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Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
Pynchon's Sound of Music
Pynchon’s Sound of Music Christian Hänggi Pynchon’s Sound of Music DIAPHANES PUBLISHED WITH SUPPORT BY THE SWISS NATIONAL SCIENCE FOUNDATION 1ST EDITION ISBN 978-3-0358-0233-7 10.4472/9783035802337 DIESES WERK IST LIZENZIERT UNTER EINER CREATIVE COMMONS NAMENSNENNUNG 3.0 SCHWEIZ LIZENZ. LAYOUT AND PREPRESS: 2EDIT, ZURICH WWW.DIAPHANES.NET Contents Preface 7 Introduction 9 1 The Job of Sorting It All Out 17 A Brief Biography in Music 17 An Inventory of Pynchon’s Musical Techniques and Strategies 26 Pynchon on Record, Vol. 4 51 2 Lessons in Organology 53 The Harmonica 56 The Kazoo 79 The Saxophone 93 3 The Sounds of Societies to Come 121 The Age of Representation 127 The Age of Repetition 149 The Age of Composition 165 4 Analyzing the Pynchon Playlist 183 Conclusion 227 Appendix 231 Index of Musical Instruments 233 The Pynchon Playlist 239 Bibliography 289 Index of Musicians 309 Acknowledgments 315 Preface When I first read Gravity’s Rainbow, back in the days before I started to study literature more systematically, I noticed the nov- el’s many references to saxophones. Having played the instru- ment for, then, almost two decades, I thought that a novelist would not, could not, feature specialty instruments such as the C-melody sax if he did not play the horn himself. Once the saxophone had caught my attention, I noticed all sorts of uncommon references that seemed to confirm my hunch that Thomas Pynchon himself played the instrument: McClintic Sphere’s 4½ reed, the contra- bass sax of Against the Day, Gravity’s Rainbow’s Charlie Parker passage. -
1 Small Wonder Philip Horne DOWNSIZING
1 Small Wonder Philip Horne DOWNSIZING [February 2018, Sight & Sound] There has been a long and somewhat anxious wait among admirers of Alexander Payne’s films since Nebraska in 2013 – a bleak, beautiful, drily funny picture of the post-industrial Midwest and sad, haunted lives. Four years later Payne, who still lives in his native Omaha, has come out with a grand, astonishingly daring movie – a satirical fable, or blackly comic science fiction epic, or unexpected love story. As it goes on, there’s a serious, even tragic side to the film, but its main premise is treated with such inventiveness both visual and verbal that we get constant jolts of pleasure at the imaginative scope of its makers’ conceptions. The absurd technology that scientists concerned with ‘Human Scale and Sustainability’ and climate change develop for reducing the size of the human population – by making them five inches high – is in effect like a giant microwave: it even pings when the transformation is complete. It’s deliberately low-tech. The process, invented by idealistic Norwegians to produce a ‘self- sustainable community of the small’, is imagined being then commercialised and normalised in familiar ways by global/American capitalism, sold to punters as a time-share-like ‘heaven’ called ‘Leisureland’, which is ‘like winning the lottery every day’. This because a modest nest-egg of $152,000 when transferred (unshrunk) to its newly-tiny owner’s account in a ‘small city’ translates as the equivalent of $22,5000,000: it’s an American dream. The script is full of delicious size jokes, as downsizing becomes absorbed into idiom and things get re-scaled, so that we see ‘the first small baby ever born’. -
Coversheet for Thesis in Sussex Research Online
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another University for the award of any other degree. However, the thesis incorporates, to the extent indicated below, material already submitted as part of required coursework and/ or for the degree of: Masters in English Literary Studies, which was awarded by Durham University. Sign ature: Incorporated material: Some elements of chapter three, in particular relating to the discussion of teeth and dentistry, formed part of an essay submitted for my MA at Durham CniYersiry. This material has, however, been significantly reworked and re,,ised srnce then. Dismantling the face in Thomas Pynchon’s Fiction Zachary James Rowlinson Submitted for the award of Doctor of Philosophy University of Sussex November 2015 i Summary Thomas Pynchon has often been hailed, by those at wont to make such statements, as the most significant American author of the past half-century. -
16 BRIAN JARVIS Thomas Pynchon Thomas Pynchon Is Perhaps Best
