Taylor Swift
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Modernizing the Greek Tragedy: Clint Eastwood’S Impact on the Western
Modernizing the Greek Tragedy: Clint Eastwood’s Impact on the Western Jacob A. Williams A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Interdisciplinary Studies University of Washington 2012 Committee: Claudia Gorbman E. Joseph Sharkey Program Authorized to Offer Degree: Interdisciplinary Arts and Sciences Table of Contents Dedication ii Acknowledgements iii Introduction 1 Section I The Anti-Hero: Newborn or Reborn Hero? 4 Section II A Greek Tradition: Violence as Catharsis 11 Section III The Theseus Theory 21 Section IV A Modern Greek Tale: The Outlaw Josey Wales 31 Section V The Euripides Effect: Bringing the Audience on Stage 40 Section VI The Importance of the Western Myth 47 Section VII Conclusion: The Immortality of the Western 49 Bibliography 53 Sources Cited 62 i Dedication To my wife and children, whom I cherish every day: To Brandy, for always being the one person I can always count on, and for supporting me through this entire process. You are my love and my life. I couldn’t have done any of this without you. To Andrew, for always being so responsible, being an awesome big brother to your siblings, and always helping me whenever I need you. You are a good son, and I am proud of the man you are becoming. To Tristan, for always being my best friend, and my son. You never cease to amaze and inspire me. Your creativity exceeds my own. To Gracie, for being my happy “Pretty Princess.” Thank you for allowing me to see the world through the eyes of a nature-loving little girl. -
Dictionary of Westerns in Cinema
PERFORMING ARTS • FILM HISTORICAL DICTIONARY OF Historical Dictionaries of Literature and the Arts, No. 26 VARNER When early filmgoers watched The Great Train Robbery in 1903, many shrieked in terror at the very last clip, when one of the outlaws turned toward the camera and seemingly fired a gun directly at the audience. The puff of WESTERNS smoke was sudden and hand-colored, and it looked real. Today we can look back at that primitive movie and see all the elements of what would evolve HISTORICAL into the Western genre. Perhaps the Western’s early origins—The Great Train DICTIONARY OF Robbery was the first narrative, commercial movie—or its formulaic yet enter- WESTERNS in Cinema taining structure has made the genre so popular. And with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the Western is told in this Historical Dictionary of Westerns in Cinema through a chronology, a bibliography, an introductory essay, and hundreds of cross-referenced dictionary entries on cinematographers; com- posers; producers; films like Butch Cassidy and the Sundance Kid, Dances with Wolves, The Good, the Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; actors such as Gene Autry, in Cinema Cinema Kirk Douglas, Clint Eastwood, Henry Fonda, Jimmy Stewart, and John Wayne; and directors like John Ford and Sergio Leone. PAUL VARNER is professor of English at Abilene Christian University in Abilene, Texas. -
October/Octobre 2019 LODGER to Be the Leader in Personalized Care and Services Être Le Chef De File Des Soins Et Des Services Personnalisés
October/Octobre 2019 LODGER to be the leader in personalized care and services être le chef de file des soins et des services personnalisés Glen Stor Dun Lodge - Cornwall respect - compassion - communication - collaboration - team building respect - compassion - communication - collaboration - renforcement d’équipe Friendly Reminders Departmental Supervisors Special Care Have questions? Comments? Dementia Care We are just a phone call away Family Support Group 613-933-3384 Last Wednesday of each month Administration Ext. 4223 6:00 p.m. to 8:00 p.m. Nursing Ext. 4222 Glen Stor Dun Lodge Library Nutrition Care Ext. 4228 for more information, please call Program and Support Services 613-932-4914 (Activities, therapy, spiritual