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Articles 1 - 5 of 5
Full-Text Articles in Film and Media Studies
Narcissistic Self-Love, Male Body Objectification, And Homoeroticism In John Woos’ The Killer And Face/Off, Michele Gibney
Narcissistic Self-Love, Male Body Objectification, And Homoeroticism In John Woos’ The Killer And Face/Off, Michele Gibney
Michele Gibney
A theme of homoeroticism/sexually charged appreciation of the male body exerts itself as a clear visual in The Killer and Face/Off. In this paper, some of these homoerotic images and the theoretically gender-based reasoning behind them will be explored. In some ways, Woos’ films The Killer and Face/Off, can be “read” as both example and counterexample to masculine-feminine discussions of gendered cinema. Laura Mulvey, for instance, posits the thesis that cinema is a vision dominated by patriarchal society. Both films I will be analyzing exemplify the superior role of male societal functions; such as males in positions of authority, or …
The Long Shot As Loss Of Faith In Kurosawa’S Ran, Michele Gibney
The Long Shot As Loss Of Faith In Kurosawa’S Ran, Michele Gibney
Michele Gibney
The final shot in the movie Ran by Akira Kurosawa betrays a crushing pessimism about the state of the society. In a world where the heroes die, the presence of a benevolent God is brought into serious scrutiny. With the dropping of the Amida Buddha scroll the movie establishes as its “moral” the chaos of man in a world without religion. In discussing the movie in connection with the final images I will be analyzing one of the most important themes of the film: withdrawal from humanity.
Sounding The American Heart: Cultural Politics, Country Music, And Contemporary American Film, Barbara Ching
Sounding The American Heart: Cultural Politics, Country Music, And Contemporary American Film, Barbara Ching
Barbara Ching
"When you hear twin fiddles and a steel guitar, you're listening to the sound of the American heart," sings a young boy's faltering voice in the opening frame of Christopher Cain's Pure Country (1992). The words of this song ("Heartland") assure us that while we listen to this music we "still know wrong from right." 1 This opening sequence thus celebrates its viewers as it stakes a claim to both the film's and country music's power to unequivocally represent the best qualities (the "pure") of the United States (the "country"). When placed in a history of the relationship between film …
The Industrial Ichikawa: Ichikawa Kon After 1976, Aaron Gerow
The Industrial Ichikawa: Ichikawa Kon After 1976, Aaron Gerow
Aaron Gerow
The Rock Of The Nightingale': Kinship Diplomacy And Sophocles' Tereus, Katerina Zacharia
The Rock Of The Nightingale': Kinship Diplomacy And Sophocles' Tereus, Katerina Zacharia
Katerina Zacharia
No abstract provided.