Metropolis Filmelméleti És Filmtörténeti Folyóirat 20. Évf. 3. Sz. (2016/3.)
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Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema. -
Negotiating the Non-Narrative, Aesthetic and Erotic in New Extreme Gore
NEGOTIATING THE NON-NARRATIVE, AESTHETIC AND EROTIC IN NEW EXTREME GORE. A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in Communication, Culture, and Technology By Colva Weissenstein, B.A. Washington, DC April 18, 2011 Copyright 2011 by Colva Weissenstein All Rights Reserved ii NEGOTIATING THE NON-NARRATIVE, AESTHETIC AND EROTIC IN NEW EXTREME GORE. Colva O. Weissenstein, B.A. Thesis Advisor: Garrison LeMasters, Ph.D. ABSTRACT This thesis is about the economic and aesthetic elements of New Extreme Gore films produced in the 2000s. The thesis seeks to evaluate film in terms of its aesthetic project rather than a traditional reading of horror as a cathartic genre. The aesthetic project of these films manifests in terms of an erotic and visually constructed affective experience. It examines the films from a thick descriptive and scene analysis methodology in order to express the aesthetic over narrative elements of the films. The thesis is organized in terms of the economic location of the New Extreme Gore films in terms of the film industry at large. It then negotiates a move to define and analyze the aesthetic and stylistic elements of the images of bodily destruction and gore present in these productions. Finally, to consider the erotic manifestations of New Extreme Gore it explores the relationship between the real and the artificial in horror and hardcore pornography. New Extreme Gore operates in terms of a kind of aesthetic, gore-driven pornography. Further, the films in question are inherently tied to their economic circumstances as a result of the significant visual effects technology and the unstable financial success of hyper- violent films. -
An Abstract of the Thesis Of
AN ABSTRACT OF THE THESIS OF Nicolas Evans for the degree of Master of Arts in English presented on June 2, 2017. Title: (Mis)representation & Postcolonial Masculinity: The Origins of Violence in the Plays and Films of Martin McDonagh. Abstract approved: ______________________________________________________ Neil R. Davison This thesis examines the postmodern confrontation of representation throughout the oeuvre of Martin McDonagh. I particularly look to his later body of work, which directly and self-reflexively confronts issues of artistic representation & masculinity, in order to gain a more nuanced understanding of his earliest and most controversial plays. In part, this thesis addresses misperceptions regarding The Leenane Trilogy, which was initially criticized for the plays’ shows of irreverence and use of caricature and cultural stereotypes. Rather than perpetuating propagandistic or offensive representations, my analysis explores how McDonagh uses affect and genre manipulation in order to parody artistic representation itself. Such a confrontation is meant to highlight the inadequacy of any representation to truly capture “authenticity.” Across his oeuvre, this postmodern proclivity is focused on disrupting the solidification of discourses of hyper-masculinity in the vein of postcolonial, diasporic, and mainstream media’s constructions of masculinity based on aggression and violence. ©Copyright by Nicolas Evans June 2, 2017 All Rights Reserved (Mis)representation & Postcolonial Masculinity: The Origins of Violence in the Plays and Films of Martin McDonagh by Nicolas Evans A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts Presented June 2, 2017 Commencement June 2017 Master of Arts thesis of Nicolas Evans presented on June 2, 2017 APPROVED: Major Professor, representing English Director of the School of Writing, Literature, and Film Dean of the Graduate School I understand that my thesis will become part of the permanent collection of Oregon State University libraries. -
Resignation of Oil Minister Hani Hussein Has Been Accepted
SUBSCRIPTION MONDAY, MAY 27, 2013 RAJAB 17, 1434 AH www.kuwaittimes.net Maoist rebels Obama Rosberg Neymar kill 23 in travels to emulates announces central India tornado-hit father with transfer to ambush7 Oklahoma15 Monaco19 win Barcelona19 Resignation of oil Max 44º Min 25º High Tide minister ‘accepted’ 01:59 & 12:25 Low Tide Panel calls to scrap Al-Zour power plant contract 07:08 & 20:07 40 PAGES NO: 15821 150 FILS By B Izzak KUWAIT: With just two days before the highly-anticipated debates of two grillings of the oil and interior ministers, it was reported that the resignation of Oil Minister Hani Hussein has been accepted. However, there has been no official comment on the rumours about the resignation, which if true would mean scrapping the grilling filed two weeks