The article discusses the 1991 film Thelma & Louise, which celebrated its 20th anniversary. It argues the film was revolutionary for its time in telling an authentic story about women's lives that was written and directed by women. However, it notes there have been few comparable films in the past 20 years that pass the Bechdel test of having at least two named female characters who talk to each other about something other than a man. The article laments how women have lost cultural and political power and influence in the past 20 years, and that a film with a message like Thelma & Louise's could not be made today.
1) The document summarizes several drama films that explore themes like alcoholism, betrayal, racial prejudice, and emotional hardship through the development of complex characters.
2) It provides details on the angles and shots used in each film to convey meaning and emotion, as well as descriptions of the target audiences for each drama.
3) The genres of drama discussed include crime drama, historical drama, melodrama, and romance drama, with examples given of how each film fits into these sub-genres.
The document summarizes four films:
1) The Firm is a 1993 legal thriller based on a novel, directed by Sidney Pollack and starring Tom Cruise about a young lawyer who discovers sinister acts at his new law firm.
2) Life Is Beautiful is a 1998 film directed by and starring Roberto Benigni about a Jewish man who shields his son from the reality of their internment in a concentration camp during WWII.
3) Shakespeare in Love is a 1998 romantic drama directed by John Madden starring Gwyneth Paltrow and Joseph Fiennes about William Shakespeare finding inspiration from his secret love affair with Viola.
4) Saw is a 2004 thriller directed by James Wan about two
Romantic comedies originated from Shakespearean plays that depicted lovers reunited after overcoming obstacles. Early romantic comedies in film included silent films from the 1920s. In the 1930s, "comedies of manners" focused on relationships between the rich and poor, while "screwball comedies" featured fast-paced dialogue and slapstick humor. Sex comedies of the 1950s-1970s explored gender differences and relationships. By the 1970s, romantic comedies questioned whether true love exists and focused on personal happiness rather than "happily ever after" endings. Today, popular "neo-traditional" romantic comedies follow the traditional structure but depict more realistic relationships.
The document discusses the film The Killer Inside Me, which depicts graphic domestic violence. While some critics called the film gratuitously violent and misogynistic, the author argues that it shows violence realistically rather than glorifying it like some other films. The film portrays the damage caused by domestic abuse, rather than making it look trivial or sexy. The author believes it is more misogynistic to depict prostitution or abuse with happy endings. Overall, the film addresses an important issue and should not be criticized for its subject matter when other films depict violence more lightly.
The trailers analyzed all depict romantic dramas that follow a classical narrative structure, where the main characters fall in love but face obstacles to their relationship. Common elements include a disruption of equilibrium through tragedy, family disapproval, or other antagonists. Voiceovers are often used to explain the story and reflect on the disruption. While the heroes attempt to repair the disruption, the trailers end before showing if equilibrium is restored, leaving audiences to watch the full film. The target audience for these romantic dramas appears to be mainstream, with a focus on female viewers.
This document provides an overview of the history and evolution of the romantic comedy genre. It discusses the origins of rom coms in Shakespearean plays and early 20th century films. It then outlines different subgenres that developed over time, such as comedies of manner, screwball comedies, sex comedies, and radical/neotraditional romantic comedies. The document also lists some of the most prominent actors, directors, conventions, and key films within the genre. Overall, it traces how romantic comedies have changed to reflect different societal attitudes around love, sex, and relationships over the decades.
Comparison Essay - English 2 0323008.docxleejanett3
The document provides a comparison of the science fiction films The Hunger Games and The Giver. Both films are based on novels and take place in dystopian futures where the main characters live under oppressive authoritarian governments. While the films have different categories (adventure for The Hunger Games and drama for The Giver), they share similar political messages about the dangers of autocracy and the importance of democracy. In both stories, the main characters Katniss and Jonas work to overthrow their oppressive regimes and bring freedom to their people.
The document provides reviews of several films:
- Under the Hawthorn Tree is a 1970s Chinese love story set in a small village about a young woman Jin and man Sun whose love is forbidden due to political circumstances.
- Primos is a 2011 Spanish comedy about three cousins who travel to their childhood village, where two explore past loves and one discovers his future.
- Django Unchained is Quentin Tarantino's 2012 western about a slave who teams up with a bounty hunter to rescue his wife, featuring graphic violence and dark humor.
- The Cook, the Thief, His Wife and Her Lover is Peter Greenaway's 1989 film about the wife of a restaurant owner who has an affair
1) The document summarizes several drama films that explore themes like alcoholism, betrayal, racial prejudice, and emotional hardship through the development of complex characters.
2) It provides details on the angles and shots used in each film to convey meaning and emotion, as well as descriptions of the target audiences for each drama.
3) The genres of drama discussed include crime drama, historical drama, melodrama, and romance drama, with examples given of how each film fits into these sub-genres.
The document summarizes four films:
1) The Firm is a 1993 legal thriller based on a novel, directed by Sidney Pollack and starring Tom Cruise about a young lawyer who discovers sinister acts at his new law firm.
2) Life Is Beautiful is a 1998 film directed by and starring Roberto Benigni about a Jewish man who shields his son from the reality of their internment in a concentration camp during WWII.
3) Shakespeare in Love is a 1998 romantic drama directed by John Madden starring Gwyneth Paltrow and Joseph Fiennes about William Shakespeare finding inspiration from his secret love affair with Viola.
