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| von triers 1998 comedy film: Film, Comedy, and Disability Alison Wilde, 2018-09-09 Comedy and humour have frequently played a key role in disabled people’s lives, for better or for worse. Comedy has also played a crucial part in constructing cultural representations of disability and impairments, contributing to the formation and maintenance of cultural attitudes towards disabled people, and potentially shaping disabled people’s images of themselves. As a complex and often polysemic form of communication, there is a need for greater understanding of the way we make meanings from comedy. This is the first book which explores the specific role of comedic film genres in representations of disability and impairment. Wilde argues that there is a need to explore different ways to synthesise Critical/Disability Studies with Film Studies approaches, and that a better understanding of genre conventions is necessary if we are to understand the conditions of possibility for new representational forms and challenges to ableism. After a discussion of the possibilities of a ‘fusion’ between Disability Studies and Film Studies, and a consideration of the relationships of comedy to disability, Wilde undertakes analysis of contemporary films from the romantic comedy, satire, and gross-out genres. Analysis is focused upon the place of disabled and non-disabled people in particular films, considering visual, audio, and narrative dimensions of representation and the ways they might shape the expectations of film audiences. This book is of particular value to those in Film and Media Studies, and Critical/Disability Studies, especially for those who are investigating more inclusive practices in cultural representation. |
| von triers 1998 comedy film: When the World Laughs William V. Costanzo, 2020-02-03 When the World Laughs is a book about the intersection of humor, history, and culture. It explores how film comedy, one of the world's most popular movie genres, reflects the values and beliefs of those who enjoy its many forms, its most enduring characters and stories, its most entertaining routines and funniest jokes. What people laugh at in Europe, Africa, or the Far East reveals important truths about their differences and common bonds. By investigating their traditions of humor, by paying close attention to what kinds of comedy cross national boundaries or what gets lost in translation, this study leads us to a deeper understanding of each other and ourselves. Section One begins with a survey of the theories and research that best explain how humor works. It clarifies the varieties of comic forms and styles, identifies the world's most archetypal figures of fun, and traces the history of the world's traditions of humor from earliest times to today. It also examines the techniques and aesthetics of film comedy: how movies use the world's rich repertoire of amusing stories, gags, and wit to make us laugh and think. Section Two offers a close look at national and regional trends. It applies the concepts set forth earlier to specific films-across a broad spectrum of sub-genres, historical eras, and cultural contexts-providing an insightful comparative study of the world's great traditions of film comedy. |
| von triers 1998 comedy film: Beyond The Bridge Tobias Hochscherf, Heidi Philipsen, 2017-02-28 Drawing worldwide acclaim from critics and audiences alike, programmes like The Killing, Borgen, The Bridge and The Legacy demonstrate widespread fascination with Danish style, aesthetics and culture as seen through television narratives. This book uses familiar, alongside lesser known, case studies of drama series to demonstrate how the particular features of Danish production - from work cultures, to storytelling techniques and trans-national cooperation - have enhanced contemporary Danish drama's appeal both at home and abroad. The era of globalisation has blurred national and international television cultures and promoted regular cross-fertilisation between film and television industries. Important questions have emerged from this context surrounding, for example, the 'Americanisation' of foreign television formats, the meaning and practice behind the term 'quality television', and the purpose and efficacy of public service broadcasting. Beyond the Bridge tackles these issues in relation to Danish television, by examining the so-called 'scaffolded production processes' behind the making of quality serials and their thought-provoking content. Drawing on popular motifs from these celebrated dramas such as foreign politics, organised crime, global warming, and the impact of multinational corporations, this timely book provides crucial insight into the Danish dramas at the forefront of sophisticated, forward-thinking, fictional television. |
| von triers 1998 comedy film: Transnational Cinema in a Global North Andrew K. Nestingen, Trevor Glen Elkington, 2005 The first scholarly work to address the globalization of film in the Nordic region, covering major films, directors, and trends in the region's five countries. |
| von triers 1998 comedy film: Eyewitness Companions: Film Anita Ganeri, Ronald Bergan, 2006-10-16 Not just another film guide–this is a visual road map to the best cinema has to offer. A comprehensive, fun to browse, and easy-to-use source for everything you need to know about movies and the people behind them. From Hollywood to Bollywood, the unique approach will explore every aspect of film and provide pointers on how to watch and understand films of different types, styles, and periods.Covers the history of film, from celluloid to the virtual world of digital FXProfiles the most important historical and contemporary directors, actors, producers, studios, and moreHighlights the top 100 “cornerstone movies” and contains an extensive trivia sectionDetails the principles behind film making styles, from sci-fi to romantic comedy |
