Language and Society in Cinematic Discourse 139-152 Lukas
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The Creative Process
The Creative Process THE SEARCH FOR AN AUDIO-VISUAL LANGUAGE AND STRUCTURE SECOND EDITION by John Howard Lawson Preface by Jay Leyda dol HILL AND WANG • NEW YORK www.johnhowardlawson.com Copyright © 1964, 1967 by John Howard Lawson All rights reserved Library of Congress catalog card number: 67-26852 Manufactured in the United States of America First edition September 1964 Second edition November 1967 www.johnhowardlawson.com To the Association of Film Makers of the U.S.S.R. and all its members, whose proud traditions and present achievements have been an inspiration in the preparation of this book www.johnhowardlawson.com Preface The masters of cinema moved at a leisurely pace, enjoyed giving generalized instruction, and loved to abandon themselves to reminis cence. They made it clear that they possessed certain magical secrets of their profession, but they mentioned them evasively. Now and then they made lofty artistic pronouncements, but they showed a more sincere interest in anecdotes about scenarios that were written on a cuff during a gay supper.... This might well be a description of Hollywood during any period of its cultivated silence on the matter of film-making. Actually, it is Leningrad in 1924, described by Grigori Kozintsev in his memoirs.1 It is so seldom that we are allowed to study the disclosures of a Hollywood film-maker about his medium that I cannot recall the last instance that preceded John Howard Lawson's book. There is no dearth of books about Hollywood, but when did any other book come from there that takes such articulate pride in the art that is-or was-made there? I have never understood exactly why the makers of American films felt it necessary to hide their methods and aims under blankets of coyness and anecdotes, the one as impenetrable as the other. -
The Constant Gardner
The Constant Gardner The Constant Gardner Een film van Fernando Meirelles Speelduur: 129 minuten Meeuwenlaan 98-100, 1021 JL Amsterdam-Noord tel: 020 – 3445144 The Constant Gardner Project Summary Een coproductie van Focus Features, Potboiler Productions Ltd., Scion Films Limited. Taal Engels Lengte 129 minuten Genre drama/thriller Land van Herkomst Verenigde Staten/Groot Brittannie Prémisse Activiste Tessa Quayle wordt in Kenia op brute wijze vermoordt. Haar echtgenoot Justin Quayle begint een verbeten zoektocht naar de moordenaar van zijn vrouw. Hij reist de wereld rond en ontdekt dat de dood van zijn vrouw deel uitmaakt van een smerig complot. Ook zijn eigen leven komt daarmee ingevaar. Filmmakers Regisseur: Fernando Meirelles Scenario: Jeffrey Caine Hoofdrollen Ralph Fiennes, Rachel Weisz, Danny Huston The Constant Gardner Synopsis In een verafgelegen gebied in het noorden van Kenia wordt de gedreven activiste en briljante, gepassioneerde Tessa Quayle (Rachel Weisz) dood gevonden na een brute moord. Tessa’s reisgezel, de locale dokter, lijkt de plaats van het delict te zijn ontvlucht en al het bewijs wijst in de richting van een lustmoord. Sandy Woodrow (Danny Huston), Sir Bernard Pellegrin (Bill Nighy) en andere leden van de Britise High Commission zijn ervan overtuigd dat Tessa’s echtgenoot, de zachtaardige en introverte collega Justin Quayle (Ralph Fiennes), de zaak wel aan hen zal overlaten. Maar ze krijgen ongelijk… De evenwichtige loopbaan van deze diplomaat is door de dood van zijn vrouw, van wie hij zeer veel hield, ernstig uit het lood geslagen. Ze vormden contrasten die elkaar aantrokken en aanvulden en dat resulteerde in een huwelijk, waarvan de herinnering alleen al genoeg reden is voor Justin om voor het eerst in zijn leven en diplomatieke carrière kordaat op te treden en het heft in eigen hand te nemen. -
1 from Acclaimed Director Ridley Scott (Gladiator, Prometheus) Comes The
From acclaimed director Ridley Scott (Gladiator, Prometheus) comes the epic adventure EXODUS: GODS AND KINGS, the story of one man’s daring courage to take on the might of an empire. Using state of the art visual effects and 3D immersion, Scott brings new life to the story of the defiant leader Moses (Christian Bale) as he rises up against the Egyptian Pharaoh Ramses (Joel Edgerton), setting 400,000 slaves on a monumental journey of escape from Egypt and its terrifying cycle of deadly plagues. The film’s intrigue, scale, scope, adventurer and vivid characters provide a unique theatrical event. The Exodus from Egypt is the original and definitive heroic saga. It's also a powerful and personal story rich with emotion, rivalry and betrayal and an undying quest for freedom. Notes Scott: “Moses’ life is one of the greatest adventures and spiritual quests of all time.” From its opening battle where 15,000 Egyptian soldiers attack a Hittite encampment, to the towering structures, a terrifying series of plagues, and the parting of the Red Sea, Scott brings his signature vision to one of our most cherished and important stories. “I love anything larger-than-life,” he continues. “I knew what to do with Gladiator – how to make it really breathe, live and feel like people did in that era. With EXODUS: GODS AND KINGS, I wanted to similarly bring to life the Egyptian culture and the Exodus in a way never before possible.” EXODUS: GODS AND KINGS was shot in Pinewood Studios, London and on location in Almeria, Southern Spain and Fuerteventura, the Canary Islands. -
