Honorary Award Citation

Total Page:16

File Type:pdf, Size:1020Kb

Honorary Award Citation C I T A T I O N John Hadley Thompson AM Doctor of Letters honoris causa The University of Queensland 20 July 2017 Presiding Officer As one of the most recognisable figures of Australian film and television Mr Jack Thompson, AM, has helped shape local and international perceptions of what it means to be ‘Australian’. He is well-known for his performances in popular and critically-acclaimed films and television productions, as well as his quintessential readings of Australian bush ballads and poems. What is less known is that Mr Thompson found that acting was his true vocation while he was enrolled in Arts at The University of Queensland. He had left his school and home in Sydney in the 1950s at the age of 14, to jackaroo in the Northern Territory. Returning to Sydney, he studied with Hayes Gordon at The Ensemble Theatre. He also had a career as a pathology laboratory technician in the Royal Australian Army Medical Corps. By the time he arrived at UQ he was aged in his mid-20s - and the 1960s were in full swing. He connected with the campus artistic set, including the UQ Dramatic Society, and became immersed in experimental and semi-professional theatre. Prompted by his father, who was a classics scholar and a writer and producer for ABC radio, he turned to acting as his full-time profession. Before long, Mr Thompson was cast in films and television series that have come to be seen as part of the Australian screen canon. Starting with Wake in Fright in 1969, his film credits now include Sunday Too Far Away, The Chant of Jimmy Blacksmith, The Club, Caddie, Mad Dog Morgan, Breaker Morant, The Man from Snowy River, Mao’s Last Dancer, the Great Gatsby, Burke & Wills, The Sum of Us, Mystery Road, The Light Between Oceans and most recently, Don’t Tell. In Australia, he has starred with Cate Blanchett, Hugh Jackman, Russell Crowe, Joel Edgerton, Naomi Watts, Nicole Kidman and International stars, Dennis Hopper, George Clooney, Toby Maguire, and recently Michael Fassbender and Alicia Vikander. Although a stalwart of the Australian industry, Mr Thompson has also been lured to take roles in major international productions, where he has acted opposite stars such as Ingrid Bergman, Sally Field, Sean Penn, Jude Law and Kevin Spacey. He has been directed by the likes of Clint Eastwood, George Lucas, Steven Soderbergh and George Clooney. TV viewers of various generations have watched him in Skippy, Spy Force, Homicide, Division Four, Matlock, McLeod’s Daughters, Waterfront and Rake. And fans of the works of Banjo Patterson, Henry Lawson and CJ Dennis have enjoyed his audio recordings. He is a Member of the Order of Australia for service to the film industry and has been honoured by the Cannes Film Festival, the Australian Film Institute, Film Critics Circle Australia, the Logies, the Asia Pacific film Festival, the Society of Motion Picture and Television Engineers – and many others. In 2006 he received the Brisbane International Film Festival Chauvel Award. He has also served a range of global and grassroots organisations concerned with human rights, the environment and the arts. Among other things he is a foundation member of the National Gallery of Australia, and a life member of the Stockman’s Hall of Fame. He is patron and founding co-director of The Jack Thompson Foundation, which focusses on employment and housing issues in Aboriginal homelands. Presiding Officer, I present to you Mr John Hadley Thompson, Member of the Order of Australia, Doctor of Letters honoris causa of Charles Darwin University, and Doctor of Performing Arts honoris causa of Edith Cowan University, for the award of Doctor of Letters honoris causa, bestowed by the Senate of The University of Queensland. .
