Udr 108 26.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Representation of Suicide in the Cinema
The Representation of Suicide in the Cinema John Saddington Submitted for the degree of PhD University of York Department of Sociology September 2010 Abstract This study examines representations of suicide in film. Based upon original research cataloguing 350 films it considers the ways in which suicide is portrayed and considers this in relation to gender conventions and cinematic traditions. The thesis is split into two sections, one which considers wider themes relating to suicide and film and a second which considers a number of exemplary films. Part I discusses the wider literature associated with scholarly approaches to the study of both suicide and gender. This is followed by quantitative analysis of the representation of suicide in films, allowing important trends to be identified, especially in relation to gender, changes over time and the method of suicide. In Part II, themes identified within the literature review and the data are explored further in relation to detailed exemplary film analyses. Six films have been chosen: Le Feu Fol/et (1963), Leaving Las Vegas (1995), The Killers (1946 and 1964), The Hustler (1961) and The Virgin Suicides (1999). These films are considered in three chapters which exemplify different ways that suicide is constructed. Chapters 4 and 5 explore the two categories that I have developed to differentiate the reasons why film characters commit suicide. These are Melancholic Suicide, which focuses on a fundamentally "internal" and often iII understood motivation, for example depression or long term illness; and Occasioned Suicide, where there is an "external" motivation for which the narrative provides apparently intelligible explanations, for instance where a character is seen to be in danger or to be suffering from feelings of guilt. -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
{PDF EPUB} David Lynch Swerves Uncertainty from Lost Highway to Inland Empire by Martha P
Read Ebook {PDF EPUB} David Lynch Swerves Uncertainty from Lost Highway to Inland Empire by Martha P. Nochimson David Lynch Swerves: Uncertainty from Lost Highway to Inland Empire by Martha P. Nochimson. Our systems have detected unusual traffic activity from your network. Please complete this reCAPTCHA to demonstrate that it's you making the requests and not a robot. If you are having trouble seeing or completing this challenge, this page may help. If you continue to experience issues, you can contact JSTOR support. Block Reference: #ff43f310-cf3d-11eb-a976-79da444b3938 VID: #(null) IP: 116.202.236.252 Date and time: Thu, 17 Jun 2021 07:31:14 GMT. David Lynch Swerves: Uncertainty From Lost Highway to Inland Empire. Beginning with Lost Highway , director David Lynch 'swerved' in a new direction, one in which very disorienting images of the physical world take center stage in his films. Seeking to understand this unusual emphasis in his work, noted Lynch scholar Martha Nochimson engaged Lynch in a long conversation of unprecedented openness, during which he shared his vision of the physical world as an uncertain place that masks important universal realities. He described how he derives this vision from the Holy Vedas of the Hindu religion, as well as from his layman�s fascination with modern physics. With this deep insight, Nochimson forges a startlingly original template for analyzing Lynch's later films - the seemingly unlikely combination of the spiritual landscape envisioned in the Holy Vedas and the material landscape evoked by quantum mechanics and relativity. In David Lynch Swerves , Nochimson navigates the complexities of Lost Highway, The Straight Story, Mulholland Drive, and Inland Empire with uncanny skill, shedding light on the beauty of their organic compositions; their thematic critiques of the immense dangers of modern materialism; and their hopeful conceptions of human potential. -
Movie Data Analysis.Pdf
