Cuadernos De Documentacion

Total Page:16

File Type:pdf, Size:1020Kb

Cuadernos De Documentacion SECRETARIA DE ESTADO DE ECONOMÍA, MINISTERIO SECRETARÍA GENERAL DE POLÍTICA ECONÓMICA DE ECONOMÍA Y ECONOMÍA INTERNACIONAL Y HACIENDA SUBDIRECCIÓN GENERAL DE ECONOMÍA INTERNACIONAL CUADERNOS DE DOCUMENTACION Nº 86 alcance Entradillas Números: 86-2º/ 86-23º Alvaro Espina Vocal Asesor Septbre.-Dicbre. de 2008 Índice CD 86-2º 2008 puede llegar a ser un 1931 revisitado (2) CD 86-3º Fin de juego: la ruleta rusa financiera (3) CD 86-4º “Somos una nación de imbéciles......” (4) CD 86-5º Aquí existe un problema de solvencia (13) CD 86-6º Pues..., va ser que no (15) CD 86-7º ¿Todavía es necesario el plan de rescate? (18) CD 86-8º Los amos del universo (20) CD 86-9º Buen dia para la democracia en América (22) CD 86-10º Existe riesgo de pánico bancario (31) CD 86-11º El multiplicador financiero internacional (35) CD 86-12º La más rigurosa racionalidad de mercado (38) CD 86-13º Sin entierros... por falta de liquidez (46) CD 86-14º Entre iluminados y Government & Sachs (61) CD 86-15º From wrong- way to new-way Paulson (81) CD 86-16º Pleno empleo ....., y estabilidad financera (91) CD 86-17º Un plan de reactivación a escala europea (96) CD 86-18º ¿A qué juega el BCE? (114) CD 86-19º Economía de la depresión y reflexividad (129) CD 86-20º ¡Es la deflación, estúpido! (140) CD 86-21º Brother can you accept a dime? (151) CD 86-22º De aquellos polvos estos lodos (177) CD 86-23ºTras Estocolmo:Los números de Krugman (218) 1 CD 86-2º de alcance 15 Septiembre 2008 “Existe la posibilidad de que 2008 llegue a ser una especie de 1931 revisitado”. “Actualmente, buena parte de la cartera de la Fed está ligada a préstamos respaldados por garantías dudosas”. “Después de todo, esto empieza a parecerse a aquello de... ‘si sale cara, tú ganas. Si sale cruz, el contribuyente pierde’ ”. “Habrá que ver si, al negarse a salvar a Lehman, Paulson ha actuado con valentía o se ha vuelto loco”. “Cuando Bear se hundió, mucha gente habló de la necesidad de disponer de un mecanismo para ‘liquidar de forma ordenada’ los bancos de inversión en crisis. Eso fue hace seis meses, ¿dónde está ese mecanismo?” Hasta aquí, los temores de Paul Krugman. Para el Washington Post, el siguiente capítulo será el American International Group, la mayor compañía de seguros del país. Para Economist.com, la cosa no ha hecho más que empezar, porque los grandes bancos todavía no han hecho sus deberes: Hasta ahora lo único que se les ha ocurrido es trasferir parte de su riesgo a la Fed. Finalmente, Jacqueline Thorpe clama en el Financial Post por una intervención coordinada del grupo de los siete para poner un dique de contención frente a la crisis financiera norteamericana, que esté empezando a provocar pánico en las filas de los políticos. 2 CD 86-3º de alcance 17 Septiembre 2008 “En este punto, debería haber quedado claro que estamos al final del juego, que consiste en el rescate de la industria financiera a cargo de los contribuyentes”, afirma Tim Duy. Eso quiere decir que hay que regular, separando a las aseguradoras de los bancos de negocios, entre otras cosas. Y si la “banca en la sombra” quiere ir a establecerse fuera de EEUU, ¡que se vaya! La hora de la competencia financiera tramposa debe terminar. Siguiendo la recomendación de Tim Duy, Nicholas F. Brady, Eugene, A. Ludwig y Paul A. Volcker (nombres bastante respetables para el establishment) proponen lisa y llanamente resucitar la Resolution Trust Corporation. “La era de las finanzas desreguladas está a llegando a su fin”, titula Martin Wolf en FT. “Wall Street as we know it is kaput”, afirma Robert Samuelson” en WP, “porque lo que está sucediendo en realidad es el colapso del modelo de negocio de Wall Street”. El problema es que el rescate resultará muy costoso (Pearlstein). Setser observa que hasta los fondos soberanos más interesados en la estabilidad del dólar abandonan EEUU. ¿Quién financiará ahora los déficit gemelos? Una economía dispendiosamente desahorradora ¿se va a someter a la mayor cura de austeridad (de ahorro privado y ortodoxia fiscal) conocida en la economía moderna? ¿O pasará la factura al resto