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Coen Brothers' Fargo in the Noir Melting Pot of Genre Patterns
Acta Universitatis Wratislaviensis • No 3869 Literatura i Kultura Popularna XXIV, Wrocław 2018 DOI: 10.19195/0867-7441.24.4 Kamila Żyto ORCID: 0000-0003-2822-8341 University of Łódź Detours of absurdity: Coen brothers’ Fargo in the noir melting pot of genre patterns Keywords: film noir, film history, film genres, cinema of Coen brothers Słowa kluczowe: film noir, historia filmu, gatunki filmowe, kino braci Coen The long-lasting debate over whether film noir should be seen as a genre, a cycle or a tendency in the history of cinema remains unsettled. No definitive solution has been found, nor any consensus reached, owing to the fact that the film noir phenomenon is particularly complex and convoluted. Much of the debate revolves around questions of approach and genre. But many movies, both those released in the 1940s and 1950s (the classical period) and those released in the following decades (the neo-noir, or postclassical, period), do not obviously fit any genre pattern or other ordering scheme. The diversity among films that are now unquestionably classified as noir, provokes controversy and raises numerous questions. What does Sunset Boulevard (dir. Billy Wilder, 1950) have in common with The Killers (dir. Robert Siodmak, 1946)? The first one is simultaneously a crime story, melodrama and horror. The second one is, without a doubt, a gang- ster movie. Do all noir films really constitute a single genre? I will leave this question unanswered, as to support any of the various opinions about the generic identity of film noir is not the main aim of this paper.1 From my perspective, there is little utility in joining this on-going debate, which has reached a standstill some time ago.
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Fargo Police Department Policy Manual
Fargo Police Department Policy Manual CHIEF’S PREFACE The primary purpose of this policy manual is to provide all members of the Fargo Police Department, regardless of their rank, title, position, or status as a sworn officer or civilian employee, with the guidance that allows each employee to perform their duties in the most professional manner possible. Therefore, it is important to recognize the development of this policy manual is an ongoing process and is intended to not only serve the department’s interests, but the interests of department personnel and the community as well. This manual also exists to establish the department’s leadership and management principles and to set the standards and expectations all department employees are held to. The department’s policies and procedures should elevate the standards of our profession as well as strengthen the community’s confidence in our organization. Every member of this department must be encouraged, both individually and collectively, to realize the responsibilities associated with their position. Everyday they must continuously strive to earn the support, respect, and cooperation of the citizens we serve. Above all else, the men and women who collectively define this organization must recognize the very basis for the existence of the Fargo Police Department is the law. The credibility of our organization and the law enforcement profession in general, is ultimately enhanced by our understanding of and self-adherence to the law and by how we contribute to the welfare of our community. The policies contained within this manual reflect the goal of maintaining that credibility to the best of our ability.
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COVER ART by JEFF KNIGHT 1 Film Festival Goer, Treasure Hunter
COVER ART BY JEFF KNIGHT 1 Film Festival Goer, Treasure Hunter There are times when we walk into a cinema knowing exactly what to expect. We know that Nicolas Cage will deliver an awesomely bad punchline after riding a motorcycle through the flaming hull of a downed jetliner, Colin Firth will make us swoon in that totally respectable way, and Meryl Streep will meryl as only Meryl can. The familiar can be a lovely warm blanket, the White Hat saving the day, and an excellent night at the movies. But there are times when we feel a bit more adventurous – times when we seek art that grabs us by the collar Emily Beck and shakes us awake. These are the times when we are treasure hunters, boldly going