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Tese De Charles Ponte
UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ESTUDOS DA LINGUAGEM CHARLES ALBUQUERQUE PONTE INDÚSTRIA CULTURAL, REPETIÇÃO E TOTALIZAÇÃO NA TRILOGIA PÂNICO Tese apresentada ao Instituto de Estudos da Linguagem, da Universidade Estadual de Campinas, para obtenção do Título de Doutor em Teoria e História Literária, na área de concentração de Literatura e Outras Produções Culturais. Orientador: Prof. Dr. Fabio Akcelrud Durão CAMPINAS 2011 i FICHA CATALOGRÁFICA ELABORADA POR CRISLLENE QUEIROZ CUSTODIO – CRB8/8624 - BIBLIOTECA DO INSTITUTO DE ESTUDOS DA LINGUAGEM - UNICAMP Ponte, Charles, 1976- P777i Indústria cultural, repetição e totalização na trilogia Pânico / Charles Albuquerque Ponte. -- Campinas, SP : [s.n.], 2011. Orientador : Fabio Akcelrud Durão. Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem. 1. Craven, Wes. Pânico - Crítica e interpretação. 2. Indústria cultural. 3. Repetição no cinema. 4. Filmes de horror. I. Durão, Fábio Akcelrud, 1969-. II. Universidade Estadual de Campinas. Instituto de Estudos da Linguagem. III. Título. Informações para Biblioteca Digital Título em inglês: Culture industry, repetition and totalization in the Scream trilogy. Palavras-chave em inglês: Craven, Wes. Scream - Criticism and interpretation Culture industry Repetition in motion pictures Horror films Área de concentração: Literatura e Outras Produções Culturais. Titulação: Doutor em Teoria e História Literária. Banca examinadora: Fabio Akcelrud Durão [Orientador] Lourdes Bernardes Gonçalves Marcio Renato Pinheiro -
Rambo: Last Blood Production Notes
RAMBO: LAST BLOOD PRODUCTION NOTES RAMBO: LAST BLOOD LIONSGATE Official Site: Rambo.movie Publicity Materials: https://www.lionsgatepublicity.com/theatrical/rambo-last-blood Facebook: https://www.facebook.com/Rambo/ Twitter: https://twitter.com/RamboMovie Instagram: https://www.instagram.com/rambomovie/ Hashtag: #Rambo Genre: Action Rating: R for strong graphic violence, grisly images, drug use and language U.S. Release Date: September 20, 2019 Running Time: 89 minutes Cast: Sylvester Stallone, Paz Vega, Sergio Peris-Mencheta, Adriana Barraza, Yvette Monreal, Genie Kim aka Yenah Han, Joaquin Cosio, and Oscar Jaenada Directed by: Adrian Grunberg Screenplay by: Matthew Cirulnick & Sylvester Stallone Story by: Dan Gordon and Sylvester Stallone Based on: The Character created by David Morrell Produced by: Avi Lerner, Kevin King Templeton, Yariv Lerner, Les Weldon SYNOPSIS: Almost four decades after he drew first blood, Sylvester Stallone is back as one of the greatest action heroes of all time, John Rambo. Now, Rambo must confront his past and unearth his ruthless combat skills to exact revenge in a final mission. A deadly journey of vengeance, RAMBO: LAST BLOOD marks the last chapter of the legendary series. Lionsgate presents, in association with Balboa Productions, Dadi Film (HK) Ltd. and Millennium Media, a Millennium Media, Balboa Productions and Templeton Media production, in association with Campbell Grobman Films. FRANCHISE SYNOPSIS: Since its debut nearly four decades ago, the Rambo series starring Sylvester Stallone has become one of the most iconic action-movie franchises of all time. An ex-Green Beret haunted by memories of Vietnam, the legendary fighting machine known as Rambo has freed POWs, rescued his commanding officer from the Soviets, and liberated missionaries in Myanmar. -
Jihadism: Online Discourses and Representations
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 1 Studying Jihadism 2 3 4 5 6 Volume 2 7 8 9 10 11 Edited by Rüdiger Lohlker 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 The volumes of this series are peer-reviewed. 37 38 Editorial Board: Farhad Khosrokhavar (Paris), Hans Kippenberg 39 (Erfurt), Alex P. Schmid (Vienna), Roberto Tottoli (Naples) 40 41 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 1 Rüdiger Lohlker (ed.) 2 3 4 5 6 7 Jihadism: Online Discourses and 8 9 Representations 10 11 12 13 14 15 16 17 With many figures 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 & 37 V R unipress 38 39 Vienna University Press 40 41 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; 24 detailed bibliographic data are available online: http://dnb.d-nb.de. -
