crime Drama Procedures Introduction In order to probe students’ existing knowledge of crime scene investigations, start the class by distributing or displaying as an overhead transparency the Crime Scene Photo. -
Film Genre Moving Image Arts
NEW REVISED GCSE FILM GENRE MOVING IMAGE ARTS 1 Film Genre CONTENTS INTRODUCTION 3 Genre Fact Sheet: HORROR 5 THE WESTERN 8 ACTION/ADVENTURE 11 ROMANTIC COMEDY 14 SCIENCE FICTION 17 CRIME 20 2 Genre: INTRODUCTION 3 The study of genre underpins the entire GCSE Moving Image Arts Course. Students will be expected to recognise specific film genre conventions from the specification’s set list of six core genres, and also to use them in their own creative practice. The current list of set core genres is: • Horror; • Western; • Action/Adventure; • Romantic Comedy; • Science Fiction; • Crime. CCEA will review the list of set genres every two years. Students should be able to recognise and identify the following characteristic elements within each of the set genres: Element Description Iconography Genre films can be identified by key iconic images. Setting Some genres have a distinct location or time period associated with them. Narrative Genre films employ specific story structures and narrative devices. Characters Some characters are associated with particular genres and can attain the status of generic types. Style Genre films can be identified by specific visual and audio techniques. Theme Genre films often have characteristic themes. This booklet contains fact sheets on each of the six set genres and provides some examples of genre specific conventions and characteristics. Some recommended films for each genre are also listed. 4 Genre and the Audience Students should be able to recognise the role of audience and how it informs the storytelling styles and conventions followed by the set genres. It should be clear to students what type of audiences certain genres are primarily aimed at. -
Courtroom Drama with Chinese Characteristics: a Comparative Approach to Legal Process in Chinese Cinema
Courtroom Drama With Chinese Characteristics: A Comparative Approach to Legal Process in Chinese Cinema Stephen McIntyre* While previous “law and film” scholarship has concentrated mainly on Hollywood films, this article examines legal themes in Chinese cinema. It argues that Chinese films do not simply mimic Western conventions when portraying the courtroom, but draw upon a centuries-old, indigenous tradition of “court case” (gong’an) melodrama. Like Hollywood cinema, gong’an drama seizes upon the dramatic and narrative potential of legal trials. Yet, while Hollywood trial films turn viewers into jurors, pushing them back and forth between the competing stories that emerge from the adversarial process, gong’an drama eschews any recognition of opposing narratives, instead centering on the punishment of decidedly guilty criminals. The moral clarity and punitive sense of justice that characterize gong’an drama are manifest in China’s modern-day legal system and in Chinese cinema. An analysis of Tokyo Trial, a 2006 Chinese film about the post-World War II war crimes trial in Japan, demonstrates the lasting influence of gong’an drama. Although Tokyo Trial resembles Hollywood courtroom drama in many respects, it remains faithful to the gong’an model. This highlights the robustness of China’s native gong’an tradition and the attitudes underlying it. * J.D., Duke University School of Law; M.A., East Asian Studies, Duke University; B.A., Chinese, Brigham Young University. I thank Professor Guo Juin Hong for his valuable comments and encouragement. I also thank those who attended and participated in the 2011 Kentucky Foreign Language Conference at the University of Kentucky, at which I presented an earlier version of this article. -
Understanding Bollywood Films (Courtesy of Nadine Dable)
Understanding Bollywood Films (courtesy of Nadine Dable) Influences: - Sanskrit theatre (the nine traditional rasas, see below) - Popular theatre (in particular Parsi theatre, which frequently combines both Indian and Western dramatic traditions) - The great Sanskrit epics (Ramayana, Mahabharata) - Western cinematic conventions Censorship: - initially, during British occupation, political censorship (with regard to independence movements) - erotic scenes, in particular kissing Typical/recurrent elements: Hybridity: Indian films are supposed to address themselves to, and reflect, all (or as many as possible of) the 9 “rasas”, that is, moods, or emotions: shringara (love, beauty, devotion), hasya (joy, humour, sarcasm), adbhuta (wonder, curiosity, mystery), shanta (peace, calmness, relaxation), raudra (anger, irritation, stress), veera (courage, pride, confidence), karuna (sadness, compassion, pity, sympathy), bhayanaka (fear, anxiety, worry), vibshata (disgust, depression, self-pity). As a result – and also as a legacy of the heterogeneous influences which Bollywood films have absorbed), they are hybrid in terms of their filmic genres as well (romance, thriller, political thriller, action film, western, fantasy, musical, comedy etc. etc.). One of the most important of these elements is the musical – song and dance routines (solos, duets, group performances with “supporting” dancers and singers). Characters: characters are often stereotypical (or “flat” in lit.crit. terms), for instance the strict patriarch, the scheming grandmother, the comedian etc.; the actors often use gestures, facial expressions etc. which seem exaggerated to western spectators. Some of these gestures are not easy to interpret as body language must be understood in the context of a given culture (examples: touching another person’s feet in order to express one’s respect for this person, shaking one’s thumb to express disapproval etc.).