Log in

Relevant bibliographies by topics / Punk culture in motion pictures

Contents

Journal articles
Dissertations / Theses
Books
Book chapters
Conference papers

Academic literature on the topic 'Punk culture in motion pictures'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Punk culture in motion pictures.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Punk culture in motion pictures"

1

Street, John, Matthew Worley, and David Wilkinson. "‘Does it threaten the status quo?’ Elite responses to British punk, 1976–1978." Popular Music 37, no. 2 (April 13, 2018): 271–89. http://dx.doi.org/10.1017/s026114301800003x.

Full text

Abstract:

AbstractThe emergence of punk in Britain (1976–1978) is recalled and documented as a moment of rebellion, one in which youth culture was seen to challenge accepted values and forms of behaviour, and to set in motion a new kind of cultural politics. In this article we do two things. First, we ask how far punk's challenge extended. Did it penetrate those political, cultural and social elites against which it set itself? And second, we reflect on the problem of recovering the history and politics of moments such as punk, and on the value of archives to such exercises in recuperation. In pursuit of both tasks, we make use of a wide range of historical sources, relying on these rather than on retrospective oral or autobiographical accounts. We set our findings against the narratives offered by both subcultural and mainstream histories of punk. We show how punk's impact on elites can be detected in the rhetoric of the popular media, and in aspects of the practice of local government and the police. Its impact on other elites (e.g. central government or the monarchy) is much harder to discern. These insights are important both for enriching our understanding of the political significance of punk and for how we approach the historical record left by popular music.

APA, Harvard, Vancouver, ISO, and other styles

2

Schubert, Linda. "Plainchant in Motion Pictures: The "Dies irae" in Film Scores." Florilegium 15, no. 1 (January 1998): 207–29. http://dx.doi.org/10.3138/flor.15.011.

Full text

Abstract:

Several summers ago, the album Chant, a collection of plainsong performed by the monks of Santo Domingo de Silos, hit the top of the popular music charts, triggering the release and reissue of more chant albums by other groups. These included Greatest Hits—Chant, Mad About the Monks, and Chill to the Chant. In the meantime, the monks of Santo Domingo de Silos have followed up Chant with several other albums (Chant Noel, Chant II, Easter), and there is also a Chant video (see Chant, Visions, and Requiem). Though it may seem that plainchant has only just been discovered in popular culture, it has been heard for many years in film, a medium with strong ties to popular as well as "art" audiences. Some chants have become standard melodies for films, in particular the "Dies irae" from the Roman Catholic Mass for the Dead. The "Dies irae" is, in fact, one of the most frequently heard chants in film, used in television theme songs, commercials, and even a Christmas film (It's a Wonderful Life). Death, danger or the supernatural are invariably part of the story or visual situation where it is used.

APA, Harvard, Vancouver, ISO, and other styles

3

Frenţiu, Luminiţa, and Codruţa Goşa. "From West to East: Romeo Must Die but Shakespeare is the Sun." Romanian Journal of English Studies 11, no. 1 (March 1, 2014): 167–82. http://dx.doi.org/10.2478/rjes-2014-0021.

Full text

Abstract:

Abstract The paper presents a mini survey of the hallmark English language motion pictures which are explicitly based on William Shakespeare’s Romeo and Juliet. The selection of the six films under investigation takes into account various criteria such as aspects of chronology, culture, impact or novelty of approach. The analysis is based on four categories: genre, auteurism (authorship), reception and verisimilitude.

APA, Harvard, Vancouver, ISO, and other styles

4

Oliveira Lopes, Rui. "A New Light on the Shadows of Heavenly Bodies." Religion and the Arts 20, no. 1-2 (2016): 160–96. http://dx.doi.org/10.1163/15685292-02001008.