Recommended publications
  • Before the Forties
    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
    [Show full text]
  • David Gulpilil, AM
    David Gulpilil, AM Born 1953, Gulparil, near Ramingining, Northern Territory. Lives Darwin, N.T. David Gulpilil’s full name is David Gulpilil Ridjimiraril Dalaithngu. Gulpilil is also spelt Gulparil, which is the name of his Country near Ramingining, central Arnhem Land, N.T. When, as a seventeen year-old, David Gulpilil lit up the cinema screen in the film, Walkabout, he did more than play a role. The performance was so strong, so imbued with a new type of graceful naturalism, that it re-defined perceptions of Aboriginality, especially in the field of screen acting. Over the next decade, David became the iconic Aboriginal actor of his generation, paving the way in the resurgence of the Australian film industry for more parts to be written for Aboriginal people, for more Aboriginal stories to be told. His charismatic, engaging and unforgettable performances in films like Storm Boy (1976, dir. Henri Safran), The Last Wave (1977, dir. Peter Weir) and Crocodile Dundee (1986, dir. Peter Faiman) helped bring Aboriginality into the mainstream of the screen arts. In his later work, including Rabbit-Proof Fence (2002, dir. Philip Noyce), The Tracker (2002, dir. Rolf de Heer), Australia (2008, dir. Baz Luhrmann) and the soon to be released Charlie's Country (2013, dir. Rolf de Heer), Gulpilil has brought tremendous dignity to the depiction of what it is to be Aboriginal. Through his art he has brought an incalculable amount of self-esteem to his community. Since the early 1970s, Gulpilil has earned more than 30 film credits, and performed alongside Dennis Hopper, Jack Thompson, Miles Davis, Nicole Kidman, Hugh Jackman, Kenneth Branagh, William Hurt, Richard Chamberlain, Guy Pearce, Paul Hogan, and Ernie Dingo, under acclaimed directors such as Peter Weir, Baz Lurhman, Philip Noyce, Wim Wenders and Rolf de Heer.
    [Show full text]
  • David Stratton's Stories of Australian Cinema
    David Stratton’s Stories of Australian Cinema With thanks to the extraordinary filmmakers and actors who make these films possible. Presenter DAVID STRATTON Writer & Director SALLY AITKEN Producers JO-ANNE McGOWAN JENNIFER PEEDOM Executive Producer MANDY CHANG Director of Photography KEVIN SCOTT Editors ADRIAN ROSTIROLLA MARK MIDDIS KARIN STEININGER HILARY BALMOND Sound Design LIAM EGAN Composer CAITLIN YEO Line Producer JODI MADDOCKS Head of Arts MANDY CHANG Series Producer CLAUDE GONZALES Development Research & Writing ALEX BARRY Legals STEPHEN BOYLE SOPHIE GODDARD SC SALLY McCAUSLAND Production Manager JODIE PASSMORE Production Co-ordinator KATIE AMOS Researchers RACHEL ROBINSON CAMERON MANION Interview & Post Transcripts JESSICA IMMER Sound Recordists DAN MIAU LEO SULLIVAN DANE CODY NICK BATTERHAM Additional Photography JUDD OVERTON JUSTINE KERRIGAN STEPHEN STANDEN ASHLEIGH CARTER ROBB SHAW-VELZEN Drone Operators NICK ROBINSON JONATHAN HARDING Camera Assistants GERARD MAHER ROB TENCH MARK COLLINS DREW ENGLISH JOSHUA DANG SIMON WILLIAMS NICHOLAS EVERETT ANTHONY RILOCAPRO LUKE WHITMORE Hair & Makeup FERN MADDEN DIANE DUSTING NATALIE VINCETICH BELINDA MOORE Post Producers ALEX BARRY LISA MATTHEWS Assistant Editors WAYNE C BLAIR ANNIE ZHANG Archive Consultant MIRIAM KENTER Graphics Designer THE KINGDOM OF LUDD Production Accountant LEAH HALL Stills Photographers PETER ADAMS JAMIE BILLING MARIA BOYADGIS RAYMOND MAHER MARK ROGERS PETER TARASUIK Post Production Facility DEFINITION FILMS SYDNEY Head of Post Production DAVID GROSS Online Editor
    [Show full text]
  • View Annual Report
