Out with the Birds

Total Page:16

File Type:pdf, Size:1020Kb

Out with the Birds O U T W I T H T H E B I R D S HAMILTON M . LAING I llus trated with P hotog raphs NEW ! ORK OUTING PUB LISHING COMPAN! MCMXIII OP ! RI G H T 1 9 13 B ! C , , OUTING PUB LISHING COMPA All rig hts reserved CONTENTS WHE RE S PRIN G COMES I JATE AN AP RIL HI R E WHERE S PRING AN D S UMMER MEET ON THE STAM PING GROUND — MO THER SHRIKE T H E STO LID ONE T HE DUC K-MOTHERS S OME LITTL E OW L S S P ! ING FROM TH E E L M -CL UM P HOB NO B B ING WITH THE T HIC KE T B IRDS S OME HARML ESS H UN TING I N THE OO! ! P LAC ES T H E B IRD-DIAR! OF LONE TE PEE I N Q UEST OF A NIGHT B OOST A MI X-U P WITH THE LAUGHERS WAT C HING THE DA! DIE T H E P -T IL D G I WIN TE R XVI . SHAR A E ROUSE N I LLUSTRATIONS The Concourse on the Mud - B ank Frontispiece FAC I NG P AGE H e knows that he is p rot ect ed 1 6 There were more on the water 1 6 Night roost of a sharp - tail 24 A little red s parrow hawk 2 4 Lesser snow goose 32 ’ H utchin s goose 32 They were a gay throng 4 0 — 4 Canad a geese gander on g uard 0 Whirr and grand right and left 4 8 At the first peep of day 4 8 - — ! oung long ear just a little stretch 5 6 — B urrowing owls persuaded to smi l e 5 6 H er greenheaded mate was at the slough 641 Rewarded for her long V igil 64 Drowsing in their one-legged way 64s 2 They flew at each other 7 A tempting pot- shot for the lens 80 8 Turtle or mournin g dove on her nest 8 Franklin ’ s gulls following the plow 8 8 The mouth of the creek was well peopled 9 6 - k 1 1 2 A helter skelte r departure from the cree mouth 1 1 2 Getting away in a hurry ILLUSTRATIONS FACI N G ! ellow-legs were probing in the shallows They employed both wings and legs Freely would her life have been gi ven - — ! oung red tail the cause of the trouble in the oaks a The undulating, loose companies of the little bl ck headed Franklin ’ s gulls B lack marsh terns Along the shore-line Marsh terns and sandpipers - — B lack crowned night herons well fledged young Crows began to gyrate in different directions E very single one a prehistoric nightmare There was a scramble from the mud-bank The waders love a pasture shore Saw the leading goose collapse The crows c ame home Sharp -tail a few feet from the door OUT WITH THE B I RDS OUT WITH THE BIRDS CHAPTER I WHERE SPRING COM ES L ATE PRING is slow in getting up to the North ’ 5 o s in ward, beyond the , in the land plains i reg on, and though it is the first day of is t oo March, it not yet late to don the Old snow out see shoes, shoulder the kodak, and sally to - T O how the wild folk are living . a casual eye the Manitoba landscape may look as typically r wint y as it did two months earlier . The fields n and meadows, white and lonely as a vast, froze sea a , stretch off into the horizon ; the copses p pear as leaden as when December locked up their i dif ! sh vering nakedness . But there is a ference the fields are now more dazzlingly bright in the ascending sun ; and in the woods little thawed spots Show up on the south side Of stump or l fa len tree . Now also the snow is much packed, w not by thaws, but by its own eight, and snow i S O to out shoe ng is a delight . it is good swing the ttl t l - r of li e own, eave the iron hard winte , 13 1 4 OUT WITH THE BIRDS i tra l, and visit the places given over to the wild wood creatures, during the long winter silence . h Even wit in the town, evidences are not lack ll ing to Show that the visit is only a retur n ca . For around the railway loading platform, and of the grain elevators, in the heart the town, are - - the chain tracks of the sharp tailed grouse, and here before the last house on the outskirts, are - some twenty five of the birds themselves . The owner being of a charitable turn , has scattered of grain in front the house, and the birds are having their afternoon meal . Some satisfied ’ fiufi ed fellows , up and apparently half asleep, on are perched the fence palings , a few feet from his