A Cinematic Carol Bouncing Along Nicely Index Apple Pi President Wins IFA Post
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Locations of Motherhood in Shakespeare on Film
Volume 2 (2), 2009 ISSN 1756-8226 Locations of Motherhood in Shakespeare on Film LAURA GALLAGHER Queens University Belfast Adelman’s Suffocating Mothers (1992) appropriates feminist psychoanalysis to illustrate how the suppression of the female is represented in selected Shakespearean play-texts (chronologically from Hamlet to The Tempest ) in the attempted expulsion of the mother in order to recover the masculine sense of identity. She argues that Hamlet operates as a watershed in Shakespeare’s canon, marking the prominent return of the problematic maternal presence: “selfhood grounded in paternal absence and in the fantasy of overwhelming contamination at the site of origin – becomes the tragic burden of Hamlet and the men who come after him” (1992, p.10). The maternal body is thus constructed as the site of contamination, of simultaneous attraction and disgust, of fantasies that she cannot hold: she is the slippage between boundaries – the abject. Julia Kristeva’s theory of the abject (1982) ostensibly provides a hypothesis for analysis of women in the horror film, yet the theory also provides a critical means of situating the maternal figure, the “monstrous- feminine” in film versions of Shakespeare (Creed, 1993, 1996). Therefore the choice to focus on the selected Hamlet , Macbeth , Titus Andronicus and Richard III film versions reflects the centrality of the mother figure in these play-texts, and the chosen adaptations most powerfully illuminate this article’s thesis. Crucially, in contrast to Adelman’s identification of the attempted suppression of the “suffocating mother” figures 1, in adapting the text to film the absent maternal figure is forced into (an extended) presence on screen. -
INTRODUCTION Fatal Attraction and Scarface
1 introduction Fatal Attraction and Scarface How We Think about Movies People respond to movies in different ways, and there are many reasons for this. We have all stood in the lobby of a theater and heard conflicting opin- ions from people who have just seen the same film. Some loved it, some were annoyed by it, some found it just OK. Perhaps we’ve thought, “Well, what do they know? Maybe they just didn’t get it.” So we go to the reviewers whose business it is to “get it.” But often they do not agree. One reviewer will love it, the next will tell us to save our money. What thrills one person may bore or even offend another. Disagreements and controversies, however, can reveal a great deal about the assumptions underlying these varying responses. If we explore these assumptions, we can ask questions about how sound they are. Questioning our assumptions and those of others is a good way to start think- ing about movies. We will soon see that there are many productive ways of thinking about movies and many approaches that we can use to analyze them. In Dragon: The Bruce Lee Story (1992), the actor playing Bruce Lee sits in an American movie theater (figure 1.1) and watches a scene from Breakfast at Tiffany’s (1961) in which Audrey Hepburn’s glamorous character awakens her upstairs neighbor, Mr Yunioshi. Half awake, he jumps up, bangs his head on a low-hanging, “Oriental”-style lamp, and stumbles around his apart- ment crashing into things. -
I'm a Married Man Chloe Nolan
I'M A MARRIED MAN CHLOE NOLAN MIDLAND JUNCTION ARTS CENTRE | 20 FEBRUARY - 24 APRIL 2021 I'm a Married Man, 2021, video installation, 4:40 min. I first watched Adrian Lyne’s Fatal Attraction (1987) when I was 16 years old and I remember feeling repulsed by Michael Douglas’ character. I was insulted that the film expected me to relate to a man who had cheated on his wife and somehow became the victim of his mistress’s sexual scorn. There is one scene in Fatal Attraction that particularly horrifies me, and which epitomises the treatment of “predatory women” in film. After repeated attempts to cut contact with Glenn Close’s character, Douglas meets her in a train station and berates her. “Is this what you want to talk about, our imaginary love affair.” Even after she reveals to him that she is pregnant, he continues