| von triers 1998 comedy film: Studies on Cinematography and Narrative in Film: Sequels, Serials, and Trilogies Seçmen, Emre Ahmet, 2024-07-18 Visual continuity in sequels poses a daunting challenge for filmmakers as they strive to maintain coherence while expanding upon established narratives and visual aesthetics. With cinema's evolution, audiences' expectations have grown more sophisticated, demanding seamless transitions and immersive experiences across film series. However, achieving this continuity requires a delicate balance between honoring the original work and introducing innovative elements to captivate viewers. Addressing this complication is the book, Studies on Cinematography and Narrative in Film: Sequels, Serials, and Trilogies, which emerges with a comprehensive approach. By delving into the interplay between cinematography and narrative structure, this book offers invaluable insights for filmmakers seeking to navigate the complexities of sequel production. Through meticulous analysis of prominent film series and theoretical frameworks, it provides a roadmap for achieving visual coherence while pushing creative boundaries. |
| von triers 1998 comedy film: The SNL Companion Stephen Tropiano, Steven Ginsberg, 2024-09-17 The SNL Companion is the ultimate SNL fan's bible, timed to coincide with the show's historic 50th season-- |
| von triers 1998 comedy film: Lars von Trier Linda Badley, 2011-02-24 Scandinavia's foremost living auteur and the catalyst of the Dogme95 movement, Lars von Trier is arguably world cinema's most confrontational and polarizing figure. Willfully devastating audiences, he takes risks few filmmakers would conceive, mounting projects that somehow transcend the grand follies they narrowly miss becoming. Challenging conventional limitations and imposing his own rules, he restlessly reinvents the film language. The Danish director has therefore cultivated an insistently transnational cinema, taking inspiration from sources that range from the European avant-garde to American genre films. This volume provides a stimulating overview of Trier's career while focusing on the more recent work, including his controversial Gold Heart Trilogy (Breaking the Waves, The Idiots, and Dancer in the Dark), the as-yet unfinished USA Trilogy (Dogville and Manderlay), and individual projects such as the comedy The Boss of It All and the incendiary horror psychodrama Antichrist. Closely analyzing the films and their contexts, Linda Badley draws on a range of cultural references and critical approaches, including genre, gender, and cultural studies, performance theory, and trauma culture. Two revealing interviews that Trier granted during crucial stages of Antichrist's development are also included. |
| von triers 1998 comedy film: Selling the Movie Ian Haydn Smith, 2018 As long as there have been movies, there have been posters selling films to audiences. Posters came into existence just decades before the inception of film, and as movies became a universal medium of entertainment, posters likewise became a ubiquitous form of advertising. At first, movie posters suggested a film's theme, from adventure and romance to thrills and spine-tingling horror. Then, with the ascendancy of the film star, posters began to sell icons and lifestyles, nowhere more so than in Hollywood. But every country producing films used posters to sell their product. Selling the Movie: The Art of the Film Poster charts the history of the movie poster from both a creative and a commercial perspective. It includes sections focusing on poster artists, the development of styles, the influence of politics and ideology, and how commerce played a role in the film poster's development. The book is richly illustrated with poster art from many countries and all eras of filmmaking. From creating the brand of Charlie Chaplin's tramp and marketing the elusive mystique of Greta Garbo, to the history of the blockbuster, the changing nature of graphic design by the decade, and the role of the poster in the digital age, Selling the Movie is an entertaining and enthralling journey through cinema, art, and the business of attracting audiences to the box office. |
| von triers 1998 comedy film: The Cinema Book Bloomsbury Publishing, 2019-07-25 The Cinema Book is widely recognised as the ultimate guide to cinema. Authoritative and comprehensive, the third edition has been extensively revised, updated and expanded in response to developments in cinema and cinema studies. Lavishly illustrated in colour, this edition features a wealth of exciting new sections and in-depth case studies. Sections address Hollywood and other World cinema histories, key genres in both fiction and non-fiction film, issues such as stars, technology and authorship, and major theoretical approaches to understanding film. |
| von triers 1998 comedy film: Historical Dictionary of Scandinavian Cinema John Sundholm, Isak Thorsen, Lars Gustaf Andersson, 2012-09-20 The Historical Dictionary of Scandinavian Cinema covers the history of the Nordic countries through a chronology, introductory essays on each country, and an extensive bibliography. The dictionary section has over 400 cross-referenced entries on major persons and films, pan-Scandinavian entries on film genres, themes, and subjects such as animation, ethnicity, migration and censorship. This book is an excellent access point for students, researchers, and anyone wanting to know more about Scandinavian cinema. |