door . However wild and knowing this grand is - game bird in October, the stern mid Winter reduces him to another frame Of mind . Not that he needs to be dependent, for there are of bushels hawthorn apples, rose hips, snowberry i fruit, and tree buds for him, even during w nters Of deepest snow . He j ust knows that he is pro tect ed ratifies . now, and so g his taste for grain - Twice a day, before sunrise and in mid after noon, they come thus to the spread provided for them . They now seem to have almost forgotten - the twenty day open season during October, WHERE SPRING COME S LATE 1 5 when khaki -colored gun men flushed them from thickets—then as a rule very much more remote from town . With the first big spring thaw they will become mad wild again and be pensioners no longer. mi out n A quarter of a le from tow , are found - the sharp tail dormitories, located in a hollow in - the scrubby sand hills . Like the other grouse, s these birds work them elves down into the soft, dry snow and keep hidden below the surface . n Judging by the tracks, they use both wi gs and feet in the burrowing operations . They always is hide thus for the night, if the snow dry and light, and usually also during the early after - noon . Probably the sharp tail thus bedded sleeps much warmer on a cold night than when roosting on the sur face during a warmer spell . For very Obvious reasons they never burrow into the soggy snow during mild spells . A whole flock will burrow in the same little hollow, but unlike their quail cousins, no two of them will sit together . The prudent sharp -tail never comes out where he enters—always gets in at one side of the bed i and out at the other . When g o ng to bed, he gets himself covered and then tunnels ahead 1 6 OUT WITH THE BIRDS horizontally, pulling the hole in after him by filling the space behind him . This has several ! advantages foxes, coyotes, weasels , etc have sharp noses, but not keen enough to locate Often the exact spot occupied by the sleeping grouse, hidden in the snow, without prematurely disturb ing him and causing him to burst out explosively. Owls, too, are thus prevented from pouncing upon the sleeper . Doubtless , also, the bed is much warmer than if the bird was sitting at the end of a long, open tunnel , with a large air a wi space . The larger illustration shows bed th a x a very short tunnel . The bird entered t and - emerged at y . At z is a tiny peep hole, for some reason burst out through the snow . But the sharp -tails are not the only denizens - of the sand hills . Here, scudding up the side of ff a knoll between two blu s, are the tracks of a little hare, heading for cover, and nearby, around the side Of the same knoll , are the prints of of so- his larger cousin the plains, the called - jack rabbit . The little fellow stopped a mo o ment n the hillside to listen . Note how dif fere tl n y the big hare sets down his feet . The prints are really smaller, but Show a much greater spread between them . This big chap He Knows He Is Protected ! Page 14 ) T M here Were ore on the Wate r ! Pa ge 2 6 ) 1 8 OUT WITH THE BIRD S on th—e plains and no landscape is too bleak and wind swept for him . One does not need to fol hi low s shapely, pattern tracks far to note that - he is not such a pruning knife as the bush hare, but that he prefers rather to nibble the grasses and weeds . He does , however, consume a good quantity Of twigs . Here he has visited the silver berry thicket on the knoll and cut Off a number of dwarfish twigs, and next he has called at the , - - half buried, snow berry clumps, and nibbled Off - the bunches of sweetish, frost ripened berries . — on Here but slow, twenty yards away the south side of a scrubby knoll , is something that might be Jack himself . It is just a small rounded mound, even whiter than the snow, and - a hundred snow shoers might pass it, but the - two round black eyes and the black ear tips, him pulled down tight along his back, g ive away .
