Indholdsfortegnelse - Genre, Film Noir.
INDHOLDSFORTEGNELSE INDLEDNING 3 PROBLEMFORMULERING 4 PARAFRASE 5 GENRE - FILM NOIR 6 INTRODUKTION TIL FILM NOIR 6 FILM NOIR-KARAKTERISTIKA 9 OPSAMLING 16 NARRATION 17 FABULA OG SYUZHET 17 LENNY SOM FORTÆLLER 24 INDFOLDEDE FORTÆLLINGER 29 HOVEDHISTORIEN 33 SAMMY 43 INDKLIP 45 OVERVEJELSER OMKRING INDFOLDEDE FORTÆLLINGER 49 DEN NON-LINEÆRE KRONOLOGI 51 TIDSFORHOLD 56 TROVÆRDIGHED 61 HVORFOR VI STOLER PÅ LENNY 62 HVORFOR VI IKKE BURDE STOLE PÅ LENNY 64 TO KAMERAER 78 DEN EKSISTENTIALISTISKE LÆSNING 82 EKSISTENTIALISMEN 82 LENNYS EKSISTENTIELLE PROJEKT 84 LENNYS SYSTEM 84 DEN MULIGE OFFERPOSITUR 86 DET BEVIDSTE SELVBEDRAG OG ANTIPATIEN 86 FREMMEDGJORT ELLER EKSISTERENDE 89 SANDHEDENS UBESTEMMELIGHED 90 DEN KULTURELLE KONTEKST 92 MODERNITETEN 92 MODERNISMEN 93 POSTMODERNISMEN 93 MEMENTO - KULTURELT TILHØRSFORHOLD 94 SPEJLBILLEDET 98 MEMENTO - MODERNITETSDIAGNOSE 99 OM AT VÆRE MORDER I TIDEN 101 KONKLUSION 103 KRITISK TILBAGEBLIK 107 LITTERATUR 108 SCENEOVERSIGT (BILAG) 111 MODEL OVER SCENEFORLØB (BILAG 2) 118 INDLEDNING Som udgangspunkt ønskede vi at beskæftige os med en film der skiller sig ud fra den linde strøm af mainstream Hollywood-film, der florerer i de danske biografer og på videomarkedet. Her tænker vi i særdeleshed på højtbudgetterede og forståelsesmæssigt lettilgængelige film som Michael Bays Pearl
Kautionistens erhvervelse og brug af kontrapant fra hovedmanden.
KAUTIONISTENS ERHVERVELSE OG BRUG AF KONTRAPANT FRA HOVEDMANDEN. . INDLEDNING. Begreber/definitioner. Kaution defineres som et løfte, hvorved en person, kautionisten, over for en anden påtager sig en personlig forpligtelse til sikkerhed for tredjemands forhold, herunder for at hans debitor vil opfylde sin forpligtelse.1 Denne kautionist kan igen af enten den, han kautionerer for (skyldneren), eller af tredjemand få kontrasikkerhed for det tilfælde, at hans kautionsforpligtelse bliver aktuel. Ved kontrasikkerhed forstås sikkerhed for, hvad (hoved)kautionisten eventuelt kommer til at udrede til hovedfordringens kreditor, dvs. sikkerhed for (hoved)kautionistens regresfordring mod hovedmanden.2 Denne kontrasikkerhed kan enten bestå af kaution eller kontrapant. Genstanden for dette speciale er, i hvilket omfang en kautionist kan erhverve og bruge et kontrapant fra hovedmanden til sikkerhed for sit regreskrav mod denne, i tilfælde af at den af ham påtagne kautionsforpligtelse over for kreditor bliver aktuel. I denne forbindelse vil der som et særligt problem blive taget stilling til, om en tabskautionist overhovedet bør indrømmes mulighed for at modtage og bruge et kontrapant af hovedmanden til sikring af sit eventuelle regreskrav mod denne. Lovgrundlaget. Bortset fra spredte bestemmelser i lovgivningen, fx Gældsbrevslovens (GBL) § 61, jf. § 2, samt reglerne
Woman as castrator: A psychoanalytic-feminist study of the castrating mother and Final Girl in the American slasher film.
Name: Liam Stott English and Film & Media Studies Level Three Unit Title: AMDFMS399 Media Dissertation Unit Tutor: Rob Kurta Specialist Tutor: Marc O'Day Course Leaders: Marc O' Day/Melanie Selfe Title: Woman as castrator: A psychoanalytic-feminist study of the castrating mother and Final Girl in the American slasher film. Contents Introduction...........................................3 The castrating mother................................5 The Final Girl........................................19 Conclusion............................................29 Bibliography......................................31-32 Introduction This dissertation will explore how the woman is portrayed as castrator in the American slasher film using the critical approach of psychoanalytic-feminism. This will be achieved by analysing the female character as castrating mother and Final Girl. Gregory Waller states that the landscape of the modern American horror film is characterised by displaying pornographic violence against women (Waller, 1987: 8). For example, one of the most emblematic modern American horror sub-genres is the slasher film. The slasher film promotes sexual violence against women by categorically portraying the patriarchal male monster who subjects women to a subordinate and misogynistic position by butchering sexually promiscuous females with his phallic knife,
The Godfather "An offer you can't refuse!"
