Relevant bibliographies by topics / Western films Mition pictures

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Academic literature on the topic 'Western films Mition pictures'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Western films Mition pictures"

1

Eamon, Greg. "Farmers, Phantoms and Princes. The Canadian Pacific Railway and Filmmaking from 1899-1919." Cinémas 6, no. 1 (2011): 11–32. http://dx.doi.org/10.7202/1000957ar.

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The development of motion pictures coincided with the development of active publicity campaigns by the Canadian Pacific Railway Company. It did not take the CPR long to realize the potential of the new medium and capitalize on the public's fascination with train and motion. In order to encoutage immigration and settlement to western Canada, the company developed an extensive system of promotion which included the use of films. CPR filmmaking fell broadly into two categories, those which were designed with a specific intent to educate, inform and persuade and those which were primarily intended
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Witkowski, Terrence H. "Visualizing Winchester: a brand history through iconic Western images." Journal of Historical Research in Marketing 10, no. 4 (2018): 383–419. http://dx.doi.org/10.1108/jhrm-09-2017-0053.

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Purpose This paper aims to present a visually documented brand history of Winchester Repeating Arms through a cultural analysis of iconic Western images featuring its lever action rifles. Design/methodology/approach The study applies visual culture perspectives and methods to the research and writing of brand history. Iconic Western images featuring Winchester rifles have been selected, examined, and used as points of departure for gathering and interpreting additional data about the brand. The primary sources consist chiefly of photographs from the nineteenth century and films and television
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Bode, Carole, Marco Bertamini, and Mai S. Helmy. "Left–Right Position in Moving Images: An Analysis of Face Orientation, Face Position, and Movement Direction in Eight Action Films." Art and Perception 4, no. 3 (2016): 241–63. http://dx.doi.org/10.1163/22134913-00002053.

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There are compositional biases in works of art that have been documented in static images. This study extends the analysis to moving pictures. We examined eight films by four different directors (Ford, Leone, Kurosawa, Chahine), each with a male actor in the major role. These directors are also from different countries (USA, Italy, Japan, Egypt). The analysis focused on three compositional aspects: a) the orientation of the face of the actor (which cheek was visible), b) the position of the face within the image (positioned either to the left of the screen showing the left or right cheek or to
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Rusinova, Elena A., and Elizaveta M. Khabchuk. "The Influence of Traditions of Culture on the Techniques of Sound Directing in Japanese Cinema. Speech and Pause." Journal of Flm Arts and Film Studies 10, no. 2 (2018): 74–84. http://dx.doi.org/10.17816/vgik10274-84.

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The article (the end of the publication, beginning: No 1 (35), 2018) analyzes the sound features of Japanese motion pictures created in the second half of the 20th - beginning of the 21st centuries, on the example of the speech expressiveness of screen actors. The peculiarity of the acting game for a long time was one of the obstacles to understanding and accepting Japanese films by the Western audience. The approach of Japanese film actors to taking roles was based on traditions of the theatrical performance. However, theatrical techniques organically entered the artistic structure and became
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Boczkowska, Kornelia. "Relics of the Unseen Presence? Evocations of Native American Indian Heritage and Western-Hero Road Poems in Bruce Baillie’s Mass for the Dakota Sioux and Quixote." Studia Anglica Posnaniensia 53, s1 (2018): 311–26. http://dx.doi.org/10.2478/stap-2018-0015.

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Abstract In this paper I discuss the ways in which Bruce Baillie’s Mass for the Dakota Sioux (1964) and Quixote (1965) evoke Native American Indian heritage and western-hero road poems by challenging the concept of the American landscape and incorporating conventions traditionally associated with cinéma pur, cinéma vérité, and the city symphony. Both pictures, seen as largely ambiguous and ironic travelogue forms, expose their audiences to “the sheer beauty of the phenomenal world” (Sitney 2002: 182) and nurture nostalgic feelings for the lost indigenous civilizations, while simultaneously rei
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Tjhai, Nathan, and Sinta Paramita. "Pesan Propaganda Rasisme Film “8 Mile”." Koneksi 3, no. 2 (2020): 295. http://dx.doi.org/10.24912/kn.v3i2.6350.

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Racism is used to define people based on perceptions of physical differences that imply genetic differences. Racism has become a social and cultural fact and this can be used to justify policies and discrimination and affect the lives of both the majority and minority races. This study uses Charles's theory, where this theory is famous for its triangles of meaning, namely signs, objects and interpretan to study the film "8 Mile". This research uses qualitative research methods and uses Charles Sanders Peirce's semiotic analysis. Propaganda has the meaning of a doctrine or act of a person or gr
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Cuningham, Phillip Lamarr, and Melinda Lewis. "“Taking This from This and That from That”: Examining RZA and Quentin Tarantino’s Use of Pastiche." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.669.

