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De L'amour Différent
Document generated on 09/30/2021 6:07 p.m. Séquences La revue de cinéma De l’amour différent Maurice Elia Number 191, July–August 1997 URI: https://id.erudit.org/iderudit/49309ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this article Elia, M. (1997). De l’amour différent. Séquences, (191), 13–15. Tous droits réservés © La revue Séquences Inc., 1997 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ big fil M Bin, 6 T Eg Ci E li'AN DE CiMOUR DIFFÉRENT KEVIN SMITH Clerks (1994), Mallrats (1995), Chasing Amy (1997) arry Levinson, au début de sa carrière, avait fait de sa ville natale, ardemment s'en démarquer. En fait, il s'agit de quelques banlieues du centre Baltimore, un lieu fétiche: ce fut le site de quelques-uns de ses du New Jersey où Smith a grandi et où il continue de vivre et de travailler. Bgrands films (Diner, Tin Men, Avalon); en outre, il a créé la Bal Un autre lien entre ses trois films: les trois très-à-1'aise-dans-leur-sexua- timore Productions. -
Teaching Social Issues with Film
Teaching Social Issues with Film Teaching Social Issues with Film William Benedict Russell III University of Central Florida INFORMATION AGE PUBLISHING, INC. Charlotte, NC • www.infoagepub.com Library of Congress Cataloging-in-Publication Data Russell, William B. Teaching social issues with film / William Benedict Russell. p. cm. Includes bibliographical references and index. ISBN 978-1-60752-116-7 (pbk.) -- ISBN 978-1-60752-117-4 (hardcover) 1. Social sciences--Study and teaching (Secondary)--Audio-visual aids. 2. Social sciences--Study and teaching (Secondary)--Research. 3. Motion pictures in education. I. Title. H62.2.R86 2009 361.0071’2--dc22 2009024393 Copyright © 2009 Information Age Publishing Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher. Printed in the United States of America Contents Preface and Overview .......................................................................xiii Acknowledgments ............................................................................. xvii 1 Teaching with Film ................................................................................ 1 The Russell Model for Using Film ..................................................... 2 2 Legal Issues ............................................................................................ 7 3 Teaching Social Issues with Film -
Finding the Fourth Locale: Dichotomy Challenges in the Rhetoric of Barack Obama
FINDING THE FOURTH LOCALE: DICHOTOMY CHALLENGES IN THE RHETORIC OF BARACK OBAMA A thesis presented to the faculty of the Graduate School of Western Carolina University in partial fulfillment of the requirements for the degree of Master of Arts in English. By Joseph Telegen Director: Dr. Beth Huber Associate Professor of English English Department Committee Members: Dr. Marsha Lee Baker, English Dr. Chandrika Balasubramanian, English April 2010 ACKNOWLEDGMENTS I first thank my committee for their expert guidance and the materials in their excellent courses. Marsha Lee Baker introduced me to the works of Freire, Booth, and Michalinos Zembylas, all of whom helped to shape this thesis. She also has inspired much of the subject matter for my forthcoming academic work. Chandrika Balasubramanian encouraged my initial interest in Ebonics and helped me to understand the constantly transformative nature of language. Finally, Beth Huber, as a teacher and mentor, has not only expanded my horizons; she has played a critical role in my decision to pursue a career as a rhetorician, this when I was considering abandoning the academy altogether. I am immensely grateful to them all. I also thank my friends and family. To name but a few significant people: My mother’s constant, unwavering support is worthy of a thesis-length tribute, and cannot be done justice here. My father, meanwhile, inspired me through his intellectual integrity; the word “complexify” would not be defined in the text if it not for him. My older sister Rachel provided me with great advice and support during this project (her advice is always “solicited”). -
Dogma (Film) - Wikipedia, the Free Encyclopedia 12/29/11 6:58 AM Dogma (Film) from Wikipedia, the Free Encyclopedia