First Blood Redrawn Don Kunz
Vietnam Generation Volume 1 Number 1 The Future of the Past: Revisionism and Article 7 Vietnam 1-1989 First Blood Redrawn Don Kunz Follow this and additional works at: http://digitalcommons.lasalle.edu/vietnamgeneration Part of the American Studies Commons Recommended Citation Kunz, Don (1989) "First Blood Redrawn," Vietnam Generation: Vol. 1 : No. 1 , Article 7. Available at: http://digitalcommons.lasalle.edu/vietnamgeneration/vol1/iss1/7 This Article is brought to you for free and open access by La Salle University Digital Commons. It has been accepted for inclusion in Vietnam Generation by an authorized editor of La Salle University Digital Commons. For more information, please contact [email protected]. First Blood RecIrawn Don Kunz Nearly everyone speaking or writing about America's Vietnam soldier eventually feels compelled to mention Rambo. As David Morrell notes with pride, the name of the character he created in his novel. First Blood, has entered our nation's household vocabulary1. It resembles in this case the title of Joseph Heller's World War 2 novel. Catch 22. and the macho movie-star name of Marion Robert Morrison — John Wayne. There is more at stake in the popular adoption of those terms than a simple enlargement of the dictionary. The evolution of Rambo from character to icon illustrates the fictionalizing process by which history is accommodated to myth. Rambo is an ambiguous and contradictory epithet, its meaning shifting as a result of an elaborate revision process still underway. Morrell's protagonist has been appropriated variously as a symbol of American patriotism, mindless savagery, the frontier hero, and Frankenstein's monster. -
Teaching Social Issues with Film
Teaching Social Issues with Film Teaching Social Issues with Film William Benedict Russell III University of Central Florida INFORMATION AGE PUBLISHING, INC. Charlotte, NC • www.infoagepub.com Library of Congress Cataloging-in-Publication Data Russell, William B. Teaching social issues with film / William Benedict Russell. p. cm. Includes bibliographical references and index. ISBN 978-1-60752-116-7 (pbk.) -- ISBN 978-1-60752-117-4 (hardcover) 1. Social sciences--Study and teaching (Secondary)--Audio-visual aids. 2. Social sciences--Study and teaching (Secondary)--Research. 3. Motion pictures in education. I. Title. H62.2.R86 2009 361.0071’2--dc22 2009024393 Copyright © 2009 Information Age Publishing Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher. Printed in the United States of America Contents Preface and Overview .......................................................................xiii Acknowledgments ............................................................................. xvii 1 Teaching with Film ................................................................................ 1 The Russell Model for Using Film ..................................................... 2 2 Legal Issues ............................................................................................ 7 3 Teaching Social Issues with Film -
Shorter Communications Video Night in Nuku'alofa
SHORTER COMMUNICATIONS VIDEO NIGHT IN NUKU‘ALOFA: DISJUNCTURE AND DIFFERENCE ON TONGAN SCREENS SARINA PEARSON The University of Auckland On June 27th 2004, “Bollywood” became “Pollywood” when a team made up almost entirely of Polynesian girls won an Indian dance competition held for Auckland secondary school students. Their performance drew not upon classical forms of Indian dance but reflected the popular tastes of the Indian diaspora living in New Zealand, including Fiji Indians, long established Kiwi Indians and more recent professional migrants. The Tangaroa College girls won the contest on the strength of a Bollywood-inspired number. While the win seemed to surprise and amuse Indian journalists, the appeal of Bollywood films