Campus Connection 201202.Pdf (89.42Kb)
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
The French New Wave and the New Hollywood: Le Samourai and Its American Legacy
ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 3 (2010) 109–120 The French New Wave and the New Hollywood: Le Samourai and its American legacy Jacqui Miller Liverpool Hope University (United Kingdom) E-mail: [email protected] Abstract. The French New Wave was an essentially pan-continental cinema. It was influenced both by American gangster films and French noirs, and in turn was one of the principal influences on the New Hollywood, or Hollywood renaissance, the uniquely creative period of American filmmaking running approximately from 1967–1980. This article will examine this cultural exchange and enduring cinematic legacy taking as its central intertext Jean-Pierre Melville’s Le Samourai (1967). Some consideration will be made of its precursors such as This Gun for Hire (Frank Tuttle, 1942) and Pickpocket (Robert Bresson, 1959) but the main emphasis will be the references made to Le Samourai throughout the New Hollywood in films such as The French Connection (William Friedkin, 1971), The Conversation (Francis Ford Coppola, 1974) and American Gigolo (Paul Schrader, 1980). The article will suggest that these films should not be analyzed as isolated texts but rather as composite elements within a super-text and that cross-referential study reveals the incremental layers of resonance each film’s reciprocity brings. This thesis will be explored through recurring themes such as surveillance and alienation expressed in parallel scenes, for example the subway chases in Le Samourai and The French Connection, and the protagonist’s apartment in Le Samourai, The Conversation and American Gigolo. A recent review of a Michael Moorcock novel described his work as “so rich, each work he produces forms part of a complex echo chamber, singing beautifully into both the past and future of his own mythologies” (Warner 2009). -
Politics and the 1920S Writings of Dashiell Hammett 77
Politics and the 1920s Writings of Dashiell Hammett 77 Politics and the 1920s Writings of Dashiell Hammett J. A. Zumoff At first glance, Dashiell Hammett appears a common figure in American letters. He is celebrated as a left-wing writer sympathetic to the American Communist Party (CP) in the 1930s amid the Great Depression and the rise of fascism in Europe. Memories of Hammett are often associated with labor and social struggles in the U.S. and Communist “front groups” in the post-war period. During the period of Senator Joseph McCarthy’s anti-Communism, Hammett, notably, refused to collaborate with the House Un-American Activities Committee’s (HUAC) investigations and was briefly jailed and hounded by the government until his death in 1961. Histories of the “literary left” in the twentieth century, however, ignore Hammett.1 At first glance this seems strange, given both Hammett’s literary fame and his politics. More accurately, this points to the difficulty of turning Hammett into a member of the “literary left” based on his literary work, as opposed to his later political activity. At the same time, some writers have attempted to place Hammett’s writing within the context of the 1930s, some even going so far as to posit that his work had underlying left-wing politics. Michael Denning, for example, argues that Hammett’s “stories and characters . in a large part established the hard-boiled aesthetic of the Popular Front” in the 1930s.2 This perspective highlights the danger of seeing Hammett as a writer in the 1930s, instead of the 1920s. -
Title Seven Samurai and Silverado
Seven Samurai and Silverado -Kurosawa’s Title Influence on Lawrence Kasdan’s Revival Western- Author(s) DAVIES Brett,J Citation 明治大学国際日本学研究, 9(1): 111-119 URL http://hdl.handle.net/10291/20645 Rights Issue Date 2017-03-31 Text version publisher Type Departmental Bulletin Paper DOI https://m-repo.lib.meiji.ac.jp/ Meiji University 111 【Research Note】 Seven Samurai and Silverado: Kurosawa’s Influence on Lawrence Kasdan’s Revival Western DAVIES, Brett J. Abstract Lawrence Kasdan was one of the most successful American filmmakers of the 1980s. His third work as director, Silverado (1985), has been credited with reviving the Western pic- ture after a decade of dormancy, eschewing 1970s revisionism for a more classic approach to the genre. However, this paper will argue that Kasdan may have been influenced more by Akira