Recommended publications
  • Tokyo Family
    Dossier de presse trigon-film TOKYO FAMILY Un film de Yoji Yamada Japon, 2013 DISTRIBUTION trigon-film Limmatauweg 9 5408 Ennetbaden Tél: 056 430 12 30 Fax: 056 430 12 31 [email protected] www.trigon-film.org CONTACT MEDIAS Martial Knaebel 079 438 65 13 [email protected] MATERIEL PHOTOGRAPHIQUE www.trigon-film.org FICHE TECHNIQUE Réalisation Yoji Yamada Scénario Yoji Yamada, Emiko Hiramatsu Image Masashi Chikamori Montage Iwao Ishii Décors Mitsuo Degawa Costumes Kazuo Matsuda Son Kazumi Kishida Musique Joe Hisaishi Production Shochiku Tokyo Pays Japon Année 2013 Durée 146 minutes Langue/sous-titres japonais a/f FICHE ARTISTIQUE Isao Hashizume Shukichi Hirayama Kazuke Yoshiyuki Tomiko Hirayama Satoshi Tsumabuki Shoji Hirayama Yu Aoi Noriko Mamiya Yui Natsukawa Fumiko Hirayama Masahiko Nishimura Koichi Hirayama Tomoko Nakajima Shigeko Kanai Shozo Hayashiya Kurazo Kanai FESTIVALS Internationale Filmfestspiele Berlin: Berlinale Special Festival international de Valladolid: Meilleur film Awards of the Japanese Academy: sélectionné dans 12 catégories SYNOPSIS Un vieux couple quitte son île, dans la région d'Hiroshima, pour aller rendre visite à ses enfants qui vivent maintenant à Tokyo où ils travaillent. Ceux-ci, très occupés par leurs professions respectives n'ont que peu de temps à consacrer à leurs parents et leur offrent un séjour dans un hôtel au bord de mer. Yasujiro Ozu, il y a 60 ans, avait déjà filmé cette même histoire de façon inoubliable dans Le voyage à Tokyo (Tokyo monogatari). Son assistant de l'époque, Yoji Yamada, avec ce remake, lui rend un remarquable hommage. RESUME DU FILM Shukichi et Tomiko Hirayama viennent à Tokyo pour rendre visite à leurs enfants.
    [Show full text]
  • Gender and the Family in Contemporary Chinese-Language Film Remakes
    Gender and the family in contemporary Chinese-language film remakes Sarah Woodland BBusMan., BA (Hons) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Languages and Cultures 1 Abstract This thesis argues that cinematic remakes in the Chinese cultural context are a far more complex phenomenon than adaptive translation between disparate cultures. While early work conducted on French cinema and recent work on Chinese-language remakes by scholars including Li, Chan and Wang focused primarily on issues of intercultural difference, this thesis looks not only at remaking across cultures, but also at intracultural remakes. In doing so, it moves beyond questions of cultural politics, taking full advantage of the unique opportunity provided by remakes to compare and contrast two versions of the same narrative, and investigates more broadly at the many reasons why changes between a source film and remake might occur. Using gender as a lens through which these changes can be observed, this thesis conducts a comparative analysis of two pairs of intercultural and two pairs of intracultural films, each chapter highlighting a different dimension of remakes, and illustrating how changes in gender representations can be reflective not just of differences in attitudes towards gender across cultures, but also of broader concerns relating to culture, genre, auteurism, politics and temporality. The thesis endeavours to investigate the complexities of remaking processes in a Chinese-language cinematic context, with a view to exploring the ways in which remakes might reflect different perspectives on Chinese society more broadly, through their ability to compel the viewer to reflect not only on the past, by virtue of the relationship with a source text, but also on the present, through the way in which the remake reshapes this text to address its audience.
    [Show full text]
  • Journal of Asian Studies Contemporary Chinese Cinema Special Edition
    the iafor journal of asian studies Contemporary Chinese Cinema Special Edition Volume 2 – Issue 1 – Spring 2016 Editor: Seiko Yasumoto ISSN: 2187-6037 The IAFOR Journal of Asian Studies Volume 2 – Issue – I IAFOR Publications Executive Editor: Joseph Haldane The International Academic Forum The IAFOR Journal of Asian Studies Editor: Seiko Yasumoto, University of Sydney, Australia Associate Editor: Jason Bainbridge, Swinburne University, Australia Published by The International Academic Forum (IAFOR), Japan Executive Editor: Joseph Haldane Editorial Assistance: Rachel Dyer IAFOR Publications. Sakae 1-16-26-201, Naka-ward, Aichi, Japan 460-0008 Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 IAFOR Publications © Copyright 2016 ISSN: 2187-6037 Online: joas.iafor.org Cover image: Flickr Creative Commons/Guy Gorek The IAFOR Journal of Asian Studies Volume 2 – Issue I – Spring 2016 Edited by Seiko Yasumoto Table of Contents Notes on contributors 1 Welcome and Introduction 4 From Recording to Ritual: Weimar Villa and 24 City 10 Dr. Jinhee Choi Contested identities: exploring the cultural, historical and 25 political complexities of the ‘three Chinas’ Dr. Qiao Li & Prof. Ros Jennings Sounds, Swords and Forests: An Exploration into the Representations 41 of Music and Martial Arts in Contemporary Kung Fu Films Brent Keogh Sentimentalism in Under the Hawthorn Tree 53 Jing Meng Changes Manifest: Time, Memory, and a Changing Hong Kong 65 Emma Tipson The Taste of Ice Kacang: Xiaoqingxin Film as the Possible 74 Prospect of Taiwan Popular Cinema Panpan Yang Subtitling Chinese Humour: the English Version of A Woman, a 85 Gun and a Noodle Shop (2009) Yilei Yuan The IAFOR Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 Notes on Contributers Dr.
