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VVMF Education Guide
FOUNDERS OF THE WALL ECHOES FROM THE WALL War will always have impacts on society and culture. Within the realm of popular culture, popular films released after the end of the Vietnam War reflect a range of public perspectives about the conflict. DISCUSSION GUIDE This lesson plan will involve a review of popular films that depict the Vietnam War, era, and veterans, as well as more How Does Film recent popular films that depict more recent wars. Students will examine the Reflect Perspectives perspectives of these films and how the range of perspectives was reflected in on War? broader society following the war. Download the Perspectives on War? Reflect Does Film How Accompanying Powerpoint Presentation for use in the classroom > PRE-VISIT ACTIVITY 1 Films from Vietnam Ask students to create a list of movies they have seen that have a focus on the Vietnam War, era, or veterans (for a list, see: http://www.vvmf.org/teaching-vietnam). Ask each student to choose a favorite from the list and explain his/her reasoning for why it’s his/her favorite. If a student hasn’t see any—ask him or her to choose one to watch at home. For that movie, ask students to answer the following questions: • What issues are depicted in the movie? • Would you say that the movie takes a position on the war? What evidence supports your answer? • What part or parts of the movie struck you? Why? • What do you think someone who had no background on the Vietnam War or era would take away about it from this movie? PRE-VISIT ACTIVITY 2 Vietnam in Media Ask students to poll 10 of their siblings, friends, or even parents: What are the top two NOTE TO sources from which they have any understanding of the TEACHER Vietnam War and era? Place a tally mark beside each response. -
Rambo: Last Blood Production Notes
RAMBO: LAST BLOOD PRODUCTION NOTES RAMBO: LAST BLOOD LIONSGATE Official Site: Rambo.movie Publicity Materials: https://www.lionsgatepublicity.com/theatrical/rambo-last-blood Facebook: https://www.facebook.com/Rambo/ Twitter: https://twitter.com/RamboMovie Instagram: https://www.instagram.com/rambomovie/ Hashtag: #Rambo Genre: Action Rating: R for strong graphic violence, grisly images, drug use and language U.S. Release Date: September 20, 2019 Running Time: 89 minutes Cast: Sylvester Stallone, Paz Vega, Sergio Peris-Mencheta, Adriana Barraza, Yvette Monreal, Genie Kim aka Yenah Han, Joaquin Cosio, and Oscar Jaenada Directed by: Adrian Grunberg Screenplay by: Matthew Cirulnick & Sylvester Stallone Story by: Dan Gordon and Sylvester Stallone Based on: The Character created by David Morrell Produced by: Avi Lerner, Kevin King Templeton, Yariv Lerner, Les Weldon SYNOPSIS: Almost four decades after he drew first blood, Sylvester Stallone is back as one of the greatest action heroes of all time, John Rambo. Now, Rambo must confront his past and unearth his ruthless combat skills to exact revenge in a final mission. A deadly journey of vengeance, RAMBO: LAST BLOOD marks the last chapter of the legendary series. Lionsgate presents, in association with Balboa Productions, Dadi Film (HK) Ltd. and Millennium Media, a Millennium Media, Balboa Productions and Templeton Media production, in association with Campbell Grobman Films. FRANCHISE SYNOPSIS: Since its debut nearly four decades ago, the Rambo series starring Sylvester Stallone has become one of the most iconic action-movie franchises of all time. An ex-Green Beret haunted by memories of Vietnam, the legendary fighting machine known as Rambo has freed POWs, rescued his commanding officer from the Soviets, and liberated missionaries in Myanmar. -
Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
Boardwalk Empire
BOARDWALK EMPIRE "Pilot" Written by Terence Winter FIRST DRAFT April 16, 2008 EXT. ATLANTIC OCEAN - NIGHT With a buoy softly clanging in the distance, a 90-foot fishing schooner, the Tomoka, rocks lazily on the open ocean, waves gently lapping at its hull. ON DECK BILL MCCOY, pensive, 40, checks his pocket watch, then spits tobacco juice as he peers into the darkness. In the distance, WE SEE flickering lights, then HEAR the rumble of motorboats approaching, twenty in all. Their engines idle as the first pulls up and moors alongside. BILL MCCOY (calling down) Sittin' goddarnn duck out here. DANNY MURDOCH, tough, 30s, looks up from the motorboat, where he's accompanied by a YOUNG HOOD, 18. MURDOCH So move it then, c'mon. ON DECK McCoy yankS a canvas tarp off a mountainous stack of netted cargo -- hundreds of crates marked 'Canadian Club Whiskey·. With workmanlike precision, he and .. three CREWMAN