DOCSLIB.ORG

The (Hollywood) Adventure Continues On

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The (Hollywood) Adventure Continues On Masarykovauniverzita Filozofickáfakulta Ústavfilmuaaudiovizuálníkultury PavelSkopal „The (Hollywood) Adventure Continues on DVD“ Praktikydiferenciace adiskursivníhorámování hollywoodskýchfilmůnaDVDtrhu (FF TDDF Teorie a dějiny divadla, filmu a audiovizuální kultury doktorské kombinované studium) Disertační práce Vedoucí práce: doc. PhDr. Jiří Voráč, Ph.D. Brno 2006 1 Děkuji doc. PhDr. Jiřímu Voráčovi, Ph.D. za vedení této práce. Za odborné konzultace děkuji: Prof.Dr.ThomasiElsaesserovi (UniversiteitvanAmsterdam) Prof.Dr.VinzenziHedigerovi(Ruhr-UniversitätBochum) Prof.MarkoviJancovichovi(UniversityofEastAnglia) Mgr.PetroviSzczepanikovi,Ph.D.(Masarykovauniverzita) JoachimoviPolzerovi Mimořádné poděkování zaneocenitelnéradya pomoc přizpracovánítématu patříPetroviKramerovi(UniversityofEastAnglia,Norwich) ZainformaceoDVDtrhuafilmovédistribuci děkuji: Ladislavu Hrabětovi, Aleši Danielisovi, Petře Synáčové ( Bonton ), Heleně Cikerové, Marku Hrazdilovi ( Virtual ), Michalu Izakovičovi, Jiřímu Jeřábkovi ( Warner Brothers ), Evelíně Vrbové( LSProduction ),JanuBradáčovi( Falcon ),FrantiškuFukovi,RadomíruKokešovi VProstějově25.července2006PavelSkopal 2 Obsah 1. Úvod................................................................................................................................1 2. Staréanové:dějinyDVD jakodějinydiferenciace...................................................8 3. „TheAdventureContinuesonDVD“–franchise filmyjakodomácí video..........40 4. Staréfilmy,novépříběhy.Kontextualizaceakulturnízprostředkování hollywoodskýchfilmů naDVD..................................................................................60 5. LokalizačníprocesynaDVDtrhu.............................................................................75 5.1.Kolemsvětave32jazycích. Lvíkrál astrategie„globálnílokalizace“.................77 5.2.Kulturní rámovánírecepceastrategieapropriace.Britskéromantické komedie,DVDaamerickýtrh...............................................................................90 6. Závěr..........................................................................................................................100 7. Přílohy........................................................................................................................102 7.1. Tabulkač.1.........................................................................................................102 7.2. Tabulkač.2.........................................................................................................107 7.3. Tabulkač.3.........................................................................................................124 8. Citovanéfilmy,seriályavideohry...........................................................................127 9. Bibliografie................................................................................................................135 10. Summary....................................................................................................................147 3 1.Úvod Když se v60. letech ustavovaly film studies jako svébytná akademická disciplína, přicházela největší část tržeb hollywoodských studií stále ještě zkin, vysokorozpočtové filmy soudobé produkce se teprve začaly objevovat na televizních obrazovkách a až na marginální trh s8mm a 16mm filmy neexistoval pro většinu diváků způsob, jak film vlastnit.Tose změnilovpolovině 80.let,kdydošlokmasovémurozšíření videopřehrávačů – jednak přestal být trh svideokazetami zekonomického hlediska pouhým doplňkovým trhem (vroce 1986poprvé překonalytržbyhollywoodskýchfilmůna videotrhutržbuzkin), jednakse sledování filmůvdomácnosti staloběžnouastáledominantnější zkušeností.Počet divákůsledujícíchfilm na videokazetě byl již vdevadesátýchletechkaždoročně přibližně dvojnásobný oproti počtu diváků amerických kin vdobě jejich největší obliby těsně po druhé světové válce. 