    [Show full text]
  • Cineclubuned 24.Pdf
    Asociación Cultural UNED SORIA Presidente Saturio Ugarte Martínez Vicepresidente Carmelo García Sánchez Secretario José Jiménez Sanz Tesorero Cristina Granado Bombín Vocales Mª Desirée Moreno Pérez Anselmo García Martín Jesús Labanda Izquierdo Dario García Palacios Coordinador Carmelo García Sánchez 24 Secciones Pantalla Grande Curso Programación y Textos Roberto González Miguel (RGM) 2017.2018 José María Arroyo Oliveros (JMA) Julián de la Llana del Río (JLLR) Ángel García Romero (AGR) Miradas de Cine Programación y Textos Roberto González Miguel (RGM) José María Arroyo Oliveros (JMA) Edita Soria de Cine Asociación Cultural UNED. Soria Selección y Textos Julián de la Llana del Río (JLLR) D.L. So-159/1994 Cineclub UNED c/ San Juan de Rabanera, 1. 42002 Soria. t. 975 224 411 f. 975 224 491 Colaboradores [email protected] www.cineclubuned.es Colaboración especial Susana Soria Ramas Pedro E. Delgado Cavilla © Fotografías: Alberto Caballero García Cabeceras: Unsplash (diferentes autores) Peliculas: Distribuidoras Producción Audiovisual Visorvideo. Victor Cid (www.visorvideo.tv) Diseño Gráfico/Maqueta Roberto Peña (www.elprincipiokiss.es) Impresión Arte Print Otras colaboraciones José Reyes Salas de proyección Centro Cultural Palacio de la Audiencia (Plaza Mayor) Casa de la Tierra- UNED. (c/ San Juan de Rabanera, 1). 24 OCTUBRE NOVIEMBRE DICIEMBRE ENERO i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do 01 01 02 03 04 05 01 02 03 01 02 03 04 05 06 07 02 03 04 05 06 07 08 06 07 08 09 10 11 12 04 05 06 07
    [Show full text]
  • Social Meaning of Japanese Melodrama in the Heisei Era 鬱への治療法−−平成時代日本のメ ロドラマの社会的な意味
    Volume 10 | Issue 11 | Number 4 | Article ID 3714 | Mar 05, 2012 The Asia-Pacific Journal | Japan Focus Therapy for Depression: Social Meaning of Japanese Melodrama in the Heisei Era 鬱への治療法−−平成時代日本のメ ロドラマの社会的な意味 Yau Shuk-ting, Kinnia Therapy for Depression: Socialmemorializing the good old days of Japan. Meaning of Japanese Melodrama in Showa superstars such as Yamaguchi Yoshiko 2 3 the Heisei Era (aka Li Xianglan), Ishihara Yūjirō and Misora Hibari4 Yau Shuk Ting, Kinnia have been repeatedly memorialized. Abstract: This paper examines the social meanings embedded in Japanese melodramas produced since the 1990s and their use by the public for comfort and healing in an attempt to deal with declining confidence, both personal and national, in the wake of the burst of the bubble economy. It notes, further, how the Japanese media has used similar tropes in an effort to rebuild morale in the aftermath of the March 11 earthquake. Keywords: Japan, Heisei, bubble economy, melodrama, therapy Introduction After World War II, Japan was able to rise from the ashes like a phoenix to emerge as a superpower and a prosperous industrial nation. The death of Emperor Hirohito in 1989, however, marked the end of the Showa era and the start of the Heisei period. Heisei, however, began Japan's prolonged political, economic and social decline, a period some have termed the Lost Decade(s).1 The bursting of the bubble economy not only triggered a host of social problems, but deeply shook popular confidence. During this difficult period, Japanese have sought ways to heal wounded personal and national pride.
