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Relevant bibliographies by topics / I am legend (Motion picture)

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Academic literature on the topic 'I am legend (Motion picture)'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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Journal articles on the topic "I am legend (Motion picture)"

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Brown, Christine, and Lynne C. Boughton. "The Grail Quest as Illumination." Journal of Interdisciplinary Studies 9, no. 1 (1997): 39–62. http://dx.doi.org/10.5840/jis199791/23.

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Indiana Jones and the Last Crusade, a popular motion picture, offers a modem version of a Quest for the Holy Grail. Although this grail legend is new, a survey of medieval through nineteenth-century stories of heroic quests for a grail reveals that grail legends have always differed from each other in significant ways. The grail itself has been identified in some legends as a cup or chalice, and in others as a dish, platter, book, stone, or, possibly, a reliquary. Also profoundly different are the ways in which legends describe the purposes effects of a quest for the grail. What these diverse

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Isaías, Albertin de Moraes. "Política e Cinema na Era da Boa Vizinhança (1933-1945)." História e Cultura 4, no. 1 (2015): 277–301. https://doi.org/10.18223/hiscult.v4i1.1487.

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O presente artigo apresenta uma análise histórica da Política Externa de Boa Vizinhança para América Latina, particularmente no Brasil, e de sua principal instituição o Office of the coordinator of Inter-American Affairs (OCIAA), destacando sua divisão de cinema, a Motion Picture Division (MPD). Essas instituições são analisadas pelo enfoque teórico dos construtivistas modernistas-linguistas. Assim, o texto busca destacar a importância da construção de uma infraestrutura física, discu

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Wall, Barbara, and Dong Myong Lee. "Stability in Variation: Visualizing the Actantial Core of The Journey to the West ,." Korean Studies 47, no. 1 (2023): 117–44. http://dx.doi.org/10.1353/ks.2023.a908620.

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Abstract: The urge to find the authentic original of a story seems to be a universal longing. Recently, narratologists like Barbara Herrnstein Smith, as well as experts for East Asian literatures like Michael Emmerich or Lena Henningsen, draw our attention away from the original—which is often unknowable—and instead towards the variants of a story. While this suggestion brings a breath of fresh air to the field of narrative studies, it also poses a fundamental problem. If a story does not necessarily exist as a static original, but is comprised of many variants, how should we then imagine the

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Vitali, Valentina. "Contemporary Women Filmmakers in Myanmar: Reflections on a Visit in February 2019." BioScope: South Asian Screen Studies 11, no. 1 (2020): 78–91. http://dx.doi.org/10.1177/0974927620935754.

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Existing accounts of Myanmar’s film industry available to English speakers are more than twenty years out of date. Opening with a brief overview of cinema in Myanmar since 2000, this article is based on a recent visit to the Myanmar Motion Picture Development Department and the Yangon Film School, on conversations with staff, students and alumnae of these institutions and of the National University of Arts and Culture, and with local independent filmmakers. The purpose of my visit was to begin the groundwork needed to answer basic questions: Who are the women making films in Myanmar today? Whe

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Sanz, Ángel S., Milena D. Davidović, and Mirjana Božić. "Bohmian-Based Approach to Gauss-Maxwell Beams." Applied Sciences 10, no. 5 (2020): 1808. http://dx.doi.org/10.3390/app10051808.

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Usual Gaussian beams are particular scalar solutions to the paraxial Helmholtz equation, which neglect the vector nature of light. In order to overcome this inconvenience, Simon et al. (J. Opt. Soc. Am. A 1986, 3, 536–540) found a paraxial solution to Maxwell’s equation in vacuum, which includes polarization in a natural way, though still preserving the spatial Gaussianity of the beams. In this regard, it seems that these solutions, known as Gauss-Maxwell beams, are particularly appropriate and a natural tool in optical problems dealing with Gaussian beams acted or manipulated by polarizers. I

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Jäcklein-Kreis, Elisabeth. "Wenn Seelen zwischen Wellblechdächern verschwinden." merz | medien + erziehung 54, no. 5 (2010): 76–78. https://doi.org/10.21240/merz/2010.5.25.

