9. List of Film Genres and Sub-Genres PDF HANDOUT
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See It Big! Action Features More Than 30 Action Movie Favorites on the Big
FOR IMMEDIATE RELEASE ‘SEE IT BIG! ACTION’ FEATURES MORE THAN 30 ACTION MOVIE FAVORITES ON THE BIG SCREEN April 19–July 7, 2019 Astoria, New York, April 16, 2019—Museum of the Moving Image presents See It Big! Action, a major screening series featuring more than 30 action films, from April 19 through July 7, 2019. Programmed by Curator of Film Eric Hynes and Reverse Shot editors Jeff Reichert and Michael Koresky, the series opens with cinematic swashbucklers and continues with movies from around the world featuring white- knuckle chase sequences and thrilling stuntwork. It highlights work from some of the form's greatest practitioners, including John Woo, Michael Mann, Steven Spielberg, Akira Kurosawa, Kathryn Bigelow, Jackie Chan, and much more. As the curators note, “In a sense, all movies are ’action’ movies; cinema is movement and light, after all. Since nearly the very beginning, spectacle and stunt work have been essential parts of the form. There is nothing quite like watching physical feats, pulse-pounding drama, and epic confrontations on a large screen alongside other astonished moviegoers. See It Big! Action offers up some of our favorites of the genre.” In all, 32 films will be shown, many of them in 35mm prints. Among the highlights are two classic Technicolor swashbucklers, Michael Curtiz’s The Adventures of Robin Hood and Jacques Tourneur’s Anne of the Indies (April 20); Kurosawa’s Seven Samurai (April 21); back-to-back screenings of Mad Max: Fury Road and Aliens on Mother’s Day (May 12); all six Mission: Impossible films -
Philosophy, Theory, and Literature
STANFORD UNIVERSITY PRESS PHILOSOPHY, THEORY, AND LITERATURE 20% DISCOUNT NEW & FORTHCOMING ON ALL TITLES 2019 TABLE OF CONTENTS Redwood Press .............................2 Square One: First-Order Questions in the Humanities ................... 2-3 Currencies: New Thinking for Financial Times ...............3-4 Post*45 ..........................................5-7 Philosophy and Social Theory ..........................7-10 Meridian: Crossing Aesthetics ............10-12 Cultural Memory in the Present ......................... 12-14 Literature and Literary Studies .................... 14-18 This Atom Bomb in Me Ordinary Unhappiness Shakesplish The Long Public Life of a History in Financial Times Asian and Asian Lindsey A. Freeman The Therapeutic Fiction of How We Read Short Private Poem Amin Samman American Literature .................19 David Foster Wallace Shakespeare’s Language Reading and Remembering This Atom Bomb in Me traces what Critical theorists of economy tend Thomas Wyatt Digital Publishing Initiative ....19 it felt like to grow up suffused with Jon Baskin Paula Blank to understand the history of market American nuclear culture in and In recent years, the American fiction Shakespeare may have written in Peter Murphy society as a succession of distinct around the atomic city of Oak Ridge, writer David Foster Wallace has Elizabethan English, but when Thomas Wyatt didn’t publish “They stages. This vision of history rests on ORDERING Tennessee. As a secret city during been treated as a symbol, an icon, we read him, we can’t help but Flee from Me.” It was written in a a chronological conception of time Use code S19PHIL to receive a the Manhattan Project, Oak Ridge and even a film character. Ordinary understand his words, metaphors, notebook, maybe abroad, maybe whereby each present slips into the 20% discount on all books listed enriched the uranium that powered Unhappiness returns us to the reason and syntax in relation to our own. -
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema. -
Copyrighted Material