16 BRIAN JARVIS Thomas Pynchon Thomas Pynchon is perhaps best known for knowing a lot and not being known. His novels and the characters within them are typically engaged in the manic collection of information. Pynchon’s fiction is crammed with erudition on a vast range of subjects that includes history, science, technology, religion, the arts, and popular culture. Larry McMurtry recalls a legend that circulated in the sixties that Pynchon “read only the Encyclopaedia Britannica.”1 While Pynchon is renowned for the breadth and depth of his knowledge, he has performed a “calculated withdrawal” from the public sphere.2 He has never been interviewed. He has been photographed on only a handful of occasions (most recently in 1957). Inevitably, this reclusion has enhanced his cult status and prompted wild speculation (including the idea that Pynchon was actually J. D. Salinger). Reliable information about Pynchon practically disappears around the time his first novel was published in 1963. While Pynchon the author is a conspicuous absence in the literary marketplace, his fiction is a commanding presence. His first major work, V. (1963), has a contrapuntal structure in which two storylines gradually converge. The first line, set in New York in the 1950s, follows Benny Profane and a group of his bohemian acquaintances self-designated the “Whole Sick Crew.” The second line jumps between moments of historical crisis, from the Fashoda incident in 1898 to the Second World War and centers on Herbert Stencil’s quest for a mysterious figure known as “V.” Pynchon's second novel, The Crying of Lot 49 (1966), is arguably his most accessible work and has certainly been the most conspicuous on university syllabuses. -
Inherent Vice, Aproductivity, and Narrative
Overwhelmed and Underworked: Inherent Vice, Aproductivity, and Narrative Miles Taylor A Thesis in The Department of Film Studies Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University Montreal, Quebec, Canada May 2020 © Miles Taylor 2020 Signature Page This is to certify that the thesis prepared By: Miles Taylor Entitled: Overwhelmed and Underworked: Inherent Vice, Aproductivity, and Narrative And submitted in Partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) Complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: Examiner Luca Caminati Examiner Mary Esteve Supervisor Martin Lefebvre Approved by Marc Steinberg 2020 Rebecca Duclos Taylor iii Abstract Overwhelmed and Underworked: Inherent Vice, Aproductivity, and Narrative Miles Taylor This thesis proposes an artistic mode called aproductivity, which arises with the secular crisis of capitalism in the early 1970’s. It reads aproductivity as the aesthetic reification of Theodor Adorno’s negative dialectics, a peculiar form of philosophy that refuses to move forward, instead producing dialectics without synthesis. The first chapter examines the economic history aproductivity grows out of, as well as its relation to Francis Fukuyama’s concept of “The End of History.” After doing so, the chapter explores negative dialectics and aproductivity in relation to Adam Phillips’ concept of the transformational object. In the second chapter, the thesis looks at the Thomas Pynchon novel Inherent Vice (2009), as well as the 2014 Paul Thomas Anderson adaptation of the same name. -
Sundance Institute Announces 2020 Momentum Fellows and Launch Grant Fund Recipients
FOR IMMEDIATE RELEASE Media Contact: October 28, 2019 Emily Andrews 310.360.1981 [email protected] Sundance Institute Announces 2020 Momentum Fellows and Launch Grant Fund Recipients Year-Long Fellowship For Underrepresented Filmmakers Enters Second Year, Supporting Eight Visionary Artists New Launch Grant Fund Empowers Underrepresented Artists to Break Systemic Barriers in Launching First Feature Film Los Angeles — Sundance Institute announced today two support tracks for artists from underrepresented communities, continuing the Institute’s commitment to fostering inclusive artistic visions. Announced today are the eight members of the second class of the Momentum Fellowship, a full-year program of deep, customized creative and professional support for writers, directors, and producers from underrepresented communities who are poised to take the next step in their careers, working across documentary and feature filmmaking, and episodic content. Sundance Institute also announced the four awardees of the inaugural Launch Grant Fund, a new opportunity for emerging filmmakers from underrepresented communities launching their first feature film. “Each of the exceptionally talented artists in these two programs brings a bold creative vision to their work, and we are thrilled