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Investigating Italy's Past Through Historical Crime Fiction, Films, and Tv
INVESTIGATING ITALY’S PAST THROUGH HISTORICAL CRIME FICTION, FILMS, AND TV SERIES Murder in the Age of Chaos B P ITALIAN AND ITALIAN AMERICAN STUDIES AND ITALIAN ITALIAN Italian and Italian American Studies Series Editor Stanislao G. Pugliese Hofstra University Hempstead , New York, USA Aims of the Series This series brings the latest scholarship in Italian and Italian American history, literature, cinema, and cultural studies to a large audience of spe- cialists, general readers, and students. Featuring works on modern Italy (Renaissance to the present) and Italian American culture and society by established scholars as well as new voices, it has been a longstanding force in shaping the evolving fi elds of Italian and Italian American Studies by re-emphasizing their connection to one another. More information about this series at http://www.springer.com/series/14835 Barbara Pezzotti Investigating Italy’s Past through Historical Crime Fiction, Films, and TV Series Murder in the Age of Chaos Barbara Pezzotti Victoria University of Wellington New Zealand Italian and Italian American Studies ISBN 978-1-137-60310-4 ISBN 978-1-349-94908-3 (eBook) DOI 10.1057/978-1-349-94908-3 Library of Congress Control Number: 2016948747 © The Editor(s) (if applicable) and The Author(s) 2016 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. -
A Study of Moral Scheme in Henry Fielding's the History of Tom Jones, a Foundling
A Study of Moral Scheme in Henry Fielding’s The History of Tom Jones, a Foundling Khuman Bhagirath Jetubhai Research Scholar Aligarh Muslim University India Abstract The article discusses the moral scheme of Henry Fielding’s novel Tome Jones that has been labeled as corrupt and immoral by most of its contemporary critics. It analyses the reasons for being treated as such. The eponymous character of Tom whose adventures play a prominent role in tarnishing book’s image is investigated threadbare. Seemingly immoral character Tom’s admirable qualities are highlighted and what forces him to behave vilely is also studied. Instead finding him unrighteous, the author argues that he is normal human with its equal share of goodness and weakness that makes Tom’s character a lifelike, a welcome change from divinely pure, pious and one-dimensional characters as portrayed by Fielding’s contemporary novelists. The defense put forward by Samuel Taylor Coleridge (1772-1834), Sir Walter Scott (1771-1832) and Edward Bulwer Lytton (1803-1873) to support Henry Fielding’s (1707-1754) moral scheme in Tom Jones (1749)that is shocking to contemporary neo classicists, reminds of Mahesh Bhatt, a Bollywood film director answering the attack on his production house’s film, the first installment of erotic thriller Murder (2004), that made Mallika Sherawat and Emraan Hashmi instant hit among the Indian youth. His defense was like, ‘who says my film is immoral? It does edify that extramarital affair always leads to destruction.’ In the movie one of the characters involved in the love triangle dies. Despite its successful run at the box-office, where Anurag Basu, the director of the movie fails is, once audience leaves the theatre, their minds are occupied with the pleasure, Mallika and Hashmi gets out of their illicit relationship instead of its fatal result. -
Film Genre Moving Image Arts
NEW REVISED GCSE FILM GENRE MOVING IMAGE ARTS 1 Film Genre CONTENTS INTRODUCTION 3 Genre Fact Sheet: HORROR 5 THE WESTERN 8 ACTION/ADVENTURE 11 ROMANTIC COMEDY 14 SCIENCE FICTION 17 CRIME 20 2 Genre: INTRODUCTION 3 The study of genre underpins the entire GCSE Moving Image Arts Course. Students will be expected to recognise specific film genre conventions from the specification’s set list of six core genres, and also to use them in their own creative practice. The current list of set core genres is: • Horror; • Western; • Action/Adventure; • Romantic Comedy; • Science Fiction; • Crime. CCEA will review the list of set genres every two years. Students should be able to recognise and identify the following characteristic elements within each of the set genres: Element Description Iconography Genre films can be identified by key iconic images. Setting Some genres have a distinct location or time period associated with them. Narrative Genre films employ specific story structures and narrative devices. Characters Some characters are associated with particular genres and can attain the status of generic types. Style Genre films can be identified by specific visual and audio techniques. Theme Genre films often have characteristic themes. This booklet contains fact sheets on each of the six set genres and provides some examples of genre specific conventions and characteristics. Some recommended films for each genre are also listed. 4 Genre and the Audience Students should be able to recognise the role of audience and how it informs the storytelling styles and conventions followed by the set genres. It should be clear to students what type of audiences certain genres are primarily aimed at. -