Full text

Abstract:

The distinct tradition of Indian shadow puppetry has been the subject of much interest among scholars, focusing mainly on its origin, the mutual exchange between different regions across Asia, and the relationship between theater performance and popular culture. This study discusses the similarities of shadow puppets with temple mural painting and loose-leaf paintings, and shows how puppets may have shifted technically from narrative paintings on loose-leaf folios toward motion pictures, in order to create a more interactive link between the audience and the storyteller. The first part of this paper explores the archetypal and psychological meanings of shadow in Indian culture and religion, as well as its relationship with the origins of painting. The main issues include archetypal references to the shadow of Hindu gods described in Vedic, epic, and Purāņic sources, the use of prototypes to transmit knowledge to humankind, and the analysis of shadow puppets as moving pictures. Secondly, the paper analyzes the materiality of puppets and their consistency with Indian aesthetics and art criticism in the form of theoretical principles found in classical texts and art treatises such as the Nāțyaśāstra, the Viṣṇudhārmottāra, and the Śilpaśāstra.

APA, Harvard, Vancouver, ISO, and other styles

5

Dischl, Jonas. ""Nuit et brouillard" – Die erinnerungskulturelle Gedächtnismaschine. Ein Blick auf Alain Resnais' Meisterwerk." Didactica Historica 3, no. 1 (2017): 47–51. http://dx.doi.org/10.33055/didacticahistorica.2017.003.01.47.

Full text

Abstract:

he documentary film Nuit et brouillard of the year 1955 is a masterpiece. Ten years after the end of World War II, Alain Resnais (1922‒2014) created a striking documentary about the NS regime’s policy of extermination. The movie had a lasting impact on the visual commemorative culture of the Shoa. Numerous iconographic illustrations of the Shoa are based on this documentary. Hence, later documentaries and motion pictures borrowed heavily from the imagery of Nuit et brouillard. This paper focuses on the history of reception of Nuit et brouillard and outlines one possible application for history lessons at secondary levels I and II.

APA, Harvard, Vancouver, ISO, and other styles

6

Varghese, Priju. "Marriage in Cinema." Journal of Student Research 4, no. 2 (June 3, 2015): 33–35. http://dx.doi.org/10.47611/jsr.v4i2.260.

Full text

Abstract:

Marriage is a topic that has been dealt by Hollywood since the beginning of motion pictures. Even though the subject of marriage seems to be banal, there is a wide diversity in how people lead their married lives. Factors such as culture, religion, education, and history have major influences on the perception and definition of marriage. Hollywood, which has always been deft to notice the evolution in marriage, has accurately portrayed them through the use of movies. Through this paper, the researcher intends to chart the development in the concept of marriage through cinema over the past century.

APA, Harvard, Vancouver, ISO, and other styles

7

Horváth, Péter. "Connections between the folk dance culture and regionality in the area of Derecske and Mikepércs." Acta Agraria Debreceniensis, no. 55 (February 25, 2014): 49–54. http://dx.doi.org/10.34101/actaagrar/55/1908.

Full text

Abstract:

The culture of folk dance has been prominently cultivated in Hungary nowadays, however some regions are yet to be discovered by ethnographers. Stopping this gap by this time is almost impossible due to the small number of informants. Nevertheless, memories of ethographers’ collections, motion pictures, photographs, notes and the choregraphies made from them endure, on the basis of which traditions can be reconstructed, that were so typical of some townships at one time and have been forgotten by now. What can a recreated tradition mean to a community, that sometime was left to waste by them? This is the problem the article is dealing with through the history of Derecske and Mikepércs, two townships in Hajdú-Bihar county, revealing the regional relationship system as well as late and recent potentials of the area.

APA, Harvard, Vancouver, ISO, and other styles

8

Hjort, Mette. "The public value of film: Moving images, health and well-being." Journal of Scandinavian Cinema 9, no. 1 (March 1, 2019): 7–23. http://dx.doi.org/10.1386/jsca.9.1.7_1.

