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In 1956 John Osborne's Look Back in Anger changed the course of English theatre.
'Look Back in Anger presents post-war youth as it really is. To have done this at all would be a significant achievement; to have done it in a first play is a minor miracle. All the qualities are there, qualities one had despaired of ever seeing on stage - the drift towards anarchy, the instinctive leftishness, the automatic rejection of "official" attitudes, the surrealist sense of humour . . . the casual promiscuity, the sense of lacking a crusade worth fighting for and, underlying all these, the determination that no one who dies shall go unmourned.' Kenneth Tynan, Observer, 13 May 1956
'Look Back in Anger . . . has its inarguable importance as the beginning of a revolution in the British theatre, and as the central and most immediately influential expression of the mood of its time, the mood of the "angry young man".' John Russell Taylor
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Caleb, a 24 year old coder at the world's largest internet company, wins a competition to spend a week at a private mountain retreat belonging to Nathan, the reclusive CEO of the company.
But when Caleb arrives at the remote location he finds that he will have to participate in a strange and fascinating experiment in which he must interact with the world's first true artificial intelligence, housed in the body of a beautiful robot girl.
EX MACHINA is an intense psychological thriller, played out in a love triangle. It explores big ideas about the nature of consciousness, emotion, sexuality, truth and lies.
It is 1888 and Jack The Ripper is stalking the streets of Whitechapel. For the people that live there, he is just one more adversary in their everyday battle to survive. Despite working long days at the tea factory, and the constant threat of the Ripper, Fiona Finnegan knows that her life is better than some. With a father in work, a roof over her head, enough to eat and a loving family to keep her warm, she is among 'the respectable working poor.' And she also has Joe. Fiona and Joe Bristow have been sweethearts for as long as anyone can remember, and are saving up their meagre wages so that some day, they can open their very own shop. But things take a terrible turn for Fiona when events conspire to tear her, Joe and her family apart, and she finds herself alone in the world. The East End is a dangerous place to be alone, and the Ripper isn't the only one casting a dark shadow over her life. Somehow, she must escape, build a life for herself, and forget about Joe. But how can she? When Joe is the only man she has ever loved? The first instalment of Jennifer Donnelly's acclaimed romance trilogy, The Tea Rose will leave you breathless, exhilarated, and longing for more.
The sun is setting on the Western world. Slowly but surely, the direction in which the world spins has reversed: where for the last five centuries the globe turned westwards on its axis, it now turns to the east? For centuries, fame and fortune were to be found in the west ? in the New World of the Americas. Today, it is the east which calls out to those in search of riches and adventure. Sweeping right across Central Asia and deep into China and India, a region that once took centre stage is again rising to dominate global politics, commerce and culture.A major reassessment of world history, The Silk Roads is a dazzling exploration of the forces that have driven the rise and fall of empires, determined the flow of ideas and goods and are now heralding a new dawn in international affairs.
Sten Stenson, Vietnam veteran and retired school principal, and his wife, Carolee, are on a cruise in Costa Rica when their coach excursion is hijacked. Sten's military training overtakes him and within moments one of the attackers lies dead. The rest flee and Sten finds himself hailed a hero by the tour group and everyone back home.Meanwhile, in the redwood forests north of San Francisco, Sara - a farrier who refuses to recognize the authority of the government - is arrested after failing to cooperate with police at a routine stop. A chance meeting with twenty-five-year-old Adam, Sten and Carolee's unstable son, sparks a strange but passionate relationship fuelled by a mutual hatred of the law. Adam, an angry and misunderstood outsider, perennially dressed in camouflage and with his head shaved to the bone, has an unhealthy obsession with nineteenth-century mountain man John Colter. As Adam's views and behaviour become steadily more extreme, he descends into a spiral of fanatical violence that is impossible for his family or Sara to halt.The latest novel by internationally bestselling author T. C. Boyle, The Harder They Come is as timely as it is provocative. A deep and disturbing meditation on the roots of American gun violence, it explores the fine line between heroism and savagery, and just how far a parent can be held accountable for the actions of his child.
In the two selected David Lynch movies a shared motif becomes apparent: the question of identity. Therefore I define border crossing as the crossing of a psychological border within a person making possible to live out different (part-) identities. Jeffrey in Blue Velvet as well as Betty/Diane in Mulholland Drive have two different identities, i.e. they are presented to us in two different roles, a psychological border crossing takes place. In either case the concepts of identity and identity construction which were current at the date of the movies' origin are represented. Framing these concepts in relation to the time they were made it becomes clear that we are dealing with innovative groundbreaking ideas. Thus I compare the films relating to how they express identity construction and the therewith combined border crossing. Hereupon I will relate this analysis to the history of identity to make clear in which sense the dealing with the identity discourse is innovative in both of the films.
Finally I will discuss the question if the presented border crossings are still border crossings today or if they have already become habits. To find an answer I will classify the movies within the film history and explain how the film socialization determines the spectators' readings. I suggest that both films despite all their differences actually tell the same story, only that there are sixteen years of (film-) history between them causing the different ways of narrating. A second border crossing becomes apparent, a border crossing between the two films.
Seminar paper from the year 1997 in the subject Communications - Movies and Television, grade: gut, University of Graz (Fachbereich Literaturwissenschaften), course: Soap Operas, 9 entries in the bibliography, language: English, abstract: A soap opera is a serialized drama which runs for 52 weeks of the year with continuous storylines dealing with domestic themes, personal or family relationships and a limited running characters. Soap operas or serials are open-ended ... Soap operas are one of the few genres where weddings, for instance, are not a happy ending but the beginning of a marriage that may be troubled or even doomed to failure. A dramatic program usually presented daily, with continuing characters and multiple plots. The action, which deals with contemporary problems and their solutions, continues from episode to episode called soap opera because many of the original sponsors were soap manufacturers. Also called daytime drama, soap, and soaper. Television soap operas are long-running serials concerned with everyday life. The serial is not to be confused with the series, in which the main characters and format remain the same from program to program but each episode is a self-contained plot. In a serial at least one storyline is carried over from one episode to the next. A series is advertised as having a specific number of episodes, but serials are potentially endless. These definitions can be seen as a sort of introduction to the whole field of soap operas. In the following chapters I will deal with this topic in detail.
