...perspective of everyday people. Nino Frank explains what they were looking for, “a third dimension: a touch of substance, a touch of depth, the logic of cinema definitively replaced by the logic of truth.”1 Films in this time period were usually adapted from hard-boiled fictions of the 1930s. These films dealt with the uniquely American experiences of despair and alienation as they adjusted to new social and political realities. Films in the early 1940s and late 1950s were, at the time, considered crime melodramas but are now known as “Film Noir,” or “black cinema.” Directors were not intentionally trying to create films that fit into a specific category, but instead were creating films that reflected much of the sentiment of the time. In most literature, there are many debates about what constitutes film noir. I hope to define the genre through historical background, cinematic conventions, and characteristics that categorize a film noir; as well as a progression of the genre into today’s movies. Although Technicolor began in the 30s, they were very expensive and took a long time to make. So by the 40s, studios used a “Block Booking,” as system which would include one A-list blockbuster movie as well as a bundle of less desirable and cheaper B-list movies. Numerous screenplays inspired by crime fiction were brought to the screen, primarily by European émigré directors who shared highly stylized imagery often drawn from...
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...to present our knowledge of the genre conventions that are used in the genre of Noir. We read the novel Double Indemnity throughout the course, and we also watched its film adaption. For this project, I decided to write a script that portrayed a man’s struggles of trying to make a name for himself in the show business in Las Vegas. Through his struggles, the message that I presented in my script is that the difficulty of accomplishing one’s dream often drive people to commit unlawful acts. The process of this project was rather difficult because I was lacking inspiration. My initial rough draft of the project was a TV show pitch. However, that initial rough draft was incompetent, and...
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...The term “film noir” usually produces thoughts of a private detective in a dark alley smoking a cigarette, wearing a trench coat and a fedora; however, in the case of the movie The Big Lebowski, the main character is a drunk, lazy bum in sandals at a bowling alley. Believe it or not, the Coen Brothers film falls into the genre of film noir as it takes all of the conventions of the genre and turns them upside down in a hilarious “whodunit” about Jeffery “the Dude” Lebowski who gets embroiled in a plot full of deceit, twists, turns and nihilists all in search of a new rug. The Big Lebowski has many film noir themes, such as greed and deceit. In the beginning of the movie two thugs break into the Dude’s apartment and tell him that his wife owes money to someone named Jackie Treehorn. They have mistaken the unmarried Dude for another Jeffrey Lebowski who is a millionaire. When they realize this, the thugs urinate on the Dude’s rug. In an attempt to be compensated, the Dude finds the millionaire Lebowski and tells him the story. This Lebowski recruits the Dude to deliver the ransom to the nihilists who supposedly kidnapped his wife. He offers the Dude $20,000 to deliver the one-million dollar ransom to the Nihilists. When the millionaire Lebowski’s daughter, Maude Lebowski discovers that the Dude has not been successful in delivering the ransom, she offers him more money to return the ill-gotten money to her instead of carrying out her estranged father’s wishes. Eventually...
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...Film noir, which literally translates as ‘black film,’ was a term which was used by a French film critic Nino Frank in 1946 to describe what the film audiences of France where seeing in their theatres When World War II had ended and the Nazi regime had collapsed in 1945. The French audience where greeted with a back log of American films. These crime and detective films where noticed to be darker, more downbeat and moodier than the pervious post war films that these audiences watched. Film noir developed during and shortly after World War II. It took advantage of the post war feeling of anxiety, fear, suspicion and pessimism that the American nation where facing a point that is stated in Maria Pramaggiore and Tom Wallis’ book, ‘Film - A Critical Introduction,’ “…a specific historical circumstance: the suppressed cynicism that followed America’s...