Dogma (film) - Wikipedia, the free encyclopedia 12/29/11 6:58 AM Dogma (film) From Wikipedia, the free encyclopedia Dogma is a 1999 American adventure fantasy comedy film written and directed by Kevin Smith, who also stars in the Dogma film along with an ensemble cast that includes Ben Affleck, Matt Damon, Linda Fiorentino, Alan Rickman, Bud Cort, Salma Hayek, Chris Rock, Jason Lee, George Carlin, Janeane Garofalo, Alanis Morissette, and Jason Mewes. Brian O'Halloran and Jeff Anderson, the stars of Smith's debut film Clerks, have cameo roles, as do Smith regulars Scott Mosier, Dwight Ewell, Walt Flanagan, and Bryan Johnson. The fourth film set in the View Askewniverse is a hypothetical-scenario film revolving around the Catholic Church and Catholic belief, which caused organized protests and much controversy in many countries, delaying release of the film and leading to at least two death threats against Smith.[2][3] The film follows two fallen angels, Loki and Bartleby, who, through a loophole in Catholic Dogma, find a way to get back into Heaven after being cast out by God. Theatrical release poster However, as existence is founded on the principle that God is infallible, their success would prove God wrong and thus Directed by Kevin Smith undo all creation. The last scion and two prophets are sent Produced by Scott Mosier by the Voice of God to stop them. Written by Kevin Smith Aside from some scenes filmed on the New Jersey shore, Starring Ben Affleck most of the film was shot in Pittsburgh, Pennsylvania. George Carlin Matt Damon Linda -
De L'amour Différent
Document generated on 10/01/2021 2:18 p.m. Séquences La revue de cinéma De l’amour différent Maurice Elia Number 191, July–August 1997 URI: https://id.erudit.org/iderudit/49309ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this article Elia, M. (1997). De l’amour différent. Séquences, (191), 13–15. Tous droits réservés © La revue Séquences Inc., 1997 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ big fil M Bin, 6 T Eg Ci E li'AN DE CiMOUR DIFFÉRENT KEVIN SMITH Clerks (1994), Mallrats (1995), Chasing Amy (1997) arry Levinson, au début de sa carrière, avait fait de sa ville natale, ardemment s'en démarquer. En fait, il s'agit de quelques banlieues du centre Baltimore, un lieu fétiche: ce fut le site de quelques-uns de ses du New Jersey où Smith a grandi et où il continue de vivre et de travailler. Bgrands films (Diner, Tin Men, Avalon); en outre, il a créé la Bal Un autre lien entre ses trois films: les trois très-à-1'aise-dans-leur-sexua- timore Productions. -
Chasing Amy and the Bisexual (In)Visibility in Cinema and Media
UCLA CSW Update Newsletter Title The B Word: Chasing Amy and the Bisexual (In)Visibility in Cinema and Media Permalink https://escholarship.org/uc/item/0t48f24b Author San Filippo, Maria Publication Date 2008-02-01 eScholarship.org Powered by the California Digital Library University of California NEWSLETTER OF THE UCLA CENTER FOR THE FEB08 CSW STUDY OF WOMEN THE B WORD CHASING AMY AND BISEXUAL (IN)VISIBILITY IN CINEMA AND MEDIA by Maria San Filippo The way the world is, how seldom it is that you meet that one person who just gets you. It’s so rare. And to cut oneself off from finding that per- son, to immediately half your options.... - Chasing Amy hen asked for a description of my dissertation project, I say that it is about representations of bisexuality Win film. The most popular reply—proffered with considerable regularity by people from diverse areas of my life—has been “You mean like Chas- ing Amy?” This 1997 independent film written and directed by Kevin Smith, about a self-proclaimed lesbian who is forced to question her sexual iden- tity after meeting and falling for a man, clearly Uncomfortable visual pleasure. occupies a prominent place in cultural conscious- Chasing Amy (1997), Kevin Smith, View Askew Productions. All photos courtesy of Miramax Home Entertainment, Buena Vista Home Entertainment, and The Criterion Collection ness around bisexuality. (For better or worse, the 1 THE B WORD, continued from page 1 other recurring response has been “You mean what is a recurring issue of (in)visibility both Maria’s writing is fluent and a pleasure to like Basic Instinct?”) In beginning to think in queer media representation and in the about why Chasing Amy should summon this everyday experiences of many bisexual/queer read, as if it came from the air she breathed. -
