Relevant bibliographies by topics / Revenge film

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Revenge film'

Author: Grafiati
Published: 19 February 2023
Last updated: 20 February 2023

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Journal articles on the topic "Revenge film"

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Dion Ari Saputra, I. Putu, I. Nyoman Udayana, and I. Gusti Ngurah Parthama. "Person Deixis in the Film Transformer: Revenge of the Fallen." Stilistika : Journal of Indonesian Language and Literature 2, no. 1 (October 31, 2022): 122. http://dx.doi.org/10.24843/stil.2022.v02.i01.p11.

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The article is entitled Person Deixis in the film Transformers: Revenge of The Fallen. The Transformer franchise is one of the most successful sci-fi robotic films around the globe. It is interesting to be an object of analysis because it is well-known and received many awards. This film contains many types of person deixis that have important value in the analysis of the film by using Levinson’s theory. The aims of this study are to identify the types of the person deixis and describe the function of each deictic marker in the film Transformer: Revenge of The Fallen. The data were taken from the film Transformer: Revenge of The Fallen. They were analyzed qualitatively based on the theory proposed by Stephen C. Levinson in pragmatic (1983). In this film, there are three types of Person deixis; First-person deixis, second-person deixis, and third-person deixis. There were three types of personal deixis found based on the utterances performed by the characters; they are first-person deixis, I, we, us, me, our, I’m. second-person deixis, you, your. Third-person deixis, they, it, he, them. All of the deixis found in this movie were presented by using an informal method that provides description and explanation.
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Yin, Nan. "Behind the Unlimited Revenge: A Review on the Narrative Style of Park Chan-wook - Focusing on the “revenge trilogy”." SHS Web of Conferences 148 (2022): 01006. http://dx.doi.org/10.1051/shsconf/202214801006.

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The development of Korean films is tortuous, and a number of outstanding films have emerged in the 21st century. Among them, the “revenge trilogy” are famous, while they also made the director Park Chan-wook become world-renowned. His films break through the restriction of film genre and set up the complicated revenge structure, the carefully constructed space-time setting and the role-building of morally ambiguous characters. The elements of blood, violence, and eroticism are all direct in his films, but beneath these dark elements, there are reflections and discussions on human nature, destiny, and the rules of society. Ultimately, this paper will take the films of the “revenge trilogy” as the main cases and analyze the narrative style from three aspects: narrative structure, narrative space and characterization, and trace how these elements worked in Park Chan-wook’s films.
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McGrath, Kenta. "Riot and revenge." Alphaville: Journal of Film and Screen Media, no. 13 (July 20, 2017): 13–32. http://dx.doi.org/10.33178/alpha.13.01.

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Abe Forsythe's Down Under (2016) is the first narrative feature film about the Cronulla riots, the infamous event on 11 December 2005 where over 5000 white Australians, responding to a minor local incident, descended on Cronulla Beach in Sydney and proceeded to harass, chase and bash anybody who they perceived to be of Middle Eastern appearance. In the following nights, a series of violent retaliatory attacks took place, as community leaders called for calm. Suvendrini Perera identifies how a symmetrical narrative had emerged in the wake of the riot and its aftermath, whereby Cronulla Beach "comes to stand for a paired sequence of events, the riot and the revenge, in a fable of equivalence in which two misguided groups . . . mirror each other's ignorance and prejudices". This article considers how Down Under reinforces the distortive implications of this "riot and revenge" narrative by maintaining a structural equilibrium, through the rigorous balancing of its narrative and characters, and formally, via its soundtrack, cinematography and editing patterns. In so doing, and despite its antiracist sentiments, the film ultimately dilutes the issue of race and obscures the power imbalances that informed the riot, and which continue to this day
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Janet Staiger. "The Revenge of the Film Education Movement:." Reception: Texts, Readers, Audiences, History 1, no. 1 (2008): 43. http://dx.doi.org/10.5325/reception.1.1.0043.

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Seo, Koksuk. "Multilayer of Revenge and the Justification of Private Revenge: Focusing on the Film Nightingale." Film Studies 88 (June 30, 2021): 431–58. http://dx.doi.org/10.17947/fs.2021.6.88.431.

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DINERSTEIN, JOEL. "“Emergent Noir”: Film Noir and the Great Depression in High Sierra (1941) and This Gun for Hire (1942)." Journal of American Studies 42, no. 3 (December 2008): 415–48. http://dx.doi.org/10.1017/s0021875808005513.

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This article theorizes a new periodization for film noir through a prewar category of “emergent noir”: seven films released between 1940 and 1942 – including The Maltese Falcon and Citizen Kane – that defined the genre's thematics, aesthetics, visual style, and moral ambiguity. Using archival research and trauma theory, the article analyzes High Sierra and This Gun for Hire as case studies of “failure narratives”: each film resonated with American audiences by validating the recent suffering of the Great Depression, allowing for a vicarious sense of revenge, and creating new ideals of individuality and masculinity. Both films were surprise box-office hits and created new film icons for the 1940s: Humphrey Bogart, Alan Ladd, and Veronica Lake. All three were embodiments of “cool,” a concept herein theorized as a public mask of stoicism.
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Ciraulo, Darlena. "Spaghetti Shakespeare: „Johnny Hamlet” and the Italian Western." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 105–19. http://dx.doi.org/10.1515/mstap-2017-0008.

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The Italian Western, Johnny Hamlet (1968), directed by Enzo G. Castellari, draws on the revenge story of Shakespeare’s tragedy Hamlet for plot and characterization. While international distributors of the film downplayed its connection to highbrow Shakespeare, they emphasized the movie’s violent content and actionpacked revenge narrative, which was typical of the western all’italiana. Johnny Hamlet shares similarities with the brutally violent Django (1966), directed by Sergio Corbucci, whose avenging angel protagonist epitomizes the Spaghetti Western antihero. Although the filmmakers of Johnny Hamlet characterized Johnny as a vindicator, they also sought to develop the “broody” aspect of this gunfighter, one based on Shakespeare’s famously ruminating hero. Using innovative film techniques, Johnny Hamlet shows Johnny as a contemplative pistolero.
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Krasina, Elena A., Eugeniy S. Rybinok, and Alia Moctar. "Film Naming: Book Titles and Film Titles." RUDN Journal of Language Studies, Semiotics and Semantics 11, no. 2 (December 15, 2020): 330–40. http://dx.doi.org/10.22363/2313-2299-2020-11-2-330-340.