Full text

Abstract:

Canvassing a variety of types of value, this article seeks to identify the promise of moving images for fields such as medical humanities, health humanities, critical public health studies and health and culture. The use of moving images for the intended purpose of effecting health outcomes is given priority, the emphasis being on immediate instrumental value. The value in question is seen as offering a neglected reason for claiming public value for moving images. Suggestive examples of interventions relating to authorship, genre, curatorial principles, the dynamics of reception and screens and exhibition spaces are provided, the overall aim being to evoke and clarify the promise that motion pictures hold for human thriving.

APA, Harvard, Vancouver, ISO, and other styles

9

Barron, Hal S. "Rural America on the Silent Screen." Agricultural History 80, no. 4 (October 1, 2006): 383–410. http://dx.doi.org/10.1215/00021482-80.4.383.

Full text

Abstract:

Abstract This article analyzes American silent film depictions of rural life in order to understand their role in the creation of new conceptions of the countryside during the first third of the twentieth century. The rise of motion pictures during the 1910s and 1920s was a critical component of an emerging consumer culture in the United States that coincided with its broader transformation from a rural to an urban society. Because of this conjuncture, silent movies depicting agrarian life were instrumental in establishing new understandings of rural society for a modern, urban nation. They resonated with city audiences, particularly those who had been raised on the farm, as well as with rural and small-town moviegoers, and they helped to reconcile both groups to vexing social changes. Besides providing comfort in a time of transition, however, these films also facilitated the new order by subverting traditional understandings of agrarian life and distancing it from its previous position at the core of American culture.

APA, Harvard, Vancouver, ISO, and other styles

10

Manjila, Sunil, Gagandeep Singh, Ayham M. Alkhachroum, and Ciro Ramos-Estebanez. "Understanding Edward Muybridge: historical review of behavioral alterations after a 19th-century head injury and their multifactorial influence on human life and culture." Neurosurgical Focus 39, no. 1 (July 2015): E4. http://dx.doi.org/10.3171/2015.4.focus15121.

Full text

Abstract:

Edward Muybridge was an Anglo-American photographer, well known for his pioneering contributions in photography and his invention of the “zoopraxiscope,” a forerunner of motion pictures. However, this 19th-century genius, with two original patents in photographic technology, made outstanding contributions in art and neurology alike, the latter being seldom acknowledged. A head injury that he sustained changed his behavior and artistic expression. The shift of his interests from animal motion photography to human locomotion and gait remains a pivotal milestone in our understanding of patterns in biomechanics and clinical neurology, while his own behavioral patterns, owing to an injury to the orbitofrontal cortex, remain a mystery even for cognitive neurologists. The behavioral changes he exhibited and the legal conundrum that followed, including a murder of which he was acquitted, all depict the complexities of his personality and impact of frontal lobe injuries. This article highlights the life journey of Muybridge, drawing parallels with Phineas Gage, whose penetrating head injury has been studied widely. The wide sojourn of Muybridge also illustrates the strong connections that he maintained with Stanford and Pennsylvania universities, which were later considered pinnacles of higher education on the two coasts of the United States.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Punk culture in motion pictures"

1

Cazdyn, Eric M. "Problem cinema : culture, capital and form in Japan /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9908497.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Bather, Neil. ""There is evil there that does not sleep-" : the construction of evil in American popular cinema from 1989 to 2002 /." Connect to this title online, 2006. http://adt.waikato.ac.nz/public/adt-uow20070125.105814/.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Bumrungsalee, Intira. "Translating culture in films : subtitling in Thailand." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/63283/.