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...film" according to an interview of Quentin Tarantino. Within the realm of film noir there is interplay with light and darkness and there is the classic main character. The main character within every film noir has a couple key components that are common within many of the antiheroes of the genre. The film noir anti-hero, or corrupted hero, is most known for their descent moralistically or in the case of Travis Bickle, mentally. The conventions used to display this mental ambiguity is via the mis en scene, cinematography, and editing. Most normal formal elements that are used in film noir are within Taxi Driver. The hero, most of the time in film noir, is a washed up hero who is preconditioned to descend into darkness in order to let justice prevail. In Taxi Driver, Scorsese doesn’t have Travis Bickle descend in terms of moral ambiguity but rather turns Travis from oddball to murderer. Travis’ dissension mentally is synonymous to a film noir hero’s dissension morally. Like many film noir heroes, Travis seems predisposed on becoming a psychopathic killer. Being an ex Marine, it seems he needs a lot of time to keep himself busy, and as a result is a complete loner. The mis en scene, editing, and cinematography of the movie show the audience many scenes that connote to his later and more troubling behavior. The lighting is a part of mis en scene that permeates within the film, because it is film noir, and connotes that Travis is psychotic beforehand or is predisposed to it. Near...
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...Review: The Battle of Algiers Gillo Pontecorvo was a director way ahead of his time. He directed two anti-colonialism in the 1960, when most of the movie-going audience was probably comfortably numb to the plight of the Third World. He created a film genre (anti-colonialism) that while at first controversial would eventually become a mainstream source for modern classics. He was one of the first directors to take on the challenging subjects of terrorism and torture, in an era where the preferred treatment of the historical film was sterilization, not realism. Pontecorvo portrayed women realistically, not as an idealized pieces of scenery. Most important, Pontecorvo achieved the admirable feat of creating films that accurately reflected historical accuracy and cinematic excellence. And he did all this while advancing a political thesis. In The Battle of Algiers (1966) Gillo Ponetcorvo uses factual content extrapolated from the history of the Algerian War to demonstrate a historical lesson: to defeat an ideologically entrenched, locally supported underground nationalist movement, you must employ measures (suppression of civil liberties, police brutality, military aggression, and eventually torture) that while crucial to winning battles against underground networks (like the FLN in Algiers) in the short run, these counter-insurgency actions will ultimately serve to bolster the opposition to authority in the long run. Eventually, as Pontecorvo's coda suggests, the tactics of the...
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...subversive depiction of society is what makes Brazil a cult film. The plot revolves around Sam Lowry, a low-level government employee who often dreams about being a hero, escaping reality, and saving a beautiful woman. One day he finds a woman who looks identical to the one in his dreams, but she is an alleged rebel and wanted by the government. Sam tries to flee with her, but through a series of obscure twists and turns he ends up losing her and his own sanity. There are numerous similarities and references to George Orwell’s 1984 in Brazil. Both are set in a futuristic setting as imagined by people living in earlier periods, both feature a totalitarian government that reigns over its people, and as a result of the government a nightmarish dystopian society is created. It is also important to note that the two also offer no possibility of society changing or improving in any way. However, Orwell shows the physical and emotional effects of a totalitarian government, while Gilliam focuses his critique on the mindless consumerist society it produces. There are also various cinematic references that can be seen in Brazil. Besides the Casablanca quote, a lot of the cinematography reminded me of Stanley Kubrick’s movies, and the setting is reminiscent of Ridley Scott’s Blade Runner. Brazil combines an interesting mix of film noir, science fiction, and fantasy to create a unique setting, which adds greatly to the message behind the film. The costumes used in Brazil are similar to costumes...
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...Scott directed the film and is revolves around one of his favorites elements, artificial intelligence. Blade Runner is regarded is a Scott classic, and displays the elements that audiences expect from one of his films. Jordan Cronenweth worked as the film’s cinematographer and was regarded as one of the best in the industry, even years after his death. Cronenweth’s dark and moody work provided much of the noire and intrigue of Blade Runner. The film stared Harrison Ford as the not too heroic main character, police officer and android hunter Rick Deckard. Ford’s character faced off against the homicidal replicant Roy Batty, played by Rutger Hauer. Ford played his role well and has a flavor of his previous role as Han Solo, a reluctant hero. Hauer adds much to the film, having been somewhat type casted as the stone cold killer, and it’s one of his many villainous roles. Blade Runner was...