Kurosawa’s Seven Samurai than by any Hollywood cowboy film. It will first ex- amine Kasdan’s style and concerns pre-Silverado, before outlining some of the similarities that samurai and Western films historically share. Finally, this paper will highlight some of the specific ways in which Kasdan’s Silverado paid homage to Kurosawa’s Seven Samu- rai, through plot, character and theme. Keywords: Lawrence Kasdan, Akira Kurosawa, Silverado, Seven Samurai, Western film, genre The Early Career of Lawrence Kasdan In the early-1980s, Lawrence Kasdan was one of the most successful screenwriters work- ing in Hollywood. His first produced screenplay was The Empire Strikes Back (1980), widely regarded as the most interesting instalment in George Lucas’s Star Wars series. This was fol- lowed by further work with Lucas, along with director Steven Spielberg, on Raiders of the Lost Ark (1981), a screenplay voted one of the “101 Greatest Screenplays” of all-time by the Writers Guild of America (2005). -
Seven Samurai Rip Offs
Seven Samurai rip offs- 13th Warrior The Magnificent Seven Ronin Dirty Dozen Saving Private Ryan The Wild Bunch Conan the Barbarian (1982) Battle Beyond the Stars Last Man Standing /Yojimbo The Bodyguard, Kevin Costner watches a screening of Kurosawa's film and later does some samurai-ish turns with a sword (Yojimbo, loosely translated, is Japanese for "bodyguard"). THE FILMS of Akira Kurosawa have always been a point at which Eastern and Western currents crossed. His Throne of Blood (1957) retold Macbeth, and Ran (1985) resembled King Lear. And Kurosawa hasn't borrowed only from high art. His thriller High and Low (1963) was an adaptation of 87th-precinct creator Ed McBain's novel King's Ransom. Western filmmakers have returned the compliment, if it can be considered such. Kurosawa's The Seven Samurai (1954) was turned into the 1960 Western hit The Magnificent Seven, and Rashomon (1950) was clumsily translated into Martin Ritt's The Outrage (1964). Although Kurosawa's borrowings from Shakespeare and McBain were acknowledged, The Magnificent Seven and The Outrage were made without the master's approval or even his knowledge. Kurosawa apparently reached his limit with A Fistful of Dollars and sued in an Italian court. Leone, incredibly, denied the connection between his film and Yojimbo, even though numerous critics have pointed out the similarities not only in plot but in shot selection and camera angles. After the suit dragged on for years, Kurosawa finally received a portion of the profits from A Fistful of Dollars and the copyrights to Yojimbo, while United Artists, Leone's distributor, retained copyrights to A Fistful of Dollars. -
Stalking Sam Spade by FRITZ LEIBER London Has Its Sherlock Holmes, Permanently South of Market, the Remedial Loan Installed at 221 B Baker Street
AS YOU TRIVIA freaks know, Sam Spade, in Dashiell Hammett's "The Maltese Falcon," lunched often at John's Grill on Ellis. Then why is it an item that the new owner of the Grill, having purchased it from Mike Cawley, is Gus Konstaninides? Right! Because in the book, The Fat Man talks about "a Greek dealer, Charilaos Konstantinides, who found the bird" - the falcon -"in an obscure shop in Paris"• .. The two Konstantinides are not related, so far as is known. Now that I have your attention, at last, Falcon Freak Robert Pettier challenges trivia players to repeat the last line from the Bogart-Lorre-Greenstreet film. The usual answer is "The stuff that dreams are made of," uttered by Spade as Brigid O'Shaughnessy is led off to jail, but right after that, as the film fades, Detective Sergeant Polhaus, played by Ward Bond, says "huh?". •. AII of you who said "Huh?" in the first place, head of the class. Stalking Sam Spade By FRITZ LEIBER London has its Sherlock Holmes, permanently South of Market, the remedial Loan installed at 221 B Baker Street. Paris has Maigret; Association, where Spade advised Brigid to hock her New York, Nero Wolfe; Los Angeles, Philip Marlowe. jewelry, is still at Mission and Mint. San Francisco's immortal detective is Sam And at 85 F"rfth is the Pic:kwick Hotel Spade, forever in residence at his comfortable old the parcel room of the Pickwick Stage termina:l apartment of Geary and Hyde and his dingy office at gone) that Spade checked the package with the Sutter and Montgomery. -
Dreams, Parables and Hallucinations: the Metaphorical Interludes in Dashiell Hammett's Novels