hoist the first load of two dozen crates up and over the side, lowering it down on a pulley. As the net reaches the motorboat: MURDOCH (CONT'D) (to the Young Hood) Liquid gold, boyo. They finish setting the load in place, then Murdoch guns the motorboat and heads off. Another boat putters in to take his slot as the next cargo net is lowered. TRACK WITH MURDOCH'S MOTORBOAT as it heads inland through the darkness over the water. Slowly, a KINGDOM OF LIGHTS appears on the horizon, with grand hotels, massive neon signs, carnival rides and giant lighted piers lining its shore. As we draw closer, WE HEAR faint music which grows louder and LOUDER -- circus calliope mixed with raucous Dixieland jazz. -
Boardwalk Empire
BOARDWAI,K EIITPIRE ,'Pi1ot " written by Terence Wint,er FIRST DRAFT April L6, 2008 G *ffi EXT. ATLAI:i"IIC OCEAN - NIGHT With a buoy softly clangring in the dist,ance, a 90-fooE fishing schooner, the ?omoka, rocks lazily on the open ocean, waves gentLy lapping at its hulI. ON DECK BILL MCCOY, pensive , 40, checks his pocket wauch, then spius tobaeco juice as he peers into the darkness. In the distance, VgE SEE flickering lights, then HEAR the rumble of motorboats approaching, twenty in atl. Their engines idle as the first pulls up and moors alongside. BTLL MCCOY (calling dovrn) Sittin' goddamn duck out here. DANIIy MURDOCH, tough, 30s, looks up from the motorboatr, where he's accompanied. by a YOIING HOOD, 18. MIJRDOCH So move it. then, c,mon. ON DECK McCoy yanks a canvas tarp off a mountainous stack of netted earqo -- hundreds of crates marked "Canadian Club Whiskey'. WiEh worlsnanlike precision, he and three CRSWI,IAN hoist the first load of two dozen crates up and over the side, lowering it down on a pulley. As the net reaches the motorboaL: MURDOCH (CONT'D) (to the Young Hood) Liquid go1d, boyo. They finish setting the load in place, then Murdoch guns the motorboat and heads off. Another boat putters in to take his s1ot, as the next cargo neb is lowered. TBACK WITH MURDOCH'S MOTORBOAT as it heads inland through the darkness over the water. Slowly, a KINGDOM OF LIGHTS appears on the horizon, with grand hotels, massive neon signs, carnival rides and giant lighted piers li-ning its shore. -
The War Wounded of Cinema & Television
From Battle to the Screen: The War Wounded of Cinema & Television Jack Huston as the combat-veteran turned assassin Richard Harron on HBO’s Boardwalk Empire The intersection of film, television and war—like Hollywood itself— has scaled the heights of artistic achievement and sunk to the level of exploitative trash. Movies and television dramas dealing with combat have garnered awards, critical accolades, controversy and box-office success and failure alike. Whether successful or not, “war films” now form a well- known genre. Less explored in film and television, though not entirely ignored, is the idea of what happens to combat veterans after the wars have ended. Yet as early as the 1920s, the silver screen was exploring the complexity of post-combat stress, injury and illness. In his book, Shell Shock Cinema: Weimar Culture and the Wounds of War, Anton Kaes draws the direct connection between the groundbreaking artistry of the cinema in Germany’s post war Weimar Republic and the horrors experienced by many of its brightest directors in the trenches of World War I. “Many of the references that were readily understood by contemporary audiences are lost on us today,” Kaes wrote. “By examining what the films implied but did articulate, by reading ‘what was never written,’ we may be able to apprehend the forces that generated a cinema of shell shock.” Classic works such as The Cabinet of Dr. Caligari and Metropolis, though not depicting soldiers in combat, display the signs of war’s aftermath, according to Kaes. Extreme psychological distress is manifested in film as broken story lines and harsh lighting contrasts. -
First Blood Redrawn Don Kunz
Vietnam Generation Volume 1 Number 1 The Future of the Past: Revisionism and Article 7 Vietnam 1-1989 First Blood Redrawn Don Kunz Follow this and additional works at: http://digitalcommons.lasalle.edu/vietnamgeneration Part of the American Studies Commons Recommended Citation Kunz, Don (1989) "First Blood Redrawn," Vietnam Generation: Vol. 1 : No. 1 , Article 7. Available at: http://digitalcommons.lasalle.edu/vietnamgeneration/vol1/iss1/7 This Article is brought to you for free and open access by La Salle University Digital Commons. It has been accepted for inclusion in Vietnam Generation by an authorized editor of La Salle University Digital Commons. For more information, please contact [email protected]. First Blood