9781405170550_6_ind.qxd 16/10/2008 17:02 Page 432 INDEX 4 Little Girls (1997) 93 action-adventure movie 147, 149, 254, 339, 348, 352, 392–3, 396–7, 8 Mile (2002) 396–7 259, 276, 287–8, 298–9, 410 402–3 20th Century-Fox 21, 30, 34, 40–2, 73, actualities 106, 364, 410 Against All Odds (1984) 289 149, 184, 204–5, 281, 335 ACT-UP (AIDS Coalition to Unleash Agar, John 268 25th Hour, The (2002) 98 Power) 337, 410 Aghdashloo, Shohreh 75 27 Dresses (2008) 353 ADA (Americans with Disabilities Act) Ahn, Philip 130 28 Days (2000) 293 398–9, 410 AIDS 99, 329, 334, 336–40 48 Hours (1982) 91 Adachi, Jeff 139 AIDS Coalition to Unleash Power see 100-to-1 Shot, The (1906) 174 Adams, Evan 118–19 ACT-UP 300 (2007) 74, 298, 300 ADC (American-Arab Anti- AIM (American Indian Movement) 111, Discrimination Committee) 73–4, 116–17, 410 Abbott and Costello 268 410 Air Force (1943) 268 ABC 340 Addams Family, The (1991) 156 Akins, Zoe 388–9 Abie’s Irish Rose (stage) 57 Addams Family Values (1993) 156 Aladdin (1992) 73–4, 246 Abilities United Productions 384 Adiarte, Patrick 72 Alba, Jessica 76, 155, 159 ability 359–84, 410 adult Western 111, 410 Albert, Eddie 72 ableism 361, 381, 410 Adventures of Ozzie & Harriet, The (TV) Albert, Edward 375 Abominable Dr Phibes, The (1971) 284 Alexie, Sherman 117–18 365 Adventures of Priscilla, Queen of the Algie, the Miner (1912) 312 Abraham, F. Murray 75, 76 COPYRIGHTEDDesert, The (1994) 348 MATERIALAli (2001) 96 Academy Awards (Oscars) 29, 58, 63, Adventures of Sebastian Cole, The (1998) Alice (1990) 130 67, 72, 75, 83, 92, 93, -
H K a N D C U L T F I L M N E W S
More Next Blog» Create Blog Sign In H K A N D C U L T F I L M N E W S H K A N D C U LT F I L M N E W S ' S FA N B O X W E L C O M E ! HK and Cult Film News on Facebook I just wanted to welcome all of you to Hong Kong and Cult Film News. If you have any questions or comments M O N D AY, D E C E M B E R 4 , 2 0 1 7 feel free to email us at "SURGE OF POWER: REVENGE OF THE [email protected] SEQUEL" Brings Cinema's First Out Gay Superhero Back to Theaters in January B L O G A R C H I V E ▼ 2017 (471) ▼ December (34) "MORTAL ENGINES" New Peter Jackson Sci-Fi Epic -- ... AND NOW THE SCREAMING STARTS -- Blu-ray Review by ... ASYLUM -- Blu-ray Review by Porfle She Demons Dance to "I Eat Cannibals" (Toto Coelo)... Presenting -- The JOHN WAYNE/ "GREEN BERETS" Lunch... Gravitas Ventures "THE BILL MURRAY EXPERIENCE"-- i... NUTCRACKER, THE MOTION PICTURE -- DVD Review by Po... John Wayne: The Crooning Cowpoke "EXTRAORDINARY MISSION" From the Writer of "The De... "MOLLY'S GAME" True High- Stakes Poker Thriller In ... Surge of Power: Revenge of the Sequel Hits Theaters "SHOCK WAVE" With Andy Lau Cinema's First Out Gay Superhero Faces His Greatest -- China’s #1 Box Offic... Challenge Hollywood Legends Face Off in a New Star-Packed Adventure Modern Vehicle Blooper in Nationwide Rollout Begins in January 2018 "SHANE" (1953) "ANNIHILATION" Sci-Fi "A must-see for fans of the TV Avengers, the Fantastic Four Thriller With Natalie and the Hulk" -- Buzzfeed Portma.. -
Why Call Them "Cult Movies"? American Independent Filmmaking and the Counterculture in the 1960S Mark Shiel, University of Leicester, UK
Why Call them "Cult Movies"? American Independent Filmmaking and the Counterculture in the 1960s Mark Shiel, University of Leicester, UK Preface In response to the recent increased prominence of studies of "cult movies" in academic circles, this essay aims to question the critical usefulness of that term, indeed the very notion of "cult" as a way of talking about cultural practice in general. My intention is to inject a note of caution into that current discourse in Film Studies which valorizes and celebrates "cult movies" in particular, and "cult" in general, by arguing that "cult" is a negative symptom of, rather than a positive response to, the social, cultural, and cinematic conditions in which we live today. The essay consists of two parts: firstly, a general critique of recent "cult movies" criticism; and, secondly, a specific critique of the term "cult movies" as it is sometimes applied to 1960s American independent biker movies -- particularly films by Roger Corman such as The Wild Angels (1966) and The Trip (1967), by Richard Rush such as Hell's Angels on Wheels (1967), The Savage Seven, and Psych-Out (both 1968), and, most famously, Easy Rider (1969) directed by Dennis Hopper. Of course, no-one would want to suggest that it is not acceptable to be a "fan" of movies which have attracted the label "cult". But this essay begins from a position which assumes that the business of Film Studies should be to view films of all types as profoundly and positively "political", in the sense in which Fredric Jameson uses that adjective in his argument that all culture and every cultural object is most fruitfully and meaningfully understood as an articulation of the "political unconscious" of the social and historical context in which it originates, an understanding achieved through "the unmasking of cultural artifacts as socially symbolic acts" (Jameson, 1989: 20). -
Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South
Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South. -
LAUREN BLISS the Cinematic Body in View of the Antipodes: Philip Brophy's Body Melt As the Bad Copy
Lauren Bliss, The Cinematic Body in View of the Antipodes: Philip Brophy’s Body Melt as the bad copy LAUREN BLISS The Cinematic Body in View of the Antipodes: Philip Brophy’s Body Melt as the bad copy ABSTRACT Through a wide ranging study of Philip Brophy's academic and critical writings on horror cinema, this essay considers how Brophy's theory of the spectator's body is figured in his only horror feature Body Melt (1993). Body Melt is noteworthy insofar as it poorly copies a number of infamous sequences from classical horror films of the 1970s and 1980s, a form of figuration that this essay will theorise as distinctly Antipodean. Body Melt will be related as an antagonistic 'turning inside out' of the subjectivity of the horror movie spectator, which will be read in the light of both the usurped subject of semiotic film theory, and the political aesthetics of Australian exploitation cinema. Philip Brophy’s Body Melt, made in 1993, is a distinctly antipodean film: it not only copies scenes from classic horror movies such as The Hills Have Eyes (1977), Alien (1979), The Thing (1982) and Scanners (1981), it also copies the scenes badly. Such copying plays on and illuminates the ‘rules’ of horror as the toying with and preying upon the spectator’s expectation of fear. Brophy’s own theory of horror, written across a series of essays in academic and critical contexts between the 1980s and the 1990s, considers the peculiarity of the spectator’s body in the wake of the horror film. It relates that the seemingly autonomic or involuntary response of fear or suspense that horror movies induce in a viewer is troubled by the fact that both film and viewer knowingly intend this response to occur from the very beginning. -
What Literature Knows: Forays Into Literary Knowledge Production
Contributions to English 2 Contributions to English and American Literary Studies 2 and American Literary Studies 2 Antje Kley / Kai Merten (eds.) Antje Kley / Kai Merten (eds.) Kai Merten (eds.) Merten Kai / What Literature Knows This volume sheds light on the nexus between knowledge and literature. Arranged What Literature Knows historically, contributions address both popular and canonical English and Antje Kley US-American writing from the early modern period to the present. They focus on how historically specific texts engage with epistemological questions in relation to Forays into Literary Knowledge Production material and social forms as well as representation. The authors discuss literature as a culturally embedded form of knowledge production in its own right, which deploys narrative and poetic means of exploration to establish an independent and sometimes dissident archive. The worlds that imaginary texts project are shown to open up alternative perspectives to be reckoned with in the academic articulation and public discussion of issues in economics and the sciences, identity formation and wellbeing, legal rationale and political decision-making. What Literature Knows The Editors Antje Kley is professor of American Literary Studies at FAU Erlangen-Nürnberg, Germany. Her research interests focus on aesthetic forms and cultural functions of narrative, both autobiographical and fictional, in changing media environments between the eighteenth century and the present. Kai Merten is professor of British Literature at the University of Erfurt, Germany. His research focuses on contemporary poetry in English, Romantic culture in Britain as well as on questions of mediality in British literature and Postcolonial Studies. He is also the founder of the Erfurt Network on New Materialism. -
EPIC and ROMANCE in the LORD of the RINGS Épica Y Romance En El Señor De Los Anillos
