DOCSLIB.ORG

Sangre Fácil

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sangre Fácil PROJECCIÓ 271 Antiga Audiència, diumenge 16 de gener de 2005 9 canciones 9 Songs, Michael Winterbottom, 2004 Festa interminable de sexe musical d’una parella a Londres Lisa és una estudiant americana de Gran Bretanya. Posteriorment el pop rock dels 90 a Manchester, que està passant un any a Londres. dirigí films tele-visius per a la un documental de ficció entorn la En un concert a Brixton coneix BBC, fins que el 1995 rodà el seu immigració a Europa i una pel·lí- Matt. El film segueix el curs dels primer llarg-metratge, Butterfly cula de ciència- ficció futurista. encontres sexuals entre ambdós Kiss, el qual marcà l’inici d’una Amb 9 Songs, Winter-bottom s’ha fins que la relació s’acaba quan trajectòria pròpia. A aquest primer atrevit amb la filmació ella torna a casa. Entre sexe i film, n’hi han seguit nou més, desinhibida del sexe explícit. sexe, nou cançons filmades en alguns estrenats entre nosaltres, i directe, també a cop de vídeo dels qual destacaríem: digital. Wonderland (1999), 24-Hour Porno postmodern d’autor Party People (2002) i In this El film comença amb les imatges World (2003). d’un geòleg creuant les terres El director ermes i gelades de l’Antàrtida. Michael Winterbottom (1961) és La particularitat del treball de Aleshores, entre gels, Matt un dels actuals realitzadors Winterbottom són els reptes i recorda la tòrrida relació que britànics amb una més que també una constant: els canvis de visqué al costat de Lisa. 9 Songs interessant i variada carrera registre i llenguatge fílmics. Deu reprodeix un record, sense argu- professional. Graduat en Filologia llargmetratges: deu reptes. I no ment i sense cap racionalitat Anglesa per Oxford, cursà després només de guió, sinó bàsicament de narrativa visualitza el brot estudis cinematogràfics a Bristol i concepte i manufactura cine- obsessiu i inconscient d’aquest a Londres. Els seus primers tre- matogròfiques. En poc menys de episodi curt però intens en la balls dins la indústria es desen- deu anys Michael Winterbottom memòria de Matt. voluparen a la Thames Television ha abordat: una relació lesbiana on hi treballà com a editor i portà amb rerafons de serial killer, Cinematogràficament la càmera també la direcció de dos breus l’adaptació d’una novel·la de respon als impulsos memorístics documentals sobre Ingmar Thomas Hardy, un film de guerra del protagonista, el qual més que Bergman. Després treballà en el context de Sarajevo, el recordar el desenvolupament conjun-tament amb Frank Cottrell drama social d’una família d’una història d’amor, n’evoca les Boyce com a guionista, una irlandesa entorn un petit negoci, el emocions sexuals, els punts associació professional que va drama personal d’una parella àlgids, desinhibits i suats de tota rebre diverses nominacions del sense fills, una gran història aquesta història. L’absència premi BAFTA, el més prestigiós d’amor, un llarg vídeo clip sobre d’estructura cinematogràfica i de Producció: Anima’t · Tel. 977 228 595 · www.animat.tk · A/e: [email protected] · Textos: Laia Colomer. Correcció: Mònica Batet Boada guió va implícit en l’intent de diferents grups actuals (Black Fitxa tècnica captació per part del director Rebel Motorcycle Club, The Von d’aquest record. Bondies, Elbow, Primal ScreaM, Equip tècnic I el que Matt més recorda són les The Dandy Warhols, Super Furry Direcció i guió: Michael trobades sexuals amb Lisa al seu Animals, Franz Ferdinand i Winterbottom apartament. I el que en Win- Michael Nyman). terbottom fa és no censurar cap Producció: Andrew Eaton detall d’aquest record, no talla cap En qualsevol cas, el film és Fotografia : Marcel Zyskind escena i el film acaba sent polèmic. Escandalitza i ven. Els Muntatge : Mat Whitecross i seixanta minuts de records de sexe