care, volunteer, hairdressing, Lodger) Ext. 4243 Family Council Meeting Support Services (Housekeeping, laundry, maintenance) Third Wednesday of each Ext. 4229 month Staff Development / Health & Safety 1:30 p.m. - Library Infection Prevention Control Officer except July, August, December Ext. 4235 Outreach Services Ext. 4234 Resident Council Meeting Notes: Fourth Tuesday of each month 10:30 a.m. - Chapel except July, August, December 2 Locations to Serve You 822 Pitt Street, Cornwall 218 Montreal Road, Cornwall 613-938-3888 Allan Wilson Ontario Licensed Local People You Know And Trust Proudly Canadian Funeral Director The Lodger October 2019 2 Lodge News - Flu Season Reminder 4 Life at the Lodge - Summer Carnival Bash 5 Life at the Lodge - Baking Delights 6 Hot Topics - Clint Eastwood 7 Musings - Betty White 8 Joyeux -
La Cultura Italiana
LA CULTURA ITALIANA SERGIO LEONE (1929–1989) This month’s essay deals with an Italian director who revolutionized the historically popular Western genre in cinema, giving it a new style and focus. He accomplished this by directing only five Westerns in his total director oeuvre of seven movies. In bringing back the revived and energized Westerns to movie audiences, he brought a form of Italian Neorealism to a classic cinema genre that had grown tired, unrealistic, and banal over the years. Sergio Leone was born in Rome on January 3, 1929. He came from a family with roots deep in the Italian film industry. His mother, Edvige Valcarenghi (1886–1969), with stage name Bice Walerian, was a silent movie actress who gave up her profession when she married Vincenzo Leone in 1916. His father, Vincenzo Leone (1879–1959), with stage name Roberto Roberti, directed and acted in films during the silent era, but for reasons that are not entirely clear was prevented from working during the 1930s by order of Mussolini’s Fascist regime. He did manage to direct three films between 1939 and 1945, although the last of these was not released until 1951. During his schooldays, Sergio was a classmate for a time with Ennio Morricone, who would become his musical collaborator for his movies. Vincenzo tried to discourage Sergio from entering the world of cinema, and Sergio briefly studied law. However, having been intrigued with filmmaking by watching his father working on film sets, he decided at age 18 to drop out of law school and to try his hand at filmmaking. -
Film Essay for "Dirty Harry"
Dirty Harry By Matt Lohr In the mid-1960s, two U.S. Supreme Court rulings, in the cases of Escobedo vs. Illinois (1964) and Miranda vs. Arizona (1966), would guarantee criminal suspects freedom from self- incrimination. If legal counsel was not present, an individual under suspicion could flat-out refuse to even speak to police. The “rights of the accused” were now the law of the land, but to old-school brothers of the badge, used to sweating, stressing, or flat-out beating confessions out of suspects, the rulings seemed like a direct assault on their abil- Clint Eastwood as Inspector “Dirty Harry” Callahan hunts a killer at large in a ity to effectively conduct criminal San Francisco stadium. Courtesy Library of Congress Collection. investigations. nally become a bankable movie star thanks to A conservative backlash, combined with then-rising Sergio Leone's spaghetti-western “Dollars” trilogy. violent crime rates, helped Ronald Reagan seize the Eastwood agreed to do the film only on the governorship of California in '66, after campaigning condition that it be directed by Siegel, his frequent on a vow to restore “law and order” to the state. Two collaborator and filmmaking mentor. years later, Richard Nixon took that hot-button prom- ise national, and won the White House. In the cultur- Siegel began his career as an editor for Warners (he al arena, movie and TV screens saw an influx of created the stage-setting montage that begins rough-edged cops who played by their own rules “Casablanca”), and was known as an efficient and put “punks” out of commission...Miranda and helmsman with a knack for elevating genre material Escobedo be damned. -
