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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. -
Ominous Faultlines in a World Gone Wrong: Courmayeur Noir in Festival Randy Malamud
Ominous Faultlines in a World Gone Wrong: Courmayeur Noir In Festival Randy Malamud In the sublime shadows of the Italian Alps, Courmayeur Confidential, Mulholland Drive, The Dark Knight trilogy), Noir In Festival’s 23-year run suggests America’s monop- hyper-noir (even ‘noirer’ than noir! Sin City, Django Un- 1 oly on this dark cinematic tradition may be on the wane. chained), and tech noir (The Matrix, cyberpunk) it remained The roots of film noir wind broadly through the geogra- a made-in-America commodity. phy of film history. One assumes it’s American to the core: Courmayeur’s 2013 program proved that contemporary Humphrey Bogart, Orson Welles, Dashiell Hammett. But noir, like anything poised to thrive nowadays, is indubita- au contraire, the term itself (obviously) emanates from bly global. Its December event featured Hong Kong film- a Gallic sensibility: French critic Nino Frank planted the maker Johnny To’s wonderfully macabre comedy, Blind flag when he coined ‘‘film noir’’ in 1946. He was discussing Detective (with the funniest crime reenactment scenes American films, but still: it took a Frenchman to appreci- ever); Erik Matti’s Filipino killer-thriller On the Job; and 2 ate them. Or maybe the genre is German, growing out Argentinian Lucı´a Puenzo’s resonantly disturbing Wakol- of Weimar expressionism, strassenfilm (street stories), da, an adaptation of her own novel about Josef Mengele’s 3 Lang’s M. 1960 refuge in a remote Patagonian Naziphile community. In fact, film noir is a hybrid which began to flourish in The Black Lion jury award went to Denis Villeneuve’s 1940s Hollywood, but was molded by displaced Europeans Enemy, a Canadian production adapted from Jose´ Sarama- (Billy Wilder, Alfred Hitchcock, Otto Preminger) and go’s Portuguese novel The Double (and with a bona fide keenly inflected by their continental aesthetic and philo- binational spirit). -
Dheepan, Un Film Postcolonial Anthony Goreau-Ponceaud, Paul Veyret
Dheepan, un film postcolonial Anthony Goreau-Ponceaud, Paul Veyret To cite this version: Anthony Goreau-Ponceaud, Paul Veyret. Dheepan, un film postcolonial. EchoGéo, EchoGéo, 2016, 10.4000/echogeo.14456. halshs-01404832 HAL Id: halshs-01404832 https://halshs.archives-ouvertes.fr/halshs-01404832 Submitted on 29 Nov 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. EchoGéo Sur le Vif | 2016 Dheepan, un film postcolonial Anthony Goreau-Ponceaud and Paul Veyret Publisher Pôle de recherche pour l'organisation et la diffusion de l'information géographique Electronic version (CNRS UMR 8586) URL: http://echogeo.revues.org/14456 DOI: 10.4000/echogeo.14456 ISSN: 1963-1197 Electronic reference Anthony Goreau-Ponceaud and Paul Veyret, « Dheepan, un film postcolonial », EchoGéo [Online], Sur le Vif, Online since 15 February 2016, connection on 30 September 2016. URL : http:// echogeo.revues.org/14456 ; DOI : 10.4000/echogeo.14456 This text was automatically generated on 30 septembre 2016. EchoGéo est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International Dheepan, un film postcolonial 1 Dheepan, un film postcolonial Anthony Goreau-Ponceaud and Paul Veyret 1 La lecture qui suit de Dheepan1 (2015) de Jacques Audiard est le fruit du croisement de deux regards : celui d’un spécialiste de la diaspora tamoule et celui d’un spécialiste du cinéma diasporique indien. -
From Weaklings to Wounded Warriors: the Changing Portrayal of War-Related Post Traumatic Stress Disorder in American Cinema