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...Climate pp. 3-11 1.3 – Production Code Resolutions pp.11-15 Part Two 2.1- Production Codes – I, II, III and IV pp.16 2.2 – Production Codes V, VI, VII and VIII pp.17-18 2.3 - Production Codes IX, X, XI and XII pp.18 Part Three 3.1- Hollywood and Film making – 1940-1949 pp.18-21 3.2- Movies – Awarded, Nominated, Not Nominated pp.21 Part Four 4.1- Hollywood and Film making – 1950-1959 pp.22-26 4.2- Movies – Awarded, Nominated, Not Nominated pp.26 Part Five 5.1- Synopsis of Film making in the 1960’s – New Era pp. 27-28 5.2- Conclusion pp.28-29 The Red Scare of 1917-1920, was the primary influence for the emergence of censorship through McCarthyism and Anti- Socialist sentiments in filmmaking during 1940-1960. McCarthyism and three international wars enhanced Anti – Communist resentments within the United States. A brief emergence of Socialist organizations in America heightened the fervor of conservative versus liberal views within cinematography. Motion Movie producers and Distributors, in Hollywood, California were heavily encouraged to influence film directors, screenwriters and actors by incorporating strict codes within their artistic expression. The Dies Committee, former State Senator Jack Tenny’s California Joint Fact Finding Committee on Un-American Activities from the late 1930’s and early 1940’s; as well as the House on Un-American Activities Committee and The Production Code Administration from 1944 – 1959 were created in order to control...
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...Women and their forgotten role in Slavery Nigel Sadler Sands of Time Consultancy Often when the history of slavery is studied the argument is over whose history is being told. This debate rarely goes beyond whether it is the history as written by or about the white or black involvement. There is often an assumed male history. History books mainly reflect the involvement of men. The abolitionists (Clarkson and Wilberforce), the Slave traders (Canot) and the enslaved (Equaino). In portrayal of enslaved people, men appear more frequently. In the movie Amistad it is told from the point of view of Cinque; in the TV series Roots it follows Kunta Kinte. This male dominated history fails to acknowledge, belittles and devalues the role of women at all levels of slavery. What about the female slave traders, slave owners, enslaved females, female rebels and abolitionists? Are they really invisible? Verene Shepherd, in Women in Caribbean History states that up until the 1970s Caribbean books neglected women because early historians looked at colonisation, government, religion, trade and war fare, activities men were more involved in. Also some historians felt that women’s issues did not merit inclusion and where women could have been included, such as slave uprisings, their contributions were ignored. Shepherd believes changes occurred with the influence of women’s groups who tried to correct the gender neutral or male biased history. There was also a shift into social history...
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...Th e T yranny of Gui lt • Pa s c a l B ru c k n e r Translated from the French by s t ev e n r e n da l l The tyranny of Guilt An Essay on Western Masochism • P r i n c e t o n u n i v e r si t y P r e s s Princeton and Oxford english translation copyright © 2010 by Princeton university Press First published as La tyrannie de la pénitence: essai sur le masochisme occidental by Pascal Bruckner, copyright © 2006 by Grasset & Fasquelle Published by Princeton university Press, 41 William street, Princeton, new Jersey 08540 in the united kingdom: Princeton university Press, 6 oxford street, Woodstock, oxfordshire OX20 1TW press.princeton.edu all rights reserved library of congress cataloging-in-Publication data Bruckner, Pascal. [tyrannie de la pénitence. english] The tyranny of guilt: an essay on Western masochism / Pascal Bruckner; translated from the French by steven rendall. p. cm. includes index. isBn 978-0-691-14376-7 (cloth : alk. paper) 1. civilization, Western— 20th century. 2. civilization, Western—21st century. 3. international relations—Moral and ethical aspects. 4. Western countries—Foreign relations. 5. Western countries—intellectual life. 6. Guilt 7. self-hate (Psychology) 8. World politics. i. title. CB245.B7613 2010 909’.09821--dc22 2009032666 British library cataloging-in-Publication data is available cet ouvrage, publié dans le cadre d’un programme d’aide à la publication, bénéficie du soutien du Ministère des affaires étrangères et du service...