FLM201 Film Genre: Understanding Types of Film (Study Guide)
Course Development Team Head of Programme : Khoo Sim Eng Course Developer(s) : Khoo Sim Eng Technical Writer : Maybel Heng, ETP © 2021 Singapore University of Social Sciences. All rights reserved. No part of this material may be reproduced in any form or by any means without permission in writing from the Educational Technology & Production, Singapore University of Social Sciences. ISBN 978-981-47-6093-5 Educational Technology & Production Singapore University of Social Sciences 463 Clementi Road Singapore 599494 How to cite this Study Guide (MLA): Khoo, Sim Eng. FLM201 Film Genre: Understanding Types of Film (Study Guide). Singapore University of Social Sciences, 2021. Release V1.8 Build S1.0.5, T1.5.21 Table of Contents Table of Contents Course Guide 1. Welcome.................................................................................................................. CG-2 2. Course Description and Aims............................................................................ CG-3 3. Learning Outcomes.............................................................................................. CG-6 4. Learning Material................................................................................................. CG-7 5. Assessment Overview.......................................................................................... CG-8 6. Course Schedule.................................................................................................. CG-10 7. Learning Mode................................................................................................... -
1 Bombay Dreams and Bombay Nightmares
ORE Open Research Exeter TITLE Bombay dreams and Bombay nightmares: Spatiality and Bollywood gangster film's urban underworld aesthetic AUTHORS Stadtler, FCJ JOURNAL Journal of Postcolonial Writing DEPOSITED IN ORE 01 February 2018 This version available at http://hdl.handle.net/10871/31264 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Bombay dreams and Bombay nightmares: Spatiality and Bollywood gangster film’s urban underworld aesthetics Florian Stadtler * Department of English and Film, University of Exeter, Exeter, UK E-mail: [email protected] The importance of the city in an articulation of Indian modernity has been central to the narratives of Indian popular cinema since the 1950s. Much of the focus has been centred on Bombay/Mumbai. Especially since the mid-1970s, in the wake of Indira Gandhi’s declaration of a State of Emergency, Hindi cinema has explored the structures of power that determine Bombay’s urban city space where the hero of the film encounters exponentially communal, domestic, gang, and state violence. These films put forward textured views of the cityscape and address overtly its potential for corruption and violence. In the process commercial Indian cinema challenges the city’s status as a shining example of progress and modernity. Focussing on post-millennial Indian popular film, especially Milan Luthria’s Once Upon a Time in Mumbaai (2010), this article explores Hindi cinema’s engagement with urban violence in an age of market liberalisation, accelerated economic growth and planned expansion. -
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Introduction: the Case
C H A P T E R O N E Introduction: The Case From William Powell to Humphrey Bogart—or debonair to tough; from Bruce Willis to William Petersen—or wisecracking to wise: the celluloid de- tective has evolved over time, processing society’s fears about crime and artic- ulating debates about law enforcement and justice. The 1980s saw cinematic justice exacted by muscle and firepower; today it is pursued with science and brainpower—or what Agatha Christie’s sleuth Hercule Poirot called using “the little grey cells.” In the mid-1980s, William Petersen starred as detective Will Graham in Manhunter (Mann 1986), the first film adaptation of Thomas Harris’s novel Red Dragon (1981), which introduced the world to Dr. Hannibal “The Cannibal” Lector. The film was ahead of its time, bring- ing the criminalist and that which he hunts—the serial killer—to the big screen several years before the genre became pervasive in the mid-1990s. Today William Petersen produces and stars in one of the most popular tele- vision drama series in the world, airing in 100 countries: CSI: Crime Scene In- vestigation (Cole 3). Like Manhunter, CSI centers on the investigations of its detectives, including Gil Grissom (played by Petersen), who are criminal- ists—detectives who specialize in the analysis of physical evidence. The criminalist is a modern-day incarnation of the classical sleuth first envisioned by Edgar Allan Poe in the 1840s with C. Auguste Dupin, the hero of a handful of “tales of ratiocination,” and popularized by Sir Arthur 3 © 2006 State University of New York Press, Albany FIGURE 1. -