concerts són cool. Això del sexe Michael Winterbottom explícit, intercalats pels encontres explícit filmat de manera peculiar Música : diversos grups musicals de la parella fora de l’apartament i és artístic. Però el film després de País: Gran Bretanya i USA els concerts de rock als quals mitja hora de projecció no avança Any: 2004 assisteixen. més. Les escenes tenen bellesa, la Duració: 69 min. proposta és original. Però, en A Winterbottom només li qualsevol cas, la mateixa narrativa Equip Artístic proposada no vol ser fictícia: interessa el caos significatiu de les Kieran O’Brien: Matt sensacions immediates; la només il·lustra el que una parella Margo Stilley: Lisa sorpresa i l’excitació de la trobada fa en la quotidianitat de la de la parella. El realitzador no intimitat. I el film ho mostra amb manipula la càmera, deixa que una naturalitat envejable, sense capti aquesta percepció en una judicis ni morbositats. Però és Filmografia precisament aquesta quotidianitat seqüència vehement i 2004 incontrolable d’ac-cions sexuals la que transforma el film en una 9 Songs pròpia dels successius encontres mena de documental de relacions amorosos. I la deixa abandonada, sexuals explícites. 2003 distant en l’acció i sense fer cap Code 46 judici del que succeeixi entre la Però, al cap i a la fi, es tractava parella. només d’això: «veure la relació 2002 d’una parella des del punt de vista In This World 9 Songs és un arriscat experiment d’ells fent l’amor», i a la insistent que qüestiona l’habitual mirada pregunta de la crítica de per què, 2002 voyeurística de l’espectador Winterbottom només respon “per 24-Hour Party People què no?” clàssic, mostrant-li amb escreix tot 2000 allò que mai es mostra. The Claim 1999 Coitus interruptus With or Without you Tanmateix, Winterbottom sucum- beix al seu propi experiment 1999 cinematogràfic. Aquesta torrencial Wonderland i sorprenent experiència de llit- pantalla es fa repetitiva. Acaba 1997 sent un espectacle previsible, fins Welcome to Sarajevo i tot avorrit després de les 1996 primeres excitacions. Jude Per trencar aquesta monotonia 1995 argumental Winterbottom hi Butterfly Kiss intercala els concerts- les nou cançons del títol tocades per.
Load more

Recommended publications
  • The Killer Inside Me
    THE KILLER INSIDE ME Un film de Michael Winterbottom Avec Casey Affleck, Kate Hudson, Jessica Alba, Simon Baker et Bill Pullman Durée: 120 minutes Sortie: le 01 septembre 2010 Téléchargez des photos: www.frenetic.ch/presse RELATIONS PRESSE DISTRIBUTION Eric Bouzigon FRENETIC FILMS AG prochaine ag Bachstrasse 9 • 8038 Zürich Tél. 079 320 63 82 Tél. 044 488 44 00 • Fax 044 488 44 11 [email protected] [email protected] • www.frenetic.ch SYNOPSIS Based on the novel by legendary pulp writer Jim Thompson, Michael Winterbottom’s THE KILLER INSIDE ME tells the story of handsome, charming, unassuming small town sheriff’s deputy Lou Ford. Lou has a bunch of problems. Woman problems. Law enforcement problems. An ever-growing pile of murder victims in his west Texas jurisdiction. And the fact he’s a sadist, a psychopath, a killer. Suspicion begins to fall on Lou, and it’s only a matter of time before he runs out of alibis. But in Thompson’s savage, bleak, blacker than noir universe nothing is ever what it seems, and it turns out that the investigators pursuing him might have a secret of their own. CAST Lou Ford.........................................................................................................................................CASEY AFFLECK Joyce Lakeland ..................................................................................................................................JESSICA ALBA Amy Stanton.....................................................................................................................................