1 Zhlediska „textu“ ovšem videokazety nabízely vevětšině případů stále „tentýž“ film – takže nástup videa vyvolal spíše zájem představitelů britské tradice audience studies , než filmových teoretiků a historiků (ve film studies vté době ještě převládala /post/sémiotická tradice orientovaná spíše na samotný text než na kontext – a dostupnost filmů na videokazetách, které umožňují podrobnou segmentaci textu i bez pomoci stříhacího stolu, zde spíše posílila tendenci ktextuálním analýzám, nežli zájem o změny, kterými film prochází na cestě do domácností). V průběhu osmdesátých let ale dochází postupně kposunuzájmu od textu kintertextuálním vazbám a kontextuálním souvislostem ve film studies obecně 2 a vrecepčníchstudiíchzvlášť. 3 Na počátku90. let se mezi studiemi věnovanými hollywoodské kinematografii stále častěji objevují takové,které se věnují např.širokémukomerčnímukontextu blockbusterové produkce, 4 distribuci filmů nejendokin,ale také na nosičíchprodomácí sledování, 5 nebootázkám toho,jakmohou různé formy „propagační intertextuality“, jako jsou dokumenty typu „making of“, ovlivňovat recepci. 6 Změnyjakvsamotných film studies ,takvprodukčnícha distribučních praktikách hollywoodského průmyslu a vrecepční situaci diváka, vedly k „revizionistickým“ výzvám, jakou činí Robert C. Allen: „Nadešel čas napsat poslední kapitoludějinhollywoodskéhofilmua jehopublika,která bude současně první kapitolou novýchdějin,jejichž předmět musíme teprve určit.Ovšem ať už tutonovouhistorii budeme nazývat jakkoli,bude muset vzít vúvahunejento,cose děje,když lidé sedí vsetmělých místnostech sousedících s pultyproprodej občerstvení,ale také,codělají ve Walmartu,u McDonald´s a vnákupním centru, kde tráví dovolenou, a jaké pyžamo nosí jejich děti.“ 7 Badatelé zabývající se recepcí se stále častěji dovolávají potřeby věnovat pozornost 1 Barry R. Litman, The Motion Picture Mega-Industry . Boston – London: Allyn and Bacon, 1998, s. 167. 2 Srov. např. Robert Stam, Film Theory. An Introduction . Malden – Oxford: Blackwell Publishers 2000, s. 192-212. 3 Srov. Janet Staiger, Interpreting Films. Studies in the Historical Reception of American Cinema . Princeton: Princeton University Press 1992. 4 Roberta E. Pearson – William Uricchio (eds.), The Many Lives of the Batman. Critical Approaches to a Superhero and his Media . New York – London: Routledge 1991. 5 Douglas Gomery, Shared Pleasures. A History of Movie Presentation in the United States . Madison: University of Wisconsin Press 1992. 6 Barbara Klinger, Digressions of the Cinema: Commodification and Reception in Mass Culture. In: James Naremore – Patrick Brantlinger (eds.), Modernity and Mass Culture . Bloomington: Indiana University Press 1991, s. 117-134. 7 Allen v závěru naráží na prodej vedlejších produktů spojených s franchise filmy. Robert C. Allen, Home Alone Together: Hollywood and the „Family Film“. In: Melvyn Stokes – Richard Maltby (eds.), Identifying Hollywood´s Audiences . London: BFI 1999, s. 109-131. 4 „satelitním textům“ či „marginálním formám“,doprovázejícím film na cestě kdivákovi, 8 a vedlejším materiálům (propagační materiály, rozhovory,recenze,dokumentytypu„making of“),které mají určitýpotenciál anticipace a ovlivňují takdivácká očekávání. 9 Pozornosti se konečně dostalo také tak důležitému fenoménu, jakým je opakované sledování filmů vkině 10 avdomácnosti. 11 V březnu1997se objevilyna americkém trhuprvní hollywoodské filmyna DVD a od počátku byly doprovázeny různými bonusovými materiály; navíc se nový formát rychle rozšiřoval a vroce 2001tržbyz prodeje DVD poprvé překonalyna severoamerickém trhu tržby z prodeje VHS. DVD se stalo nejrychleji se rozšiřující technologií kdomácí konsumpci zábavních programů vdějinách, během osmi let od uvedení vstoupilo do tří čtvrtinamerickýchdomácností.Uvádění filmůna tomtonosiči se pochopitelně dostalodo zorného pole badatelů věnujících se ekonomickým dějinám filmu a distribučním praktikám, 12 stalo se součástí debaty o nových médiích a vlivu digitalizace na distribuci mediálníchobsahů, 13 objevilyse analýzyněkterýchkonkrétníchbonusovýchmateriálů nebo jejich využívání jako propagačního nástroje. 