to support them at such critical junctures – launching their first feature films and building sustainable careers,” said Karim Ahmad, Director, Outreach & Inclusion. The Momentum Fellowship, which launched last year, evolved from the Women at Sundance Fellowship, a highly successful model that merited expansion for impact across a broader cohort of underrepresented communities. Those eligible for this larger, more intersectional program include artists identifying as women, non-binary and/or transgender, artists of color, and artists with disabilities. The 2020 Momentum Fellows are: Andrew Ahn, Linda Yvette Chávez, Christina Choe, Deborah Esquenazi, Rodney Evans, Penny Lane, Avril Z. -
Music in Thomas Pynchon's Mason & Dixon
ISSN: 2044-4095 Author(s): John Joseph Hess Affiliation(s): Independent Researcher Title: Music in Thomas Pynchon’s Mason & Dixon Date: 2014 Volume: 2 Issue: 2 URL: https://www.pynchon.net/owap/article/view/75 DOI: http://dx.doi.org/10.7766/orbit.v2.2.75 Abstract: Through Pynchon-written songs, integration of Italian opera, instances of harmonic performance, dialogue with Plato’s Republic and Benjamin Franklin’s glass armonica performance, Mason & Dixon extends, elaborates, and investigates Pynchon’s own standard musical practices. Pynchon’s investigation of the domestic, political, and theoretical dimensions of musical harmony in colonial America provides the focus for the novel’s historical, political, and aesthetic critique. Extending Pynchon’s career-long engagement with musical forms and cultures to unique levels of philosophical abstraction, in Mason & Dixon’s consideration of the “inherent Vice” of harmony, Pynchon ultimately criticizes the tendency in his own fiction for characters and narrators to conceive of music in terms that rely on the tenuous and affective communal potentials of harmony. Music in Thomas Pynchon’s Mason & Dixon John Joseph Hess Few readers of Thomas Pynchon would dispute William Vesterman’s claim that “poems and particularly songs, make up a characteristic part of Pynchon’s work: without them a reader’s experience would not be at 1 all the same.” While Vesterman was specifically interested in Pynchon’s poetic practice, Pynchon’s fifty year career as a novelist involves a sustained engagement with a range of musical effects. Music is a formal feature with thematic significance in Pynchon’s early short fiction and in every novel from V. -
Drugs and Television in Thomas Pynchon's Inherent Vice
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 "Been Hazed and Fused for So Long it's Not True" - Drugs and Television in Thomas Pynchon's Inherent Vice William F. Moffett Jr. Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the Literature in English, North America Commons Recommended Citation Moffett, William F. Jr., ""Been Hazed and Fused for So Long it's Not True" - Drugs and Television in Thomas Pynchon's Inherent Vice". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/204 TRINITY COLLEGE Senior Thesis “Been Hazed and Fused for So Long it’s Not True” – Drugs and Television in Thomas Pynchon’s Inherent Vice submitted by William Moffett Jr. 2012 In Partial Fulfillment of Requirements for the Degree of Bachelor of Arts in English 2012 Director: Christopher Hager Reader: James Prakash Younger Reader: Milla Riggio Table of Contents Acknowledgements ........................................................................................................................................ i Introduction .................................................................................................................................................. ii Chapter 1: “Something in the Air?” – Cultural and Pynchonian Context of Inherent Vice ........................... 1 Chapter 2: “Turn On, Tune In, Drop Out” – The Interrelated -
Pynchon and Wittgenstein: Ethics, Relativism and Philosophical Methodology