Full text

Abstract:

This thesis investigates the way in which cultural elements are rendered in subtitling by analyzing the translation of culture-specific references, such as proper names, with the case studies from three American and Thai films: Annie Hall (1977), Juno (2007), and The Iron Ladies (2000). The structure of this research is based on Toury (1995)’s Descriptive Translation Studies framework. The methodology consists of 1) situating the preliminary norms of Audiovisual Translation in Thailand, which includes the overview of foreign film import and screen translation practice; 2) proceeding to analyse the cultural transfer strategies used in the subtitles in relations to their polysemiotic co-texts and contexts and present descriptive examples; and 3) from the analysis results, comparing the ways American and Thai culture is transferred/transformed to the target audience and explaining the significance. This research aims to take interdisciplinary approach into subtitling, in hope that it will bring more insights about Audiovisual Translation not only as a language transfer, but also as a complex socio-cultural activity, surrounded by norms and many influencing factors. Therefore, the study will combine text analysis and interviews with translation practitioners in order to present subtitling in the real world situation.

APA, Harvard, Vancouver, ISO, and other styles

4

McGregor, Daniel. "The religious syncretism in The Matrix a dialogue and critique with logos theology /." Theological Research Exchange Network (TREN), 2005. http://www.tren.com/search.cfm?p023-0198.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Ross, Miriam. "Developing cinematic culture : a South American case study." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/1669/.

Full text

Abstract:

The thesis examines the way that different agents, organisations and institutions intervene in the cinema practice of South America. Using Argentina, Bolivia, Chile and Peru as case studies, the thesis outlines the way state and institutional organisations, commercial bodies, international interests and alternative practices have converged, even with individual discrepancies, to develop a national and regional cinematic culture at the beginning of the twenty-first century. Practices from funding and production through to distribution and exhibition are investigated in order to provide an overview of the most significant factors shaping the way cinematic culture currently operates in the region. I argue that on the one hand, state-run initiatives (heritage drives, film councils, cinematecas, anti-piracy enforcement) attempt to reterritorialize cinema practice and create a national context for films. On the other hand, commercial bodies, international organisations and alternative practices frequently complicate or deterritorialize cinematic culture. Their various actions have an effect on the types of films that are circulated and disseminated amongst publics on the continent and in the global sphere. The complex relations between these intervening interests mean that cinematic culture is determined by various conflicting ownership claims. Furthermore, the way in which which some organisations and practices gain strength over others determines the type of access that local publics have to films and that which filmmakers have to audiences. The findings in this thesis are drawn from extensive field-work in the region and are supported by theoretical frameworks and paradigms that are relevant to the study of cinematic culture. I have made use of published literature from text books, press articles, and official websites documenting various aspects of cinematic culture in South America to literature documenting a global film context that has relevance to my field of study. Participant-observation techniques and interviews with practitioners in the region have provided me with grounded, primary-research material, while trade reports citing statistical evidence such as production figures, box office data and investments in funding have strengthened my findings.

APA, Harvard, Vancouver, ISO, and other styles

6

Murphree, Hyon Joo Yoo. "Toward an "accented" critique of culture theorizing postcolonial East Asia /." Related electronic resource:, 2007. http://proquest.umi.com/pqdweb?did=1342729001&sid=1&Fmt=2&clientId=3739&RQT=309&VName=PQD.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

McDiarmid, Heather E. (Heather Elizabeth). "The aesthetics of death, youth, and the road : the violent road film in popular culture." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24093.

Full text

Abstract:

The "roadkill" films are part of a sub-genre of the more popular road film genre. Recently there has been a large number of extremely violent films featuring couples on the run. The reason behind the emergence and popularity of the "roadkill" genre can be understood through an aesthetic analysis. Chapter one examines the aesthetics and affective characteristics of the extreme violence within this sub-genre of film. This chapter refers to the works of Leo Bersani and Ulysse Dutoit, as well as Rene Girard. Chapter two explores the postmodern aesthetic of the roadside iconography by using authors such as Jean Baudrillard and Robert Venturi. The third chapter considers the aesthetics of contemporary youth as well as the soundtracks of four of the main "roadkill" films: Kalifornia, Love and a.45, Natural Born Killers, and True Romance. By considering the aesthetic elements of the "roadkill" film, one can understand the timely emergence of this genre.