RecIrawn Don Kunz Nearly everyone speaking or writing about America's Vietnam soldier eventually feels compelled to mention Rambo. As David Morrell notes with pride, the name of the character he created in his novel. First Blood, has entered our nation's household vocabulary1. It resembles in this case the title of Joseph Heller's World War 2 novel. Catch 22. and the macho movie-star name of Marion Robert Morrison — John Wayne. There is more at stake in the popular adoption of those terms than a simple enlargement of the dictionary. The evolution of Rambo from character to icon illustrates the fictionalizing process by which history is accommodated to myth. Rambo is an ambiguous and contradictory epithet, its meaning shifting as a result of an elaborate revision process still underway. Morrell's protagonist has been appropriated variously as a symbol of American patriotism, mindless savagery, the frontier hero, and Frankenstein's monster. -
Shorter Communications Video Night in Nuku'alofa
SHORTER COMMUNICATIONS VIDEO NIGHT IN NUKU‘ALOFA: DISJUNCTURE AND DIFFERENCE ON TONGAN SCREENS SARINA PEARSON The University of Auckland On June 27th 2004, “Bollywood” became “Pollywood” when a team made up almost entirely of Polynesian girls won an Indian dance competition held for Auckland secondary school students. Their performance drew not upon classical forms of Indian dance but reflected the popular tastes of the Indian diaspora living in New Zealand, including Fiji Indians, long established Kiwi Indians and more recent professional migrants. The Tangaroa College girls won the contest on the strength of a Bollywood-inspired number. While the win seemed to surprise and amuse Indian journalists, the appeal of Bollywood films among Pacific Island communities and in their island homelands has been a relatively open secret. Despite widespread popular recognition that many Pacific communities are avid Hindi cinema fans, a cursory review of regional journals confirms that its influence in the Pacific is a phenomenon that has attracted relatively little attention among scholars. This oversight might be partially accounted for in terms of how anthropologists working in the region have historically constructed Pacific communities as objects of study and islands as sites of research. These constructions have tended to privilege indigenous communities over non-indigenous communities. In accordance with established methods of ethnographic methodology anthropologists have typically focused intensively upon single or unitary sites for observation and participation. Additionally, transnational media pose particularly thorny and vexed methodological problems for anthropologists accustomed to less mobile, transitory and potentially idiosyncratic cultural formations. Marcus (1995) suggests that one response to these conceptual and methodological challenges has been for research about transnational cultural formations to progressively migrate out of disciplines such as anthropology into interdisciplinary (or as he suggests “anti-disciplinary”) fields such as media studies. -
Toxic Masculinity and the Revolutionary Anti-Hero
FIGHTING HACKING AND STALKING: TOXIC MASCULINITY AND THE REVOLUTIONARY ANTI-HERO A thesis submitted to the faculty of San Francisco State University A In partial fulfillment of 3^ the requirements for the Degree kJQ Masters of Arts *0 4S In Women and Gender Studies by Robyn Michelle Ollodort San Francisco, California May 2017 Copyright by Robyn Michelle Ollodort 2017 CERTIFICATION OF APPROVAL I certify that I have read Fighting, Hacking, and Stalking: Toxic Masculinity and the Revolutionary Anti-Hero by Robyn Michelle Ollodort, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Women and Gender Studies at San Francisco State University. Martha Kenney; Ph.D. Assistant Professor, Women and Gender Studies Professor, History FIGHTING, HACKING, AND STALKING: TOXIC MASCULINITY AND THE REVOLUTIONARY ANTI-HERO Robyn Michelle Ollodort San Francisco, California 2017 Through my analyses of the films Taxi Driver (1976) and Fight Club (1999), and the television series Mr. Robot (2105), I will unpack the ways each text represents masculinity and mental illness through the trope of revolutionary psychosis, the ways these representations reflect contemporaneous political and social anxieties, and how critical analyses of each text can account for the ways that this trope fails to accurately represent the lived experiences of men and those with mental illnesses. In recognizing the harmful nature of each of these representations’ depictions of both masculinity and mental illness, we can understand why such bad tropes circulate, and how to recognize and refuse them, or make them better. -
