The Solaris Effect

Total Page:16

File Type:pdf, Size:1020Kb

The Solaris Effect The Solaris Effect ................................................................ THIS PAGE INTENTIONALLY LEFT BLANK Art & Artifice in Contemporary American Film The .................... SOLARIS EFFECT.................... Steven Dillon university of texas press austin Copyright © 2006 by the University of Texas Press All rights reserved Printed in the United States of America First edition, 2006 Requests for permission to reproduce material from this work should be sent to Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). Library of Congress Cataloging-in-Publication Data Dillon, Steven, 1960– The Solaris effect : art and artifice in contemporary American film / Steven Dillon. — 1st ed. p. cm. Includes bibliographical references and index. isbn-13: 978-0-292-71344-4 (cloth : alk. paper) isbn-10: 0-292-71344-4 (alk. paper) isbn-13: 978-0-292-71345-1 (pbk. : alk. paper) isbn-10: 0-292-71345-2 (alk. paper) 1. Motion pictures—United States. I. Title. pn1993.5.u6d47 2006 791.430973—dc22 2006014047 To my parents THIS PAGE INTENTIONALLY LEFT BLANK Contents ................................................................ Preface ix Acknowledgments xiii 1 Tarkovsky’s Solaris and the Cinematic Abyss 1 2 Steven Soderbergh’s Tinted World 21 3 Aronofsky, Sundance, and the Return to Nature 45 4 Mulholland Drive, Cahiers du cinéma, and the Horror of Cinephilia 77 5 Spielberg’s A.I.: Animation, Time, and Digital Culture 105 6 Cinema against Art: Artists and Paintings in Contemporary American Film 141 7 A Plague of Frogs: Expressionism and Naturalism in 1990s American Film 173 8 Situating American Film in Godard, Jarmusch, and Scorsese 209 Notes 233 Bibliography 253 Index 261 vii THIS PAGE INTENTIONALLY LEFT BLANK Preface ................................................................ ike Mount Rushmore, this book has several faces. For now, I will begin by L taking a postcard picture, by stepping back and looking at all four heads at once. Later on, like Cary Grant and Eva Marie Saint in Hitchcock’s North by Northwest, we will roam over the nostrils and chins of these big heads, through lots of overly enlarged details. First, a brief view of the mountain, before we go scrabbling about among the sculptures and the rocks. This book is, on the one hand, or one face, a survey of contemporary Ameri- can film from 1990 to 2002. The Solaris Effect contains substantial descriptions of about sixty films. These descriptions ought to stand on their own, as probes and forays into a fascinating decade of cinema. There is still relatively little critical work on directors such as Steven Soderbergh, Darren Aronofsky, Todd Haynes, Harmony Korine, and Gus Van Sant. This book treats Soderbergh and Aronofsky at length, and tends to emphasize small-budget independent American film at the expense of blockbuster Hollywood film. Yet more ca- nonical figures like Martin Scorsese, Robert Altman, and Steven Spielberg also make detailed appearances. One way to read The Solaris Effect is as a modest 1 supplement to Robert Kolker’s Cinema of Loneliness. Kolker surveys major fig- ures (Kubrick, Spielberg, Scorsese, Stone) in a nearly definitive manner, but omits anyone not admitted to his limited pantheon. For instance, Kolker does not even mention David Lynch. The Solaris Effect is deliberately sculpted. I organize my look at contempo- rary American film around ideas of art and artifice. Since both political eco- consciousness and digital cgi-consciousness developed and increased in the 1990s, American film stands as a particularly interesting place to reflect on art. Many of the canonical figures (Scorsese, Kubrick, Altman) readily don the ix mantle of artist, and younger directors, too, often directly explore regions of art, of creativity, of making and representation. My chapters often go back and forth between the sculptures and the rock, between art and nature. How do science fiction films like Spielberg’s A.I. and Aronofsky’s π represent the relationship between nature and artifice? How do the winners of the Sundance Film Festival regard the apparent oppositions between nature and culture, wild and tame, river and bridge? If independent film casts off the glossy artifices of big-budget Hollywood, does it then go to the natural world for an authentic alternative, a ground of truth? To organize this discussion of nature and art in contemporary American film, I use Andrei Tarkovsky’s Solaris (1972) as a model. Solaris is philosophical science fiction that relentlessly explores the relationship between the powers of nature and the powers of art. Tarkovsky himself is usually taken for a cine- matic naif, regarded often as an innocent lover of the natural world. But one of the many subplots of The Solaris Effect consists of an argument on behalf of Tar- kovsky’s cinematic self-consciousness. This self-consciousness is also called self-reflexivity. When Tarkovsky takes a picture of the natural world, he does so self-consciously, not innocently. Hence my other theoretical hero is Jean-Luc Godard. The four heads of The Solaris Effect rest on the two sturdy shoulders of Tarkovsky and Godard. Godard’s practice helps explain what we might mean by cinematic self- reflexivity. From time to time, I will invoke examples from early (New Wave), middle (politically militant), and late (post–Sauve qui peut [la vie], 1980) Go- dard. By the end of the book I hope to have contributed to an understand- ing of what we might mean by self-reflexive cinema. I also hope to have significantly complicated the apparent opposition between naive Tarkovsky and hypersophisticated Godard. Both are extraordinarily self-reflexive film- makers, and late Godard—philosophical, lyrical, slow, with a surprising num- ber of landscapes—is never too far away from the cinematic worlds invented by Tarkovsky. And so these descriptions of American film will turn prescriptive. The final head on the hill is the head of critical judgment. I will argue that American film must work self-reflexively. American film must acknowledge not only that it exists as a film, but also that it is located, that it is situated in the United States. Film is a major artifact of American cultural imperialism, now more than ever, and American film must always acknowledge its own origin. Unless one’s aesthetics are sheerly relativistic or completely generous, critical judg- x The Solaris Effect ments must have criteria. My aesthetic criteria are what I take to be Godardian. Late Godardian politics are not dogmatic (especially compared to those from middle-period Godard), and they are attended by an enormous range of social and cultural issues. But Godard’s films are always placed, situated, not only in the history of film, but also in a global landscape. It may surprise some readers how often American films, too, concretely situate themselves on a global map. The monument, or hydra, thus looks something like this: 1. A survey of American film from 1990 to 2002 (with a rare example from 2003) 2. The categories of nature and art as organizing principles of the survey 3. Film art evaluated according to its cinematic self-reflexivity 4. A critical judgment that American films, in the end, will have more chance of aesthetic success when they are self-reflexive, that is, when they refer to themselves not only as film artifacts, but also as being lo- catedonaglobalmap As will be evident in the chapter on David Lynch, I am a great fan of French film criticism, especially that represented by the journal Cahiers du cinéma. My writing does not look very much like that of any Cahiers critic, but it has been strongly influenced by the whole history of the magazine and the work of many of its writers. I am still much moved by the early cinephilia of Godard and Truffaut, and consider myself a crazily enthusiastic cinephile in many re- spects. But the politically militant Cahiers du cinéma of the late 1960s and the 1970s has also made a strong impression on me. In its more recent incarna- tions, Cahiers has returned to a more openly enthusiastic mode, but with a political and philosophical awareness of what such enthusiasm entails. I see much of this book as following in the contradictory, figurative, self-aware, multifaceted spirit of Cahiers du cinéma. Hitchcock liked to conclude his films with landmark set pieces. When his films find themselves at Mount Rushmore or the Albert Hall or the British Museum or the Statue of Liberty, the monuments lend their grandeur to the chase (here, at last, is a location worthy of the narrative), at the same time that a blackly ironic humor descends upon the landmark. It is thrilling and thrillingly funny to see Cary Grant scurry over Abraham Lincoln’s giant head. When famous landmarks are used for a playground, a kind of witty desecra- tion takes place. Hitchcock does not destroy the landmark, like a terrorist, or Preface xi like the aliens in Earth vs. the Flying Saucers (Sears, 1956). Instead, Hitchcock 2 teases the landmark, vibrating the statue rather than toppling it. Movies are monuments that are there and not there. Where are they? The photographed face both is and is not that person. These four Solaris faces are not presidents, they are residents. The faces of American film look at us and tell us where they are. The faces are cut into a dark hill. xii The Solaris Effect Acknowledgments ................................................................ hanks again to my editor, Jim Burr, for his suggestions, and for making the Teditorial process run so smoothly. Kip Keller copyedited the manuscript masterfully. I took seriously the many substantial comments by an anony- mous reader for the Press, and I hope that the book was improved as a re- sult.
Recommended publications
  • CELEBRATING FORTY YEARS of FILMS WORTH TALKING ABOUT 39 Years, 2 Months, and Counting…
    5 JAN 18 1 FEB 18 1 | 5 JAN 18 - 1 FEB 18 88 LOTHIAN ROAD | FILMHOUSECinema.COM CELEBRATING FORTY YEARS OF FILMS WORTH TALKING ABOUT 39 Years, 2 Months, and counting… As you’ll spot deep within this programme (and hinted at on the front cover) January 2018 sees the start of a series of films that lead up to celebrations in October marking the 40th birthday of Filmhouse as a public cinema on Lothian Road. We’ve chosen to screen a film from every year we’ve been bringing the very best cinema to the good people of Edinburgh, and while it is tremendous fun looking back through the history of what has shown here, it was quite an undertaking going through all the old programmes and choosing what to show, and a bit of a personal journey for me as one who started coming here as a customer in the mid-80s (I know, I must have started very young...). At that time, I’d no idea that Filmhouse had only been in existence for less than 10 years – it seemed like such an established, essential institution and impossible to imagine it not existing in a city such as Edinburgh. My only hope is that the cinema is as important today as I felt it was then, and that the giants on whose shoulders we currently stand feel we’re worthy of their legacy. I hope you can join us for at least some of the screenings on this trip down memory lane... And now, back to the now.
    [Show full text]
  • Ikonografijos Publikacijų Sąrašas
    1 IKONOGRAFIJOS PUBLIKACIJŲ SĄRAŠAS 2013 [Aktorius Donatas Banionis apdovanotas ordino "Už nuopelnus Lietuvai" Komandoro didžiuoju kryžiumi - nuotrauka, 2004] // Lietuvos garbės kodas. - Vilnius : Lietuvos rytas, 2013, p. 298. Budraitis, Juozas. Aktorius Donatas Banionis : [fotografija, Tokijas, 1975] / Juozas Budraitis // Lietuvos fotografija: vakar ir šiandien. - [20]13, p. 65. 2011 Aleksandravičius, Algimantas. Auktumas ir aktorius Donatas Banionis : [reportažinė nuotrauka] / Algimantas Aleksandravičius // Tai Lietuva. Lietuvos spaudos fotografija. - ISSN 1822- 2137. - 2011, p. 139. 2010 Dešimt [Vaizdo įrašas] : dokumentinis filmas / režisierius, operatorius Džiugas Katinas ; operatoriai :Karolis Jankus, Jonas Lozuraitis, Vilmantas Jankauskas. - Vilnius : [Lietuvos institutas], 2010. - 1 garso ir vaizdo diskas (DVD) (86min.) : skaitm., gars., spalv. (PAL). - Filme dalyvavo: Violeta Urmanavičiūtė, Vladimiras Tarasovas, Jonas Mekas, Valentinas Masalskis, Andrius Mamontovas, Vytautas Landsbergis, Oskaras Koršunovas, Sigitas Geda, Donatas Banionis, Audrys Juozas Bačkis. 2009 Zavadskis, Audrius. Aktorius Donatas Banionis filme "Niekas nenorėjo mirti" = Actor Donatas Banionis in the movie "Nobody wanted to die" : [fotografija, 1965] / Audrius Zavadskis. – Gretut. tekstas liet., angl. // Lietuvos fotografija: vakar ir šiandien. – ISSN 1648-567X. – [20]09, p. 236. 2007 Aleksandravičius, Algimantas. Actor Donatas Banionis, 2005 : [fotografija] / Algimantas Aleksandravičius // Shining / Algimantas Aleksandravičius. – [Vilnius] : Atviras [i.e.
    [Show full text]
  • Piliečius Ugdančios Lietuvių Kalbos Ir Literatūros Pamokos
    Jurga Dzikaitė Dainora Eigminienė Darius Kuolys Viktorija Šeina PILIEČIUS UGDANČIOS LIETUVIŲ KALBOS IR LITERATŪROS PAMOKOS Projekto „Kuriame Respubliką“ siūlomi papildomi lietuvių kalbos ir literatūros dalyko moduliai pilietiškumui ugdyti 2015 m. Leidinys parengtas įgyvendinant projektą „Kuriame Respubliką: visuomenės pilietinio veikimo kompetencijų ugdymas“ (projekto kodas VP1-2.2-ŠMM-10V-02-006), remiamą Europos Socialinio fondo ir Lietuvos Respublikos valstybės biudžeto lėšomis pagal Europos Komisijos Žmogiškųjų išteklių plėtros veiksmų programą. Leidinį parengė : Jurga Dzikaitė, Dainora Eigminienė, dr. Darius Kuolys, Viktorija Šeina. Projektą įgyvendino: Pilietinės visuomenės institutas. Projekto partneriai: Ateitininkų federacija, Pilietiškumo, demokratijos ir teisės programų centras, Švietimo centrų darbuotojų asociacija, VšĮ „Mes Darom“, Istorijos mokytojų asociacija, Lietuvos gimnazijų asociacija, Lietuvos pagrindinių mokyklų asociacija, Lietuvos kolegijų direktorių konferencija, Lietuvos moksleivių sąjunga, Nacionalinė jaunimo reikalų koordinatorių asociacija, Lietuvos vietos bendruomenių organizacijų sąjunga, asociacija „Lituanistų sambūris“, „Transparency International“ Lietuvos skyrius, Vilniaus bendruomenių asociacija, Rokiškio, Jonavos ir kitų savivaldybių jaunimo organizacijos „Apskritieji stalai“. © Pilietinės visuomenės institutas, 2015 m. Turinys Leidinio paskirtis ................................................................................................................... 4 Kalba ir literat ūra – bendruomen ės
    [Show full text]
  • CARPET CLEANING SPECIAL K N O W ? Throughout History, I Dogs Have Been the on OU> 211 Most Obvious Agents in 5 MILES SO
    remain young and beautiful only by bathing in and in the story of Lauren Elder’s grueling 36-hour or­ S a t u r d a y drinking the blood of young innocent girls — includ­ deal following the crash of a light aiplane that killed ing her daughter’s. 12:30 a.m. on WQAD. her two companions. The two-hour drama is based "Tarzan’s New Adventure” —- Bruce Bennett and "Sweet, Sweet Rachel” — An ESP expert is pit­ on the book by Lauren Elder and Shirley Ula Holt star in the 1936 release. 1 p.m. on WMT. ted against an unseen presence that is trying to drive Streshinsky. 8 p.m. on NBC. "Harlow” — The sultry screen star of the 1930s is a beautiful woman crazy. The 1971 TV movie stars "Walk, Don’t Run” — A young woman (Saman­ the subject of the 1965 film biography with- Carroll Alex Dreier, Stefanie Powers, Pat Hingle and Steve tha Eggar) unwittingly agrees to share her apart­ Baker, Peter Lawford, Red Buttons, Michael Con­ Ihnat. 12:30 a.m. on KCRG. ment with a businessman (Cary Grant) and an athe- nors and Raf Vallone 1 p.m. on WOC lete (Jim Hutton) during the Tokyo Olympics (1966). "The Left-Handed Gun” — Paul Newman, Lita 11 p.m. on WMT Milan and Hurd Hatfield are the stars of the 1958 S u n d a y western detailing Billy the Kid’s career 1 p.m. on "The Flying Deuces” — Stan Laurel and Oliver KWWL. Hardy join the Foreign Legion so Ollie can forget an T u e s d a y "The Swimmer” — John Cheever’s story about unhappy romance (1939).
    [Show full text]
  • James Ivory in France
    James Ivory in France James Ivory is seated next to the large desk of the late Ismail Merchant in their Manhattan office overlooking 57th Street and the Hearst building. On the wall hangs a large poster of Merchant’s book Paris: Filming and Feasting in France. It is a reminder of the seven films Merchant-Ivory Productions made in France, a source of inspiration for over 50 years. ....................................................Greta Scacchi and Nick Nolte in Jefferson in Paris © Seth Rubin When did you go to Paris for the first time? Jhabvala was reading. I had always been interested in Paris in James Ivory: It was in 1950, and I was 22. I the 1920’s, and I liked the story very much. Not only was it my had taken the boat train from Victoria Station first French film, but it was also my first feature in which I in London, and then we went to Cherbourg, thought there was a true overall harmony and an artistic then on the train again. We arrived at Gare du balance within the film itself of the acting, writing, Nord. There were very tall, late 19th-century photography, décor, and music. apartment buildings which I remember to this day, lining the track, which say to every And it brought you an award? traveler: Here is Paris! JI: It was Isabelle Adjani’s first English role, and she received for this film –and the movie Possession– the Best Actress You were following some college classmates Award at the Cannes Film Festival the following year. traveling to France? JI: I did not want to be left behind.
    [Show full text]
  • Annual Report, FY 2013
    ANNUAL REPORT OF THE LIBRARIAN OF CONGRESS FOR THE FISCAL YEAR ENDING SEPTEMBER 30, 2013 ANNUAL REPORT OF THE LIBRARIAN OF CONGRESS for the fiscal year ending September 30, 2013 Library of Congress Washington, D.C. 2014 CONTENTS Letter from the Librarian of Congress ......................... 5 Organizational Reports ............................................... 47 Organization Chart ............................................... 48 Library of Congress Officers ........................................ 6 Congressional Research Service ............................ 50 Library of Congress Committees ................................. 7 U.S. Copyright Office ............................................ 52 Office of the Librarian .......................................... 54 Facts at a Glance ......................................................... 10 Law Library ........................................................... 56 Library Services .................................................... 58 Mission Statement. ...................................................... 11 Office of Strategic Initiatives ................................. 60 Serving the Congress................................................... 12 Office of Support Operations ............................... 62 Legislative Support ................................................ 13 Office of the Inspector General ............................ 63 Copyright Matters ................................................. 14 Copyright Royalty Board .....................................
    [Show full text]
  • The Holy Fool in Late Tarkovsky
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Nebraska, Omaha Journal of Religion & Film Volume 18 | Issue 1 Article 45 3-31-2014 The olH y Fool in Late Tarkovsky Robert O. Efird Virginia Tech, [email protected] Recommended Citation Efird, Robert O. (2014) "The oH ly Fool in Late Tarkovsky," Journal of Religion & Film: Vol. 18 : Iss. 1 , Article 45. Available at: https://digitalcommons.unomaha.edu/jrf/vol18/iss1/45 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. The olH y Fool in Late Tarkovsky Abstract This article analyzes the Russian cultural and religious phenomenon of holy foolishness (iurodstvo) in director Andrei Tarkovsky’s last two films, Nostalghia and Sacrifice. While traits of the holy fool appear in various characters throughout the director’s oeuvre, a marked change occurs in the films made outside the Soviet Union. Coincident with the films’ increasing disregard for spatiotemporal consistency and sharper eschatological focus, the character of the fool now appears to veer off into genuine insanity, albeit with a seemingly greater sensitivity to a visionary or virtual world of the spirit and explicit messianic task. Keywords Andrei Tarkovsky, Sacrifice, Nostalghia, Holy Foolishness Author Notes Robert Efird is Assistant Professor of Russian at Virginia Tech. He holds a PhD in Slavic from the University of Virginia and is the author of a number of articles dealing with Russian and Soviet cinema.
    [Show full text]
  • Film Appreciation Wednesdays 6-10Pm in the Carole L
    Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced.
    [Show full text]
  • CFP Refocus: the Films of Andrei Tarkovsky
    H-Announce CFP ReFocus: The Films of Andrei Tarkovsky Announcement published by Sergei Toymentsev on Wednesday, August 3, 2016 Type: Call for Publications Date: November 30, 2016 Location: United States Subject Fields: Art, Art History & Visual Studies, Cultural History / Studies, Film and Film History, Humanities, Russian or Soviet History / Studies ReFocus: The Films of Andrei Tarkovsky Andrei Tarkovsky (1932 -1986) is a renowned Russian filmmaker whose work, despite an output of only seven feature films in twenty years, has had a profound influence on international cinema. Famous for languid pacing, long takes, dreamlike imagery, spiritual depth and philosophical allegories, most of his films have gained cult status among cineastes and are often included in various kinds of ranking polls and charts dedicated to the "best movies ever made." Thus, for example, the British Film Institute's "50 Greatest Films of All Time" poll conducted for the film magazine Sight & Sound in 2012 honors three of Tarkovsky's films: Andrei Rublev (1966) is ranked at No. 26, Mirror (1974) at No. 19, and Stalker (1979) at No. 29. Beginning with the late 1980, Tarkovsky's highly complex cinema has continuously attracted scholarly and critical attention in film studies by generating countless hermeneutic challenges and possibilities for film scholars. Almost all intellectual vogues and methodologies in humanities, whether it's feminism, psychoanalysis, poststructuralism, diaspora studies or film-philosophy, have left their interpretative trace on the reception of his work. This ReFocus anthology on Andrei Tarkovsky invites chapter proposals of 200-400 words that would take yet another look at the director's legacy from interdisciplinary perspectives.
    [Show full text]
  • Newsletter 05/19 (Nr
    ISSN 1610-2606 ISSN 1610-2606 newsletterDIGITAL EDITION Nr. 377 - 05/19November 2019 Michael J. Fox Christopher Lloyd Cordula Kablitz-Post Regisseurin („Weil Du nur einmal lebst - Die Toten Hosen auf Tour“) LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 11 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 05/19 (Nr. 377) November 2019 editorial Hallo Laserdisc- und DVD-Fans, Augenmerk verdient auch James sonst. Lesen lohnt sich! Und liebe Filmfreunde! Quinn, der über sein ehrgeiziges Leseratten bekommen noch Kurzfilmprojekt DAUGHTER OF mehr zu tun. Nicht nur mit Selten ging deutsches Kino derart DISMAY spricht. Der wurde näm- Wolfram Hannemanns Film- unter die Haut wie mit Nora lich tatsächlich mit 65mm-Negativ- Blog, sondern auch mit seinem Fingscheidts film aufgenommen und tourt inzwi- Kurzrückblick über das dies- SYSTEMSPRENGER, den wir schen weltweit durch sämtliche jährige “Fantasy Filmfest”, den bereits im Film-Blog der letzten Filmfestivals – und das in sämtli- Sie ab Seite 26 finden – auf Ausgabe unseres Newsletters vor- chen Formaten: 35mm, 70mm, blutrot getränktem Papier. gestellt haben. Da wundert es we- 70mm IMAX, 2K digital, 4K digital nig, dass Noras Spielfilmdebüt jetzt und IMAX digital. Sie sehen also, Und sonst? Richtig – Weih- offiziell für Deutschland ins Oscar- es gibt viel zu sehen und zu hören – nachten naht! Konkret bedeu- Rennen geschickt wurde. Wir drük- surfen Sie einfach mal vorbei! tet das, dass Sie jetzt bereits ken der begabten Absolventin der den letzten Newsletter des Jah- Ludwigsburger Filmakademie, die Apropos Sehen: wir freuen uns, in res 2019 in Händen halten.
    [Show full text]
  • Naacp Nominations
    FOR IMMEDIATE RELEASE: Nicole Gonzales /FOX 310-369-0827 Jennifer Price/The Lippin Group 323-965-1990. NOMINEES FOR 41st NAACP IMAGE AWARDS ANNOUNCED LIVE AT PRESS CONFERENCE BY TAYE DIGGS, MICHAEL STRAHAN, WANDA SYKES, KYLE MASSEY, CHRIS MASSEY, TATYANA ALI AND NAACP EXECUTIVES The 41st NAACP IMAGE AWARDS Airs Live Friday, February 26 On FOX BEVERLY HILLS, Calif., (January 6, 2010) -- The 41st NAACP Image Awards nominees were announced today during a press conference at The SLS Hotel at Beverly Hills. Taye Diggs (“Private Practice” - ABC), Michael Strahan (“Brothers” - FOX) and “FOX NFL Sunday”), Wanda Sykes (“The Wanda Sykes Show” - FOX), Kyle Massey (“That's So Raven,” “Cory in the House” - Disney Channel), Chris Massey (“Zoey 101” - Nickelodeon) and Tatyana Ali (Young and the Restless – CBS) joined NAACP Image Awards Committee Chair, Clayola Brown, and Vicangelo Bulluck, Executive Producer of the telecast, to announce the categories and nominees. The 41st NAACP Image Awards will air live on Friday, February 26 (8:00 – 10:00 PM ET/PT Tape-Delayed) on FOX. This year, over 1,200 entries were received. From those entries, a special committee of 300 industry professionals and NAACP leaders from across the country selected five nominees in each of the 53 categories. Any artist, manager, publicist, production company, record label, studio, network or publishing house could submit an entry to the NAACP Image Awards. The final selections are voted on by NAACP members, and winners will be announced during the live airing of the 41st NAACP Image Awards. The ABC network leads with a total of 22 nominations, followed by NBC with 13, CBS with 12, and FOX, Lifetime and TNT with 9 each.
    [Show full text]
  • THE PHILOSOPHY of STEVEN SODERBERGH the Philosophy of Popular Culture
    THE PHILOSOPHY OF STEVEN SODERBERGH The Philosophy of Popular Culture Th e books published in the Philosophy of Popular Culture series will illuminate and explore philosophical themes and ideas that occur in popular culture. Th e goal of this series is to demonstrate how philosophical inquiry has been reinvigorated by increased scholarly interest in the intersection of popular culture and philosophy, as well as to explore through philosophical analysis beloved modes of entertainment, such as movies, TV shows, and music. Philosophical concepts will be made accessible to the general reader through examples in popular culture. Th is series seeks to publish both established and emerging scholars who will engage a major area of popular culture for philosophical interpretation and examine the philosophical underpinnings of its themes. Eschewing ephemeral trends of philosophical and cultural theory, authors will establish and elaborate on connections between traditional philosophical ideas from important thinkers and the ever-expanding world of popular culture. Series Editor Mark T. Conard, Marymount Manhattan College, NY Books in the Series Th e Philosophy of Stanley Kubrick, edited by Jerold J. Abrams Football and Philosophy, edited by Michael W. Austin Tennis and Philosophy, edited by David Baggett Th e Philosophy of the Coen Brothers, edited by Mark T. Conard Th e Philosophy of Film Noir, edited by Mark T. Conard Th e Philosophy of Martin Scorsese, edited by Mark T. Conard Th e Philosophy of Neo-Noir, edited by Mark T. Conard Th e Philosophy of Horror, edited by Th omas Fahy Th e Philosophy of Th e X-Files, edited by Dean A.
    [Show full text]