49th Parallel, Vol. 30 (Autumn 2012) ISSN: 1753-5794 (online) Maseda/ Dulin From Weaklings to Wounded Warriors: The Changing Portrayal of War-related Post Traumatic Stress Disorder in American Cinema Rebeca Maseda, Ph.D and Patrick L. Dulin, Ph.D* University of Alaska Anchorage “That which doesn’t kill me, can only make me stronger.”1 Nietzche’s manifesto, which promises that painful experiences develop nerves of steel and a formidable character, has not stood the test of time. After decades of research, we now know that traumatic events often lead to debilitating psychiatric symptoms, relationship difficulties, disillusionment and drug abuse, all of which have the potential to become chronic in nature.2 The American public is now quite familiar with the term Post Traumatic Stress Disorder (PTSD), its characteristics and associated problems. From what we know now, it would have been more appropriate for Nietzche to have stated “That which doesn’t kill me sometimes makes me stronger, sometimes cripples me completely, but regardless, will stay with me until the end of my days.” The effects of trauma have not only been a focus of mental health professionals, they have also captured the imagination of Americans through exposure to cultural artefacts. Traumatized veterans in particular have provided fascinating material for character development in Hollywood movies. In many film representations the returning veteran is violent, unpredictable and dehumanized; a portrayal that has consequences for the way veterans are viewed by U.S. society. Unlike the majority of literature stemming from trauma studies that utilizes Freudian * Dr Maseda works in the Department of Languages at the University of Alaska, Anchorage, and can be reached at [email protected]. -
125,000 Square Feet
227,350 SQUARE FEET ±25,050 SQUAREAVAILABLE FEET AVAILABLE FOR LEASE OFFICE | WAREHOUSE125,000 | DISTRIBUTION Square Feet AVAILABLE FOR LEASE: 6845 S. DECATUR BOULEVARD, LASVEGAS, NV LAS VEGAS STRIP 215 LAS VEGAS BELTWAY S Decatur Blvd. W Warm Springs Rd. BUILDING 10 FEATURES ● Available: 25,050 Sq. Ft. ● Under Construction: Delivery Planned by April 1, 2019 ● Office: To Suit ● Power: 300 amp, 277/480 volt, 3 ph, 4 wire (expandable) ● Clearance: 28’ minimum @ 1st Column ● Sprinkler System: ESFR ● Loading: 6 Dock Doors, 1 Grade Level Dock Door ● Truck Court: 130’ Truck Maneuvering ● Column Spacing: 50’ x 50’ (Typical) ● Vehicle Parking Spaces: Ample ● Excess Land for Vehicle Parking or Trailer Storage ● Radiant Barrier Insulation and Insulated Loading Doors ● 60’ Concrete Loading Aprons ● MD Zoning Joint Development By: ● Recessed Storefront Entries and Accents PROJECT FEATURES ● Part of 360 acre master-planned business park ● Close proximity to Las Vegas Boulevard (”The Strip”), Convention Facilities, and McCarran International Airport ● Access at Decatur Blvd. FOR ADDITIONAL INFORMATION: Bill Hayden Rod Martin Tel: (702) 896-5564 Tel: (702) 896-5564 [email protected] [email protected] 4050 W. Sunset Road, Suite H | Las Vegas, NV 89118 | PH: (702) 896-5564 | FAX: (702) 896-4838 | www.majesticrealty.com 227,350 SQUARE FEET ±25,050 SQUAREAVAILABLE FEET AVAILABLE FOR LEASE OFFICE | WAREHOUSE125,000 | DISTRIBUTION Square Feet AVAILABLE FOR LEASE: 6845 S. DECATUR BOULEVARD, LAS VEGAS, NV Decatur Blvd. CONC. SHEAR WALL AVAILABLE 50' Bay 50' Bay 48,610 SF (Typ) 25,050 SF 25,050 SF 25,050 SF (Typ) Badura Avenue 50,470 SF 26,560 SF 26,560 SF 50' Bay Bldg. -
ENVIRONMENTAL ASSESSMENT FHWA-NV-EA 07.02 EA: 73215 October 2008
ENVIRONMENTAL ASSESSMENT FHWA-NV-EA 07.02 EA: 73215 October 2008 Federal Highway Administration and Nevada Department of Transportation in cooperation with the Bureau of Land Management Interstate 15 South Corridor Improvement Sloan Road to Tropicana Avenue Clark County, Nevada Alternative), the existing environment that could be affected by the project, the potential impacts from each of the alternatives, and the proposed mitigation measures. NDOT, with FHWA, is proposing to improve 12 miles of the I-15 corridor from Sloan Road to Tropicana Avenue, including Las Vegas Boulevard South between