DOCSLIB.ORG

A Corpus-Based Approach to the Language of Audio

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Corpus-Based Approach to the Language of Audio UNIVERSITÀ DEGLI STUDI DI NAPOLI FEDERICO II FACOLTÀ DI SCIENZE POLITICHE DIPARTIMENTO DI TEORIE E METODI DELLE SCIENZE UMANE E SOCIALI SCUOLA DI DOTTORATO IN SCIENZE PSICOLOGICHE, PEDAGOGICHE E LINGUISTICHE DOTTORATO DI RICERCA IN LINGUA INGLESE PER SCOPI SPECIALI XXIII CICLO TESI DI DOTTORATO The Language of Filmic Audio Description: a Corpus-Based Analysis of Adjectives CANDIDATA dott.ssa Saveria Arma RELATORE COORDINATORE Prof.ssa Giuditta Caliendo Prof.ssa Gabriella Di Martino NAPOLI 2011 1 The language of filmic audio description. A corpus-based analysis of adjectives Acknowledgements 7 Introduction 10 1 Introduction to audio description 15 1.1 For a definition of audio description 15 1.2 What can be audio described? 24 1.3 How is audio description produced? 25 1.3.1 The audio description process 25 1.3.2 Special guidelines for special genres 28 1.4 What should audio description describe? 33 1.5 Short story of audio description in Europe 40 1.6 Research on audio description: the state of the art 53 1.7 Technical delivery of audio description 71 1.8 Norms and legislation: the European Union framework 84 2 The target audience. Blindness and visual impairment 94 2 2.1 Blindness and visual impairment 94 2.2 Facts and figures about blindness 98 2.3 Blindness as a gender-related concern and costs of blindness 103 2.4 How the human eye works 106 2.5 Blindness-related eye pathologies 107 2.6 The development of visually impaired people 117 2.7 Facilitating knowledge acquisition for visually impaired people 121 2.8 Facilitating access to culture for the visually impaired 125 3 Audio description as a research topic 132 3.1 For a categorization of audio description against a translation background 132 3.2 Audio description from a functional approach to translation 141 3.3 Audio description within the framework of ESP 152 3.4 Audio description from the perspective of visual literacy 168 3.5 Audio description between narration and description 179 3.6 Audio description from a didactic perspective 184 3.6.1 Audio description as a tool for literacy 185 3 3.6.2 Audio description in foreign language or translation courses 191 3.6.3 Audio description in academic contexts: designing a course in audio description 198 4 Audio description from a filmic perspective 205 4.1 Cinema from a semiotic perspective 206 4.1.1 Signified and signifiers 209 4.1.2 Signs 210 4.1.3 Codes 213 4.1.3.1 Basic technological codes 215 4.1.3.2 Visual codes 216 4.1.3.3 Graphic codes 222 4.1.3.4 Acoustic codes 223 4.1.3.5 Syntactical codes 225 4.1.4 The level of representation 226 4.2 On the interrelation of hearing and sight in films 230 4.3 Linguistic acts in films and audiodescribed films 236 4.4 Audio description and Narratology 238 5 A corpus-based study of adjectives in audio description 250 4 5.1 The language of audio description in guidelines 250 5.2 The language of audio description as a research topic 257 5.3 Audio description between spoken and written language 267 5.4 Research questions and objectives 280 5.5 Corpus analysis 286 5.5.1 Corpus collection and description 286 5.5.2 Methodology of analysis 328 5.5.3 Analysis of the corpus 338 5.5.3.1 Corpus-based analysis of adjectives 340 5.5.3.1.1 Adjectives as a part of speech 340 5.5.3.1.2 Adjectival list and classification in the AD corpus 346 5.5.3.1.3 Attributive adjectives in the AD corpus 361 5.5.3.1.4 Predicative adjectives in the AD corpus 373 5.5.3.1.5 Comparing the corpus with the BNC 383 5.5.3.1.6 „Unknown‟ adjectives and compound adjectives 406 5.5.3.1.7 Sequences of adjectives 413 5.5.3.1.8 Comparative and superlative adjectives 428 5.5.3.2 Comparing through similes 438 5.6 Conclusions 459 Conclusions 463 5 Bibliography 482 Sitography 517 Filmography 525 Annex 1 527 6 Acknowledgments It was May 2007 when I attended the MuTra Conference in Vienna. I had just finished presenting a paper on real time reporting at the Italian Parliament, and I had left the room for a short break. I remember I was curiously attracted by another room, where I thought I could have a bit of rest. When I entered that room, it was love at the first sight. Joel Snyder, one of the most renowned audio describers globally, was holding a seminar on audio description. At that time, I had almost no idea of what audio description was about. But I felt audio description was one of the most exciting things I had ever seen and heard in my life. I felt it was some kind of missing link in my life. I had no doubt I should start working on audio description. Joel is the first person I shall thank for sharing