| von triers 1998 comedy film: I Wear the Black Hat Chuck Klosterman, 2013-07-09 The cultural critic questions how modern people understand the concept of villainy, describing how his youthful idealism gave way to an adult sympathy with notorious cultural figures to offer insight into the appeal of anti-heroes. |
| von triers 1998 comedy film: The Mind-Game Film Thomas Elsaesser, 2021-03-28 This book represents the culmination of Thomas Elsaesser’s intense and passionate thinking about the Hollywood mind-game film from the previous two decades. In order to answer what the mind-game film is, why they exist, and how they function, Elsaesser maps the industrial-institutional challenges and constraints facing Hollywood, and the broader philosophic horizon within which American cinema thrives today. He demonstrates how the ‘Persistence of Hollywood’ continues as it has adapted to include new twists and turns, as well as revisions of past concerns, as film moves through the 21st century. Through examples such as Minority Report, Mulholland Drive, Source Code, and Back to the Future, Elsaesser explores how mind-game films challenge us and play games with our perception of reality, creating skepticism and (self-) doubt. He also highlights the mind-game film's tendency to intervene in a complex fashion in the political moment by questioning the dominant power’s intent to program both body and mind alike. Prescient and compelling, The Mind-Game Film will appeal to students, scholars, and enthusiasts of media studies, film studies, philosophy, and politics. |
| von triers 1998 comedy film: The Cinema of Lars Von Trier Caroline Bainbridge, 2007 Lars von Trier is the most controversial figure of contemporary European cinema. This volume is the first book to analyse in depth the changes he has brought to modern film. Since founding the back-to-basics Dogme philosophy of filmmaking in 1995, von Trier's name has become a by-word for taboo-breaking cinema. As a director, he has courted media controversy through films such as The Idiots (1998), with its unsimulated sex and non-conformist politics, and through his complex relationships with actresses such as Bj'rk and Nicole Kidman, from whom he coaxed career-best performances in Dancer in the Dark (2000) and Dogville (2003) respectively. Analysing these films as well as recent works such as The Five Obstructions (2004) from a psychoanalytic perspective, it forges a new understanding of the founder of Dogme 95 as a great democratiser of cinema in the digital age, presenting von Trier as one of the most daring cinematic exponents of postmodern politics and satire. |
| von triers 1998 comedy film: Punk Beyond the Music Iain Ellis, 2024-08-12 Punk Beyond the Music: Tracing Mutations and Manifestations of the Punk Virus expands the conversation about punk from a focus on the musical genre to its surrounding cultural manifestations. Focusing on some of the most recurring practices and characteristics of punk culture —DIY, attitude, outsider identities, symbols, and politics—Iain Ellis engages many illustrative examples to investigate punk beyond the music without losing sight of its significance. Early chapters look at arts that have always existed within the punk subculture (writings, visual arts, films, and humor); subsequent sections examine areas rarely recognized as exhibiting punk characteristics (such as education, sports, crafts, and comics). Taken together, the chapters invite readers on an extensive and unpredictable journey through the evolution of punk’s developments and adaptations. |
| von triers 1998 comedy film: The Films That Made Me... Peter Bradshaw, 2019-09-19 'Like a pizza delivery driver who travels everywhere by moped, or a volcanologist who keeps turning the central heating up, I'm a film critic who loves going to the cinema.' - Peter Bradshaw. Peter Bradshaw is the film reviewer for intelligent, curious cinemagoers; he has worked at the Guardian for twenty years. The Films That Made Me collates his finest reviews from the last two decades, which carry with them his deep experience, knowledge and understanding of film. Introducing each section with a brief introductory article in his light, humorous tone, and ranging from The Cat in the Hat and the Twilight Saga to Synecdoche: New York, Bradshaw shares the films that he loved, the films that he hated, the films that made him laugh, cry, swoon and scared. His reviews range from the insightful and introspective to the savage and funny. A must read for all film fanatics. |
| von triers 1998 comedy film: A History of Film Jack C. Ellis, Virginia Wright Wexman, 2002 Heavily revised and with a new-co-author, A History of Film , is a comprehensive international survey of the narrative fiction film from its beginnings to the present. In the book, the contributions of major film-producing countries, significant filmmakers, and their films are highlighted within social, artistic, economic, and technological contexts. This fifth edition constitutes a major revision and update over half the text is new! The new edition updates the book's historical coverage while considerably expanding it to incorporate women and minority filmmakers and audiences, avant-garde and documentary traditions, and the wide array of global filmmaking practices. |