14 Na téma DVD se konaly akademické konference vTrieru (First International Trier Conference on Film and New Media, říjen 2002) a ve Warwicku („What is DVD?“, Humanities Research Centre, University of Warwick,duben2005).Vroce 2005vyšlomonotematické čísločasopisu The Velvet Light Trap oDVD,další chystá na jaro2007časopis Convergence ,zaměřenýpředevším na teorii médii. Vzniklo několik studií věnovaných vydávání filmů na DVD, technologii DVD či vlivu,kterýmohoumít bonusové materiályna recepci.Ucelená studie,která byse věnovala dějinám formátu, praktikám uplatňovaným na trhu, změnám jím způsobeným voblasti produkceči distribuce,neboproměněrecepčnísituacediváka,ovšemnadálechybí. Přítomná práce samozřejmě nemá ambici tuto mezeru zcela zaplnit, hodlá nicméně přispět kdebatě o změnáchvyvolanýchnástupem novéhoformátu.Konstatování o absenci akademické práce věnující se komplexněji tématu DVD současně zdůvodňuje, proč bude nutné věnovat se vprvní kapitole poměrně rozsáhle dějinám tohoto formátu a procesu 8 Thomas Austin, Hollywood Hype and Audiences. Selling and Watching Popular Film in the 1990s . Manchester: Manchester University Press 2002; Vinzenz Hediger, Verführung zum Film. Der amerikanische Kinotrailer seit 1912 . Aarau – Zürich: Schüren 2001; Lisa Devereaux Kernan, A Cinema of (Coming Attractions). The Rhetoric of American Movie Trailers . Ph.D. disertace, UCLA, Los Angeles, 2000. 9 Martin Barker, News, Reviews, Clues, Interviews and Other Ancillary Materials – A Critique and Research Proposal. Scope . <http://www.nottingham.ac.uk/film/journal/articles/news-reviews.htm>
Load more

Recommended publications
  • A Century of Scholarship 1881 – 2004
    A Century of Scholarship 1881 – 2004 Distinguished Scholars Reception Program (Date – TBD) Preface A HUNDRED YEARS OF SCHOLARSHIP AND RESEARCH AT MARQUETTE UNIVERSITY DISTINGUISHED SCHOLARS’ RECEPTION (DATE – TBD) At today’s reception we celebrate the outstanding accomplishments, excluding scholarship and creativity of Marquette remarkable records in many non-scholarly faculty, staff and alumni throughout the pursuits. It is noted that the careers of last century, and we eagerly anticipate the some alumni have been recognized more coming century. From what you read in fully over the years through various this booklet, who can imagine the scope Alumni Association awards. and importance of the work Marquette people will do during the coming hundred Given limitations, it is likely that some years? deserving individuals have been omitted and others have incomplete or incorrect In addition, this gathering honors the citations in the program listing. Apologies recipient of the Lawrence G. Haggerty are extended to anyone whose work has Faculty Award for Research Excellence, not been properly recognized; just as as well as recognizing the prestigious prize scholarship is a work always in progress, and the man for whom it is named. so is the compilation of a list like the one Presented for the first time in the year that follows. To improve the 2000, the award has come to be regarded completeness and correctness of the as a distinguishing mark of faculty listing, you are invited to submit to the excellence in research and scholarship. Graduate School the names of individuals and titles of works and honors that have This program lists much of the published been omitted or wrongly cited so that scholarship, grant awards, and major additions and changes can be made to the honors and distinctions among database.