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In his directorial debut, The Man with the Iron Fists (2012), RZA not only evokes the textual borrowing techniques he has utilised as a hip-hop producer, but also reflects the influence of filmmaker Quentin Tarantino, who has built a career upon acknowledging mainstream and cult film histories through mise-en-scene, editing, and deft characterisation. The Man with the Iron Fists was originally to coincide with Tarantino’s rebel slave narrative Django Unchained (2012), which Tarantino has discussed openly as commentary regarding race in contemporary America. In 2011, Variety reported that RZA h
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Green, Lelia. "Sex." M/C Journal 5, no. 6 (2002). http://dx.doi.org/10.5204/mcj.2000.

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This paper addresses that natural consort of love: sex. It particularly considers the absence of actual sex from mainstream popular culture and the marginalisation of 'fun' sex as porn, requiring its illicit circulation as ‘illegitimate’ videos. The absence of sex from films classified and screened in public venues (even to over-18s) prevents a discourse about actual sex informing the discourse of love and romance perpetuated through Hollywood movies. The value of a variety of representations of sexual practice in the context of a discussion of love, sex and romance in Western cinema was brief
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Rutherford, Amanda, and Sarah Baker. "The Disney ‘Princess Bubble’ as a Cultural Influencer." M/C Journal 24, no. 1 (2021). http://dx.doi.org/10.5204/mcj.2742.

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The Walt Disney Company has been creating magical fairy tales since the early 1900s and is a trusted brand synonymous with wholesome, family entertainment (Wasko). Over time, this reputation has resulted in the Disney brand’s huge financial growth and influence on audiences worldwide. (Wohlwend). As the largest global media powerhouse in the Western world (Beattie), Disney uses its power and influence to shape the perceptions and ideologies of its audience. In the twenty-first century there has been a proliferation of retellings of Disney fairy tales, and Kilmer suggests that although the main
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Sears, Cornelia, and Jessica Johnston. "Wasted Whiteness: The Racial Politics of the Stoner Film." M/C Journal 13, no. 4 (2010). http://dx.doi.org/10.5204/mcj.267.

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We take as our subject what many would deem a waste of good celluloid: the degraded cultural form of the stoner film. Stoner films plot the experiences of the wasted (those intoxicated on marijuana) as they exhibit wastefulness—excessiveness, improvidence, decay—on a number of fronts. Stoners waste time in constantly hunting for pot and in failing to pursue more productive activity whilst wasted. Stoners waste their minds, both literally, if we believe contested studies that indicate marijuana smoking kills brains cells, and figuratively, in rendering themselves cognitively impaired. Stoners w
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Dissertations / Theses on the topic "Western films Mition pictures"

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Moser, Evelyn Christine Busch. "Heroines in western films /." abstract and full text PDF (free order & download UNR users only), 2005. http://0-wwwlib.umi.com.innopac.library.unr.edu/dissertations/fullcit/3209133.

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Thesis (Ph. D.)--University of Nevada, Reno, 2005.<br>"August 2005." Includes bibliographical references (leaves 237-246). Online version available on the World Wide Web. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2005]. 1 microfilm reel ; 35 mm.
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Tse, Wing-cheung, and 謝詠章. "The representations of angels in western films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B22200836.

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Tse, Wing-cheung. "The representations of angels in western films." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22200836.

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Calhoun, Claudia Y. ""When I get home, I'm fixin' to stay" : gender and domesticity in Post-World War II musical Westerns /." Connect to electronic thesis, 2005. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2006/251.pdf.

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Goulden, Jan. "The western, the buddy movie and noir : lesbian re-readings of the American action movie." n.p, 1999. http://library7.open.ac.uk/abstracts/page.php?thesisid=13.

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Robinson, Scott E. (Scott Elmon) 1961. "Dichotomy in American Western Mythology." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500528/.

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The fundamental dichotomy between savage and civilized man is examined within the archetypal Western myth of American culture. The roots of the dichotomy are explored through images produced between 1888 and 1909 by artists Frederic Remington and Charles Russell. Four John Ford films are then used as a basis for the "dichotomous archetype" approach to understanding Western myth in film. Next, twenty-nine "historical" and "contemporary" Western movies are discussed chronologically, from The Virginian (1929) to Dances with Wolves (1990), in terms of the savage/civilized schema as it is personifi
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Finnane, Gabrielle. "Second nature : artifice and history in film /." View thesis View thesis, 1996. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030909.115616/index.html.

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Lester, Carole N. 1946. "Tinstar and Redcoat: A Comparative Study of History, Literature and Motion Pictures Through the Dramatization of Violence in the Settlement of the Western Frontier Regions of the United States and Canada." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278931/.

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The Western settlement era is only one part of United States national history, but for many Americans it remains the most significant cultural influence. Conversely, the settlement of Canada's western territory is generally treated as a significant phase of national development, but not the defining phase. Because both nations view the frontier experience differently, they also have distinct perceptions of the role violence played in the settlement process, distinctions reflected in the historical record, literature, and films of each country. This study will look at the historical evidence an
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Paszkiewicz, Katarzyna. "Gender y genre en las cineastas estadounidenses a principios del siglo XXI." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/283168.

