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Contemporary Hollywood Crime Film and the New Individualism  [cached]
Luis M. García-Mainar
European Journal of American Studies , 2009, DOI: 10.4000/ejas.7650
Abstract: This article focuses on contemporary Hollywood films Silver City (2004), The Constant Gardener (2005) and The Departed (2006) in order to examine the intersection of the cultural discourse of the New Individualism, characterized by the helplessness and anxiety of the subject in the face of social change, with the generic conventions of the crime film. It explores the ways in which such conventions as crosscutting and suspense, the victim-hero of the thriller, or the trope of self-assertion through escape from the social space both articulate the New Individualism discourse and are transformed under its influence.
Gore vidal's early Hollywood: history, fiction and film Gore vidal's early Hollywood: history, fiction and film
Thomas LaBorie Burns
Ilha do Desterro , 2008,
Abstract: Although Gore Vidal has both worked as a Hollywood screenwriter and written criticism on Film—in this regard, he is perhaps best known for a sustained attack on the auteur theory of the magisterial director—I am concerned in this paper mainly with his fiction account of the early days of film-making in his novel Hollywood (1990) and the relation of film to national political life depicted therein. This novel is the sixth in a series that gives a more or less continuous historical picture of the social and political history of the US from colonial times to the present. “Political” for Vidal, however, means primarily the acts of statesmen, diplomats, and high-ranking military personnel, and the social history he presents is that of the upper-class which supplies their ranks, so that what Vidal is in fact offering in these six novels is what one might call the history of the American “movers-and-shakers”. Although Gore Vidal has both worked as a Hollywood screenwriter and written criticism on Film—in this regard, he is perhaps best known for a sustained attack on the auteur theory of the magisterial director—I am concerned in this paper mainly with his fiction account of the early days of film-making in his novel Hollywood (1990) and the relation of film to national political life depicted therein. This novel is the sixth in a series that gives a more or less continuous historical picture of the social and political history of the US from colonial times to the present. “Political” for Vidal, however, means primarily the acts of statesmen, diplomats, and high-ranking military personnel, and the social history he presents is that of the upper-class which supplies their ranks, so that what Vidal is in fact offering in these six novels is what one might call the history of the American “movers-and-shakers”.
Dolores del Río and Lupe Vélez: Working in Hollywood, 1924-1944
Rodríguez, Clara E.;
Norteamérica , 2011,
Abstract: this article focuses on dolores del río and lupe vélez, contextualing their film careers in relation to their reception by their audiences. it focuses on how, despite their generally opposite media representations and personas, they had much in common because they functioned within very similar political-economic contexts. contributing to their commonalities was the film industry's role in casting and representing them in a manner that reflected the hyper-sexuality attributed to latinas, but in a "palatable" -for the times- way. despite different career paths, both were personally involved in transnational circuits, confronted issues of work autonomy, accommodation, resistance and control, and were pressured to play to hollywood stereotypes and to "represent" their communities. the author 's analysis is based on an examination of primary materials dating from 1924 to 1934, and relevant period and contemporary readings and web sources. the article underlines the relevance of their lives to contemporary latina/o actors.
Kate Watson on Reynold Humphries’ Hollywood’s Blacklists  [cached]
European Journal of American Studies , 2008, DOI: 10.4000/ejas.3533
Abstract: Reynold Humphries. Hollywood’s Blacklists: A Political and Cultural History. Edinburgh: Edinburgh University Press, 2008. Reynold Humphries’ Hollywood’s Blacklists provides a comprehensive examination of the historical and political ramifications of the blacklisting process and of Communism in the motion picture industry. His section on ‘The Background’ initially sets up just this, making the debate and dispute accessible even to those not au fait with such knowledge. This section is informat...
The ‘Assymetric Threat’ of Political Discourse  [PDF]
Diamantis Kryonidis
Intellectum , 2008,
Abstract: The linguistic vaccinations of political discourse in terms originated by specialized science vocabularies do not always result to clarity. On the contrary, indeed, they create conditions which eventually threaten citizen’s freedom.