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The studies of a film text as a polycoded textual phenomena involve the studies of its integral components, such as film story and screenplay, reflecting storyline or plot of a literary text that serves as a precedential text to filming and as an immediate constituent of a film itself. Film title combines the features of a book or story title and functions as a precedential phenomenon as well, but is an integral part of the process of film promotion and release, and in cinematographic sphere it’s of crucial importance. In fact, the original book or story titles used to change especially with time and audience involved, when filming remaking changes to TV series and miniseries, or films are followed by sequels and prequels so that not to make something like Jaws 3 or Indiana Jones 5 . Anyhow, most of film titles fully repeat or at least conserve the title of a literary text, still it’s often amplified to make difference or to emphasize the idea that the screenplay is a new one just the story to be continued, e.g., Jaws-3D: The Revenge. Not very often the changes are marked graphically as of Romeo + Juliet or Romeo & Julie t, so that to hint a new turnoff the plot to the audience. It’s obvious that film titles often use names of main characters either for series or episode titles or to form a film franchise like that of Jurassic Park or Indiana Jones ones. As people started to use different IT gadgets they used to read books less and less, and film stories tend to make a new book form when a book is no longer a precedent to a film. Thus the cycle of “book title → film title” was completed by a part of “film title → book title (or book itself” to reflect the reverse trend, which is known worldwide.
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Virdi, J. "Reverence, rape - and then revenge: popular Hindi cinema's 'woman's film'." Screen 40, no. 1 (March 1, 1999): 17–37. http://dx.doi.org/10.1093/screen/40.1.17.

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Panuju, Redi. "Hidden Moral Messages in Indonesian Horror Film (Analysis of Palasik Film)." International Journal of Social Sciences and Humanities Invention 6, no. 2 (February 28, 2019): 5273–81. http://dx.doi.org/10.18535/ijsshi/v6i2.03.

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This article discusses implicit moral messages in the Palasik film. This film is based on a myth from West Sumatra society as a creature invented by someone who is a Black magician looking to live long in the world. At night, while looking for food, Palasik let’s go of his head and floated in the air. Palasik food is a fetus that is in the womb of his mother. Stories like this make film creators unable to avoid the element of violence in visualization. As a result, many criticisms of this film consider it to be extreme, especially at the moment when Palasik is preying on a fetus in the womb and blood is splattered everywhere. Also, the visualization of explosions for women who have just given birth by first pouring gasoline on them is considered excessive. In general, horror films get criticized because of the content of pornography and violence in them. The crucial question is whether or not the Palasik film does not contain a moral message? This study uses a narrative analysis approach. Data was obtained through in-depth observations of the story of the film arranged from scene to scene. The author interprets the film scene after scene and concludes the moral message hidden in the story. The results showed that the Palasik film conveyed many moral messages, although not explicit. For example, it conveys that collective unity can defeat evil, excessive love can make a person less alert to something bad around them, aggressiveness is formed based on habits step by step, revenge has made humans lose their humanity (especially for invented creatures like Palasik which are certainly more destructive), and power-hungry humans are willing to serve Satan in order to achieve that power.
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Dissertations / Theses on the topic "Revenge film"

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Henry, Claire. "Rape-revenge revisions : case studies in the contemporary film genre." Thesis, Anglia Ruskin University, 2012. http://arro.anglia.ac.uk/701525/.

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Rape-revenge is one of cinema studies' neglected genres, even in spite of the plethora of examples globally over the past decade. This thesis redresses the lack of critical attention with an account of the contemporary genre that analyses the politics, ethics, and affects at play in the filmic construction of rape and its reponse. Each chapter examines a significant trend or aspect of the contemporary genre through in-depth case studies, expanding the study of rape-revenge from socio-political or psychoanalytic perspectives to also include embodied, phenomenological perspectives and ethical issues. The case studies - including 'The Last House on the Left' (Wes Craven, 1972/Dennis Iliadis, 2009), 'I Spit on Your Grave' (Meir Zarchi, 1978/Steven R. Monroe, 2010), 'Kill Bill Vol. 1 & 2' (Quentin Tarantino, 2003/2004), 'Sympathy for Lady Vengeance' (Park Chan-Wook, 2005), 'Teeth' (Mitchell Lichtenstein, 2007), 'Hard Candy' (David Slade, 2005), 'The Girl with the Dragon Tattoo' ('Män som hatar kvinnor') (Niels Arden Oplev, 2009), 'Descent' (Talia Lugacy, 2007), 'Katalin Varga' (Peter Strickland, 2009), and 'Twilight Portrait' ('Portret v sumerkakh') (Angelina Nikonova, 2011) - are framed in terms of rape-revenge's temporal, cross-media, and cross-cultural shifts, and also placed within the broader cultural myths and media narratives about rape. The contemporary genre reinscribes dominant, conservative cultural myths about rape and the appropriate response (eye for an eye revenge), while at the same time presenting interesting explorations of rape trauma and ethics and self-reflexive challenges to spectating violence. Ambivalence also manifests in these films in that they both attest to the ongoing cultural relevance and popularity of rape-revenge narratives, and yet push the genre's limits and explore the possibility of responses to rape other than revenge. This research finds the rape-revenge genre to be a flexible format with certain limitations but also great potential for political, affective, and ethical exploration of rape and responses to rape.
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Henry, Claire. "Rape-revenge revisions: case studies in the contemporary film genre." Thesis, Anglia Ruskin University, 2012. https://arro.anglia.ac.uk/id/eprint/701525/1/Henry_2012.pdf.