Sloan Road and Sunset Road. Improvements proposed for I-15 consist of expanding the freeway to a ten-lane facility (five general purpose lanes in each direction) from Sloan Road to Blue Diamond Road, and a ten-lane facility (five general purpose lanes in each direction) with collector-distributor (C-D) lanes from Blue Diamond Road to Tropicana Avenue. The I-15 South corridor includes Las Vegas Boulevard South, which would be improved to a six-lane facility (three lanes in each direction) from Sloan Road to Sunset Road, and separated by an open median designated for future use by the Regional Transportation Commission of Southern Nevada’s (RTC) Regional Fixed Guideway system. New service interchanges are proposed along I-15 at Bermuda Road, Starr Avenue, and Cactus Avenue; a reconstructed interchange at Sloan Road; a reconstructed overpass at Warm Springs Road;1 and new overpasses at Pebble Road and Sunset Road. Improvements would be made to the Blue Diamond Road (SR 160) interchange and the I-15/I-215 Beltway system interchange. -
Spatial Equilibrium and Search Frictions - an Application to the New York City Taxi Market∗
Spatial Equilibrium and Search Frictions - an Application to the New York City Taxi Market∗ Ida Johnssonz March 18, 2018 Abstract This paper uses a dynamic spatial equilibrium model to analyze the effect of matching frictions and pricing policy on the spatial allocation of taxicabs and the aggregate number of taxi-passenger meetings. A spatial equilibrium model, in which meetings are frictionless but aggregate matching frictions can arise endogenously for certain parameter values, is calibrated using data on more than 45 million taxi rides in New York. It is shown how the set of equilibria changes for different pricing rules and different levels of aggregate market tightness, defined as the ratio of total supply to total demand. Finally, a novel data-driven algorithm for inferring unobserved demand from the data is proposed, and is applied to analyze how the relationship between demand and supply in a market with frictions compares to the frictionless equilibrium outcome. Keywords: spatial equilibrium, matching, industry dynamics, taxicabs JEL codes: ∗I would like to thank Professor Hashem Pesaran and Professor Hyungsik Roger Moon for their guidance and support. zDepartment of Economics, University of Southern California. Email: [email protected] 1 Introduction The distribution of taxicabs in big cities tends to be imbalanced, in some areas passengers have a hard time finding a taxi, in others taxis can’t easily find a passenger. In the taxi market, trades occur bi- laterally between agents, and the equilibrium outcome depends on the nature of the meeting process. For example, the matching mechanism between yellow cabs in New York and passengers, who have to hail the cab from the street, is different than for ride-hailing services such as Uber or Lyft that match passengers and cabs using an algorithm. -
A Subcategory of Neo Noir Film Certificate of Original Authorship
Louise Alston Supervisor: Gillian Leahy Co-supervisor: Margot Nash Doctorate in Creative Arts University of Technology Sydney Femme noir: a subcategory of neo noir film Certificate of Original Authorship I, Louise Alston, declare that this thesis is submitted in fulfillment of the requirements for the award of the Doctorate of Creative Arts in the Faculty of Arts and Social Sciences at the University of Technology Sydney. This thesis is wholly my own work unless otherwise referenced or acknowledged. In addition, I certify that all information sources and literature used are indicated in the exegesis. This document has not been submitted for qualifications at any other academic institution. This research is supported by the Australian Government Research Training Program. Signature: Production Note: Signature removed prior to publication. Date: 05.09.2019 2 Acknowledgements Feedback and support for this thesis has been provided by my supervisor Dr Gillian Leahy with contributions by Dr Alex Munt, Dr Tara Forrest and Dr Margot Nash. Copy editing services provided by Emma Wise. Support and feedback for my creative work has come from my partner Stephen Vagg and my screenwriting group. Thanks go to the UTS librarians, especially those who generously and anonymously responded to my enquiries on the UTS Library online ‘ask a librarian’ service. This thesis is dedicated to my daughter Kathleen, who joined in half way through. 