Global English Ideography and the Dissolve Translation in Hollywood Film

2009 ◽  
Vol 72 (1) ◽  
pp. 89-136
Author(s):  
R. John Williams
Keyword(s):  
Global English ◽  
Hollywood Film

Film Analysis: Image and Movement

2018 ◽  
Author(s):  
Hilary Radner ◽  
Alistair Fox
Keyword(s):  
Scientific Practice ◽  
Film Analysis ◽  
Hollywood Film ◽  
Poetic Expression ◽  
French Tradition ◽  
Classical Hollywood

This chapter assesses Raymond Bellour’s contribution to the area of research known as “film analysis,” arguing that it is best understood as an “art” rather than a scientific practice. Grounded in the French tradition of “explication du texte” as a means of approaching literature, Bellour was among the first film scholars to bring a French literary sensibility to the analysis of Classical Hollywood film, which enabled him to recognize the rhetorical refinements of the cinematic medium and its potential for poetic expression. The chapter explores the significant concepts that define Bellour’s approach: segmentation; “the unattainable text” (also referred to as “the undiscoverable text” or “le texte introuvable”); le blocage symbolique (also referred to as “the symbolic blockage”);“the textual volume”; Hitchcock and psychoanalysis; and enunciation.

Korngold and His World

2019 ◽  
Keyword(s):  
Chamber Music ◽  
Musical Theater ◽  
Musical Language ◽  
American Film ◽  
Popular Song ◽  
Film Scores ◽  
Hollywood Film ◽  
English Translations ◽  
Erich Wolfgang Korngold ◽  
American Popular Song

Erich Wolfgang Korngold (1897–1957) was the last compositional prodigy to emerge from the Austro-German tradition of Mozart and Mendelssohn. He was lauded in his youth by everyone from Mahler to Puccini and his auspicious career in the early 1900s spanned chamber music, opera, and musical theater. Today, he is best known for his Hollywood film scores, composed between 1935 and 1947. From his prewar operas in Vienna to his pathbreaking contributions to American film, this book provides a substantial reassessment of Korngold's life and accomplishments. Korngold struggled to reconcile the musical language of his Viennese upbringing with American popular song and cinema, and was forced to adapt to a new life after wartime emigration to Hollywood. The book examines Korngold's operas and film scores, the critical reception of his music, and his place in the milieus of both the Old and New Worlds. It also features numerous historical documents—many previously unpublished and in first-ever English translations—including essays by the composer as well as memoirs by his wife, Luzi Korngold, and his father, the renowned music critic Julius Korngold.

O CINEMA DO TERCEIRO MUNDO SOB O OLHAR DA ANTIGEOPOLÍTICA: DITADURA E RESISTÊNCIA NA AMÉRICA LATINA

GEOgraphia ◽  
2018 ◽  
Vol 20 (42) ◽  
pp. 89
Author(s):  
Rejane Cristina de Araujo Rodrigues
Keyword(s):  
Latin America ◽  
Political Geography ◽  
Third World ◽  
Hollywood Film ◽  
The Third ◽  
World Cinema ◽  
America Latina ◽  
The Third World

Resumo: Filmes do Cinema de Hollywood são representativos de um imaginário geopolítico hegemônico. A este imaginário contrapõe-se uma antigeopolítica identificada nas representações de filmes do Cinema do Terceiro Mundo. Partindo de importantes contribuições da geografia política crítica que apontam para articulações entre as representações geopolíticas e os filmes, analisamos três filmes que retratam a América Latina em um dos períodos mais conturbados da sua história. Sua análise nos revela elementos característicos de uma geopolítica de resistência durante as ditaduras civil-militares implantadas no Brasil, no Chile e na Argentina.Palavras-chave: Antigeopolítica. Cinema. América Latina. Ditadura. THE THIRD WORLD CINEMA UNDER THE ANTIGEOPOLITICS VIEW: DICTATORSHIP AND RESISTANCE IN LATIN AMERICAAbstract: Hollywood film movies are representative of a hegemonic geopolitical imaginary. This imaginary contrasts with an antigeopolitics identified in the Third World Cinema representations. Based on important contributions from critical political geography that points to articulations between geopolitical representations and movies, we analyze three cinema productions that portray Latin America in one of the most troubled periods of its history. That analysis reveals elements of a geopolitics of resistance related to the civil-military dictatorships implanted in Brazil, Chile and Argentina.Keywords: Antigeopolitics. Movies. Latin America. Dictatorship. EL CINE DEL TERCER MUNDO BAJO LA VISIÓN ANTIGEOPOLÍTICA: DICTADURA Y RESISTENCIA EN AMÉRICA LATINAResumen: Películas del Cine de Hollywood son representativas de un imaginario geopolítico hegemónico. A este imaginario se contrapone una antigeopolítica identificada en las representaciones de películas del Cine del Tercer Mundo. A partir de importantes contribuciones de la geografía política crítica que apuntan para articulaciones entre las representaciones geopolíticas y las películas, analizamos tres películas que retratan la América Latina en uno de los períodos más revueltos de su historia. Su análisis nos revela elementos característicos de una geopolítica de resistencia durante las dictaduras implantadas en Brasil, en Chile y en Argentina.Palabras clave: Antigeopolítica. Cine. América Latina. Dictadura.

