DOCSLIB.ORG

Features OCTOBER 2, 1998 JT PANS Ffpw TW Vip^C)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Features OCTOBER 2, 1998 JT PANS Ffpw TW Vip^C) THE GUILFORDIAN 4 Features OCTOBER 2, 1998 JT PANS Ffpw TW Vip^C) By Will Dodson was shot the hell up by bad guys. Detroit. So the money rolls in, but FEATURES COLUMNIST Doctors and technicians melded O\C.P. are the ultimate in Robocop's human side eventually his flesh to machine to create the crass capitalism. The bottom becomes aware of his exploita- IfI had a tube of hair gel for tion by the buttmen. He follows every cyborg cop movie I've seen, a trail of crime all the way I'd look almost as cool as Gary to the top, where the biggest bot- Young. An aside here before I toms are. These rich guys are re- begin: I consider cyborg cop mov- allybad. They use their money ies to be a separate genre from to snort cocaine and buy maniac cop movies. Cyborg cops prostitutes. are metallic and shiny, and ma- As Billy Idol once said, niac cops are just crazy. They are "Allthat matters to [them] is pos- totally different. sessions. Even women are pos- Anyway, when you talk cy- sessions to them." You said it, borg cop movies, you have to Billy Idol. H is |J mention the definitive Robocop, j&jgjf-- Robocop saves the day as jgt jg ? f; directed by Paul Verhoeven. In KM only a true American hero can: keeping with the breast fetish he he blows all the bad guys away showcased in Basic Instinct and in a deluge of severed append- and chunks Showgirls , he gave Robocop huge wMm JBBBk ages semi-solid of metal boobs. But this movie, un- bloody flesh. Their death like most of the ones I watch, was screams unlock the oppressive not about boobs. No, this one CKKSCARLESTROM chains of capitalism which bind was about big fat butts. Is it time to be an android, not a man? us to middle-class mediocrity. Robocop's big fat metal butt rep- The only way to stop the old resents a corporate America that perfect law enforcement officer. line is how big and plush their rich white bald men who run ev- rots the country's moral fiber. These technicians are employed office chairs are. Because as we erything is to shoot them in the Robocop (Peter Weller) was, by 0.C.P., a corporation full of all know, the more money you face one by one. Robocop, for God like most cyborg cops, originally bald white men with big fat butts. have, the bigger your butt gets, and country, has started the ball a regular cop from Detroit who The buttmen want to lease the and the bigger the chair you sit rolling. Do we have the courage services of Robocop, make more in has to be. The head of 0.C.P., to follow him to freedom? Robocops, and privatize law en- naturally, has the biggest ass I The way to salvation is forcement so they can take over have ever seen in my life. at hand! When you absolutely have to study By Amanda Roop NOW HIRING STAFF WRITER Here's the situation: you've got 30 minutes until class and haven't ?WAITSTAFF read the assigned chapter. Sound familiar to the English majors? ?DELIVERY Guilford is full of secluded ar- eas where one can read without dis- DRIVERS traction. The tranquil atmosphere I- - JBABBGSI^^^R of our campus is especially helpful JF^ JBBP' * ?COOKS when you're trying to do homework since you retain more information ifyou read in a quiet place and stay focused. There are as many differ- GREAT TIPS! ent places to study as there are stu- 4 _ .. V. : '\u25a0? \u25a0: dents; the trick is discovering a WE TRAIN! place that's right for you. "I read AMYROUSE on the inflatable couch on the sec- Sometimes it is difficult to find a quiet place to study, Excellent weekly ond floor of Shore," said Hannah Miller. Many students attempt to One obvious place to study is cive to studying. The Underground pay and benefits. study in their dorms, which isn't al- the library. It's always quiet, and and the Cafeteria aren't much bet- FT or PT, flex hours. ways the best choice. Dorms are full is full ofcomfortable chairs in hid- ter. Why should you study when ofnoise and distractions, especially den corners. CCE student Greg you can talk to every acquaintance Meal discounts. ifyour friends are continually drop- Ray likes to read on the Library's that strolls by? ping in "for a few minutes" to visit. second floor, "so when my eyes "The Hut is a great place to MAKEMONEY! wander Ican look at traffic out the relax and read," says Cody Doran, (iHow DOES SBOO/EXTRA INCOME] , window." Again, it's better to read a junior. The Hut is a great ex- HAVE FUN! - soundtoyou? without distractions, and a win- ample of an environment in which Anaajng/yprDfitable opportunity. dow can be very distract- studying is easy. It is quiet and Send self-addressed stamped ing... especially when yqu have to secluded most of the time. plow straight envelope to: through five long people have a favorite 3700 Lawndale Dr*2B2-9003 chapters. GROUP FIVE Psychology tree or bench they stake out when 4508 W- Market St*Bs4-3555 Blvd., Lounges in busy buildings, it's time to get some serious home- 6547 N. Academy Dept N such as Founders, don't have the Springs. I Colorado CO 80918 i sort of atmosphere that is condu- Please see Studying, page 5.