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...Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts...
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...LACAN AND CONTEMPORARY FILM EDITED BY TODD McGOWAN and SHEILA KUNKLE OTHER Other Press New York Copyright © 2004 Todd McGowan and Sheila Kunkle Production Editor: Robert D. Hack This book was set in 11 pt. Berkeley by Alpha Graphics, Pittsfield, N.H. 10 9 8 7 6 5 4 3 2 1 Allrightsreserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission from Other Press LLC, except in the case of brief quotations in reviews for inclusion in a magazine, newspaper, or broadcast. Printed in the United States of America on acid-free paper. For information write to Other Press LLC, 307 Seventh Avenue, Suite 1807, New York, NY 10001. Or visit our website: www.otherpress.com. Library of Congress Cataloging-in-Publication Data McGowan, Todd. Lacan and contemporary film / by Todd McGowan & Sheila Kunkle. p. cm. Includes bibliographical references and index. ISBN 1-59051-084-4 (pbk : alk. paper) 1. Motion pictures-Psychological aspects. 2. Psychoanalysis and motion pictures. 3. Lacan, Jacques, 1901- I. Kunkle, Sheila. II. Title. PN1995 .M379 2004 791.43'01 '9-dc22 2003020952 Contributors Paul Eisenstein teaches literature and film in the English department at Otterbein College, Columbus, Ohio, and is the author of Traumatic Encounters: Holocaust Representation and the Hegelian Subject (SUNY Press, 2003). Anna Kornbluh...
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...ARTICLES Sociology o Sport Journal, 1998, 15, 1-20 f O 1998 Human Kinetics Publishers, Inc. "Disciplining the Body": HIV-Positive Male Athletes, Media Surveillance,and the Policing of Sexuality Shari Lee Dworkin and Faye Linda Wachs University of Southern California This paper analyzes how mainstream print media polices sexuality through framings of HIV-positive male athletes. We analyze the HN-positive announcements of Magic Johnson, Greg Louganis, and Tommy Morrison. Specifically, we discuss differences between the framing of gay men (Louganis) and self-identifiedheterosexual men (Johnson and Morrison). First, there is an extensive search for the ways Magic Johnson and Tommy Morrison contracted HIVIAIDS. Media coverage emphasizes that "straights can get it too" through promiscuity and a "fast lane" lifestyle. Consistent with the historically automatic conflation of HIVIAIDS with gay identity, the media pose no inquiries into the cause of Louganis' HIV transmission. We close our discussion by focusing on the meaning of extending the signifier of HIVIAIDS beyond gay bodies to include working class and black male bodies. Media surveillance of sexual identity and the body reinforces hegemonic masculinity in sport while feeding into the current sexual hierarchy in U.S. culture. Cette Ctude porte sur la f a ~ o n les mCdias Ccrits surveillent et contr6lent la sexualit6 par dont le biais de leur traitement des athlktes masculins skro-positifs.Nous analysons les annonces de skro-positivitk...
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...Disney and the American Princess: The Americanization of European Fairy Tales [pic] Marina Alexandrova Student number 3021874 MA Thesis, American Studies Program Utrecht University Course code 200401064 23943 words 12 August 2009 Contents Title page………………………………………………………………1 Contents……………………………………………………………….2 Introduction……………………………………………………………3 Chapter 1: European Fairy Tales and Values about Gender and Class………………………………………10 Chapter 2: Disney Animation and American Culture…………………24 Chapter 3: Disney Animation and (Gender) Commodification…………………………………………..55 Conclusion…………………………………………………………...73 Bibliography…………………………………………………………78 Introduction Among the various aspects which define contemporary life, popular culture – and in particular, American popular culture – is undoubtedly one of the most ubiquitous and long-lasting. Throughout the twentieth century, people around the world have enjoyed film, music, animation, and written works by various authors and artists. One of the most famous and significant American entertainers of the lot has been Walt Disney, introducing millions of children and adults to his world of limitless (or so is widely believed) imagination and magic, from the earliest short cartoons produced in the 1920s, to full-length feature animations such as Snow White and the Seven...
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