| von triers 1998 comedy film: The Film Book Ronald Bergan, 2011-10-03 Film is the world's most popular artistic medium. What began as a novelty at country fairs rapidly became the consummate art form of the twentieth century, spanning both popular culture and high art. The Film Book enables you to identify different cinematic genres, appreciate the style of celebrated directors, see how a film is made, and understand why the greatest movies deserve their reputation. The book is unique in encompassing each of these key aspects and, as such, outspans the many other guides and film companions on the market. The guide is split into seven distinct sections, each of which deals with a particular aspect of film. The first of these chapters is a detailed history of the art form over the last 120 years, charting its evolution from a musical event accompanied by pictures, through its numerous developments and innovations-talking pictures; color film; video and DVD; online films; computer-generated special effects; and the modern 3D experience. The second shows how these techniques are applied in practice, taking the reader behind the camera to explore the film-making process and find out who's who on set, offering a useful insight into how movies are brought to life. Sections 3 to 6 look at the films themselves. Providing an overview of cinematic styles and genres, the third section covers everything from westerns, musicals, and sci-fi to arthouse cinema, the avant-garde, and the cult movie, whilst the fourth compares and contrasts the major styles of international cinema, with key schools, movements, directors, and films. The fifth section profiles 100 of the film industry's greatest and most influential directors, listing their key works and assessing their cinematic legacy, whilst the sixth section discusses 100 key cinematic works which invented, extended, or reinvented the art form. The closing section of the book is an interesting, and often provocative, range of lists compiled by a variety of film associations, publications, and institutions. Comprehensive, authoritative, and written with passion and verve, The Film Book is a unique treasure-trove of a guide that will appeal to anyone who loves movies. Table of Contents Prelims (5pp) Introduction (4pp) The story of film (56pp) 1896-1919: The Birth of Cinema 1920-1929: Silence is Golden 1930-1939: The Cinema Comes of Age 1940-1949: The Cinema Goes to War 1950-1959: The Cinema Fights Back 1970-1979: Independence Days 1980-1989: The International Years 1990-: Celluloid to Digital How movies are made (20pp) Pre-production Production Post-production World cinema (52pp) Africa The Middle East Iran Eastern Europe (including Poland, Hungary, and the Czech Republic) The Balkans (including Yugoslavia, Bugaria, Romania, Greece, and Turkey) Russian The Nordic countries (including Finland, Sweden, Norway, and Denmark) Germany France Italy United Kingdom Spain Portugal Canada Central America South America (including Argentina, Brazil, Mexico, and Chile) Australian and New Zealand China, Hong Kong, and Taiwan Japan Korea India Movie genres (52pp) Action-adventure Animation Avant-garde Biopic Comedy Costume drama Cult Disaster Documentary Epic Film Noir Gangster Horror Martial Arts Melodrama Musicals Propaganda Science Fiction and Fantasy Serials Series Teen Thrillers War Westerns 100 Key directors (92pp) Woody Allen Pedro Almodo ́var Robert Altman Michelangelo Antonioni Ingmar Bergman Bernado Bertolucci Tod Browning Luis Bun~uel Tim Burton Jane Campion Frank Capra Marcel Carne ́ Charlie Chaplin Chen Kaige Joel and Ethan Coen Francis Ford Coppola David Cronenburg George Cukor Michael Curtiz Cecil B. DeMille Jonathan Demme Brian De Palma Vittorio De Sica Stanley Donen Carl Drayer Clint Eastwood Blake Edwards Sergei Eisenstein Rainer Werner Fassbinder Federico Fellini Victor Fleming John Ford Milos Forman Abel Gance Jean-Luc Godard D.W. Griffith Howard Hawks Werner Herzog Alfred Hitchcock Hou Hsiao-Hsien John Huston Peter Jackson Elia Kazan Buster Keaton Krzysztof Kieslowski Fritz Lang David Lean Ang Lee Spike Lee Sergio Leone Ernst Lubitsch George Lucas Sidney Lumet David Lynch Alexander Mackendrick Joseph L. Mankiewicz Sam Mendes Lewis Milestone Vincente Minnelli F.W. Murnau Max Ophu ̈ls Yasujiro Ozu Georg Wilhelm Pabst Pier Paolo Pasolini Sam Peckinpah Roman Polanski Michael Powell/Emeric Pressburger Nicholas Ray Satyajit Ray Carol Reed Jean Renoir Eric Rohmer Roberto Rossellini John Schlesinger Martin Scorsese Ridley Scott Stephen Spielberg Josef von Sternberg Oliver Stone Erich von Stroheim Quentin Tarantino Andrei Tarkovsky Jacques Tati Franc ̧ois Truffaut Dziga Vertov Luchino Visconti Andrzej Wajda Raoul Walsh Peter Weir Orson Welles William Wellman Wim Wenders Billy Wilder Robert Wise John Woo William Wyler Franco Zeffirelli Zhang Yimou 100 Key Movies (52pp) Birth of a Nation (D.W. Griffith, 1915) The Cabinet of Dr. Caligari (Robert Wiene, 1919) Nosferatu: A Symphony of Terror (F.W. Murnau, 1921) Nanook of the North (Robert Flaherty, 1922) The Battleship Potemkin (Sergei Eisenstein, 1925) Metropolis (Fritz Lang, 1926) Napole ́on (Abel Gance, 1927) An Andalucian Dog (Un Chien Andalou) (Luis Bun~uel, 1928) The Passion of Joan of Arc (Carl Dreyer, 1928) All Quiet on the Western Front (Lewis Milestone, 1930) The Blue Angel (Joseph von Sternberg, 1930) City Lights (Charlie Chaplin, 1931) 42nd Street (Lloyd Bacon, 1933) Duck Soup (Leo McCarey, 1933) King Kong (Merian Cooper/Ernest Schoedsack, 1933) L'Atalante (Jean Vigo, 1934) Snow White and the Seven Dwarfs (Walt Disney, 1937) Olympia (Leni Riefenstahl, 1938) The Rules of the Game (La Re`gle du Jeu) (Jean Renoir, 1939) Gone with the Wind (Victor Fleming, 1939) The Philadelphia Story (George Cukor, 1940) His Girl Friday (Howard Hawks, 1940) The Grapes of Wrath (John Ford, 1940) Citizen Kane (Orson Welles, 1941) The Maltese Falcon (John Huston, 1941) The Little Foxes (William Wyler, 1941) To Be or Not