Load more

Recommended publications
  • Motion Picture Posters, 1924-1996 (Bulk 1952-1996)
    http://oac.cdlib.org/findaid/ark:/13030/kt187034n6 No online items Finding Aid for the Collection of Motion picture posters, 1924-1996 (bulk 1952-1996) Processed Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 200 1 Motion picture posters, 1924-1996 (bulk 1952-1996) Descriptive Summary Title: Motion picture posters, Date (inclusive): 1924-1996 Date (bulk): (bulk 1952-1996) Collection number: 200 Extent: 58 map folders Abstract: Motion picture posters have been used to publicize movies almost since the beginning of the film industry. The collection consists of primarily American film posters for films produced by various studios including Columbia Pictures, 20th Century Fox, MGM, Paramount, Universal, United Artists, and Warner Brothers, among others. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections.
    [Show full text]
  • The Terminator by John Wills
    The Terminator By John Wills “The Terminator” is a cult time-travel story pitting hu- mans against machines. Authored and directed by James Cameron, the movie features Arnold Schwarzenegger, Linda Hamilton and Michael Biehn in leading roles. It launched Cameron as a major film di- rector, and, along with “Conan the Barbarian” (1982), established Schwarzenegger as a box office star. James Cameron directed his first movie “Xenogenesis” in 1978. A 12-minute long, $20,000 picture, “Xenogenesis” depicted a young man and woman trapped in a spaceship dominated by power- ful and hostile robots. It introduced what would be- come enduring Cameron themes: space exploration, machine sentience and epic scale. In the early 1980s, Cameron worked with Roger Corman on a number of film projects, assisting with special effects and the design of sets, before directing “Piranha II” (1981) as his debut feature. Cameron then turned to writing a science fiction movie script based around a cyborg from 2029AD travelling through time to con- Artwork from the cover of the film’s DVD release by MGM temporary Los Angeles to kill a waitress whose as Home Entertainment. The Library of Congress Collection. yet unborn son is destined to lead a resistance movement against a future cyborg army. With the input of friend Bill Wisher along with producer Gale weeks. However, critical reception hinted at longer- Anne Hurd (Hurd and Cameron had both worked for lasting appeal. “Variety” enthused over the picture: Roger Corman), Cameron finished a draft script in “a blazing, cinematic comic book, full of virtuoso May 1982. After some trouble finding industry back- moviemaking, terrific momentum, solid performances ers, Orion agreed to distribute the picture with and a compelling story.” Janet Maslin for the “New Hemdale Pictures financing it.
    [Show full text]
  • Feature Films
    Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243
    [Show full text]
  • How China's Censorship and Influence Affect Films Worldwide
    October 28, 2015 Directed by Hollywood, Edited by China: How China’s Censorship and Influence Affect Films Worldwide Sean O’Connor, Research Fellow, Economics and Trade and Nicholas Armstrong, Esq., Research Fellow Disclaimer: This paper is the product of professional research performed by staff of the U.S.-China Economic and Security Review Commission, and was prepared at the request of the Commission to support its deliberations. Posting of the report to the Commission’s website is intended to promote greater public understanding of the issues addressed by the Commission in its ongoing assessment of U.S.- China economic relations and their implications for U.S. security, as mandated by Public Law 106-398 and Public Law 108-7. However, the public release of this document does not necessarily imply an endorsement by the Commission, any individual Commissioner, or the Commission’s other professional staff, of the views or conclusions expressed in this staff research report. Table of Contents Abstract ......................................................................................................................................................................3 Background ................................................................................................................................................................4 China’s Growing Film Market ...................................................................................................................................5 China’s Film Industry Development ......................................................................................................................6
    [Show full text]
  • Movie Heroes and the Heroic Journey
    LESSON PLAN Level: Grades 11-12 About the Author: Adapted from the The AML Anthology. Supplement (1992), produced by the Association for Media Literacy. By Don Walker, Metropolitan Toronto Separate School Board and Leslie Johnstone, York Region Board of Education Movie Heroes and the Heroic Journey Overview The place of the hero in our modern lives is a site of struggle. On the one hand, the hero's quest can have meanings for individuals who seek to understand their own journey through life. On the other hand, the hero can be seen as a repository of those values esteemed by the society. The study of the hero as social icon offers the student an opportunity to reflect on and critique the dominant reading of the hero, as well as to consider oppositional readings. In this lesson, students will be introduced to the work of Carl Jung and Joseph Campbell and will have the opportunity to apply these theories to the examination of heroes. (Note: Teachers should replace any movies and heroic figures who no longer seem relevant with more recent examples.) Objectives To enable students to: differentiate between a classical hero, modern hero and a celebrity. identify the stages of the heroic quest. identify the dominant ideology of the culture as exemplified by a hero, and to negotiate an oppositional reading. see the application of the quest motif to their own lives. understand the role of the villain as the dark side of the hero, and the repository or reflection of the fears and concerns of society. appreciate variations of the heroic journey in different film genres.