The Cinema of Hal Hartley: Place, Cultural Identity and Indie Authorship
The Cinema of Hal Hartley: Place, Cultural Identity and Indie Authorship Sebastian Christopher Manley Thesis submitted for the degree of Doctor of Philosophy University of East Anglia, School of Film and Television Studies June 2011 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Abstract This study considers the films and professional practice of the filmmaker Hal Hartley. Since his earliest features, which in the early 1990s drew substantial praise in the American press, Hartley has been associated with American ‘independent’ cinema. As the overall visibility and commercial value of independent filmmaking have increased, however, Hartley’s own profile has decreased. The primary intent of this thesis is to outline the position occupied by Hartley at various levels and at various points throughout the 1990s and 2000s, within the context of independent cinema. I argue that it is at the closely related levels of place and cultural identity, as much as at the levels of form and genre more frequently discussed in accounts of Hartley and independent cinema, that Hartley’s films are marked to various degrees as distinctive. The films are often further marked as distinctive, I suggest, at the level of industrial position, another dimension of Hartley’s cinema that has received little attention in past studies. The first four chapters of this thesis focus on Hartley’s feature films, discussed in rough chronological order from The Unbelievable Truth to Fay Grim , the latter film representing the culmination of what I argue is an important shift in Hartley’s filmography: from narratives emphasising family and grounded communities to narratives emphasising global travel and social fragmentation. -
Capitol Films and Kardana Films Presents
Capitol Films and Kardana Films presents A Tony Vitale Film A Redeemable Features Production 91 minutes not rated “Kiss Me, Guido,” page 2 SYNOPSIS Frankie Zito is a 24-year-old Italian-American who works at a pizza parlor in the Bronx. After coming home one night to find his brother and his girlfriend having sex on the kitchen table, Frankie decides he’s had enough and he’s going to follow his dream; in the long tradition of his countrymen Pacino, DeNiro and Stallone, he would become an actor. But first he’s got to get out of the Bronx. Warren, a gay actor/choreographer living alone because his roommate/lover has left him for another man, is under pressure from his landlord to pay the overdue back rent. Trying to help, his neighbor Terry secretly puts an ad in the Village Voice on Warren’s behalf seeking a “gay, white male” for an apartment share. Frankie answers the ad, thinking that GWM means “guy with money.” And thus begins a clash of cultures with some valuable life lessons learned along the way. PRODUCTION INFORMATION “Kiss Me, Guido” is the first production from Redeemable Features, former Fine Line Features President Ira Deutchman’s newly formed New York-based production company. Deutchman co-produced the film with Christine Vachon (“Poison,” “Swoon,” “Kids,” “Safe,” “I Shot Andy Warhol,” among many others). The film is co-financed by London-based foreign sales company Capitol Films, and New York-based production company Kardana Films. In his first starring role, Frankie is played by recording artist Nick Scotti, whose debut album, entitled “Wake Up Everybody,” was released in 1994 on Reprise records. -
Chasing Amy and the Bisexual
NEWSLETTER OF THE UCLA CENTER FOR THE FEB08 CSW STUDY OF WOMEN THE B WORD CHASING AMY AND BISEXUAL (IN)VISIBILITY IN CINEMA AND MEDIA by Maria San Filippo The way the world is, how seldom it is that you meet that one person who just gets you. It’s so rare. And to cut oneself off from finding that per- son, to immediately half your options.... - Chasing Amy hen asked for a description of my dissertation project, I say that it is about representations of bisexuality Win film. The most popular reply—proffered with considerable regularity by people from diverse areas of my life—has been “You mean like Chas- ing Amy?” This 1997 independent film written and directed by Kevin Smith, about a self-proclaimed lesbian who is forced to question her sexual iden- tity after meeting and falling for a man, clearly Uncomfortable visual pleasure. occupies