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Journal articles on the topic 'Michael Collins (Motion picture)'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Toka, Karolina. "Progression or Stagnancy? Portraying Native Americans in Michael Apted’s Thunderheart (1992)." Ad Americam 22 (March 28, 2021): 87–100. http://dx.doi.org/10.12797/adamericam.22.2021.22.06.

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Progression or Stagnancy? Portraying Native Americans in Michael Apted’s Thunderheart (1992) As argued by Wilcomb Washburn, no other ethnic group has been misrepresented in media and popular culture to such extent as the Native Americans (2010). Movies that shaped their image did so by crystallizing stereotypes and misconceptions, through which indigenous peoples have been perceived until the present day. Thomas Edison’s vignettes, early westerns, as well as subsequent motion pictures of the 1960s and 1970s strengthened the stereotypes of the vanishing Indians, bloodthirsty savages, and

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Roca, Meritxell. "Rethinking entertainment. Entrevista a Marty Kaplan." Tripodos, no. 23 (June 22, 2008): 135–43. https://doi.org/10.51698/tripodos.2008.23.135-143.

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Martin Kaplan is associate dean of the USC (University of Southern California) Annenberg School for Communication, where he directs the Norman Lear Center, a multidisciplinary research and public policy center which explores the implications of the convergence of entertainment, commerce, and society. He regularly comments on the media business for NPR (National Public Radio) and CBS. Before joining USC, Kaplan spent twelve years at Disney, where he was a vice president of motion picture production and a screenwriter; his feature credits include “The Distinguished Gentleman” (writer and executi

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Mengxiao, Xu, and Mahyuddin Bin Ahmad. "Explore Issues and Challenges Involving Female Characters in Documentary Filming." Journal of Law and Sustainable Development 11, no. 3 (2023): e713. http://dx.doi.org/10.55908/sdgs.v11i3.713.

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Purpose: A documentary film or documentary is a non-fictional motion picture intended to reflect reality, typically for the goals of instruction, preservation of history, or training. Documentary filming heroines must always be noble, alluring, and seductive, regardless of the type of roles they perform.  Method: The same method of objectification is employed in Michael Bay's “Transformers” film, on the other hand, are what ultimately influence both male and female filmmakers as well as audiences to make sense of the narratives, reasoning, and symbolisms that the media industry, pa

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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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Solfiah, Yeni Solfiah, Devi Risma, Hukmi, and Rita Kurnia. "Early Childhood Disaster Management Media Through Picture Story Books." JPUD - Jurnal Pendidikan Usia Dini 14, no. 1 (2020): 141–55. http://dx.doi.org/10.21009/141.10.

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   Indonesia is a country that has a high potential for natural disasters. Picture story book is a form of disaster management learning that can help children from an early age to prepare for a natural disaster. The aims of this study to develop story books as a disaster management learning media, to improve knowledge and skills of children and teacher about the understanding, principles, and actions of rescue when facing the natural disasters, to increase the teacher’s learning quality in disaster management. Developmental research approach is used to execute the study. A to

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Newman, William R. "Newton the Alchemist: Science, Enigma, and the Quest for Nature's "Secret Fire"." Perspectives on Science and Christian Faith 73, no. 1 (2021): 46–47. http://dx.doi.org/10.56315/pscf3-21newman.

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NEWTON THE ALCHEMIST: Science, Enigma, and the Quest for Nature's "Secret Fire" by William R. Newman. Princeton, NJ: Princeton University Press, 2019. xx + 537 pages, including four appendices and an index. Hardcover; $39.95. ISBN: 9780691174877. *If there is one person associated with developments in the physical sciences, it is Isaac Newton (1642-1727). For many, he represents the culmination of the seventeenth-century Scientific Revolution: its point of convergence and simultaneously the point from which science began to exercise its full influence on society. His work is often considered a

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Milne, Esther. "‘Magic Bits of Paste-board’." M/C Journal 7, no. 1 (2004). http://dx.doi.org/10.5204/mcj.2311.

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To the unrefined or under-bred person, the visiting-card is but a trifling and insignificant piece of paper; but to the cultured disciple of social law it conveys a subtle and unmistakable intelligence. Its texture, style of engraving, and even the hour of leaving it, combine to place the stranger whose name it bears in a pleasant or disagreeable attitude, even before his manners, conversation, and face have been able to explain his social position (1920 etiquette manual quoted in Curtin 138). There’s a scene in the ‘90s TV series Ab Fab where Eddy, stumbling from her car, fresh from Harvey Ni

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Miletic, Sasa. "‘Everyone Has Secrets’: Revealing the Whistleblower in Hollwood Film in the Examples of Snowden and The Fifth Estate." M/C Journal 23, no. 4 (2020). http://dx.doi.org/10.5204/mcj.1668.