3 Format This thesis is composed of two parts: Part one is my creative project. It is an adaptation of Frank Wedekind’s Lulu plays in the form of a contemporary neo noir screenplay. Part two is my exegesis in which I answer my thesis question. -
Collaborations of Martin Scorsese with De Niro And
From Realism to Reinvention: Collaborations of Martin Scorsese with De Niro and DiCaprio By Travis C. Yates Martin Scorsese is considered by many to be the greatest film director of the past quarter- century. He has left an indelible mark on Hollywood with a filmography that spans more than four decades and is as influential as it is groundbreaking. The proverb goes, “It takes a village to raise a child.” The same could be said of cinema, though one popular filmmaking theory refutes this. French filmmaker Jean-Luc Godard said of the filmmaking process, “The cinema is not a craft. It is an art. It does not mean teamwork. One is always alone on the set as before the blank page” (Naremore 9). Film theorist Robert Stam discusses this concept of auteur theory in Film Theory: An Introduction , an idea that originated in postwar France in the 1950s. It is the view that the director is solely responsible for the overall look and style of a film. As Colin Tait submits in his article “When Marty Met Bobby: Collaborative Authorship in Mean Streets and Taxi Driver ,” the theory is a useful tool at best, incorrect at worst. Tait criticizes the theory in that it denies the influence of other artists involved in the production as well as the notion of collaboration. It is this spirit of collaboration in Scorsese films featuring two specific actors, Robert De Niro and Leonardo DiCaprio, which this this paper will examine. Scorsese has collaborated with De Niro on eight films, the first being Mean Streets in 1973 and the most recent being Casino in 1995. -
Innovative Taxi Company Builds Loyalty Through Driver Incentives
JUNE 2019 www.taxiliverytimes.com Vol.20 No. 6 Share Lea los this issue artículos en with a español. friend & An Insider’s Look at Both NYC TLC Regulated Industries INNOVATIVE TAXI COMPANY BUILDS LOYALTY THROUGH DRIVER INCENTIVES Yellow Exemption For Congestion Pricing? See Page 28 IINNNNOOVVAADDOORRAA EEMMPPRREESSAA DDEE TTAAXXIISS PPRROOMMUUEEVVEE LLEEAALLTTAADD DDEE LLOOSS CCOONNDDUUCCTTOORREESS OOTTOORRGGÁÁNNDDOOLLEESS IBNECNEENFTIICVIOS POLICE SMASH WILL UNDOCUMENTED HUNDREDS OF NEW FUN, FAMILY-FRIENDLY WINDOW OF FAKE CAB NYERS GET DRIVER’S SPEED CAMERAS SUMMER EXCURSIONS TO FREE HOSTAGE LICENSES? COMING IN JULY IN NYC TAXI & LIVERY TIMES 2 • • JUNE 2019 TLC DRIVER SERVICES, INC. TLC DRIVER SCHOOL All TLC Summonses TLC DRIVER SCHOOL DMV Traffic Tickets Offering AALLLL Required TLC Driver Classes The TLC Driving Institute was founded by industry experts to provide the highest level of education A dedicated team of lawyers for Black Car / For-Hire Vehicle (FHV), SHL and providing the necessary Taxi Drivers. It is also our mission to deliver the expertise, knowledge and experience to effectively most convenient and accommodating classes represent all licensees – and programs in NYC. including drivers, vehicle owners & base owners – in the transportation industry. New TLC Base Applications 718-729-4700 It’s about time that you defend yourself 3 Convenient Locations and protect