H-France Review Vol. 15 (October 2015), No. 147 Will Higbee, Post
H-France Review Volume 15 (2015) Page 1 H-France Review Vol. 15 (October 2015), No. 147 Will Higbee, Post-Beur Cinema: North African Émigré and Maghrebi-French Filmmaking in France since 2000. Edinburgh: Edinburgh University Press, 2013. 228 pp. 21 B/W illustrations, notes, bibliography, and index. $120.00 U.S./ £70.00 U.K. (hb). ISBN 9780748640041; $40.00 U.S./ £24.99 U.K. (pb). ISBN 9780748697373. Review by Margaret C. Flinn, The Ohio State University. In Post-Beur Cinema: North African Émigré and Maghrebi-French Filmmaking in France since 2000, Will Higbee forcefully argues that during the 2000s, directors of Maghrebi origins have broken through the limitations they and their films experienced and represented in the 1980s and 1990s: the generation of so-called Beur Cinema. This text comes as a very welcome intervention for those frustrated by the level of discourse articulated around Beur Cinema--a category and critical concept limited by the “strategic essentialism” (p. 13) of the contemporaneous identity politics that inflected both the films and the critical language used to talk about them. Higbee is not exactly the first to posit that there might be something beyond Beur Cinema--indeed, he tidily synthesizes the critical debates on the question in the recent decade--but his monograph cogently articulates the état des lieux of this particular bit of real estate in the land of French national cinema. What precisely is Post-Beur is somewhat harder to encapsulate. The book’s composite subtitle and the time dedicated to nomenclature in the introduction are symptomatic of the challenges faced by Higbee. -
GOTT-DISSERTATION.Pdf (1.059Mb)
Copyright by Michael Robert Gott 2011 The Dissertation Committee for Michael Gott Certifies that this is the approved version of the following dissertation: Re-charting French Space: Transnationalism, Travel and Identity from the Postcolonial Banlieue to post-Wall Europe Committee: Hélène Tissières, Supervisor Dina Sherzer, Co-Supervisor Michael Johnson Madhavi Mallapragada ___________________________________ Andrea Loselle Re-charting French Space: Transnationalism, Travel and Identity from the Postcolonial Banlieue to post-Wall Europe by Michael Robert Gott, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2011 Acknowledgements I would like to thank all of my committee members and in particular my supervisor Hélène Tissières and in my co-supervisor Dina Sherzer. iv Re-charting French Space: Transnationalism, Travel and Identity from the Postcolonial Banlieue to post-Wall Europe Michael Robert Gott, PhD. The University of Texas at Austin, 2011 Supervisor: Hélène Tissières Co-supervisor: Dina Sherzer Contemporary French identity issues are often conceived spatially in popular imagination and political discourse. France and French identity have been mapped into a series of imagined exclusionary spaces through media representations and political rhetoric. This dissertation argues that artists in the fields of film, rap music and fiction are actively yet often indirectly intervening in French identity debates by reframing the question of “integration” and by demonstrating that not only can one be simultaneously French and “other,” but that French identity is always already more complex and transnational than prevailing discourses of “imagined” identity will admit. -
Guide to the William K
Guide to the William K. Everson Collection George Amberg Memorial Film Study Center Department of Cinema Studies Tisch School of the Arts New York University Descriptive Summary Creator: Everson, William Keith Title: William K. Everson Collection Dates: 1894-1997 Historical/Biographical Note William K. Everson: Selected Bibliography I. Books by Everson Shakespeare in Hollywood. New York: US Information Service, 1957. The Western, From Silents to Cinerama. New York: Orion Press, 1962 (co-authored with George N. Fenin). The American Movie. New York: Atheneum, 1963. The Bad Guys: A Pictorial History of the Movie Villain. New York: Citadel Press, 1964. The Films of Laurel and Hardy. New York: Citadel Press, 1967. The Art of W.C. Fields. Indianapolis: Bobbs-Merrill, 1967. A Pictorial History of the Western Film. Secaucus, N.J.: Citadel Press, 1969. The Films of Hal Roach. New York: Museum of Modern Art, 1971. The Detective in Film. Secaucus, N.J.: Citadel Press, 1972. The Western, from Silents to the Seventies. Rev. ed. New York: Grossman, 1973. (Co-authored with George N. Fenin). Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1974. Claudette Colbert. New York: Pyramid Publications, 1976. American Silent Film. New York: Oxford University Press, 1978, Love in the Film. Secaucus, N.J.: Citadel Press, 1979. More Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1986. The Hollywood Western: 90 Years of Cowboys and Indians, Train Robbers, Sheriffs and Gunslingers, and Assorted Heroes and Desperados. Secaucus, N.J.: Carol Pub. Group, 1992. Hollywood Bedlam: Classic Screwball Comedies. Secaucus, N.J.: Carol Pub. Group, 1994. -