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Rape‐revenge is one of cinema studies’ neglected genres, even in spite of the plethora of examples globally over the past decade. This thesis redresses the lack of critical attention with an account of the contemporary genre that analyses the politics, ethics, and affects at play in the filmic construction of rape and its response. Each chapter examines a significant trend or aspect of the contemporary genre through in‐depth case studies, expanding the study of rape‐revenge from socio‐political or psychoanalytic perspectives to also include embodied, phenomenological perspectives and ethical issues. The case studies—including The Last House on the Left (Wes Craven, 1972/Dennis Iliadis, 2009), I Spit on Your Grave (Meir Zarchi, 1978/Steven R. Monroe, 2010), Kill Bill Vol. 1 & 2 (Quentin Tarantino, 2003/2004), Sympathy for Lady Vengeance (Park Chan‐Wook, 2005), Teeth (Mitchell Lichtenstein, 2007), Hard Candy (David Slade, 2005), The Girl with the Dragon Tattoo (Män som hatar kvinnor) (Niels Arden Oplev, 2009), Descent (Talia Lugacy, 2007), Katalin Varga (Peter Strickland, 2009), and Twilight Portrait(Portret v sumerkakh) (Angelina Nikonova, 2011)—are framed in terms of rape‐revenge’s temporal, cross‐media, and cross‐cultural shifts, and also placed within the broader cultural myths and media narratives about rape. The contemporary genre reinscribes dominant, conservative cultural myths about rape and the appropriate response (eye for an eye revenge), while at the same time presenting interesting explorations of rape trauma and ethics and self‐reflexive challenges to spectating violence. Ambivalence also manifests in these films in that they both attest to the ongoing cultural relevance and popularity of rape‐revenge narratives, and yet push the genre’s limits and explore the possibility of responses to rape other than revenge. This research finds the rape‐revenge genre to be a flexible format with certain limitations but also great potential for political, affective, and ethical exploration of rape and responses to rape.
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Nielsen, Soldati Gabriel. "Pak Ch'an-Uk's Oldboy: A Film About Futile Violence and Revenge." Thesis, Stockholms universitet, Avdelningen för koreanska, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-157966.

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Pak Ch’an-uk is one of the most popular directors in Korea and his films have been successful both domestically and internationally. His films are known to contain a large amount of violence and other sensitive subjects, which has raised a lot of discussion and criticism. Pak Ch’an-uk’s most well-known film, Oldboy, is no exception. Oldboy has been discussed by film studies scholars from a variety of angles. This thesis discusses the film rather from the perspective of Korean Studies, taking the Korean cultural and historical context in mind. This study analyzes the meaning of the violence and revenge in Oldboy and explores how the themes and references in the film relate to non-diegetic events in Korea’s recent history, as well as how those references function as social criticism. The thesis also looks into the question why the film has received criticism for its violence and suggests cultural and linguistic barriers as a potential reason for this criticism.
Pak Ch’an-uk är en av Koreas mest populära regissörer i Korea. Hans filmer har haft stor succé både inrikes och utrikes. Hans filmer är rika på våld och andra känsliga ämnen, vilket har resulterat i mycket diskussion och kritik mot hans filmer. Han mest välkända film, Oldboy, är inget undantag. Oldboy har blivit diskuterad av forskare inom film, men den här studien diskuterar filmen från ett koreastudieperspektiv, och analyserar därmed filmen med Koreas kultur i åtanke. Den här studien analyserar betydelsen av våldet och hämnden i Oldboy och undersöker hur teman och referenserna i filmen relaterar till extradiegetiska händelser i Koreas historia, samt hur dessa referenser fungerar som kritik. Studien tar även upp kritiken som Oldboy har fått på grund av filmens våld och framställer kulturella och språkliga hinder som en potentiell anledning för kritiken.
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Barnswell, Evan. ""A Dish Best Served Cold": Revenge Plots in Neo-Noir Narratives." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1354.

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In this paper, I trace the theme of revenge across Drive (Refn, 2011) and John Wick (Leitch and Stahelski, 2014). Professor von Hallberg helped me understand these films as vehicles for understanding certain ideas. Throughout the semester I consulted the work of several literary critics to arrive at a better sense of what neo-noir is and to better understand the world of these films. Through close analysis of specific scenes, I hoped to determine what I would learn about vengeance if I lived in the world that these characters inhabit. After watching and re-watching both films several times, I went through scene by scene and observed the details that stood out to me the most. I related these to the literature I had read and suggested what each detail might mean before drawing any conclusions. Once I had completed the core analysis, I reviewed these observations and synthesized them into general claims. I affirmed that revenge was closely related to von Hallberg’s notion of “trust” as a “horizon of hope” (von Hallberg 2). In the end, it was apparent that in punishing those responsible, the protagonists of these films committed to destroying any and all “obstacles to the [re]construction of trust” (von Hallberg 5). Both protagonists are portrayed as avengers who are driven toward the destruction of “the fakery and greed of those around them” (von Hallberg 36). In these films, to extract revenge is to punish the “corrupt[t] [and] [re]buil[d] [in] a world governed by self-interest” (von Hallberg 36).
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Timmons, Lena G. Boyd Jean Ann. "Functions of film music and sound within a genre : the revenge western /." Waco, Tex. : Baylor University, 2006. http://hdl.handle.net/2104/4900.

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Nguyen, Alan Duc Khoi. "Utilising Principles of Cinematography to Communicate Anti-Violence and Anti-Vengeance Themes in a Revenge Film." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/375769.