    2016 ANNUAL REPORT CONTENT MESSAGES FROM THE SUPERVISORY BOARD AND THE MANAGEMENT BOARD 02 1 4 Profile of the Group and its Businesses | Financial Report | Statutory Auditors’ Report Financial Communication, Tax Policy on the Consolidated Financial Statements | and Regulatory Environment | Risk Factors 05 Consolidated Financial Statements | 1. Profi le of the Group and its Businesses 07 Statutory Auditors’ Report on 2. Financial Communication, Tax policy and Regulatory Environment 43 the Financial Statements | Statutory 3. Risk Factors 47 Financial Statements 183 Selected key consolidated fi nancial data 184 I - 2016 Financial Report 185 II - Appendix to the Financial Report: Unaudited supplementary fi nancial data 208 2 III - Consolidated Financial Statements for the year ended December 31, 2016 210 Societal, Social and IV - 2016 Statutory Financial Statements 300 Environmental Information 51 1. Corporate Social Responsibility (CSR) Policy 52 2. Key Messages 58 3. Societal, Social and Environmental Indicators 64 4. Verifi cation of Non-Financial Data 101 5 Recent Events | Forecasts | Statutory Auditors’ Report on EBITA forecasts 343 1. Recent Events 344 2. Forecasts 344 3 3. Statutory Auditors’ Report on EBITA forecasts 345 Information about the Company | Corporate Governance | Reports 107 1. General Information about the Company 108 2. Additional Information about the Company 109 3. Corporate Governance 125 6 4. Report by the Chairman of Vivendi’s Supervisory Board Responsibility for Auditing the Financial Statements 347 on Corporate Governance, Internal Audits and Risk 1. Responsibility for Auditing the Financial Statements 348 Management – Fiscal year 2016 172 5. Statutory Auditors’ Report, Prepared in Accordance with Article L.225-235 of the French Commercial Code, on the Report Prepared by the Chairman of the Supervisory Board of Vivendi SA 181 ANNUAL REPORT 2016 ANNUAL REPORT 2016 The Annual Report in English is a translation of the French “Document de référence” provided for information purposes.
    [Show full text]
  • TRINITY COLLEGE Cambridge Trinity College Cambridge College Trinity Annual Record Annual
    2016 TRINITY COLLEGE cambridge trinity college cambridge annual record annual record 2016 Trinity College Cambridge Annual Record 2015–2016 Trinity College Cambridge CB2 1TQ Telephone: 01223 338400 e-mail: [email protected] website: www.trin.cam.ac.uk Contents 5 Editorial 11 Commemoration 12 Chapel Address 15 The Health of the College 18 The Master’s Response on Behalf of the College 25 Alumni Relations & Development 26 Alumni Relations and Associations 37 Dining Privileges 38 Annual Gatherings 39 Alumni Achievements CONTENTS 44 Donations to the College Library 47 College Activities 48 First & Third Trinity Boat Club 53 Field Clubs 71 Students’ Union and Societies 80 College Choir 83 Features 84 Hermes 86 Inside a Pirate’s Cookbook 93 “… Through a Glass Darkly…” 102 Robert Smith, John Harrison, and a College Clock 109 ‘We need to talk about Erskine’ 117 My time as advisor to the BBC’s War and Peace TRINITY ANNUAL RECORD 2016 | 3 123 Fellows, Staff, and Students 124 The Master and Fellows 139 Appointments and Distinctions 141 In Memoriam 155 A Ninetieth Birthday Speech 158 An Eightieth Birthday Speech 167 College Notes 181 The Register 182 In Memoriam 186 Addresses wanted CONTENTS TRINITY ANNUAL RECORD 2016 | 4 Editorial It is with some trepidation that I step into Boyd Hilton’s shoes and take on the editorship of this journal. He managed the transition to ‘glossy’ with flair and panache. As historian of the College and sometime holder of many of its working offices, he also brought a knowledge of its past and an understanding of its mysteries that I am unable to match.