APA, Harvard, Vancouver, ISO, and other styles

8

Võ, Ch'o'ng-Đài Hồng. "An assemblage of fragments history, revolutionary aesthetics and global capitalism in Vietnamese/American literature, films and visual culture /." Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3386844.

Full text

Abstract:

Thesis (Ph. D.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed February 11, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 155-168).

APA, Harvard, Vancouver, ISO, and other styles

9

Neely, Sarah. "Adapting to change in contemporary Irish and Scottish culture fiction to film /." Connect to e-thesis, 2009. http://theses.gla.ac.uk/757/.

Full text

Abstract:

Thesis (Ph.D.) - University of Glasgow, 2003.
Ph.D. thesis submitted to the Department of English Literature and Department of Film and Television Studies, University of Glasgow, 2003. Includes bibliographical references. Print version also available.

APA, Harvard, Vancouver, ISO, and other styles

10

Ho, Chui-fun Selina, and 何翠芬. "Ann Hui as a female filmmaker: in search of Hong Kong culture." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951636.

Full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Punk culture in motion pictures"

1

Nicholas, Rombes, ed. New punk cinema. Edinburgh: Edinburgh University Press, 2005.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Henshūbu, Eiga Hihō. Kanzenban anākī Nihon eigashi, 1959-2016: Japanese anarchy movies, 1959-2016. Tōkyō: Yōsensha, 2016.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Destroy all movies!!! Seattle, Wash: Fantagraphics Books, 2010.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Sen, Amartya Kumar. Our culture, their culture: Satyajit Ray memorial lecture. Calcutta: Nandan, 1996.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Kolker, Robert Phillip. Film, form, and culture. 2nd ed. Boston: McGraw-Hill, 2002.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Kolker, Robert Phillip. Film, form, and culture. 3rd ed. Boston: McGraw-Hill, 2006.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Kolker, Robert Phillip. Film, form, and culture. Boston: McGraw Hill, 1999.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Nash, Mark, and Mark Nash. Screen theory culture. Basingstoke, Hampshire: Palgrave Macmillan, 2008.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Klaus, Kreimeier, and Ligensa Annemone, eds. Film 1900: Technology, perception, culture. New Burnet, England: John Libbey, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Klaus, Kreimeier, and Ligensa Annemone, eds. Film 1900: Technology, perception, culture. New Burnet, England: John Libbey, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Punk culture in motion pictures"

1

Tholas-Disset, Clémentine. "Johanna Enlists (1918): An Elliptic and Comic Portrayal of the Great War in Motion Pictures." In Humor, Entertainment, and Popular Culture during World War I, 77–87. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137436436_5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Abel, Richard, and Amy Rodgers. "Early Motion Pictures and Popular Print Culture." In The Oxford History of Popular Print Culture, 191–210. Oxford University Press, 2011. http://dx.doi.org/10.1093/acprof:osobl/9780199234066.003.0010.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Costanzo, William V. "Comedy, History, and Culture." In When the World Laughs, 69–86. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190924997.003.0005.

Full text

Abstract:

How has comedy evolved around the globe from earliest times to today? Chapter 4 offers a chronology of comedy. Distinguishing among laughter, comedy, and humor, it finds evidence of humor in ancient texts and imagery, tracing the evolution of comic genres through classical Greek drama, Sanskrit poetry, early China, medieval Europe, and feudal Japan. The chronology continues with an account of popular festivals of laughter, comedic stage performances, and precursors of the comic novel, showing how they led to modern literary and cinematic forms as well as televised sitcoms and live standup. Motion pictures borrowed silent gags and witty wordplay from vaudeville, channeled the freewheeling energy of picaresque stories into episodic road movies, adapted the amatory impulses of Shakespeare’s romantic comedies to the screen, and turned the Carnivalesque spirit into scenes of cinematic mischief and mayhem.