Post-1898 Imaginative Geographies: Puerto Rico Migration in 1950s Film  [cached]
Cynthia Tolentino
Journal of Transnational American Studies , 2011,
Abstract: This essay studies cultural representations of Puerto Rico’s economic boom and 1952 shift in legal status to the Commonwealth of Puerto Rico. It suggests that apprehending these events requires the reframing of Puerto Rican migration as global phenomena. Drawing on the historical and cultural scholarship on Puerto Rican migration, Operation Bootstrap, and US empire, Tolentino analyzes the famous musical film West Side Story (1961), but also the Hollywood film Sabrina (1954) and Island productions El Otro Camino (The Other Road, 1955) and Maruja (1958). In contrast to prevailing views, she interprets these films as narratives about migration and modernization that engage the discourse of sentimental modernization, the figure of the jíbaro, and the idea of small town Puerto Rico. In so doing, they reveal the global vision at the center of the Operation Bootstrap development plan and Commonwealth formation. The concluding section suggests how the films take up issues in Puerto Rico’s historiography. Rather than merely illuminating a forgotten historical period of 1950s Puerto Rico, the 1950s films negotiate Puerto Rico’s geographical, political, and cultural locations by rethinking institutionalized meanings of 1898 in discourses of Puerto Rico historiography and US empire. Proposing new ways of interpreting the introduction of the Commonwealth in 1952 makes possible the revision of dominant conceptions of 1898 rooted in nation, government, and constitutional law.
Metaphors in political discourse
Dikovi? Jovana
Glasnik Etnografskog Instituta SANU , 2010, DOI: 10.2298/gei1001141d
Abstract: This paper analyzes metaphors usage within political discourse, i.e rhetoric of political public speech. The analysis is based on public speech held at Vukovi sabori manifestations from 1987-2005, by active politicians or cultural elite at a given time period. Manifestations such as Vukovi sabori or Saborski dani were created primarily as purely cultural and artistic; however, they have also proven to be a good medium for messages with clear political agenda, hidden in metaphors of the speakers. These metaphors, in a political rhetoric, are thus seen as an instrument used to channel desired aims and win over potential voters. On the other hand, they also could be taken as one of the indicators of ideological-political paradigm change after 2000. In both cases, these metaphors are analyzed as a potential for promoting certain interests carrying heavy influence on key values and attitudes within the political discourse.
''The Only Defense is Excess: Translating and Surpassing Hollywood's Conventions to Establish a Relevant Mexican Cinema
Barreiro Posada,Paula;
Anagramas -Rumbos y sentidos de la comunicación- , 2011,
Abstract: mexico is one of the countries which has adapted american cinematographic genres with success and productivity. this country has seen in hollywood an effective structure for approaching the audience. with the purpose of approaching national and international audiences, meximo has not only adopted some of hollywood cinematographic genres, but it has also combined them with mexican genres such as ''cabaretera'' in order to reflect its social context and national identity. the melodrama and the film noir were two of the hollywood genres which exercised a stronger influence on the golden age of mexican cinema. influence of these genres is specifically evident in style and narrative of the film aventurera (1949). this film shows the links between hollywood and mexican cinema, displaying how some hollywood conventions were translated and reformed in order to create its own mexican cinema. most countries intending to create their own cinema have to face hollywood influence. this industry has always been seen as a leading industry in technology, innovation, and economic capacity, and as the nemesis of local cinema. this case study on aventurera shows that mexican cinema reached progress until exceeding conventions of cinematographic genres taken from hollywood, creating stories which went beyond the local interest.
Latinos in U.S. Film Industry  [PDF]
Beatriz Pe?a Acu?a
Journal of Alternative Perspectives in the Social Sciences , 2010,
Abstract: This text is a reflection of the realization of the dreams of thosemore than eight million Americans of Hispanic origin, which include all the legal Mexican immigrant population, and displayed less real situation of many men and women of Hispanic origin in illegal or integration process in the U.S. Thus, we will focus on Chicano cinema, social cinema and Hollywood cinema, and finally deal with the presence of Hispanic culture in some mythical movies in cinema history. We study how specific social and cultural problems posed by Mexican immigration in the United States is addressed in the film written, directed and produced by Hispanics and other filmmakers of the Hollywood industry. Moreover we revise how Hispanics get involved in the industry: especially to three groups: first, theactors because they often play the role of Hispanic, or to see what role is given both social and starring (if it is considered a hero or a villain, and see what social level holds), second, the directors and third, the producers.
Metaphors in the Romanian Political Discourse  [PDF]
Eliza Filimon
Oceánide , 2012,
Abstract: Many political myths are linguistically shaped through the use of metaphors in Romania media. The social occasion when a text is produced influences the public opinion through the features of the situation and the purposes of the participants. The present paper examines the ever-present political discourse of Romanian politicians and the significance beyond the words chosen to render it, in view of identifying not only recurrent patterns but also pragmatic functions rising to the surface. The domains under scrutiny range from “family” to “sports” and “war”, proving that the most popular areas of interest have the strongest manipulative force.
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