beyond to find something FARGO THEATRE Executive Director of inmeasureable worth. If you are craving an adventure, then you are in the right place. A film festival is a wonderful place to explore. At any given moment may see something that leaves you scratching your head OR you may discover That Film (written in Denmark, shot in Rio, starring Nobody You’ve Ever Heard Of) that speaks to you in conversation, leaves you breathless, and reminds you why you struck out into the wild in the first place. On behalf of the entire team, it is my pleasure to welcome you to the 15th annual Fargo Film Festival. We welcome you aboard and are grateful to share the journey. Thank you for coming and enjoy the show! DAN FRANCIS PHOTOGRAPHY FARGO THEATRE STAFF: FARGO THEATRE BOARD FESTIVAL COMMITTEE AND VOLUNTEERS: Emily Beck, Executive Director Greg Carlson, President
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Stijl in Fargo
BACHELOR EINDWERKSTUK Jasper Koenen 3909700 Media- en Cultuurwetenschappen Docent: Hanna Surma Studiejaar 2015-2016, blok 2. Inleverdatum: 29 januari 2016 STIJL IN FARGO Stilistische analyse naar de functie van stijl op de vormgeving van het personage Gus Grimly. Deze pagina is welbewust wit gelaten. 1 Abstract In dit eindwerkstuk wordt er onderzoek gedaan naar de relatie tussen stijl en personage in dramaserie FARGO van FX. Het personage dat centraal zal staat is Gus Grimly. Er is gekozen voor dit personage vanwege de grote ontwikkeling die hij doormaakt. Met behulp van een stilistische analyse worden de stijlelementen mise-en-scène, geluid en montage nader bekeken. De opzet van de analyse is overgenomen van mediawetenschapper Jeremy Butler. In zijn boek TV Style werkt hij een methode uit voor onderzoek naar stijl in televisie. Uit de analyse die is uitgevoerd in dit eindwerkstuk blijkt stijl een belangrijke functie te hebben. Waar Gus zich na tien afleveringen ontpopt tot personage dat in staat is iemand te vermoorden, lijkt stijl juist iets anders te willen betogen. Gus wordt immer afgebeeld als de rustige en goedaardige man en zelfs na het doden van Lorne Malvo blijft de vormgeving onveranderd. Hiermee wordt aangegeven dat Gus als personage niet veranderd is, maar dat het doden van Lorne een actie was waar Gus dwangmatig aan toe moest geven. Stijl is dus in staat een boodschap uit te dragen die in eerste instantie niet lijkt te stroken met wat het narratief van een serie vertelt. Keywords: Television Style; stylistic analysis, complex tv, character development. 2 Inhoudsopgave Abstract ................................................................................................................................................... 2 1. Inleiding ..........................................................................................................................................
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Case 2:20-Cv-08466 Document 1 Filed 09/16/20 Page 1 of 300 Page ID #:1
Case 2:20-cv-08466 Document 1 Filed 09/16/20 Page 1 of 300 Page ID #:1 1 DEBORAH CONNOR, Chief Money Laundering and Asset Forfeiture Section (MLARS) 2 MARY BUTLER, Chief, International Unit WOO S. LEE, Deputy Chief, International Unit 3 BARBARA Y. LEVY, Trial Attorney JOSHUA L. SOHN, Trial Attorney 4 JONATHAN BAUM, Trial Attorney Criminal Division 5 United States Department of Justice 1400 New York Avenue, N.W. 10th Floor 6 Washington, D.C. 20530 Telephone: (202) 514-1263 7 Email: [email protected] 8 Attorneys for Plaintiff 9 UNITED STATES OF AMERICA 10 UNITED STATES DISTRICT COURT 11 FOR THE CENTRAL DISTRICT OF CALIFORNIA 12 13 UNITED STATES OF AMERICA, No. CV 2:20-cv-8466 14 Plaintiff, VERIFIED COMPLAINT FOR 15 v. FORFEITURE IN REM 16 ALL FUNDS HELD IN ESCROW BY [18 U.S.C. § 981(a)(1)(A) and (C)] 17 CLYDE & CO. IN THE UNITED 18 KINGDOM AS DAMAGES OR [F.B.I.] RESTITUTION IN PETROSAUDI V. 19 PDVSA UNCITRAL ARBITRATION, 20 Defendant. 21 22 The United States of America (the “government”) brings this complaint against 23 the above-captioned asset and alleges as follows: 24 PERSONS AND ENTITIES 25 1. The plaintiff is the United States of America. 26 2. The defendants in this action are all funds held in escrow by Clyde & Co. in 27 the United Kingdom as damages or restitution in the 2017 UNCITRAL arbitration 28 Case 2:20-cv-08466 Document 1 Filed 09/16/20 Page 2 of 300 Page ID #:2 1 between PetroSaudi Oil Services (Venezuela) Ltd.