FinalProject 25/08/2018, 930 PM COGS108 Final Project Group Members: Yanyi Wang Ziwen Zeng Lingfei Lu Yuhan Wang Yuqing Deng Introduction and Background Movie revenue is one of the most important measure of good and bad movies. Revenue is also the most important and intuitionistic feedback to producers, directors and actors. Therefore it is worth for us to put effort on analyzing what factors correlate to revenue, so that producers, directors and actors know how to get higher revenue on next movie by focusing on most correlated factors. Our project focuses on anaylzing all kinds of factors that correlated to revenue, for example, genres, elements in the movie, popularity, release month, runtime, vote average, vote count on website and cast etc. After analysis, we can clearly know what are the crucial factors to a movie's revenue and our analysis can be used as a guide for people shooting movies who want to earn higher renveue for their next movie. They can focus on those most correlated factors, for example, shooting specific genre and hire some actors who have higher average revenue. Reasrch Question: Various factors blend together to create a high revenue for movie, but what are the most important aspect contribute to higher revenue? What aspects should people put more effort on and what factors should people focus on when they try to higher the revenue of a movie? http://localhost:8888/nbconvert/html/Desktop/MyProjects/Pr_085/FinalProject.ipynb?download=false Page 1 of 62 FinalProject 25/08/2018, 930 PM Hypothesis: We predict that the following factors contribute the most to movie revenue. -
Students Volunteer at Dome, Food Bank
ce Thresher Vol. XCIII, Issue No. 4 SINCE 1916 Friday, September 9, 2005 Students volunteer at dome, food bank by David Brown volunteering efforts and ways THRESHER EDrroKlAL STAFF to continue to help hurricane victims. Hundreds of Rice students were Griswold encouraged students to among the thousands of Houston visit the CIC Web site, http://www. volunteers who went to Reliant Park, rice.edu/service, for information the George R. Brown Convention about how to volunteer, donate goods Center and other service agencies and make monetary contributions for looking to help victims of Hurricane the relief effort. Students should also Katrina last weekend. attend a training session Monday, Community Involvement Center Griswold said. The training, from Director Mac Griswold said more 12-1 p.m. in the Grand Hall of the than 100 students volunteered RMC, is being held to prepare stu- for CIC-organized trips to the dents for interacting with evacuees Houston Food Bank, and others directly, Griswold said. went on their own or in groups to "Some volunteers may not be evacuee shelters. ready for what they're going to see," "What I saw in the first 72 hours Griswold said. "There are a lot of very after the evacuees arrived was just emotional people [at the shelters]." amazing," Griswold said at a Stu- But with evacuees arriving by MARSHALL ROBINSON/THRESHER dent Association forum Wednesday. the thousands late last week, many "There has been a flood of phone students went straight to Reliant calls and e-mails from people asking Park Friday when the American Red Relieving pressure how to help." Cross waived the requirement that Sid Richardson College freshman Simon Tong (left) and Jones College sophomore Chris Conner help a hurricane About 30 students attended the volunteers be trained. -
Settembre 2011 - Maggio 2012
DAVID LYNCHsettembre 2011 - maggio 2012 Circolo del cinema Circolo del cinema LuganoCinema93 Bellinzona Locarno Cinema Iride Cinema Forum 1+2 Cinema Morettina sabato, 18.00 venerdì, 20.30 domenica, 17.00 martedì, 20.30 sab 3 settembre ven 9 settembre dom 18 settembre ERASERHEAD ERASERHEAD ERASERHEAD Eraserhead – La mente Eraserhead – La mente Eraserhead – La mente che cancella, Usa 1978 che cancella, Usa 1978 che cancella, Usa 1978 sab 1 ottobre ven 7 ottobre dom 9 ottobre THE ELEPHANT MAN THE ELEPHANT MAN THE ELEPHANT MAN Usa 1980 Usa 1980 Usa 1980 sab 22 ottobre ven 28 ottobre dom 16 ottobre BLUE VELVET BLUE VELVET DUNE Velluto blu, Usa 1986 Velluto blu, Usa 1986 Usa 1984 sab 26 novembre ven 18 novembre dom 27 novembre WILD AT HEART WILD AT HEART BLUE VELVET Cuore selvaggio, Usa 1990 Cuore selvaggio, Usa 1990 Velluto blu, Usa 1986 mar 20 dicembre ven 16 dicembre dom 11 dicembre TWIN PEAKS – TWIN PEAKS – WILD AT HEART FIRE WALK WITH ME FIRE WALK WITH ME Cuore selvaggio, Usa 1990 Fuoco cammina con me, Usa 1992 Fuoco cammina con me, Usa 1992 dom 15 gennaio mar 10 gennaio ven 13 gennaio TWIN PEAKS – LOST HIGHWAY LOST HIGHWAY FIRE WALK WITH ME Strade perdute, Usa/F 1996 Strade perdute, Usa/F 1996 Fuoco cammina con me, Usa 1992 sab 4 febbraio ven 10 febbraio dom 12 febbraio THE STRAIGHT STORY THE STRAIGHT STORY LOST HIGHWAY Una storia vera, Usa/F/Gb 1999 Una storia vera, Usa/F/Gb 1999 Strade perdute, Usa/F 1996 mar 6 marzo ven 9 marzo dom 4 marzo MULHOLLAND DRIVE MULHOLLAND DRIVE THE STRAIGHT STORY F/Usa 2001 F/Usa 2001 Una storia vera, Usa/F/Gb 1999 mar 3 aprile ven 20 aprile dom 25 marzo INLAND EMPIRE INLAND EMPIRE MULHOLLAND DRIVE Usa/F/Polonia 2006 Usa/F/Polonia 2006 F/Usa 2001 sab 28 aprile dom 22 aprile CORTOMETRAGGI INLAND EMPIRE 1966-1995 Usa/F/Polonia 2006 dom 13 maggio CORTOMETRAGGI 1966-1995 www.cicibi.ch www.cclocarno.ch Entrata: fr. -