To Be (Ernst Lubitsch, 1942) In Which We Serve (Noe ̈l Coward, 1942) Casablanca (Michael Curtiz, 1942) Ossessione (Luchino Visconti, 1942) Children of Paradise (Les Enfants du Paradis) (Marcel Carne ́, 1945) A Matter of Life and Death (Michael Powell/Emeric Pressburger, 1946) It's a Wonderful Life (Frank Capra, 1946) Bicycle Thieves (Ladri Di Biciclette) (Vittorio de Sica, 1948) Letter from an Unknown Woman (Max Ophu ̈ls, 1948) Passport to Pimlico (Henry Cornelius, 1949) The Third Man (Carol Reed, 1949) Orpheus (Orphe ́e) (Jean Cocteau, 1950) Rashomon (Akira Kurosawa, 1950) Singin' in the Rain (Gene Kelly/Stanley Donen, 1952) Tokyo Story (Yasujiro Ozu, 1953) On the Waterfront (Elia Kazan, 1954) All That Heaven Allows (Douglas Sirk, 1955) Rebel Without a Cause (Nicholas Ray, 1955) Pather Panchali (Satyajit Ray, 1955) The Night of the Hunter (Charles Laughton, 1955) The Seventh Seal (Ingmar Bergman, 1957) Vertigo (Alfred Hitchcock, 1958) Ashes and Diamonds (Andrzej Wajda, 1958) The 400 Blows (Franc ̧ois Truffaut, 1959) Some Like it Hot (Billy Wilder, 1959) Breathless (A Bout de Souffle) (Jean-Luc Godard, 1960) La Dolce Vita (Federico Fellini, 1960) Saturday Night and Sunday Morning (Karel Reisz, 1960) L'Avventura (Michelangelo Antonioni, 1960) Last Year in Marienbad (Alain Resnais, 1961) Lawrence of Arabia (David Lean, 1962) Dr. Strangelove (Stanley Kubrick, 1964) The Battle of Algiers (Gillo Pontecorvo, 1965) The Sound of Music (Robert Wise, 1965) Andrei Rublev (Andrei Tarkovsky, 1966) The Chelsea Girls (Andy Warhol, 1966) Bonnie and Clyde (Arthur Penn, 1967) The Wild Bunch (Sam Peckinpah, 1969) Easy Rider (Dennis Hopper, 1969) The Conformist (Bernardo Bertolucci, 1969) The Godfather (Francis Ford Coppola, 1972) Aguirre, Wrath of God (Werner Herzog, 1972) Nashville (Robert Altman, 1975) In the Realm of the Senses (Ai No Corrida) (Nagisa Oshima, 1976) Taxi Driver (Martin Scorsese, 1976) Annie Hall (Woody Allen, 1977) |
| von triers 1998 comedy film: Classical Antiquity and the Cinematic Imagination Martin M. Winkler, 2024-02-14 This book aims to enhance our appreciation of the modernity of the classical cultures and, conversely, of cinema's debt to ancient Greece and Rome. It explores filmic perspectives on the ancient verbal and visual arts and applies what is often referred to as pre-cinema and what Sergei Eisenstein called cinematism: that paintings, statues, and literature anticipate modern visual technologies. The motion of bodies depicted in static arts and the vividness of epic ecphrases point to modern features of storytelling, while Plato's Cave Allegory and Zeno's Arrow Paradox have been related to film exhibition and projection since the early days of cinema. The book additionally demonstrates the extensive influence of antiquity on an age dominated by moving-image media, as with stagings of Odysseus' arrow shot through twelve axes or depictions of the Golden Fleece. Chapters interpret numerous European and American silent and sound films and some television productions and digital videos. |
| von triers 1998 comedy film: The Nordic Bible Marianne Bjelland Kartzow, Kasper Bro Larsen, Outi Lehtipuu, 2023-09-05 The volume offers a new critical reflection on the use of the Bible in contemporary cultural and political debates in the Nordic countries. In Nordic Lutheran societies, the Bible has been perceived as a basis of religion and social cohesion. Whereas such religious and confessional factors are well-researched vis-à-vis the historical genesis of the Nordic welfare states, the focus here is on public use of the Bible in debates of today. |
| von triers 1998 comedy film: Nordic Genre Film Tommy Gustafsson, 2015-05-15 Nordic Genre Film offers a transnational approach to studying contemporary genre production in Nordic cinema. |
| von triers 1998 comedy film: Master of Ceremonies Joel Grey, Rebecca Paley, 2016-02-16 Born Joel David Katz in 1930's Cleveland, Grey began his life in the theater at the age of nine, starring in local productions of touring Broadway hits. The search for the spotlight took him from the Cleveland Playhouse to seedy, gangster-filled nightclubs in Chicago, and finally to the lights of Broadway and the dizzying glamour of Hollywood. Coming of age in a time when being yourself tended to be not only difficult but also dangerous, sometimes an artists' hardest role is being himself. This is a portrait of an artist coming to terms with his evolving identity. |
| von triers 1998 comedy film: Shakespeare, Bakhtin, and Film Keith Harrison, 2017-08-16 This book explores how Bakhtin’s ideas can illuminate the compelling but uneasy fusion of Shakespeare and cinema. With a wide variety of tones, languages, cultural orientations, and thematic concerns, film directors have updated, translated, transposed, fragmented, parodied, and geographically re-situated Shakespeare. Keith Harrison illustrates how Bakhtin’s interlinked writings in various fields can fruitfully be applied to an understanding of how the ongoing responsiveness of filmmakers to Shakespeare’s historically remote words can shape self-expressive acts of co-authoring in another medium. Through the use of such Bakhtinian concepts as the chronotope, heteroglossia, the carnivalesque, and polyphony, Harrison details how filmmakers—faithful to their specific cultures, genders, geographies, and historical moments—dialogically locate their particularity through Shakespeare’s presence. |