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“Waiting for Dutch” Episode #201 Script by Noah Hawley
Executive Producer: Noah Hawley EPISODE: #201 Executive Producer: Warren Littlefield SCRIPT: #201 Executive Producers: Joel & Ethan Coen PRODUCTION: #2001 Executive Producer: John Cameron “Waiting For Dutch” Episode #201 Script by Noah Hawley PINK PRODUCTION DRAFT – FULL – 9/26/14 26 Keys Productions The Littlefield Company Nomadic Pictures MGM Television FX Networks MGM Television Entertainment Inc. 245 North Beverly Drive Beverly Hills, CA 90210 © 2013 MGM Television Entertainment Inc. All Rights Reserved. Episode #201 “Waiting For Dutch” PINK DRAFT – 9.26.14 REVISION HISTORY PINK DRAFT 9/26/14 BLUE REVISION PAGES 9/11/14 PRODUCTION DRAFT 8/7/14 NOTES: PINK PINK DRAFT REVISIONS - Sc. 24 dialogue change - Sc. 39 description change - Sc. 40 has been ADDED PINK DRAFT REVISIONS – ADDITIONAL NOTES: All scenes have been renumbered for clarity Character JOE BULO has been added to this episode Character MIKE MILLIGAN has been added to this episode Character THE KITCHEN BROTHERS have been added to this episode BLUE REVISION PAGES - Sc. 1 description, dialogue change - Sc. 3 description, dialogue change - Sc. 6 has been OMITTED - Sc. 7 has been OMITTED - Sc. 8 has been OMITTED - Sc. 9 description change - Sc. 12 description change - Sc. 13 location name change - Sc. 15 location name, description, dialogue changes - Sc. 16 location name change - Sc. 18 description change - Sc. 20 description change - Sc. 22 dialogue change - Sc. 23 description change - Sc. 24 dialogue changes - Sc. 25 description, dialogue changes - Sc. 25A has been ADDED - Sc. 25B has been ADDED Episode #201 “Waiting For Dutch” PINK DRAFT – 9.26.14 - Sc. 26 location name, description, dialogue change - Sc.
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Masterarbeit / Master's Thesis
MASTERARBEIT / MASTER’S THESIS Titel der Masterarbeit / Title of the Master‘s Thesis „Eat the Rude. Serielle Verfahren und die Ästhetisierung kannibalistischer Gewalt in der TV-Serie Hannibal“ verfasst von / submitted by Kristina Höch, BA angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Master of Arts (MA) Wien, 2016 / Vienna 2016 Studienkennzahl lt. Studienblatt / A 066 582 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Masterstudium Theater-, Film- und Medientheorie degree programme as it appears on the student record sheet: Betreut von / Supervisor: Mag. Dr. habil. Ramón Reichert 1 Für meine Eltern. Ihr habt es erst möglich gemacht. Danke für absolut alles! Ihr seid die Besten! Danke Dani, dass du all die Jahre immer für mich da warst. Für all die Zeit, die du in wirre Schachtelsätze investiert hast, für deine aufmunternden Worte und die vielen Care Pakete mit Nervenfutter. Danke Andre, dass du meine Launen ertragen hast und immer an meiner Seite warst, vor allem dann, wenn mich Laptop und Drucker fast in den Wahnsinn getrieben hätten. Danke Johnny, dass du mir bei vielen Kinobesuchen und guten Gesprächen neue Perspektiven eröffnet hast. Ein großer Dank gilt auch Herrn Mag. Dr. habil. Ramón Reichert, der mich durch den Schreibprozess begleitet und mit hilfreichen Tipps und konstruktiver Kritik unterstützt hat. 2 3 Eidesstattliche Erklärung Ich erkläre hiermit an Eides Statt, dass ich die vorliegende Arbeit selbstständig und ohne Benutzung anderer als der angegebenen Hilfsmittel angefertigt habe. Die aus fremden Quellen direkt oder indirekt übernommenen Gedanken sind als solche kenntlich gemacht.