Finding Aid to the Historymakers ® Video Oral History with Cathy Hughes
Finding Aid to The HistoryMakers ® Video Oral History with Cathy Hughes Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Hughes, Cathy, 1947- Title: The HistoryMakers® Video Oral History Interview with Cathy Hughes, Dates: March 2, 2005 and September 21, 2004 Bulk Dates: 2004 and 2005 Physical 18 Betacame SP videocasettes (8:56:47). Description: Abstract: Broadcast chief executive Cathy Hughes (1947 - ) is the founder of Radio One, the nation's largest black-owned radio chain, and TV One, which features programming aimed at African American audiences. Hughes is the first African American woman to head a media company that is publicly traded on the U.S. Stock Exchange. Hughes was interviewed by The HistoryMakers® on March 2, 2005 and September 21, 2004, in Lanham, Maryland. This collection is comprised of the original video footage of the interview. Identification: A2004_171 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Radio maven Cathy Hughes was born in Omaha, Nebraska in 1947. Beginning her career in radio in 1969, Hughes’ first position was with KOWH, a black radio station in Omaha. Her successes there prompted the Howard University School of Communications to offer her a position as a lecturer and as Assistant to the Dean of Communications. In 1973, Hughes was named general sales manager to WHUR-FM in Washington, D.C, and by 1975 was hired as the general manager of the station. Under her guidance, WHUR-FM, which had been struggling along with $300,000 in annual sales revenues, increased its annual revenues to more than $3.5 million. -
Between the Panels
Between the Panels How the interactions between commerce and art shape superhero comic book film adaptations (2000-13) Tim Stafford Between The Panels: How the interactions between commerce and art shape superhero comic book film adaptations (2000-13) Tim Stafford Submitted to the University of Hertfordshire in partial fulfilment of the requirements of the degree of PhD January 2018 Acknowledgments I would like to thank my Principal Supervisor, Professor Keith Randle and my Second Supervisors, Visiting Professor Richard Miller and Dr Mariana Dodourova for their support and guidance during this project. I would also like to thank Greg Pan at Marvel for granting permission to reproduce the three selected comic book panels and Roni Lubliner at Universal for granting permission to use the still from Hulk. This thesis is dedicated in its entirety to my parents, Terry and Sheila Stafford, to Derek Watson, my best friend and guide in the world of comic books and to Hugh Jackman, who started the whole thing off. Between the Panels Contents List of figures 1 Abstract 3 Introduction 5 Research questions 8 Introduction to the conceptual framework and methodology 9 Thesis structure 12 Chapter One: Up, up and away: superheroes and their adaptations 14 Origin story: A brief history of superhero adaptations 14 The superhero film renaissance: 2000 to the present 20 Why are superhero films so popular? 26 i) The studio perspective 26 ii) The audience perspective 29 iii) The role of comic book readers 31 The theory of adaptation 34 The role of the director -
Ralph Waldo 'Petey' Greene
THE LIFE & TIMES OF PETEY GREENE Don Cheadle stars as Petey Greene At the heart of Focus Features’ new movie in Talk to Me. Talk to Me is Petey Greene, an average Joe with a bigger than average mouth who lived in times worth talking about. RALPH WALDO ‘PETEY’ GREENE Talk to Me’s real star is an unlikely cultural icon. Michael Gibson Michael BY ASHLEY ARCHIBALD PETEY GREENE WASN’T NO SAINT. drinking with me!’” pregnancy as easily as he attacked message: none of his wealth, He was a drug addict, a convict At some point, Greene made the politicians and promoted social popularity or success had come (excuse me, ex-convict) and self- decision that if people weren’t going reforms. while he was out on the streets styled friend of the pimp and to treat him, he was going to treat The subjects that he tackled wheeling and dealing. He deeply prostitute. He was a fast talker, himself, and, unfortunately for him, spoke to the hearts and minds of the believed that only in America did small time thief and a total lush. Greene talked faster than he ran. people who heard him because everyone, no matter what their He was also the voice of a city in Greene landed himself 10 years in finally someone was speaking their background, have some opportunity a time of upheaval and confusion. the Lorton Reformatory for armed language. He was catty, he was loud for success. Don Cheadle (Hotel Rwanda) robbery after trapping himself in a and he was adored. -