among Pacific Island communities and in their island homelands has been a relatively open secret. Despite widespread popular recognition that many Pacific communities are avid Hindi cinema fans, a cursory review of regional journals confirms that its influence in the Pacific is a phenomenon that has attracted relatively little attention among scholars. This oversight might be partially accounted for in terms of how anthropologists working in the region have historically constructed Pacific communities as objects of study and islands as sites of research. These constructions have tended to privilege indigenous communities over non-indigenous communities. In accordance with established methods of ethnographic methodology anthropologists have typically focused intensively upon single or unitary sites for observation and participation. Additionally, transnational media pose particularly thorny and vexed methodological problems for anthropologists accustomed to less mobile, transitory and potentially idiosyncratic cultural formations. Marcus (1995) suggests that one response to these conceptual and methodological challenges has been for research about transnational cultural formations to progressively migrate out of disciplines such as anthropology into interdisciplinary (or as he suggests “anti-disciplinary”) fields such as media studies. -
Season Paul Rudd Talks Ant-Man and the Wasp
JULY 2018 | VOLUME 19 | NUMBER 6 Inside HENRY CAVILL NEVE CAMPBELL ANTOINE FUQUA BUG SEASON PAUL RUDD TALKS ANT-MAN AND THE WASP PUBLICATIONS MAIL AGREEMENT NO. 41619533 10 FUN FACTS ABOUT MAMMA MIA! HERE WE GO AGAIN, PAGE 24 CONTENTS JULY 2018 | VOL 19 | Nº6 COVER STORY 36 SUPERBUGS Feeling down after the events of Avengers: Infinity War? Paul Rudd, a.k.a. Ant-Man, LILLY. RUDD AND ’S EVANGELINE PAUL is here to lighten the load as he talks about his sequel, Ant-Man and the Wasp, which takes place before Infinity War. The affable actor keeps quiet PHOTO BY MICHAEL MULLER/MARCO GROB/©MARVEL STUDIOS PHOTO on the movie’s plot but opens AND THE ANT-MAN WASP up about working with co-star Evangeline Lilly and what makes Ant-Man so darn likable BY INGRID RANDOJA ON THE COVER: REGULARS 4 EDITOR’S NOTE 6 SNAPS 8 IN BRIEF 12 SPOTLIGHT CANADA 14 ALL DRESSED UP 16 IN THEATRES 40 CASTING CALL 44 RETURN ENGAGEMENT 46 CINEPLEX STORE 50 FINALLY… FEATURES 24 MORE 26 ON A MISSION 28 GOING UP 32 JUSTICE SERVED MAMMA MIA! Henry Cavill tells us about Skyscraper star Neve Campbell The Equalizer 2 director We count down 10 fascinating Mission: Impossible - Fallout says being a former dancer Antoine Fuqua talks about facts that set the stage for this and explains why doing stunts helped when it came to dealing with violence both month’s ABBA-riffic sequel on a Tom Cruise pic is such performing stunts in the on screen and in the real Mamma Mia! Here We Go Again good, scary fun Dwayne Johnson action pic communities where he films BY MARNI WEISZ BY MELISSA SHEASGREEN BY INGRID RANDOJA BY MARNI WEISZ JULY 2018 | CINEPLEX MAGAZINE | 3 EDITOR’S NOTE PUBLISHER SALAH BACHIR EDITOR MARNI WEISZ DEPUTY EDITOR INGRID RANDOJA CREATIVE DIRECTOR LUCINDA WALLACE GRAPHIC DESIGNER DARRYL MABEY VICE PRESIDENT, PRODUCTION SHEILA GREGORY CONTRIBUTORS MELISSA SHEASGREEN ADVERTISING SALES FOR CINEPLEX MAGAZINE IS HANDLED BY CINEPLEX MEDIA. -
HBO Documentary Explores Evolution of Gang Culture
HBO Documentary Explores Evolution of Gang Culture Written by Robert ID3265 Monday, 29 January 2007 05:04 - HBO Documentary ‘Bastards of the Party’ February 6th Raised in the Athens Park neighborhood of Los Angeles, Cle "Bone" Sloan was four years old when his father died, and 12 when he became a member of the Bloods. Now an inactive member of the notorious gang, Sloan looks back at the history of black gangs in his city and makes a powerful call for change in modern gang culture when his insightful documentary ‘BASTARDS OF THE PARTY’. Acclaimed feature film director Antoine Fuqua ("Training Day") produces along with Sloan, who also directs. Haunted by his involvement in the Bloods'' pervasive culture of