CHAPTER I INTRODUCTION A. Background of the Research
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Letting the Other In, Queering the Nation
Letting the Other in, Queering the Nation: Bollywood and the Mimicking Body Ronie Parciack Tel Aviv University Bombay’s film industry, Bollywood, is an arena that is represented and generated by the medium as a male intensively transmits cultural products from one na - homosexual body. tionality to another; it is a mimicking arena that in - cessantly appropriates narratives of Western Culture, particularly from Hollywood. Hence its nick-name Bollywood and the work of mimicry that contains the transcultural move back and forth Bollywood, Mumbai’s cinematic industry, is an inten - between and Bombay/Mumbai, all the while retain - sive arena absorbing foreign cultural products, mainly ing the ambivalent space positioned betwixt and be - Western. Characters, cultural icons, genres, lifestyle tween, and the unsteady cultural boundaries derived accoutrements such as clothing, furnishing, recreation from the postcolonial situation. styles, western pop songs and entire cinematic texts This paper examines the manner in which this have constantly been appropriated and adapted dur - transcultural move takes place within the discourse of ing decades of film-making. gender; namely, how the mimicking strategy forms a The mimicry phenomenon, with its central locus body and provides it with an ambiguous sexual iden - in the colonial situation and the meanings it contin - tity. My discussion focuses on the film Yaraana ues to incorporate in the postcolonial context, is a (David Dhawan, 1995) – a Bollywood adaptation of loaded focus in current discourse on globalization and Sleeping with the Enemy (Joseph Ruben, 1989). The localization, homogenization and heterogenization. Hollywood story of a woman who flees a violent hus - This paper examines the way in which the mimicking band exists in the Bollywood version, but takes on a deed can highlight the gendered layout of the mim - minor role compared to its narrative focus: an (insin - icking arena. -
The Big Easy Von Jim Mcbride : Erotik Der Korruption, Korruption Der Erotik
The Big Easy von Jim McBride : Erotik der Korruption, Korruption der Erotik Autor(en): Lachat, Pierre Objekttyp: Article Zeitschrift: Filmbulletin : Zeitschrift für Film und Kino Band (Jahr): 30 (1988) Heft 159 PDF erstellt am: 02.10.2021 Persistenter Link: http://doi.org/10.5169/seals-866743 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch THE BIG EASY von Jim McBride Erotik der Korruption, Korruption der Erotik Ähnlich ist diese Geschichte schon wenden, zwei Seiten derselben Sache tain way of doing things around here. öfters erzählt worden. Zwecks Ausmistung sind, und zwar von nichts anderem als So lautet einer der Leitsätze im Film des Augiasstalls deputiert die der allgemeinen Unfähigkeit, ohne von Jim McBride, und eine angemessen Zentralgewalt jemanden in eine notorisch Gewalt zusammenzuleben. -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything. -
Film Locations in San Francisco
Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/02/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/02/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros. -
SHSU Video Archive Basic Inventory List Department of Library Science
SHSU Video Archive Basic Inventory List Department of Library Science A & E: The Songmakers Collection, Volume One – Hitmakers: The Teens Who Stole Pop Music. c2001. A & E: The Songmakers Collection, Volume One – Dionne Warwick: Don’t Make Me Over. c2001. A & E: The Songmakers Collection, Volume Two – Bobby Darin. c2001. A & E: The Songmakers Collection, Volume Two – [1] Leiber & Stoller; [2] Burt Bacharach. c2001. A & E Top 10. Show #109 – Fads, with commercial blacks. Broadcast 11/18/99. (Weller Grossman Productions) A & E, USA, Channel 13-Houston Segments. Sally Cruikshank cartoon, Jukeboxes, Popular Culture Collection – Jesse Jones Library Abbott & Costello In Hollywood. c1945. ABC News Nightline: John Lennon Murdered; Tuesday, December 9, 1980. (MPI Home Video) ABC News Nightline: Porn Rock; September 14, 1985. Interview with Frank Zappa and Donny Osmond. Abe Lincoln In Illinois. 1939. Raymond Massey, Gene Lockhart, Ruth Gordon. John Ford, director. (Nostalgia Merchant) The Abominable Dr. Phibes. 1971. Vincent Price, Joseph Cotton. Above The Rim. 1994. Duane Martin, Tupac Shakur, Leon. (New Line) Abraham Lincoln. 1930. Walter Huston, Una Merkel. D.W. Griffith, director. (KVC Entertaiment) Absolute Power. 1996. Clint Eastwood, Gene Hackman, Laura Linney. (Castle Rock Entertainment) The Abyss, Part 1 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss, Part 2 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss. 1989. (20th Century Fox) Includes: [1] documentary; [2] scripts. The Abyss. 1989. (20th Century Fox) Includes: scripts; special materials. The Abyss. 1989. (20th Century Fox) Includes: special features – I. The Abyss. 1989. (20th Century Fox) Includes: special features – II. Academy Award Winners: Animated Short Films. -