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In one of the earliest films about a whistleblower, On the Waterfront (1954), the dock worker Terry Malloy (Marlon Brando), who also works for the union boss and mobster Johnny Friendly (Lee J. Cobb), decides to testify in court against him and uncover corruption and murder. By doing so he will not only suffer retribution from Friendly but also be seen as a “stool pigeon” by his co-workers, friends, and neighbours who will shun him, and he will be “marked” forever by his deed. Nonetheless, he decides to do the right thing. Already it is clear that in most cases the whistleblowers are not simpl

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Dabek, Ryszard. "Jean-Luc Godard: The Cinema in Doubt." M/C Journal 14, no. 1 (2011). http://dx.doi.org/10.5204/mcj.346.

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Photograph by Gonzalo Echeverria (2010)The Screen would light up. They would feel a thrill of satisfaction. But the colours had faded with age, the picture wobbled on the screen, the women were of another age; they would come out they would be sad. It was not the film they had dreamt of. It was not the total film each of them had inside himself, the perfect film they could have enjoyed forever and ever. The film they would have liked to make. Or, more secretly, no doubt, the film they would have liked to live. (Perec 57) Over the years that I have watched and thought about Jean-Luc Godard’s fi

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Lambert, Anthony, and Catherine Simpson. "Jindabyne’s Haunted Alpine Country: Producing (an) Australian Badland." M/C Journal 11, no. 5 (2008). http://dx.doi.org/10.5204/mcj.81.

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“People live here, they die here so they must leave traces.” (Read 140) “Whatever colonialism was and is, it has made this place unsettling and unsettled.” (Gibson, Badland 2) Introduction What does it mean for [a] country to be haunted? In much theoretical work in film and Cultural Studies since the 1990s, the Australian continent, more often than not, bears traces of long suppressed traumas which inevitably resurface to haunt the present (Gelder and Jacobs; Gibson; Read; Collins and Davis). Felicity Collins and Therese Davis illuminate the ways Australian cinema acts as a public sphere, or “

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Lindop, Samantha Jane. "Carmilla, Camilla: The Influence of the Gothic on David Lynch's Mulholland Drive." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.844.

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It is widely acknowledged among film scholars that Lynch’s 2001 neo-noir Mulholland Drive is richly infused with intertextual references and homages — most notably to Charles Vidor’s Gilda (1946), Billy Wilder’s Sunset Boulevard (1950), Alfred Hitchcock’s Vertigo (1958), and Ingmar Bergman’s Persona (1966). What is less recognised is the extent to which J. Sheridan Le Fanu’s 1872 Gothic novella Carmilla has also influenced Mulholland Drive. This article focuses on the dynamics of the relationship between Carmilla and Mulholland Drive, particularly the formation of femme fatale Camilla Rhodes (

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Brabazon, Tara. "A Red Light Sabre to Go, and Other Histories of the Present." M/C Journal 2, no. 4 (1999). http://dx.doi.org/10.5204/mcj.1761.

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If I find out that you have bought a $90 red light sabre, Tara, well there's going to be trouble. -- Kevin Brabazon A few Saturdays ago, my 71-year old father tried to convince me of imminent responsibilities. As I am considering the purchase of a house, there are mortgages, bank fees and years of misery to endure. Unfortunately, I am not an effective Big Picture Person. The lure of the light sabre is almost too great. For 30 year old Generation Xers like myself, it is more than a cultural object. It is a textual anchor, and a necessary component to any future history of the present. Revelling

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Ahn, Sungyong. "On That <em>Toy-Being</em> of Generative Art Toys." M/C Journal 26, no. 2 (2023). http://dx.doi.org/10.5204/mcj.2947.

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Exhibiting Procedural Generation Generative art toys are software applications that create aesthetically pleasing visual patterns in response to the users toying with various input devices, from keyboard and mouse to more intuitive and tactile devices for motion tracking. The “art” part of these toy objects might relate to the fact that they are often installed in art galleries or festivals as a spectacle for non-players that exhibits the unlimited generation of new patterns from a limited source code. However, the features that used to characterise generative arts as a new meditative genre, s

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Burford, James. "“Dear Obese PhD Applicants”: Twitter, Tumblr and the Contested Affective Politics of Fat Doctoral Embodiment." M/C Journal 18, no. 3 (2015). http://dx.doi.org/10.5204/mcj.969.