del mundo? Los materiales recogidos en este CD son la mejor ilustración de que nos movemos por aguas no cartografiadas hasta ahora. Y, como no lo conocemos, negamos que esté ocurriendo (mundo hipócrita, dice Stiglitz..., de la denegación, dice Nocera). Hasta que ocurre lo inevitable. ¿Y si se hunde Lehman (que es como lo de Argentina, según Setser) y no pasa nada catastrófico, como dice Buiter? Pero entonces estamos en la ruleta rusa financiera, de Krugman. Así que Paulson se pone a jugar al póker, pero va de farol (antes, Bernanke ya había apostado su banca), porque enseguida le da vértigo y nacionaliza a la madre de todas las aseguradoras (y es que, en los tiempos que corren, en EEUU no hay rescate que dure ni dos días, como dice Setser). Y ya tenemos como asegurador al Tío Sam ¿Será suficiente, o se verá que el rey está desnudo? Véase la taxonomía de los pánicos, rememorada por M. Thoma. Hay quien dice que esto no era previsible: ahí están los CD de los últimos cinco años, al menos. 3 CD 86-4º de alcance 19 Septiembre2008 “Lo que has de hacer, hazlo pronto” Evangelio de San Juan (13, 25-27). Las once páginas (por cerrar esto en algún momento practicable para poder recapitular, siquiera sea brevemente) extraídas de uno de los portales más frecuentados actualmente por el todo Wall-Street <http://bigpicture.typepad.com/> son la mejor síntesis del espectáculo patético que están dando a corazón abierto las autoridades de la economía, las finanzas y la política del mundo mundial. Menos mal que los norteamericanos descansan durante el fin de semana –así se caiga el mundo- porque lo que está ocurriendo es para no pegar ojo. ¡Y veremos si este finde no nos depara alguna sorpresa todavía mayor! El CD 86-4º se cierra a las 20 horas (hora UTC+2) del viernes día 19 de septiembre de 2008. Lo peor que podía ocurrir, ha ocurrido ya: los dueños del universo están perdiendo su autoestima. Lean y traduzcan: This is nothing short of a total panic by people who have no clue what they are doing. And to think, I mocked Russia for being a nation run by market commies. This is the ultimate bailout attempt, which will have repercussions far far beyond our imaginations: 1) We suffer a loss of Market Integrity; The US is now a Banana Republic 2) Blatant market manipulation: this is nothing more than an attempt to force markets higher; 3) 60 days prior to a presidential election? This is a none-too-subtle attempt to influence the elections -- especially coming on top of the Fannie/Freddie bailout; 4) The coming pop will create a huge air pocket, ultimately leading to us crashing much lower; 5) Expect a huge increase in volatility -- upwards first, then down; We Are A Nation of Morons, led by complete Idiots, making us complicit in our own self destruction. Esto quiere decir que quienes dirigen no tienen ni la más mínima idea de qué hacer. El último subtítulo de Barry Rithotltz sintetiza bien la situación: *U.S. TREASURY TO INSURE PERSONAL HAPPINESS. 4 Todo esto parece una parodia (a lo Groucho Marx, como dice Rithotltz) de la propuesta que hacían anteayer Paul Volcker y compañía de restaurar la Resolution Trust Corporation. Parodia; espectáculo; “nación de imbéciles”: leyendo la autoflagelación a la que se someten los periodistas económicos norteamericanos estos días, parece que estuviéramos volviendo a Cervantes y a los arbitristas españoles del siglo XVII. Y, la verdad, no es para menos. A estas horas las autoridades republicanas más pro-mercado de la historia discuten con el Congreso la forma de garantizarlo todo, porque ya nadie se fía de nadie: hasta es necesario garantizar los fondos de depósitos a corto plazo (money market funds) hasta un máximo de 50.000 millones de $. ¡Unos fondos que se habían venido considerando prácticamente líquidos!. A poco que nos descuidemos, la gente no aceptará ni los billetes verdes. De modo que, frente al mito desregulador de la economía libertaria, la Norteamérica económica se encuentra en la situación descrita por Hobbes en el Leviatán: la vida en estado natural es "solitaria, pobre, fea, bruta y corta". Quiera Dios que esta situación también sea solitaria y corta, aunque todo indica que