    [Show full text]
  • The Hero and Villain Binary in the Western Film Genre
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. The Hero and Villain Binary in the Western Film Genre A thesis presented in partial fulfilment of the requirements for the Masters of Arts In Media Studies At Massey University Palmerston North, New Zealand Christine Maria Cook 2012 i Abstract The Western hero has been an established film icon since the early 1900s and the particular brand of masculinity he embodies has represented a set of values and beliefs around what it means to be a man in American society. These resonated into other countries such as New Zealand where this representation also became an accepted view of manhood. Based on a colonialist ideology, the cowboy hero’s original role in the frontier of the Hollywood Western was to protect the new settlers and to remove any barriers to their settlement. The first of these was the Native American who was presented as an uncivilised savage to justify conquest. Conflicts such as these created the use of binary oppositions that became an established part of the Western narrative as they provided a contrast between civilisation and wilderness, and good and evil. These oppositions could also take the form of a villain or ideological perspective that didn’t fit the ethos of the frontier life the hero was protecting. Throughout its history, there have been many adaptations and changes made to Western film genre to keep its relevance but the white male figure of the hero has remained a constant presence.
    [Show full text]
  • MD the Twilight Samurai D
    Mediendossier trigon-film THE TWILIGHT SAMURAI (TASOGARE SEIBEI) Yoji Yamada, Japan 2002 VERLEIH trigon-film Klosterstrasse 42 Postfach 5430 Wettingen 1 Tel: 056 430 12 30 Fax: 056 430 12 31 [email protected] www.trigon-film.org MEDIENKONTAKT Nathalie Bao-Götsch Tel: 056 430 12 35 [email protected] BILDMATERIAL www.trigon-film.org MAGAZIN Das trigon-film-Magazin Nr. 24 enthält weitere Informationen zum Film. MITWIRKENDE ,egie: Yoji Yamada Buch: Yoji Yamada, Yoshitaki Asama; nach dem Roman von Shuhei Fujisawa Kamera: Mutsuo Naganuma Schnitt: Iwao Ishii Ton: Kazumi Kishida Musik: Isao Tomita Production Design: Mitsuo Degawa Choreographie: Hiroshi Kuze Kostüme: Kazuko Kurosawa Produzenten: Shigehiro Nakagawa, Hiroshi Fukazawa, Ichiro Yamamoto Produktion: Shochiku Co. Ltd., Japan Koproduziert von: Nippon Television Network / Sumitomo / Hakuhodo / Nippon Shuppan Hanbai / Eisei Gekijo Sprache: Japanisch/d/f Format: 35mm / 1:1.85 / Farbe / Dolby Digital Dauer: 129 Minuten DARSTELLENDE / ROLLEN Hiroyuki Sanada Seibei Iguchi Rie Miyazawa Tomoe Iinuma Min Tanaka Zenemon Yogo Nenji Kobayashi Chobei Kusaka Ren Osugi Toyotaro Koda Mitsuru Fukikoshi Tomonojo Iinuma Kanako Fukaura Yae Iinuma Hiroshi Kanbe Naota Miki Ito Kayano Iguchi (Seibeis ältere Tochter) Erina Hashiguchi Ito Iguchi (Seibeis jüngere Tochter) Keiko Kishi Ito Iguchi (als alte Dame) AUSZEICHNUNGEN UND FESTIVALS 12 Japan Academy Awards 2003: für Film, Regie, Drehbuch, Hauptdarsteller, Hauptdarstellerin, Nebendarsteller, Kamera, Licht, Ton, Schnitt, Production Design, Musik Japans Oscar-Nomination für 2004 Hawaii 2003: Bester Film Berlinale 2003 Hong Kong 2003 Cambridge 2003 Jerusalem 2003 Montreal 2003 Chicago 2003 SYNOPSIS Im Zentrum der Handlung, die in den letzten Jahren der Edo Zeit (1603-1867) an- gesiedelt ist, steht der verarmte Samurai Seibei Iguchi.