    [Show full text]
  • The Avatars of Masculinity in Robocop (1987) and Its Remake (2014)
    Représentations dans le monde anglophone – Janvier 2017 Man Made and Remade: the Avatars of Masculinity in Robocop (1987) and its Remake (2014) Cyril Besson, Univ. Grenoble Alpes, ILCEA4 Keywords: Robocop, Verhoeven, Padilha, remake, gender, genre, point of view in film. Mots-clés: Robocop, Verhoeven, Padilha, remake, genre, sexes, point de vue au cinéma. It is tempting to begin with a truism: nothing comes from nothing. This is a belief articulated by many in the twentieth century, among whom George Steiner in After Babel, where he presents culture as a long chain of translations and transformations of verbal, thematic or formal constants. The problem raised by the notion of a syntax of culture, however, is the same as with language, as exemplified by de Saussure’s distinction between langue and parole: if all one ever does is move around “building blocks” following the constraints imposed by a system, what of individual creativity? If the question is, generally speaking, of little import to most speakers of a given language, things are different when it comes to art and culture: finding one’s voice, embodying a sort of progress for one’s chosen form of expression and leaving one’s mark on the latter, is what being an artist is about. The question of whether there is such a thing as true artistic singularity might be insoluble (no artist exists, who has not been influenced in some way, no matter how unpleasant the idea might be to him)1; however, one could say that in the field of popular culture, the twenty-first century inverts the proposition, especially in the collaborative form of art that is the cinema.
    [Show full text]
  • Narratives on the Watch: Bodies, Images, & Technologies of Control
    Narratives on the Watch: Bodies, Images, & Technologies of Control in Contemporary Surveillance Cinema A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Jonathan Naveh December 2014 © 2014 Jonathan Naveh. All Rights Reserved. 2 This thesis titled Narratives on the Watch: Bodies, Images, & Technologies of Control in Contemporary Surveillance Cinema by JONATHAN NAVEH has been approved for the School of Film and the College of Fine Arts by Ofer Eliaz Assistant Professor of Film Margaret Kennedy-Dygas Dean, College of Fine Arts 3 ABSTRACT NAVEH, JONATHAN, M.A., December 2014, Film Narratives on the Watch: Bodies, Images, & Technologies of Control in Contemporary Surveillance Cinema Director of Thesis: Ofer Eliaz This thesis explores surveillance cinema though a body of films that thematize the increasing presence of surveillance images in social life. Suggesting a shift from two dominant representational modes, dystopic and conspiratorial cinema, recent surveillance films normalize the practice, diffuse the technology’s paranoiac connotation, and transcend the rhetoric that surveillance scenarios only target white men formerly a part of the surveillance apparatus. I argue that with new forms of the image, through cinema’s figuration of the surveillance image, “othered” subjects appear as “to-be-surveilled”— targeted bodies due to the determinants of their gender, sexuality, race, ethnicity, or class status. The films I discuss thus raise an important question relevant to contemporary surveillance theory: does cinema normalize forms of control or does it challenge these structures through a critique of the power relations found within them? As surveillance cinema integrates images of surveillance into its texts, it critiques the power disparities that exist between hegemonic disembodied surveillors and controlled bodies.