| von triers 1998 comedy film: Film Style and Story Lennard Højbjerg, Peter Schepelern, 2003 Style and story are two of the most debated concepts in film studies today. Taking a cognitive perspective, the anthology Film Style and Story focuses explicitly on the stylistic portrayal of human behavior in film, ranging from studies of specific visual patterns to sound montages. Contributions to this volume all share two characteristics: they explore the ways in which styles and stories interact, and they are inspired by the work of Torben Grodal, professor of Film and Media Studies, University of Copenhagen. |
| von triers 1998 comedy film: Allegories of the End of Capitalism Milo Sweedler, 2020-01-31 In Allegories of the End of Capitalism, Milo Sweedler deconstructs the events of films Melancholia; Cosmopolis; Suffragette; Django Unchained; Elysium and Snowpiercer, the socio-political contexts they arise from and enter into, and their impact on contemporary culture and life. He examines how filmmakers from six different countries, across four continents, give narrative and audio-visual form to the frustration and anger that burst into public view in 2011, the ongoing class war between the super-rich and the rest of the world's population, and the insurrection that it yet to come. |
| von triers 1998 comedy film: Playing the Waves Jan Simons, 2007 Dogma 95, the avant-garde filmmaking movement founded by the Danish director Lars von Trier and three of his fellow directors, was launched in 1995 at an elite cinema conference in Paris—when von Trier was called upon to speak about the future of film but instead showered the audience with pamphlets announcing the new movement and its manifesto. A refreshingly original critical commentary on the director and his practice, Playing the Waves is a paramount addition to one of new media’s most provocative genres: games and gaming. Playing the Waves cleverly puns on the title of one of von Trier’s most famous features and argues that Dogma 95, like much of the director’s low-budget realist productions, is a game that takes cinema beyond the traditional confines of film aesthetics and dramatic rules. Simons articulates the ways in which von Trier redefines the practice of filmmaking as a rule-bound activity, and stipulates the forms and structures of games von Trier brings to bear on his films, as well as the sobering lessons he draws from economic and evolutionary game theory. Much like the director’s films, this fascinating volume takes the traditional point of view of film theory and film aesthetics to the next level and demonstrates we have much to learn from the perspective of game studies and game theory. |
| von triers 1998 comedy film: Film Trilogies C. Perkins, C. Verevis, 2012-02-21 Drawing on a wide range of examples, this book – the first devoted to the phenomenon of the film trilogy– provides a dynamic investigation of the ways in which the trilogy form engages key issues in contemporary discussions of film remaking, adaptation, sequelization and serialization. |
| von triers 1998 comedy film: Schirmer Encyclopedia of Film Barry Keith Grant, 2007 This reference source covers all aspects of the cinema, including film history, production, national cinemas, genre theory and criticism, and cultural contexts. |
| von triers 1998 comedy film: Cinematic Narration and its Psychological Impact Peter Wuss, 2009-03-26 Film provides experience potential. Contemporary cognitive psychology gives the opportunity to define this impact on the film spectators’ mind in regard to different aspects of cognition, imagination and emotion. Proceeding from these positions, this book considers a number of practical issues of cinematic narration with which filmmakers, theorists and cineastes are frequently confronted: What is storytelling, and how may we objectify the regularities to be found at work in different modes of narration in the fiction film, among them structural principles of “art-cinema” which are often experienced on a level beneath conscious reception? What is the role of the element of conflict in the process of narration, and what are the effects that the representation of conflict situations on the screen has on the viewers’ emotions? How can we define “cinematic tension” and also “suspense”, and how does each influence the disposition of the audience? What constitutes a “reality-effect” in fiction films, and how can it vary in different modes of storytelling? How are a given protagonists’ dreams, fantasies and play behaviour integrated both into the course of narrative events and into the development of the spectator’s imageries and ideas? And finally: How do film genres work on a psychological level? Providing a theoretical framework for further empirical research, the book outlines a differentiated model for analysing key devices of cinematic narration in view of their impact on the spectators’ mind. |
| von triers 1998 comedy film: Framing the Apocalypse Sheila C. Bibb, Alexandra Simon-López, 2019-07-22 Different aspects of the apocalypse have been researched for centuries, some from an ecclesiastical point of view, others focusing on moral issues. Still others have specialised in investigating the philosophical implications of the apocalypse which are relevant in all religions. The idea of the ultimate victory of good over evil and the beginning of the after-life, either in heaven or in hell, has become a cultural phenomenon which has already left its initially exclusively religious constraints. With this in mind the focus here is to discover how the apocalypse’s triumph can be witnessed in the arts, literature, music, and most recently, film, TV, and digital media thereby enabling a holistic view of what the Apocalypse means in contemporary terms. What we read here is the very essence of Apocalypse as a cultural phenomenon, something which reveals, which uncovers and allows us to see a new aspect or dimension. |