violence, Sloan wanted to explore where it all began. In researching the subject, he discovered that the roots of black gangs were nurtured within a distinct political landscape. BASTARDS OF THE PARTY traces the development of black gangs in Los Angeles from the late 1940s, through the charged atmosphere of the ''60s and ''70s, to the breakdown of community in the ''80s and ''90s, and the brief truce between the Crips and Bloods that followed the Rodney King riots in 1992. Among the gangs that figure in the story are the Spook- hunters, Farmers, Slauscons, Businessmen and Gladiators. The documentary features interviews with past and current gang members from the Bloods and Crips; LA historian Mike Davis, whose book "City of Quartz" sparked Sloan's own project; former FBI agent Wes Swearingen; and Geronimo Pratt, the former Black Panther Party minister of defense, among others. -
00:00:00 Dan Host on This Episode We Discuss—Rambo: Last Blood! 00
00:00:00 Dan Host On this episode we discuss—Rambo: Last Blood! 00:00:05 Elliott Host The series that once again proves that all you need is a sufficiently angry and armed American to solve any foreign country’s problems. 00:00:12 Music Music Light, up-tempo, electric guitar with synth instruments. 00:00:39 Dan Host Hey, everyone, and welcome to The Flop House! I’m Dan McCoy. 00:00:42 Stuart Host Oh, hey, everyone! It’s me, Stuart Wellington! 00:00:45 Elliott Host And coming to ya live from Los Strangeles, Hollyweird— [Stuart laughs.] —it’s Elliott Kalan! But we’ve got a special guest with us today. Don’t we, Daniel? 00:00:54 Dan Host Yes, we do! You know him as, uh, one of the directors of American Pie—uncredited, as IMDB says— [Laughs.] [Elliott laughs.] As the director of About a Boy! One of the writers of, uh, Rogue One: A Star Wars Story; but most, uh, Flop House listeners will know him as, uh, the man behind the Twilight Saga New Moon! Which led him to us today. [Laughs.] 00:01:17 Stuart Host Led him to our [though laughter] doorstep! [Chris laughs.] 00:01:19 Dan Host Yeah. 00:01:19 Chris Guest You guys left out the colon, uh, but that’s okay. It’s Twilight Saga— colon—New Moon. And guys, uh, I just want to say to all the listeners—welcome to the special three-hour debate episode in which— [Multiple people laugh.] —I defend New Moon point-by-point. -
Through FILMS 70 Years of European History Through Films Is a Product in Erasmus+ Project „70 Years of European History 1945-2015”
through FILMS 70 years of European History through films is a product in Erasmus+ project „70 years of European History 1945-2015”. It was prepared by the teachers and students involved in the project – from: Greece, Czech Republic, Italy, Poland, Portugal, Romania, Spain, Turkey. It’ll be a teaching aid and the source of information about the recent European history. A DANGEROUS METHOD (2011) Director: David Cronenberg Writers: Christopher Hampton, Christopher Hampton Stars: Michael Fassbender, Keira Knightley, Viggo Mortensen Country: UK | GE | Canada | CH Genres: Biography | Drama | Romance | Thriller Trailer In the early twentieth century, Zurich-based Carl Jung is a follower in the new theories of psychoanalysis of Vienna-based Sigmund Freud, who states that all psychological problems are rooted in sex. Jung uses those theories for the first time as part of his treatment of Sabina Spielrein, a young Russian woman bro- ught to his care. She is obviously troubled despite her assertions that she is not crazy. Jung is able to uncover the reasons for Sa- bina’s psychological problems, she who is an aspiring physician herself. In this latter role, Jung employs her to work in his own research, which often includes him and his wife Emma as test subjects. Jung is eventually able to meet Freud himself, they, ba- sed on their enthusiasm, who develop a friendship driven by the- ir lengthy philosophical discussions on psychoanalysis. Actions by Jung based on his discussions with another patient, a fellow psychoanalyst named Otto Gross, lead to fundamental chan- ges in Jung’s relationships with Freud, Sabina and Emma. -