Vivian Lee Vivien Leigh
Vivian Lee Vivien Leigh (born Vivian Mary Hartley, and also known as Lady Olivier after 1947; 5 November 1913 – 8 July 1967) was an English stage and film actress.[1] She won two Academy Awards for Best Actress for her performances as Scarlett O'Hara in Gone with the Wind (1939) and Blanche DuBois in the film version of A Streetcar Named Desire (1951) Tony Curtis Tony Curtis (born Bernard Schwartz; June 3, 1925 – September 29, 2010) was an American film actor whose career spanned 6 decades but was mostly popular in the 50's and early 60's. He acted in more than 100 films in roles covering a wide range of genres, from light comedy to serious drama. In his later years, Curtis made numerous television appearances. Lucille Ball Lucille Désirée Ball (August 6, 1911 – April 26, 1989) was an American actress, comedian, model, film-studio executive, and producer. She was best known as the star of the self-produced sitcoms I Love Lucy, The Lucy–Desi Comedy Hour, The Lucy Show, Here's Lucy, and Life with Lucy. Marilyn Monroe Marilyn Monroe (born Norma Jeane Mortenson; June 1, 1926 – August 5, 1962) was an American actress and model. Famous for playing "dumb blonde" characters, she became one of the most popular sex symbols of the 1950s, emblematic of the era's attitudes towards sexuality. Although she was a top-billed actress for only a decade, her films grossed $200 million by the time of her unexpected death in 1962.[1] She continues to be considered a major popular culture icon. -
Cultural Borrowings: Appropriation, Reworking, Transformation
Blank Page A Scope e-Book Cultural Borrowings: Appropriation, Reworking, Transformation Edited by Iain Robert Smith Published by: Scope: An Online Journal of Film and Television Studies, 2009 Copyright: Scope: An Online Journal of Film and Television Studies ISBN 978-0-9564641-0-1 Cover Design: Iain Robert Smith Photo Credits: Benjamin Miller and Bart Everson Table of Contents Notes on Contributors .................................................................................. i Acknowledgements ................................................................................... iv Foreword: Scope‘s Tenth Anniversary ........................................................... v Mark Gallagher and Julian Stringer Introduction .............................................................................................. 1 Iain Robert Smith 1 Part I: Hollywood Cinema and Artistic Imitation Exploitation as Adaptation ........................................................................... 8 I.Q. Hunter The Character-Oriented Franchise: Promotion and Exploitation of pre-sold characters in American film, 1913-1950 ...................................................... 34 Jason Scott Novelty through Repetition: Exploring the Success of Artistic Imitation in the Contemporary Film Industry, 1983-2007 .................................................... 56 Stijn Joye Part II: Found Footage and Remix Culture A Taxonomy of Digital Video Remixing: Contemporary Found Footage Practice on the Internet ........................................................................................... -
Place Images of the American West in Western Films