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Congratulations Class of 2014! 2 Student Life Getting Involved in the Stock Market Into Debt in Such a Short Period of Time, but Clearly It Is Very Pos- Sible
The Volume 74, Issue 3 RAMPARTThe Official Student Newspaper of Fordham Prep May 2014 A Tribute to a Great Teacher I enjoy museums, reading. Es- By LIAM NEUBAUER pecially reading and finding out recently had the outstanding more about artists. experience to sit down and talk Is there anything else you’d like to Fordham Prep’s art teacher, to mention? IMrs. Marilyn Honigman. Mrs. I just feel so lucky. I get to come Honigman has been at the Prep in everyday, do what I love, and for 35 years. Her full educational teach it! All these years have been career is at the Prep, and she is great and I’m going to miss it. a cherished member of our com- Mrs. Honigman’s love and munity. I was sad to learn that support for her students and art is she is retiring this year. She has overwhelming. She goes beyond done so much for this school, be being just an art teacher. She is it putting on art shows, running such an interesting person, being the art club, supplying and man- her student for a few years now aging numerous projects every I learned so much from her and year, and most of all inspiring her I wasn’t very good at much else, their mind what they’ve created. about her. She taught me many students. I was able to ask her and I always just loved art. I orig- I personally love to draw. things not only about art, but some questions, and this is what inally wanted to be a fashion de- What are you going to miss the about life.
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TV Review: Fargo Season 1 Episode 1: 'The Crocodile's
Nouse Web Archives TV Review: Fargo Season 1 Episode 1: ‘The Crocodile’s Dilema’ Page 1 of 3 News Comment MUSE. Politics Business Science Sport Roses Freshers Muse › Film & TV › Features Film Reviews TV Reviews Festivals TV Review: Fargo Season 1 Episode 1: ‘The Crocodile’s Dilema’ The opening episode of this crime thriller manages to capture the mood of the original while delivering a new and nail-biting story. Kate Barlow reviews Wednesday 23 April 2014 Rating: ★★★★★ Adapting an Oscar-winning well-loved cult film into a TV show only 18 years after its original release is a risky business. Especially given the fact that said film is directed by no other than the Coen brothers. However, in this grimly compelling crime thriller the high-risk strategy has paid off. Perhaps one of the first things that has to be said about the TV adaptation of Fargo is that it is in no way a remake. Despite the fact that the episode opens in the same way as the film, with a message claiming (falsely) that this is a true story, from here on the entire storyline of the first episode is different. While versions of characters from the film version remain (although their names have been changed) – we see Martin Freeman deliver a version of Jerry Lundegaard to perfection, along with Allison Tolman as an ambitious police detective not dissimilar to Marge Gunderson, truly giving Frances McDormand a run for her money – new characters are also introduced, giving the story a burst of originality. Billy Bob Thornton as the devilish do-what-you-want Lorne Malvo opens the episode, setting the dark broody atmosphere for the rest of the 68 minute runtime (and, hopefully, the rest of the series).
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2016 Fargo‐Moorhead Metropolitan Bicycle and Pedestrian Plan
2016 Fargo‐Moorhead Metropolitan Bicycle and Pedestrian Plan Adopted February 16, 2017 Prepared by the Fargo‐Moorhead Metropolitan Council of Governments 2016 Fargo‐Moorhead Metropolitan Bicycle and Pedestrian Plan Prepared by: The Fargo‐Moorhead Metropolitan Council of Governments Case Plaza, Suite 232 One Second Street North Fargo, ND 58102 Phone: 701‐232‐3242 Website: www.fmmetrocog.org Email: [email protected] The preparation of this document was funded in part by the Unittexted States Department of Transportation with funding administere box??? d through the North Dakota & Minnesota Departments of Transportation, the Federal Highway Administration and the Federal Transit Administration. Additional funding was provided by the Minnesota Department of Transportation and through local contributions from the governments of Fargo, West Fargo, and Cass County in North Dakota; and Moorhead, Dilworth, and Clay County in Minnesota. The United States Government and the States of North Dakota and Minnesota assume no liability for the contents or use thereof. This document does not constitute a standard, specification, or regulation. The United States Government, the States of North Dakota and Minnesota, and the Metropolitan Council of Governments do not endorse products or manufacturers. Trade or manufacturers' names appear herein only because they are considered essential to the objective of this document. The contents of this document reflect the views of the authors, who are responsible for the facts and the accuracy of the data presented herein. The contents do not necessarily reflect the policies of the State and Federal Departments of Transportation. RESOLUTION 2017-0313-P Resolution to Support 2016 Fargo-Moorhead Metropolitan Bicycle & Pedestrian Plan WHEREAS, the Moorhead City Council is the duly elected governing body responsible for the planning and development of safe and functional transportation systems including bicycle and pedestrian facilities.