his passion so truly and so authentically with students and professionals worldwide. However passion and love were may be not sufficient for a PhD thesis, as I was looking for AD scripts to analyze. One year later, in Barcelona, I met Andrew Salway, whom I had contacted by email some months before, and he encouraged me to keep on researching and writing. But above all, he allowed to me to access the greatest corpus of audio description scripts ever. My warmest thanks to Andrew, because this thesis would not have been written without his collaboration, his comments and help. I understood that carrying out a corpus-based analysis, however, was not just a matter of corpus. Actually, a corpus-analysis required more and more skills. Professor Silvia Bernardini has not only provided me with comments and deeper insights into the matter, both day and night, but has encouraged me to do more, and had definitely been a real „guide‟ through corpus analysis tools, to which this thesis owes a great deal. I also have to say thank you to my tutor, Professor Giuditta Caliendo, for believing in this project and in the innovative value of audio description. Thank you for providing many stimulating ideas and comments. My thanks to Professors Gabriella di Martino, Vanda Polese and Cristina Pennarola for understanding that a PhD is much more than a thesis and for supporting me so warmly over the last year. I have to say a big thank you to Alex Polidoro, who has revised the language of this thesis and has worked day and night to help me. Maybe it could be enough, but it is not. These four years were maybe the most difficult years of my life so far and there are some people whom I would not thank at all. But as soon as I started working on audio description, I felt I should make it more than a topic to investigate. I started audio describing theatre performances and some films, one of the greatest 7 experiences ever. I will do my best to keep on audio describing and helping audio description being used in Italy more and more over the next years. My warmest thanks go to all the blind people that I have met and to all those that have helped me in my accessibility projects. In particular, I have to thank Roberto Ellero who has generously shared his knowledge on audio description and web accessibility. I have to thank my parents and my sisters and above all, my little sweet daughter Rossella, who has definitely got acquainted with audio description and subtitling before the age of four and has always been there with the warmest embrace. 8 Perhaps only in a world of the blind will things be what they truly are. (Josè Saramago, Blindness) 9 Introduction Audio description is a relatively new technique aimed at enhancing the accessibility of different types of audiovisual products primarily to the blind and the visually impaired, using a pre-recorded or live audio track which is inserted into non-meaningful pauses within dialogues in order to „translate‟ into words the visual elements otherwise only accessible to sighted users. Giving the translational inspiration of audio description, in recent times it has attracted scholars from various disciplines (Braun 2007; Orero 2005; Vercauteren 2007), namely Translation, Interpreting and Film Studies. It has started to be taught as an academic discipline in language and translation- related faculties in a few countries (such as the UK, Spain and Belgium). However, the discussion on the position of audio description vis-à-vis Translation Studies and Audiovisual Translation is still ongoing (Braun 2007; Gambier 2004; Hernàndez and Mendiluce 2004; Hyks 2005; Orero 2005). On a more practical side, ITC guidelines (ITC 2000) are rated among the main references for all audio description professionals, both in the UK and abroad, but the applicability of some recommendations - especially with regard to objectivity, linguistic choices and selection of relevant information - is still under discussion (Benecke 2007; Braun 2007; Snyder 2008). Indeed, if a number of articles and presentations have dealt so far with controversial issues in audio description (Braun 2007; Bourne and Jiménez Hurtado 2007; 10 Matamala and Rami 2009), only few research works have been conducted on corpora to find more extensive evidence of the characteristics of the language of audio description (Piety 2004; Salway 2007). In particular, a project called TIWO (Television in Words) has recently analyzed 91 film scripts paving the way for a definition of audio description language as a Language for Special Purposes, given the regular presence of highly statistically evident idiosyncrasies as well as of grammatical and semantic patterns which are rather unusual in general language.