4) Saw is a 2004 thriller directed by James Wan about two
Romantic comedies originated from Shakespearean plays that depicted lovers reunited after overcoming obstacles. Early romantic comedies in film included silent films from the 1920s. In the 1930s, "comedies of manners" focused on relationships between the rich and poor, while "screwball comedies" featured fast-paced dialogue and slapstick humor. Sex comedies of the 1950s-1970s explored gender differences and relationships. By the 1970s, romantic comedies questioned whether true love exists and focused on personal happiness rather than "happily ever after" endings. Today, popular "neo-traditional" romantic comedies follow the traditional structure but depict more realistic relationships.
The document discusses the film The Killer Inside Me, which depicts graphic domestic violence. While some critics called the film gratuitously violent and misogynistic, the author argues that it shows violence realistically rather than glorifying it like some other films. The film portrays the damage caused by domestic abuse, rather than making it look trivial or sexy. The author believes it is more misogynistic to depict prostitution or abuse with happy endings. Overall, the film addresses an important issue and should not be criticized for its subject matter when other films depict violence more lightly.
The trailers analyzed all depict romantic dramas that follow a classical narrative structure, where the main characters fall in love but face obstacles to their relationship. Common elements include a disruption of equilibrium through tragedy, family disapproval, or other antagonists. Voiceovers are often used to explain the story and reflect on the disruption. While the heroes attempt to repair the disruption, the trailers end before showing if equilibrium is restored, leaving audiences to watch the full film. The target audience for these romantic dramas appears to be mainstream, with a focus on female viewers.
This document provides an overview of the history and evolution of the romantic comedy genre. It discusses the origins of rom coms in Shakespearean plays and early 20th century films. It then outlines different subgenres that developed over time, such as comedies of manner, screwball comedies, sex comedies, and radical/neotraditional romantic comedies. The document also lists some of the most prominent actors, directors, conventions, and key films within the genre. Overall, it traces how romantic comedies have changed to reflect different societal attitudes around love, sex, and relationships over the decades.
Comparison Essay - English 2 0323008.docxleejanett3
The document provides a comparison of the science fiction films The Hunger Games and The Giver. Both films are based on novels and take place in dystopian futures where the main characters live under oppressive authoritarian governments. While the films have different categories (adventure for The Hunger Games and drama for The Giver), they share similar political messages about the dangers of autocracy and the importance of democracy. In both stories, the main characters Katniss and Jonas work to overthrow their oppressive regimes and bring freedom to their people.
The document provides reviews of several films:
- Under the Hawthorn Tree is a 1970s Chinese love story set in a small village about a young woman Jin and man Sun whose love is forbidden due to political circumstances.
- Primos is a 2011 Spanish comedy about three cousins who travel to their childhood village, where two explore past loves and one discovers his future.
- Django Unchained is Quentin Tarantino's 2012 western about a slave who teams up with a bounty hunter to rescue his wife, featuring graphic violence and dark humor.
- The Cook, the Thief, His Wife and Her Lover is Peter Greenaway's 1989 film about the wife of a restaurant owner who has an affair
If you are having trouble formulating a concise log-line for your story, chances are your plot is suffering from DGD (Dramatic Grammar Deficiency), or - worse - that you are failing to grasp the emotional logic of what is actually going on as evidenced by the actions and interactions of the characters. If this is not the case, then basically what you have to do is, look at the beginning of the second act of your story. That is the main chunk of it. You imply Act 1 with your protagonist’s adjective of manner that contrasts them against the new world of Act 2 they have dived deep into. You also must imply the consequences of the protagonist failing in your log-line to make things not boring when you tell someone about it so they’ll want to know more.
That’s literally all there is to it.
This document summarizes chick flicks from different eras, including the 1920s-1980s. It provides plot summaries and key details about films such as "Why Change Your Wife?", "The Flapper", "Morocco", "The Divorcee", "Notorious", "The Philadelphia Story", "How to Marry a Millionaire", "All About Eve", "Breakfast at Tiffany's", "Alice Doesn't Live Here Anymore", "Love Story", and "Smooth Talk". The document discusses how the films appealed to female audiences and changing themes in chick flicks over time.
City of God (2002) directed by Fernando Meirelles tells the story of the slums of Rio de Janeiro from the 1960s to the early 1980s through the perspective of Buscapé, a young man who witnesses violence and emerges as a photographer. The film follows Buscapé and his friends as children and teenagers trying to survive in the favela dominated by warring drug gangs. It depicts the struggle between the Tender Trio who want to live honest lives and the rise of Li'l Zé who builds a drug empire through increasingly violent means. By the end, Buscapé is the only one of his friends who escapes the cycle of violence and carves out a new life.
The document discusses the genre of melodrama and its key characteristics and conventions. It notes that melodrama involves emotional excess, drama occurring in interior spaces, central roles for women and children, and themes of sacrifice, affliction, and choice for women. It explores important directors and actors of melodrama from the 1920s-1950s and discusses how the genre addresses social issues through private and emotional terms.
Romantic drama - narrative textual analysis marianatugulea
The trailers show two people falling in love but facing obstacles to being together such as tragedy, death, disapproval or illness. In two trailers, the female leads cheat on their fiancés with the male protagonist, suggesting the fiancés are obstacles. Voiceovers commonly explain the unfolding story and characters.
The document discusses 12 celebrities who were rejected from Saturday Night Live (SNL) but went on to great success. It details how Jorma Taccone and Akiva Schaffer of Lonely Island were rejected but hired as writers, and how Aubrey Plaza and Jack McBrayer auditioned but found fame elsewhere. It also mentions comedians like David Cross, John Goodman, Steve Carrell, Kevin Hart, Louis CK, Jim Carrey, Lisa Kudrow, and Stephen Colbert who were all rejected from SNL casts over the years but achieved significant comedic success in other roles. The document argues that these rejections may have ultimately helped lead the celebrities to bigger opportunities.