ISSN: 1989-9289 DOI: http://dx.doi.org/10.14516/fdp.2016.007.001.002 EPIC AND ROMANCE IN THE LORD OF THE RINGS Épica y romance en El señor de los anillos Martin Simonson [email protected] Universidad del País Vasco, Vitoria-Gasteiz. España Fecha de receepción: 4-IV-2016 Fecha de aceptación: 5-V-2016 ABSTRACT: In the field of comparative literatureThe Lord of the Rings has been most frequently studied within the contexts of romance and epic. This approach, however, leaves out important generic aspects of the global picture, such as the narrative’s strong adherence to the novel genre and to mythic traditions beyond romance and epic narratives. If we choose one particular genre as the yardstick against which to measure the work’s success in narrative terms, we tend to end up with the conclusion that The Lord of the Rings does not quite make sense within the given limits of the genre in question. In Tolkien’s work there is a narrative and stylistic exploration of the different genres’ constraints in which the Western narrative traditions – myth, epic, romance, the novel, and their respective subgenres – interact in a pre- viously unknown but still very much coherent world that, because of the particular cohesion required by such a chronotope, exhibits a clear contextualization of references to the previous traditions. As opposed to many contemporary literary expressions, the ensuing absence of irony and parody creates a generic dialogue, in which the various narrative traditions explore and interrogate each other’s limits without rendering the others absurdly incompatible, ridic- ulous or superfluous. -
Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames Permalink https://escholarship.org/uc/item/5pg3z8fg Author Chien, Irene Y. Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames by Irene Yi-Jiun Chien A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media and the Designated Emphasis in New Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Linda Williams, Chair Professor Kristen Whissel Professor Greg Niemeyer Professor Abigail De Kosnik Spring 2015 Abstract Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames by Irene Yi-Jiun Chien Doctor of Philosophy in Film and Media Designated Emphasis in New Media University of California, Berkeley Professor Linda Williams, Chair Programmed Moves examines the intertwined history and transnational circulation of two major videogame genres, martial arts fighting games and rhythm dancing games. Fighting and dancing games both emerge from Asia, and they both foreground the body. They strip down bodily movement into elemental actions like stepping, kicking, leaping, and tapping, and make these the form and content of the game. I argue that fighting and dancing games point to a key dynamic in videogame play: the programming of the body into the algorithmic logic of the game, a logic that increasingly organizes the informatic structure of everyday work and leisure in a globally interconnected information economy. -
'Jaws'. In: Hunter, IQ and Melia, Matthew, (Eds.) the 'Jaws' Book : New Perspectives on the Classic Summer Blockbuster
This is the accepted manuscript version of Melia, Matthew [Author] (2020) Relocating the western in 'Jaws'. In: Hunter, IQ and Melia, Matthew, (eds.) The 'Jaws' book : new perspectives on the classic summer blockbuster. London, U.K. For more details see: https://www.bloomsbury.com/uk/the-jaws-book-9781501347528/ 12 Relocating the Western in Jaws Matthew Melia Introduction During the Jaws 40th Anniversary Symposium1 Carl Gottlieb, the film’s screenwriter, refuted the suggestion that Jaws was a ‘Revisionist’ or ‘Post’ Western, and claimed that the influence of the Western genre had not entered the screenwriting or production processes. Yet the Western is such a ubiquitous presence in American visual culture that its narratives, tropes, style and forms can be broadly transposed across a variety of non-Western genre films, including Jaws. Star Wars (1977), for instance, a film with which Jaws shares a similar intermedial cultural position between the Hollywood Renaissance and the New Blockbuster, was a ‘Western movie set in Outer Space’.2 Matthew Carter has noted the ubiquitous presence of the frontier mythos in US popular culture and how contemporary ‘film scholars have recently taken account of the “migration” of the themes of frontier mythology from the Western into numerous other Hollywood genres’.3 This chapter will not claim that Jaws is a Western, but that the Western is a distinct yet largely unrecognised part of its extensive cross-generic hybridity. Gottlieb has admitted the influence of the ‘Sensorama’ pictures of proto-exploitation auteur William Castle (the shocking appearance of Ben Gardner’s head is testament to this) as well as The Thing from Another World (1951),4 while Spielberg suggested that they were simply trying to make a Roger Corman picture.5 Critical writing on Jaws has tended to exclude the Western from the film’s generic DNA.