Load more

Recommended publications
  • Executive Producer)
    PRODUCTION BIOGRAPHIES STEVEN SODERBERGH (Executive Producer) Steven Soderbergh has produced or executive-produced a wide range of projects, most recently Gregory Jacobs' Magic Mike XXL, as well as his own series "The Knick" on Cinemax, and the current Amazon Studios series "Red Oaks." Previously, he produced or executive-produced Jacobs' films Wind Chill and Criminal; Laura Poitras' Citizenfour; Marina Zenovich's Roman Polanski: Odd Man Out, Roman Polanski: Wanted and Desired, and Who Is Bernard Tapie?; Lynne Ramsay's We Need to Talk About Kevin; the HBO documentary His Way, directed by Douglas McGrath; Lodge Kerrigan's Rebecca H. (Return to the Dogs) and Keane; Brian Koppelman and David Levien's Solitary Man; Todd Haynes' I'm Not There and Far From Heaven; Tony Gilroy's Michael Clayton; George Clooney's Good Night and Good Luck and Confessions of a Dangerous Mind; Scott Z. Burns' Pu-239; Richard Linklater's A Scanner Darkly; Rob Reiner's Rumor Has It...; Stephen Gaghan'sSyriana; John Maybury's The Jacket; Christopher Nolan's Insomnia; Godfrey Reggio's Naqoyqatsi; Anthony and Joseph Russo's Welcome to Collinwood; Gary Ross' Pleasantville; and Greg Mottola's The Daytrippers. LODGE KERRIGAN (Co-Creator, Executive Producer, Writer, Director) Co-Creators and Executive Producers Lodge Kerrigan and Amy Seimetz wrote and directed all 13 episodes of “The Girlfriend Experience.” Prior to “The Girlfriend Experience,” Kerrigan wrote and directed the features Rebecca H. (Return to the Dogs), Keane, Claire Dolan and Clean, Shaven. His directorial credits also include episodes of “The Killing” (AMC / Netflix), “The Americans” (FX), “Bates Motel” (A&E) and “Homeland” (Showtime).
    [Show full text]
  • Paratracks in the Digital Age: Bonus Material As Bogus Material in Blood Simple (Joel and Ethan
    Warning Concerning Copyright Restrictions The Copyright Law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be used for any purpose other than private study, scholarship, or research. If electronic transmission of reserve material is used for purposes in excess of what constitutes "fair use," that user may be liable for copyright infringement. Werner Huber, Evelyne Keitel, Gunter SO~ (eds.) - I lntermedialities ~ Wissenschaftlicher Verlag Trier Aeier Feb. Paratracks in the Digital Age: Bonus Material as Bogus Material in Blood Simple (Joel and Ethan 919. Coen, 1984/2001) Eckart Voigts-Virchow Introducing the Paratrack: The DVD Audio Commentary ' In the past few years, the DVD has wreaked havoc in the cinema. Just like the video cassette and the laser disc, it serves the movie industry as an ancillary market for theatrical releases - but worries about illegal copying abound. Consumers are as likely to encounter movies in the cinema and on television as in the comfort of their home on Digital Versatile Disk (DVD), which has virtually replaced the VCR tape. The ris zu appearance of the DVD has re-structured the apparatus of film/video and has gene­ 160- rated an increasing number of varied paratextual traces that bring film closer to Gerard Genette's model of the paratext - the printed codex or book. The practice of attaching audio commentaries to movies had already begun with the laser disc.