| von triers 1998 comedy film: T&T Clark Handbook of Jesus and Film Richard Walsh, 2021-01-14 The T&T Clark Handbook of Jesus and Film introduces postgraduate readers to the critical field of Jesus and/on film. The bulk of biblical films feature Jesus, as protagonist, in cameo, or as a looming background presence or pattern. The handbook assesses the field in light of the work of important biblical film critics including chapters from the leading voices in the field and showcasing the diversity of work done by scholars in the field. Movies discussed include The Passion of the Christ, The King of Kings, Jesus of Nazareth, Monty Python's Life of Brian, Son of Man, and Mary Magdalene. The chapters range across two broad areas: 1) Jesus films, understood broadly as filmed passion plays, other relocations of Jesus, historical Jesus treatments, and Jesus adjacent cinema (privileging invented characters or “minor” gospel characters); and 2) other cinematic Jesuses, including followers who imitate Jesus devotionally or aesthetically, (Christian) Christ figures, antichrists, yet other messiahs, and competing Jesuses in a pluralist world. As one leaves the confines of Christian theology, the question of what a film or interpreter is doing with Jesus or Christ becomes something to be determined, not necessarily something traditional. |
| von triers 1998 comedy film: Transnational Horror Cinema Sophia Siddique, Raphael Raphael, 2017-02-24 This book broadens the frameworks by which horror is generally addressed. Rather than being constrained by psychoanalytical models of repression and castration, the volume embraces M.M. Bakhtin’s theory of the grotesque body. For Bakhtin, the grotesque body is always a political body, one that exceeds the boundaries and borders that seek to contain it, to make it behave and conform. This vital theoretical intervention allows Transnational Horror Cinema to widen its scope to the social and cultural work of these global bodies of excess and the economy of their grotesque exchanges. With this in mind, the authors consider these bodies’ potentials to explore and perhaps to explode rigid cultural scripts of embodiment, including gender, race, and ability. |
| von triers 1998 comedy film: The Coen Brothers and American Roots Music Jesse Gerlach Ulmer, 2023-04-25 For more than three decades, Joel and Ethan Coen have produced some of the most memorable and influential American roots music soundtracks in film history. From Raising Arizona (1987) to O Brother, Where Art Thou? (2000) to Inside Llewyn Davis (2013), the Coens, along with musical archivist and producer T-Bone Burnett, have curated half-forgotten yet unforgettable genres, artists and songs from America's cultural past for new audiences. This book is the first devoted to giving a full account of this rich cinematic legacy. |
| von triers 1998 comedy film: The Cinema of Scandinavia Tytti Soila, 2005 Modernism and the Architecture of Private Life offers a bold new assessment of the role of the domestic sphere in modernist literature, architecture, and design. Elegantly synthesizing modernist literature with architectural plans, room designs, and decorative art, Victoria Rosner's work explores the collaborations among modern British writers, interior designers, and architects in redefining the form, function, and meaning of middle-class private life. Drawing on a host of previously unexamined archival sources and works by figures such as E. M. Forster, Roger Fry, Oscar Wilde, James McNeill Whistler, and Virginia Woolf, Rosner highlights the participation of modernist literature in the creation of an experimental, embodied, and unstructured private life, which we continue to characterize as modern. |
| von triers 1998 comedy film: The Rough Guide to Film Jessica Winter, Lloyd Hughes, Richard Armstrong, Tom Charity, 2007-11-07 The Rough Guide to Film is a bold new guide to cinema. Arranged by director, it covers the top moguls, mavericks and studio stalwarts of every era, genre and region, in addition to lots of lesser-known names. With each film placed in the context of its director’s career, the guide reviews thousands of the greatest movies ever made, with lists highlighting where to start, arranged by genre and by region. You’ll find profiles of over eight hundred directors, from Hollywood legends Alfred Hitchcock and John Huston to contemporary favourites like Steven Soderbergh and Martin Scorsese and cult names such as David Lynch and Richard Linklater. The guide is packed with great cinema from around the globe, including French New Wave, German giants, Iranian innovators and the best of East Asia, from Akira Kurosawa to Wong Kar-Wai and John Woo. With overviews of all major movements and genres, feature boxes on partnerships between directors and key actors, and cinematographers and composers, this is your essential guide to a world of cinema. |
| von triers 1998 comedy film: Submission Michel Houellebecq, 2015-10-20 A controversial, intelligent, and mordantly funny new novel from France's most famous literary figure Paris, 2022. François is bored. He's a middle-aged lecturer at the Sorbonne and an expert on J. K. Huysmans, the famous nineteenth-century decadent author. But François's own decadence is considerably smaller in scale. He sleeps with his students, eats microwave dinners, reads the classics, queues up YouPorn. Meanwhile, it's election season. And although Francois feels about as politicized as a hand towel, things are getting pretty interesting. In an alliance with the socialists, France's new Islamic party sweeps to power. Islamic law comes into force. Women are veiled, polygamy is encouraged, and Francois is offered an irresistible academic advancement--on condition that he convert to Islam. Adam Gopnik in The New Yorker has said of this novel that Houellebecq is not merely a satirist but--more unusually--a sincere satirist, genuinely saddened by the absurdities of history and the madnesses of mankind. Michel Houellebecq's Submission may be satirical and melancholic, but it is also hilarious; a comic masterpiece by one of France's great novelists. |