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In this exegesis I discuss the context, rationale and methods involved in the development and production of Firebird (2016), a film created as the studio component of my Doctor of Visual Arts degree. The film, along with this exegesis, serves to address the research question: How can anti-violence and anti-vengeance themes be communicated through images in a revenge film? Revenge films often gain audience sympathy for the protagonist through the presentation of an initial wrongdoing or harm, which gives licence for viewers to enjoy the portrayal of violent acts that the protagonist subsequently enacts on his/her revenge-targets. As a filmmaker and film researcher, I have a particular interest in revenge films that provide a more critical approach to the portrayal of vengeance and violence. For the purposes of this exegesis, the terms ‘anti-vengeance’ and ‘anti-violence’ will be used to describe films, or aspects of films, that portray violent vengeance in a disapproving, non-approving, or ambivalent manner. The main contributions of this creative-art and research project are as follows. First, it provides a relatively rare example of a revenge film made with the conscious intention of communicating anti-violence and anti-vengeance themes. Second, it documents my experiences: the challenges I faced, my decision-making processes, and the techniques I adopted, all of which may be of some interest to other filmmakers. Third, it provides a systematic analysis of cinematic image techniques used in a number of contemporary revenge films to support either anti- or pro-vengeance sentiments. The actual process of making this film involved eclectic, iterative and fluid combinations of hands-on experimentation, reflection-in-action, and insights gleaned from the study of previous film works. A distinctive aspect of Firebird is the gradual evolution in its portrayal of the revenge-target, who is also the lead antagonist. Initially, this character is depicted as mysterious, powerful and menacing, but as the film progresses, it allows the audience to see him in a far more humanistic and sympathetic light, thereby undermining the notion of justified vengeance. This nuanced treatment contrasts with the way many revenge films portray targets of revenge as outright villains, with few redeeming qualities. While revenge films that feature anti-vengeance themes generally avoid such damning depictions, they generally present a static, rather than evolving, view of these characters. In this context, the ‘gradual improvement in understanding’ approach employed in Firebird is an innovation within the field of revenge films. To implement this approach, initial shots of the antagonist were taken from low-angle placements that showed little of his face but suggested a dominating presence. Subsequent images of him included more humanistic aspects (e.g., warm-toned lighting cast on his face) and were further enhanced through post-production (e.g., selective brightening and resizing of shots to provide greater intimacy). The antagonist’s perspective was explored, not only through dialogue but also through flashback imagery, which often contrasted in form from surrounding images. The film also showed the antagonist as suffering from the negative psychological consequences of his own violent acts. In one particular scene, where he expresses a deep sense of guilt, blacks were used to isolate the figure, top-lighting was used to support the notion of psychological anguish, while green-gels on lighting were used to give a cold, uncomfortable atmosphere. During the course of the film, the protagonist-revenger moves from a state of relatively good health, self-confidence and certainty of purpose to one of wavering resolve and physical frailty. Initially, as he speaks of his plan for revenge, the camera travels towards him, adding to the power of this moment and supporting a sense of his emotional resolve. As the film progresses, images begin to depict an emotional state of turmoil and indecision, including a close-up shot of a hand poised half-way between his bed and a weapon. Selective colour-grading was designed to depict him with warmer flesh tones early in the film and progress to colder tones in later scenes, to depict the deterioration in his physical health, but also to visually support the internal shift in the character. The ending of the film is decidedly not a triumphant one. A sense of tragedy is conveyed not only through the death of the protagonist, but also through the notion that he is killed by his own quarry, who by that time has shown remorse for past acts of violence. An image of the dying protagonist is shown from what might be the antagonist’s point-of-view, followed by a lingering close-up of the latter’s horrified and grief-filled expression. As for the depiction of moments of violent action, the film tends to focus on showing the effects of violence on the victim, rather than direct visual capture of the violent act itself. The effects are depicted through close-ups of the victim’s face. In this film, the pursuit of revenge is shown as escalating conflict and perpetuating cycles of violence and retaliation, with no apparent satisfaction or redeeming benefits for anyone involved.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Rosén, Rebecca. "Rape-revenge film: "empowering" eller förnedrande sexualisering av kvinnor? : en jämförande analys av Paul Verhoevens Elle gentemot tradition." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-65607.

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Denna uppsats handlar om rape-revenge film. Närmare bestämt undersöker den hur de kvinnliga karaktärerna representeras i de utvalda filmerna och om, och i så fall hur, de kan ses som ”empowering” eller om det endast handlar om en sexualiserande porträttering av våld mot kvinnor. Uppsatsen använder sig utav en film- och textbaserad analys och den grundläggande teorin för uppsatsen är den feministiska filmteorin, samt teorier om kvinnor i rape-revenge. De tre filmerna som står i fokus är I Spit on Your Grave (Meir Zarchi, 1978), Ms. 45 (Abel Ferrara, 1981) och Elle (Paul Verhoeven, 2016). Slutresultatet visar att de tre filmerna inte porträtterar deras våldtäktsscener på ett sexualiserat eller erotiskt sätt utan snarare framhäver brutaliteten i våldet för åskådarna i form av bland annat karaktärsidentifiering med offret istället för våldtäktsmannen. Däremot, skiljer sig filmerna i hur deras respektive kvinnliga karaktärer väljer att hämnas och huruvida deras agerande kan ses som empowering eller inte. Av de tre filmerna är Elle den som tydligast uppvisar olika versioner av empowering och hur det som stärker en person är väldigt individuellt.
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Prenter, Robin Michael Patrick. "Investigating the Physics and Performance of Reverse-Oriented Film Cooling." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1500505248644198.

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Tohline, Andrew M. "Towards a History and Aesthetics of Reverse Motion." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1438771690.

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Besnard-Scott, Laurence. "Translation beyond words : film adaptations of classical myths as reverse ekphrasis." Thesis, Queen's University Belfast, 2017. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.725390.

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My PhD thesis proposes to look at film adaptation through a concept derived from ekphrastic discourse in order to delineate a critical space, or ‘ekphrastic third space’, opened up by the process of adaptation. It raises questions about the semiotic dialogue between (moving) image and text, cinema and literature, and how that dialogue is enriched by reconfiguring traditional notions of ekphrasis as ‘reverse ekphrasis’. The chosen case studies - film adaptation of classical myths - reconnect with the origins of ekphrasis as a rhetorical figure, in an attempt to link it with cinema's 'mythical' dimension. The concept of reverse ekphrasis is mediated through a hermeneutic theory of translation which, 1 argue, offers a way of countering overly instrumentalist or transpositional, semiotic readings of film adaptations. The hermeneutic model allows the critic to see all texts as inherently unstable and dialectical; thus opening the way to seeing film adaptations of classical myths as a way of revealing and/or problematising the conditions of production. The ekphrastic third space is therefore not defined by its polarity but by the interlacing occurring in-between; its premise is founded on an unpredictable process’vyhich adjusts itself as a territory for creativity and critical thinking, not on a finality based on a logic of containment. The image-text relationship is thus envisaged not only as a relationship between the said and the seen but between the unsaid and the unseen. The outcome of such an approach is twofold: the process is both mechanical and organic, hermeneutic and poetical, which implies a constant concern for the ambivalence of signs. In that sense, the workings, or illogical ‘logic’, of reverse ekphrasis concur with a cinema of signs that opens up a discursive space on the transformative process from words into moving images and on its conditions of production.
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Books on the topic "Revenge film"

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Beck, K. K. The Revenge of Kali-Ra. New York: Grand Central Publishing, 2001.