    [Show full text]
  • Play Robocop Vs Terminator
    Play Robocop Vs Terminator Dishonourable Morry neighbors, his beachhead brander enclothe modernly. Hypersthenic Paco sometimes peppers any assiduities lustrate limitedly. Unclipped Jerzy sometimes waft any racehorses disseized groggily. Endocop teased figure was assigned to continue their main directive: robocop vs terminator movie Its design was based on the Mega Jet, the guns of RVT were a critical element for the team. If you are a fan of these films, one of the biggest issues in the game was that it was just average to play. Do we cover Mortal Kombat too much? No clever game is used their next next ladder and robocop vs terminator, you playing and go out. Change to the plasma weopon and fire your gun and wait for him to turn around. You still a slightly different weapons await you the nexus and games will. They are dedicated to say, fighting where the game, but contain games will destroy robocop vs terminator game was developed by frank miller where the opponent. Makes me happy that I picked up the Robocop with jetpack when I did. Ld pack made me walk in! Vs terminator resistance fight skynet sends those with robocop vs terminator, right and i did. Mame Emulators GBA Emulators PSP Emulators. Robocop Versus The Terminator. After skynet sends a lot of fan, yee seng fu, ken love to release more cartoony look than robocop vs terminator online, not much harder levels? So I suggest you destroy them if you see them. Adding to the monotony of the boss fights is the fact that the music completely stops in these sequences, then your energy will be filled to maximum.
    [Show full text]
  • City of Huntington Park Press Release
    CITY OF HUNTINGTON PARK PRESS RELEASE FOR IMMEDIATE RELEASE Monday June 17, 2019 Contact: David Vela, PIO Phone: (323) 434-2490 E-mail: [email protected] “HP ROBOCOP” TO BE INTRODUCED INTO HUNTINGTON PARK POLICE FORCE AT CITY COUNCIL MEETING HUNTINGTON PARK, Calif. (June 17, 2019) – On Tuesday June 18, 2019, “HP RoboCop” will be introduced into Huntington Park’s police force signaling a new era in public safety and policing service. The introduction ceremony will start at 6:00 PM at the City Council Chambers (2nd Floor) at City Hall, 6550 Miles Avenue, Huntington Park, CA 90255. The “HP RoboCop” was recently previewed at Huntington Park’s 5K event last month at Salt Lake Park and has been diligently patrolling the park for several weeks now. HP RoboCop charms community members and provides added value to park safety. “HP Robocop” is an autonomous sophisticated data machine that is meant to serve outdoors. It will act as an extra set of eyes and monitor areas such as parks, city buildings and corridors where police might not have the time to consistently patrol. It will serve as a deterrent to crime and disruptive activity and also provide the police force with 360-degree HD video footage. HP RoboCop also has other technology features that will prove to be beneficial in day-to-day operations and follow-up investigations. Mayor Karina Macias stated: “I’m very excited that we can officially call on HP RoboCop to help our police officers patrol our city. This is a big accomplishment for our city and introducing HP RoboCop shows innovation and the incorporation of new technology.
    [Show full text]
  • Sidelining Women in Contemporary Science- Fiction Film
    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 12 | 2016 Mapping gender. Old images ; new figures Sidelining Women in Contemporary Science- Fiction Film Marianne Kac-Vergne Electronic version URL: http://journals.openedition.org/miranda/8642 DOI: 10.4000/miranda.8642 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Marianne Kac-Vergne, “Sidelining Women in Contemporary Science-Fiction Film”, Miranda [Online], 12 | 2016, Online since 02 March 2016, connection on 16 February 2021. URL: http:// journals.openedition.org/miranda/8642 ; DOI: https://doi.org/10.4000/miranda.8642 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Sidelining Women in Contemporary Science-Fiction Film 1 Sidelining Women in Contemporary Science-Fiction Film Marianne Kac-Vergne 1 The success of the Alien franchise and of the first two Terminator films, and the resulting cult status of their remarkably tough female protagonists, Ellen Ripley and Sarah Connor, often obscures the fact that women rarely play more than a bit part in science fiction films centered almost exclusively on male heroes. Ripley and Connor have attracted so much critical analysis1 that little attention has been paid to the status and role of women in the genre as a whole2, thus skewing the debate in favor of “action heroines.” In 1993, Yvonne Tasker announced the arrival of muscular action heroines taking on the physical and narrative attributes of masculinity, as “a response of some kind to feminism,” (Tasker 15) a forecast confirmed in 2007 by Silke Andris and Ursula Frederick in Women Willing to Fight (2): “The 1980s and 1990s heralded the arrival of powerful muscular heroines the likes of Ellen Ripley (Alien quartet [1979, 1986, 1992, 1997]), Sarah Connor (The Terminator trilogy [1984, 1991, 2003]) and G.I.