    [Show full text]
  • Scandinavian Cinema from the Silent Era Prof
    © Lynn R. Wilkinson UGS302 (64115): Nordic Light: Scandinavian Cinema from the Silent Era Prof. Lynn Wilkinson to the 2000s COURSE DESCRIPTION: Ingmar Bergman is perhaps the best known Scandinavian filmmaker, but Northern Europe has a remarkable tradition of filmmakers and filmmaking. Including films from Sweden, Denmark, and Iceland, this course will provide an introduction to some of the masterpieces of Scandinavian film from the Golden Age of silent film through the 2000s and to the culture of Scandinavia. ASSIGNMENTS AND GRADING: One two-page paper (5%); one five-page paper which may be rewritten (20%); one storyboard (10%) accompanied by a five-page essay (20%); five quizzes (20%; you may drop the lowest grade); one class presentation (5%). Class participation will count 20%. REQUIRED TEXTS: Bordwell and Thompson: Film Art: An Introduction. 10th edition (2009) McGraw Hill: ISBN 10: 0073386162 Earlier editions on reserve: PN 1995 B617 2004 TEXT; PN1995 B617 2001 TEXT Recommended: Tytti Soila et al.: Nordic National Cinemas Routledge: ISBN-10: 0415081955 On Reserve: PN 1993.5 s2 s65 1998; also available as an electronic resource Braudy and Cohen: Film Theory and Criticism. 6th edition (FTC on syllabus) Oxford Univ. Press: ISBN 10 0195158172 On reserve: PN 1994 M364 2004 Mette Hjort: Purity and Provocation: Dogme 95 British Film Institute On reserve: PN1995.9 E96 P87 2003 Mette Hjort: Italian for Beginners University of Washington Press, 2010 PN 1997 I51555 H56 2010 Björn Norðfjörð: Dagur Kári’s Nói the Albino University of Washington
    [Show full text]
  • Tonite the 6 Annual Queens World Film Festival Screens 30 Films And
    FOR IMMEDIATE RELEASE: Media Contact : David Archer, DA Associates PR, 914-299 0837 www.queensworldfilmfestival.com Tonite the 6th Annual Queens World Film Festival Screens 30 films and Honors Filmmaker Melvin Van Peebles with the "Spirit of Queens" Award March 16th, 2016, New York, NY -- Each year, the Queens World Film Festival (QWFF) pays tribute to an outstanding filmmaker for his or her body of work. This year's "Spirit of Queens" Award goes to independent film director Melvin Van Peebles. Peebles is an American actor, director, screenwriter, playwright, novelist, painter and composer. Successful in every medium, Van Peebles is most famous for his movie Sweet Sweetback's Baadasssss Song , which heralded a new era of African-American cinema. It will be screened this evening Wednesday, March 16- 7pm at the Museum of the Moving Image (MOMI) in Astoria ,Queens, followed by a Q&A with the legendary Mr. Peebles, moderated by MoMI trustee Warrington Hudlin, founder of the Black Filmmaker Foundation. Twenty-nine other films will be screened this evening as well at the 3 other venues. Full Festival passes and Individual Tickets are on sale on line. For the full schedule and to view trailers please visit: www.queensworldfilmfestival.com To highlight the IndieCollect film preservation campaign, Susan Seidelman's 1982 movie, Smithereens, will be showcased at MoMI on Closing Night, Saturday, March 19. The Smithereens negative was found by the IndieCollect team in the vaults of DuArt Film & Video after DuArt closed its photo-chemical division, and was placed at the Academy Film Archive for safekeeping. IndieCollect, headed by QWFF board member Sandra Schulberg, is dedicated to saving independent films before they are lost due to neglect, lack of funding and/or faulty preservation strategies.