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Si bien existe una cantidad considerable de trabajos de investigación sobre las llamadas cineastas “vanguardistas” o “resistentes” a las estructuras comerciales, la obra fílmica de mujeres que recurren a formas populares no ha recibido suficiente atención crítica en los estudios de cine en general, ni en estudios fílmicos feministas en particular. Esta tesis se propone abordar una selección de obras realizadas por cineastas estadounidenses contemporáneas que han sido percibidas como películas de género en los discursos críticos: la película de terror Jennifer’s Body (2009), dirigida por Karyn
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Asseraf, Deborah Amandine. "Who shot first? depictions of children in westerns of the 50s to today /." 2010. http://hdl.handle.net/10090/15121.

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Books on the topic "Western films Mition pictures"

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Parish, James Robert. The great western pictures II. Scarecrow Press, 1988.

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Native recognition: Indigenous cinema and the western. State University of New York Press, 2012.

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Spanish western: El cine del oeste como subgénero español (1954-1965). Ediciones de la Filmoteca, 2010.

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Bourton, William. Le western, une histoire parallèle des États-Unis. Presses universitaires de France, 2008.

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Patar, Benoît. Écrits sur le cinéma. Presses philosophiques, 2012.

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Gérard, Henriet, ed. Géographies du western: Une nation en marche. Nathan, 1989.

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The reel Middle Ages: American, western and eastern European, Middle Eastern, and Asian films about medieval Europe. McFarland, 1999.

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Western film series of the sound era. McFarland, 2009.

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Más allá del oeste. Ediciones El País, 1988.

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Blottner, Gene. Universal sound westerns, 1929-1946: The complete filmography. McFarland & Co., 2003.

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Book chapters on the topic "Western films Mition pictures"

1

Chiara, Francesco Di. "Domestic Films Made for Export: Modes of Production of the 1960S Italian Horror Film." In Italian Horror Cinema. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748693528.003.0003.

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Along with the Italian Western, but with an arguably more lasting effect, Italian horror cinema of the 1960s has contributed significantly to the branding of European genre cinema for an international audience. As with Italian cinema a decade earlier, the success of Italian horror film was due at the same time to its compatibility with other, foreign genre products – they could fit in a double bill with an American International Pictures release, for instance – and their perceived ‘otherness’ in respect of the Hollywood standards. In fact, because of their graphic violence, eroticism and visual flair, these films soon gained a cult following outside of Italy, and especially throughout the 1970s with the increasing international success of Italian giallo and with the emergence of horror cult directors like Dario Argento and Lucio Fulci.
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Leeder, Murray. "Contemporary Ghosts." In Twenty-First-Century Gothic. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440929.003.0010.

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This chapter tracks the dominant trends of the twenty-first-century ghost. It argues that Sadako, the techno-onryō from Ringu (1998), has proved a model that would spread in countless ways, cementing the idea of the media ghost in both Asian and western media, sometimes focused on new technology but with a surprising tendency to evoke ‘outdated’ media as haunted/haunting residue. It also discusses the availability of the ghost not only to popular media like reality television and to middlebrow horror films such as those of Blumhouse Pictures, but also to ‘legitimate’ art, like Sarah Water’s The Little Stranger (2007) and works by films like film auteurs like ApichatpongWeerasethakul, Guillermo del Toro and Guy Maddin. It proposes that many of these works provide their own critical commentary on the ghost story itself.
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Sterritt, David. "Robert Altman." In When the Movies Mattered. Cornell University Press, 2019. http://dx.doi.org/10.7591/cornell/9781501736094.003.0005.

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Robert Altman helped define New Hollywood cinema with the dark comedy film MASH in 1970 and helped close out the era with the surreal 3 Women in 1977. But Altman was an unlikely New Hollywood icon; New Hollywood auteurs were supposed to be young movie brats straight from film school, whereas Altman was a forty-something autodidact who had learned his craft making industrial and educational pictures. This chapter focuses on three of Altman’s most important and influential films: the 1971 western McCabe &amp; Mrs. Miller, which builds extraordinary emotional power while radically revising both the myth of the frontier and a key Hollywood genre; the 1975 musical Nashville, a large-canvas portrait of modern-day American politics, patriotism, popular culture, and celebrity; and the oneiric 3 Women, a small-canvas dreamscape that marks the outer limits of New Hollywood iconoclasm.
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Smith, Steven C. "Fighting for Steiner." In Music by Max Steiner. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.003.0015.

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By 1938, Steiner was showing the strain of nonstop work. At home, the presence of his demanding father put strains on Max’s marriage. And although he scored many of Warner Bros.’ most prestigious releases—Dark Victory and the epic western Dodge City are among the works analyzed here—Steiner balked whenever he felt “demoted” and forced to score “westerns and prison pictures.” In March 1939, David O. Selznick decided that he wanted Steiner to score Gone with the Wind. In a revealing letter included in this chapter, Steiner begged Jack Warner to permit this loan-out, “to regain the prestige” he felt he had lost. In Warner’s reply—also included—the mogul praised Steiner as “the best musical composer in the industry,” while reminding him that “the public” were their “most important judges.” Indeed, many of the films Steiner disparaged are now considered classics.
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