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The revenge of Kali-Ra. New York: Mysterious Press, 1999.

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Japrisot, Sébastien, Jean Becker, Christine Beytout, and Étienne Becker. L'été meurtrier. Scottsdale, Ariz.]: Tanelorn Films, 2010.

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Kozint︠s︡ev, Grigoriĭ Mikhaĭlovich. Gamlet: Hamlet. [Russia]: RUSCICO, 2003.

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Thompson, J. Lee. Cape Fear. Universal City, CA: Universal Studios Home Entertainment, 2013.

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Japrisot, Sébastien. One deadly summer. London: Harvill, 2000.

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Tony, Richardson, and Neil Hartley. Shakespeare's Hamlet. Culver City, Calif: Sony Pictures Home Entertainment, 2012.

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Rape-revenge films: A critical study. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2011.

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1939-, Lippincott Charles, ed. The making of Star Wars: The definitive story behind the original film : based on the lost interviews from the official Lucasfilm archives. New York: Ballantine Books, 2007.

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The making of Star Wars Revenge of the Sith: Revenge of the Sith. New York: Del Rey Books, 2005.

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Book chapters on the topic "Revenge film"

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Joy, Stuart. "Time travel, trauma, and the futility of revenge in Looper (2012)." In Contemporary American Science Fiction Film, 91–108. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003189961-6.

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Ng, Jenna. "Where the Violence Lies: Re-reading Rape and Revenge in Freeze Me (Takashi Ishii, 2000)." In The Forgotten Victims of Sexual Violence in Film, Television and New Media, 179–201. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-95935-7_10.

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Patrick, Stephanie, and Mythili Rajiva. "Introduction." In The Forgotten Victims of Sexual Violence in Film, Television and New Media, 1–23. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-95935-7_1.

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Abstract#MeToo is a contemporary global feminist movement against sexual violence and rape culture, including media representations that normalize gendered violence. But #MeToo has also re-centered white, western, middle-class, heteronormative, and able-bodied women. This collection explores who is left out of mainstream media stories of sexual violence, critiquing feminist media studies work that ignores black feminist and intersectional scholarship. Topics include 1990s filmic representations of white working-class girls; the disposability of televisual sex workers; the fetishizing and/or disappearing of racialized characters in order to center white heroism and/or heteronormativity; the explicit construction of fat women as impossible victims; and rape-revenge films in Japanese cinema. Finally, outside traditional media, topics include Canadian true crime podcasts on Missing and Murdered Indigenous Women; problematic tropes on reality television; the coding of sexual violence in digital assistants; and the subversive potential of stand-up comedy shows that center the experiences of rape victims.
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Starewicz, Ladislas. "The Cameraman’s Revenge (Mest’ kinematografičeskogo operatora)." In 100 Silent Films, 46–47. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-569-5_18.

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Cashian, Paul. "Costs, Revenues and Profit." In Economics, Strategy and the Firm, 63–94. London: Macmillan Education UK, 2007. http://dx.doi.org/10.1007/978-1-137-26648-4_4.

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Williams, Dan. "Revenge and Reparation in The Virgin Spring." In Klein, Sartre and Imagination in the Films of Ingmar Bergman, 127–59. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137471987_5.

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Pereira, Marcelo Trierveiler, Antônio Augusto Fröhlich, and Hugo Marcondes. "RIFFS: Reverse Indirect Flash File System." In Embedded and Ubiquitous Computing, 30–40. Berlin, Heidelberg: Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-30121-9_4.

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Reynaud, Bérénice. "Centre Stage: A Shadow in Reverse." In Chinese Films in Focus II, 48–55. London: British Film Institute, 2008. http://dx.doi.org/10.1007/978-1-349-92280-2_7.

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Carbó-Valverde, Santiago, David Humphrey, and Francisco Rodríguez Fernández. "A Revenue-Based Frontier Measure of Banking Competition." In Bank Performance, Risk and Firm Financing, 135–53. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230313873_7.

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Bruneel, Christophe, Jean-Louis Guy, Dominique Haughton, Nicolas Lemercier, Mark-David McLaughlin, Kevin Mentzer, Quentin Vialle, and Changan Zhang. "Movie Analytics and the Future of Film Finance. Are Oscars and Box Office Revenue Predictable?" In Handbook of State Aid for Film, 551–78. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71716-6_30.

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Conference papers on the topic "Revenge film"

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Rodriguez, Philip Louis Piaget. "Reverie [best student film award]." In SA '18: SIGGRAPH Asia 2018. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3278625.3278636.

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Abautret, Yannick, Dominique Coquillat, Ryad Bendoula, Daphné Héran, Bruno Grèzes-Besset, Claude Amra, Myriam Zerrad, Xavier Buet, Gabriel Soriano, and Frédéric Chazallet. "Thin film terahertz reverse engineering to analyse vegetal tissues." In Advances in Optical Thin Films VII, edited by Michel Lequime and Detlev Ristau. SPIE, 2021. http://dx.doi.org/10.1117/12.2597056.

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Bogachuk, Dmitry, Lukas Wagner, David Martineau, Salma Zouhair, and Andreas Hinsch. "How to make perovskite photovoltaic devices stable under reverse bias." In International Conference on Perovskite Thin Film Photovoltaics and Perovskite Photonics and Optoelectronics. València: Fundació Scito, 2021. http://dx.doi.org/10.29363/nanoge.nipho.2022.006.