Journey Planet #9
Journey Planet 9! 1 Contents Cover by Dave Hicks Editorial - Chris Garcia ...............................................................................3 Editorial - James Bacon ..............................................................................4 Editorial - Yvonne Rowse ............................................................................4 Abdul-Aziz al Atreides by Julian Headlong .................................................6 The next 5 books or the Arrakeen Rap by Ian Sorensen .............................10 Dune for Today by Miranda Ramey & Maura Taylor ..................................11 Covers of Dune by James Bacon ...............................................................13 Dune by Steven Silver ..............................................................................16 Dune v Dune Herbert’s book vs Lynch’s movie by Chris Garcia ...................17 Dune (no 17 in the series Stories James Cameron Ripped Off) by Andy Trembley .......19 Alternate Dunes by Chris Garcia ..............................................................22 Seeking Recognition, or, Parodies Lost by Ian Sorensen .............................26 Frank Encounters by howeird ....................................................................30 Advance Apologies by Yvonne Rowse .......................................................31 Mailorderfandombride.com or Fandom 101 by Sian K. Martin ..................33 Influences: Full Circle by David A. Hardy ..................................................34 Illustrations Baron Harkonnen -
Double Time in Twin Peaks: the Return
Lash, D. J. A. (2020). The dangers of getting what you asked for: double time in Twin Peaks: The Return. Open Screens, 3(1). https://doi.org/10.16995/os.21 Publisher's PDF, also known as Version of record License (if available): CC BY Link to published version (if available): 10.16995/os.21 Link to publication record in Explore Bristol Research PDF-document This is the final published version of the article (version of record). It first appeared online via Open Library of Humanities at http://doi.org/10.16995/os.21. Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Research How to Cite: Lash, D. 2020. The Dangers of Getting What You Asked For: Double Time in Twin Peaks: The Return. Open Screens, 3(1): 1, pp. 1–26. DOI: https://doi.org/10.16995/os.21 Published: 09 July 2020 Peer Review: This article has been peer reviewed through the double-blind process of Open Screens, which is a journal published by the Open Library of Humanities. Copyright: © 2020 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. -
Department of English and American Studies English Language And
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Rudolf Hecl Twin Peaks: Revolution on TV Master ’s Diploma Thesis Supervisor: doc. PhDr. Tomáš Pospíšil, Dr. 2009 1 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. .................................................. Author’s signature 2 Acknowledgements I would like to thank my supervisor, doc. PhDr. Tomáš Pospíšil, Dr., for his kind help, support and valuable advice. Also, I would like to thank Leesa Wheatley for proofreading my thesis. 3 Table of Contents Introduction ................................................................................................................................. 5 01. Lynch ...................................................................................................................................... 7 02. Twin Peaks ........................................................................................................................... 25 General facts about Twin Peaks .............................................................................................. 25 Auteur Theory vs. Collaborators (Why Lynch’s Twin Peaks ?) .............................................. 27 Plot .......................................................................................................................................... 30 Characters ............................................................................................................................... -
Gay and Lesbian Teen Desire