    [Show full text]
  • Home Video Philology: Methodological Reflections
    Special – peer-reviewed Cinergie – Il cinema e le altre arti. N.13 (2018) https://doi.org/10.6092/issn.2280-9481/7878 ISSN 2280-9481 Home Video Philology: Methodological Reflections Valerio Sbravatti Submitted: March 1, 2018 – Revised version: May 25, 2018 Accepted: June 15, 2018 – Published: July 12, 2018 Abstract Digital home video is an extremely useful means of watching and analyzing films. However, scholars often neglect the fact that official home video or streaming releases of a film can have differences from theoriginal version of the film itself. Such variances typically are lack of film grain (resulting from digital noise reduction), differences in color grading, and soundtrack remixing. This can depend on the fact that the technicians who work on home video releases are unprepared, or are instructed to adjust the look and the sound of the film to the current taste, or because the filmmakers changed their mind and requested some modifications. Atany rate, film scholars must be aware of such possible inconsistencies, otherwise their study could be fallacious. In this article I discuss upon philological problems of home video releases mainly from a practical point of view. Keywords: Blu-ray Disc; DVD; film fandom; film philology; film restoration. Valerio Sbravatti: Sapienza Università di Roma (It) https://orcid.org/0000-0002-0817-6129 [email protected] Valerio Sbravatti (1988) has a PhD in Music and performing arts at Sapienza University of Rome, where he is honorary fellow in film studies. His main research interests are film sound and film music, on which he published somearticlesand a book (Allegro non troppo.
    [Show full text]
  • History and Ethics of Film Restoration by Jeffrey Lauber a Thesis
    History and Ethics of Film Restoration by Jeffrey Lauber A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Moving Image Archiving and Preservation Program Department of Cinema Studies New York University May 2019 ii ABSTRACT Film restoration and its products have been subjects of scrutiny and debate since the dawn of the practice. The process inherently bears an innumerable quantity of unresolvable uncertainties, a characteristic which has sparked discussions amongst archivists, restorers, scholars, critics, and audiences alike about the ethical implications of restoring motion pictures. This thesis contends that it would be both impractical and unproductive to impose a rigid set of ethical principles on a practice which so inevitably relies on subjectivity. Instead, it devises a more holistic understanding of film restoration practice and ethics to work towards a conceptual framework for film restoration ethics. Drawing from theoretical discourse and real-world case studies, this thesis examines the ways in which restorers have confronted and mitigated uncertainties in their work, and explores the ethical implications of their decisions. As an understanding of the philosophical and economic motivations behind film restoration provides essential foundational knowledge for understanding the evolution of its ethical discourse, the thesis begins by charting a contextual history of the practice before exploring the discourse and its core ethical concerns. iii TABLE OF CONTENTS Acknowledgements
    [Show full text]
  • Item List for Location ZE for the Item Groups You Selected
    10:14 AM 1/24/2018 Item List for Location ZE For The Item Groups You Selected Call Number Title Author Publisher Pub. Date Barcode 613.7 Bey (VHS) Beyond basic yoga for dummies Dragonfly Productions[unknown] Inc. 33246001206861 613.7046 AM (DVD) AM PM yoga for beginners Lions Gate Entertainment,[2012] 33246002326791 941.83508 Lew Secret child : Lewis, Gordon. Harper Element, [2015] 33246002313112 (ON TRACE) BBC DVD FICMI-5, MI-5 volume (s.7) 07 BBC Video ; [2010] 33246002010338 (ON TRACE) DVD FIC Eight8 movie family adventure collection Echo Bridge Home Entertainment,[2013] 33246002290732 (ON TRACE) DVD FIC NothiNothing in common Tri Star, [2002] 33246001431956 (ON TRACE) DVD FIC RedRed Magnolia Home Entertainment,[2008] 33246002179083 (ON TRACE) DVD FIC StarStar trek XI Paramount, [2009] 33246001904911 BBC DVD FIC Above (s.2)Above suspicion, set 2 ITV Studios Home Entertainment[2012] ;33246002162659 BBC DVD FIC Agath (M. Agatha7 & 12) Christie's Marple, set 1, volume 2 : A&E Television Networks[2006] : 33246001875970 BBC DVD FIC Agath (M. Agatha8 & 9) Christie's Marple, set 