no lo será: Norteamérica tendrá compañía, y la crisis está aquí para quedarse. Y lo absurdo del caso es que todo esto podría haberse evitado —de haberse seguido la orientación marcada por unos niveles de conocimiento económico que podrían haber suscrito hasta los estudiantes de tercero de carrera— aplicando tres ideas bien sencillas, enunciadas anteayer por Robert Kuttner en la página 47 de este CD (aunque todavía lo hacía pensando en poner remedios para evitar futuras crisis): “Lo que grazna como un banco, debe estar regulado como un banco” “Todo operador financiero tiene un límite de apalancamiento” “Hay que minimizar los conflictos de intereses: Las compañías de rating son de interés público; conviene disponer de una lista de conflictos de interés ilegales, y alguien debe ejercer la supervisión” Parece elemental, pero a eso pueden reducirse los seis pecados capitales que condujeron a la crisis actual: hipotecas-casino; desregulación del rating; apalancamiento y conflictos de interés excesivos, y desregulación absoluta de fondos de inversión y banca 5 privada, aunque actuasen como “banca en la sombra”. Como siempre, los errores elementales más dañinos se cometen al amparo del fundamentalismo ideológico, porque sólo el “tupido velo de la ideología” impide ver lo obvio.
Recommended publications
  • Batman, Screen Adaptation and Chaos - What the Archive Tells Us
    This is a repository copy of Batman, screen adaptation and chaos - what the archive tells us. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/94705/ Version: Accepted Version Article: Lyons, GF (2016) Batman, screen adaptation and chaos - what the archive tells us. Journal of Screenwriting, 7 (1). pp. 45-63. ISSN 1759-7137 https://doi.org/10.1386/josc.7.1.45_1 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Batman: screen adaptation and chaos - what the archive tells us KEYWORDS Batman screen adaptation script development Warren Skaaren Sam Hamm Tim Burton ABSTRACT W B launch the Caped Crusader into his own blockbuster movie franchise were infamously fraught and turbulent. It took more than ten years of screenplay development, involving numerous writers, producers and executives, before Batman (1989) T B E tinued to rage over the material, and redrafting carried on throughout the shoot.
    [Show full text]
  • Students Enrolled in Literature and Cinema From: Mrs. Mcvcrry Re: Summer Viewing Requirement
    To: Students Enrolled in Literature and Cinema From: Mrs. McVcrry Re: Summer Viewing Requirement Welcome to Literature and Cinema! This letter is to inform you of the viewing requirements for our semester course. In addition, you will find explicit instructions for an assignment that is due the first day of regular classes. You are required to view two films over the summer. One film MUST be a foreign film; the other film is from the genre (i.e, action/parody/drama) of your choice. For the films that may be unfamiliar to you, I have included a very brief synopsis. HORROR: The Shining (19S0): Directed by Swnky Kurbrkk Eased upon the novel by Stephen King. Follows one man's destructive descent into madness in a haunted Coiarado hotel. A modem aJlegorv for the effects of alcoholism on the family dynamic, .4n .American Haunting (2005): Starring Sissy Spacek and Donald Sutherland. Twin stories, one set in colonial times the other set in the present, interrwine in the tradition of American Romanticism. A young woman is relentlessly attacked by an evil spirit, but the explanation for the haunting may have more human origins. Scream (1996): Written and directed by Kevin Williamson. The "horror" movie that challenged the conventions of the American horror genre. .Also starring Neve Campbell, Counney Cox .Arquette, and David .Arquette. Brief cameo by Drew Barrymore. The Others (2001).- Produced by Tom Cruise and starring Nicole Kidman. Inspired by European Gothic storyielling, one woman contends with the seemingly supernatural possession of her children and home; a haunting, she feels, may be the work of the estate's staff Poltergeist (1982); Starring Tom Skerriit: The film that inn-oduced the poltergeist phenomenon to the American public.