“Why should you be so furious?”

2017 ◽  
Author(s):  
Kristina Bross
Keyword(s):  
Seventeenth Century ◽  
New England ◽  
Visual Representation ◽  
First Aid ◽  
Global English ◽  
East Indies ◽  
English Identity

Chapter 4 focuses on the representation of Anglo-Dutch relations from Asia to America in the seventeenth century. The chapter analyzes the representation of an incident in 1623 on the spice island Amboyna when Dutch traders tortured (with waterboarding) and killed their English rivals in the East Indies. Decades later, New England writers returning to this incident, treating it as news, invoked anti-English violence half a world away to lay claim to a global English identity. The chapter compares visual representation of the Amboyna incident with John Underhill’s “figure” of the Mystic Fort massacre in New England, arguing that these representations of violence are key elements of colonial fantasies that made (and make) real atrocities possible. The coda discusses Stephen Bradwell’s 1633 first-aid manual, partly inspired by the Amboyna incident, which maintains that properly trained, authorized metropolitan authorities can control the potential dangers of the remedies torture and tobacco.

scholarly journals Rewriting the stars: Surface tensions and gender troubles in the online media production of digital deepfakes

2021 ◽  
pp. 135485652110294
Author(s):  
Christopher Holliday
Keyword(s):  
White Male ◽  
Film History ◽  
Stanley Kubrick ◽  
Politics Of Identity ◽  
Hollywood Film ◽  
Digital Asset ◽  
And Gender ◽  
Film Stars ◽  
Star Performers ◽  
Sophisticated Technology

This article examines a cross-section of viral Deepfake videos that utilise the recognisable physiognomies of Hollywood film stars to exhibit the representative possibilities of Deepfakes as a sophisticated technology of illusion. Created by a number of online video artists, these convincing ‘mash-ups’ playfully rewrite film history by retrofitting canonical cinema with new star performers, from Jim Carrey in The Shining (Stanley Kubrick, 1980) to Tom Cruise in American Psycho (Mary Harron, 2000). The particular remixing of stardom in these videos can – as this article contends – be situated within the technological imaginary of ‘take two’ cinephilia, and the ‘technological performativity of digitally remastered sounds and images’ in an era of ‘the download, the file swap, [and] the sampling’ (Elsaesser 2005: 36–40). However, these ‘take two’ Deepfake cyberstars further aestheticize an entertaining surface tension between coherency and discontinuity, and in their modularity function as ‘puzzling’ cryptograms written increasingly in digital code. Fully representing the star-as-rhetorical digital asset, Deepfakes therefore make strange contemporary Hollywood’s many digitally mediated performances, while the reskinning of (cisgender white male) stars sharpens the ontology of gender as it is understood through discourses of performativity (Butler 1990; 2004). By identifying Deepfakes as a ‘take two’ undoing, this article frames their implications for the cultural politics of identity; Hollywood discourses of hegemonic masculinity; overlaps with non-normative subjectivities, ‘body narratives’ and ‘second skins’ (Prosser 1998); and how star-centred Deepfakes engage gender itself as a socio-techno phenomenon of fakery that is produced – and reproduced – over time.

scholarly journals Skilled migration and global English

2017 ◽  
Vol 15 (1) ◽  
pp. 1-4 ◽  
Author(s):  
Frances Giampapa ◽  
Suresh Canagarajah
Keyword(s):  
Skilled Migration ◽  
Global English
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