Bibliografías temáticas / Western films Violence in motion pictures

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Literatura académica sobre el tema "Western films Violence in motion pictures"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 14 de febrero de 2022

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Artículos de revistas sobre el tema "Western films Violence in motion pictures"

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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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2

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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3

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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4

Deffenbacher, Kristina. "Mapping Trans-Domesticity in Jordan’s Breakfast on Pluto." M/C Journal 22, no. 4 (2019). http://dx.doi.org/10.5204/mcj.1518.

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Neil Jordan’s Breakfast on Pluto (2005) reconceives transience and domesticity together. This queer Irish road film collapses opposition between mobility and home by uncoupling them from heteronormative structures of gender, desire, and space—male/female, public/private. The film’s protagonist, Patrick “Kitten” Braden (Cillian Murphy), wanders in search of a loved one without whom she does not feel at home. Along the way, the film exposes and exploits the doubleness of both “mobility” and “home” in the traditional road narrative, queering the conventions of the road film to convey the desire a
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Stockwell, Stephen. "The Manufacture of World Order." M/C Journal 7, no. 6 (2005). http://dx.doi.org/10.5204/mcj.2481.

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 Since the fall of the Berlin Wall, and most particularly since 9/11, the government of the United States has used its security services to enforce the order it desires for the world. The US government and its security services appreciate the importance of creating the ideological environment that allows them full-scope in their activities. To these ends they have turned to the movie industry which has not been slow in accommodating the purposes of the state. In establishing the parameters of the War Against Terror after 9/11, one of the Bush Administration’s first stops wa
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Eubanks, Kevin P. "Becoming-Samurai." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2643.

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 Samurai and Chinese martial arts themes inspire and permeate the uniquely philosophical lyrics and beats of Wu-Tang Clan, a New York-based hip-hop collective made popular in the mid-nineties with their debut album Enter the Wu-Tang: Return of the 36 Chambers. Original founder RZA (“Rizza”) scored his first full-length motion-picture soundtrack and made his feature film debut with Ghost Dog: The Way of the Samurai (Jim Jarmusch, 2000). Through a critical exploration of the film’s musical filter, it will be argued that RZA’s aesthetic vision effectively deterritorialises the
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7

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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Miletic, Sasa. "Acting Out: "Cage Rage" and the Morning After." M/C Journal 22, no. 1 (2019). http://dx.doi.org/10.5204/mcj.1494.

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Introduction“Cage rage” is one of the most famous Internet memes (Figure 1) which made Nicolas Cage's stylised and sometimes excessive acting style very popular. His outbursts became a subject of many Youtube videos, supercuts (see for instance Hanrahan) and analyses, which turned his rage into a pop-cultural phenomenon. Cage’s outbursts of rage and (over)acting are, according to him (Freeman), inspired by German expressionism as in films like The Cabinet of Dr. Caligari (1920). How should this style of acting and its position within the context of the Hollywood industry today be read in socie
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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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Brien, Donna Lee. "The Real Filth in American Psycho." M/C Journal 9, no. 5 (2006). http://dx.doi.org/10.5204/mcj.2657.

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 1991 An afternoon in late 1991 found me on a Sydney bus reading Brett Easton Ellis’ American Psycho (1991). A disembarking passenger paused at my side and, as I glanced up, hissed, ‘I don’t know how you can read that filth’. As she continued to make her way to the front of the vehicle, I was as stunned as if she had struck me physically. There was real vehemence in both her words and how they were delivered, and I can still see her eyes squeezing into slits as she hesitated while curling her mouth around that final angry word: ‘filth’. Now, almost fifteen years later, the
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Tesis sobre el tema "Western films Violence in motion 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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2

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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3

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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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.

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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
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6

Tatlock, Melissa S. "From Titanic to Star Wars : a Derridean deconstructive analysis of the minimization of violence in the 25 top grossing films of all-time /." Halifax, N.S. : Saint Mary's University, 2009.

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7

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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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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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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Libros sobre el tema "Western films Violence in motion pictures"

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Radical frontiers in the spaghetti western: Politics, violence and popular Italian cinema. I.B. Tauris, 2011.

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2

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

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3

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

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4

The scene of violence: Cinema, crime, affect. Routledge, 2009.

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5

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

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

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7

Donovan, Barna William. Blood, guns, and testosterone: Action films, audiences, and a thirst for violence. The Scarecrow Press, Inc., 2010.

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Donovan, Barna William. Blood, guns, and testosterone: Action films, audiences, and a thirst for violence. Scarecrow Press, 2010.

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Blood, guns, and testosterone: Action films, audiences, and a thirst for violence. Scarecrow Press, 2010.

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10

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

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Capítulos de libros sobre el tema "Western films Violence in motion 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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