The document provides details for a proposed action film called "The Heist". It summarizes the genre as action and lists common elements like danger, revenge, and urban settings. It then describes the narrative structure with the beginning introducing two cops, the middle involving a terrorist plot they must stop, and the end resolving the plot and revealing corruption. It recommends Samuel L. Jackson and Will Smith as protagonists, Alan Rickman as the antagonist, and others for supporting roles. John McTiernan is proposed as director due to his experience. The film is pitched as comparable to "Bad Boys" and "Die Hard" but with its own twists. A 200-word pitch is provided that covers all elements.
James Franco is an American actor and artist born in 1978 in California. He is known for his roles in films such as Spiderman, Pineapple Express, and Milk. Franco has a bachelor's degree in English from UCLA and master's degrees from Columbia University, NYU, and RISD. He began his career on the TV show Freaks and Geeks and is now a prolific actor, director, writer and artist. Franco pursues diverse creative and academic interests, from acting to painting to teaching poetry.
This document provides an overview of the characteristics of traditional soap operas and how they evolved into male-centered soap operas. It discusses how traditional soap operas focused on domestic life and relationships but were considered low culture. Male soap operas incorporated more action/violence and morally ambiguous male protagonists. Examples like Hill Street Blues and NYPD Blue combined soap opera elements with police procedurals and action. Later shows on cable like The Sopranos and The Shield featured antihero protagonists engaging in crime and violence while still exploring relationships and personal lives. The document also summarizes a key episode of The Shield that shows the complex relationship between the main character Vic Mackey and another officer.
The document discusses intertextuality between Quentin Tarantino's 2004 film Kill Bill: Volume 2 and Sergio Leone's 1966 film The Good, the Bad and the Ugly, as well as Leone's 1964 film A Fistful of Dollars. It notes four main references: 1) the use of soundtrack music from A Fistful of Dollars, 2) the isolated locations near the Mexican border featured in both films, 3) the use of close-ups during climactic scenes, and 4) the characterization of protagonists as "the Good" and antagonists representing "the Bad" and "the Ugly". The analysis suggests Tarantino drew inspiration from the classic spaghetti Wester
Actors I would choose for my thriller openingGrace Westlake
This document provides biographical information on several famous actors, including Leonardo DiCaprio, Winona Ryder, Jennifer Lawrence, Christian Bale, Kate Beckinsale, and Keira Knightley. It details their breakthrough roles, notable films and TV shows, awards won, any scandals, and how the public perceives them. The document also analyzes whether each actor is typically cast in specific genres or roles.
Romeo and Juliet by William Shakespeare explores the themes of love and civil conflict through the star-crossed relationship between Romeo Montague and Juliet Capulet. In the beginning, Romeo's love for Rosaline is portrayed as superficial infatuation, but his love for Juliet matures into a genuine passion. Their love stands out against the backdrop of arranged marriages between the feuding families and mocks of love by other characters. Ultimately, the genuine love between Romeo and Juliet is unable to overcome the civil conflict between their families, tragically ending in their deaths.
This pitch proposes a comedy thriller film called "Left" that follows a conflicted student who gets lured into a blackmail plot involving death and strawberry milkshakes. The plot involves the student's peer being kidnapped from a coffee shop, leaving only her phone behind. Feeling guilty, the student withholds the phone and allows himself to be blackmailed in an attempt to win back the love of his life. The film promises scandal, romance, intrigue, and mind-bending plot twists in the tradition of classic crime thrillers. It aims to appeal to a young adult demographic with its mix of edgy romance, action, villains, and teenage angst alongside blind love and comedy.
1) The opening scene of Goodfellas breaks conventions by not including opening music titles, making the film feel more realistic.
2) Within the first two minutes, there is a killing at night, as is common in crime thrillers.
3) The audience hears strange noises from the trunk of a car, building suspense until it is revealed to contain a beaten man who is then violently murdered.
Goodfellas is a 1990 crime thriller directed by Martin Scorsese based on a true story. It follows Henry Hill from New York who dreams of becoming a gangster and works for a violent gang against his family's wishes. Henry proves himself during a robbery and marries his wife Karen, though she fears his dangerous lifestyle. Tensions rise as gang members commit increasingly violent acts to cover their crimes, and Henry's involvement in the drug business leads to his arrest and entry into witness protection as the only way to escape his former gangster associates.
Media Presentation on Django Unchained.jasminelight
This document analyzes the Western genre and the 2012 film Django Unchained. It discusses conventions of the genre like climactic shootouts and the "lone cowboy." It also examines how people, places, and objects are represented in the Django Unchained trailer, including the stereotypical portrayal of African Americans and women. The purpose of the Western genre is outlined as portraying life in the American Old West during the late 19th century.
Media presentation on django unchained.jasminelight
This document analyzes the Western genre and the 2012 film Django Unchained. It discusses conventions of the genre like climactic shootouts and the "lone cowboy." It also examines how people, places, and objects are represented in the Django Unchained trailer, including the stereotypical portrayal of African Americans and women. The purpose of the Western genre is outlined as portraying life in the American Old West during the late 19th century.
This document provides a summary and analysis of the screenplay "The Fun Loving Criminals" by Shawn Downey. It is about a rap/metal band that turns to bank robbery after their record label folds. A drug dealer and corrupt IRS agent seek revenge on the band. The main characters include the band members Black and Slim, their friends Evidence and Fast, and Jim Johnson, a naive college student who gets involved with the seductive Summer. The screenplay is praised for its compelling premise, characters, and mix of comedy, crime, suspense and romance. It is recommended for consideration.