Rl'l·ista de Es1cu/ios Nor1ea111erícanos, n. º 9 ( 2003 ), pp. 65 - 80 DREAMS, PARABLES AND HALLUCINATIONS: THE METAPHORICAL INTERLUDES IN DASHIELL HAMMETT'S NOVELS JOSÉ ÁNGEL GONZÁLEZ LóPEZ Escuela Oficial de Idiomas (Santander) Dashiell Hammett has generally been regarded as the creator of «realistic» detective fiction ever since Raymond Cbandler used bis works in «The Simple Art of Murder» as the main argument against classic detective fiction: Hammett ... was one of a group - the only one who achieved critica! recognition- who wrote or tried to write realistic mystery fiction .. [he] took murder out of tbe Venetian vase and dropped it into the alley ... gave murder back to the kind of people that commit it for reasons, not just to provide a corpse ... He put these people down on paper as they were, and he madc them talk in thc language they customarily used for these purposes. ( 13-15) Cbandler's views were based on Hammett's own statements on the pages of Black Mask. where he reminded readers that his stories were based on bis first-hand experience with crime and criminals as opposed to fictional detectives like Arthur Conan Doyle's Sherlock Holmes or S.S. Van Dine's Philo Vanee. But we should not overlook the fact that Hammett had worked in the advertising industry before joining Black Mask, and that he knew very well how to sell a product, including literary products like his own stories. Accordingly, his editor Joseph Shaw wrote introductions to his stories, where he emphasized their «reality»: «If you kili a symbol, no crime is committed and no effect is produced. -
Jarett Kobek
JARETT KOBEK I Hate the Internet.indd 3 25/07/2016 13:45 With many special thanks to James Hopkin First published in Great Britain in 2016 by Serpent’s Tail, an imprint of Profile Books Ltd 3 Holford Yard Bevin Way London WC1X 9HD www.serpentstail.com First published in 2016 in the USA by We Heard You Like Books, A Division of U2603 LLC, Los Angeles, CA Copyright © 2016 by Jarett Kobek Illustrations “Time Magazine” & “Some Advertisements, Bro” Courtesy of Sarina Rahman 10 9 8 7 6 5 4 3 2 1 Printed and bound in Great Britain by Clays, St Ives plc The moral right of the author has been asserted. All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of both the copyright owner and the publisher of this book. The characters and events in this book are fictitious. Any similarity to real persons, dead or alive, is coincidental and not intended by the author A CIP record for this book can be obtained from the British Library ISBN 978 1 78125 761 6 eISBN 978 1 78283 314 7 I Hate the Internet.indd 4 25/07/2016 13:45 chapter one trigger warning: Capitalism, the awful stench of men, historical anach- Long after she had committed the only unforgivable sin of the Twenty- ronisms, death threats, violence, human bondage, faddish First Century, someone on the Internet sent Adeline a message. -
On the Maltese Falcon.Htm
On The Maltese Falcon, by Dashiell Hammett (http://www.poetsforum.com/papers/261_1.html) To fully appreciate a novel, a brief biography of the author is helpful. Dashiell Hammett was born in 1894 in St. Mary’s County, Maryland. After an irregular education, he enlisted in the army during World War I, where he was discharged with tuberculosis. Hammett married and had two children whom he abandoned, and chose a career as a writer after a flare-up of his tuberculosis. Before he began writing though, Hammett held several odd jobs, but it was his experience as an operative for the Pinkerton Detective Agency that inspired him. After a relatively short career, Hammett spent World War II in the Army. After the war, he was caught up in the ‘witch hunt’ of Joseph McCarthy because of his relationship with Lillian Hellman, also a writer, who had associated with radical left-wing causes. Hammett’s career ended in 1961 with his death, having spent time in prison for his refusal to testify in the McCarthy hearings. He left unfinished his final work entitled Tulip. (West) Hammett’s career in writing began in 1929 when his story Red Harvest was published by Black Mask magazine. It was in pulp fiction that most of his early novels found their readers. The Maltese Falcon was also published by Black Mask as a five part serial from September 1929 through January 1930. Published after Red Harvest and The Dain Curse, it falls almost in the middle of his most widely published years, followed by The Glass Key and The Thin Man. -
The Hollywood Novelization: Film As Literature Or Literature As Film Promotion?