PLACE IMAGES OF THE AMERICAN WEST IN WESTERN FILMS by TRAVIS W. SMITH B.S., Kansas State University, 2003 M.A., Kansas State University, 2005 AN ABSTRACT OF A DISSERTATION submitted in partial fulfillment of the requirements for the degree DOCTOR OF PHILOSOPHY Department of Geography College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2016 Abstract Hollywood Westerns have informed popular images of the American West for well over a century. This study of cultural, cinematic, regional, and historical geography examines place imagery in the Western. Echoing Blake’s (1995) examination of the novels of Zane Grey, the research questions analyze one hundred major Westerns to identify (1) the spatial settings (where the plot of the Western transpires), (2) the temporal settings (what date[s] in history the Western takes place), and (3) the filming locations. The results of these three questions illuminate significant place images of the West and the geography of the Western. I selected a filmography of one hundred major Westerns based upon twenty different Western film credentials. My content analysis involved multiple viewings of each Western and cross-referencing film content like narrative titles, American Indian homelands, fort names, and tombstone dates with scholarly and popular publications. The Western spatially favors Apachería, the Borderlands and Mexico, and the High Plains rather than the Pacific Northwest. Also, California serves more as a destination than a spatial setting. Temporally, the heart of the Western beats during the 1870s and 1880s, but it also lives well into the twentieth century. The five major filming location clusters are the Los Angeles / Hollywood area and its studio backlots, Old Tucson Studios and southeastern Arizona, the Alabama Hills in California, Monument Valley in Utah and Arizona, and the Santa Fe region in New Mexico. -
The Current Table of Contents
ARTICLE TYPE ARTICLE NUMBER ARTICLE WORDS IMAGES ASSIGNED CONTRIBUTOR VOLUME 1 Ed-in-Chief Articles Ed-in-Chief Articles 1.1.1 Editor-in-Chief’s Preface 1000 1 Deborah Nadoolman Landis Ed-in-Chief Articles 1.1.2 Visual Timelines by Genre 2000 40 Deborah Nadoolman Landis 1.1.3 Introduction to the History of Costume in Television Ed-in-Chief Articles and the Movies 7000 5 Deborah Nadoolman Landis 1.1.4 The Process of Costume Design, from Script to Ed-in-Chief Articles Screen in Film and Television 3000 5 Deborah Nadoolman Landis 1.1.5 Flow charts: on-set, off-set, process of costume Ed-in-Chief Articles design, costume department 250 4 Deborah Nadoolman Landis Themes and Issues Articles - Film & Television Themes and Issues Articles - Film & Television 1.2.1 History of Costume, Film Themes and Issues Articles - Film & Television 1.2.2 The Rise of the Specialist Costume Designer 2000 5 Michelle Tolini Finamore Themes and Issues Articles - Film & Television 1.2.3 Studio Production 2000 2 Natasha Rubin Themes and Issues Articles - Film & Television 1.2.4 Director/Designer Collaborations 1500 1 Drake Stutesman Themes and Issues Articles - Film & Television 1.2.5 Costume Department Directors 2000 2 Edward Maeder Themes and Issues Articles - Film & Television 1.2.6 Classical Hollywood 2000 2 Elizabeth Castaldo Lunden Themes and Issues Articles - Film & Television 1.2.7 Postwar Hollywood 2000 2 Edward Urquilla Themes and Issues Articles - Film & Television 1.2.8 Film Noir 2000 2 Kimberly Truhler Themes and Issues Articles - Film & Television 1.2.9 -
Double Features References
DOUBLE FEATURES BIG IDEAS IN FILM Reference List DOUBLE FEATURES BIG IDEAS IN FILM Reference List Yossarian Is Alive and Well in the Mexican Desert 4 Nora Ephron Countercultural Architecture and Dramatic Structure 6 David Mamet Shooting to Kill (selection) 7 Christine Vachon Laugh, Cry, Believe: Spielbergization and Its Discontents 10 J. Hoberman In the Blink of an Eye (selection) 15 Walter Murch “One Hang, We All Hang”: High Plains Drifter 16 Richard Hutson Lynch on Lynch (selection) 18 Chris Rodley, interview with David Lynch John Wayne: A Love Song 19 Joan Didion Nonstop Action: Why Hollywood’s Aging Heroes Won’t Give Up the Gun 20 Adam Mars-Jones Willing 23 Lorrie Moore The contents of this packet include proprietary trademarks and copyrighted materials, and may be used or quoted only with permission and appropriate credit to the Great Books Foundation. DOUBLE FEATURES Furiosa: The Virago of Mad Max: Fury Road 24 Jess Zimmerman Scary Movies 25 Kim Addonizio Skyshot 26 Manuel Muñoz Edward