ago by three MPs over alleged violations, especially the payment of the $2.2 billion penalty to US’ Dow Chemical. Hussein submitted his resignation to the prime minister along with all Cabinet members two weeks ago after MPs surprised everyone by filing two requests to grill the ministers. In the meantime, Hussein carried out one of the biggest reshuffle in the oil sector, replacing the chief exec- utive officers of all the eight companies under Kuwait Petroleum Corp. The shakeup also included replacing the chief execu- tive officer of KPC Farouq Al-Zanki, who was replaced by Nezar Al- Adasani. A number of MPs swiftly welcomed the reported resignation but no one confirmed the report. MP Abdullah Al- Tameemi said the accept- Hani Hussein ance of the resignation of the oil minister was “long over- due” but called for following the issue on the payment of Dow penalty in court. -
Takuya Kimura
Reinventing action, Blade of the Immortal is entertainment taken to new heights, a work that will stir the hearts of movie fans everywhere. The manga that rocked the world is now an epic movie! Creating a universe that transcends period drama, director Takashi Miike has made a film that truly befits the original manga. A human drama knitting together a vast range of characters and their complications, it features spectacular fight scenes with a whole array of imaginative weapons, and a climactic battle involving some 300 people that took more than two weeks to film, a sequence that will remain in film history. STORY ‘He may be immortal, but he will still lose his life’ Manji, a highly skilled samurai, becomes cursed with immortality after a legendary battle. Haunted by the brutal murder of his sister, Manji knows that only fighting evil will regain his soul. He promises to help a young girl named Rin avenge her parents, who were killed by a group of master swordsmen led by ruthless warrior Anotsu. The mission will change Manji in ways he could never imagine... ‘Cut down again and again, he will still protect.’ TAKUYA KIMURA AS MANJI Born in Tokyo in 1972, Kimura is regarded as a Japanese icon after achieving unprecedented success as an actor and influencing Japanese language and Originally a ‘hatamoto’, a samurai in the direct service of the culture. His major film titles includeFly Boys, Fly! (1995), Howl’s Moving Shogun, Manji now has a bounty on his head, having killed both Castle (voice, 2004), Wong Kar-wai’s 2046, Yoji Yamada’s Love and a superior who was oppressing the common people to fatten his Honour (2006), and the live-action version of the anime hit Space Battleship own wallet, and six of his fellow bodyguards. -
Audiences and Receptions of Sexual Violence in Contemporary Cinema
British Board of Film Classification 3 Soho Square London W1D 3HD t:020 7440 1570 f:020 7287 0141 http://www.bbfc.co.uk Audiences and Receptions of Sexual Violence in Contemporary Cinema Today, the British Board of Film Classification (BBFC) publishes a research report into Audiences and Receptions of Sexual Violence in Contemporary Cinema. The report was commissioned from Professor Martin Barker of the University of Aberystwyth and is based on new and substantive qualitative research. In performing its duties as a regulator of the moving image, the BBFC is obliged to balance the right of freedom of expression with the need to protect the public from harm. In the case of ‘video works’, including DVDs, the BBFC has a particular obligation under the Video Recordings Act 1984 (VRA) to have special regard, among other factors, to any harm that may be caused (to viewers or to society) by the manner in which a video work deals with sex, violence, horror, drugs or criminal activity. Scenes of sexual violence inevitably combine two, and sometimes all five, of the potentially harmful elements identified by the VRA and therefore raise particularly difficult issues for the BBFC. Despite a vast amount of media effects research, absolute ‘proof’ of harm, or of the extent of harm, is elusive, not least because of the ethical and practical difficulties involved. The responsible media regulator must therefore exercise judgement in a manner which takes account of the concerns raised by some research studies, but which also acknowledges the limitations of the research and the rights enshrined in UK law by the Human Rights Acts 1998. -
Asian Extreme As Cult Cinema: the Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies
Asian Extreme as Cult Cinema: The Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies, Wilfrid Laurier University MA Film Studies, University of British Columbia A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Communications and Arts Hughes 2 Abstract This thesis investigates the way Western audiences respond to portrayals of excess and otherness in Japanese Extreme cinema. It explores the way a recent (2006-2016) cycle of Japanese Splatter (J-Splatter) films, including The Machine Girl (Noboru Iguchi, 2008) and Tokyo Gore Police (Yoshihiro Nishimura, 2008), have been positioned as cult due to their over-the-top representations of violence and stereotypes of Japanese culture. Phenomenological research and personal interviews interrogate Western encounters with J-Splatter films at niche film festivals and on DVD and various online platforms through independent distributors. I argue that these films are marketed to particular Western cult audiences using vocabulary and images that highlight the exotic nature of globally recognised Japanese cultural symbols such as schoolgirls and geisha. This thesis analyses J-Splatter’s transnational, cosmopolitan appeal using an approach informed by the work of Ernest Mathijs and Jamie Sexton, Matt Hills, Henry Jenkins, and Iain Robert Smith, who read the relationship between Western audiences and international cult cinema as positive and meaningful cultural interactions, demonstrating a desire to engage in more global experiences. The chapters in this thesis use textual analysis of J-Splatter films and case studies of North American and Australian film festivals and distribution companies, which include interviews with festival directors and distributors, to analyse the nature of the appeal of J- Splatter to Western audiences. -
Ethics and Politics in New Extreme Films
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queen Mary Research Online ETHICS AND POLITICS IN NEW EXTREME FILMS Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy By Oliver Kenny Department of Film Queen Mary University of London I, Oliver Kenny, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third party’s copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the elec- tronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university. The copyright of this thesis rests with the author and no quotation from it or information de- rived from it may be published without the prior written consent of the author. Signature: Date: 20th December 2017 2 Abstract This thesis investigates a corpus of controversial, mainly European films from 1998 to 2013, to determine which features have led to their critical description as ‘new extreme’ films and according to what ethical framework ‘new extreme’ films operate. -
Review Article the End of Extreme Cinema Studies
Review Article The End of Extreme Cinema Studies Troy Michael Bordun Trent University 122 Kerner, Aaron Michael, and Jonathan L. Knapp. Extreme Cinema: Affective Strategies in Transnational Media. Edinburgh: Edinburgh UP, 2016. Pp. vii+179. Frey, Mattias. Extreme Cinema: The Transgressive Rhetoric of Today’s Art Film Culture. New Brunswick, NJ and London: Rutgers UP, 2016. Pp. viii+298. Despite critic James Quandt’s insistence that “extreme cinema” had been effec- tively ended by Gaspar Noe’s Enter the Void (2009) (Quandt 212), both filmmakers and scholars continue to work in and on this 21st-century art cinema production trend. 2016 marked the appearance of two scholarly volumes on extreme cinema. Aaron Michael Kerner and Jonathan L. Knapp’s Extreme Cinema: Affective Strategies in Transnational Media investigates the affective potential of the trend, that is, by assessing a number of films’ graphic and explicit representations and the implica- tions these representations have for spectatorship theory. Conversely, Mattias Frey’s Extreme Cinema: The Transgressive Rhetoric of Today’s Art Film Culture unravels the production trend in terms of its “industrial systems, regulatory systems, [and] reception” (9). Frey’s research includes but is not limited to extreme films’ exhibi- tion at festivals, their home-market distribution, and importantly, a homogeneous discourse from directors, critics, and academics. Although there is no denying that extreme films share affinities with horror, pornography, and exploitation fare, Frey observes that each of the players in extreme cinema discourse mark the trend “high art” rather than one of the so-called low genres. On the one hand, Kerner and Knapp rehearse theoretical arguments found in much extreme cinema scholarship over the last decade or so and, on occasion, acknowledge the tension between high and low genres. -
A Sitges, El Públic Sembla Formar Part De La Pel·Lícula
