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- culture of globalization driven into our psyches via Hollywood. Alejandro González Iñárritu’s international production Babel (2006) can be read as an example of dissident cinema that deals with recursivity of our actions. Edward Zwick’s Blood Diamond (2006) will surely raise some questions about this sym- bol of romance and love, which is ubiquitous on many American women’s fingers and men’s ears. Who has to be killed for a Yuppie woman to get a dia- mond ring and feel loved by her husband? This is a film that goes against the socializing conformist cinema

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driven into our psyches via Hollywood. Alejandro González Iñárritu’s international production Babel (2006) can be read as an example of dissident cinema that deals with recursivity of our actions. Edward Zwick’s Blood Diamond (2006) will surely raise some questions about this symbol of romance and love, which is ubiquitous on many American women’s fingers and men’s ears. Who has to be killed for a Yuppie woman to get a diamond ring and feel loved by her husband? This is a film that goes against the socializing conformist cinema. Romantic Comedy When looking at

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Four Little Butches: Tomboys in Hollywood Film Kristen Hatch In the 1976 comedy, The Bad News Bears, 11-year-old Amanda Whurlitzer (Ta-tum O’Neal) undergoes a remarkable transformation. When we are introduced to her, Amanda wears a long skirt, peasant blouse, and floppy, oversized hat. She is the epitome of precocious femininity. By the end of the film, she has trans- formed into a baseball-playing tomboy whose powerhouse pitch helps save a team of underachieving boys from ignominious defeat. Such a transformation, from feminine girl to tomboy, is virtually

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LARISSA SCHÜTZE „Ein unverfälschtes Konzept vom Leben erlangen“: Humanismus und Demokratie in William Dieterles historisch-biografischem Emigrationsfilm Juarez (1939) William Dieterle – eine zentrale Figur der deutschsprachigen Exilkolonie von Los Angeles Der 1893 in Ludwigshafen am Rhein geborene William (urspr. Wilhelm) Dieterle kann sicherlich zu der Gruppe emigrierter deutschsprachiger Filmregisseure in Hollywood gezählt werden, deren Name zumindest außerhalb informierter Fachkreise zunehmend in Vergessenheit gerät. Einer der Gründe dafür liegt

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narrative vehicle used to stress the alleged lunacy of Latin American societies. The goal of these narratives is to emphasize racial and cultural dissimilarities and to infantilize Hispanics which is part of Hollywood’s Orientalist propensity to devalue Latin America. Humor, as the expression of power and hierarchies, has been historical in Western artistic representations; in fact, it was a praxis in which powerful entities consistently use humor as a social weapon. In ancient Greece, I Jorge J. Barrueto 122 political standing was essential to theatrical

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/6/2015). …all action is poetic. Rockefeller’s economic empire is as truly a symbolic replica of his personal character as Milton’s epic was a symbolic replica of Milton. In both cases, the men “socialized” their specific patterns of interest by the manipulation of objective materials in a way whereby the internal and the external were indeterminately fused (KB, PC, p. 215). A thorough and frustrating ambivalence best describes Francis Ford Coppola’s on–going fractured relationship with the Hollywood Order. It makes also perhaps our most complex case study chapter. From the

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The Hollywood Curriculum | 177 → · 9 · DRAMA IS CONFLICT The Roles of Administrators in Hollywood Movies Introduction While guidance counselors are generally presented as marginal characters who are out of touch 1 and school board members and union representatives are routinely characterized as uncaring or even corrupt, the school principal – and sometimes the assistant principal as surrogate – stands alone in Hollywood movies as the force most vested in establishing or maintaining control in the school. Sometimes that control is related to raising standards, a

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more than anything. Movies are another place. Movies let you be other people.” Similarly, in the 2012 hit movie Pitch Perfect, Jesse (Skylar Astin) tries to woo Beca, who loves music but was unimpressed by Jesse’s love of movies, particularly because of Hollywood’s penchant for the predictable. He was incredulous and equated her position with “not liking puppies.” He suggested she was in need of a “movie-cation” to understand the ways that movies “bring people to tears” and how filmmakers “blow their minds.” Both Jesse and Scott were onto something—movies are a

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H.N.I.C. New York: New York University Press, 2002. Boyz N the Hood, Production Notes, Studio Press Kit, Columbia Pictures, 1991, MHL/MPA. Breakin’, Production Notes, Studio Press Kit, MGM/UA and The Cannon Group, 1984, Hip Hop in American Cinema 168 MHL/MPA. “Breakin’ 2: Electric Boogaloo,” Box Office, February 1985, MHL/MPA. Britt, Bruce. “From Street to Marquee with Roles in Major Hollywood Films, Rappers Wading into the Mainstream.” Los Angeles Daily News, March 14, 1991. http://proquest.umi.com.mimas.calstatela.edu (accessed May 22, 2006

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, Todd. The New H.N.I.C. New York: New York University Press, 2002. Boyz N the Hood , Production Notes, Studio Press Kit, Columbia Pictures, 1991, MHL/MPA. Breakin ’, Production Notes, Studio Press Kit, MGM/UA and The Cannon Group, 1984, ← 167 | 168 → MHL/MPA. “Breakin’ 2: Electric Boogaloo,” Box Office , February 1985, MHL/MPA. Britt, Bruce. “From Street to Marquee with Roles in Major Hollywood Films, Rappers Wading into the Mainstream.” Los Angeles Daily News , March 14, 1991. http://proquest.umi.com.mimas.calstatela.edu (accessed May 22, 2006). Brown Sugar