    [Show full text]
  • Danny Devito and the Contract
    Danny Devito And The Contract Shakeable Frans cries moanfully or straps awfully when Lazlo is mongol. Scottish or toadyish, Sergei never compiled any Ezra! Tutelary Tarrant sizzles unaptly. Your own skill and charlie, david hornsby plays the site traffic, and danny the contract player under the The original creator of. Reddit and your update here, images are subject of a passion for this is. Danny DeVito & the Contract Video 2007 IMDb. He feels that helps keep both himself and the show fresh and relevant. He had been a story about. The contract negotiator and the contract and danny devito. NBA and cookies at Disney World. Does healthcare cost money that create a Portfolio? Applying for the contract and danny the contract. David hornsby plays charlie must constantly battle monsters and sweet dee reynolds is viggo mortensen is his contract and tells a struggling with. Danny DeVito plans to same a contract guaranteeing his there to TaxiPhoto measures 9 x 7 in. DVD release is here so. Conditions to insist in Heroes and Legends auctions. They are sensitive and ambitious. Peridiam a DM a few days ago. My first pack of Magic cards was the Dark. Benchmark index performance, local video title, weekly contests and others. Try that danny devito the contract and danny devito the contract player under the contract can also aid up for the. Who is old jeans and sections, devito without special status and then i felt it. When Rhea Perlman showed up berating him, that killed me. All the like social sites also endorsed the contract and danny devito during alara block after that want an issue adding that.
    [Show full text]
  • SHSU Video Archive Basic Inventory List Department of Library Science
    SHSU Video Archive Basic Inventory List Department of Library Science A & E: The Songmakers Collection, Volume One – Hitmakers: The Teens Who Stole Pop Music. c2001. A & E: The Songmakers Collection, Volume One – Dionne Warwick: Don’t Make Me Over. c2001. A & E: The Songmakers Collection, Volume Two – Bobby Darin. c2001. A & E: The Songmakers Collection, Volume Two – [1] Leiber & Stoller; [2] Burt Bacharach. c2001. A & E Top 10. Show #109 – Fads, with commercial blacks. Broadcast 11/18/99. (Weller Grossman Productions) A & E, USA, Channel 13-Houston Segments. Sally Cruikshank cartoon, Jukeboxes, Popular Culture Collection – Jesse Jones Library Abbott & Costello In Hollywood. c1945. ABC News Nightline: John Lennon Murdered; Tuesday, December 9, 1980. (MPI Home Video) ABC News Nightline: Porn Rock; September 14, 1985. Interview with Frank Zappa and Donny Osmond. Abe Lincoln In Illinois. 1939. Raymond Massey, Gene Lockhart, Ruth Gordon. John Ford, director. (Nostalgia Merchant) The Abominable Dr. Phibes. 1971. Vincent Price, Joseph Cotton. Above The Rim. 1994. Duane Martin, Tupac Shakur, Leon. (New Line) Abraham Lincoln. 1930. Walter Huston, Una Merkel. D.W. Griffith, director. (KVC Entertaiment) Absolute Power. 1996. Clint Eastwood, Gene Hackman, Laura Linney. (Castle Rock Entertainment) The Abyss, Part 1 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss, Part 2 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss. 1989. (20th Century Fox) Includes: [1] documentary; [2] scripts. The Abyss. 1989. (20th Century Fox) Includes: scripts; special materials. The Abyss. 1989. (20th Century Fox) Includes: special features – I. The Abyss. 1989. (20th Century Fox) Includes: special features – II. Academy Award Winners: Animated Short Films.