The Hollywood Novelization: Film as Literature or Literature as Film Promotion? Johannes Mahlknecht University of Innsbruck, American Studies Abstract Hollywood movie novelizations are novels based on mainstream films and published about the time these films are released in theaters. The present article explores the ambiguous status of this generally little- esteemed and frequently ignored form of adaptation. On the one hand, novelizations are works of literature that can be enjoyed without knowledge of the film they are based on; on the other, they can be (and often are) seen as mere tools of film advertising. This latter aspect becomes particularly evident when looking at the cover design of a novelization. It invariably features the film’s artwork (the poster image, stills, and/or typography used for promoting the film) and frequently highlights the film’s stars rather than the book’s author. By analyzing a selection of book covers of novelized versions of recent films and comparing the novelization of Terminator Salvation (Foster 2009b) with the film Terminator( Salvation 2009, dir. McG) it is based on, the article traces and exam- ines the frictions between the opposing forces—literature and film marketing—that define the genre. This article was written as part of the research project Framing Media: The Periphery of Fic- tion and Film at the University of Innsbruck, Austria, funded by the Austrian Science Fund (FWF) and headed by Mario Klarer. I would like to take this opportunity to thank Meir Sternberg and the anonymous referees of Poetics Today for their many priceless suggestions that helped improve this article. -
Violence and Gender in Dashiell Hammett's Short Stories
AWEJ. Special Issue on Literature No.2 October, 2014 Pp. 82-95 Violence and Gender in Dashiell Hammett’s Short Stories Maysaa Jaber Psychological Research Center University of Baghdad Baghdad – Iraq Abstract This paper is interested in interrogating how Dashiell Hammett‟s (1894 – 1961) use of the short story is interconnected with the gender scheme in his work on the one hand, and the representation of violence, on the other. It argues that although Hammett is known as the author of The Maltese Falcon (1930) The Glass Key (1931), his short stories show best his themes of gangsterism, the urbanization of the American city, and more importantly his interest in female criminals who work on a par with the male detectives. The paper aims to demonstrate that Hammett consistently relied on the short story to create his hardboiled world where the gender dynamics, encapsulated in detectives threatened by the dangerous sexuality of female characters, is intrinsically tied to the violence that pervades his texts. This paper also argues that Hammett utilized the characteristics of the short story (for example, brevity, and economy of the description) to deconstruct the formula of the classical detective story to create a "hardboiled" formula which establishes an underworld of violence and lawlessness, and proffers a character study of the criminal himself or herself. Hammett‟s short fiction can thus be considered as a thread that leads to see his writing as a platform that portrays the complex intertwined discourses of criminality, power, and gender roles. Keywords: Dashiell Hammett, short story, crime fiction, violence, gender Arab World English Journal www.awej.org 82 ISSN: 2229-9327 AWEJ. -
The Maltese Falcon by Dashiell Hammett
The Maltese Falcon by Dashiell Hammett 1 Table of Contents The Maltese Falcon About the Book.................................................... 3 About the Author ................................................. 4 “I’m one of the few— Historical and Literary Context .............................. 6 if there are any Other Works/Adaptations ..................................... 7 more—people Discussion Questions............................................ 9 moderately literate Additional Resources .......................................... 10 Credits .............................................................. 11 who take the detective story Preface seriously.” Some people were surprised when The Maltese Falcon, a detective novel, appeared on The Big Read list. Yes, it is a detective novel—one of the best ever written. It’s also a brilliant literary work, as well as a thriller, a love story, and a dark, dry comedy. The only criticism one could offer Hammett’s private-eye classic is that it is so much fun to read, it might be hard the first time through to realize how What is the NEA Big Read? deeply observed and morally serious it is. A program of the National Endowment for the Arts, NEA Big Read broadens our understanding of our world, our communities, and ourselves through the joy of sharing a good book. Managed by Arts Midwest, this initiative offers grants to support innovative community reading programs designed around a single book. A great book combines enrichment with enchantment. It awakens our imagination and enlarges our humanity. It can offer harrowing insights that somehow console and comfort us. Whether you’re a regular reader already or making up for lost time, thank you for joining the NEA Big Read. NEA Big Read The National Endowment for the Arts 2 About the Book Introduction to The Maltese Falcon is a bomb that starts ticking in the first chapter, ticks faster as it goes, and doesn't detonate until the Book the last pitiless page. -
Dashiell Hammett: Complete Novels Pdf, Epub, Ebook
DASHIELL HAMMETT: COMPLETE NOVELS PDF, EPUB, EBOOK Dashiell Hammett | 967 pages | 01 Oct 1999 | The Library of America | 9781883011673 | English | New York, United States Dashiell Hammett: Complete Novels PDF Book Sam Spade, a slightly shopworn private eye with his own solitary code of ethics. When he learned she was pregnant with their child, he married her. It involves multiple murder eight in all , madness, morphine addiction, sexual phobia, and religious cultism. Love the old classic writers. In a few years of extraordinary creative energy, Dashiell Hammett invented the modern American crime novel. Jordan Farmer. The supporting characters are also good: sighing femme fatales, cultured obese gangsters, accursed damsels, charismatic cult leaders, frightened young girls, and corrupt politicians. During the s he was investigated by Congress. I'll wait for you. In he appeared as a polite but unsympathetic witness before a Senate committee investigating pro-Communist books on overseas library shelves; the committee, headed by the infamous Joseph McCarthy, branded Hammett's books as "subversive" and recommended their removal! Email to friends Share on Facebook - opens in a new window or tab Share on Twitter - opens in a new window or tab Share on Pinterest - opens in a new window or tab. In Love. THE THIN MAN appears lightweight after the first four, but a second reading reveals a portrait of a very able person who allowed passion to leave his life, and is slowly going down the drain. The 25th Hour. Seller rating : This seller has earned a 2 of 5 Stars rating from Biblio customers. In , Hammett embarked on a year affair with playwright Lillian Hellman.