Abschlussarbeit Zum Literaturwissenschaftlichen Proseminar "Blockbusters: Poplular Texts" SS 2003 Prof. Rieser The Godfather "An offer you can't refuse!" Joachim Gruber Körösistrasse 102/16 8010 Graz 0111382 B 343 /295 4. Dezember, 2003 Tanja Slattenschek Körösistrasse 48/a 8010 Graz 0104987 B 344 / 482 4. Dezember, 2003 The Godfather "An offer you can't refuse!" . Introduction (by Tanja Slattenschek & Nick Gruber) 2. Facts (by Nick Gruber) 3. Francis Ford Coppola (by Nick Gruber) 4. A short summary of the three films (by Tanja Slattenschek) 4.1 The Godfather 4.2 The Godfather - Part II 4.3 The Godfather - Part III 5. Character development (by Tanja Slattenschek) 5.1 Michael Corleone 5.2 Vito Corleone 5.3 Conny Corleone 6. Narrative Aspects (by Nick Gruber) 6.1 Basic plot structure 6.2 Stick to the novel! 6.3 Family 6.4 What does it mean to be a "Godfather" 6.5 Violence 7. Stylistic Aspects (by Nick Gruber) 7.1 Camera & lighting 7.2 Editing techniques 8. Conclusions (by Tanja Slattenschek & Nick Gruber) 8.1 Conclusion (by Nick Gruber) 8.2 Conclusion (by Tanja Slattenschek) 9. Appendix 9.1 Bibliography 9.2 Cast & Crew . Introduction Originally, we decided to write this term paper after our presentation on the first part of The Godfather and quite some time has passed ever since then. So writing this brief guideline is
Thriller and Suspense Films
THRILLER and SUSPENSE FILMS Thriller and Suspense Films are types of films known to promote intense excitement, suspense, a high level of anticipation, ultra-heightened expectation, uncertainty, anxiety, and nerve-wracking tension. Thriller and suspense films are virtually synonymous and interchangeable categorizations, with similar characteristics and features. If the genre is to be defined strictly, a genuine thriller is a film that rentlessly pursues a single-minded goal - to provide thrills and keep the audience cliff-hanging at the 'edge of their seats' as the plot builds towards a climax. The tension usually arises when the main character(s) is placed in a menacing situation or mystery, or an escape or dangerous mission from which escape seems impossible. Life itself is threatened, usually because the principal character is unsuspecting or unknowingly involved in a dangerous or potentially deadly situation. Plots of thrillers involve characters which come into conflict with each other or with outside forces - the menace is sometimes abstract or shadowy. Thrillers are often hybrids - there are suspense-thrillers, action- or adventure- thrillers, sci-fi thrillers (such as Alien (1979)), crime-caper thrillers (such as The French Connection (1971)), western-thrillers (such as High Noon (1952)), film-noir thrillers (such as Double Indemnity (1944)), even romantic
Indholdsfortegnelse - Forsvar i serie-landskabet
Indholdsfortegnelse INDLEDNING 2 FORSVAR I SERIE-LANDSKABET 2 SERIALITET 3 GENRE 4 TEMA 5 DRAMATURGI 7 VISUEL ÆSTETIK - EN NÆRANALYSE 11 KBH.'S BYRET - LEOS FORSVARSTALE 12 ØSTRE LANDSRET - MALENES FORSVARSTALE 13 PERSONGALLERI OG SEGMENTGRUPPER 14 KONKLUSION 17 LITTERATURLISTE 19 Indledning I denne opgave vil jeg foretage en dramaturgisk og æstetisk analyse af Tv-serien Forsvars episode 6 "Den man elsker". Løbende vil jeg inddrage relevante teorier der kan stå som belæg for min analyse. I overensstemmelse med eksamensspørgsmålets problemformulering vil jeg bl.a. redegøre for persongalleri, formsprog og den narrative struktur, om end ikke i nævnte rækkefælge. Ligeledes er en del af analysen slået sammen med den afsluttende diskussion om målgrupper. Dette er sket ud fra en pragmatisk beslutning. Der er desuden brugt nyt komma. Forsvar i serie-landskabet Hvis man tager et kig ud over det danske serie-landskab ser det både frodigt, hyggeligt og velbeboet ud, især hvis man vælger at kigge med seertals-brillen på. Da DR1 i 1997 søsatte deres nye tv-serie Taxa viste det sig at være startskuddet til en ny guldalder for dansk tv-drama. Endelig var der noget der kunne, hvis ikke hamle op med, så i hvert fald samle Danmark som Matador og Huset på Christianshavn havde gjort det i sin tid. Men i modsætningen til de gamle serier, er de nye serier
Sources of Film Financing within the U.K.