    [Show full text]
  • Romantic Villages of Alpine Europe 2017
    ® ® Romantic Villages of Alpine Europe 2017 EXTEND YOUR TRIP Lake Como & Milan, Italy Munich, Germany & Salzburg, Austria Your Travel Handbook CONTENTS Passport, Visas & Travel Documents ......... 3 Climate ........................................ 21 Your Passport .................................. 3 No Visas Required .............................. 3 About Your Destinations ..................... 24 Trusted Traveler Programs ..................... 4 ........................ 24 Emergency Photocopies of Key Documents ..... 4 Your Program Director ............................. 26 Overseas Taxes & Fees ......................... 4 Interlaken in Brief Seefeld in Brief ................................ 26 Stresa in Brief ................................. 27 Health .......................................... 5 Lake Como in Brief ............................ 27 Keep Your Abilities In Mind ..................... 5 Milan in Brief .................................. 27 Health Check .................................. 5 Munich in Brief . .27 No Vaccines Required ....................... 6 Salzburg in Brief............................... 29 Staying Healthy on Your Trip .................... 6 Shopping ..................................... 29 U.S. Customs Regulations & Shipping Charges ................................... 31 Money Matters ................................. 8 Top Three Tips ................................. 8 Demographics & Background................ 32 Local Currency ................................. 8 How to Exchange Money ....................
    [Show full text]
  • How Superman Developed Into a Jesus Figure
    HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE CRISIS ON INFINITE TEXTS: HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE By ROBERT REVINGTON, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts McMaster University © Copyright by Robert Revington, September 2018 MA Thesis—Robert Revington; McMaster University, Religious Studies McMaster University MASTER OF ARTS (2018) Hamilton, Ontario, Religious Studies TITLE: Crisis on Infinite Texts: How Superman Developed into a Jesus Figure AUTHOR: Robert Revington, B.A., M.A (McMaster University) SUPERVISOR: Professor Travis Kroeker NUMBER OF PAGES: vi, 143 ii MA Thesis—Robert Revington; McMaster University, Religious Studies LAY ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. It argues that this connection was not integral to the character as he was originally created, but was imposed by later writers over time and mainly for cinematic adaptations. This thesis also tracks the history of how Christians and churches viewed Superman, as the film studios began to exploit marketing opportunities by comparing Superman and Jesus. This thesis uses the methodological framework of intertextuality to ground its treatment of the sources, but does not follow all of the assumptions of intertextual theorists. iii MA Thesis—Robert Revington; McMaster University, Religious Studies ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. Superman was created in 1938, but the character developed significantly from his earliest incarnations.
    [Show full text]
  • Smart Cinema, DVD Add-Ons and the Re-Educated Viewer
    MIT Conference May 13-15th 2011. Unstable Platforms: The Promise and Peril of Transition ‘Teaching Smart Cinema: DVD Add-ons and New Audience Pleasures’ Pat Brereton © [Extracts from ‘Cinema in Transformation: Smart Cinema, DVD Add-ons and New Audience Pleasures’ Palgrave Press 2011/2] Many scholars categorize new digital films, using concepts ranging from database narratives (Manovich), forking path narratives (Bordwell), multiple draft narratives (Branigan and Bordwell), twist films (Wilson 2006), complex narratives (Staiger, 2006), modular narratives (Cameron, 2006), puzzle films (Buckland, 2009) including Elsaesser‟s mind-games taxonomy. All of these terms help to flesh out this study‟s exploration of smart cinema, alongside new forms of digital film making and contemporary audience consumption. The term „Smart cinema‟ acquired popular currency in academic circles in the late 1990s. The most coherent explanation has been put forward by Jeffrey Sconce‟s essay (Screen 2002), who argues that smart films reflect the presence of a growing „culture of irony‟ and parody. Its intended audience is apparently the disillusioned yet highly educated new generation who display a form of ironic contempt and emotional distancing from their surroundings and socio-cultural existence. Smart movies like Donnie Darko broadly encapsulate what have been described as reflexive and playful postmodern texts, which in turn are augmented by the specific attributes of new digital media. These new attributes draw upon technological innovations facilitated by the computer and the internet, alongside the proliferation of video games and music videos, together with other new generational e-pleasures and e-cultural tastes. This paper will use films like Be Kind Rewind to demonstrate the importance of smart cinema for new generations, while drawing on the special issue on DVD add-ons for Convergence (2007) which I edited, that focused on how add-ons can strengthen the overall appeal of this consumer fan-driven medium and at the same time incorporate significant educational applications.