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Gleißende Sonne. Staub. Wellblechdächer. Bunte Tücher und zerfetzte Jeans. Alte Ledersandalen. Neue Handys. Glücksspiel und Bettler. Lachen. Schüsse. Erste Liebe. Überleben. Aberglaube. Religion. Familie. Mittendrin Abi, rennend, schwitzend, redend, suchend. Wenn man 14 Jahre alt ist und eines Morgens erfährt, dass seinem Vater die Seele abhanden gekommen ist, dann geht man sie suchen. Soviel ist klar. Ein Vater ohne Seele ist eine traurige Angelegenheit. Aber wo sucht man eine Seele? Abis Mutter und leidgeprüfte Ehefrau des um seine Seele Erleichterten würde sich da vertrauensvoll an den näch

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Hilgendorf, Suzanne K. "Transnational Media and the Use of English: The Case of Cinema and Motion Picture Titling Practices in Germany /." Sociolinguistica 27, no. 1 (2013). http://dx.doi.org/10.1515/soci.2013.27.1.167.

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Dieser Beitrag untersucht die Beziehung zwischen transnationalen Medien und der Verbreitung des Englischen am Beispiel des traditionellen Mediums Kino in Deutschland, dem größten Land Europas, das zu Kachru’s (1990) „Expanding Circle“ der englischen Sprache gehört. Die Diskussion erstreckt sich auf die weltweite Geschichte des Kinos seit dem frühen 20. Jahrhundert einschließlich der Faktoren, die zum Aufstieg Hollywoods zur international dominierenden Macht beigetragen haben, auch in Deutschland. Hieran anschließend richtet sie sich auf den Sprachgebrauch, wo bei Einführung des Tonfilms die US

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Rafał, Paliński. "Oblicza wojennej grozy w kinie postjugosłowiańskim – przykład filmu Muškarci ne placu." September 30, 2023. https://doi.org/10.5281/zenodo.8395102.

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Faces of war horror in post-Yugoslavian cinema – the case of the film Mu&scaron;karci ne placu The article’s topic is an image of war trauma of war veterans in former Yugoslavia, depicted in the movie Mu&scaron;karci ne plaču (2017) by Bosnian director Alen Drljevic. It is a relevant topic in post-Yugoslav cinematography because the issue of ethnic and religious conflicts and wars is still an unresolved problem in this region. Among others, there are motion pictures trying to explain outbreaks of wars, depicting the course of warfare, and also those presenting consequences of

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Fang, Sihan, Hyeokkoo Eric Kwon, Anandasivam Gopal, and Yongjin Park. "Return of the Movie Night? Analyzing the Impact of Netflix Subscriptions on Offline Movie Spending." Information Systems Research, October 11, 2024. http://dx.doi.org/10.1287/isre.2022.0530.

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The advent of streaming services, like Netflix and Prime Video by Amazon, has led to the expectation that demand for offline movie consumption is likely to die (i.e., consumers will simply stop going to the movies). We study this question in our work, and instead, we find that although streaming services provide value to customers in terms of comfort, convenience, and price, they do not lead to a reduction in offline movie consumption. Instead, we show that the offline movie consumption actually increases because streaming services do not fully substitute for the social aspects of going to the

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Dados, Nour. "Anything Goes, Nothing Sticks: Radical Stillness and Archival Impulse." M/C Journal 12, no. 1 (2009). http://dx.doi.org/10.5204/mcj.126.

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IntroductionThe perception of the archive as the warehouse of tradition is inflected with the notion that what it stores is also removed from the everyday, at once ancient but also irrelevant, standing still outside time. Yet, if the past is of any relevance, the archive cannot maintain a rigid fixity that does not intersect with the present. In the work of the Atlas Group, the fabrication of “archival material” reflects what Hal Foster has termed an “archival impulse” that is constructed of multiple temporalities. The Atlas Group archive interrogates forms that are at once still, excavated fr

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Dissertations / Theses on the topic "I am legend (Motion picture)"

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Schmid, Birgit. "Die literarische Identität des Drehbuchs : untersucht am Fallbeispiel "Agnes" von Peter Stamm /." Bern [u.a.] : Lang, 2004. http://www.loc.gov/catdir/toc/fy0710/2007398475.html.

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Books on the topic "I am legend (Motion picture)"

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Italy), Palazzo Fabroni (Pistoia, ed. I am not legend. Casa Testori associazione culturale, 2020.

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Wenk, Christian. Abjection, madness and xenophobia in gothic fiction. WVB, Wissenschaftlicher Verlag Berlin, 2008.