    [Show full text]
  • 9 SONGS-B+W-TOR
    9 SONGS AFILMBYMICHAEL WINTERBOTTOM One summer, two people, eight bands, 9 Songs. Featuring exclusive live footage of Black Rebel Motorcycle Club The Von Bondies Elbow Primal Scream The Dandy Warhols Super Furry Animals Franz Ferdinand Michael Nyman “9 Songs” takes place in London in the autumn of 2003. Lisa, an American student in London for a year, meets Matt at a Black Rebel Motorcycle Club concert in Brixton. They fall in love. Explicit and intimate, 9 SONGS follows the course of their intense, passionate, highly sexual affair, as they make love, talk, go to concerts. And then part forever, when Lisa leaves to return to America. CAST Margo STILLEY AS LISA Kieran O’BRIEN AS MATT CREW DIRECTOR Michael WINTERBOTTOM DP Marcel ZYSKIND SOUND Stuart WILSON EDITORS Mat WHITECROSS / Michael WINTERBOTTOM SOUND EDITOR Joakim SUNDSTROM PRODUCERS Andrew EATON / Michael WINTERBOTTOM EXECUTIVE PRODUCER Andrew EATON ASSOCIATE PRODUCER Melissa PARMENTER PRODUCTION REVOLUTION FILMS ABOUT THE PRODUCTION IDEAS AND INSPIRATION Michael Winterbottom was initially inspired by acclaimed and controversial French author Michel Houellebecq’s sexually explicit novel “Platform” – “It’s a great book, full of explicit sex, and again I was thinking, how come books can do this but film, which is far better disposed to it, can’t?” The film is told in flashback. Matt, who is fascinated by Antarctica, is visiting the white continent and recalling his love affair with Lisa. In voice-over, he compares being in Antarctica to being ‘two people in a bed - claustrophobia and agoraphobia in the same place’. Images of ice and the never-ending Antarctic landscape are effectively cut in to shots of the crowded concerts.
    [Show full text]
  • What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
    What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs.
    [Show full text]
  • Presents a Film by Michael Winterbottom 104 Mins, UK, 2019
    Presents GREED A film by Michael Winterbottom 104 mins, UK, 2019 Language: English Distribution Publicity Mongrel Media Inc Bonne Smith 217 – 136 Geary Ave Star PR Toronto, Ontario, Canada, M6H 4H1 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Twitter: @starpr2 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com Synopsis GREED tells the story of self-made British billionaire Sir Richard McCreadie (Steve Coogan), whose retail empire is in crisis. For 30 years he has ruled the world of retail fashion – bringing the high street to the catwalk and the catwalk to the high street – but after a damaging public inquiry, his image is tarnished. To save his reputation, he decides to bounce back with a highly publicized and extravagant party celebrating his 60th birthday on the Greek island of Mykonos. A satire on the grotesque inequality of wealth in the fashion industry, the film sees McCreadie’s rise and fall through the eyes of his biographer, Nick (David Mitchell). Cast SIR RICHARD MCCREADIE STEVE COOGAN SAMANTHA ISLA FISHER MARGARET SHIRLEY HENDERSON NICK DAVID MITCHELL FINN ASA BUTTERFIELD AMANDA DINITA GOHIL LILY SOPHIE COOKSON YOUNG RICHARD MCCREADIE JAMIE BLACKLEY NAOMI SHANINA SHAIK JULES JONNY SWEET MELANIE SARAH SOLEMANI SAM TIM KEY FRANK THE LION TAMER ASIM CHAUDHRY FABIAN OLLIE LOCKE CATHY PEARL MACKIE KAREEM KAREEM ALKABBANI Crew DIRECTOR MICHAEL WINTERBOTTOM SCREENWRITER MICHAEL WINTERBOTTOM ADDITIONAL MATERIAL SEAN GRAY EXECUTIVE PRODUCER DANIEL BATTSEK EXECUTIVE PRODUCER OLLIE MADDEN PRODUCER
    [Show full text]
  • The Cinema of Michael Winterbottom, Deborah Allison (2013) Plymouth: Lexington, 224 Pp., ISBN: 798-0-7391-2583-0 (Pbk)
    The Cinema of Michael Winterbottom, Deborah Allison (2013) Plymouth: Lexington, 224 pp., ISBN: 798-0-7391-2583-0 (pbk) About half-way through The Cinema of Michael Winterbottom, Deborah Allison cites Annette Kuhn’s observation that it is both more interesting and more important to discuss what film genres do than what they are (116). As part of the Genre Film Auteurs series, one of the principle objectives of Allison’s book is to investigate what it is that genre does in the work of Michael Winterbottom, one of the most extraordinarily prolific and controversial of contemporary British filmmakers. Thus, in each of the book’s eight chapters, Allison sets out to use genre as a ‘as a critical tool’ (x), focusing her attention on one of the director’s films and the variety of ways in which its dominant genre identity is constructed, inflected and, more often than not, inverted. In this way, despite a focus that is narrower than some auteur studies, Allison successfully unearths a variety of themes and characteristics that run throughout Winterbottom’s eclectic oeuvre. After a brief introduction setting out these objectives and their parameters, the first chapter begins with an investigation of Butterly Kiss (1995) and its relationship to the road movie. This is the earliest film discussed in the fifteen years of Winterbottom’s output covered in the book, and Allison’s discussion of it provides a useful foundation for the other chapters. Indeed, each chapter follows a broadly similar framework, beginning with a short plot synopsis before exploring each film in relation to its respective genre/s, discussing the ways in which the films draw on and challenge established genre codes and convention.