Women's Experimental Cinema
FILM STUDIES/WOMEN’S STUDIES BLAETZ, Women’s Experimental Cinema provides lively introductions to the work of fifteen avant- ROBIN BLAETZ, garde women filmmakers, some of whom worked as early as the 1950s and many of whom editor editor are still working today. In each essay in this collection, a leading film scholar considers a single filmmaker, supplying biographical information, analyzing various influences on her Experimental Cinema Women’s work, examining the development of her corpus, and interpreting a significant number of individual films. The essays rescue the work of critically neglected but influential women filmmakers for teaching, further study, and, hopefully, restoration and preservation. Just as importantly, they enrich the understanding of feminism in cinema and expand the ter- rain of film history, particularly the history of the American avant-garde. The essays highlight the diversity in these filmmakers’ forms and methods, covering topics such as how Marie Menken used film as a way to rethink the transition from ab- stract expressionism to Pop Art in the 1950s and 1960s, how Barbara Rubin both objecti- fied the body and investigated the filmic apparatus that enabled that objectification in her film Christmas on Earth (1963), and how Cheryl Dunye uses film to explore her own identity as a black lesbian artist. At the same time, the essays reveal commonalities, in- cluding a tendency toward documentary rather than fiction and a commitment to nonhi- erarchical, collaborative production practices. The volume’s final essay focuses explicitly on teaching women’s experimental films, addressing logistical concerns (how to acquire the films and secure proper viewing spaces) and extending the range of the book by sug- gesting alternative films for classroom use. -
Cinema Studies: the Key Concepts
Cinema Studies: The Key Concepts This is the essential guide for anyone interested in film. Now in its second edition, the text has been completely revised and expanded to meet the needs of today’s students and film enthusiasts. Some 150 key genres, movements, theories and production terms are explained and analysed with depth and clarity. Entries include: • auteur theory • Black Cinema • British New Wave • feminist film theory • intertextuality • method acting • pornography • Third World Cinema • War films A bibliography of essential writings in cinema studies completes an authoritative yet accessible guide to what is at once a fascinating area of study and arguably the greatest art form of modern times. Susan Hayward is Professor of French Studies at the University of Exeter. She is the author of French National Cinema (Routledge, 1998) and Luc Besson (MUP, 1998). Also available from Routledge Key Guides Ancient History: Key Themes and Approaches Neville Morley Cinema Studies: The Key Concepts (Second edition) Susan Hayward Eastern Philosophy: Key Readings Oliver Leaman Fifty Eastern Thinkers Diané Collinson Fifty Contemporary Choreographers Edited by Martha Bremser Fifty Key Contemporary Thinkers John Lechte Fifty Key Jewish Thinkers Dan Cohn-Sherbok Fifty Key Thinkers on History Marnie Hughes-Warrington Fifty Key Thinkers in International Relations Martin Griffiths Fifty Major Philosophers Diané Collinson Key Concepts in Cultural Theory Andrew Edgar and Peter Sedgwick Key Concepts in Eastern Philosophy Oliver Leaman Key Concepts in -
'Everybody's Workin' for the Weekend'
’Hurst on alert for meningitis >> PAGE 2 OCT. 3, 2007 Vol. 81 No. 6 What’s Inside A&E ‘Everybody’s Find something to do in Erie >> PAGE 11 workin’ for OPINION Swafford: the weekend’ Calm down, RAs >> PAGE 13 Students such as Mercyhurst College senior Nicole Gambone juggle work and school, and simply pray to see Friday come along. >> PAGE 9 PAGE 2 NEWS Oct. 3, 2007 ’Hurst issues health notice Cook-off for charity Donovan, a Mercyhurst Police By Joshua Wilwohl By Casey Greene and Safety investigator, is ready Editor-in-chief News editor for next week’s competition. “I’m the defending champion. A female Mercyhurst College Raising money for a good cause Everyone is trying to knock me student is being treated in her has never been so delicious. off,” joked Donovan. hometown hospital for a sus- The Mercyhurst College com- Donavan entered a traditional pected case of meningococcal munity will be kicking-off the chili recipe in last year’s cook- meningitis. “Autumn, Eat-it-to-the-Bottom off but plans to enter both the A public health notice released Chili Cook-Off ” to raise money traditional and hot categories by the college on Sept. 28 stated and fi ll bellies. this year. the female was in “serious con- Scoot Williams photo On Oct. 10 students and fac- “Everyone said they really liked dition.” Meningitis can be transmitted by close, intimate contact ulty are invited to taste chili my chili last year but would like Mercyhurst College Vice Pres- with an infected individual, not by casual contact, such as recipes cooked by members of to try a hot version of it,” said ident of Student Life Dr.