| von triers 1998 comedy film: The Danish Directors 2 Mette Hjort, Eva Jørholt, Eva Novrup Redvall, 2010-08-15 Over the last two decades or so, the New Danish Cinema has established itself as an important source of cinematic renewal and innovation, and as a model for how small, minor or peripheral cinemas can survive in an industry dominated by Global Hollywood. Following in the footsteps of critically-acclaimed The Danish Directors (also published by Intellect), The Danish Directors 2 provides a practitioner’s perspective on the social, cultural, and economic milieus in which Danish film-makers have been able to develop their practice, and to thrive. With insider information about the making, marketing and distribution of award-winning films, and interviews with seminal directors such as Anders Thomas Jensen, Annette K. Olesen, and Lone Scherfig, The Danish Directors 2 allows readers entry into what might seem to be a forbidding body of work. The editors are knowledgeable and sensitive interrogators, and their appreciation of the specific qualities of each director’s work elicits thoughtful replies. This volume will appeal to students, scholars, and cinephiles alike. |
| von triers 1998 comedy film: Sight and Sound , 2000 |
| von triers 1998 comedy film: Directing Michael Rabiger, 2014-06-20 Directing: Film Techniques and Aesthetics is a comprehensive manual that has inspired tens of thousands of readers worldwide to realize their artistic vision and produce well-constructed films. Filled with practical advice on every stage of production, this is the book you will return to throughout your career. Directing covers the methods, technologies, thought processes, and judgments that a director must use throughout the fascinating process of making a film. It emphasizes low-cost digital technology, which allows cutting-edge creativity and professionalism on shoestring budgets. And, recognizing that you learn best by doing, the book includes dozens of practical hands-on projects and activities to help you master technical and conceptual skills. Just as important as surmounting technological hurdles is the conceptual and authorial side of filmmaking. This book provides an unusually clear view of the artistic process, particularly in working with actors. It offers eminently practical tools and exercises to help you develop credible and compelling stories with your cast, hone your narrative skills, and develop your artistic identity. This book shows you how to surpass mere technical proficiency and become a storyteller with a distinctive voice and style. This edition has been streamlined and thoroughly revised for greater ease of use. Other updates include: * current information on digital technology * an expanded section on directing actors that cross-references thirty exercises * new questionnaires to help you pinpoint a film's aesthetic needs and assess where your vocational strengths lie; and much more. The companion web site includes teaching notes, checklists, and useful forms and questionnaires: http://books.elsevier.com/companions/9780240808826 |
| von triers 1998 comedy film: International Index to Film Periodicals , 1999 |
国外人名中的「de、da、von、van」等具体是什么意思？ - 知乎
Silva，不像德语的Mr. von Neumann之类。 不过传统的名字都不会这么简单，至少有父亲母亲的各一个姓，女性可能还会附上夫姓，特别讲究的还会各取两个姓，比如“自己名字·爷爷·奶奶·外 …
win11如何彻底关闭Hvpe V？ - 知乎
Apr 8, 2022 · cmd按照网上的教程，输入dism.exe / Online / Disable-Feature / FeatureName： Microsoft-Hyper-V-All但
研究生，硕士，博士，phd等这些学历分别是什么？ - 知乎
这么多人几乎没有讲明白的。 研究生分为博士研究生和硕士研究生，但是学历都是研究生学历，这是我国认可的最高学历。
能通俗的讲下什么是辩证唯物主义和历史唯物主义吗？ - 知乎
什么是辩证唯物主义？什么是历史唯物主义？辩证就是不孤立，历史就是不静止，这两者相结合就是，当我们要研究一个问题或者一段过程的时候，不能孤立地静止地只看到这一个问题点或者 …
CPU的主频和睿频到底哪个有用？ - 知乎
大家都知道 CPU 是电脑中负责数据处理的核心部件，CPU的运作原理遵循 冯·诺伊曼结构（von Neumann architecture），因此我们常用的计算机又叫做 冯·诺依曼计算机（von Neumann …
骗哥们可以是什么梗？ - 知乎
Bruder, es ist in Ordnung, Freunde zu täuschen, betrüge dich nicht selbst. Es spielt wirklich keine Rolle, ob der Kumpel von dir getäuscht wird, es wird mit einem haha vorübergehen. Aber ich …
真空中光速为什么是 299792458 米/秒？ - 知乎
为了验证电磁波的理论，并在麦克斯韦的理论和韦伯的理论之间做出判决，赫姆霍兹（Hermann von Helmholtz）让赫兹（Heinrich Hertz）设计了一系列实验。 赫兹通过精巧的实验设计，证 …
历史上最伟大的数学家有哪些 或者 给出top10排名？ - 知乎
从学术水准，学术产量，对后世数学发展的贡献等纯数学角度综合考量，比如像牛顿这种在物理学方面的贡献更…
国外人名中的「de、da、von、van」等具体是什么意思？ - 知乎
Silva，不像德语的Mr. von Neumann之类。 不过传统的名字都不会这么简单，至少有父亲母亲的各一个姓，女性可能还会附上夫姓，特别讲究的还会各取两个姓，比如“自己名字·爷爷·奶奶·外 …
win11如何彻底关闭Hvpe V？ - 知乎
Apr 8, 2022 · cmd按照网上的教程，输入dism.exe / Online / Disable-Feature / FeatureName： Microsoft-Hyper-V-All但
研究生，硕士，博士，phd等这些学历分别是什么？ - 知乎
这么多人几乎没有讲明白的。 研究生分为博士研究生和硕士研究生，但是学历都是研究生学历，这是我国认可的最高学历。
能通俗的讲下什么是辩证唯物主义和历史唯物主义吗？ - 知乎
什么是辩证唯物主义？什么是历史唯物主义？辩证就是不孤立，历史就是不静止，这两者相结合就是，当我们要研究一个问题或者一段过程的时候，不能孤立地静止地只看到这一个问题点或者 …
CPU的主频和睿频到底哪个有用？ - 知乎
大家都知道 CPU 是电脑中负责数据处理的核心部件，CPU的运作原理遵循 冯·诺伊曼结构（von Neumann architecture），因此我们常用的计算机又叫做 冯·诺依曼计算机（von Neumann …
骗哥们可以是什么梗？ - 知乎
Bruder, es ist in Ordnung, Freunde zu täuschen, betrüge dich nicht selbst. Es spielt wirklich keine Rolle, ob der Kumpel von dir getäuscht wird, es wird mit einem haha vorübergehen. Aber ich …
真空中光速为什么是 299792458 米/秒？ - 知乎
为了验证电磁波的理论，并在麦克斯韦的理论和韦伯的理论之间做出判决，赫姆霍兹（Hermann von Helmholtz）让赫兹（Heinrich Hertz）设计了一系列实验。 赫兹通过精巧的实验设计，证 …
历史上最伟大的数学家有哪些 或者 给出top10排名？ - 知乎
从学术水准，学术产量，对后世数学发展的贡献等纯数学角度综合考量，比如像牛顿这种在物理学方面的贡献更…