1, volume 1 : A&E Television Networks[2006] : 33246001875962 BBC DVD FIC Agath (T. 2)Agatha Christie's Partners in Crime, set 2 distributed exclusively[2004]. by Acorn Media,33246002226959 BBC DVD FIC Balle Ballet shoes BFS Video, [2000] 33246001613892 BBC DVD FIC Berke Berkeley square, the complete series / BFS, [2011] 33246002256402 BBC DVD FIC Broad (s.1)Broadchurch, season 1 / Entertainment One (New[2014] Releases), 2013.33246002277978 BBC DVD FIC Broke (s. 3)The Brokenwood mysteries, series 3 Acorn, [2017] 33246002396141 BBC DVD FIC Danie Daniel Deronda BBC Video ; [2003] c2002.33246001980986 BBC DVD FIC Death (s.2)Death in paradise, season 2 BBC ; [2013] 33246002248862 BBC DVD FIC Death (s.3)Death in paradise, season 3 BBC Worldwide., [2014] 33246002356111 BBC DVD FIC Death (s.5)Death in paradise, season 5 BBC Video, [2016] 33246002313419 BBC DVD FIC Downt (DowntonDownton Abbey Abbey, s.
    [Show full text]
  • New Multimedia
    Zimmerman Library July-Dec 2016 New Multimedia A collection of programs that describe the histories behind the Roman Colosseum, NON-FICTION VIDEOS Chartres Cathedral, and the Great Pyramid of Egypt. DVD 620.009 ENG Long night's journey into day. San Francisco, CA Extreme engineering. [Standard format]. : California Newsreel, c2000. South Africa Louisville, CO : Gaiam Americas, 2010. Disc 1. created its Truth and Reconciliation Widening the Panama Canal ; Boston's big dig ; Commission in 1996 to investigate apartheid-era Building Hong Kong's airport ; Tunneling under crimes. This film follows several TRC cases as the Alps -- Disc 2. Iceland tunnels ; Container victims and perpetrators seek justice, ships ; Oakland Bay Bridge ; Venice flood gates. forgiveness, and renewal. DVD 305.8 LON Narrator: Joseph Giotta (season 1), Nick Schotzki (season 2). Discusses the engineering 9 months that made you. [Widescreen format]. feats of men and women around the globe, [Alexandria, Va.] : PBS Distribution, 2016. including the digging of tunnels, earth-moving, Narrated by Demetri Goritsas. Discover the bridge building, and other almost impossible thrilling story of how you were made, from the achievements to help people negotiate their way moment of conception to the moment of birth 280 through and around large bodies of water. DVD days later. Follow the gestation process, the most 624.1 EXT exquisite biological choreography found in nature. Using the latest scientific research and advances in More engineering disasters. Standard format. medicine, we can now reveal this hidden world in [New York] : History Channel, 2005. Narrated forensic detail. Zeroing in on milestones along the by Harlan Saperstein.
    [Show full text]
  • SCMS 2019 Conference Program
    CELEBRATING SIXTY YEARS SCMS 1959-2019 SCMSCONFERENCE 2019PROGRAM Sheraton Grand Seattle MARCH 13–17 Letter from the President Dear 2019 Conference Attendees, This year marks the 60th anniversary of the Society for Cinema and Media Studies. Formed in 1959, the first national meeting of what was then called the Society of Cinematologists was held at the New York University Faculty Club in April 1960. The two-day national meeting consisted of a business meeting where they discussed their hope to have a journal; a panel on sources, with a discussion of “off-beat films” and the problem of renters returning mutilated copies of Battleship Potemkin; and a luncheon, including Erwin Panofsky, Parker Tyler, Dwight MacDonald and Siegfried Kracauer among the 29 people present. What a start! The Society has grown tremendously since that first meeting. We changed our name to the Society for Cinema Studies in 1969, and then added Media to become SCMS in 2002. From 29 people at the first meeting, we now have approximately 3000 members in 38 nations. The conference has 423 panels, roundtables and workshops and 23 seminars across five-days. In 1960, total expenses for the society were listed as $71.32. Now, they are over $800,000 annually. And our journal, first established in 1961, then renamed Cinema Journal in 1966, was renamed again in October 2018 to become JCMS: The Journal of Cinema and Media Studies. This conference shows the range and breadth of what is now considered “cinematology,” with panels and awards on diverse topics that encompass game studies, podcasts, animation, reality TV, sports media, contemporary film, and early cinema; and approaches that include affect studies, eco-criticism, archival research, critical race studies, and queer theory, among others.