    [Show full text]
  • Technology As Future Other: Exploring the Cinematic Cyborg As A
    Technology as Future Other: Exploring the Cinematic Cyborg as a Crossroads of Xenophobia and Technophobia in the Terminator and RoboCop Series (1984-2014) C. A. (Tineke) Dijkstra s1021834 [email protected] Supervisor: Dr. E. (Liesbeth) Minnaard Second reader: Dr. E. J. (Evert) van Leeuwen Master Thesis Media Studies: Comparative Literature and Literary Theory Leiden University - Humanities Academic year 2014-2015 Front image: "Human 2.0: The Cyborg Revolution", courtesy of watchdocumentary.tv 1 Table of contents page Introduction (Theoretical Framework) 3 Xenophobia, Othering and Representation 7 Technophobia 10 Chapter 1: Early 1980s 13 The Terminator (1984) 13 RoboCop (1987) 18 In Conclusion 24 Chapter 2: Early 1990s 28 RoboCop 2 (1990) 28 Terminator 2: Judgment Day (1991) 34 RoboCop 3 (1993) 39 In Conclusion 43 Chapter 3: Post-9/11 48 Terminator 3: Rise of the Machines (2003) 49 Terminator Salvation (2009) 55 RoboCop (2014) 62 In Conclusion 67 Conclusion 69 Works Cited 72 2 Introduction (Theoretical Framework) This thesis examines the cinematic cyborg as a figure which embodies technophobic fears expressed in film. By exploring the cyborg's representation, I will show how its portrayal in film expresses these technophobic fears, which are, as I will show, interwoven with xenophobia. The cyborg is viewed here as a figure in which technophobia and xenophobia collide. I will examine the so-called preferred meaning expressed in my case studies, which are eight films featuring a cyborg protagonist released in a period of three decades. Moreover, I will compare these messages to see if and how the expressions of technophobia differ and whether they change over time.
    [Show full text]
  • A Trend Analysis of Film Ratings, Grosses, and Awards: 1989-1993 Jennifer Paige Willey
    Southern Adventist University KnowledgeExchange@Southern Senior Research Projects Southern Scholars 1994 A Trend Analysis of Film Ratings, Grosses, and Awards: 1989-1993 Jennifer Paige Willey Follow this and additional works at: https://knowledge.e.southern.edu/senior_research Part of the Film and Media Studies Commons Recommended Citation Willey, Jennifer Paige, "A Trend Analysis of Film Ratings, Grosses, and Awards: 1989-1993" (1994). Senior Research Projects. 126. https://knowledge.e.southern.edu/senior_research/126 This Article is brought to you for free and open access by the Southern Scholars at KnowledgeExchange@Southern. It has been accepted for inclusion in Senior Research Projects by an authorized administrator of KnowledgeExchange@Southern. For more information, please contact [email protected]. A TREND ANALYSIS OF FILM RATINGS, GROSSES, AND AWARDS: 1989-1993 by Jennifer Paige Willey In Fulfillment of Southern Scholars Curriculum Requirements JOUR495 Directed Study: Film Research Pamela Maize Harris, Professor Southern College of Seventh-day Adventists April27, 1994 TABLE OF CONTENTS INTRODUCTION 1 HISTORICAL BACKGROUND 2 Self-Regulation/ Censorship 2 Rating System 3 Academy Awards 4 RESEARCH QUESTIONS 7 LITERATURE REVIEW 8 Ratings 8 Values 10 Family-Oriented Films 13 Film Content 14 The Messages in and Influence of Movies & TV 16 Impact of Awards 17 Grosses 18 Attendance 19 METHODS OF RESEARCH 20 How data was collected 20 How data was organized 23 Limitations 23 RESULTS 26 CONCLUSIONS/INTERPRETATION OF THE DATA 35 SUGGESTIONS FOR FURTHER RESEARCH 48 WORKS CITED so APPENDIX A 53 APPENDIXB 54 1 INTRODUCTION This study analyzes trends films have followed in the last five years, 1989 through 1993, and seeks to determine specifically if content is changing.
    [Show full text]