BOARDWALK EMPIRE "In God We Trust" by Reginald Beltran Based
BOARDWALK EMPIRE "In God We Trust" By Reginald Beltran Based on characters by Terence Winter Reginald Beltran [email protected] FADE IN: EXT. FOREST - DAY A DEAD DOE lies on the floor. Blood oozes out of a fatal bullet wound on its side. Its open, unblinking eyes stare ahead. The rustling sound of leaves. The fresh blood attracts the attention of a hungry BEAR. It approaches the lifeless doe, and claims the kill for itself. The bear licks the fresh blood on the ground. More rustling of the undergrowth. The bear looks up and sees RICHARD HARROW, armed with a rifle, pushing past a thicket of trees and branches. For a moment, the two experienced killers stare at each other with unblinking eyes. One set belongs to a primal predator and the other set is half man, half mask. The bear stands on its two feet. It ROARS at its competitor. Richard readies his rifle for a shot, but the rifle is jammed. The bear charges. Calmly, Richard drops to one knee, examines the rifle and fixes the jam. He doesn’t miss a beat. He steadies the rifle and aims it. BANG! It’s a sniper’s mark. The bear drops to the ground immediately with a sickening THUD. Blood oozes out of a gunshot wound just under its eyes - the Richard Harrow special. EXT. FOREST - NIGHT Even with a full moon, light is sparse in these woods. Only a campfire provide sufficient light and warmth for Richard. A spit has been prepared over the fire. A skinned and gutted doe lies beside the campfire. -
00:00:00 Dan Host on This Episode We Discuss—Rambo: Last Blood! 00
00:00:00 Dan Host On this episode we discuss—Rambo: Last Blood! 00:00:05 Elliott Host The series that once again proves that all you need is a sufficiently angry and armed American to solve any foreign country’s problems. 00:00:12 Music Music Light, up-tempo, electric guitar with synth instruments. 00:00:39 Dan Host Hey, everyone, and welcome to The Flop House! I’m Dan McCoy. 00:00:42 Stuart Host Oh, hey, everyone! It’s me, Stuart Wellington! 00:00:45 Elliott Host And coming to ya live from Los Strangeles, Hollyweird— [Stuart laughs.] —it’s Elliott Kalan! But we’ve got a special guest with us today. Don’t we, Daniel? 00:00:54 Dan Host Yes, we do! You know him as, uh, one of the directors of American Pie—uncredited, as IMDB says— [Laughs.] [Elliott laughs.] As the director of About a Boy! One of the writers of, uh, Rogue One: A Star Wars Story; but most, uh, Flop House listeners will know him as, uh, the man behind the Twilight Saga New Moon! Which led him to us today. [Laughs.] 00:01:17 Stuart Host Led him to our [though laughter] doorstep! [Chris laughs.] 00:01:19 Dan Host Yeah. 00:01:19 Chris Guest You guys left out the colon, uh, but that’s okay. It’s Twilight Saga— colon—New Moon. And guys, uh, I just want to say to all the listeners—welcome to the special three-hour debate episode in which— [Multiple people laugh.] —I defend New Moon point-by-point. -
Coping Strategies: Three Decades of Vietnam War in Hollywood
Coping Strategies: Three Decades of Vietnam War in Hollywood EUSEBIO V. LLÁCER ESTHER ENJUTO The Vietnam War represents a crucial moment in U.S. contemporary history and has given rise to the conflict which has so intensively motivated the American film industry. Although some Vietnam movies were produced during the conflict, this article will concentrate on the ones filmed once the war was over. It has been since the end of the war that the subject has become one of Hollywood's best-sellers. Apocalypse Now, The Return, The Deer Hunter, Rambo or Platoon are some of the titles that have created so much controversy as well as related essays. This renaissance has risen along with both the electoral success of the conservative party, in the late seventies, and a change of attitude in American society toward the recently ended conflict. Is this a mere coincidence? How did society react to the war? Do Hollywood movies affect public opinion or vice versa? These are some of the questions that have inspired this article, which will concentrate on the analysis of popular films, devoting a very brief space to marginal cinema. However, a general overview of the conflict it self and its repercussions, not only in the soldiers but in the civilians back in the United States, must be given in order to comprehend the between and the beyond the lines of the films about Vietnam. Indochina was a French colony in the Far East until its independence in 1954, when the dictator Ngo Dinh Diem took over the government of the country with the support of the United States.