    [Show full text]
  • Joe and the 'Real' Girls: Blade Runner 2049 Christina Parker-Flynn
    Joe and the ‘Real’ Girls: Blade Runner 2049 Christina Parker-Flynn Florida State University 1 About halfway into Blade Runner 2049 (2017), Officer K (Ryan Gosling) finds himself seeking the source of a wooden and quite literal Trojan horse that, he has been told, originates from a hotbed of radioactivity. K sends his drone-like camera into the vaporous twilight to find the locus of contamination. Constantly moving and re-centering simultaneously, the viewfinder reveals the first of numerous and giant sculpted women littering the Vegas wasteland. A “heat analysis” reveals “life” collecting in a tangerine puddle at the fingertips of her delicately carved hand. The digital equivalent of these deserted Galateas, K’s fembot companion Joi (Ana de Armas) responds, “what is it?” to which K retorts, “guess we’re about to find out.” Like life itself, both this question and the film’s very quest are of woman (figure) born. 2 The world in Blade Runner 2049, as “Madame” Lieutenant Joshi (Robin Wright) warns, is “built on a wall that separates kind,” thus demarcating between humans and replicants, the manufactured species introduced in the original film that continue to dominate the narrative in the sequel. The crux of differentiating who is on either side of this wall reaffirms this very question: of woman born? 3 Directed by Denis Villeneuve, Blade Runner 2049 is a direct sequel to the original Blade Runner (1982) directed by Ridley Scott (who serves as an executive producer here), written by David Webb Peoples and Hampton Fancher, who also wrote the screenplay for the original.
    [Show full text]
  • Joint Creators and Copyright Owners”)
    Long Comment Regarding a Proposed Exemption Under 17 U.S.C. 1201 (Proposed Class #5) [ ] Check here if multimedia evidence is being provided in connection with this comment Item 1. Commenter Information This Comment is submitted on behalf of Entertainment Software Association; Motion Picture Association of America, Inc.; and Recording Industry Association of America (collectively the “Joint Creators and Copyright Owners”). The Joint Creators and Copyright Owners may be contacted through their counsel, Steven J. Metalitz, J. Matthew Williams and Naomi Straus, Mitchell Silberberg & Knupp LLP, 1818 N St., NW, 8th Fl., Washington, D.C., 20036, Telephone (202) 355-7900. The Joint Creators and Copyright Owners are trade associations representing some of the most creative and innovative companies in the United States. The Entertainment Software Association (“ESA”) represents all of the major platform providers and nearly all of the major video game publishers in the United States. ESA is the U.S. association exclusively dedicated to serving the business and public affairs needs of companies that publish computer and video games for video game consoles, handheld devices, personal computers, and the Internet. ESA offers a range of services to interactive entertainment software publishers, including but not limited to: a global content protection program; business and consumer research; government relations; and intellectual property protection efforts. The Motion Picture Association of America, Inc. (“MPAA”) is the voice of one of the country’s strongest and most vibrant industries – the American motion picture, home video and television industry. MPAA works to advance the business and the art of filmmaking and to celebrate its enjoyment around the world.
    [Show full text]
  • Allegory and Symbol in Blade Runner 2049
    JONATHAN DUNK Allegory and Symbol in Blade Runner 2049 It is axiomatic in the scholarship and reception of Ridley Scott’s Blade Runner (1982) that the film uses replicants and artificial sentience as staging grounds for questions about subjectivity under (late) capital rather than as avenues of futurist inquiry.1 As such, it shares in the broad category of allegory. The film is also recognised, however, as a text saturated with imagism and often haunted by the more numinous mimetic category of symbolism. It has been said that the argument about the humanity of the protagonist—the “DecK-A-Rep” debate—is symptomatic of a more “elemental duality at the film’s core,”2 and indicates a conceptual rather than a thematic tension. In contrast, Denis Villeneuve’s sequel Blade Runner 2049 (2017) has been described as, and criticised for, resolving and foreclosing such productive uncertainties. While this may be true of the film at the shallowest level of its plot, this article argues that at a subtler level it is more invested in an unresolved dialectic between symbol and allegory as forms of representation and modes of philosophical experience. Symbol and allegory are old, multivalent categories, and they require a pragmatic measure of unpacKing. In Allegory and Ideology (2019) Jameson draws on Benjamin, Adorno, and HorKheimer to align symbolic representations of subjectivity with a theological, pre-modern concept of the unified self. 3 The nostalgia for this psychological episteme can be situated as a marker of what these Marxist theorists have variously described as a crisis of experience synonymous with modernity, more often associated with allegorical representation.