APA, Harvard, Vancouver, ISO, and other styles

4

Clark, Walter Aaron. "Doing the Samba on Sunset Boulevard." In Tide Was Always High. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520294394.003.0004.

Full text

Abstract:

This chapter focuses on Latin American singer and actress Carmen Miranda, who helped create an all-purpose, homogeneous image of Latin Americans, their culture, and especially their music. Hollywood used Miranda as a do-all prop in dramatic settings as diverse as New York, Rio de Janeiro, Buenos Aires, Havana, and Mexico. The resulting conflation of costumes, instruments, musical genres, and languages is highly entertaining on one level but pernicious and (at the time) politically counterproductive on another. The partial coverage by US news media of events in South America left a gap that is “often filled by fictional representations in motion pictures and television shows. Film, in particular, has played a major role in shaping modern America's consciousness of Latin America.”

APA, Harvard, Vancouver, ISO, and other styles

5

Brennan, Nathaniel. "The Cinema Intelligence Apparatus." In Cinema's Military Industrial Complex. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520291508.003.0008.

Full text

Abstract:

This chapter, by Nathaniel Brennan, discusses the efforts of the Museum of Modern Art Film Library to make use of captured enemy motion pictures on behalf of the federal government’s wartime intelligence programs during World War II. While the chapter presents an overview of the film library’s governmental intelligence work, ranging from matters of storage to the challenges of training analysts, the central case study examines the work of British anthropologist Gregory Bateson, whose work at the film library consisted of trying to define an objective approach to the study of culture through cinema and the preparation of a test film that would instruct American soldiers about the peculiarities of the German character. Although Bateson’s plans did not materialize, the efforts of Margaret Mead to adapt Bateson’s anthropological film methodology for the Cold War nonetheless influenced the development of postwar film studies and the analysis of national cinemas.

APA, Harvard, Vancouver, ISO, and other styles

6

Drake, Jamil W. "Assimilating the Folk." In To Know the Soul of a People, 46–76. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190082680.003.0003.

Full text

Abstract:

Chapter 2 chronicles the St. Helena study sponsored by University of North Carolina’s Institute for Research in the Social Sciences (IRSS) and the Social Science Research Council (SSRC) a year before the 1929 stock market crash. The St. Helena study was a comprehensive social scientific study that examined the Black yeoman farming families off the Carolina Coast. IRSS’s newly minted professor, Guy Benton Johnson, added to the field study by examining what he called the “folk” spirituals and beliefs of the families. Rejecting the African survivals thesis (à la J. G. Ballanta) and race traits (à la Howard Odum), Johnson instead argued that the Sea Island spirituals of the Black landowners were derived from white populations, dating back to the Protestant revivals and camp-meetings, particularly during the antebellum period. Johnson used the folk category to show how the Sea Island spirituals and broader revival Protestantism were products of their cultural and regional isolation from the modern worlds of transportation, radio, print culture, and motion pictures. His use of the folk was a part of the IRSS’s call for “social planning” to regionally develop the agricultural South, which included Black farmers, whom they considered invaluable to the region’s economic development. Examining the “Chapel Hill” group, “folk,” as used by Johnson, recycled racial hierarchy while seeking to privilege class and rural environment in the study of Black small landowners.

APA, Harvard, Vancouver, ISO, and other styles

7

Cohen-Stratyner, Barbara. "Precision Dancing." In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem1925-1.

