XXIV:7) Sidney Lumet, 12 ANGRY MEN (1957, 96 Min.)
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A Theory of Cinematic Selfhood & Practices of Neoliberal Portraiture
Cinema of the Self: A Theory of Cinematic Selfhood & Practices of Neoliberal Portraiture Milosz Paul Rosinski Trinity Hall, University of Cambridge June 2017 This dissertation is submitted for the degree of Doctor of Philosophy Declaration This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. The dissertation is formatted in accordance to the Modern Humanities Research Association (MHRA) style. This dissertation does not exceed the word limit of 80,000 words (as specified by the Modern and Medieval Languages Degree Committee). Summary This thesis examines the philosophical notion of selfhood in visual representation. I introduce the self as a modern and postmodern concept and argue that there is a loss of selfhood in contemporary culture. Via Jacques Derrida, Jean-Luc Nancy, Gerhard Richter and the method of deconstruction of language, I theorise selfhood through the figurative and literal analysis of duration, the frame, and the mirror. -
Samuels Is Seated As Sheriff; Speaks of Plans Hightower Outspending Republican Votes
; . l I .} 1 . I + " I I'~"'; [ ... I I 1 I' I ': ~.,' .. , 1 ;r.. 1986 Streets were Theyear in photos crowded for holidays SeePage7A SeePage2A ) .' j' ( I. : ' I i·- ". NO. 70 IN OUR 41ST YEAR 35c PER COpy F MONDAY, JANUARY 5, 1987 _RUIDOSO, NM 88345 Sheriff race cost the most by FRANKIE JARRELL votes and Wooldridge 1,351. News Staff Writer Following are the names of can didates, their party affiliation, the Candidates for county offices number of votes received, total ex spent well over $17,000 in cam penditures and total contributions paigns preceding last November's with the names of contributors not general election with would-be previously published listed. Offices sheriffs topping the list. are listed in ballot order and win AccordiIlg to financial reports fil ners are listed first among ed 30 days after the election, write candidates. in candidate Lerry Bond spent DISTRICT MAGISTRATE DIVI more than $3.85 each for the 994 SION I Yotes he garnered in the race for -Gerald Dean Jr., Democrat Uncoln County Sheriff. (D)-2,040 votes. Republican Sheriff Don Samuels' Expenditures: $1,130.85 2,085 votes cost him about 81 cents Contributions: $65. each while bis unsuccessful -Alfred Leroy Montes, Republican Democratic opponent, Jim (R)-1,976 Yotes. Nesmith, spent less than 50 cents Expenditures: $-1,054.51 per vote. Spending by all three Contributions: $800. sheriff candidates was close to '$6,000-. DlSlRlCI- MAGISTR.AXE-.. DIVI Bond reported $2,049.38 on the, SIOND 3O--day report, bringing his total -Jim Wheeler (R)-2,824 votes. -
FREE August 26-September 1, 2021 • Vol. 47, No. 5 Fall Guide
FREE August 26-September 1, 2021 • Vol. 47, No. 5 Fall Guide August 26-September 1, 2021 | Illinois Times | 1 2 | www.illinoistimes.com | August 26-September 1, 2021 NEWS Reaching rural residents Hospitals struggle with COVID-19 increases while many still refuse vaccines PUBLIC HEALTH | Rachel Otwell “We have individuals who get COVID and was at the Petersburg press conference and then ask if they can have a vaccine,” Dr. addressed the distrust along party lines. “This Rajesh Govindaiah told Illinois Times. He’s is controversial and it’s become unfortunately senior vice president and chief medical officer politicized,” he said. “People should be for Memorial Health System. “The vaccine vaccinated. I think those of us in public does not treat COVID. The vaccine prevents positions should be encouraging people you from getting COVID in the first place. to do that.” Butler said he’d prefer certain And if you get COVID, it makes you have decisions, like mask rules, be left up to local a milder illness.” For those already infected officials rather than the governor. Still, he said, with COVID-19, the vaccine is useless, “Vaccinations work, masks work.” because it takes time to build up immunity. Bilyeu said misinformation and fear might “My daughter’s going to in-person school. play into why some are hesitant about vaccines. I want her to go to in-person school for the For those who forgo vaccination, he said rest of the school year,” said Govindaiah. COVID-19 infection is a matter of when, not “In order for that to happen, we’re going if. -
The Ledger and Times, July 19, 1958