Hughes, Katherine Ross (2013) Queer possibilities in teen friendships in film, 2000-2009. PhD thesis http://theses.gla.ac.uk/4085/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Queer Possibilities in Teen Friendships in Film, 2000-2009 Katherine Ross Hughes MA Cinema Studies BA Women’s Studies BA Anthropology Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow August 2012 © Katherine Hughes, 2012 2 Abstract This thesis seeks to determine how representations of dyadic teen homosocial bonds and relationships in film lend themselves to queer possibilities. Looking at teens in film across genre, certain types of dyadic homosocial relationships emerge: the best friendship, the antagonistic teen girl friendship, the boys friendship within a wider homosocial milieu, and friendships which fit these types but include gay and lesbian characters. I ground the research by establishing a record of the films released theatrically in the UK between 2000 and 2009 with teens as primary characters, and develop a qualitative and textual analysis of dyadic homosocial relationship types which illuminates their queer possibilities as well as the modes of denial and compensation which may accompany the threat those queer possibilities represent. -
Notes from the Upside Down an Unofficial Guide to Stranger Things
NOTES FROM THE UPSIDE DOWN AN UNOFFICIAL GUIDE TO STRANGER THINGS GUY ADAMS APPENDIX 1 HARDLY STRANGERS ho were all those people? We spent so long with them I think it’s time we found out. In W alphabetical order (see, it’s not just because I’m obsessed with Karen Wheeler), a rundown of the main cast of the show: CARA BUONO—Karen Wheeler Buono is a New Yorker of Italian descent. An actor, writer, and director, well known for her roles in both The Sopranos and Mad Men. Genre credits include: yet another mother not entirely aware of quite what horrors her son is brushing up against in Let Me In (2010), the English-language remake of the masterful Swedish novel and movie Let the Right One In; a recurring role in the TV adaptation of Stephen King’s The Dead Zone, as Anna Turner (2008); Bruce Banner’s mom, Edith, when he looked like Eric Bana rather than Mark Ruffalo in Ang Lee’s ill-received (but what do they know?) Hulk (2003); and—terribly obscure one, this—a bored housewife who ends up assisting aliens (and fixing her love life) in Barry Strugatz’s well-meaning but flawed sci-fi comedy From Other Worlds (2004). MILLIE BOBBY BROWN—Eleven Born in Marbella, Spain, to English parents, Brown moved to the UK at the age of four, living in Bournemouth. Her family emigrated again when she was eight, this time to Florida to launch a tooth-whitening business. Brown signed up for a weekend acting school and was picked up by an agent who saw her perform. -
Official Ballot
OFFICIAL BALLOT AFI is a trademark of the American Film Institute. Copyright 2005 American Film Institute. All Rights Reserved. AFI’s 100 Years…100 CHEERS America's Most Inspiring Movies AFI has compiled this ballot of 300 inspiring movies to aid your selection process. Due to the extraordinarily subjective nature of this process, you will no doubt find that AFI's scholars and historians have been unable to include some of your favorite movies in this ballot, so AFI encourages you to utilize the spaces it has included for write-in votes. AFI asks jurors to consider the following in their selection process: CRITERIA FEATURE-LENGTH FICTION FILM Narrative format, typically over 60 minutes in length. AMERICAN FILM English language film with significant creative and/or production elements from the United States. Additionally, only feature-length American films released before January 1, 2005 will be considered. CHEERS Movies that inspire with characters of vision and conviction who face adversity and often make a personal sacrifice for the greater good. Whether these movies end happily or not, they are ultimately triumphant – both filling audiences with hope and empowering them with the spirit of human potential. LEGACY Films whose "cheers" continue to echo across a century of American cinema. 1 ABE LINCOLN IN ILLINOIS RKO, 1940 PRINCIPAL CAST Raymond Massey, Gene Lockhart, Ruth Gordon DIRECTOR John Cromwell PRODUCER Max Gordon SCREENWRITER Robert E. Sherwood Young Abe Lincoln, on a mission for his father, meets Ann Rutledge and finds himself in New Salem, Illinois, where he becomes a member of the legislature. Ann’s death nearly destroys the young man, but he meets the ambitious Mary Todd, who makes him take a stand on slavery.