a prominent place in cultural conscious- Chasing Amy (1997), Kevin Smith, View Askew Productions. All photos courtesy of Miramax Home Entertainment, Buena Vista Home Entertainment, and The Criterion Collection ness around bisexuality. (For better or worse, the 1 THE B WORD, continued from page 1 other recurring response has been “You mean what is a recurring issue of (in)visibility both Maria’s writing is fluent and a pleasure to like Basic Instinct?”) In beginning to think in queer media representation and in the about why Chasing Amy should summon this everyday experiences of many bisexual/queer read, as if it came from the air she breathed. nearly metonymic association with cinematic women. -
FALLING out of the CLOSET: KEVIN SMITH, QUEERNESS, and INDEPENDENT FILM by CARTER MICHAEL SOLES a DISSERTATION Presented To
FALLING OUT OF THE CLOSET: KEVIN SMITH, QUEERNESS, AND INDEPENDENT FILM by CARTER MICHAEL SOLES A DISSERTATION Presented to the Department ofEnglish and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Doctor ofPhilosophy September 2008 11 University of Oregon Graduate School Confirmation ofApproval and Acceptance of Dissertation prepared by: Carter Soles Title: "Falling Out ofthe Closet: Kevin Smith, Queerness, and Independent Film" This dissertation has been accepted and approved in partial fulfillment ofthe requirements for the degree in the Department ofEnglish by: Kathleen Karlyn, Chairperson, English Jon Lewis, Member, Not from U of 0 Mary Wood, Member, English Michael Aronson, Member, English Janet Wasko, Outside Member, Journalism and Communication and Richard Linton, Vice President for Research and Graduate StudieslDean ofthe Graduate School for the University of Oregon. September 6, 2008 Original approval signatures are on file with the Graduate School and the University of Oregon Libraries. 111 © 2008 Carter Michael Soles IV An Abstract ofthe Dissertation of Carter Michael Soles for the degree of Doctor ofPhilosophy in the English Depmiment to be taken September 2008 Title: FALLING OUT OF THE CLOSET: KEVIN SMITH, QUEERNESS, AND INDEPENDENT FILM Approved: Kathleen Rowe Karlyn My dissertation argues that the film comedies ofKevin Smith, through their willingness to depict and verbalize gender-bending, queer desire, and deviant sexual practices, exemplify the role independent "slacker" cinema played in the 1990s explosion ofAmerican queer media visibility. Couched in witty verbal comedy, Smith's films depict the tensions and dangers Generation-X males face as they negotiate the culturally enforced gap separating male homosociality (intense friendship, male bonding) fi"om explicit male male homoerotic desire in contemporary U.S. -
Paris Mcgarry I Love New York 2019
PARIS MCGARRY 2019 VALENTINE’S DAY I LOVE NEW YORK WITH OVER 100 PHOTOGRAPHS SPECIAL EDITION PARIS MCGARRY I LOVE NEW YORK 2019 Special Edition FILM PRINT, INC. NEW YORK Copyright © 2019 by Paris McGarry. All rights reserved. Manufactured in U.S.A. CONTENTS Eye Candy ……………………………………….........……………………………………………… 3 Love Story (1970) ……………………….........……………………………………………………… 5 The Way We Were (1973) ……………………….........……………………………...………………. 6 The Goodbye Girl (1977) …………………….........………………………………...……………… 7 It’s My Turn (1980) ……………….........……………………………………………………..…….. 8 Falling in Love (1984) …………………….........………………………………………….......…… 9 An Autumn’s Tale (1987) / Moonstruck (1987) ……………….........…………………...………….. 11 Baby Boom (1987) ……………………….........…………………………………………...……….. 12 Crossing Delancey (1988) …………………….........…………………………………….…………. 13 When Harry Met Sally (1989) …………………….........…………………………...………………. 14 Green Card (1990) ………………………….........………………………………………...……….. 15 Frankie and Johnny (1991) ………………….........…………………………………....……………. 16 Films Based on William Shakespeare’s Romeo and Juliet …………..........................……………… 17 Jersey Girl (1992) / Bed of Roses (1996) …………………….........………………………….…….. 18 Sabrina (1995) ……………………….........…………………………………………..............……. 19 The Mirror Has Two Faces (1996) ……………….........……………………………….…………… 20 One Fine Day (1996) ………………….........………………………………………….....…………. 21 Chasing Amy (1997) ………………………….........……………………………………..………… 22 200 Cigarettes (1999) ………………….........………………………………………………………. 23 Woo (1998) ………………….........…………………………………………................……………