    [Show full text]
  • Snelling Wins Best of Staffing Client Award –
    Snelling Snelling Corporate Office https://www.snelling.com Snelling Wins Best of Staffing Client Award - 2017 ...but that is not all Categories : EMPLOYER HOT TOPICS Date : February 16, 2017 Do you know what Katherine Hepburn, Jack Nicholson, Ingrid Bergman, Daniel Day Lewis, Walter Brennan, Meryl Streep and Snelling all have in common? Well, obviously the first 6 people listed are movie actors. However, they are not just actors. They are part of an elite group of actors. These 6 people are – in fact – the greatest Academy Award winners of all time. Hepburn leads the pack with 4 Oscar wins; Nicholson, Bergman, Day Lewis, Brennan and Streep have all won 3 times. But no matter how you cut it, all 6 are in a class of their own. But even as we prepare to watch the Academy Awards on Sunday, Feb. 26, to see if Casey Affleck beats Andrew Garfield or if Meryl Streep beats Emma Stone (and joins Ms. Hepburn in the 4x winner club), be aware that none of these actors have achieved what Snelling has. You see, actors have the Oscars; musicians have the Grammy’s; writers have the Pulitzer. Staffing firms have the Best of Staffing award – handed out to those elite staffing firms who have received “remarkable” reviews from the clients they serve. Best of Staffing Here at Snelling, we are honored to announce that we are (again) the winner of Inavero’s Best of 1 / 2 Snelling Snelling Corporate Office https://www.snelling.com Staffing® Client Awards for 2017. But the news gets better, for Snelling has achieved what none of the actors above have.
    [Show full text]
  • Casablanca by Jay Carr the a List: the National Society of Film Critics’ 100 Essential Films, 2002
    Casablanca By Jay Carr The A List: The National Society of Film Critics’ 100 Essential Films, 2002 It’s still the same old story. Maybe more so. “Casablanca” was never a great film, never a profound film. It’s merely the most beloved movie of all time. In its fifty-year history, it has resisted the transmogrifica- tion of its rich, reverberant icons into camp. It’s not about the demimondaines washing through Rick’s Café Americain – at the edge of the world, at the edge of hope – in 1941. Ultimately, it’s not even about Bogey and Ingrid Bergman sacrificing love for nobility. It’s about the hold movies have on us. That’s what makes it so powerful, so enduring. It is film’s analogue to Noel Coward’s famous line about the amazing potency of cheap music. Like few films before or since, it sums up Hollywood’s genius for recasting archetypes in big, bold, universally accessible strokes, for turning myth into pop culture. Courtesy Library of Congress Motion Picture, Broadcast and Recorded It’s not deep, but it sinks roots into America’s Sound Division collective consciousness. As a love story, it’s flawed. We than a little let down by her genuflection to idealism. don’t feel a rush of uplift when trenchcoated Bogey, You feel passion is being subordinated to an abstraction. masking idealism with cynicism, lets Bergman, the love You want her to second-guess Rick and not go. of his life, fly off to Lisbon and wartime sanctuary with “Casablanca” leaves the heart feeling cheated.
    [Show full text]
  • None of This Would Have Ever Happened If You Had Just Given an Oscar to Jennifer Lopez
    NONE OF THIS WOULD HAVE EVER HAPPENED IF YOU HAD JUST GIVEN AN OSCAR TO JENNIFER LOPEZ By Tony Meneses Characters: Hugo Omar Nigel Elijah Yosef (all gay men of color in their 30’s/40’s) Setting: The last recorded Oscar party in gay history Time: February 9th, 2020 Wine. Charcuterie. Fresh fruit that no one’s eating. YOSEF. 1970? ELIJAH. ... Maggie Smith. NIGEL. Good one. YOSEF. 1991. ELIJAH Kathy Bates. HUGO. Also great. YOSEF. 1965! ELIJAH. Julie Andrews. NIGEL. (To Hugo.) Too easy. YOSEF 19... 46? ELIJAH. Joan fucking Crawford. NIGEL. HUGO. Oh my god! Yes ma-ma! NIGEL. That might actually be my favorite one. Mildred Pierce, can’t beat that. HUGO. What! Over Vivien Leigh, Ingrid Bergman, MERYL!?! 1 NIGEL. I stand by my decree. ELIJAH. Give me Elizabeth Taylor any day! YOSEF. 2002? In an instant it all goes quiet. NIGEL. ... What did you just say? YOSEF. 2002. Who won Best Actress in 2002? HUGO. Girl. Are you kidding? NIGEL. Oh god. She’s not. YOSEF. I’m not the biggest awards show gay, I’m sorry. HUGO. Who invited him again? ELIJAH. (Very serious.) 2002. That’s what you’re asking, Yosef? Two thousand, and two? YOSEF. Yes? ELIJAH. ... Halle Berry. Halle Berry won the Oscar that year. YOSEF. Oh. Isn’t that a good thing? We love Halle Berry. Don’t we? NIGEL. What kind of a question is that! 2 HUGO. You’re going to have to leave. ELIJAH. Halle Berry was—and remains to this day—the only woman of color to ever win the Academy Award for Best Actress.