    [Show full text]
  • Adyslipper Music by Women Table of Contents
    .....••_•____________•. • adyslipper Music by Women Table of Contents Ordering Information 2 Arabic * Middle Eastern 51 Order Blank 3 Jewish 52 About Ladyslipper 4 Alternative 53 Donor Discount Club * Musical Month Club 5 Rock * Pop 56 Readers' Comments 6 Folk * Traditional 58 Mailing List Info * Be A Slipper Supporter! 7 Country 65 Holiday 8 R&B * Rap * Dance 67 Calendars * Cards 11 Gospel 67 Classical 12 Jazz 68 Drumming * Percussion 14 Blues 69 Women's Spirituality * New Age 15 Spoken 70 Native American 26 Babyslipper Catalog 71 Women's Music * Feminist Music 27 "Mehn's Music" 73 Comedy 38 Videos 77 African Heritage 39 T-Shirts * Grab-Bags 82 Celtic * British Isles 41 Songbooks * Sheet Music 83 European 46 Books * Posters 84 Latin American . 47 Gift Order Blank * Gift Certificates 85 African 49 Free Gifts * Ladyslipper's Top 40 86 Asian * Pacific 50 Artist Index 87 MAIL: Ladyslipper, PO Box 3124, Durham, NC 27715 ORDERS: 800-634-6044 (Mon-Fri 9-8, Sat'11-5) Ordering Information INFORMATION: 919-683-1570 (same as above) FAX: 919-682-5601 (24 hours'7 days a week) PAYMENT: Orders can be prepaid or charged (we BACK-ORDERS AND ALTERNATIVES: If we are FORMAT: Each description states which formats are don't bill or ship C.O.D. except to stores, libraries and temporarily out of stock on a title, we will automati­ available. LP = record, CS = cassette, CD = com­ schools). Make check or money order payable to cally back-order it unless you include alternatives pact disc. Some recordings are available only on LP Ladyslipper, Inc.
    [Show full text]
  • Marcel Zyskind Director of Photography
    Marcel Zyskind Director of Photography Agents Lynda Mamy Assistant Eliza McWilliams [email protected] 020 3214 0999 Andrew Naylor Assistant [email protected] Lizzie Quinn +44 (0) 203 214 0899 [email protected] +44 (0)20 3214 0911 Credits Film Production Company Notes DALI LAND Zephyr Films Dir: Mary Harron 2021 Featuring: Ben Kingsley, Ezra Miller FALLING Baral Waley Productions / Dir: Viggo Mortensen 2019 Scythia Films Prods: Daniel Bekerman, Chris Curling & Viggo Mortensen THE DAY SHALL COME Film 4 Dir: Christopher Morris 2019 Prods: Iain Canning, Anne Carey, Emile Sherman STEEL COUNTRY Bedlam Productions Dir: Simon Fellows 2016 Prod: Gareth Unwin SUMMER 92 Meta Film Dir: Kasper Barfoed 2014 Prods: Meta Louise Foldager, Kris Thykier United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes TWO FACES OF JANUARY Working Title Films Dir: Hossein Amini 2012 Prods: Tim Bevan, Eric Fellner, Robyn Slovo, Tom Sternberg EVERYDAY Revolution Films Dir: Michael Winterbottom 2012 Prod: Melissa Parmenter TRISHNA Revolution FIlms Dir: Michael Winterbottom 2011 Prods: Phil Hunt, Compton Ross, Melissa Parmenter, Michael Winterbottom & Anthony WIlcox SKYSCRABER Fine & Mellow Dir: Rune Schjott 2011 Prod: Morten Juhl Kjems THE KILLER INSIDE ME Indion Entertainment Group Dir: Michael Winterbottom 2010 / Hero Entertainment Prod: Andrew Eaton, Bradford L. Schlei MAMMOTH Memfis Filmproduktion AB Dir: Lukas Moodysson 2008 Prod: Lars
    [Show full text]