Seminar paper from the year 1998 in the subject Film Science, grade: 1, University of Aberdeen (English Department), course: American Film Renaissance, 10 entries in the bibliography, language: English, abstract: The term 'postmodern' has been used in different areas of study to describe similar phenomena. However, one must differentiate between postmodernism as a historical period, a cultural theory and an aesthetic category. The latter two uses will be the most important ones for my essay. It is essential for my discussion to include theories on postmodern culture, because the relationship between the real and its representation, and the zeitgeist as presented in film, is of vital importance for postmodern film. I will not define the term postmodernism here, on the one hand because the brevity of this essay does not allow my entering this ongoing debate, and, on the other hand, because the term itself escapes any fixed definition - it is rather a set of different tendencies.
The terms 'postmodernism' or 'the postmodern' are less precise categories than different versions of an all-embracing gesture which sums up a spirit of the times, an atmosphere.1
However, to be able to discuss whether or not Jim Jarmusch's and David Lynch's films are postmodern, I must first find a definition for 'postmodern film'. One would expect a postmodern film to tackle the postmodern condition, life in postmodernity, as its subject matter. Since the differences in class, gender and ethnicity are central to the discussion of postmodernism,2 one can assume that these categories are equally important for the plot of a postmodern film. However, Down and Out in Beverly Hills is a film about life in the postmodern city and deals with questions of class and gender, but it is conventional in its style and structure, and obviously far from being a postmodern film. Thus not only the subject matter, but also the audiovisual style and narrative structure of a film should display postmodern characteristics....
Seminar paper from the year 2003 in the subject Film Science, grade: A, Concordia University Montreal (Mel Hoppenheim School Of Cinema), course: Stanley Kubrick Seminar, 7 entries in the bibliography, language: English, abstract: I don't know many filmmakers within their films are more pictorial structures than in the films of Stanley Kubrick. In the following essay, 'A Clockwork Orange' will be analyzed in terms of expressionism and theatricality. There not only the pictorial structure of the shots, but also the structure of the entire film is very interesting. The film has three main parts. The first one contains Alex's violent performance, the second is Alex's cure in jail and the third one is a kind of 'the empire strikes back'. Many scenes of the first part come again but in a mirrored version; now Alex is the victim. 'A Clockwork Orange represents the director's most complete experiment in presenting cinematic material in a subjective mode. (Falsetto, A Narrative and Stylistic Analysis, p. 90) Therefore other characteristics of the film, especially the 1st person voice over, or the point of view shots, are very important to mention in terms of creating this subjectivity. But one of the most important aspects in the film's subjectivity and theatricality is Alex's performance. Also the expressionist décor and lightning plays its important part in the film. The expressionistic style is deeply connected with elements of theatricality, in particular through the performance of the actors. Before analyzing 'A Clockwork Orange' concerning these elements, I will describe the development of the German expressionism and its historical context in general. After that I will point out the development of theatricality in cinema and in what relation theater stands to cinema.
Seminar paper from the year 2003 in the subject Film Science, grade: B, Concordia University Montreal (Mel Hoppenheim School For Cinema), course: New German Cinema, 6 entries in the bibliography, language: English, abstract: 'Never before and in no other country, were pictures and language in general treated with fewer consciences than here [in Germany].' Wim Wenders wrote in an article about Joachim Fest's documentary Hitler- Eine Karriere (Hitler - A Career). 'I don't think, that anywhere else has been such a loss in terms of confidence in the own pictures, the own histories and the own myths, than with us.' (Novell-Smith, p.566)
These lines, which Wim Wenders wrote in the article, stand for the situation of the German film during at least 30 years. The heritage of the film of the Third Reich - the instinctively mistrust against all pictures and histories, which concern the German identity - was the main goal for the German directors of the 60s and 70s to work on. The new German cinema saw itself as part of the political public education system. After the Manifest of Oberhausen in 1962 several German filmmakers decided to make independent productions of film.
'[...]We declare that our ambition is to create the new German feature film. This new film requires new freedoms. Freedoms from commercial influences. Freedom from the dominance of interest groups.' [...] (Excerpt of the Oberhausen Manifest in Pflaum, Hans Günther. Cinema in the Federal Republic of Germany. Trans. Timothy Nevill. Published by Inter Nationes. Bonn 1993, p.9)
Although not mentioning the question of financial support, the young enthusiastic filmmakers hoped to get money from the government in order to be able to work as 'authors'. The government saw the cultural advantages of a strong national cinema and found 1965 the Kuratorium Junger Deutscher Film (Board for the New German Film). 'Debuts by directors such as Alexander Kluge, Peter Fleischmann and Werner Herzog were assisted by awards from the Board.'[...] Little was changed by the law regulating assistance for the German film which came into force in 1968. With the conditions of production prevailing in this country in the mid-Sixties, it was basically impossible to implement the 'new language' postulated in the Oberhausen Manifesto.' (Pflaum, p.10) The state-funded German cinema seemed so to have a secret, special cultural order from the government to present Germany to the rest of the world as a cultural motivated and especially self-critique country. That's what the following lines are about and how it came to these years were simply named 'New Sensibilismus'.