to condescend and gaslight her, calling her “sick” and telling her she "needs to see a shrink”. Finally, he demands that she does not carry her pregnancy to full term because they “will have to live with this for the rest of their lives.” After my initial viewing of Fatal Attraction, I became obsessed with Douglas’ filmography, particularly his roles throughout the '80s and '90s. I noticed a pattern of him selecting roles similar to the one he played in Fatal Attraction. He belittles, patronises and invalidates the experiences of the “predatory woman” female lead, the counterpart to his “everyman” persona. As film critic Rob Edelman states in regard to Douglas’ choice in film roles: “...he personifies the contemporary Caucasian middle-to-upper class American male who finds himself the brunt of female anger because of real or imagined sexual slights. -
Tobacco Control Policy Making: United States
UCSF Tobacco Control Policy Making: United States Title Tobacco product placement and its reporting to the Federal Trade Commission Permalink https://escholarship.org/uc/item/7kd981j3 Authors Polansky, Jonathan R Glantz, Stanton A, PhD Publication Date 2016-07-01 eScholarship.org Powered by the California Digital Library University of California Tobacco product placement and its reporting to the Federal Trade Commission Jonathan R. Polansky Onbeyond LLC, Fairfax, California Stanton A. Glantz, PhD University of California, San Francisco ___________________________ University of California, San Francisco This publication is available at www.escholarship.org/uc/item/7kd981j3 July 2016 Tobacco product placement and its reporting to the FTC | 2 Summary of findings The historical record strongly suggests that asking tobacco companies to report their product placement activities and expenditures did not capture all activity in this area. This report compares expenditures for product placement described in internal documents from American Tobacco, Brown & Williamson, Liggett & Myers, Philip Morris and RJ Reynolds tobacco companies with reports the companies were required to submit to the US Federal Trade Commission in the “endorsements and testimonials” category of cigarette promotion and advertising. During that time, in their internal documents, American Tobacco, Brown & Williamson, Philip Morris and RJ Reynolds, or their contracted product placement agents, listed 750 motion pictures as engaged for product placement, 600 of which were released widely to theaters (Appendix). Substantial discrepancies exist between product placement spending described in the internal industry records and the spending reported to the Federal Trade Commission in the “endorsements and testimonials” category. Nearly half (47 percent; $2.3 million of about $5 million) of spending for on-screen product placement described in internal industry records between 1978 and 1994 was not reported in to the FTC in the “endorsements and testimonials” category. -
The Inventory of the Michael Douglas Collection #1839
The Inventory of the Michael Douglas Collection #1839 Howard Gotlieb Archival Research Center Douglas, Michael #1839 3/31/16, 4/7/16 Preliminary Listing I. Wardrobe. A. Costumes. Box 1-2 1. “The American President.” Box 3-8 2. “Behind the Candelabra.” Box 9 3. “Disclosure.” 4. “A Perfect Murder.” 5. “Romancing The Stone.” Box 9-14 6. “The Game.” Box 15-20 7. “The In-Laws.” Box 21-25 8. “It Runs In The Family.” Box 26 9. “Jewel Of The Nile.” Box 27-32 10. “Traffic.” Box 33-37 11. “Wonder Boys.” Box 38 12. “Wall Street.” B. Hanging Costumes. Pkg. 1-2 1. “The American President.” Pkg. 3-35 2. “Behind the Candelabra.” Pkg. 36-57 3. “The Game.” Pkg. 58-78 4. “The In-Laws.” Pkg. 79-116 5. “It Runs In The Family.” Pkg. 117 6. “Wall Street.” Box 39-56 C. Personal. Pkg. 118-124 D. Hanging Personal. II. Printed Materials. A. Files. Box 57-88 1. Clippings (not on their spreadsheets). Box 88 2. General. B. Blueprints/Maps. C. Internet printouts. D. Postcards. Box 89-91 E. Magazines. Box 92-94 F. Programs. Box 95 G. Newspapers. Box 95-96 H. Reviews. Box 96 I. Clippings. J. Booklets. K. Pamphlets. L. Fliers. Box 97 M. Posters. Pkg. 125-141 N. Oversized posters. Douglas, Michael (3/31/16, 4/7/16) Page 1 of 46 III. Film and Video. Box 98-131 A. VHS. Box 131 B. 8 mm cassettes. C. Mini-DVs. Box 132 D. DV-Cams. Box 133 E. DVDs. Box 134 F. -