    [Show full text]
  • Protoculture Addicts #59
    CONTENTS 3 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ PROTOCULTURE ✾ PRESENTATION ..................................................................................... 4 STAFF WHAT'S GOING ON? ANIME & MANGA NEWS (Japan, North America) .................................................. 5 Claude J. Pelletier [CJP] — Publisher / Manager VIDEO & MANGA / PRODUCTS RELEASES ........................................................... 6 Martin Ouellette [MO] — Editor-in-Chief NEW RELEASES ................................................................................................. 9 Miyako Matsuda [MM] — Editor / Translator Contributors Isabelle Stephen, James S. Taylor REVIEWS MODELS .......................................................................................................... 48 Layout MANGA .......................................................................................................... 56 The Safe House PA PICKS ......................................................................................................... 57 ANIME ............................................................................................................. 58 Cover ANIME CAPSULES .............................................................................................. 60 Nobuyoshi Nishimura Cover Art courtesy of Bandai Entertainment, Inc. Proofreading SPOTLIGHT The Safe House, Dominique Durocher GUNDAM Color Separation & Linotronic What's Gundam? ........................................................................................
    [Show full text]
  • Kyoto Uzumasa Monogatari Kyoto Story
    © Shochiku Co., Ltd. Kyoto Uzumasa Monogatari Kyoto Story Yamada Yoji, Abe Tsutomu Higashide Kyoko is a university librarian. She also helps her par- Higashide Kyoko arbeitet als Bibliothekarin in der Universität. Zu Hause ents with their drycleaning company. She is involved with a hilft sie ihren Eltern in deren Reinigung. Sie ist mit ihrem Freund aus Kin- childhood friend from the neighborhood, Yanase Kota. He is the dertagen und Nachbarn, Yanase Kota, dem Sohn des örtlichen Tofuherstel- son of the local tofu maker and has begun a moderately success- lers, liiert. Kota hat mäßig erfolgreich eine Karriere als Stand-up-Come- ful career as a stand-up comedian. A visiting lecturer from To- dian begonnen. Ein Gastdozent aus Tokio verliebt sich Hals über Kopf in kyo falls head-over-heels in love with Kyoko and asks her to go Kyoko und bittet sie, mit ihm ins Ausland nach Beijing zu kommen, wo er abroad with him to Beijing, where he has to spend the next few die nächsten Jahre über forschen wird. Doch Kyoko ist unentschlossen. years for his research. But Kyoko cannot decide. Yamada Yoji und sein Koregisseur Abe Tsutomu haben ihre Geschichte Yamada Yoji and his co-director Abe Tsutomu have set their sto- in Uzumasa angesiedelt, einem der ältesten Teile der Stadt Kyoto. Hier be- ry in Uzumasa, one of the oldest parts of Kyoto. This is where finden sich die berühmten Filmstudios, in denen KurosawasRashomon und the famous film studios, in which Kurosawaʼs Rashomon and Mizoguchis Ugetsu monogatari entstanden. Eine Einkaufsstraße liegt zwi- Mizoguchiʼs Ugetsu monogatari came about, are located.
    [Show full text]
  • Laws of Race/Laws of Representation: the Construction of Race and Law in Contemporary American Film, 11 Tex
    UIC School of Law UIC Law Open Access Repository UIC Law Open Access Faculty Scholarship 1-1-2010 Laws of Race/Laws of Representation: The Construction of Race and Law in Contemporary American Film, 11 Tex. Rev. Ent. & Sports L. 219 (2010) Cynthia D. Bond John Marshall Law School Follow this and additional works at: https://repository.law.uic.edu/facpubs Part of the Civil Rights and Discrimination Commons, Entertainment, Arts, and Sports Law Commons, Law and Race Commons, and the Law and Society Commons Recommended Citation Cynthia D. Bond, Laws of Race/Laws of Representation: The Construction of Race and Law in Contemporary American Film, 11 Tex. Rev. Ent. & Sports L. 219 (2010). https://repository.law.uic.edu/facpubs/43 This Article is brought to you for free and open access by UIC Law Open Access Repository. It has been accepted for inclusion in UIC Law Open Access Faculty Scholarship by an authorized administrator of UIC Law Open Access Repository. For more information, please contact [email protected]. Laws of Race/Laws of Representation: The Construction of Race and Law in Contemporary American Film CYNTHIA D. BOND* "Racial imagery is central to the organi[z]ation of the modem world." -Richard Dyer, White "[T]his utterly inevitable species of schizophrenia is but one of the many manifestations of the spiritual and historical trap, called racial, in which all Americans find themselves, and against which, some of us, some of the time, manage to arrive at a viable and honorable identity." -James Baldwin, The Devil Finds Work ABSTRACT Popularfilm has a lot to teach us about social narrativesof law.