Eve 1 Martin Paul Eve Chapter in Profils Américains: Thomas Pynchon Edited by Bénédicte Chorier-Fryd and Gilles Chamerois Pynchon and Wittgenstein: Ethics, Relativism and Philosophical Methodology Perhaps the strongest rationale for a philosophico-literary study intersecting Thomas Pynchon with Ludwig Wittgenstein is that, in the writings of this philosopher, the very nature of philosophy is reflexively questioned. Within his lifetime Wittgenstein published a single text, Tractatus Logico-Philosophicus, influenced by the logical atomists in which he claimed, initially, to have “solved all the problems of philosophy” (Tractatus Logico-Philosophicus x). However, in 1929 he resumed lecturing and, following his death in 1951, the world was presented with the unfinished product of these intervening years: the Philosophical Investigations. While many early studies, and indeed this biographical overview, present a seemingly bi-polar, bi-tonal Wittgenstein, who enacts a retraction of the Tractatus in the Philosophical Investigations, a closer examination of Wittgenstein's notebooks and intermediate remarks reveals that the latter owes its genesis to a critique of the former and was developed through an accumulation of thought and a gradual transition. This piece presents a tripartite analysis of the relationship between the philosophical works of Ludwig Wittgenstein and the novels of Thomas Pynchon. This is broadly structured around three schools of Wittgenstein scholarship identified by Guy Kahane et al. as the Orthodox Tractatus, the New Wittgenstein, and several strands of the Orthodox Investigations (Kahane et al. 4-14). Moving from the earliest affiliation that Pynchon stages between Wittgenstein and Weissman, the underlying theme lies in Pynchon's relationship to ethical relativism as it pertains to Nazism. -
Inherent Vice László Sári B
Description, Historical Reference, and Allegories of America in Thomas Pynchon’s Inherent Vice László Sári B. University of Pécs, Faculty of Humanities, Department of English Literatures and Cultures, H-7621 Pécs, Perczel Miklós utca 10. I/5., Hungary [email protected]; [email protected] Thomas Pynchon’s Inherent Vice, the concluding novel in his California trilogy exhibits a curious allegorical structure of California and, by extension, America, by way of descriptions of historical reference. This paper argues that these descriptions constitute a system that reflects the contemporary moral and political anxieties of post-postmodern fiction in the immediate context of the novel’s publication. What is more, the text employs Pynchon’s “stylistic, residual postmodernism” in order to put forth a powerful cautionary tale when relying on and reconfiguring the generic codes of noir. Keywords: narratology / American literature / postmodernism / post-postmodernism / Pynchon, Thomas: Inherent Vice / narrative technique / description / allegory / noir Thomas Pynchon’s Inherent Vice of 2009, his final piece in what critics refer to as his California trilogy, revisits a crucial rupture in American political and cultural history. A late addition to the series (The Crying of the Lot 49 was published in 1966 and Vineland a quarter of a century later), Pynchon’s blend of California noir and historiographic metafic- tion is significantly set during Ronald Reagan’s second term as gover- nor of California, and after the capture of the Manson family. Thus, as Casey Shoop (Shoop, “Thomas Pynchon, Postmodernism”) argues, Inherent Vice offers a retrospective understanding of an experimental phase in what came to be known as Reaganomics under his presidency (see: Niskanen), and accounts for the divided public perception of the counterculture. -
A Spatial Reading of Pynchon's California Trilogy
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Archivio della ricerca- Università di Roma La Sapienza “The Map is Not the Territory”: A Spatial Reading of Pynchon’s California Trilogy Department of European, American and Intercultural Studies Ph.D. Program in English-language Literatures Candidate: Ali Dehdarirad Supervisor: Prof. Giorgio Mariani Anno Accademico 2019-2020 Contents Acknowledgements iii Abbreviations iv Introduction 1 Chapter One The Crying of Lot 49 9 1. Introduction: 1.1. From the Fifties to the Sixties: A Critical Moment of Change 1.2. In the Midst of a Long Decade: The American Sixties after Kennedy 14 1.3. The Counterculture as Socio-cultural Reaction to the Politics of the Sixties 18 1.4. The Sixties in Pynchon’s Works 22 2. Inside The Crying of Lot 49: Toward a Geocritical Understanding 28 SECTION 1 30 2.1. The Spatial Dimension in Pynchon’s Early Life and Career 2.2. From Pynchon’s San Narciso to California’s Orange County 34 2.2.1. Creating San Narciso: Understanding the “postmetropolitan transition” 35 2.2.2. A Historical Analogy between San Narciso and Orange County 39 2.2.3. Reading Pynchon’s San Narciso through Geocritical Lenses: Understanding The Crying of Lot 49’s Narrative Structure through Fictional and Political Spaces 41 SECTION 2 45 2.3. An Analysis of Thirdspace in Pynchon’s Fiction 2.3.1. An Attempt at Reading Pynchon’s San Narciso through Thirdspace: The Search for an Alternative Reality in The Crying of Lot 49 47 Chapter Two Vineland 54 1.