your Long 3Island1-00 47th City, Avenue NY 11101 DMV & TLC License! (Inside the TLC Building-1st floor) 60-19 Woodside,Roosevelt Avenue NY 11377 - 2nd floor 7 Train to Woodside-61st St Stop Gregory Gallo Bronx,135 Lincoln NY 10454 Ave., Attorney at Law 6 Train to 138th Street Station 718-255-9500 We handle all 2244 HOURHOUR CLASSESCLASSES TLC and DMV DAYDAY && NIGHTNIGHT CLASSESCLASSES matters! CUSTOMIZABLECUSTOMIZABLE SCHEDULESSCHEDULES FINALFINAL EXAMEXAM TESTINGTESTING Our goal is to give you the best legal WHEELCHAIRWHEELCHAIR (WAV)(WAV) CLASSCLASS defense available and to keep your license protected at all times. -
Gérard DEPARDIEU Benoît POELVOORDE Vincent LACOSTE
JPG FILMS, NO MONEY PRODUCTIONS and NEXUS FACTORY present Gérard Benoît Vincent Céline DEPARDIEU POELVOORDE LACOSTE SALLETTE written and directed by Benoît DELÉPINE & Gustave KERVERN JPG Films, No Money Productions and Nexus Factory present Gérard Benoît Vincent Céline DEPARDIEU POELVOORDE LACOSTE SALLETTE written and directed by Benoît DELÉPINE & Gustave KERVERN 101 min - France/Belgium - 1.85 - 5.1 - 2015 Press materials available for download on www.le-pacte.com INTERNATIONAL PRESS INTERNATIONAL SALES PREMIER - Liz Miller/Sanam Jehanfard LE PACTE [email protected] 5, rue Darcet [email protected] 75017 Paris Berlin: Potsdamer Platz 11, Room 301 Tel: +331 44 69 59 59 Tel: +49 30 2589 4501/02 (10-20 Feb) Synopsis Every year, Bruno, a disheartened cattle breeder, attends the Paris Agricultural Show. This year, his father Jean joins him: he wants to finally win the competition with their bull Nebuchadnezzar and convince Bruno to take over the family farm. Every year, Bruno makes a tour of all the wine stands, without setting foot outside the Show’s premises and without ever finishing his wine trail. This year, his father suggests they finish it together, but a real wine trail, across the French countryside. Accompanied by Mike, a young, quirky taxi driver, they set off in the direction of France’s major wine regions. Together, they are going to discover not only the wine trails, but also the road that leads back to Love. 5 DOES THAT MEAN THAT YOU BRING SOME SUBJECTS TO THE TABLE, BENOÎT? AND GUSTAVE BRINGS OTHERS? GUSTAVE KERVERN: I was born in Mauritius, but we haven’t shot a movie about water-skiing yet. -
300 Greatest Films 4 Black Copy
The goal in this compilation was to determine film history's definitive creme de la creme. The titles considered to be the greatest of the great from around the world and throughout the history of film. So, after an in-depth analysis of respected critics and publications from around the globe, cross-referenced and tweaked to arrive at the ranking of films representing, we believe, the greatest cinema can offer. Browse, contemplate, and enjoy. Check off all the films you have seen 1 Citizen Kane 1941 USA 26 The 400 Blows 1959 France 51 Au Hasard Balthazar 1966 France 76 L.A. Confidential 1997 USA 2 Vertigo 1958 USA 27 Satantango 1994 Hungary 52 Andrei Rublev 1966 USSR 77 Modern Times 1936 USA 3 2001: A Space Odyssey 1968 UK 28 Raging Bull 1980 USA 53 All About Eve 1950 USA 78 Mr Hulot's Holiday 1952 France 4 The Rules of the Game 1939 France 29 L'Atalante 1934 France 54 Sunset Boulevard 1950 USA 79 Wings of Desire 1978 France 5 Seven Samurai 1954 Japan 30 Annie Hall 1977 USA 55 The Turin Horse 2011 Hungary 80 Ikiru 1952 Japan 6 The Godfather 1972 USA 31 Persona 1966 Sweden 56 Jules and Jim 1962 France 81 The Apartment 1960 USA 7 Apocalypse Now 1979 USA 32 Man With a Movie Camera 1929 USSR 57 Double Indemnity 1944 USA 82 Discreet Charm of the Bourgeoisie 1972 France 8 Tokyo Story 1953 Japan 33 E.T. the Extra-Terrestrial 1982 USA 58 Contempt (Le Mepris) 1963 France 83 The Seventh Seal 1957 Sweden 9 Taxi Driver 1976 USA 34 Star Wars Episode IV 1977 USA 59 Belle De Jour 1967 France 84 Wild Strawberries 1957 Sweden 10 Casablanca 1942 USA 35