Sources of Film Financing within the U.K. Lottery In 1998, the National Lottery Act was released. It required each Lottery distributor to produce a strategic plan which sets out the policies that the distributor would pursue through the release of Lottery funds. The Act specifies that each strategic plan should also contain: a) An account of the policy directions given to the distributor by the Secretary of State for Culture, Media and Sport b) A statement of the estimate of the likely amount of funds available to the distributor c) A statement of the distributor's assessment of the needs that it has the power to deal with d) A report of the distributor's priorities in meeting those needs. These statements will be looked at later in this section but first it must look at the primary source of funding for film-makers in the U.K. - the Film Council. The Role of the Film Council The Film Council was created by the Government to act as the lead body for film, with the purpose of providing strategic leadership for the whole film sector, creating rational strategies for addressing failures within the market and development within the film culture, and also to encourage greater effective and efficiency. The Film Council is in charge of all Department for Culture, Media and Sport (DCMS) funding for film (with the exception of the National Film and Television School and
How does Alfred Hitchcock create suspense and tension preceding and during the shower scene?
How does Alfred Hitchcock create suspense and tension preceding and during the shower scene? One of 'Psychos' most acclaimed aspects is that of the successful and effective use of suspense and tension. It is evident after watching the film, that Alfred Hitchcock believes in atmosphere, mood and audience emotion to be the chief concern in film making. To explain how Hitchcock creates suspense and tension we must first ascertain the various key methods, techniques and devices used in the production of the film; then to distinguish the in-film effects, parallels and references. Imagery and symbolism are also major factors in portraying the themes and morals. Most of the characters' decisions and personality changes seem to be based around the notion of normality and abnormality, and the pivotal difference between the two. Darkness and light, good and bad, right and wrong. Every sub-story event or meaning relates directly or indirectly back to the main theme of the Psycho; there are two sides to everything and that nothing is coincidental when dealing with a Psycho, a split mind. Changes will occur in the characters; but it is not knowing what the changes will be that creates a tense air, it's not knowing when or how they will happen. Every one of these fascinatingly subtle but substantial details go towards making 'Psycho' one of the most shockingly effective thrillers of
Myths, Meanings And Movies.
Alastair Stone:012930 Myths, Meanings And Movies Foreword Since the beginning of our time on earth the human race has created stories and myths that have all been created to fulfil certain needs whether it be to entertain, teach or inspire belief. Explorations of these myths, the psyche and dreams by Joseph Campbell, Michael Grant, Mircea Eliade, Jung and many other modern writers has enlightened those creating modern stories to look back to the roots of storytelling for their inspiration and basis. Examples of Myth and both inward (psychological exploration) and outward (physical exploration) Journeys can be found on the big screen. Obvious examples can be found in Hollywood blockbusters such as Gladiator, The Matrix, Seven, Thelma & Louise and The Wizard Of OZ. All of these movies have extremely archetypal characters and clear paths of journey e.g. To Rome, Conquer the matrix etc but they offer us much more than just what you can see on the surface. The movie I have chosen to explore with reference to the aforementioned texts is The Big Lebowski. The film was produced in 1998 by Ethan Coen, was directed by Joel Coen and written by both the two brothers. There are many reasons why I love this particular Coen black comedy but I think it is some of the subtleties that stand out for me. Interestingly it was actually the eighth biggest UK box office grossing film of 1998. The
Kenneth Branagh's Dead Again - film review
Kenneth Branagh's Dead Again revisits genre conventions from an earlier time to entertain a 1990's audience with high suspense of a kind different from current fashion. It tells a story using typical elements of film noir, influenced in particular by the style of Alfred Hitchcock. It dabbles interestingly - if not always convincingly - in these elements, and in Californian American life and culture, achieving a freshness and novelty that made it a surprise minor success, particularly in the USA. The narrative structure of the film is quite complex. It weaves a complicated web, in some ways similar to Alfred Hitchcock's great classic Vertigo (1958). Dead Again is a return to the psychological suspense thriller genre of the 40s and 50s in which Alfred Hitchcock was pre-eminently the master (films like Notorious, Strangers on a Train, Rear Window and Psycho ). In several instances it pays tribute to Hitchcock's skills and strives for the mood to be found in Film Noir. The story takes on classical narrative form in the way both the Roman/Margaret and Mike/Grace stories develop. Mike Church, a Los Angeles private detective, is asked by Brother Timothy of St. Audrey's School (where he himself grew up) to help investigate the identity of a mute amnesia victim who was found in the school grounds. So it is that Mike meets Grace, the other main 1990's character. Newspaper photographs