Full text

Abstract:

Precision dancing epitomizes industrial production lines in the modernist era. The genre previewed the precision and formalism that is more associated with graphics and decorative art of the 1920s. Both a mass choral movement and a popular entertainment specialty, it symbolized good and bad aspects of American culture, and referenced militarism and mechanization to audiences in theatres, picture palaces and motion pictures on both sides of the Atlantic. The moving of large numbers of people in unison can be traced historically to both military manoeuvres and ballet, but the stage specialty is popularly associated with the Tiller Girls, troupes of six to eight short female dancers trained at John Tiller’s studio in Manchester, England in the 1890s. They appeared in extravaganzas, burlesques and pantomimes, as lines of jewels (in Aladdin’s cave) or flowers. A team of Tiller girls appeared in New York as The Original English Pony Ballet in Dolly Dollars (1905), and inspired the inclusion of short dancer precision lines in Broadway and vaudeville musicals and revues. Spurred by the popularity of twin and tandem acts in vaudeville, precision line dancing emerged as a popular, American genre in the 1920s, as vaudeville gave way to Prologues, the short shows that alternated with feature films in the ‘picture palaces’. In the latter format, precision lines became associated with the tallest dancers, whose long legs emphasized unison kicks. They often appeared in newsreels and were featured as aural components of the radio broadcasts emanating from the theatres.

APA, Harvard, Vancouver, ISO, and other styles

8

Griep, Mark A., and Marjorie L. Mikasen. "The Dark and Bright Sides of Chemistry in the Movies." In ReAction! Oxford University Press, 2009. http://dx.doi.org/10.1093/oso/9780195326925.003.0004.

Full text

Abstract:

Almost a decade ago we sat down to watch some pure home video entertainment: Clambake, starring Elvis Presley. Halfway through the movie, to our complete surprise, Elvis turned into a chemist! You might say this book began at that moment. In the following pages, we examine the presence of chemistry in one of the most accessible of all cultural products: movies. It has been noted repeatedly in recent years that chemistry is one of the least popularized areas of the hard sciences. When the term “science” is used in popular culture and the media, it often refers to medicine, physics, and biology. Monsters and superheroes, mad scientists and geniuses, aliens and mutants—all spring with ease from these realms. The discipline of chemistry seems by comparison to be underrepresented in cultural depictions, with an appearance harder to trace and an impact less openly acknowledged. Is this perception truly accurate? One need only name names—Dr. Jekyll and Mr. Hyde—to see that this can hardly be the case. From the silent era through today, it is clear that chemistry has always been in the movies. In fact, chemical themes and characters have been capturing the imaginations of audiences for more than a century. They appear in surprising and significant ways and have generated some of the most enduring fictions and motifs in movie history, and thus in the culture at large. In its starring role, chemistry, the transformative science, has been moving us as it changes with the times. More than 1,200 motion pictures were compiled, analyzed, and categorized for this project. The sheer quantity of movies containing some aspect of chemistry was eye-opening. What started out as an exercise in curiosity, casually noting the appearance of chemistry themes through random movie viewing, quickly turned into serious study as the numbers kept rising. Inspired by the National Institutes of Health (NIH) “Science in Cinema” film series, we started making a list. Every summer since 1998 (Zurer 1998), the NIH has screened six films, each dealing with a different medical theme, followed by a short scientific analysis from an NIH researcher working in a relevant field.

APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Punk culture in motion pictures"

1

Kvetanová, Zuzana, and Jana Radošinská. "AQUAMAN THE MOVIE AS A LATE MODERN FAIRY TALE." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/24.

Full text

Abstract:

The feature film Aquaman (2018, directed by James Wan) is the most commercially successful superhero movie belonging to the DC Extended Universe. Produced by DC Films and Warner Bros. Pictures, the motion picture portrays a rebellious superhero with an extraordinary physical presence. The paper aims to reflect on the movie Aquaman and its ability to function as a late modern fairy tale. Aquaman’s genre structure includes elements of fantasy, science-fiction and action film. However, the authors work with the assumption that the story is, in its nature, a fairy tale involving late modern means of expression. The first part of the text is largely theoretical, outlining the movie’s importance and defining the genre of a fairy tale in the context of late modern culture. Following the given line of thought, the second part of the paper presents a narrative analysis of the film in question, which is based on Propp’s morphology of fairy tales.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!