    [Show full text]
  • Grey Morality of the Colonized Subject in Postwar Japanese Cinema and Contemporary Manga
    EITHER 'SHINING WHITE OR BLACKEST BLACK': GREY MORALITY OF THE COLONIZED SUBJECT IN POSTWAR JAPANESE CINEMA AND CONTEMPORARY MANGA Elena M. Aponte A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2017 Committee: Khani Begum, Advisor Kristen Rudisill © 2017 Elena M. Aponte All Rights Reserved iii ABSTRACT Khani Begum, Advisor The cultural and political relationship between Japan and the United States is often praised for its equity, collaboration, and mutual respect. To many, the alliance between Japan and the United States serves as a testament for overcoming a violent and antagonistic past. However, the impact of the United States occupation and the bombing of Hiroshima and Nagasaki is rarely discussed in light of this alliance. The economic revival, while important to Japan’s reentry into the global market, inevitably obscured continuing paternalistic interactions between Japan and the United States. Using postcolonial theory from Homi K. Bhahba, Frantz Fanon, and Hiroshi Yoshioka as a foundation, this study examines the ways Japan was colonized during and after the seven-year occupation by the United States. The following is a close assessment of two texts and their political significance at two specific points in history. Akira Kurosawa's1948 noir film Drunken Angel (Yoidore Tenshi) shaped the identity of postwar Japan; Yasuhiro Nightow’s Trigun manga series navigates cultural amnesia and American exceptionalism during the 1990s after the Bubble Economy fell into recession in 1995. These texts are worthy of simultaneous assessment because of the ways they incorporate American archetypes, iconography, and themes into their work while still adhering to Japanese cultural concerns.
    [Show full text]
  • How the Nouvelle Vague Invented the DVD: Cinephilia, New Waves and film Culture in the Age of Digital Dissemination 2014
    Repositorium für die Medienwissenschaft Malte Hagener How the Nouvelle Vague Invented the DVD: Cinephilia, new waves and film culture in the age of digital dissemination 2014 https://doi.org/10.14591/aniki.v1n1.61 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Hagener, Malte: How the Nouvelle Vague Invented the DVD: Cinephilia, new waves and film culture in the age of digital dissemination. In: Aniki. Portuguese Journal of the Moving Image, Jg. 1 (2014), Nr. 1, S. 73– 85. DOI: https://doi.org/10.14591/aniki.v1n1.61. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons BY 4.0 Lizenz This document is made available under a creative commons BY zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz finden 4.0 License. For more information see: Sie hier: http://creativecommons.org/licenses/by/4.0 http://creativecommons.org/licenses/by/4.0 How the Nouvelle Vague Invented the DVD: Cinephilia, new waves and film culture in the age of digital dissemination1 Malte Hagener2 The transformations of moving image culture brought about by the shift from analogue to digital have become an accepted fact by now. Many distinguished scholars have elaborated on different facets of these far-reaching changes.3 Apart from these important forays, many discussions of the ongoing transformations of moving image culture focus either on the novelty of the latest equipment or on the synergistic power of industry — both technological and economic perspectives are perfectly valid, but nevertheless limit the scope of inquiry in problematic ways. Whereas the currently emerging con- figurations of audiovisualcy in the age of digital networks are often addressed in terms of absolute novelty and innovation I want to shift the focus slightly, articulating instead the new in terms of the old.4 This essay therefore proposes the argument that it was within the Nouvelle Vague and the French film culture of the 1960s that the DVD was “invented”.