The document provides guidance on analyzing representations in TV dramas by asking the reader to consider questions like who is represented and how, who is absent and why, and whether any characters are stereotypical. It then analyzes two TV show extracts, one from "Life on Mars" set in 1970s Manchester depicting the representation of Irish immigrants, and one from "Rome" showing a forbidden romance between characters of different social classes.
This document provides an overview of the history and evolution of the romantic comedy genre. It discusses the origins of rom coms in Shakespearean plays, then traces the development of various subgenres over time, including comedies of manner in the 1930s, screwball comedies in the 1930s focusing on strong female leads, sex comedies of the 1950s-1970s, and more radical romantic comedies of the 1960s addressing topics like sex. It also lists some of the most prominent actors, directors, conventions, and influential films in the genre.
1. The document discusses how traditional films have constructed and upheld strict gender roles that cast men as active and dominant and women as passive objects of the male gaze.
2. It introduces feminist film theories like Laura Mulvey's concept of the male gaze and how cinema is structured around active male scopophilia and passive female display.
3. It analyzes how gender roles in films have evolved over time, from traditional passive female roles to stronger female characters in the 1980s-90s like Sarah Connor and Linda Hamilton's physical transformation in Terminator II.
This document summarizes a study of CEO succession events among the largest 100 U.S. corporations between 2005-2015. The study analyzed executives who were passed over for the CEO role ("succession losers") and their subsequent careers. It found that 74% of passed over executives left their companies, with 30% eventually becoming CEOs elsewhere. However, companies led by succession losers saw average stock price declines of 13% over 3 years, compared to gains for companies whose CEO selections remained unchanged. The findings suggest that boards generally identify the most qualified CEO candidates, though differences between internal and external hires complicate comparisons.
If you are having trouble formulating a concise log-line for your story, chances are your plot is suffering from DGD (Dramatic Grammar Deficiency), or - worse - that you are failing to grasp the emotional logic of what is actually going on as evidenced by the actions and interactions of the characters. If this is not the case, then basically what you have to do is, look at the beginning of the second act of your story. That is the main chunk of it. You imply Act 1 with your protagonist’s adjective of manner that contrasts them against the new world of Act 2 they have dived deep into. You also must imply the consequences of the protagonist failing in your log-line to make things not boring when you tell someone about it so they’ll want to know more.
That’s literally all there is to it.
This document summarizes chick flicks from different eras, including the 1920s-1980s. It provides plot summaries and key details about films such as "Why Change Your Wife?", "The Flapper", "Morocco", "The Divorcee", "Notorious", "The Philadelphia Story", "How to Marry a Millionaire", "All About Eve", "Breakfast at Tiffany's", "Alice Doesn't Live Here Anymore", "Love Story", and "Smooth Talk". The document discusses how the films appealed to female audiences and changing themes in chick flicks over time.
City of God (2002) directed by Fernando Meirelles tells the story of the slums of Rio de Janeiro from the 1960s to the early 1980s through the perspective of Buscapé, a young man who witnesses violence and emerges as a photographer. The film follows Buscapé and his friends as children and teenagers trying to survive in the favela dominated by warring drug gangs. It depicts the struggle between the Tender Trio who want to live honest lives and the rise of Li'l Zé who builds a drug empire through increasingly violent means. By the end, Buscapé is the only one of his friends who escapes the cycle of violence and carves out a new life.
The document discusses the genre of melodrama and its key characteristics and conventions. It notes that melodrama involves emotional excess, drama occurring in interior spaces, central roles for women and children, and themes of sacrifice, affliction, and choice for women. It explores important directors and actors of melodrama from the 1920s-1950s and discusses how the genre addresses social issues through private and emotional terms.
Romantic drama - narrative textual analysis marianatugulea
The trailers show two people falling in love but facing obstacles to being together such as tragedy, death, disapproval or illness. In two trailers, the female leads cheat on their fiancés with the male protagonist, suggesting the fiancés are obstacles. Voiceovers commonly explain the unfolding story and characters.
The document discusses 12 celebrities who were rejected from Saturday Night Live (SNL) but went on to great success. It details how Jorma Taccone and Akiva Schaffer of Lonely Island were rejected but hired as writers, and how Aubrey Plaza and Jack McBrayer auditioned but found fame elsewhere. It also mentions comedians like David Cross, John Goodman, Steve Carrell, Kevin Hart, Louis CK, Jim Carrey, Lisa Kudrow, and Stephen Colbert who were all rejected from SNL casts over the years but achieved significant comedic success in other roles. The document argues that these rejections may have ultimately helped lead the celebrities to bigger opportunities.
The document provides details for a proposed action film called "The Heist". It summarizes the genre as action and lists common elements like danger, revenge, and urban settings. It then describes the narrative structure with the beginning introducing two cops, the middle involving a terrorist plot they must stop, and the end resolving the plot and revealing corruption. It recommends Samuel L. Jackson and Will Smith as protagonists, Alan Rickman as the antagonist, and others for supporting roles. John McTiernan is proposed as director due to his experience. The film is pitched as comparable to "Bad Boys" and "Die Hard" but with its own twists. A 200-word pitch is provided that covers all elements.
James Franco is an American actor and artist born in 1978 in California. He is known for his roles in films such as Spiderman, Pineapple Express, and Milk. Franco has a bachelor's degree in English from UCLA and master's degrees from Columbia University, NYU, and RISD. He began his career on the TV show Freaks and Geeks and is now a prolific actor, director, writer and artist. Franco pursues diverse creative and academic interests, from acting to painting to teaching poetry.