    [Show full text]
  • Here's Looking at You
    SCANDINAVIAN REVIEW | Denmark | Finland | Iceland | Norway | Sweden | Here’s Looking at You, Kid INGRID BERGMAN AT 100 Summer 2015 INGRID BERGMAN AT 100 Another look at the luminous Swede, one of the finest stage and screen Here’s actors of the mid-20th century. Looking By Donald Dewey ER G This is where Humphrey Bogart delivers the classic line to Ingrid Bergman in Casablanca (1942). at You, Kid GRAN 30 SCANDINAVIAN REVIEW SCANDINAVIAN REVIEW 31 Ingrid Bergman at 26 HAT IS THERE LEFT TO SAY ABOUT INGRID BERGMAN? Journalists and biographers and film historians have been dipping W into Bergman’s life (1915–1982) so relentlessly for so long that it is easy to forget that it wasn’t always in the public domain. The woman’s career, off and on screen, started being dissected so minutely so many decades ago that just about the only survivors from all those labors are her children and a hand- ful of actors from the already-41-year-old Murder on the Orient Express. In short, and though many of us are loath to admit it, the world of Ingrid Bergman seems to have warp-sped away from us to distances we might not have thought possible. It may not be as remote as Planet Garbo, but it is still out there, back in that century they used to call the 20th with an air of self-satisfaction making it sound like the tiniest of steps before infinity. (“My God, man, it’s the 20th century!”) There is, of course, the record of her many performances—filmed, kinescoped, taped, digitized, hologrammed, whatever technical development preserves them next.
    [Show full text]
  • What's on an Annotator's Mind? Analysis of Error Typologies to Highlight Machine Translation Quality Assessment Issue
    What’s on an annotator’s mind? Analysis of error typologies to highlight machine translation quality assessment issue Emmanuelle Esperança-Rodier To cite this version: Emmanuelle Esperança-Rodier. What’s on an annotator’s mind? Analysis of error typologies to highlight machine translation quality assessment issue. Translating and the Computer - TC42, Nov 2020, London, United Kingdom. hal-03198126 HAL Id: hal-03198126 https://hal.archives-ouvertes.fr/hal-03198126 Submitted on 14 Apr 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. What's on an annotator's mind? Analysis of error typologies to highlight machine translation quality assessment issue Emmanuelle Esperança-Rodier Univ. Grenoble Alpes, CNRS, Grenoble INP1, LIG, 38000 Grenoble, France [email protected] Abstract 1. Introduction At the era of Artificial Intelligence, billions of words are needed to train, fine-tune and test Neural Machine Translation systems (Koehn and Knowles, 2017; Linzen, 2020). Quality assessment of the models therefore requires the creation of a lot of annotated corpora. Several studies questioned the quality of those corpora, in terms of reliability and reproducibility in Bregeon et al. (2019), comparability in Echart et al.
    [Show full text]
  • The Talented Mr. Ripley
    Wettbewerb/IFB 2000 THE TALENTED MR. RIPLEY DER TALENTIERTE MR. RIPLEY MONSIEUR RIPLEY Regie: Anthony Minghella USA 1999 Darsteller Tom Ripley Matt Damon Länge 139 Min. Marge Sherwood Gwyneth Paltrow Format 35 mm, 1:1.85 Dickie Greenleaf Jude Law Farbe Meredith Logue Cate Blanchett Freddie Miles Philip Seymour Stabliste Hoffman Buch Anthony Minghella, Peter Smith-Kingsley Jack Davenport nach dem Herbert Greenleaf James Rebhorn Roman von Inspektor Roverini Sergio Rubini Patricia Highsmith Alvin MacCarron Philip Baker Hall Kamera John Seale Tante Joan Celia Weston Schnitt Walter Murch Fausto Rosario Fiorello Schnittassistenz Daniel Farrell Silvana Stefania Rocca Ton Ivan Sharrock Colonnello Verrecchia Ivano Marescotti Musik Gabriel Yared Signora Buffi Anna Longhi Production Design Roy Walker Baggio Alessandro Fabrizi Ausstattung John Fenner Emily Greenleaf Lisa Eichhorn Stefano Ortolani Requisite Bruno Cesari Kostüm Ann Roth Gary Jones Matt Damon, Jude Law, Gwyneth Paltrow Foto: L. Staedler Regieassistenz Steve E.Andrews Produzenten William Horberg Tom Sternberg DER TALENTIERTE MR. RIPLEY Executive Producer Sydney Pollack Vom süßen Leben und vom Luxus träumt der mittellose New Yorker Kla- Herstellungsltg. Alessandro vierstimmer Tom Ripley. Und dies nicht vergebens: Als der Industrielle Her- von Normann bert Greenleaf ihn bittet,nach Italien zu reisen,um seinen mißratenen Sohn Co-Producer Paul Zaentz Co-Produktion Timnick Films, Dickie zur Rückkehr nach Amerika zu bewegen, verändert sich Toms Leben Los Angeles komplett. In Amalfi freundet er sich mit Dickie und dessen Verlobter Marge schnell an. Produktion Gemeinsam genießen sie das „dolce far niente“ reicher Amerikaner im Ita- Mirage Enterprises lien der späten 50er Jahre, ziehen durch die Jazz-Clubs in Rom und segeln David Lean Building # 119 10202 West Washington Blvd hinaus aufs Meer.Doch Tom,der von Dickie höchst herablassend behandelt USA-Culver City wird, führt Böses im Schilde: Bei einer Ruderpartie tötet er Dickie.
    [Show full text]
  • Pull-Over Rouge
    Fictions Documentaires Le thème de la condamnation à mort est largement traité dans le cinéma. C'est le dernier plan image pour bien des malfrats et assassins, personnages principaux des films policiers et thrillers : une forme de « happy end » pour la société, puisque justice est faite. A l'issue d'une longue enquête ou d'une traque, l'assassin est enfin trouvé et sanctionné. (Ascenseur pour l'échafaud, Deux hommes dans la ville, Nous sommes tous des assassins) C'est l'intrigue pour un grand nombre de films de suspense, dans laquelle l'enquête est portée par un personnage principal « justicier ». Le plus souvent avocat ou journaliste, il se démène pour rétablir la justice, et en conséquence sauver la vie d'une personne injustement condamnée. (Juste cause, Je veux vivre, l'invraisemblable vérité, Meurtre à Alcatraz, Made in the USA) C'est un trouble que diffusent les films aux ressorts psychologiques complexes, où domine le sentiment d'incompréhension face à des actes qu'aucune logique ne vient expliquer. Des personnages à la frontière de la désociabilisation, de la folie. (The barber l'homme qui n'était pas là, Tu ne tueras point, De sang-froid) Militant de son époque, et surtout aux Etats-unis, le cinéma dénonce la discrimination dans l'énoncé de la justice, qu'elle soit raciale (Un coupable idéal, Amistad) ou sociale (le couloir de la mort, Dancer in the dark), ainsi que les affaires politiques (Sacco & Vanzetti, toute ma vie en prison). Il avertit également les Occidentaux du danger d'être impliqué dans une affaire de drogue (Bangkok aller simple, Force majeure, Trop jeune pour mourir).
    [Show full text]