    [Show full text]
  • PURPLE = New Disc YELLOW = NEW MENU OR SUB MENU BLUE = NEW TRACK GREEN = NEW AUDIO STREAM RED = TOTAL AUDIO TRACKS CATALOGED GRAY = TOTAL VIDEO OPTIONS CATALOGED
    PURPLE = New Disc YELLOW = NEW MENU OR SUB MENU BLUE = NEW TRACK GREEN = NEW AUDIO STREAM RED = TOTAL AUDIO TRACKS CATALOGED GRAY = TOTAL VIDEO OPTIONS CATALOGED Criterion Collection Disc 1 Videos In Sequence Video versions oF all 9 tracks on disc 1 available in stereo or Dolby surround as well as two different commentary tracks with 1 viewing option. Audio stream 1 cataloged as Videos In Sequence Audio stream 2 cataloged as Videos In Sequence (Dolby Surround Mix) Audio stream 3 cataloged as Videos In Sequence (Band Commentary) Audio stream 4 cataloged as Videos In Sequence (Director’s Commentary) 4 diFFerent Audio Streams have been Cataloged For this track. BeFore proceeding to Videos with supplements it should be noted that Dolby 5.1 is oFFered only For videos in sequence, NOT available For Videos with supplements. As a result, only audio From the videos in sequence will have tracks ultimately listed as “(Dolby Surround Mix)”. It should also be noted that for the sake of completeness, each individual track of the Videos With Supplements folder will include an audio stream For every angle available in the event that the audio was altered to sync to the available video. It is counterintuitive to think that the audio would have been altered rather than the video, but in pursuit of a deFinitive answer, as well as For the sake of completeness, each audio stream associated with each angle will be recorded and cataloged For comparison. Videos With Supplements Intergalactic This video is supplemented with 6 diFFerent Audio Tracks with 9 diFFerent viewing options, and 4 additional Audio Tracks with only 1 viewing option.
    [Show full text]
  • HAROLD and LILLIAN Press
    HAROLD AND LILLIAN: A HOLLYWOOD LOVE STORY A film by Daniel Raim 101 minutes WORLD PREMIERE – 2015 Cannes Film Festival SALES CONTACT: Submarine Entertainment Josh Braun [email protected] +1 (917) 687-3111 FILMMAKER CONTACT: Daniel Raim [email protected] +1 (323) 697-2887 2 HAROLD AND LILLIAN: A HOLLYWOOD LOVE STORY LOGLINE The inspiring love story between storyboard artist Harold Michelson and film researcher Lillian Michelson spanned sixty years, during which they created some of Hollywood’s most iconic examples of visual storytelling. 3 HAROLD AND LILLIAN: A HOLLYWOOD LOVE STORY SYNOPSIS He was a wisecracking World War II vet. She was an orphan, his kid sister’s best friend. Harold and Lillian eloped to Hollywood, where they became the film industry’s secret weapons. Nobody talked about them, but everybody wanted them. Theirs is the greatest story never told—until now. Academy Award–nominated Director Daniel Raim (The Man on Lincoln’s Nose) and Executive Producer Danny DeVito (Pulp Fiction, Man on the Moon) present HAROLD AND LILLIAN: A HOLLYWOOD LOVE STORY, a fascinating and deeply moving account of the romantic and creative partnership between storyboard artist Harold Michelson (1920–2007) and his wife, film researcher Lillian Michelson (b. 1928)—a talented and generous couple once considered to be the heart of the industry. For sixty tumultuous years, Harold and Lillian weathered personal and professional setbacks while working on hundreds of films, many of them now classics, including The Ten Commandments, The Apartment, The Birds, Who’s Afraid Of Virginia Woolf?, The Graduate, Rosemary’s Baby, Fiddler On The Roof, Star Trek: The Motion Picture, Scarface, Full Metal Jacket.
    [Show full text]