Movies and Mental Illness Using Films to Understand Psychopathology 3Rd Revised and Expanded Edition 2010, Xii + 340 Pages ISBN: 978-0-88937-371-6, US $49.00
New Resources for Clinicians Visit www.hogrefe.com for • Free sample chapters • Full tables of contents • Secure online ordering • Examination copies for teachers • Many other titles available Danny Wedding, Mary Ann Boyd, Ryan M. Niemiec NEW EDITION! Movies and Mental Illness Using Films to Understand Psychopathology 3rd revised and expanded edition 2010, xii + 340 pages ISBN: 978-0-88937-371-6, US $49.00 The popular and critically acclaimed teaching tool - movies as an aid to learning about mental illness - has just got even better! Now with even more practical features and expanded contents: full film index, “Authors’ Picks”, sample syllabus, more international films. Films are a powerful medium for teaching students of psychology, social work, medicine, nursing, counseling, and even literature or media studies about mental illness and psychopathology. Movies and Mental Illness, now available in an updated edition, has established a great reputation as an enjoyable and highly memorable supplementary teaching tool for abnormal psychology classes. Written by experienced clinicians and teachers, who are themselves movie aficionados, this book is superb not just for psychology or media studies classes, but also for anyone interested in the portrayal of mental health issues in movies. The core clinical chapters each use a fabricated case history and Mini-Mental State Examination along with synopses and scenes from one or two specific, often well-known “A classic resource and an authoritative guide… Like the very movies it films to explain, teach, and encourage discussion recommends, [this book] is a powerful medium for teaching students, about the most important disorders encountered in engaging patients, and educating the public. -
Teen Suspect Linked to Domino's Robbery 01 the Same Store Last December
11, Serving the San Jose State UniverNitv Community Since 1934 Volume 90, No. 40 Thursday Apii I 7. 1988 Teen suspect linked to Domino's robbery 01 the same store last December. Acknowledging the seriousness of the fel- department) doesn't have any control over In the robbery. a man fitting McKeithan's ony charge. Tiedemann argued that since what happens to him now. That's up to the Student facing description forced the store manager to hand McKeithan's parents were staying in San judicial system." over the night deposit of $600, Reyes said. Jose to be with their son, a bail was war- In the March 30 incident, McKeithan al- Items stolen in the 1987 burglary a VCR ranted. But Municipal Court Judge Hugh additional charges legedly threatened Baxter with a 12 -gauge '(The police department) with a monitor and a Domino's sign, were Mullin denied the plea. shotgun. Baxter, who was in civilian By Katarina Jonholt found in McKeithan's apartment "during the Clifford M. McKeithan, Charles' father. clothes, was withdrawing money front the doesn't have any control Daily staff writer course of investigation after his arrest." said the defense is "getting information to- Wells Fargo automated teller on First and Three additional counts of armed robbery, Reyes said. gether for a Superior Court review** of the Mission over what happens to burglary and possession of stolen property In Santa Clara County Municipal Court hail decision. streets. were filed against SJSU drama student Tuesday. McKeithan didn't enter a plea. hut He said he didn't know anything about the McKeithan's gun was unloaded, hut there him now. -
My Favorite Year Spring Musical Auditions!!! Monday December 9Th- December 13Th