Hopper’s New York Movie 27 Joseph Stanton Why We Crave Horror Movies 28 Stephen King Matinée 32 Robert Coover The Last Movie 33 Rachel Hadas Some Months After My Father’s Death 34 Sheryl St. Germain The Birds (selection) 35 Camille Paglia Your Childhood Entertainment Is Not Sacred 37 Nathan Rabin Pygmalion’s Ghost: Female AI and Technological Dream Girls 38 Angelica Jade Bastién The Solace of Preparing Fried Foods and Other Quaint Remembrances from 1960s Mississippi: Thoughts on The Help 39 Roxane Gay Better Living Through Criticism: How to Think About Art, Pleasure, Beauty, and Truth (selection) 40 A. -
Unforgiven. 070903
Ditte Friedman. Clint Eastwood’s Unforgiven. 070903. 1 Clint Eastwood’s Unforgiven. Ditte Friedman -- -- Draft for Lic.Theol. Seminar Draft 2007 September 21 Ditte Friedman. Clint Eastwood’s Unforgiven. 070903. 2 Contents 1 Introduction 1.1 Background 1.2 Purpose and Problem 1.3 Material 1.4 Theory and Method 2. The Western 2.1 The Western as Idea 2.2 A New World Genre Begins 2.3 The Western as Genre 2.4 A Genre Finds a Voice 2.5 The New Western: the Development of Character 3 Background and Synopsis 4 Reading Unforgiven 4.1 The Critics 4.2 Deeper Readings and Thematic Analysis 4.2.1 Socio-Cultural Inquiry The American West as Nomos The Western as Nomos Law Justice 4.2.2 Historical Frame Evolving Democratic Polity Community Nation Building The American West as History An Inquiry into How We Understand History 4.2.3 Social Issues Gender Relations Property Rights Feminism Violence 4.2.4 Film-specific Commentary Western Movies Revisionism in Western Movies Genre Reconstruction, Transformation, and Revival The General Nature of Film Ditte Friedman. Clint Eastwood’s Unforgiven. 070903. 3 4.2.5 Nomothetic Issues Myth and Iconography Transcendence Motion The Land 5 Analysis: Reflections on Unforgiven 6 Conclusion 7 Films Cited 8 Television Shows Cited 9 References Ditte Friedman. Clint Eastwood’s Unforgiven. 070903. 4 2. The Western A voice of one calling: “In the desert prepare the way for the LORD; make straight in the wilderness a highway for our God. Every valley shall be raised up, every mountain and hill made low; the rough ground shall become level, the rugged places a plain. -
Cowboy Gothic: Haunting and Memorialization in High Plains Drifter’ Film Journal 5 / Screening the Supernatural / 2019 / Pp
Murray Leeder, ‘Cowboy Gothic: Haunting and Memorialization in High Plains Drifter’ Film Journal 5 / Screening the Supernatural / 2019 / pp. 93-102 Cowboy Gothic: Haunting and Memorialization in High Plains Drifter Murray Leeder University of Manitoba, Canada “Why do the dead return?” asks Slavoj Žižek. “The answer offered by Lacan is the same as that found in popular culture: because they were not properly buried […]. The return of the dead is a sign of a disturbance in the symbolic rite […]. This is the basic lesson drawn by Lacan from ‘Antigone’ and ‘Hamlet’.”1 The theme of disturbed or improper burial producing restless spirits is a very old one. Around 100 A.D., Pliny the Younger related the story of a haunted house in Athens, which is only resolved once a body is discovered and properly buried.2 This narrative is reinforced a thousand different times in a thousand different ways: our most basic duty as civilized humans is to mourn and memorialize the dead, and if we fail to do so, the boundaries of civilization and savagery, past and present, and life and death begin to break down. High Plains Drifter (1973), Clint Eastwood’s first self-directed Western, places a similar sentiment in the mouth of Sarah Belding (Verna Bloom): “They say that the dead don’t rest without a marker of some kind.” 1 Slavoj Žižek, Looking Awry: An Introduction to Jacques Lacan Through Popular Culture (Cambridge, MA.: MIT Press, 1992), p. 23. 2 Žižek, p. 183. 93 Murray Leeder, ‘Cowboy Gothic: Haunting and Memorialization in High Plains Drifter’ Film Journal 5 / Screening the Supernatural / 2019 / pp.