Murray State's Digital Commons The Ledger & Times Newspapers 7-19-1958 The Ledger and Times, July 19, 1958 The Ledger and Times Follow this and additional works at: https://digitalcommons.murraystate.edu/tlt Recommended Citation The Ledger and Times, "The Ledger and Times, July 19, 1958" (1958). The Ledger & Times. 3368. https://digitalcommons.murraystate.edu/tlt/3368 This Newspaper is brought to you for free and open access by the Newspapers at Murray State's Digital Commons. It has been accepted for inclusion in The Ledger & Times by an authorized administrator of Murray State's Digital Commons. For more information, please contact [email protected]. Selected As A Best All Round Kentucky Community Newspaper JULY 18, 195g First .. Largest Circulation In with The City Local News Largest 40 • and Circulation In Local PictureA The Comity IN OUR 79th YEAR Murra KN, Saturda Afternoon, 19 1958 MURRAY POPULATION 10,100 Vol. LXXIX No. 171 se natural carelessness United Press people. Long and ir- >ties of work are not in orderly check-ups of ints, and farm peegie to overlook little thiNs iger life and limb. A ard in the barn floor. UNICIPAL PARKING VOTED BY COUNCIL pa, rubbish left idly Hair Styling Show Pre-School Clinic e all booby traps of To Appear Present Location Of Beale Number land Number6 Not To Be Held Here U.S. Plane Is Scheduled The Devry's Beauty Supply A pre-school clinic will. be to 90 In New Directory."2-5" System Used Company will sponsor a hair held at the Hearth Department Home To Park 75 Cars styling show in Murray for N. -
100 Centre Street Takes Highdef to Court
I N T H I S I S S U E UP, Michigan! Shows the Spirit of 24P Jason C. Morgan produces independent feature shot in 24P HDTV – Then, Now and Tomorrow A brief history of HDTV’s progression and challenges N A B 2 0 0 1 100 Centre Street Takes HighDef to Court Sidney Lumet directs this rawly emotional dramatic series using multiple 24P cameras “The familiar look and feel of HDW-F900 HDCAM 24P CineAlta™ High Definition camcorder. The digital movie camera.* motion picture film are here.” — GEORGE LUCAS If you want to see a movie pro get future,” says Chuck Barbee, the We shot Star Wars: Episode II excited, ask George Lucas, Chuck director of photography. “The in 61 days in 5 countries in the Barbee, or Mike Figgis about Sony whole process was surprisingly Digital Electronic Cinematography. good. And compared to film, raw rain and desert heat averaging Each is using Sony tools to explore tape stock costs next to noth- new creative possibilities. 36 setups per day without a ing. This really lowers the cost “Star Wars: Episode II is our last giant of getting it in the can, which single camera problem. We have DVW-790WS Digital Betacam® camcorder. step toward Digital Cinema,” says means that more projects The gold standard found the picture quality of the in Widescreen George Lucas, describing his decision can get made.” Standard Definition. to shoot principal photography 24P Digital HD system to be with Panavision-modified Sony Mike Figgis challenges our most indistinguishable from film. HDCAM® 24P camcorders. -
Transcript Sidney Lumet
TRANSCRIPT A PINEWOOD DIALOGUE WITH SIDNEY LUMET Sidney Lumet’s critically acclaimed 2007 film Before the Devil Knows You’re Dead, a dark family comedy and crime drama, was the latest triumph in a remarkable career as a film director that began 50 years earlier with 12 Angry Men and includes such classics as Serpico, Dog Day Afternoon, and Network. This tribute evening included remarks by the three stars of Before the Devil Knows Your Dead, Ethan Hawke, Marissa Tomei, and Philip Seymour Hoffman, and a lively conversation with Lumet about his many collaborations with great actors and his approach to filmmaking. A Pinewood Dialogue with Sidney Lumet shooting, “I feel that there’s another film crew on moderated by Chief Curator David Schwartz the other side of town with the same script and a (October 25, 2007): different cast, and we’re trying to beat them.” (Laughter) “You know, trying to wrap the movie DAVID SCHWARTZ: (Applause) Thank you, and ahead of them. It’s like a race.” I remember welcome, everybody. Sidney Lumet, as I think all saying that “you know if this movie works, then of you know, has received a number of salutes I’m going to have to rethink my whole idea of and awards over the years that could be process, because I can not imagine that this will considered lifetime achievement awards—which work!” (Laughter) I’ve never seen such a might sometimes imply that they’re at the end of deliberate—I’m going to steal your words, Phil, their career. But that’s certainly far from the case, but—a focus of energy, and use of energy. -