My Favorite Year Spring Musical Auditions!!! Monday December 9th- December 13th. Monday – Individual Audition Slots Tuesday- Individual Audition Slots Weds.- Individual Audition Slots Thursday- Dance Auditions and Call Backs after (3:10- 4:00pm Dance) Friday- More Call Backs if needed… Dear Auditionee, I am so excited to be directing “My Favorite Year,” for Calvary Christian High School this year! I am especially excited that you have decided to audition. Make sure you have read over the packet carefully so you understand what you will need for the audition and are prepared for the audition. I have attached a character breakdown for you to think about what character you would really like to go for, monologues and Mr. M’s music selections for you to pick to audition with. You may want to learn more than one monologue and song in case you will be asked to sing another. Brief Synopsis: Stephen Flaherty and Lynn Ahrens' nostalgic musical comedy My Favorite Year, is based on the beloved 1982 hit film starring Peter O'Toole. The original story line was fondly based on an encounter that Mel Brooks had with Errol Flynn while working together on Sid Caesar's Your Show of Shows. Benjy Stone the freshman writer on the 1954 hit TV show, "The King Kaiser Comedy Cavalcade." When his hero, movie star Alan Swann, is booked as the live show's guest, it is up to Benjy not only to assure that the star is on stage but that he is sober as well! Benjy acts as chaperone, family mediator, bouncer, alcohol treatment counselor, escort, editor and psychiatrist to the wayward actor. -
An Analysis of Female Empowerment in Science Fiction and Horror Films in Fatal Attraction, Aliens, and the Stepford Wives
Wright State University CORE Scholar Master of Humanities Capstone Projects Master of Humanities Program 2012 Illusionary Strength: An Analysis of Female Empowerment in Science Fiction and Horror Films in Fatal Attraction, Aliens, and The Stepford Wives Jennifer Lynn Ruben Wright State University - Main Campus Follow this and additional works at: https://corescholar.libraries.wright.edu/humanities Part of the Film and Media Studies Commons Repository Citation Ruben, J. L. (2012). Illusionary Strength: An Analysis of Female Empowerment in Science Fiction and Horror Films in Fatal Attraction, Aliens, and The Stepford Wives (Master’s thesis). Wright State University, Dayton, Ohio. This Thesis is brought to you for free and open access by the Master of Humanities Program at CORE Scholar. It has been accepted for inclusion in Master of Humanities Capstone Projects by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. ILLUSIONARY STRENGTH; AN ANALYSIS OF FEMALE EMPOWERMENT IN SCIENCE FICTION AND HORROR FILMS IN FATAL ATTRACTION, ALIENS, AND THE STEPFORD WIVES A thesis submitted in partial fulfillment of the requirements for the degree of Master of Humanities By JENNIFER LYNN RUBEN B.A., Michigan State University, 2008 2012 Wright State University COPYRIGHT BY JENNIFER RUBEN 2012 WRIGHT STATE UNIVERSITY GRADUATE SCHOOL December 4, 2012 I HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPERVISION BY Jennifer Ruben ENTITLED Illusionary Strength: An Analysis of Female Empowerment in Science Fiction and Horror Films in Fatal Attraction, Aliens, and The Stepford Wives BE ACCEPTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Humanities. -
The Fatal Flaws of Fatal Attraction
Ben W. Heineman Jr. - Ben Heineman Jr. has held top positions in government, law and business. He is the author of High Performance with High Integrity (Harvard Business Press, 2008). Cristine Russell - Cristine Russell is an award-winning science, health and environment writer. She is a senior fellow at Harvard's Belfer Center for Science and International Affairs. The Fatal Flaws of Fatal Attraction By: Ben W. Heineman Jr. & Cristine Russell April 7, 2014 The writer of the 1987 thriller disliked the ending that Hollywood put on the movie. A new live adaptation addresses his concerns—but doesn't fix the deeper problem with the story. The psycho-thriller “Fatal Attraction,” the highest grossing movie of 1987, was a must- see film that turned a successful New York lawyer’s weekend affair with a sexy single publishing exec into a terrifying tale of obsession. Her demonic pursuit of him, and his family, ended with a shocking plot twist that left viewers stunned. Twenty-five years later, the hit film has been resurrected in a neon-lit theatrical production that premiered recently in London’s West End. Both the original screenplay and new play are the work of British screenwriter James Dearden. Despite an Oscar nomination for Fatal Attraction, he had long been dissatisfied with the Hollywood ending that Paramount Pictures’ producers insisted on. So, for his first live stage effort, Dearden, now 64, rewrote the plot, making the characters more complicated, the message more ambiguous, and the finale more in line with his original vision. The film’s striking commercial success—reviews were mixed—was largely attributed to the insistence on script changes by famed producers Stanley Jaffe and Sherry Lansing, based on test screening reactions. -