    [Show full text]
  • Northern Italy: the Alps, Dolomites & Lombardy 2021
    YOUR O.A.T. ADVENTURE TRAVEL PLANNING GUIDE® Northern Italy: The Alps, Dolomites & Lombardy 2021 Small Groups: 8-16 travelers—guaranteed! (average of 13) Overseas Adventure Travel ® The Leader in Personalized Small Group Adventures on the Road Less Traveled 1 Dear Traveler, At last, the world is opening up again for curious travel lovers like you and me. And the O.A.T. Northern Italy: The Alps, Dolomites & Lombardy itinerary you’ve expressed interest in will be a wonderful way to resume the discoveries that bring us so much joy. You might soon be enjoying standout moments like these: In my mind, nothing is more idyllic than the mountainous landscapes and rural villages of Alpine Europe. To immerse myself in their pastoral traditions and everyday life, I love to explore rural communities like Teglio, a small village nestled in the Valtellina Valley. You’ll see what I mean when you experience A Day in the Life of a small, family-run farm here where you’ll have the opportunity to meet the owner, walk the grounds, lend a hand with the daily farm chores, and share a traditional meal with your hosts in the farmhouse. You’ll also get a taste for some of the other crafts in the Valley when you visit a locally-owned goat cheese producer and a water-powered mill. But the most moving stories of all were the ones I heard directly from the local people I met. You’ll meet them, too, and hear their personal experiences during a conversation with two political refugeees at a local café in Milan to discuss the deeply divisive issue of immigration in Italy.
    [Show full text]
  • Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
    Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing
    [Show full text]
  • What Price Australian Naway and an R Ami I R Fugees, 'Illegals' AUSTRALIAN BOOK REVIEW
    The Vatic -Edmund Campion on the Australia What price Australian naway and An r ami I r fugees, 'illegals' AUSTRALIAN BOOK REVIEW SEPTEMBER: Humphrey McQueen on Chris wattace~-Gra th e Chinese connecti on Dorothy Porter, Michael Hofmann, Fay Zwicky, Anthony Lawrence, Rolling Column by Mark Davis Anita Heiss, Merlinda Bobis, Tien Hoang Nguyen, Deb Westbury, Kerryn Goldsworthy on Thea Astley' s MTC Cronin, Dry lands Geoff Goodfellow and many mo re Marilyn Lake on Beryl Beaurepajre I melbourne Mari on Halli gan on Andrew Riemer's new memoir festival of Subscribers $55 for ten issues plus a free book Ph (03) 9429 6700 or Fax (03) 9429 2288 poetry september Art Monthly 1999 AUSTRALIA IN THE SEPTEMBER ISSUE chapel off Peter Hill interYiews Liz Ann Macgregor, new Director of the Museum of chapel Contemporary Art • prahran Daniel Thomas talks about being a curator 9522 3382 ArtRage - Mat Gallois on r;"t.,~;:;:;::::;-;;;;;::rn!l:;n~..r.w,,.,;::;;=rr-""""IIPII Off Chapel being an emerging artist in Sydney inHiative supported by Arts The Immigration Museum and the Victoria Millionth Migrant exhibition Out now _ S-1.9.'i, .fimn good boohlwps and ncii'Sagcnls. Or plu111c ()] 62-19 3986 jin· your mbsaiption Volume 9 Number 7 September 1999 A magazine of public affairs, the arts and theology CoNTENTS 4 COMMENT With Mark McKenna and 32 Francis Sullivan. AFTER THE BIG WAVE Photographic essay by Peter Davis. 'He loved to 7 speculate, CAPITAL LETTER 34 INDONESIAN WITNESS sometimes almost 8 Peter Mares interviews Ibu Sulami, dangerously, LETTERS activist, feminist and political survivor.