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
Season 5 Article
N.B. IT IS RECOMMENDED THAT THE READER USE 2-PAGE VIEW (BOOK FORMAT WITH SCROLLING ENABLED) IN ACROBAT READER OR BROWSER. “EVEN’ING IT OUT – A NEW PERSPECTIVE ON THE LAST TWO YEARS OF “THE TWILIGHT ZONE” Television Series (minus ‘THE’)” A Study in Three Parts by Andrew Ramage © 2019, The Twilight Zone Museum. All rights reserved. Preface With some hesitation at CBS, Cayuga Productions continued Twilight Zone for what would be its last season, with a thirty-six episode pipeline – a larger count than had been seen since its first year. Producer Bert Granet, who began producing in the previous season, was soon replaced by William Froug as he moved on to other projects. The fifth season has always been considered the weakest and, as one reviewer stated, “undisputably the worst.” Harsh criticism. The lopsidedness of Seasons 4 and 5 – with a smattering of episodes that egregiously deviated from the TZ mold, made for a series much-changed from the one everyone had come to know. A possible reason for this was an abundance of rather disdainful or at least less-likeable characters. Most were simply too hard to warm up to, or at the very least, identify with. But it wasn’t just TZ that was changing. Television was no longer as new a medium. “It was a period of great ferment,” said George Clayton Johnson. By 1963, the idyllic world of the 1950s was disappearing by the day. More grittily realistic and reality-based TV shows were imminent, as per the viewing audience’s demand and it was only a matter of time before the curtain came down on the kinds of shows everyone grew to love in the 50s. -
Martin Balsam and the Refining of Male Character Acting in American Films, 1957-1976 John Thomas Mcguire, Siena College
Man In A Hat: Martin Balsam and the Refining of Male Character Acting in American Films, 1957-1976 John Thomas McGuire, Siena College [email protected] Volume 8. 1 (2020) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2020.235 | http://cinej.pitt.edu Abstract This article attempts a definition at what constitutes “character acting” in mainstream cinema in the United States and argues that throughout the peak of his film career—roughly, 1957 through 1976--Martin Balsam refined the definition of male character acting in American film, a parameter previously established by such skilled practitioners as Eugene Pallette and Claude Rains. Balsam did this through his ability to portray what can be termed “a man in a hat” portrayals: tartly humorous, reliable, and sometimes authoritative supporting characters, usually wearing a chapeau. This is clearly seen in such performances as the private investigator in Alfred Hitchcock’s Psycho (1960) and most interestingly, a partner in an unusual subway hijacking in Joseph Sargent’s The Taking of Pelham One, Two, Three (1974). Keywords: Character acting, male, in film, United States; Martin Balsam; Academy Award for Best Performance by a Supporting Actor; Claude Rains; Alfred Hitchcock; 20th Century film acting. New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press Man In A Hat: Martin Balsam1 and the Refining Of Male Character Acting in American Films, 1957-1976 John Thomas McGuire "I'll tell you; I still don't feel whatever change you're supposed to feel when your name goes up above the title. -
October 9, 2012 (XXV:6) David Miller, LONELY ARE the BRAVE (1962, 107 Min)
October 9, 2012 (XXV:6) David Miller, LONELY ARE THE BRAVE (1962, 107 min) Directed by David Miller Screenplay by Dalton Trumbo Based on the novel, The Brave Cowboy, by Edward Abbey Produced by Edward Lewis Original Music by Jerry Goldsmith Cinematography by Philip H. Lathrop Film Editing by Leon Barsha Art Direction by Alexander Golitzen and Robert Emmet Smith Set Decoration by George Milo Makeup by Larry Germain, Dave Grayson, and Bud Westmore Kirk Douglas…John W. "Jack" Burns Gena Rowlands…Jerry Bondi Walter Matthau…Sheriff Morey Johnson Michael Kane…Paul Bondi Carroll O'Connor…Hinton William Schallert…Harry George Kennedy…Deputy Sheriff Gutierrez Karl Swenson…Rev. Hoskins William Mims…First Deputy Arraigning Burns Martin Garralaga…Old Man Lalo Rios…Prisoner Bill Bixby…Airman in Helicopter Bill Raisch…One Arm Table Tennis, 1936 Let's Dance, 1935 A Sports Parade Subject: Crew DAVID MILLER (November 28, 1909, Paterson, New Jersey – April Racing, and 1935 Trained Hoofs. 