American Postfeminist Cinema: Women, Romance Linnete Manrique and Contemporary Culture Goldsmiths, University of London Michele Schreiber
Feminist Ghosts: The New Cultural Life of Feminism Issue 6 – 2016 | www.diffractions.net BOOK REVIEW American Postfeminist Cinema: Women, Romance Linnete Manrique and Contemporary Culture Goldsmiths, University of London Michele Schreiber American Postfeminist Cinema: Women, Romance and Contemporary Culture. Michele Schreiber. Edinburgh, UK: Edinburgh University Press, 2014 In American Postfeminist Cinema: Women, Romance and Contemporary Culture, film studies scholar Michele Schreiber provides a rich analysis of the relationship between heterosexual romance narratives and postfeminist culture. Over the course of five chapters, she interrogates how the cycle of postfeminist romance films made from 1980 to 2012 portrays and reflects “contemporary women’s anxieties (…) and anxieties about women” (Schreiber, 2014: 2). According to cultural theorist Angela McRobbie, postfeminism is deployed as a substitute for feminism, which is perceived as having already passed. In her influential book, The Aftermath of Feminism: Gender, Culture and Social Change, she argues that postfeminism “positively draws on and invokes feminism as that which can be taken into account, to suggest that equality is achieved, in order to install a whole repertoire of new meanings which emphasise that it is no longer needed, it is a spent force” (McRobbie, 2009: 12). For McRobbie, the Bridget Jones character that first appeared in the UK Independent newspaper column, Bridget Jones’s Diary, and in the eponymous book and films that followed, embodies postfeminist culture. Bridget Jones is unapologetically feminine, dreaming of romance, finding the right man, getting married and having children, and is not particularly career-driven. McRobbie notes that this and other postfeminist films celebrate “a kind of scatterbrain and endearing femininity,” as though it has been lost and needs to be retrieved. -
Here to Find Them, Pirates of the Caribbean, Night at the Museum, Edge of Tomorrow and Wonder Woman
Walter Roshetski A chance encounter with Jerry Lewis while a student at the University of Miami, led Roshetski, a New York native, to switch his attentions from pursuing a medical career to a lifetime in film and television. Following an internship and a role in Lewis’ movie, Hardly Working. Roshetski earned his Film Degree and worked as a location agent until he settled in to his ultimate career as a Location Manager. A member of the Motion Picture Teamsters, Local 399, Roshetski’s credits include NYPD Blue, Freaky Friday, Anacardium. For the past fourteen years, he has worked on Criminal Minds, for which he has won two COLAS and four nominations. He is a published writer, avid sports fan, and a travel enthusiast. Georgette Turner Georgette Turner trained as an actress before discovering her talent as a Location Manager. She began her career in locations as parking guard and worked her way up through every grade of the location department. Ms. Turner is now entering her fourteenth year as a Location Manager. Her credits include Fantastic Beasts and Where to Find Them, Pirates of the Caribbean, Night at the Museum, Edge of Tomorrow and Wonder Woman. Along with Ken Haber, Turner serves as the UK Regional Co-Chair of the LMGI membership committee. Ken Haber Ken Haber has worked as a feature film location scout and manager for more than thirty years. Some of his projects include: Fatal Attraction, Wall Street, Black Rain, Thelma and Louise, The Bridges of Madison County and The Thin Red Line. He’s shot thousands of locations throughout the country for directors such as Adrian Lyne, Oliver Stone, Ridley Scott, Clint Eastwood, Terence Malick, and Joseph Kosinski.