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It all started with a tweet. On the afternoon of 2 June 2013, Professor Geoffrey Miller, an evolutionary psychologist at the University of New Mexico (UNM) and visiting instructor at New York University (NYU), tweeted out a message that would go on to generate a significant social media controversy. Addressing aspiring doctoral program applicants, Miller wrote:Dear obese PhD applicants: if you didn’t have the willpower to stop eating carbs, you won't have the willpower to do a dissertation #truthThe response to Miller’s tweet was swift and fiery. Social media users began engaging with him on T

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Brien, Donna Lee. "Powdered, Essence or Brewed?: Making and Cooking with Coffee in Australia in the 1950s and 1960s." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.475.

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Introduction: From Trifle to Tiramisu Tiramisu is an Italian dessert cake, usually comprising sponge finger biscuits soaked in coffee and liquor, layered with a mixture of egg yolk, mascarpone and cream, and topped with sifted cocoa. Once a gourmet dish, tiramisu, which means “pick me up” in Italian (Volpi), is today very popular in Australia where it is available for purchase not only in restaurants and cafés, but also from fast food chains and supermarkets. Recipes abound in cookery books and magazines and online. It is certainly more widely available and written about in Australia than the

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Avram, Horea. "The Convergence Effect: Real and Virtual Encounters in Augmented Reality Art." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.735.

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Augmented Reality—The Liminal Zone Within the larger context of the post-desktop technological philosophy and practice, an increasing number of efforts are directed towards finding solutions for integrating as close as possible virtual information into specific real environments; a short list of such endeavors include Wi-Fi connectivity, GPS-driven navigation, mobile phones, GIS (Geographic Information System), and various technological systems associated with what is loosely called locative, ubiquitous and pervasive computing. Augmented Reality (AR) is directly related to these technologies,

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Champion, Katherine M. "A Risky Business? The Role of Incentives and Runaway Production in Securing a Screen Industries Production Base in Scotland." M/C Journal 19, no. 3 (2016). http://dx.doi.org/10.5204/mcj.1101.

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IntroductionDespite claims that the importance of distance has been reduced due to technological and communications improvements (Cairncross; Friedman; O’Brien), the ‘power of place’ still resonates, often intensifying the role of geography (Christopherson et al.; Morgan; Pratt; Scott and Storper). Within the film industry, there has been a decentralisation of production from Hollywood, but there remains a spatial logic which has preferenced particular centres, such as Toronto, Vancouver, Sydney and Prague often led by a combination of incentives (Christopherson and Storper; Goldsmith and O’Re

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Hodge, Bob. "The Complexity Revolution." M/C Journal 10, no. 3 (2007). http://dx.doi.org/10.5204/mcj.2656.

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   ‘Complex(ity)’ is currently fashionable in the humanities. Fashions come and go, but in this article I argue that the interest in complexity connects with something deeper, an intellectual revolution that began before complexity became trendy, and will continue after the spotlight passes on. Yet to make this case, and understand and advance this revolution, we need a better take on ‘complexity’. ‘Complex’ is of course complex. In common use it refers to something ‘composed of many interrelated parts’, or problems ‘so complicated or intricate as to be hard to deal with’. I

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Vavasour, Kris. "Pop Songs and Solastalgia in a Broken City." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1292.

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IntroductionMusically-inclined people often speak about the soundtrack of their life, with certain songs indelibly linked to a specific moment. When hearing a particular song, it can “easily evoke a whole time and place, distant feelings and emotions, and memories of where we were, and with whom” (Lewis 135). Music has the ability to provide maps to real and imagined spaces, positioning people within a larger social environment where songs “are never just a song, but a connection, a ticket, a pass, an invitation, a node in a complex network” (Kun 3). When someone is lost in the music, they can

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Juckes, Daniel. "Walking as Practice and Prose as Path Making: How Life Writing and Journey Can Intersect." M/C Journal 21, no. 4 (2018). http://dx.doi.org/10.5204/mcj.1455.

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Through my last lengthy writing project, it did not take long to I realise I had become obsessed with paths. The proof of it was there in my notebooks, and, most prominently, in the backlog of photographs cluttering the inner workings of my mobile phone. Most of the photographs I took had a couple of things in common: first, the astonishing greenness of the world they were describing; second, the way a road or path or corridor or pavement or trail led off into distance. The greenness was because I was in England, in summer, and mostly in a part of the country where green seems at times the onl

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