This document provides an overview of the characteristics of traditional soap operas and how they evolved into male-centered soap operas. It discusses how traditional soap operas focused on domestic life and relationships but were considered low culture. Male soap operas incorporated more action/violence and morally ambiguous male protagonists. Examples like Hill Street Blues and NYPD Blue combined soap opera elements with police procedurals and action. Later shows on cable like The Sopranos and The Shield featured antihero protagonists engaging in crime and violence while still exploring relationships and personal lives. The document also summarizes a key episode of The Shield that shows the complex relationship between the main character Vic Mackey and another officer.
The document discusses intertextuality between Quentin Tarantino's 2004 film Kill Bill: Volume 2 and Sergio Leone's 1966 film The Good, the Bad and the Ugly, as well as Leone's 1964 film A Fistful of Dollars. It notes four main references: 1) the use of soundtrack music from A Fistful of Dollars, 2) the isolated locations near the Mexican border featured in both films, 3) the use of close-ups during climactic scenes, and 4) the characterization of protagonists as "the Good" and antagonists representing "the Bad" and "the Ugly". The analysis suggests Tarantino drew inspiration from the classic spaghetti Wester
Actors I would choose for my thriller openingGrace Westlake
This document provides biographical information on several famous actors, including Leonardo DiCaprio, Winona Ryder, Jennifer Lawrence, Christian Bale, Kate Beckinsale, and Keira Knightley. It details their breakthrough roles, notable films and TV shows, awards won, any scandals, and how the public perceives them. The document also analyzes whether each actor is typically cast in specific genres or roles.
Romeo and Juliet by William Shakespeare explores the themes of love and civil conflict through the star-crossed relationship between Romeo Montague and Juliet Capulet. In the beginning, Romeo's love for Rosaline is portrayed as superficial infatuation, but his love for Juliet matures into a genuine passion. Their love stands out against the backdrop of arranged marriages between the feuding families and mocks of love by other characters. Ultimately, the genuine love between Romeo and Juliet is unable to overcome the civil conflict between their families, tragically ending in their deaths.
This pitch proposes a comedy thriller film called "Left" that follows a conflicted student who gets lured into a blackmail plot involving death and strawberry milkshakes. The plot involves the student's peer being kidnapped from a coffee shop, leaving only her phone behind. Feeling guilty, the student withholds the phone and allows himself to be blackmailed in an attempt to win back the love of his life. The film promises scandal, romance, intrigue, and mind-bending plot twists in the tradition of classic crime thrillers. It aims to appeal to a young adult demographic with its mix of edgy romance, action, villains, and teenage angst alongside blind love and comedy.
1) The opening scene of Goodfellas breaks conventions by not including opening music titles, making the film feel more realistic.
2) Within the first two minutes, there is a killing at night, as is common in crime thrillers.
3) The audience hears strange noises from the trunk of a car, building suspense until it is revealed to contain a beaten man who is then violently murdered.
Goodfellas is a 1990 crime thriller directed by Martin Scorsese based on a true story. It follows Henry Hill from New York who dreams of becoming a gangster and works for a violent gang against his family's wishes. Henry proves himself during a robbery and marries his wife Karen, though she fears his dangerous lifestyle. Tensions rise as gang members commit increasingly violent acts to cover their crimes, and Henry's involvement in the drug business leads to his arrest and entry into witness protection as the only way to escape his former gangster associates.
Media Presentation on Django Unchained.jasminelight
This document analyzes the Western genre and the 2012 film Django Unchained. It discusses conventions of the genre like climactic shootouts and the "lone cowboy." It also examines how people, places, and objects are represented in the Django Unchained trailer, including the stereotypical portrayal of African Americans and women. The purpose of the Western genre is outlined as portraying life in the American Old West during the late 19th century.
Media presentation on django unchained.jasminelight
This document analyzes the Western genre and the 2012 film Django Unchained. It discusses conventions of the genre like climactic shootouts and the "lone cowboy." It also examines how people, places, and objects are represented in the Django Unchained trailer, including the stereotypical portrayal of African Americans and women. The purpose of the Western genre is outlined as portraying life in the American Old West during the late 19th century.
This document provides a summary and analysis of the screenplay "The Fun Loving Criminals" by Shawn Downey. It is about a rap/metal band that turns to bank robbery after their record label folds. A drug dealer and corrupt IRS agent seek revenge on the band. The main characters include the band members Black and Slim, their friends Evidence and Fast, and Jim Johnson, a naive college student who gets involved with the seductive Summer. The screenplay is praised for its compelling premise, characters, and mix of comedy, crime, suspense and romance. It is recommended for consideration.
The document provides guidance on analyzing representations in TV dramas by asking the reader to consider questions like who is represented and how, who is absent and why, and whether any characters are stereotypical. It then analyzes two TV show extracts, one from "Life on Mars" set in 1970s Manchester depicting the representation of Irish immigrants, and one from "Rome" showing a forbidden romance between characters of different social classes.
This document provides an overview of the history and evolution of the romantic comedy genre. It discusses the origins of rom coms in Shakespearean plays, then traces the development of various subgenres over time, including comedies of manner in the 1930s, screwball comedies in the 1930s focusing on strong female leads, sex comedies of the 1950s-1970s, and more radical romantic comedies of the 1960s addressing topics like sex. It also lists some of the most prominent actors, directors, conventions, and influential films in the genre.