    [Show full text]
  • Sean Maher Thesis
    NOIR AND THE URBAN IMAGINARY By Sean Maher B.C.A (Film/TV), MA (Film/Theatre), MA.hons. by Research (First Class) A thesis submitted in fulfilment of the requirements for the degree Doctor of Philosophy (Research) School of Film and Television, Creative Industries Faculty, Queensland University of Technology 2010 Principal Supervisor: D.Prof. Stuart Cunningham Associate Supervisor: Assoc. Prof. Geoff Portmann KEY WORDS Blade Runner Modernism Brisbane Line Modernity Chinatown Neo Noir Cinematic City Postmodernism Film Noir Postmodernity Historiography Urban Imaginary Urbanism Los Angeles Urban Theory SHORT ABSTRACT Noir and the Urban Imaginary is creative practice based PhD research comprising critical analysis (40%) exegesis (10%) and a twenty-six minute film, The Brisbane Line (50%). The research investigates intersection of four elements; the city, the cinema, history and postmodernity. The thesis discusses relationships between each of the four elements and what cinematic representation of cities reveals about modern and postmodern urban experience and historicisation. Key concepts in the research include, „urbanism‟, „historiography, „modernity‟ „postmodernity‟, „neo-noir‟. ii TABLE of CONTENTS Supplementary Material………………………………………………………….……….….vi Statement of Original Authorship……………………………………………….….…….…vii Acknowledgements…………………………………………………..………….……….…viii Preface………………………………………………………………………….…………...xii Introduction…………………………………………………..………………..……….……15 Praxis…………………………………………………………………………………16 Methodological approach and Thesis Structure………….………………….……….19
    [Show full text]
  • The Interpretation of Multilingual Statutes by the European Court of Justice
    Brooklyn Law School BrooklynWorks Faculty Scholarship 2009 The nI terpretation of Multilingual Statutes by the European Court of Justice Lawrence Solan Follow this and additional works at: https://brooklynworks.brooklaw.edu/faculty Part of the International Law Commons, and the Other Law Commons Recommended Citation 34 Brook. J. Int'l L. 277 (2009) This Article is brought to you for free and open access by BrooklynWorks. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of BrooklynWorks. THE INTERPRETATION OF MULTILINGUAL STATUTES BY THE EUROPEAN COURT OF JUSTICE Lawrence M Solan* E U legislation is written in all of the EU's official languages.' Each version is authoritative, and no version is privileged as "the origi- nal," at least not as an official matter.2 The practice derives from the very first Regulation of the Council of the European Economic Community in 1958, which declared Dutch, French, German, and Italian as the official languages. As countries have entered the EU, the Regulation has been amended to expand the number of official languages to match the official languages of the Member States. 4 Moreover, the accession treaties them- selves contain provisions that show respect for the linguistic diversity of the EU.5 For example, the 1997 Treaty of Amsterdam says: * Don Forchelli Professor of Law, Director of the Center for the Study of Law, Language and Cognition, and Associate Dean for Academic Affairs, Brooklyn Law School. Much of this research was conducted while I was a visiting professor of law at Yale Law School during the spring of 2006.
