Search Results

You are looking at 1 - 10 of 60 items for :

  • All: hollywood raises x
  • Open accessible content x
Clear All
Open access

challenges no longer consist in language mastery or knowledge of foreign ‘cultures’ that are shown as a given but, rather, in possibilities of individual growth and evolvement towards personal independence and maturity. A similar vision is largely adopted by actress Laura Weissmahr who also had a role in Júlia ist . In the interview she gave in the framework of the conference, Weissmahr addresses, among other things, the command of multiple languages – in her exceptional case, seven – as an increasingly normal capacity in young educated Europeans born and raised in

Open access

broadcasting, which has recently transitioned into a market-driven model (Volkerling 2001). The New Zealand Film Commission (NZFC), created in 1978, is the main government agency that provides funding to film projects. New Zealand on Air (NZOA), although focused on television programming, occasionally provides funding to feature films. 5 Wellington, described as “the coolest little capital” (Lonely Planet 2010), has a film district that has been driven by post-production activities since the 2000s when it became a satellite production centre for Hollywood, notably via the

Open access

, as headquarters of film festivals or as promoters of local talent, but also as sites for meaningful participation and opposition to the commercial logics of the media industries. Through observation, document review and interviews with the management team, volunteers and members of the community, this text explains the early success of this unexpected project. The pioneering initiative of CineCiutat represents an alternative to the established norms and practices of film exhibitors. The challenges and opportunities set by digitalization raise contradictions and

Open access

Series:

Recherche littéraire / Literary Research ←194 |  195→ Walter Moser, Angela Ndalianis & Peter Krieger, eds. Neo-Baroques. From Latin America to the Hollywood Blockbuster . Leiden & Boston: Brill/Rodopi, 2017. Pp. 327 ISBN: 9789004324343. This collection of essays seeks to address the many valences of the “Neo-Baroque” as both a veritable artistic (and literary) movement of the postmodern age, characterized by a pronounced return to the aesthetics of the historical baroque, and as a larger conceptual paradigm that informs certain baroque-allied elements

Open access

Series:

?” Drawing from examples as diverse as The Roman Spring of Mrs Stone by Tennessee Williams, Lit défait by Françoise Sagan or Blonde by Joyce Carol Oates, the critic contends that novels focusing on the figure of the actress could be regarded as a globalized genre, inspired by and critiquing Hollywood stereotypes. The second sub-section of Part I, “Literature, Space, and Territories,” comprises equally challenging essays. Let it suffice to mention how some contributions prompt us to rethink the boundaries of comparative literature. In “Inhabiting Spatial Fissures

Open access

/programmes/kirsties-vintage-home/on-demand/54293-005 > (accessed 25/11/2014). AAUW (1994) ‘Shortchanging Girls, Shortchanging America: Executive Summary’, AAUW , Available at: < http://www.aauw.org/resource/shortchanging-girls-shortchanging-america-executive-summary/ > (accessed 04/07/2014). abc (2014) ‘ Modern Family : Claire Dunphy Played by Julie Bowen’, abc , Available at: < http://abc.go.com/shows/modern-family/cast/character-claire > (accessed 20/10/2014). Addison, Heather (2009) ‘Modernizing Mother: The Maternal Figure in Early Hollywood’, in Motherhood Misconceived: Representing the Maternal in U

Open access

Harvard University Press in fall 2013. 240 ways of understanding commensurate with the image’s virtual life. The desire to explain this experience by inventing or developing concepts adequate to thinking with or through it – call this, for the moment, theory – is inescapably caught up in, indeed engendered by, our confrontations with the ontological perplexities that screened images raise regarding our locatedness in time and in space, both in relation to the world and to each other through the medium of moving images. But am I not caught in paradox here? In a

Open access

of the imagery in question, cinema is frequently treated more or less as a con- stant that is predetermined either by the codes of Hollywood or by its opposition to the latter as experimental cinema, both with their respective spectatorships, “complacent” or “critical.”2 The medial specificity and variations of the imagery – such as its particular audiovisual encoding, narrativity, technological media- tion, cultural history and materiality – is ignored or at best glossed over, its pre- cise imbrication with its surrounding space then being difficult to

Open access

Series:

% in 1996, 60% in 1998) were found to contain violence and often included numerous violent acts. Much of the gratuitous violence ← 321 | 322 → is produced by Hollywood in movies that end up on TV. Not only are researchers concerned about the magnitude of violence on TV programs, the public also is worried. A national survey by the Pew Research Center (1997) reported that 75% of Americans say there is too much violence in non-news programs. But are people affected by it? Does heavy viewing of violence contribute to incivility and violent behavior? Research teams

Open access

Series:

action? For Cavell ‘the magic of Hollywood is that it offers us not an escape from the burden of, say, Kant but, precisely, engagement with it’ (Melville 1993: 172–192, 173), which means to assume film as philosophy through the connection between art, experience and thought. The author distinguishes between ‘ language , experience and world’ , whereas our main objective is to show the relation between film , experience , world and moral life . The issue leads us to the cinema’s ← 338 | 339 → connection with intellectual life – since films are related to