1. The document discusses how traditional films have constructed and upheld strict gender roles that cast men as active and dominant and women as passive objects of the male gaze.
2. It introduces feminist film theories like Laura Mulvey's concept of the male gaze and how cinema is structured around active male scopophilia and passive female display.
3. It analyzes how gender roles in films have evolved over time, from traditional passive female roles to stronger female characters in the 1980s-90s like Sarah Connor and Linda Hamilton's physical transformation in Terminator II.
This document summarizes a study of CEO succession events among the largest 100 U.S. corporations between 2005-2015. The study analyzed executives who were passed over for the CEO role ("succession losers") and their subsequent careers. It found that 74% of passed over executives left their companies, with 30% eventually becoming CEOs elsewhere. However, companies led by succession losers saw average stock price declines of 13% over 3 years, compared to gains for companies whose CEO selections remained unchanged. The findings suggest that boards generally identify the most qualified CEO candidates, though differences between internal and external hires complicate comparisons.
The impact of innovation on travel and tourism industries (World Travel Marke...Brian Solis
From the impact of Pokemon Go on Silicon Valley to artificial intelligence, futurist Brian Solis talks to Mathew Parsons of World Travel Market about the future of travel, tourism and hospitality.
We’re all trying to find that idea or spark that will turn a good project into a great project. Creativity plays a huge role in the outcome of our work. Harnessing the power of collaboration and open source, we can make great strides towards excellence. Not just for designers, this talk can be applicable to many different roles – even development. In this talk, Seasoned Creative Director Sara Cannon is going to share some secrets about creative methodology, collaboration, and the strong role that open source can play in our work.
Reuters: Pictures of the Year 2016 (Part 2)maditabalnco
This document contains 20 photos from news events around the world between January and November 2016. The photos show international events like the US presidential election, the conflict in Ukraine, the migrant crisis in Europe, the Rio Olympics, and more. They also depict human interest stories and natural phenomena from various countries.
The Six Highest Performing B2B Blog Post FormatsBarry Feldman
If your B2B blogging goals include earning social media shares and backlinks to boost your search rankings, this infographic lists the size best approaches.
1) The document discusses the opportunity for technology to improve organizational efficiency and transition economies into a "smart and clean world."
2) It argues that aggregate efficiency has stalled at around 22% for 30 years due to limitations of the Second Industrial Revolution, but that digitizing transport, energy, and communication through technologies like blockchain can help manage resources and increase efficiency.
3) Technologies like precision agriculture, cloud computing, robotics, and autonomous vehicles may allow for "dematerialization" and do more with fewer physical resources through effects like reduced waste and need for transportation/logistics infrastructure.
Christian Louboutin: Innovating with Red Solesget joys
Christian Louboutin is celebrated for his innovative approach to footwear design, marked by his trademark red soles. This in-depth look at his life and career explores the origins of his creativity, the milestones in his journey, and the impact of his work on the fashion industry. Learn how Louboutin's bold vision and dedication to excellence have made his brand synonymous with luxury and style.
At Digidev, we are working to be the leader in interactive streaming platforms of choice by smart device users worldwide.
Our goal is to become the ultimate distribution service of entertainment content. The Digidev application will offer the next generation television highway for users to discover and engage in a variety of content. While also providing a fresh and
innovative approach towards advertainment with vast revenue opportunities. Designed and developed by Joe Q. Bretz
Barbie Movie Review - The Astras.pdffffftheastras43
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Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
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Leonardo DiCaprio, A name synonymous with Hollywood excellence. is not only known for his stellar acting career but also for his impressive real estate investments. The "Leonardo DiCaprio house" is a topic that piques the interest of many. as the Oscar-winning actor has amassed a diverse portfolio of luxurious properties. DiCaprio's homes reflect his varied tastes and commitment to sustainability. from retreats to historic mansions. This article will delve into the fascinating world of Leonardo DiCaprio's real estate. Exploring the details of his most notable residences. and the unique aspects that make them stand out.
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Leonardo DiCaprio House: Malibu Beachfront Retreat
A Prime Location
His Malibu beachfront house is one of the most famous properties in Leonardo DiCaprio's real estate portfolio. Situated in the exclusive Carbon Beach. also known as "Billionaire's Beach," this property boasts stunning ocean views and private beach access. The "Leonardo DiCaprio house" in Malibu is a testament to the actor's love for the sea and his penchant for luxurious living.
Architectural Highlights
The Malibu house features a modern design with clean lines, large windows. and open spaces blending indoor and outdoor living. The expansive deck and patio areas provide ample space for entertaining guests or enjoying a quiet sunset. The house has state-of-the-art amenities. including a gourmet kitchen, a home theatre, and many guest suites.
Sustainable Features
Leonardo DiCaprio is a well-known environmental activist. whose Malibu house reflects his commitment to sustainability. The property incorporates solar panels, energy-efficient appliances, and sustainable building materials. The landscaping around the house is also designed to be water-efficient. featuring drought-resistant plants and intelligent irrigation systems.
Leonardo DiCaprio House: Hollywood Hills Hideaway
Privacy and Seclusion
Another remarkable property in Leonardo DiCaprio's collection is his Hollywood Hills house. This secluded retreat offers privacy and tranquility. making it an ideal escape from the hustle and bustle of Los Angeles. The "Leonardo DiCaprio house" in Hollywood Hills nestled among lush greenery. and offers panoramic views of the city and surrounding landscapes.