Dissabte 19 d’octubre de 2013 · Número 9 4 The Wind Rises 9 Takashi Miike 10 A. Keshales i N. Papushado 11 Christian Hallman www.sitgesfilmfestival.com Diari del festival 2 Dissabte 19 d’octubre 2013 INFOrmaCIÓ I VENDA D’ENTraDES Compra les teves entrades anticipades * Excepcions dels abonaments Fan- a través de Telentrada de Catalunya- tàstics i dels carnets de descompte: Caixa, per internet a (www.telentrada. els descomptes no són aplicables com), per telèfon trucant al 902 10 12 a les gales d’Inauguració i de Clo- 12 o a les oficines de CatalunyaCaixa enda, maratons del 20 d’octubre, maratons de matinada, les sessions PREUS (IVA inclós) Despertador, Abonament Matinée, 9€: Secció Oficial Fantàstic a competi- Abonament Auditori, Butaca VIP i ció, Secció Oficial Fantàstic Especials, Localitat Numerada. Secció Oficial Fantàstic Galas, Secció Oficial Fantàstic Panorama en competi- VENDA D’ENTRADES ció, Secció Oficial Noves Visions Emer- Pots comprar les teves entrades gents, Secció Oficial Noves Visions Ex- anticipades a través de Telentrada perimenta, Secció Oficial Noves Visions de CatalunyaCaixa, per internet a Ficció, Secció Oficial Noves Visions No www.telentrada.com, per telèfon tru- Ficció, Secció Oficial Noves Visions Petit cant al 902 10 12 12 o a les oficines 1 Estacio Format, Panorama Especial, Sessions de CatalunyaCaixa. 2 Bus Sitges-Barcelona | Sitges-Vilanova Especial, Secció Seven Chances, Ses- 3 Cinema Prado sions Sitges Family, Focus Asia, Secció De l’11 al 20 d’octubre també les po- 4 Cinema El Retiro Anima’t i Sessions 3D dràs adquirir a les taquilles de l’Audi- 5 Cap de la Vila 6€: Secció Retrospectiva i Homenat- tori situades a la sala Tramuntana de 6 Jardins d’El Retiro. -
Vér És Erőszak Nélkül a Vörös Szőnyegen Takashi Miike, Az Ázsiai
Fabics12_Layout 1 2017.07.12. 3:13 Page 52 2016 no. 3. Fábics Natália Vér és erõszak nélkül a vörös szõnyegen Takashi Miike, az ázsiai mozi rosszfiújának átmeneti domesztikálódása akashi Miike korunk egyik legsokoldalúbb, számos világban talán kötelezõen kell, hogy legyen) olyan Tzsánerben alkotó, már eddig is különösen sok idõszaka, amikor a bevétel, a szélesebb körû nem zet - filmet készítõ rendezõje1, akinek pályáját rajongás és közi (el)is mertség a legfõbb cél, míg az ösztönös undor, tisztelet és elutasítás kíséri. Mindenestre alkotói program háttérbe szorul. Ezzel párhuzamosan, kiharcolt magának egy olyan pozíciót kortárs világunk amellett is érvelni fogok, hogy az õ és sok más ázsiai mozijában, hogy minden, a filmmûvészet iránt komo- ‘auteur’ esetében ez a bizonyos bevételtermelés elsõ lyan érdeklõdõ (és nem csak az ázsiai iránt!) közönség lépésben a fesztiváljelen létet és -sikert jelenti, ami számára meg- és elkerülhetetlenné vált. megteremti a lehetõ sé get arra, hogy a következõ Elismerve ezt a sokoldalú tehetséget, a legkülön bö- néhány évben a komp ro misszummentes alko tások zõbb témák formabontóan izgalmas, ugyanakkor profi finanszírozását (sõt akár az irántuk való nézõi feldolgozását, a látszólag patikamérlegen kímért érdeklõdést) is megala pozza.3 stílusérzéket2, van két, közvetlenül egymást köve - tõen, pár évvel ezelõtt készített alkotása, melyek minden szempontból megtörik az alkotói pálya ívét. A japán mozi fenegyereke és a Ezek a Ju^san-nin no shikaku (A tizenhárom gyilkos, 2010) és az Ichimei (Hara-Kiri: egy szamuráj halála, fesztiválstratégia találkozása 2011). Tanul mányomban ezt a két filmet vizsgálom, és azt kísérlem meg alátámasztani, hogy még egy Az elmúlt évek során különös lendületet kapott film - olyan „punk” alkotónak mint Miike is lehet (a mai fesztiválkutatások kapcsán számos szerzõ (Elsaesser, k 1 Az IMDb 2017. -
1 Programme 2015
1 PROGRAMME 2015 ACHAT POP CORN Edito .............................................................................................................................................................. 4 BANDE-ANNONCES 1) Ouvertures .................................................................................................................................. 5 2) Clôtures ........................................................................................................................................ 7 3) Chevaliers de l’Ordre Du Corbeau .................................................................................... 8 4) Invité d’Honneur .......................................................................................................................... 5) Inédits ............................................................................................................................................... 6) Section Première Réalisation ................................................................................................ 7) Sections Bifffeurs en Herbe .................................................................................................... 8) Section Midnight X-tremes ..................................................................................................... 9) Nuit Fantastique .......................................................................................................................... 10) Compétition Thriller ................................................................................................................