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Artículos de revistas 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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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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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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5

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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6

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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8

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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9

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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10

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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11

Rutherford, Leonie Margaret. "Re-imagining the Literary Brand." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1037.

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IntroductionThis paper argues that the industrial contexts of re-imagining, or transforming, literary icons deploy the promotional strategies that are associated with what are usually seen as lesser, or purely commercial, genres. Promotional paratexts (Genette Paratexts; Gray; Hills) reveal transformations of content that position audiences to receive them as creative innovations, superior in many senses to their literary precursors due to the distinctive expertise of creative professionals. This interpretation leverages Matt Hills’ argument that certain kinds of “quality” screened drama are d

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12

Wical, Carol. "Matter Out of Place." M/C Journal 9, no. 5 (2006). http://dx.doi.org/10.5204/mcj.2673.

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   My title comes from anthropologist Mary Douglas’ assertion that dirt, when understood as “matter out of place” simultaneously implies both the existence and the contravention of an established order or system and that this in turn establishes dirt as symbolic (35). Further, Phyllis Palmer has written that dirt is “a principal means to arrange culture” (139). This paper suggests both that dirt has a function in cultural constructions of gender and that action films featuring a female protagonist provide a fertile site for investigation. Normative white femininity traditiona

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13

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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14

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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15

Hawley, Erin. "Re-imagining Horror in Children's Animated Film." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1033.

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Introduction It is very common for children’s films to adapt, rework, or otherwise re-imagine existing cultural material. Such re-imaginings are potential candidates for fidelity criticism: a mode of analysis whereby an adaptation is judged according to its degree of faithfulness to the source text. Indeed, it is interesting that while fidelity criticism is now considered outdated and problematic by adaptation theorists (see Stam; Leitch; and Whelehan) the issue of fidelity has tended to linger in the discussions that form around material adapted for children. In particular, it is often assume

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16

Fuller, Glen. "The Getaway." M/C Journal 8, no. 6 (2005). http://dx.doi.org/10.5204/mcj.2454.

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   From an interview with “Mr A”, executive producer and co-creator of the Getaway in Stockholm (GiS) films:  Mr A: Yeah, when I tell my girlfriend, ‘You should watch this, it’s good, it’s a classic, it’s an old movie’ and she thinks it’s, like, the worst. And when I actually look at it and it is the worst, it is just a car chase … [Laughs] But you have to look a lot harder, to how it is filmed, you have to learn … Because, you can’t watch car racing for instance, because they are lousy at filming; you get no sensation of speed. If you watch the World Rally Champi

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17

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

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

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18

Dodd, Adam. "Making It Unpopular." M/C Journal 2, no. 4 (1999). http://dx.doi.org/10.5204/mcj.1767.

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It is time for the truth to be brought out ... . Behind the scenes high-ranking Air Force officers are soberly concerned about the UFOs. But through official secrecy and ridicule, many citizens are led to believe the unknown flying objects are nonsense. -- Rear Admiral Roscoe Hillenkoetter, Director of Central Intelligence (1947-50), signed statement to Congress, 22 Aug. 1960 As an avid UFO enthusiast, an enduring subject of frustration for me is the complacency and ignorance that tends to characterise public knowledge of the phenomenon itself and its social repercussions. Its hard for people

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19

Warner, Kate. "Relationships with the Past: How Australian Television Dramas Talk about Indigenous History." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1302.

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In recent years a number of dramas focussing on Indigenous Australians and Australian history have appeared on the ABC, one of Australia's two public television channels. These dramas have different foci but all represent some aspects of Australian Indigenous history and how it interacts with 'mainstream' representations of Australian history. The four programs I will look at are Cleverman (Goalpost Pictures, 2016-ongoing), Glitch (Matchbox Films, 2015-ongoing), The Secret River (Ruby Entertainment, 2015) and Redfern Now (Blackfella Films, 2012), each of which engages with the past in a unique

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20

Watson, Robert. "E-Press and Oppress." M/C Journal 8, no. 2 (2005). http://dx.doi.org/10.5204/mcj.2345.

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   From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elepha

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21

Ryder, Paul, and Daniel Binns. "The Semiotics of Strategy: A Preliminary Structuralist Assessment of the Battle-Map in Patton (1970) and Midway (1976)." M/C Journal 20, no. 4 (2017). http://dx.doi.org/10.5204/mcj.1256.

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The general who wins a battle makes many calculations in his temple ere the battle is fought. — Sun TzuWorld War II saw a proliferation of maps. From command posts to the pages of National Geographic to the pages of daily newspapers, they were everywhere (Schulten). The era also saw substantive developments in cartography, especially with respect to the topographical maps that feature in our selected films. This essay offers a preliminary examination of the battle-map as depicted in two films about the Second World War: Franklin J. Shaffner’s biopic Patton (1970) and Jack Smight’s epic Midway

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