Design and Amenities
The Hollywood Hills house is a mid-century modern gem characterized by its sleek design and floor-to-ceiling windows. The open-concept living space is perfect for entertaining. while the cozy bedrooms provide a comfortable retreat. The property also features a swimming pool, and outdoor dining area. and a spacious deck that overlooks the cityscape.
Environmental Initiatives
The Hollywood Hills house incorporates several green features that are in line with DiCaprio's environmental values. The home has solar panels, energy-efficient lighting, and a rainwater harvesting system. Additionally, the landscaping designed to support local wildlife and promote
Leonardo DiCaprio House: A Journey Through His Extravagant Real Estate Portfolio
T&L article
1. 'Thelma & Louise': The Last Great Film About Women
By Raina Lipsitz
Aug 31 2011
The movie came out two decades ago, but its message has been lost
MGM
When it was released in the summer of 1991, Thelma & Louise was declared "the first movie I've
ever seen which told the downright truth" by a lesbian activist in Los Angeles and a "paean to
transformative violence" by commentator John Leo. New York Daily News columnist Richard
Johnson complained that it was "degrading to men" and "justifies armed robbery, manslaughter
and chronic drunken driving as exercises in consciousness raising." With a handful of exceptions,
women loved it.
The movie starred Susan Sarandon and Geena Davis as friends who set off on a road trip and
become outlaws after Sarandon's character shoots a would-be rapist. May marked its 20th
anniversary. In 1992, screenwriter Callie Khouri became one of a handful of women to win an
Academy Award for best original screenplay, and Thelma & Louise earned more than $45 million at
the U.S. box office. Sarandon and Davis were each nominated in the Best Actress category, and
director Ridley Scott was nominated for Best Director.
The film smuggled its politics in under the guise of two happy-go-lucky gals taking a road trip
together.
At a screening of "Thelma & Louise" earlier this month, I was struck by how many lines of dialogue
I remembered word for word. I was only 9 when it came out in theatres and I didn't see it until
many years after it was released. When I finally did, at age 25, I was electrified. At 28, I was again
2. entranced, silently mouthing my favourite lines along with Sarandon and Davis, laughing semi-
hysterically at every sad-funny scene featuring Thelma's twitchy-eyed sexist jerk of a husband, and
choking back a sob when Louise bade her final farewell to Jimmy.
After the screening, there was a panel discussion of how far women had come twenty years later.
"This movie would never get made today," sighed one of the panelists, and the audience members
murmured their assent. It's shocking enough that it was distributed in 1991, but at least back then
American women were experiencing something like momentum: Anita Hill stood up for herself at
Clarence Thomas's confirmation hearings, Callie Khouri won an Oscar, and, when four women were
simultaneously elected to the United States Senate, 1992 was dubbed the "Year of the Woman."
This year, the number of women in Congress dropped for the first time since 1978. Last year,
women held only 15.7 percent of board seats and 14.4 percent of executive officer positions in
Fortune 500 companies. A new study shows that the number of women working as writers and
directors on prime-time television programs dropped significantly in the 2010-11 season. Women
now account for only 15 percent of writers on the major television networks' prime-time dramas,
comedies, and reality shows, down from 29 percent in the 2009-10 season. Only 11 percent of
directors in this year's television season were women, compared with 16 percent last season, and
only 25 percent of series creators, producers, executive producers, directors, writers, editors and
directors of photography were women, representing a decline of two percentage points from last
season. By every significant measure of social, political, and cultural power, today's women are
losing ground. The cultural climate of 2011 appears even less likely to produce a movie of
comparable significance than it was 20 years ago.
Thelma & Louise was originally advertised as a lighthearted female buddy pic (see the original
trailer, which I initially mistook for a parody). It smuggled its politics in under the guise of two
happy-go-lucky gals taking a road trip together; the trailer did not even hint at its darker core. But
this was no romp—it was revolutionary, the first film in a long time to tell the truth about women's
lives. Not only did it star two women, but their friendship was the film's central subject, the story
was written by a woman, and those stars were, at the time, 35 and 45—well past their prime by
Hollywood's ever-narrowing standards of physical perfection. Though portrayed as sexually
attractive, Davis and Sarandon had more to do than sit around looking pretty.
There are no such movies today. The Bechdel test (named for cartoonist Alison Bechdel) is a means
of assessing a movie's treatment of its female characters. In order to pass the test, a movie must
have: (1) at least two women in it, (2) who talk to each other, (3) about something other than a
man or men. A popular variant of the test additionally requires that both women have names.
Twenty years ago, Thelma & Louise passed the Bechdel test easily. I can think of only three widely
distributed movies that passed in the last year: Something Borrowed, Bridesmaids, and The Help.
None approached the depth or level of nuance of Thelma & Louise, and only The Help featured
actresses of the same calibre as Davis and Sarandon.
Bridesmaids is an enjoyably ribald comedy that dips a tentative toe in the darker waters of
changing friendships, loneliness, and disillusionment. It's frivolous and fun, but hardly earth-
shattering, despite the tremendous amount of credit its makers were awarded for assembling a
movie with a predominantly female cast. The overwrought and forgettable Something Borrowed
only passes the Bechdel test on a technicality: Kate Hudson and Ginnifer Goodwin spend about ten
minutes of screen time discussing something other than a man or men. (That "something" is their
3. longstanding friendship, which Goodwin's character ultimately trades in for a man). Though
inspiringly female-centric, The Help is about women's lives rather than individual women; it's not
focused enough to create main characters as vivid and enduring as Thelma & Louise.
Thelma & Louise is powerful in part because it's about more than friendship. Movies that examine
the bonds between women are few and far between, but they exist, from Beaches to Terms of
Endearment, The Color Purple, Steel Magnolias, Fried Green Tomatoes, and A League of Their Own.