Rising from Being Inferior in Joseph Ruben's Sleeping with the Enemy (1991): an Individual Psychological Perspective Research
RISING FROM BEING INFERIOR IN JOSEPH RUBEN’S SLEEPING WITH THE ENEMY (1991): AN INDIVIDUAL PSYCHOLOGICAL PERSPECTIVE RESEARCH PAPER Submitted as Partial Fulfilment of Requirement for Getting Bachelor Degree of Education in English Department by NINDI MARIATUS SHOLIKAH A320060062 SCHOOL OF TECHER TRAINING AND EDUCATION MUHAMMADIYAH UNIVERSITY OF SURAKARTA 2010 CHAPTER 1 INTRODUCTION A. Background of The Study Sleeping with the Enemy is a 1991 psychological thriller film which was released in February 8, 1991, starring Julia Roberts, who escapes from her abusive, obsessive husband, played by Patrick Bergin. She captures the attention of a kindly gentleman, played by Kevin Anderson. Written by Ronald Bass based on the novel by Nancy Price. Cinematography by John W. Lindley. Edited by George Bowers. Music by Jerry Goldsmith, Leonard Bernstein, and Hector Berlioz. Produced by Leonard Goldberg. Distributed by Twentieth Century Fox. Estimated budget is $20,000,000 and gross revenue is $ 100,294,830. Directed by Joseph Ruben. Color. 98 minutes. Sleeping with the Enemy is directed by Joseph Ruben. He was born in Briarcliff Manor, New York, May 10,1950. He studied theater and film at the University of Michigan, then went on to earn a master's degree at Brandeis University. His feature film directing debut was a thriller called The Sister-in-Law (1974), starring John Savage. Next up for Ruben was the light-hearted teen romp The Pom Pom Girls (1976), starring Robert Carradine. Continuing in the teen genre, Ruben took on the adventure film Joyride (1977), again starring Carradine, along with Desi Arnaz Jr. and Melanie Griffith. -
Cute Or Crazy?: a Qualitative Analysis of Gendered Stalking Portrayals in Film
CUTE OR CRAZY?: A QUALITATIVE ANALYSIS OF GENDERED STALKING PORTRAYALS IN FILM A thesis submitted to Kent State University in partial fulfillment of the requirements for the degree of Master of Arts By Bobbi J. Reidinger August, 2013 Thesis written by Bobbi J. Reidinger B.S., Winona State University, 2008 M.A., Kent State University, 2013 Approved by __________________________________, Advisor Molly Merryman __________________________________, Chair, Department of Sociology Richard Serpe __________________________________, Associate Dean, College of Arts and Sciences Raymond A. Craig ii TABLE OF CONTENTS INTRODUCTION ...............................................................................................................1 STALKING..........................................................................................................................4 Gender and Stalking ....................................................................................................7 Stalking and Media ....................................................................................................9 MEDIA ..............................................................................................................................11 Gender and Media ....................................................................................................14 Romantic and Sexual Scripts and the Media ...........................................................17 ANALYSIS ........................................................................................................................22 -
Film Locations in San Francisco
Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/01/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/01/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros. -
Depictions of Intimate Partner Violence: a Qualitative
DEPICTIONS OF INTIMATE PARTNER VIOLENCE: A QUALITATIVE ANALYSIS OF THRILLER & DRAMA FILMS OVER THE LAST TWENTY YEARS by Larissa C. Hollis- Gutierrez, B. A. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Arts With a Major in Sociology December 2018 Committee Members: Gloria Martinez, Chair David Dietrich Kate Peirce- Burleson COPYRIGHT by Larissa C. Gutierrez 2018 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Larissa C. Hollis- Gutierrez, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. DEDICATION I dedicate this work to Yolie Jackson and Liliana Almeda, they both live forever in our hearts. ACKNOWLEDGEMENTS I want to acknowledge my husband, and family first and foremost. Without their love and support over many years, I would not have made it this far. Family and friends always encouraging me to reach my goals, no matter how challenging. I would also like to thank Dr. Gloria Martinez for meeting with me and brainstorming my project and helping me see how to apply more sociology to social issue of intimate partner violence. As well as to Dr. -
Oppression Against Women in Joseph Ruben's Sleeping