    [Show full text]
  • Futurama Comedy and Writers in the Classroom Sarah J
    Klein’s Beer: Futurama Comedy and Writers in the Classroom Sarah J. Greenwald Appalachian State University Introduction Futurama [1] is an animated science fiction comedy with math, science, or programming jokes in almost every television episode. In the same way that history can provide context to mathematics in the classroom, the rich mathematical history of the show’s writers and the stories of their writing motivations can engage students. A combination of comedy references from the show and quotes from the writers is especially effective in helping to alleviate math anxiety and motivate students to learn and connect to mathematics. In this article we will examine numerous Futurama activities for the classroom, including discussions related to the writers and the representation of mathematics in popular culture, as well as activities related to humorous Futurama math references, including computational number theory and geometry. Figure 1: Klein’s Beer [1, 3ACV12 (The Route of All Evil)] Writers and Humor in the Classroom In the course of earning an undergraduate degree in the mathematical sciences, students study a broad range of mathematical techniques and disciplines. The need to master the fundamental skills of mathematics leads in many instances to a perspective in which mathematics exists unconnected to anything else. Students can become so focused on the present that they perceive mathematics as “closed, dead, emotionless, all discovered... [Teachers] can rescue students from the island of mathematics and relocate them on the mainland of life that contains mathematics that is open, alive, full of emotion, and always interesting” [3]. In the same way that real-life applications and technology can help students connect to mathematics, humorous popular culture references and the related history of the writers who create them can also foster connections.
    [Show full text]
  • John Clifford Mortimer Papers
    http://oac.cdlib.org/findaid/ark:/13030/kt2m3n990k No online items Finding Aid to the John Clifford Mortimer Papers Processed by Bancroft Library staff; revised and completed by Kristina Kite and Mary Morganti in October 2001; additions by Alison E. Bridger in February 2004, October 2004, January 2006 and August 2006. Funding for this collection was provided by numerous benefactors, including Constance Crowley Hart, the Marshall Steel, Sr. Foundation, Elsa Springer Meyer, the Heller Charitable and Educational Fund, The Joseph Z. and Hatherly B. Todd Fund, and the Friends of the Bancroft Library. The Bancroft Library. University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu © 2004 The Regents of the University of California. All rights reserved. Finding Aid to the John Clifford BANC MSS 89/62 z 1 Mortimer Papers Finding Aid to the John Clifford Mortimer Papers Collection number: BANC MSS 89/62 z The Bancroft Library University of California, Berkeley Berkeley, California Contact Information: The Bancroft Library. University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu Processed by: Bancroft Library staff; revised and completed by Kristina Kite and Mary Morganti; additions and revisions by Alison E. Bridger Date Completed: October 2001; additions and revisions February 2004, October 2004, January 2006, August 2006 Encoded by: James Lake © 2004 The Regents of the University of California. All rights reserved. Collection Summary Collection Title: John Clifford Mortimer papers, Date (inclusive): circa 1969-2005 Collection Number: BANC MSS 89/62 z Creator: Mortimer, John Clifford, 1923- Extent: Number of containers: 46 boxes Linear feet: 18.4 Repository: The Bancroft Library.