  • Soft in the Middle Andrews Fm 3Rd.Qxd 7/24/2006 12:20 PM Page Ii Andrews Fm 3Rd.Qxd 7/24/2006 12:20 PM Page Iii
    Andrews_fm_3rd.qxd 7/24/2006 12:20 PM Page i Soft in the Middle Andrews_fm_3rd.qxd 7/24/2006 12:20 PM Page ii Andrews_fm_3rd.qxd 7/24/2006 12:20 PM Page iii Soft in the Middle The Contemporary Softcore Feature in Its Contexts DAVID ANDREWS The Ohio State University Press Columbus Andrews_fm_3rd.qxd 7/24/2006 12:20 PM Page iv Copyright © 2006 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Andrews, David, 1970– Soft in the middle: the contemporary softcore feature in its contexts / David Andrews. p. cm. Includes bibliographic references and index. ISBN 0-8142-1022-8 (cloth: alk. paper)—ISBN 0-8142-9106 (cd-rom) 1. Erotic films— United States—History and criticism. I. Title. PN1995.9.S45A53 2006 791.43’65380973—dc22 2006011785 The third section of chapter 2 appeared in a modified form as an independent essay, “The Distinction ‘In’ Soft Focus,” in Hunger 12 (Fall 2004): 71–77. Chapter 5 appeared in a modified form as an independent article, “Class, Gender, and Genre in Zalman King’s ‘Real High Erotica’: The Conflicting Mandates of Female Fantasy,” in Post Script 25.1 (Fall 2005): 49–73. Chapter 6 is reprinted in a modified form from “Sex Is Dangerous, So Satisfy Your Wife: The Softcore Thriller in Its Contexts,” by David Andrews, in Cinema Journal 45.3 (Spring 2006), pp. 59–89. Copyright © 2006 by the University of Texas Press. All rights reserved. Cover design by Dan O’Dair. Text design and typesetting by Jennifer Shoffey Forsythe.
    [Show full text]
  • 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.
    [Show full text]
  • WOMEN's MUSIC • FEMINIST MUSIC Cris Williamson: Circle of Friends (P
    LADYSLIPPER _•_[ HP__ /7 _^__. n j MJf_L_T_#. Winter 1991-1992 ECORDINGS • BY • WOMEN Table of Contents Our Holiday Gift to You 3 Reggae * Calypso 47 Ordering Information 4 Country 48 Order Blank 5 Folk * Traditional 49 More Free Gifts 6 Rock 55 Ladyslipper's Top 40 6 R&B * Rap * Dance 59 Gift Order Blank 7 Gospel 60 Gift Certificates 7 Blues 61 Donor Discount Club 8 Jazz 62 Musical Month Club 8 Classical 63 Especially Recommended New Titles 9 Spoken 65 Women's Spirituality * New Age 10 Babyslipper Catalog 66 Recovery 22 "Mehn's Music" 70 Women's Music * Feminist Music 23 Videos 72 Comedy 35 Kids'Videos 76 Holiday 35 Songbooks, Posters, Grab-Bag 77 International: African 38 Jewelry, Books 78 Arabic * Middle Eastern 39 Resources 80 Asian 39 Calendars, T-Shirts, Cards 81 Celtic * British Isles 40 Ladyslipper Mailing List 84 European 43 Be A Slipper Supporter 84 Latin American 43 Extra Order Blank 85 Native American 44 Artist Index 86 Jewish 46 About Ladyslipper Ladyslipper is a North Carolina non-profit, tax- We also distribute recordings on a wide variety of Donations are tax-deductible, and we do need the exempt organization which has been involved in many labels to book and record stores in the eastern sea­ help of friends to continue to grow. We have instituted facets of women's music since 1976. Our basic pur­ board states, from eastern Pennsylvania down two clubs to add some pizzazz to fund-raising, the pose has consistently been to heighten public aware­ through Florida.