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Prenter, Robin, Mohammad A. Hossain, Lucas Agricola, Ali Ameri, and Jeffrey P. Bons. "Experimental Characterization of Reverse-Oriented Film Cooling." In ASME Turbo Expo 2017: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/gt2017-64731.

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Reverse-oriented film cooling, which consists of film cooling holes oriented to inject coolant in the opposite direction of the freestream, is experimentally investigated. Tests are conducted at various blowing ratios (M = 0.25, 0.5, and 1.0) under both low and high freestream turbulence (Tu = 0.4% and 10.1%), with a density ratio near unity. The interesting flow field that results from the reverse-jet-in-crossflow interaction is characterized using flow visualization, particle image velocimetry, and thermal field measurements. Heat transfer performance is evaluated with adiabatic film effectiveness and heat transfer coefficient measurements obtained using infrared thermography. Adiabatic effectiveness results show that reverse film cooling produces very uniform and total coverage downstream of the holes, with some reduction due to increased freestream turbulence. The reverse film cooling holes are evaluated against cylindrical holes in the conventional configuration, and were found to perform better in terms of average effectiveness and comparably in terms of net heat flux reduction, despite augmented heat transfer coefficient. Compared to shaped hole data from previous studies, the reverse film cooling holes generally had worse heat transfer performance. The aerodynamic losses associated with the film cooling are characterized using total pressure measurements down-stream of the holes. Losses from the reverse configuration were found to be higher when compared to cylindrical holes in the conventional and compound angle configurations.
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Amir Kamal, Muhammad. "The role of direct and indirect taxes in financing public revenues." In 11th International Conference of Economic and Administrative Reform: Necessities and Challenges. University of Human Development, 2022. http://dx.doi.org/10.21928/uhdicearnc/6.

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Direct and indirect taxes are vital to generate sufficient revenue for the state to meet the increasing public spending. And that both taxes (direct and indirect) are necessary to promote economic growth, fill job opportunities, and economic stability, as they are one of the sources of budget financing. Direct, which means imposing direct taxes on large and medium wealth, which means subjugating the owners of capital and the owners of wealth, or relying on indirect taxes, that is, imposing taxes on goods, services and commercial operations, which means subjugating those who do not have wealth and capital. However, the developing countries rely on direct taxes, while the reliance on indirect taxes is limited in scope, unlike the advanced industrial countries. The current study aims at the attempts of the role of direct and indirect taxes in financing public revenues in the Iraqi and Indian economies. For the purpose of facing public spending, the study clearly shows that taxes play an important role in the development of the Indian economy, unlike Iraq, in which the proportion of tax revenue is a very small part of the revenue, while the study shows Iraq's dependence on direct taxes to finance revenue, unlike India, which is used to non-taxes more direct.
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Amir Kamal, Muhammad. "The role of direct and indirect taxes in financing public revenues." In 11th International Conference of Economic and Administrative Reform: Necessities and Challenges. University of Human Development, 2022. http://dx.doi.org/10.21928/icearnc/6.

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Direct and indirect taxes are vital to generate sufficient revenue for the state to meet the increasing public spending. And that both taxes (direct and indirect) are necessary to promote economic growth, fill job opportunities, and economic stability, as they are one of the sources of budget financing. Direct, which means imposing direct taxes on large and medium wealth, which means subjugating the owners of capital and the owners of wealth, or relying on indirect taxes, that is, imposing taxes on goods, services and commercial operations, which means subjugating those who do not have wealth and capital. However, the developing countries rely on direct taxes, while the reliance on indirect taxes is limited in scope, unlike the advanced industrial countries. The current study aims at the attempts of the role of direct and indirect taxes in financing public revenues in the Iraqi and Indian economies. For the purpose of facing public spending, the study clearly shows that taxes play an important role in the development of the Indian economy, unlike Iraq, in which the proportion of tax revenue is a very small part of the revenue, while the study shows Iraq's dependence on direct taxes to finance revenue, unlike India, which is used to non-taxes more direct.
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Boostandoost, M., U. Kerst, and C. Boit. "Activation Energy Analysis of Dark and Laser Illuminated I-V Characteristics of Thin-Film Poly Silicon Solar Cells." In ISTFA 2010. ASM International, 2010. http://dx.doi.org/10.31399/asm.cp.istfa2010p0158.

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Abstract The temperature dependence of photocurrent of polycrystalline Si (poly-Si) thin-film solar cells on glass with interdigitated mesa structure has been locally investigated using Infrared Light Beam Induced Current (IR-LBIC) in the temperature range of -25 to +70 °C. The temperature dependence of electrical characteristics of poly-Si thin-film solar cells in reverse bias has been also analysed and compared with the monocrystalline thin-film solar cells. The poly-Si solar cell shows a temperature coefficient (TC) for the photocurrent of around +0.8 and +0.6 %/°C in the grain interior and grain boundary, respectively. The activation energy of the reverse current and also the photocurrent due to the IR laser stimulation has been evaluated, which provide information about traps and their energy levels in the absorber layer of the poly-Si thin-film solar cell. The obtained average value of the activation energy associated with the photocurrent of the poly-Si cell suggests the existence of a shallow acceptor level at around 0.045 eV in the grain boundary and 0.062 eV in the grain interior of the absorber layer of the poly-Si thin-film solar cell. The activation energies of the reverse current for poly-Si and monocrystalline cells have been calculated when the device is biased at -1 and -2 V and the results compared with the activation energy of the saturation current obtained from extrapolation of the I-V curve in the SRH (Shockley-Read-Hall) regime. The results show strong voltage dependence. In both cases the activation energy of the reverse current decreases in the reverse bias voltage, approaching the values obtained from the photocurrent.
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Lavoie, Thierry, Foutse Khomh, Ettore Merlo, and Ying Zou. "Inferring Repository File Structure Modifications Using Nearest-Neighbor Clone Detection." In 2012 19th Working Conference on Reverse Engineering (WCRE). IEEE, 2012. http://dx.doi.org/10.1109/wcre.2012.42.