    [Show full text]
  • An Analysis of the Cultural Dismissal of Wonder Woman Through Her 1975-1979 Television Series
    Dickinson College Dickinson Scholar Faculty and Staff Publications By Year Faculty and Staff Publications Summer 2018 Casting a Wider Lasso: An Analysis of the Cultural Dismissal of Wonder Woman Through Her 1975-1979 Television Series Ian Boucher Dickinson College Follow this and additional works at: https://scholar.dickinson.edu/faculty_publications Part of the American Popular Culture Commons, Criminology and Criminal Justice Commons, Feminist, Gender, and Sexuality Studies Commons, Film and Media Studies Commons, and the Television Commons Recommended Citation Boucher, Ian. "Casting a Wider Lasso: An Analysis of the Cultural Dismissal of Wonder Woman Through Her 1975-1979 Television Series." Popular Culture Review 29, no. 2 (2018). https://popularculturereview.wordpress.com/29_2_2018/ianboucher/ This article is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. Popular Culture Review Casting a Wider Lasso: An Analysis of the Cultural Dismissal of Wonder Woman Through Her 1975- 1979 Television Series By Ian Boucher “Every successful show has a multitude of fights, and that the shows are successful sometimes are because of those fights. And sometimes shows aren’t successful because those fights aren’t carried on long or hard enough.” -Douglas S. Cramer “And any civilization that does not recognize the female is doomed to destruction. Women are the wave of the future—and sisterhood is…stronger than anything.” -Wonder Woman, The New Original Wonder Woman (7 Nov. 1975) Abstract Live-action superhero films currently play a significant role at the box office, which means they also play a significant role in culture’s understandings about justice.
    [Show full text]
  • THE GOOD GERMAN Wettbewerb the GOOD GERMAN the GOOD GERMAN – L’AMI ALLEMAND Regie: Steven Soderbergh
    Berlinale 2007 THE GOOD GERMAN Wettbewerb THE GOOD GERMAN THE GOOD GERMAN – L’AMI ALLEMAND Regie: Steven Soderbergh USA 2006 Darsteller Jake Geismar George Clooney Länge 108 Min. Lena Brandt Cate Blanchett Format 35 mm, 1:1.85 Corporal Tully Tobey Maguire Farbe und Colonel Muller Beau Bridges Schwarzweiß Levi Dominic Comperatore Stabliste Lieutenant Schaeffer Dave Power Buch Paul Attanasio, Danny Tony Curran nach dem Roman Kongress- von Joseph Kanon abgeordneter Jack Thompson Kamera Peter Andrews General John Roeder Kameraführung Cris Lombardi General Sikorsky Ravil Isyanov Kameraassistenz Steven Meizler Gunther Behn Don Pugsley Schnitt Mary Ann Bernard Bernie Teitel Leland Orser Ton Paul Ledford Hannelore Robin Weigert Mischung Larry Blake Pressesprecher J. Paul Boehmer Musik Thomas Newman Interviewer Tom Cummins Production Design Philip Messina Angestellter Brandon Keener Art Director Doug Meerdink Requisite Robin L. Miller Tobey Maguire, George Clooney, Cate Blanchett Kostüm Louise Frogley Maske Julie Hewett Michelle Vittone- THE GOOD GERMAN McNeil Berlin 1945. Der amerikanische Kriegskorrespondent Jake Geismer soll über Regieassistenz Gregory Jacobs die bevorstehende Konferenz von Potsdam berichten. Jake kennt Berlin – Casting Debra Zane einst hat er hier ein Nachrichtenbüro geleitet. Und er hat sich hier verliebt. Herstellungsltg. Das scheint aber Ewigkeiten her zu sein, als er jetzt mit dem Jeep die Produktionsltg. Frederic W. Brost Aufnahmeleitung Ken Lavet Berliner Ruinenlandschaft durchquert. Quentin Halliday Jakes Fahrer, Corporal Tully, ist auf dem Schwarzmarkt aktiv – er handelt mit Produzenten Ben Cosgrove allem und jedem und spielt alle Seiten gegeneinander aus, um den besten Gregory Jacobs Preis zu erzielen. Doch das ist durchaus nicht ungewöhnlich. Im Berlin die- Executive Producers Benjamin Waisbren ser Tage verfolgt jeder eigene Strategien, um seine Bedürfnisse zu befriedi- Frederic W.
    [Show full text]