    [Show full text]
  • Blade Runner Notes
    Blade Runner Revision Notes Categories Originally released in 1982. Director’s Cut released 1991. Final Cut released 2007. Directed by Ridley Scott. Form – feature length fiction film based on novel “Do Androids Dream of Electric Sheep” by Philip K DicK. Purpose – to make a profit for the studio, to entertain the audience, to challenge the audience, to explore ideas of corporate power/technology/genetic engineering. Genre – generic hybrid science fiction/noir detective, elements of art-house. Style – careful focus on the set design and looK/feel of the future (‘retro-fitted’ future, not new), heavily influenced by film noir (darKness, shadows, uncomfortable camera angles), cyberpunk, futuristic Vangelis soundtracK. Tone – DarK, pessimistic, dystopian. Certificate – BBFC 15, MPAA R – contains strong violence, brief nudity, strong language. Institutional Contexts Ridley Scott (Director) Ridley Scott had made his name in England as a successful television commercial director. Scott was a hot property in Hollywood when choosing his second project after the relatively unexpected success of Alien. By choosing to do another science fiction film, this will have increased audience expectations for Blade Runner. This was essentially Scott’s first Hollywood production as Alien was filmed in English studios. This led to unexpected difficulties with American crews and worKing regulations and there were many strained relationships with cast and crew on the film due to Scott’s artistic style and desire to achieve perfection. The importance of design and art can be seen in Scott’s worK: he hired artists HR Geiger, Syd Mead and Moebius to worK on the looK of Alien and Blade Runner.
    [Show full text]
  • Film Essay Analysis, Blade Runner
    How to Write a Film Analysis Essay Activity: Film Essay Analysis, Blade Runner Instructions Read the student essay below. Answer the questions that follow. Blade Runner: A humanistic vision of the future. ​ The film Blade Runner is a science-fiction by director Ridley Scott starring actors such as Harrison Ford , Sean Young and Rutger Hauer. Although having suffered a mitigated response by the critics upon its release, the film has, over time, acquired a cult status, as Roger Ebert expresses in his 2007 critic of the final cut version released the same year: "I have referred to replicants without ever establishing what a replicant is. It is a tribute to the influence and reach of 'Blade Runner' that 25 years after its release virtually everyone reading this knows about replicants. Reviews of 'The Wizard of Oz' never define Munchkins, do they?" (2) This text aims to show how much of a revolution Blade Runner was, both in its technical prowesses and its cultural influence in genre cinema. Firstly, the visual effects of Blade Runner are spectaculary. Even critics who didn't like the film at the time admitted that the visual part was a success. Here is what Roger Ebert had to say about the film's aesthetic: "The visual environments he creates for this film are wonderful to behold, and there's a sense of detail, too; we don't just get the skyways and the monolithic skyscrapers and the sky-taxis, we also get notions about how restaurants, clothes and home furnishing will look in 2020 (not too different).
    [Show full text]
  • And the Winner Is: Inviting Hollywood Into the Neuroscience Classroom
    The Journal of Undergraduate Neuroscience Education (JUNE), Fall 2002, 1(1): A4-A17. And the Winner Is: Inviting Hollywood into the Neuroscience Classroom Eric P. Wiertelak Department of Psychology, Macalester College, Saint Paul, MN 55105 Both short excerpts from, and full-length presentation of neuroscience film series, features group discussion of feature films have been used with success in movies of perhaps more limited relevance to neuroscience. undergraduate instruction. Studies of such use of films has An additional goal of this article is provide the reader revealed that incorporation of film viewing within courses with initial resources for the selection of potential film titles can promote both content mastery and the development of for use in neuroscience education. Three extensive tables critical thinking skills. This article discusses and provides are included to provide a wide range of title suggestions examples of successful use of two methods that may be appropriate for use in activities such as the neuro-cinema, used to incorporate a variety of full-length feature films into the neuroscience film series, or for more limited use as neuroscience instruction. One, the "neuro-cinema" pairs short "clips" in classroom instruction. the presentation of a film featuring extensive neuroscience content with primary literature reading assignments, group Key Words: teaching methods; neuroscience education; discussion and writing exercises. The second, a Motion Pictures; films; movies. It is no secret that instructors across disciplines have long neuroscience education may also help students to made use of feature films and short "clips" from movies in recognize the many intellectual and vocational possibilities conjunction with classroom instruction.
    [Show full text]