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Tjan, Swi Hong. "Reverse Engineering Megadata MD3000 Database File Format." In International Seminar of Science and Applied Technology (ISSAT 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/aer.k.201221.081.

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Fujieda, Naoki, Kiyohiro Sato, and Shuichi Ichikawa. "A Complement to Enhanced Instruction Register File against Embedded Software Falsification." In PPREW-5: Program Protection and Reverse Engineering Workshop. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2843859.2843864.

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Reports on the topic "Revenge film"

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McNabb, Kyle, Dorothy Nakyambadde, Maria Jouste, and Susan Kavuma. The Uganda Revenue Authority firm panel. UNU-WIDER, March 2022. http://dx.doi.org/10.35188/unu-wider/wtn/2022-2.

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Degeorge, Francois, and Richard Zeckhauser. Information Handling and Firm Performance: Evidence from Reverse LBOs. Cambridge, MA: National Bureau of Economic Research, August 1991. http://dx.doi.org/10.3386/w3798.

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Díaz de Astarloa, Bernardo, and Ezequiel Tacsir. Cluster Initiatives and Economic Resilience: Evidence from a Technology Cluster in Argentina. Inter-American Development Bank, December 2022. http://dx.doi.org/10.18235/0004594.

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In this paper, we study the role of a cluster initiative in fostering economic resilience among firms in a local technology cluster in Argentina. We focus on two aggregate shocks that hit the Argentine economy, including first wave of the COVID-19 pandemic. Our analysis is based on interviews with authorities and members of the cluster initiative, local firms, and policy makers, as well as on firm-level administrative tax records. We find that the cluster organization provides members with resources that could foster resilience, including access to specialized human capital, information on business opportunities, and assistance in applying for government support programs. However, while members of the cluster organization appear to be more resilient than non-members, even within the same regional cluster, after conditioning on firm characteristics we find little evidence of a positive association between belonging to the cluster organization and economic resilience. Members of the cluster organization are neither less likely to exit nor adapt by switching their main economic activity and did not show statistically significantly higher revenue growth than nonmembers. Member firms do appear to have been more able than non-members to keep up with tax obligations during the first wave of the COVID-19 pandemic.
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Cerda, Maikol, David Cervantes, Paul Gertler, Sean Higgins, Ana María Montoya, Eric Parrado, Carlos Serrano, Raimundo Undurraga, and Patricia Yáñez-Pagans. Covid-19 Pandemic and SMEs' Performance in Latin America. Inter-American Development Bank, February 2023. http://dx.doi.org/10.18235/0004720.

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The COVID-19 pandemic generated a large negative external shock to the global economy. Businesses worldwide were affected by economic, health, and mobility restrictions that impacted consumers ability to access goods and services and firms profitability and survival rates. In this paper, we study the economic performance of Latin American MSMEs during the pandemic using disaggregated and high-frequency administrative banking deposits and income data from Brazil, Chile, Colombia, Mexico, Paraguay, and Peru. We observe a sharp short-term decline in firm earnings due to the implementation of lockdowns during the second half of March 2020. We show this decline had a heterogeneous impact by economic sector, firm size, and transaction type (in-person vs. online). Focusing on financial technology adoption by studying the migration from in-person to online banking transactions, we find that MSMEs managed to recover revenues to pre-pandemic levels in early 2021 thanks to an increased share of online transactions and that industries facing higher physical exposure to the public (e.g., retailers) experienced a more considerable decline and a slower recovery.
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Occhiali, Giovanni, Doris Akol, and Philip M. Kargbo. ICT and Tax Administration in Sub-Saharan Africa: Adopting ITAS in Uganda and Sierra Leone. Institute of Development Studies, October 2022. http://dx.doi.org/10.19088/ictd.2022.014.

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The adoption of information and communication technologies (ICTs) in the public sector, including for tax administration, has been hailed as potentially transformational over the last few decades. Its impact has been less far-reaching than imagined. A literature examining the determinants of – and obstacles to – ICT adoption arose as a result, almost exclusively focusing on the experience of high-income countries. However, understanding the experience of adoption in low-income countries is equally important, especially given the potential role that ICTs can play in tackling various development issues, including increasing mobilisation of domestic revenue. To help fill this gap, we present two in-depth case studies of the process of adopting an integrated tax administration system (ITAS) in Uganda and Sierra Leone, based on a series of semi-structured interviews with members of the respective revenue authorities and ministries of finance. Our analysis shows that many of the factors that facilitate and impede the adoption process are the same as those identified in high-income countries. However, we also identify some factors that are more likely to be relevant for low-income countries. These include the impact of the timeline for disbursing donor funding, the processes donors require to be used for procurement, and the quality of legacy data to be migrated into the new system. The need to embark on change management and re-engineering business processes was also recognised more fully than might have been expected in countries with relatively little prior experience in e-government services.
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Mascagni, Giulia, and Adrienne Lees. Using Administrative Data to Assess the Impact of the Pandemic in Low-Income Countries: An Application with VAT Data in Rwanda. Institute of Development Studies, March 2021. http://dx.doi.org/10.19088/ictd.2021.004.

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This paper uses administrative data from Value Added Tax (VAT) returns to provide insights on the impact of the COVID-19 pandemic in Rwanda. We show that the lockdown in Rwanda had a severe impact on the domestic economy, despite relatively low case numbers. However, the economy quickly rebounded after restrictions were lifted, with overall sales losses amounting to 5 per cent of GDP. Although in absolute terms, these losses are concentrated amongst the largest firms, in proportional terms, small firms have been worse affected. We also show that firms providing accommodation, food and transport services, as well as those based in the capital, have been particularly affected by the crisis. Overall, the decline in economic activity translates to a 5.1 per cent loss in VAT revenue for the government. Our results offer policy-makers evidence on the real impact of the crisis, both in aggregate terms and disaggregated by firm size, sector, and location. In a literature that has largely focused on higher-income countries, these results complement projections to inform appropriate policy responses in the specific context of low-income countries.
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Collington, Rosie, and William Lazonick. Pricing for Medicine Innovation: A Regulatory Approach to Support Drug Development and Patient Access. Institute for New Economic Thinking Working Paper Series, January 2022. http://dx.doi.org/10.36687/inetwp176.