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Müller-Scherz, Fritz. Welt am Draht: Drehbuch. Matthes & Seitz, 2010.

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G, Epstein Philip, Koch Howard, and Epstein Julius J. 1909-, eds. Casablanca: Script and legend. 5th ed. Overlook Press, 1992.

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Kemm, James O. Rupert Hughes: A Hollywood legend. Pomegranate Press, 1997.

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author, Wiedergut Arno, and Retzer Otto 1945 author, eds. Hollywood am Wörthersee: 100 Jahre Filmland Kärnten. Lisa Film GmbH, 2015.

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McGilligan, Patrick. Clint: The life and legend. St. Martin's Press, 2002.

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1937-, Webb Michael, ed. Hollywood: Legend and reality. Pavilion in association with Smithsonian Institution Travelling Exhibition Service, 1986.

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Houston, Tory. The legend of Lacy Black. Leisure Books, 2002.

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Somaaya, Bhawana. Amitabh Bachchan: The legend. Macmillan India, 2004.

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Book chapters on the topic "I am legend (Motion picture)"

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Johnston, Andrew James. "Marian Rewrites the Legend: The Temporality of Archaeological Remains in Richard Lester’s Robin and Marian." In The Medieval Motion Picture. Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137074249_10.

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Marzola, Luci. "Epilogue." In Engineering Hollywood. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190885588.003.0008.

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I am an engineer and I was educated as an engineer. I got out of it some time ago when I got in the picture business. … Probably a good many of you have tried at various times having these industrial engineers come into your plant, and the first thing they have tried to do was to install a lot of system and red tape, and they were not competent to do it, because they did not understand the motion picture business. They have tried to apply factory methods to the making of pictures. That is wrong, because after all, the making of a picture is the product of the imagination....

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Goldman, Herbert G. "Into Her Own." In Fanny Brice. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195057256.003.0007.

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Abstract The Gondorf Ring was a cartel of swindlers and con men built up and headed by the Gondorf brothers of Atlantic City. Charley Gondorf was a legend, and “Henry Gondorff” was the name used for Paul Newman’s character in the 1972 motion picture The Sting. Fanny had already signed to play a featured role in Lew Fields’ Hands Up, a “musicocomico” melodrama about the theft of a neck.lace that opened at the Shubert Theatre in New Haven, Connecticut, on June 7, 1915. The New York Dramatic Mirror said Fanny was ‘‘the hit of the show,” but the production failed to come up to expectations, and wa

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Wilson, Sondra Kathryn. "The Film Industry and the Negro." In In Search of Democracy. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195116335.003.0079.

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Abstract Since the early 1940s, the NAACP has taken issue over the fact that blacks were not being portrayed in motion pictures in the manner in which they occupy positions in life. In the following address under the auspices of the Association of Motion Picture Producers Roy Wilkins outlines the NAACP’s policy on black actors in film roles. This speech was given on October 25, 1957. I am grateful for the opportunity to discuss with you face to face, at long last, a matter about which there has been a great deal of misunderstanding. After much telephoning and writing back and forth, beginning,

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Stokes, Melvyn. "Transforming the American Movie Audience." In D. W. Griffith’s The Birth of a Nation. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195336788.003.0006.

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Abstract On February 18, 1915, The Birth of a Nation became the first motion picture ever to be shown in the White House. Operators wearing full evening dress utilized two Simplex machines to project the film onto the white wooden panels of the East Room. The screening was a personal favor by President Woodrow Wilson to Thomas Dixon Jr., a former classmate and longtime friend. Invited by Dixon to view Griffith’s film, the president had only one objection, and that was practical: he could not accept social invitations because he was still officially in mourning for his wife, Ellen Axson Wilson,

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Mulvey, Laura. "Citizen Kane: From Log Cabin to Xanadu." In Orson Welles ’s Citizen Kane. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195158915.003.0008.

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Abstract Although The idea of embarking on a new analysis of the most written-about film in film history is daunting, I am using Citizen Kane for a specific and experimental purpose. That is, I want to speculate about certain areas of overlap between psychoanalysis and history and use the film, as it were, as a guinea pig. I have two further excuses for this project. First, although the history in question here is primarily that of the United States, I have tried to approach that history from a European perspective which, I feel, illuminates aspects of the film that have been over-looked. Seco

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