    [Show full text]
  • The Aesthetics and Psychology Behind Horror Films Michelle Park Long Island University, [email protected]
    Long Island University Digital Commons @ LIU Undergraduate Honors College Theses 2016- LIU Post 2018 The Aesthetics and Psychology Behind Horror Films Michelle Park Long Island University, [email protected] Follow this and additional works at: https://digitalcommons.liu.edu/post_honors_theses Recommended Citation Park, Michelle, "The Aesthetics and Psychology Behind Horror Films" (2018). Undergraduate Honors College Theses 2016-. 31. https://digitalcommons.liu.edu/post_honors_theses/31 This Thesis is brought to you for free and open access by the LIU Post at Digital Commons @ LIU. It has been accepted for inclusion in Undergraduate Honors College Theses 2016- by an authorized administrator of Digital Commons @ LIU. For more information, please contact [email protected]. The Aesthetics and Psychology Behind Horror Films An Honors Program Thesis by Michelle Park Spring, 2018 Psychology Faculty Advisor: John Koshel Reader: Grace Rossi Date Table of Contents Introduction 1 Chapter 1: The Allure of Horror Film 3 Chapter 2: Mise-en-scène In Horror Movies 13 Chapter 3: Science Behind Horror 32 Chapter 4: Dark 43 Conclusion 50 References 51 Abstract We usually define “fear” as a negative emotion, which is unpleasant. Normally, we desperately want to avoid this emotion because it causes distress and terror. However, the aesthetics and psychology behind horror films explain “fear” can be a pleasurable experience. “Fear” is an essential element in horror genre, which is why we consistently crave the adrenaline rush in scary films. Neuroscientists, psychologists, and filmmakers constantly study viewers’ fear responses to see which techniques can terrify audiences. This thesis demonstrates the different methods filmmakers create to attract the audience in enjoying horror films.
    [Show full text]
  • BANSHUN/LATE SPRING (1949, 108 Min) Directed by Yasujirô Ozu
    September 27, 2016 (XXXIII:5) Yasujirö Ozu,: BANSHUN/LATE SPRING (1949, 108 min) Directed by Yasujirô Ozu Written by Kazuo Hirotsu (based on the novel "Chichi to musume" by), Kôgo Noda (screenplay) and Yasujirô Ozu (screenplay) Produced by Takeshi Yamamoto Music Senji Itô Cinematography Yûharu Atsuta Film Editing Yoshiyasu Hamamura Art Direction Tatsuo Hamada Set Decoration Mototsugu Komaki Costume Design Bunjiro Suzuki Makeup Department Toku Sakuma (key hair stylist), Hisae Kakizawa (hair stylist), Kingorô Yoshizawa ... hair stylist Production Management Dai Watanabe Mainichi Film Concours, 1950. Won : Best Film, Yasujirô Ozu (b. December 12, 1903 in Tokyo, Japan— Yasujirô Ozu; Best Actress: Setsuko Hara for Aoi d. December 12, 1963, age 60, in Tokyo, Japan) was a sanmyaku and Ojôsan kanpai; Best Director: Yasujirô movie buff from childhood, often playing hooky from Ozu; Best Screenplay: Yasujirô Ozu and Kôgo Noda school in order to see Hollywood movies in his local theatre. In 1923 he landed a job as a camera assistant at Cast Shochiku Studios in Tokyo. Three years later, he was Chishû Ryû…Shukichi Somiya made an assistant director and directed his first film the Setsuko Hara…Noriko Somiya next year, Blade of Penitence (1927). Ozu made thirty-five Yumeji Tsukioka…Aya Kitagawa silent films, and a trilogy of youth comedies with serious Haruko Sugimura…Masa Taguchi overtones he turned out in the late 1920s and early 1930s Hôhi Aoki…Katsuyoshi placed him in the front ranks of Japanese directors. He Jun Usami…Shôichi Hattori made his first sound film in 1936, The Only Son (1936), Kuniko Miyake…Akiko Miwa but was drafted into the Japanese Army the next year, Masao Mishima…Jo Onodera being posted to China for two years and then to Singapore Yoshiko Tsubouchi…Kiku when World War II started.
    [Show full text]