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The United States represents the world’s largest market for pharmaceutical drugs. It is also the only advanced economy in the world that does not regulate drug prices. There is no upper threshold for the prices of medicines in the United States. List prices are instead set by manufacturers in negotiation with supply-chain intermediaries, though some federal programs have degrees of discretion in price determinations. In practice, this deregulated system means that drug prices in the United States are generally far higher than in other advanced economies, adversely affecting patient accessibility and system affordability. In this paper, we draw on the “theory of innovative enterprise” to develop a framework that provides both a critique of the existing pricing system in the United States and a foundation for developing a new model of pricing regulation to support safety and effectiveness through drug development as well as accessibility and affordability in the distribution of approved medicines to patients. We introduce a regulatory approach we term “Pricing for Medicine Innovation” (PMI), which departs dramatically from the market-equilibrium assumptions of conventional (neoclassical) economics. The PMI approach recognizes the centrality of collective investments by government agencies and business firms in the productive capabilities that underpin the drug development process. PMI specifies the conditions under which, at the firm level, drug pricing can support both sustained investment in these capabilities and improved patient access. PMI can advance both of these objectives simultaneously by regulating not just the level of corporate profit but also its allocation to reinvestment in the drug development process. PMI suggests that although price caps are likely to improve drug affordability, there remain two potential issues with this pricing approach. Firstly, in an innovation system where a company’s sales revenue is the source of its finance for further drug development, price caps may deprive a firm of the means to invest in innovation. Secondly, even with adequate profits available for investment in innovation, a firm that is run to maximize shareholder value will tend to use those profits to fund distributions to shareholders rather than for investment in drug innovation. We argue that, if implemented properly, PMI could both improve the affordability of medicines and enhance the innovative performance of pharmaceutical companies.
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Glick, Mark. An Economic Defense of Multiple Antitrust Goals: Reversing Income Inequality and Promoting Political Democracy. Institute for New Economic Thinking Working Paper Series, March 2022. http://dx.doi.org/10.36687/inetwp181.

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Two recent papers by prominent antitrust scholars argue that a revived antitrust movement can help reverse the dramatic rise in economic inequality and the erosion of political democracy in the United States. Both papers rely on the legislative history of the key antitrust statutes to support their case. Not surprisingly, their recommendations have been met with alarm in some quarters and with skepticism in others. Such proposals by antitrust reformers are often contrasted with the Consumer Welfare Standard that pervades antitrust policy today. The Consumer Welfare Standard suffers from several defects: (1) It employs a narrow, unworkable measure of welfare; (2) It excludes important sources of welfare based on the assumption that antitrust seeks only to maximize wealth; (3) It assumes a constant and equal individual marginal utility of money; and (4) It is often combined with extraneous ideological goals. Even with these defects, however, if applied consistent with its theoretical underpinnings, the consideration of the transfer of labor rents resulting from a merger or dominant firm conduct is supported by the Consumer Welfare Standard. Moreover, even when only consumers (and not producers) are deemed relevant, the welfare of labor still should consistently be considered part of consumer welfare. In contrast, fostering political democracy—a prominent traditional antitrust goal that was jettisoned by the Chicago School—falls outside the Consumer Welfare Standard in any of its constructs. To undergird such important broader goals requires that the Consumer Welfare Standard be replaced with the General Welfare Standard. The General Welfare Standard consists of modern welfare economics modified to accommodate objective analyses of human welfare and purged of inconsistencies.
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Wolfenson, David, William W. Thatcher, Rina Meidan, Charles R. Staples, and Israel Flamenbaum. Hormonal and Nutritional Stretegies to Optimize Reproductive Function and Improve Fertility of Dairy Cattle during Heat Stress in Summer. United States Department of Agriculture, August 1994. http://dx.doi.org/10.32747/1994.7568773.bard.

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The BARD program includes two main parts. In the first, experiments were conducted to complete our understanding of the mechanisms responsible for the impairment of reproductive functions under heat stress. Experiments focused on follicular development and function, since results obtained in our previous BARD project indicate that the preovulatory follicle is susceptible to heat stress. The theca cells, sensitive to thermal stress, produced less androgen during the summer, as well as during the autumn. Similarly, luteinized theca cells obtained from cows in summer produced much less progesterone than in winter. Granulosa cells and luteinized granulosa cells were less susceptible to heat stress. A delayed effect of heat stress on follicular development, on suppression of dominance and on steroid production by theca and granulosa cells was noted. This may be related to the low fertility of cows during the cool months of autumn. In the second part, experiments were conducted aiming to improve fertility in summer. The timed AI program was developed using two injections of GnRH coupled with PGF2a. It was found effective in improving reproductive performance in lactating cows. Limitations induced by heat stress on estrus detection were eliminated with the timed AI management program. Replacing the second injection of GnRH with hCG instead of GnRH agonist increased plasma progesterone levels post ovulation but did not improve fertility. Use of the timed AI program in summer, shortened days open and increased the net revenue per cow, however, it did not protect the embryo fiom temperature-induced embryonic mortality. Incorporation of a GnRH-agonist implant into the timed AJ program was examined. The implant increased plasma progesterone and LH concentrations and altered follicular dynamics. The use of a GnRH-implant enhanced pregnancy rate in cows with low body conditions. In a timed embryo transfer experiment, the use of fresh or frozen in vitro produced embryos was compared in the summer to improve fertility. The use of flesh embryos (but not frozen ones) improved pregnancy rate, however, substantial embryonic death occurred between 21 and 45 days. The timed AI program, which is now being used commercially, shortened days open, and increased pregnancy rate during summer. Other approaches which were found to improve fertility in small-scale studies, need to be tested again in large-scale field trials.
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Research Department - Government Finance - Statements of Revenue and Expenditure - File 2 - Queensland - July 1948 - June 1961. Reserve Bank of Australia, March 2022. http://dx.doi.org/10.47688/rba_archives_2006/17178.

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