OPPRESSION AGAINST WOMEN IN JOSEPH RUBEN’S SLEEPING WITH THE ENEMY MOVIE: A FEMINIST PERSPECTIVE RESEARCH PAPER Submitted as a Partial Fulfillment of the Requirements for Getting Bachelor Degree of Education in English Department by: YOGA MAHARDIKA A 320.040.350 SCHOOL OF TEACHER TRAINING AND EDUCATION MUHAMMADIYAH UNIVERSITY OF SURAKARTA 2009 1 CHAPTER I INTRODUCTION A. Background of the Study Sleeping with the Enemy movie was directed by Joseph Ruben and written by Nancy Price. This 99 minutes movie was released on February 8, 1991 by 20th Century Fox starring Julia Roberts. This movie won an award in BMI Film Music Award 1992 and was nominated for Saturn Award 1992 in four categories: Best Actress, Best Horror Film, Best Music, and Best Supporting Actor. Many authors pay attention to women’s oppression, one of them is Joseph Ruben. He was born on 10 May 1950, Briarcliff, New York, USA. As a director, he had directed several movies; The Forgotten (2004), Return to Paradise (1998), Money Train (1995), The Good Son (1993), Sleeping with the Enemy (1991), True Believer (1989), The Stepfather (1987), Dreamscape (1984), Gorp (1980), Our Winning Season (1978), Joyride (1977), The Pompom Girls (1976) and, The Sister-in-Law (1974). (http://www.imdb.com/name/nm0747849/) Sleeping with the Enemy tries to show the ordinary circumstances of recent women oppression, and the evasive action might provide a permanent solution. The plot challenges the oppressed woman to rise above her limitations as a person. She rises to the challenge and regains her self-respect. In this case the main character is Laura Burney, a woman who finds herself in 1 2 an abusive marriage. -
CHRIS SEAGER BSC - Director of Photography
McKinney Macartney Management Ltd CHRIS SEAGER BSC - Director of Photography THE ALIENIST Director: Paco Cabezas. Producer: Jamie Payne. Starring: Luke Evans, Dakota Fanning and Daniel Brühl. Anonymous Content / TNT. THE WHITE PRINCESS Director: Jamie Payne. Producer: Lachlan MacKinnon. Starring: Jodie Comer, Jacob Collins-Levy and Michelle Fairley. Company Pictures / Starz. GUILT (Series 1) Directors: Gary Fleder and Larry Shaw. Exec Producer: Todd Slavkin. Producer: Gideon Amir. Starring: Kevin Ryan, Rebekah Wainwright and Sam Cassidy. ABC. UNDERCOVER Director: James Hawes. Producer: Richard Stokes. Starring: Sophie Okonedo, Adrian Lester and Derek Riddell. BBC. GRANDFATHERED (Pilot) Director: Chris Koch. Executive Producers: Dan Fogelman and Daniel Chun. Producer: Justin McEwan. Starring: John Stamos, Paget Brewster, Josh Peck and Christina Milian. ABC / FOX. A KIND OF MURDER Director: Andy Goddard. Producers: David Hinojosa, Ted Hope, Vishal Rungta and Christine Vachon. Starring: Haley Bennett, Jessica Biel, Patrick Wilson and Eddie Marsan. Killer Films / Sierra Inifinity. Gable House, 18 – 24 Turnham Green Terrace, London W4 1QP Tel: 020 8995 4747 Fax: 020 8995 2414 E-mail: [email protected] www.mckinneymacartney.com VAT Reg. No: 685 1851 06 CHRIS SEAGER BSC Contd … 2 GALAVANT (Pilot & Series 1) Directors: Chris Koch, John Fortenberry and James Griffiths. Producers: Chris Koch and Helen Flint. Executive Producer: Dan Fogelman. Starring: Timothy Omundson, Joshua Sasse, Mallory Jansen, Karen David Hugh Bonneville, Ricky Gervais, Rutger Hauer and Vinnie Jones. ABC Studios. SET FIRE TO THE STARS Director: Andy Goddard. Producer: Andrew Riach. Executive Producer: Steve Clark-Hall. Starring: Elijah Wood, Celyn Jones, Shirley Henderson, Steven Mackintosh and Kelly Reilly. BAFTA Cymru Nomination 2015 – Best Photography & Lighting TYRANT (Pilot) Director: David Yates. -
Dependent Women and the Male Gaze in Fictional Domestic Violence Films
University of Hawai‘i at Hilo HOHONU 2015 Vol. 13 When focusing on films with subjects such Dependent Women and as women leaving situations of domestic abuse, the Male Gaze in Fictional these characters can stand out as inspirational role models, showing that it is possible to leave such dire Domestic Violence Films circumstances. However, women in male film genres, Jessica Akiona especially fictional accounts focused on domestic English 370 violence, rarely escape their tragic state on their own. Spring 2014 “They depend on men for education, help, fatherly advice, weapons instruction, and sensibility training” Films that act as catalysts for social change (Schubart 30). Sure, the women in these films are able and generators of compelling messages thrive within to overcome their abused condition, but only with the American media. Audiences enjoy watching heroes help of men. These films belittle the notion that women journey through various struggles and conquer people can triumph solely on their own, but rather state that or things that hinder the main characters from achieving women can only gain peace and security if a man helps their respective personal goals. One favored theme them. The male gaze thrives, for not only do the female within film is a woman who suffers from abuse inflicted characters receive help from men, but they also want by a male partner, while she prevails over her abused it. Furthermore, beautiful actresses typically play these state and does not let this misfortune destroy her life, but roles, existing as objects of desire and of the male gaze. rather lets it uplift her, resulting in more independence.