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Henrychristopherfinal.Pdf
A CULTURAL CRITIQUE OF CONTEMPORARY SCIENCE FICTION FILM HONORS THESIS Presented to the Honors Committee of Texas State University in Partial Fulfillment of the Requirements for Graduation in the Honors College by Christopher Guy Henry San Marcos, Texas May 2014 A CULTURAL CRITIQUE OF CONTEMPORARY SCIENCE FICTION FILM Thesis Supervisor: ________________________________ Roseann Mandziuk, Ph.D. Department of Communication Studies Approved: _________________________________ Heather C. Galloway Ph.D Dean, Honors College Acknowledgements Dr. Roseann Mandziuk: Thank you for your hours of editing, guidance, and advice. Words cannot express the admiration I have for you as a professor and cultural savant. When I first walked into your Rhetoric of Social Movement and Protest course years ago, I had no idea what an impact your teachings would have on my life and how I view the world. Your Media Criticism course was the inspiration for this thesis and it is my hope that my work and research did your teachings justice. Christopher & Christina Henry: I truly could not have worked nor completed this thesis without your constant support. Thank you for listening to my seemingly endless babbles about “pivotal” scenes in certain films or how important Gwyneth Paltrow’s body posture was in Iron Man III. Whether it was 2 p.m. or 2 a.m., I always knew you would be there for me and let me complain for hours about the most mundane and childish matters. Dad, you instilled a love and appreciation of popular culture in me at a young age and know it will carry with me through my life. -
Introduction
Introduction Crime Film and the Messy City Many a commercial film or television production is a genuine achievement besides being a commodity. Germs of new beginnings may develop within a thoroughly alienated environment. —Siegfried Kracauer, Theory of Film ❧ n 1974, Vincent Canby wrote a piece for the New York Times, titled “New York Woes Are Good For Box Office,” that puzzled over the Ispate of films that had been made in the city over the last few years. What confused Canby was why so many recent films that portrayed New York so unfavorably—he cites Serpico (1973), The Super Cops (1974), Law and Disorder (1974), Mean Streets (1973), Death Wish (1974), For Pete’s Sake (1974), and The Taking of Pelham One Two Three (1974)—were seemingly so popular: New York is a mess, say these films. It’s run by fools. Its citi- zens are at the mercy of its criminals who, as often as not, are protected by an unholy alliance of civil libertarians and crooked cops. The air is foul. The traffic is impossible. Services are diminishing and the morale is such that ordering a cup of coffee in a diner can turn into a request for a fat lip. (1) 1 © 2018 State University of New York Press, Albany 2 Welcome to Fear City Pointing out that New York has been a mess for much of its history, Canby was less fretful about the negative portrayal of the city in these films than curious as to why, at this moment, the mess of the city had become a subject of interest. -
Raja Natwarlal
SUNDAY, AUGUST 31, 2014 (PAGE-4) MOVIE- REVIEW HEALTHLINES Raja Natwarlal Courage of being a Pediatric Surgeon Dr Vijay Kundal dren in India, pediatric surgeons are routinely faced with critical care situations involving severe traumatic injuries There have been many films in Bollywood, which on a mission to avenge Raghav's killers, during which When your child needs medical attention, you want have followed the 'Robin Hood' format in stories. At he encounters Yogi (Paresh Rawal), a highly experi- sustained by children that may or may not require sur- him or her to have the very best care available with the gical intervention. Many pediatric surgeons are involved the same time, the silver screen has been a testimo- enced con artist, who is now based in Dharamshala, pediatrician. Similarly, when your child needs an oper- ny to many films which have actually 'con-tested' the because he renounces the world of conning and in accident prevention programs in their communities ation, you want to consult a surgeon who is qualified that are aimed at decreasing traumatic injuries in chil- elections as far as conning is concerned. Films like crimes. It really takes lot of conviction for Raja to and experienced in operating on children. Surgeons who DHOOM series, SPECIAL 26, BUNTY AUR BABLI, make Yogi help him avenge Raghav's death. How do dren. specialize in general surgery often provide surgical care Pediatric Oncology-Pediatric surgeons are involved BLUFFMASTER, OYE LUCKY! LUCKY OYE!, they hatch a foolproof plan to destroy Vardas's empire for children, and they perform many operations on chil- AANKHEN etc..