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Johnson, Thomas C. Vitae
Thomas C. Johnson Communication Studies Luther College 700 College Drive Decorah, IA 52101 563.387.1091 P 612.877.1062 C [email protected] Academic Record Ph.D., University of Minnesota, July 2010 Program: Communication Studies Emphasis: Critical Media Studies G.P.A.: 3.7/4.0 Dissertation: NFL Films and the Re-Production of Pro Football Advisor: Edward Schiappa Committee Members: Laurie Ouellette, Douglas Hartmann, Mary Vavrus M.A., University of Minnesota, June 2006 Program: Communication Studies Emphasis: Critical Media Studies G.P.A.: 3.8/4.0 Thesis: Relationships Between Televised Sports Viewing Habits and Attitudes About Masculinity Advisor: Edward Schiappa Committee Members: Donald Browne, Michael C. Rodriguez B.A., Saint John’s University, May 2002 Major: Communication Minor: Political Science G.P.A.: 3.5/4.0 Abroad, University of Notre Dame Australia, June 2001 Concentration: Media Production G.P.A.: 3.7/4.0 Academic Appointments Associate Professor, Department of Communication Studies, Luther College (February 2017 – ). Assistant Professor, Department of Communication Studies, Luther College (August 2013 – January 2017). Post-doctoral Teaching Fellow, Department of Communication Studies, Luther College (August 2011 – July 2013) Lecturer, Department of Communication Studies, University of Minnesota, College of Liberal Arts (August 2010 – August 2011) Graduate Teaching Assistant, Department of Communication Studies, University of Minnesota, College of Liberal Arts (September 2004 – June 2010) Honors and Distinctions Old
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Fergal TWOMEY Methodology As Teleology: the Economy of Secrets and Drama As Critique of Systems in the Works of Vince Gilligan A
Methodology as Teleology: The Economy of Secrets and Drama as Critique of Systems 133 in the Works of Vince Gilligan and Noah Hawley Fergal TWOMEY Methodology as Teleology: The Economy of Secrets and Drama as Critique of Systems in the Works of Vince Gilligan and Noah Hawley Abstract: In Noah Hawley’s Fargo, Lorne Malvo, a maverick loner who embodies sublime forces modulating human behaviour, states that he is a “student of institutions”. What serves as a glib and ironic remark on the arbitrary regulations of a small-town hostel raises questions about the aspirations and context of modern television. Traditional drama in this medium strives to portray human relationships on their psychological vague, through personal crises of love, family and identity as the force of character and plot development. A turn in recent series such as those of Vince Gilligan (Breaking Bad and Better Call Saul) and Noah Hawley (Fargo) presents a different form of drama. This is story as process, where the monomyth revolves around the circuitous navigation of institutions and processes by individuals, as well as the innovative manner in which they use and abuse them and, in turn, are used and abused by them in a struggle for agency. In this format, which has antecedents in procedural drama but departs radically from its conventions, the story is not driven by individual motives or ‘primal’ desires, but rather by the inhuman and dehumanising force which systems exert over the individuals contained within them. The cultural experience of fear and ambition in the era of consolidation of post-Fordist structures of life has departed from a paradigm of randomised fortune and misfortune to one of incorrigible and overlapping expectations, where the uncertainty behind both emotions is subaltern to the process-interaction that comprises a theory of systems.
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