Home Detention (Draft Three)

At Law

Ridley Scott ◽

10.5810/kentucky/9780813177083.003.0023 ◽

2019 ◽

pp. 179-187

Author(s):

Vincent LoBrutto

Keyword(s):

Original Screenplay ◽

Cormac Mccarthy ◽

Ridley Scott ◽

Blood Meridian

Ridley Scott was an ardent admirer of noted author Cormac McCarthy. He had earlier come close to adapting one of McCarthy’s novels, Blood Meridian, but in the end found it difficult to translate to the screen and also believed it contained too much graphic violence. When Scott learned that Cormac McCarthy had written his first original screenplay, The Counselor, a deal was struck. The film tells the story of an unnamed lawyer who becomes financially involved with a drug cartel―with a disastrous outcome when the deal goes wrong and the cartel sets about its bloody revenge. The Counselor is a dark and grim film with some violent set pieces that are difficult to watch. The film was poorly received by audiences and critics.

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Analyzing Jordan Peele's Get Out With Fanonism

Advances in Media, Entertainment, and the Arts - Handbook of Research on Contemporary Approaches to Orientalism in Media and Beyond ◽

10.4018/978-1-7998-7180-4.ch005 ◽

2021 ◽

pp. 72-91

Author(s):

Nurdan Akiner

Keyword(s):

African Americans ◽

Critical Theory ◽

Social Life ◽

Original Screenplay ◽

Positive Trend ◽

Colonial Discourse ◽

Cultural Industry ◽

Racial Oppression ◽

Dominant Ideology ◽

Academy Award

The colonial discourse racially defined the others and distinguished between people regarded as barbarous, infidels, and savage, such as the inhabitants of America and Africa. The formal abolition of slavery has not been the solution for Blacks, but they have often been subjected to the domination of sovereign ideology at different social life levels. The dominant ideology in USA is also influential in representing Blacks in the cultural industry. This chapter examines the 2017 film Get Out, directed by Jordan Peele, as an example of the recent diversity positive trend in Hollywood. Peele is the first Black screenwriter to win the Academy Award for Best Original Screenplay. The film was analyzed by Roland Barthes's semiotics theory and Frantz Fanon's critical theory Fanonism. This research shows that Get Out is truly a Black renaissance in Hollywood. The signs of racism skillfully placed in the film were analyzed by focusing on denotative and connotative meanings, and the racial oppression faced by African-Americans throughout history was revealed by regarding Fanonism.

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ReFocus: The Films of Michel Gondry

10.3366/edinburgh/9781474456012.001.0001 ◽

2020 ◽

Keyword(s):

Cultural Identity ◽

English Language ◽

Original Screenplay ◽

Music Videos ◽

Music Video ◽

French And English ◽

History Of ◽

The Mind ◽

Insight Into ◽

Comprehensive Study

The acclaimed French auteur behind the mind-bending modern classic Eternal Sunshine of the Spotless Mind (2004), for which he won an Academy Award for Best Original Screenplay, Michel Gondry has directed innovative, ground-breaking films and documentaries, episodes of the acclaimed television show Kidding and some of the most influential music videos in the history of the medium. In this book, a range of international scholars offers a comprehensive study of this significant and influential figure, covering his French and English-language films and videos, and framing Gondry as a transnational and transcultural auteur whose work provides insight into both French/European and American cinematic and cultural identity. With detailed case studies of films such as Eternal Sunshine of the Spotless Mind (2004), Dave Chappelle’s Block Party (2005), The Science of Sleep (2006), Be Kind Rewind (2008), Mood Indigo (2013) and Microbe & Gasoline (2015), the book examines significant themes throughout Gondry’s filmography including surrealism, adaptation, memory, dreams, play and African-American identity. The book compares Gondry to other filmmakers including Wes Anderson and Jean Vigo, allowing for an understanding of how Gondry’s films might compare with both his global contemporaries and his predecessors in French and international cinema. Furthermore, the book demonstrates how Gondry’s work in narrative film, documentary and music video represents significant innovation in narrative, visual aesthetic, and genre.

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The Big Goodbye

10.5040/9780571370085 ◽

2020 ◽

Author(s):

Sam Wasson

Keyword(s):

Los Angeles ◽

Original Screenplay ◽

American Film ◽

Love Affair ◽

Holy Grail ◽

True Story ◽

Roman Polanski ◽

First Time ◽

Deal Making

Sight & Sound's #1 Film Book of 2020 Chinatown is the Holy Grail of 1970s cinema. Its ending is the most notorious in American film and its closing line of dialogue the most haunting. Here for the first time is the incredible true story of its making. In Sam Wasson's telling, it becomes the defining story of its most colorful characters. Here is Jack Nicholson at the height of his powers, embarking on his great, doomed love affair with Anjelica Huston. Here is director Roman Polanski, both predator and prey, haunted by the savage murder of his wife, returning to Los Angeles, where the seeds of his own self-destruction are quickly planted. Here is the fevered deal-making of 'The Kid' