In Martin Scorsese's Taxi Driver
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Toxic Masculinity and the Revolutionary Anti-Hero
FIGHTING HACKING AND STALKING: TOXIC MASCULINITY AND THE REVOLUTIONARY ANTI-HERO A thesis submitted to the faculty of San Francisco State University A In partial fulfillment of 3^ the requirements for the Degree kJQ Masters of Arts *0 4S In Women and Gender Studies by Robyn Michelle Ollodort San Francisco, California May 2017 Copyright by Robyn Michelle Ollodort 2017 CERTIFICATION OF APPROVAL I certify that I have read Fighting, Hacking, and Stalking: Toxic Masculinity and the Revolutionary Anti-Hero by Robyn Michelle Ollodort, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Women and Gender Studies at San Francisco State University. Martha Kenney; Ph.D. Assistant Professor, Women and Gender Studies Professor, History FIGHTING, HACKING, AND STALKING: TOXIC MASCULINITY AND THE REVOLUTIONARY ANTI-HERO Robyn Michelle Ollodort San Francisco, California 2017 Through my analyses of the films Taxi Driver (1976) and Fight Club (1999), and the television series Mr. Robot (2105), I will unpack the ways each text represents masculinity and mental illness through the trope of revolutionary psychosis, the ways these representations reflect contemporaneous political and social anxieties, and how critical analyses of each text can account for the ways that this trope fails to accurately represent the lived experiences of men and those with mental illnesses. In recognizing the harmful nature of each of these representations’ depictions of both masculinity and mental illness, we can understand why such bad tropes circulate, and how to recognize and refuse them, or make them better. -
Frontier Re-Imagined: the Mythic West in the Twentieth Century
University of South Carolina Scholar Commons Theses and Dissertations 2018 Frontier Re-Imagined: The yM thic West In The Twentieth Century Michael Craig Gibbs University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the English Language and Literature Commons Recommended Citation Gibbs, M.(2018). Frontier Re-Imagined: The Mythic West In The Twentieth Century. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/5009 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. FRONTIER RE-IMAGINED : THE MYTHIC WEST IN THE TWENTIETH CENTURY by Michael Craig Gibbs Bachelor of Arts University of South Carolina-Aiken, 1998 Master of Arts Winthrop University, 2003 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy in English College of Arts and Sciences University of South Carolina 2018 Accepted by: David Cowart, Major Professor Brian Glavey, Committee Member Tara Powell, Committee Member Bradford Collins, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Michael Craig Gibbs All Rights Reserved. ii DEDICATION To my mother, Lisa Waller: thank you for believing in me. iii ACKNOWLEDGEMENTS I wish to thank the following people. Without their support, I would not have completed this project. Professor Emeritus David Cowart served as my dissertation director for the last four years. He graciously agreed to continue working with me even after his retirement. -
Chuck Klosterman on Pop
Chuck Klosterman on Pop A Collection of Previously Published Essays Scribner New York London Toronto Sydney SCRIBNER A Division of Simon & Schuster, Inc. 1230 Avenue of the Americas New York, NY 10020 www.SimonandSchuster.com Essays in this work were previously published in Fargo Rock City copyright © 2001 by Chuck Klosterman, Sex, Drugs, and Cocoa Puffs copyright © 2003, 2004 by Chuck Klosterman, Chuck Klosterman IV copyright © 2006, 2007 by Chuck Klosterman, and Eating the Dinosaur copyright © 2009 by Chuck Klosterman. All rights reserved, including the right to reproduce this book or portions thereof in any form whatsoever. For information address Scribner Subsidiary Rights Department, 1230 Avenue of the Americas, New York, NY 10020. First Scribner ebook edition September 2010 SCRIBNER and design are registered trademarks of The Gale Group, Inc., used under license by Simon & Schuster, Inc., the publisher of this work. For information about special discounts for bulk purchases, please contact Simon & Schuster Special Sales at 1- 866-506-1949 or [email protected]. The Simon & Schuster Speakers Bureau can bring authors to your live event. For more information or to book an event contact the Simon & Schuster Speakers Bureau at 1-866-248-3049 or visit our website at www.simonspeakers.com. Manufactured in the United States of America ISBN 978-1-4516-2477-9 Portions of this work originally appeared in The New York Times Magazine, SPIN magazine, and Esquire. Contents From Sex, Drugs, and Cocoa Puffs and Chuck Klosterman IV The -
Taxi Driver: Alienation & Crises of Masculinity in the Urban City
Sheldon 1 Matthew A. Sheldon Media and Society Final Response Paper 15 May 2013 1. Taxi Driver: Alienation & Crises of Masculinity in the Urban City Many film directors have created cities that were metaphors on a male‟s thoughts, fears, fantasies and masculinity. An audience‟s literal way of seeing what the main character is feeling and thinking, is through the eyes of its city, which becomes a projection of the protagonist‟s reality. Throughout the semester the films we‟ve discussed, explored these metaphors and themes and in several ways the landscapes of the urban cities we‟ve encountered became a secondary character of its own. The one film I will discuss that greatly explores these topics is Martin Scorsese‟s masterpiece Taxi Driver. A Vietnam vet named Travis Bickle decides to take on a full time job as a graveyard shift cab driver to occupy his time, because of his trouble obtaining sleep. Travis is a lonely, disconnected and alienated individual, who tends to seem much smaller and unimportant in scale, when in contrast to the large landscapes of his urban city of New York. Travis tries to interact with others he comes in contact with most importantly women, but instead the women in the story not only reject his advances, but also become a catalyst for his new found identity and his threatened masculinity, which eventually leads to violence. Sheldon 2 In chapter 8 of the book Cinematic Cities Elizabeth Mahoney writes on how the urban city in Taxi Driver encodes itself in front of its audience and it can be a way for its main protagonist to reveal his masculinity which is threatened or in crises. -
Austin's Progressive Country Music Scene and the Negotiation
Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978 Travis David Stimeling A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements of the Doctor of Philosophy in the Department of Music. Chapel Hill 2007 Approved by: Jocelyn R. Neal, Chair Jon W. Finson David García Mark Katz Philip Vandermeer © 2007 Travis David Stimeling ALL RIGHTS RESERVED ii ABSTRACT TRAVIS DAVID STIMELING: “Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978” (Under the direction of Jocelyn R. Neal) The progressive country music movement developed in Austin, Texas, during the early 1970s as a community of liberal young musicians and concertgoers with strong interests in Texan country music traditions and contemporary rock music converged on the city. Children of the Cold War and the post-World War II migration to the suburbs, these “cosmic cowboys” sought to get back in touch with their rural roots and to leave behind the socially conservative world their parents had created for them. As a hybrid of country music and rock, progressive country music both encapsulated the contradictions of the cosmic cowboys in song and helped to create a musical sanctuary in which these youths could articulate their difference from mainstream Texan culture. Examining the work of the movement’s singer-songwriters (Michael Murphey, Guy Clark, Gary P. Nunn), western swing revivalists (Asleep at the Wheel, Alvin Crow and the Pleasant Valley Boys), and commercial country singers (Willie Nelson, Waylon Jennings), this dissertation explores the proliferation of stock imagery, landscape painting, and Texan stereotypes in progressive country music and their role in the construction of Austin’s difference. -
Songs by Title
Songs by Title Title Artist Versions Title Artist Versions #1 Crush Garbage SC 1999 Prince PI SC #Selfie Chainsmokers SS 2 Become 1 Spice Girls DK MM SC (Can't Stop) Giving You Up Kylie Minogue SF 2 Hearts Kylie Minogue MR (Don't Take Her) She's All I Tracy Byrd MM 2 Minutes To Midnight Iron Maiden SF Got 2 Stars Camp Rock DI (I Don't Know Why) But I Clarence Frogman Henry MM 2 Step DJ Unk PH Do 2000 Miles Pretenders, The ZO (I'll Never Be) Maria Sandra SF 21 Guns Green Day QH SF Magdalena 21 Questions (Feat. Nate 50 Cent SC (Take Me Home) Country Toots & The Maytals SC Dogg) Roads 21st Century Breakdown Green Day MR SF (This Ain't) No Thinkin' Trace Adkins MM Thing 21st Century Christmas Cliff Richard MR + 1 Martin Solveig SF 21st Century Girl Willow Smith SF '03 Bonnie & Clyde (Feat. Jay-Z SC 22 Lily Allen SF Beyonce) Taylor Swift MR SF ZP 1, 2 Step Ciara BH SC SF SI 23 (Feat. Miley Cyrus, Wiz Mike Will Made-It PH SP Khalifa And Juicy J) 10 Days Late Third Eye Blind SC 24 Hours At A Time Marshall Tucker Band SG 10 Million People Example SF 24 Hours From Tulsa Gene Pitney MM 10 Minutes Until The Utilities UT 24-7 Kevon Edmonds SC Karaoke Starts (5 Min 24K Magic Bruno Mars MR SF Track) 24's Richgirl & Bun B PH 10 Seconds Jazmine Sullivan PH 25 Miles Edwin Starr SC 10,000 Promises Backstreet Boys BS 25 Minutes To Go Johnny Cash SF 100 Percent Cowboy Jason Meadows PH 25 Or 6 To 4 Chicago BS PI SC 100 Years Five For Fighting SC 26 Cents Wilkinsons, The MM SC SF 100% Chance Of Rain Gary Morris SC 26 Miles Four Preps, The SA 100% Pure Love Crystal Waters PI SC 29 Nights Danni Leigh SC 10000 Nights Alphabeat MR SF 29 Palms Robert Plant SC SF 10th Avenue Freeze Out Bruce Springsteen SG 3 Britney Spears CB MR PH 1-2-3 Gloria Estefan BS SC QH SF Len Barry DK 3 AM Matchbox 20 MM SC 1-2-3 Redlight 1910 Fruitgum Co. -
28/Sunstone ILLUSTRATION by MARK ROBISON
ILLUSTRATION BY MARK ROBISON 28/Sunstone ROBERT ]EWETT & ]OHN SHELTON LAWRENCE THE FANTASY FACTOR IN CIVIL RELIGION ASSASSINATIONS AND MASS MURDERS IN THE MEDIA AGE THERE IS WIDESPREAD AWARENESS THAT THE INCIDENCE OF VIOLENT CRIME IN American society has increased dramatically during recent decades. No comparable recognition seems to exist, however, regarding the changed circumstances and motivations associated with some of the more sensational acts of contemporary American violence. While most violent crimes continue HEN we speak of American "civil religion," we to be "orthodox" in their instrumentality (performed for have in mind more than the public ceremonies the sake of private vengeance or personal gain) or in w and officially promulgated beliefs which have their impulsiveness (performed in temporary rage or been studied by Robert Bellah, Sidney Mead, loss of inhibition), a puzzling configuration of factors Martin Marty, Conrad Cherry, and others.1 Though surfaces in a number of recent, well-publicized incidents some of the traditional expressions of the civil religion of mass murder and attempted assassination. These are in a state of decline, unofficial embodiments of it in criminal acts are peculiarly "expressive" rather than the realm of popular fantasy are prospering. People no traditionally instrumental, impulsive, or even longer attend Fourth of July parades in significant ideological. Some of the mass murderers and would-be numbers, but they flock to cinemas to enjoy the heroic assassins--most prominently John Hinckley, Jr., exploits of Luke Skywalker and Indiana Jones, or watch Herbert Mullin, and David Berkowitz--display Superman fight for "Truth, Justice, and the American remarkable indifference to their own fates, as well as a Way." Television brings similar fare directly into our peculiar sense of being possessed by a mission homes, including the semi-comic but nonetheless apparently unrelated to traditional American ideologies. -
Catcher in the Rye: Gender and Identity in Martin Scorcese's Taxi Driver Ⓒ Mark Mantho
Catcher in the Rye: Gender and Identity in Martin Scorcese's Taxi Driver Ⓒ Mark Mantho To Travis Bickle, the protagonist of Martin Scorcese's Taxi Driver, Betsy and Iris represent versions of the "Madonna/Whore" dichotomy, reflecting Bickle's beliefs about the city he sees around him and playing a central role in shaping his self-image by film's end. From the very beginning, Taxi Driver presents a conflicted view of women. The first females we encounter are whores walking the streets of New York at night, presenting a visual motif of metaphorical darkness and depraved femininity that recurs repeatedly throughout the film. As seen from Travis Bickle's cab (and thus his POV), the whores are objects of voyeuristic interest, both repulsive and fascinating. Via voice-over, Travis includes them in a sweeping indictment of all the "sick, venal... animals" wandering the squalid and morally bankrupt environs of an "excremental city" (to use critic Robin Wood's phrase). Yet the camera simultaneously tracks the whores movements in lingering slow-motion (another device Scorcese uses again and again), which serves to denote Bickle's unacknowledged attraction to them. And though Travis reserves some of his greatest contempt for those who buy sex in exchange for money, almost immediately after removing the evidence of such transactions from the back seat of his cab he pays to watch a pornographic movie. Before doing so, however, he strives to connect with a young woman reading a magazine behind the concession counter. Conceivably, Bickle simply desires interpersonal contact -- one can never be sure about our Travis -- but his lame attempt at friendliness ("What's your name?") is predictably misinterpreted as a creepy come-on. -
Tesla Time's Makin' Changes the Best of Tesla Mp3, Flac, Wma
Tesla Time's Makin' Changes The Best Of Tesla mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Time's Makin' Changes The Best Of Tesla Country: US Released: 1995 Style: Hard Rock MP3 version RAR size: 1999 mb FLAC version RAR size: 1168 mb WMA version RAR size: 1227 mb Rating: 4.7 Votes: 928 Other Formats: ADX MP2 APE VQF FLAC AUD VOX Tracklist 1 Modern Day Cowboy 2 Gettin' Better 3 Little Suzi 4 Heaven's Trail (No Way Out) 5 The Way It Is 6 Love Song 7 Signs 8 Paradise 9 Edison's Medicine 10 Song & Emotion 11 What You Give 12 Mama's Fool 13 Alot To Lose 14 Steppin' Over 15 Changes Companies, etc. Manufactured By – Uni Distribution Corp. Distributed By – Uni Distribution Corp. Copyright (c) – Geffen Records, Inc. Barcode and Other Identifiers Barcode: 720642483329 Matrix / Runout: A9 UME GEFD24833-2 AG03 MOS1 Mastering SID Code: IFPILT40 Mould SID Code: IFPI 2UN1 Other versions Category Artist Title (Format) Label Category Country Year Time's Makin' Changes The Geffen GEFD-24833 Tesla GEFD-24833 US 1995 Best Of Tesla (CD, Comp) Records Time's Makin' Changes The Geffen MVCG 190 Tesla MVCG 190 Japan 1995 Best Of Tesla (CD, Comp) Records Time's Makin' Changes The Geffen GEFC-24833 Tesla Best Of Tesla (Cass, Comp, GEFC-24833 Canada 1995 Records Dol) Time's Makin' Changes - The Geffen GED 24833 Tesla GED 24833 Europe 1995 Best Of Tesla (CD, Comp) Records Time's Makin' Changes The Geffen GEFD-24833 Tesla Best Of Tesla (CD, Comp, Club, GEFD-24833 US Unknown Records RP) Related Music albums to Time's Makin' Changes The Best Of Tesla by Tesla Tesla - The Best Of Tesla Tesla - Real To Reel 1 Tesla & Schuhmacher - Rampage ! Tesla - Comin' Atcha Live! 2008 DJ Hidden / The Outside Agency - Einstein / Tesla Tesla - Psychotic Supper Raikes Parade / Negra Branca / Druss / Dwellings - Tesla Cdr Sampler Tesla - Five Man Acoustical Jam Tesla - Crusty Dancer Tesla - Signs Tesla - Mechanical Resonance Tesla - The Great Radio Controversy. -
Hard Report«
• ItHE 4 Trading Post Way Medford Lakes, New Jersey 08055 HARD REPORT « FEBRUARY 13, 1987 ISSUE # 15 609-654-7272 FRONTRUNNERS PETER WOLF DOKKEN "COME AS YOU ARE" "DREAM WARRIORS" Take equal parts "Sum- The masters of mass ap- mertime Blues", Freddie peal mascararock go for Cannon and "Centerfold" the quick kill with a and whatzat spell? A huge hook, giant guitars smash on the Peter Meter. and thick rich production. EMI ELEKTRA PATTY SMYTH ANDY TAYLOR THUNDER ANDY TAYLOR I .mluNng I MIGHT LIE DONT LLI Mt DIE YOUNG LIFE GOES ON "NEVER ENOUGH" ms. "I MIGHT LIE" That one of the very From the delightfully best voices in rock has gritty guitars to the killer had to go so long with- chorus, this image turn- out a song this good is around deluxe leaves simply scandal-less Duran in the dirt. C A JON BUTCHER "LIGHT OF DAY" "GOODBYE SAVING SOUNDTRACK GRACE" With Joan about a day away from me gastar ex- Classy atmospherics high- posure, you'd best stay light one of the most on the case. The Birds interesting new songs and Busters can't miss. on the street — a la David and David and Jimi CAPITOL RECKLESS FLESH FOR "N1TTY GRITTY" LULU And what would any Front Page be without a "I GO CRAZY" little hard core crunch, The surprise of the week especially when it's a has hair, teeth, eyeballs guaranteed one listen and powerchords flying wonder. at you from all fun directions . ATCO *CHARTSTARS* PLUSIII IBRAND NEW MUSIC FROM EDDIE AND THE TIDE. -
2 Column Indented
22,000 Karaoke Songs - AMS Entertainment ARTIST TITLE SONG # ARTIST TITLE SONG # 10 Years Duck And Run 6188 Through The Iris 20005 Here By Me 17629 Wasteland 16042 Here Without You 13010 It's Not My Time (I Won't Go) 17630 10,000 Maniacs Kryptonite 6190 Because The Night 1750 Landing In London 17631 Candy Everybody Wants 2621 Let Me Be Myself 25227 Like The Weather 16149 Let Me Go 13785 More Than This 16150 Live For Today 13648 These Are The Days 1273 Loser 6192 Trouble Me 16151 Road I'm On, The 6193 So I Need You 17632 10cc When I'm Gone 13086 Donna 20006 Dreadlock Holiday 11163 30 Seconds To Mars I'm Mandy 16152 Kill, The (Bury Me) 16155 I'm Not In Love 2631 Rubber Bullets 20007 311 Things We Do For Love, The 10788 All Mixed Up 16156 Wall Street Shuffle 20008 Don't Tread On Me 13649 First Straw 22322 112 Love Song 22323 Come See Me 25019 You Wouldn't Believe 22324 Dance With Me 22319 It's Over Now 22320 38 Special Peaches & Cream 22321 Caught Up In You 1904 U Already Know 13602 Hold On Loosely 1901 Second Chance 17633 2 Tons O' Fun Teacher, Teacher 13492 It's Raining Men (Hallelujah!) 6017 3LW 2 Unlimited No More (Baby I'ma Do Right) 11795 No Limits 6183 3Oh!3 20 Fingers Don't Trust Me 16157 Short Dick Man 1962 3OH!3 & Katy Perry 2Pac Starstrukk 25138 California Love (Original Version) 14147 Changes 12761 4 Him Ghetto Gospel 16153 Basics Of Life 20002 For Future Generations 20003 2Pac & Notorious B.I.G. -
AMC Theatres® and Sony Pictures Bring Back the Classic Drama "Taxi Driver" to Celebrate Its 35Th Anniversary
AMC Theatres® and Sony Pictures Bring Back the Classic Drama "Taxi Driver" to Celebrate Its 35th Anniversary Tickets on Sale Now for Special Showings on March 19 and March 22 Kansas City, Mo. (March 10, 2011) - AMC Theatres (AMC), a leading theatrical exhibition and entertainment company, is proud to partner with Sony Pictures to offer guests the chance to see the new digital restoration of Martin Scorsese's TAXI DRIVER for a limited time, ahead of its April 5th Blu-ray release, exclusively at 145 AMC theatres in 41 markets across the United States and Canada. Together with Sony Pictures, AMC will feature an extensively restored 4K digital presentation (where available) of this classic movie that was originally released on Feb. 8, 1976. An iconic movie from the 1970s, TAXI DRIVER is a dark rumination centering on one man driven to violence by loneliness and desperation. The movie was directed by Scorsese, written by Paul Schrader and stars Robert De Niro, Jodie Foster, Cybill Shepherd and Albert Brooks. Now 35 years later, AMC guests can see the movie that was nominated for four Academy Awards® in 1976 and depicts a mentally unstable Vietnam War veteran who works as nighttime taxi driver in New York City. "TAXI DRIVER is an intense and powerful American movie classic," said Robert J. Lenihan, president of programming at AMC. "We are pleased to partner with Sony Pictures to offer guests the opportunity to view the dark world of New York City at night through the eyes of a lonely man, when this beautifully digitally restored movie hits the big screen again." In preparation for its 35th anniversary release, TAXI DRIVER has undergone an extensive, fully 4K digital restoration.