Thelma & Louise transcends the genre; it's about transformation and liberation that at once
intensely personal and deeply political. It's about escaping, however fantastically, the agonizing
constraints of gender, class, time, and place.
"Something's crossed over in me and I can't go back," explains Thelma, "I mean, I just couldn't
live." She has lost the desire and even the capacity to return to her old life of downtrodden
domesticity and her brutish, domineering husband. Earlier in the film Louise tells her, "You get
what you settle for," and, by the movie's end, both women are through with settling. "I don't
remember ever feelin' this awake," says Thelma as they drive through the desert in the middle of
the night, leaving their old lives behind. "Everything looks different. You know what I mean ...
Everything looks new. Do you feel like that? Like you've got something to look forward to?" In
today's movies, getting a ring from a man has replaced authentic moments of personal
transformation and spiritual awakening as the high point of women's lives.
Callie Khouri's triumphant final image of the two heroines locking hands as Louise drives them
over a cliff is impossible to forget. Some feminists fretted that this ending represented the ultimate
punishment for the women's defiant journey of self-discovery. Although it's implied that they
commit suicide—we do not actually see them die—this was still a choice that they made, and one
that struck them, and many viewers, as preferable to life in prison or death by lethal injection. If
they were only able to live on their own terms for a single lost weekend, at least they would grant
themselves the dignity of dying on those terms as well. In the world of the film, what other choice
did they have? As Louise says to Thelma when Thelma suggests that they turn themselves in,
"Who's gonna believe [us]? We just don't live in that kind of world." We still don't.
When asked in an interview why her heroines commit suicide at the film's end, Callie Khouri
famously responded: "To me, the ending was symbolic, not literal ... We did everything possible to
make sure you didn't see a literal death. That you didn't see the car land, you didn't see a big puff
of smoke come up out of the canyon. You were left with the image of them flying. They flew away,
out of this world and into the mass unconscious. Women who are completely free from all the
shackles that restrain them have no place in this world. The world is not big enough to support
them ... I loved that ending and I loved the imagery. After all they went through, I didn't want
anybody to be able to touch them." I share Khouri's sentiments about the ending, which I have
always loved. To me, it represented not death or punishment but hope, and even a kind of radical,
ultimate fulfilment. Today, movies about women end with a wedding. Even its proponents can
hardly argue that the aim of marriage is to set women free.
In 1991, even gossip columnist Liz Smith found Thelma & Louise's liberation troubling, particularly
its sexual aspect. "Nobody in 'Thelma & Louise' worries about AIDS, using condoms or
encountering a serial killer," Smith primly noted. Surely the number of Hollywood sex scenes that
depict a character of any gender reaching for a condom mid-action is low. What really bothered
people is that "Thelma & Louise" understood and realistically portrayed the way women
4. experience sex. Much has been made of Brad Pitt's performance, which was widely hailed as his
breakout role. He played a sweet-talking hitchhiker/felon who shows Thelma "what all the fuss is
about" in bed. Their scenes together are funny, touching, and genuinely erotic.
Khouri knew that women like context—Thelma and her new friend didn't have time to go to dinner
and get to know each other, but their chemistry is believably established in the scenes they share
together outside of bed. The actual sex scene stayed with me for years not because Brad Pitt had
such a nice body—though he did—but because he and Davis seemed to get along so well. You
feel as if they like each other, not just each other's bodies. They flirt and tease and laugh and play
together. It was her first taste of real intimacy with a man that made the sex so good for Thelma,
not the way her lover's body looked in jeans (although she liked that too). That scene possessed a
humanity that is absent from every major movie sex scene I've watched since.
Between Brad Pitt's enormously appealing performance as Davis's lover and Michael Madsen's
touching turn as Sarandon's flawed but loving boyfriend, it's astonishing that anyone considered
this movie anti-male. Even Harvey Keitel's Detective Slocumb was honest, compassionate, and
kind. "Thelma & Louise" has unpleasant male characters, including a rapist, a compulsive harasser
of women, and a nasty, child-like husband, but real life has rapists, harassers, and mean husbands
too. I suspect critics were actually troubled by the fact that we don't get to know any male
characters apart from their relationship with Thelma and/or Louise. As Janet Maslin explained in
the New York Times in 1991, the real objection to Thelma & Louise was neither its violence nor its
protagonists' purported misandry; rather, it was "something as simple as it is powerful: the fact
that the men in this story don't really matter." For 129 glorious minutes, two women were the stars
of their own lives, and their lives did not revolve around men.
Melissa Silverstein, who writes and edits a blog called "Women & Hollywood," was among the
panelists at the screening I attended. "Thelma & Louise is still a touchstone for so many people
because it has never been recreated," she observed. "When a movie is successful, it's usually
recreated over and over and over again."
Why didn't Thelma & Louise usher in a new era for women in Hollywood? As the reactions of
certain critics in 1991 revealed, even smart, educated people are disturbed by female characters
who assert control over their lives and bodies and aren't punished for it. And as Callie Khouri told
The Observer in 2001, "Bad guys get killed in every goddamn movie that gets made ... that guy was
the bad guy and he got killed. It was only because a woman did it that there was any controversy
at all."
At least back then we got to have the controversy. Today, we don't make movies about women
that are even worth fighting about. Whenever I'm dispirited by the crassly sexist ethos that governs
Hollywood (as well as television, politics, and the corporate world) today, I think of "Thelma and
Louise" and remember a time, not so long ago, when women were allowed to be human, if only in
the movies.