14, 1992, Los Angeles, California) has 52 directing credits, among them 1981 “Goldie and the Boxer Go to Hollywood”, 1979 “Goldie DALTON TRUMBO (James Dalton Trumbo, December 9, 1905, and the Boxer”, 1979 “Love for Rent”, 1979 “The Best Place to Be”, Montrose, Colorado – September 10, 1976, Los Angeles, California) 1976 Bittersweet Love, 1973 Executive Action, 1969 Hail, Hero!, won best writing Oscars for The Brave One (1956) and Roman 1968 Hammerhead, 1963 Captain Newman, M.D., 1962 Lonely Are Holiday (1953). He was blacklisted for many years and, until Kirk the Brave, 1961 Back Street, 1960 Midnight Lace, 1959 Happy Douglas insisted he be given screen credit for Spartacus was often to Anniversary, 1957 The Story of Esther Costello, 1956 Diane, 1951 write under a pseudonym. -
Jewish Experience on Film an American Overview
Jewish Experience on Film An American Overview by JOEL ROSENBERG ± OR ONE FAMILIAR WITH THE long history of Jewish sacred texts, it is fair to characterize film as the quintessential profane text. Being tied as it is to the life of industrial science and production, it is the first truly posttraditional art medium — a creature of gears and bolts, of lenses and transparencies, of drives and brakes and projected light, a creature whose life substance is spreadshot onto a vast ocean of screen to display another kind of life entirely: the images of human beings; stories; purported history; myth; philosophy; social conflict; politics; love; war; belief. Movies seem to take place in a domain between matter and spirit, but are, in a sense, dependent on both. Like the Golem — the artificial anthropoid of Jewish folklore, a creature always yearning to rise or reach out beyond its own materiality — film is a machine truly made in the human image: a late-born child of human culture that manifests an inherently stubborn and rebellious nature. It is a being that has suffered, as it were, all the neuroses of its mostly 20th-century rise and flourishing and has shared in all the century's treach- eries. It is in this context above all that we must consider the problematic subject of Jewish experience on film. In academic research, the field of film studies has now blossomed into a richly elaborate body of criticism and theory, although its reigning schools of thought — at present, heavily influenced by Marxism, Lacanian psycho- analysis, and various flavors of deconstruction — have often preferred the fashionable habit of reasoning by decree in place of genuine observation and analysis. -
Filming the End of the Holocaust War, Culture and Society
Filming the End of the Holocaust War, Culture and Society Series Editor: Stephen McVeigh, Associate Professor, Swansea University, UK Editorial Board: Paul Preston LSE, UK Joanna Bourke Birkbeck, University of London, UK Debra Kelly University of Westminster, UK Patricia Rae Queen’s University, Ontario, Canada James J. Weingartner Southern Illimois University, USA (Emeritus) Kurt Piehler Florida State University, USA Ian Scott University of Manchester, UK War, Culture and Society is a multi- and interdisciplinary series which encourages the parallel and complementary military, historical and sociocultural investigation of 20th- and 21st-century war and conflict. Published: The British Imperial Army in the Middle East, James Kitchen (2014) The Testimonies of Indian Soldiers and the Two World Wars, Gajendra Singh (2014) South Africa’s “Border War,” Gary Baines (2014) Forthcoming: Cultural Responses to Occupation in Japan, Adam Broinowski (2015) 9/11 and the American Western, Stephen McVeigh (2015) Jewish Volunteers, the International Brigades and the Spanish Civil War, Gerben Zaagsma (2015) Military Law, the State, and Citizenship in the Modern Age, Gerard Oram (2015) The Japanese Comfort Women and Sexual Slavery During the China and Pacific Wars, Caroline Norma (2015) The Lost Cause of the Confederacy and American Civil War Memory, David J. Anderson (2015) Filming the End of the Holocaust Allied Documentaries, Nuremberg and the Liberation of the Concentration Camps John J. Michalczyk Bloomsbury Academic An Imprint of Bloomsbury Publishing Plc LONDON • OXFORD • NEW YORK • NEW DELHI • SYDNEY Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2014 Paperback edition fi rst published 2016 © John J.