    [Show full text]
  • Extreme Cinema
    EXTREME CINEMA ‘THIS IS AN EXCITING AND TIMELY BOOK. THROUGH IN-DEPTH FILM ANALYSIS, CLEVER REFORMULATION OF TRANSNATIONAL VISUAL CULTURE, AND SIMULTANEOUS ATTENTION TO FORM AND AFFECT, KERNER AND KNAPP OPEN UP OUR WORLD TO THE INTENSIVE CAPACITIES OF WHAT THEY JUDICIOUSLY CALL THE “VIEWING BODIES OF EXTREME CINEMA”.’ Tarek Elhaik, University of California, Davis Extreme Cinema examines the highly stylized treatment of sex and violence in post-millennial transnational cinema, where the governing convention is not the narrative but the spectacle. Using profound experiments in form and composition, including jarring editing, extreme close-ups, visual disorientation, and sounds that straddle the boundary between non-diegetic and diegetic registers, this mode of cinema dwells instead on the exhibition of intense violence and an acute intimacy with the sexual body. Interrogating works such as Wetlands and A Serbian Film, as well as the sub-culture of YouTube ‘reaction videos’, Aaron Michael Kerner and Jonathan L. Knapp demonstrate the way content and form combine in extreme cinema to affectively manipulate the viewing body. Aaron Michael Kerner has taught in the SFSU Cinema Department and Jonathan L. Knapp since 2003. Aaron Michael Kerner Jonathan L. Knapp is a PhD student in Film and Visual Studies at EXTREME Harvard University. Cover image: Nymphomaniac: Volume I, Lars Von Trier, 2013 © Zentropa Entertainments/The Kobal Collection Cover design: www.paulsmithdesign.com CINEMA ISBN 978-1-4744-0290-3 Affective Strategies in Transnational Media edinburghuniversitypress.com Aaron Michael Kerner and Jonathan L. Knapp Extreme Cinema Extreme Cinema Affective Strategies in Transnational Media Aaron Michael Kerner and Jonathan L.
    [Show full text]
  • X Sujetos. Pornografía Y Masculinidades
    X sujetos. Pornografía y masculinidades Diego Germán Romero Bonilla Universidad Nacional de Colombia Facultad de Ciencias Humanas, Escuela de Estudios de Género Bogotá, Colombia 2014 X sujetos. Pornografía y masculinidades Diego Germán Romero Bonilla Tesis presentada como requisito parcial para optar al título de: Magister en Estudios de Género Directora: Nancy Prada Prada Línea de Investigación: Biopolítica y Subjetividades Universidad Nacional de Colombia Facultad de Ciencias Humanas, Escuela de Estudios de Género Bogotá, Colombia 2014 En este momento me llama la atención aquella frase en la que Roberto Bolaño compara la literatura con una pelea de samuráis. Bolaño afirma que un samurái nunca pelea contra otro samurái, más bien, pelea contra un monstruo, sabiendo de antemano que va a ser derrotado. Sin embargo, con esa certeza le hace frente, decide salir y pelear. Aunque esto no trata de literatura, reconozco que enfrentarme a la maestría, y en especial a la tesis, no dejó de recordarme constantemente la metáfora de Bolaño. Todos estos años de estudio fueron una pelea de la que desde en principio no supe si iba a salir completo, cuerdo, satisfecho. Simplemente decidí hacerlo, guiado por la única certeza que algo habría de suceder y que habría que seguir, emprendiendo este combate epistémico cargado de todo tipo de peripecias, desde el desempleo extremo hasta el déficit de tiempo por exceso de trabajo, desde la más generosa y desbordada creatividad hasta el hastío y la desidia. Sin embargo el combate de una tesis no se desarrolla ni se gana por sí solo, a lo largo de su extensa duración se acercaron muchos otros samuráis quienes me colaboraron, cada quien a su manera y desde sus posibilidades, para que pudiese asumir este reto.
    [Show full text]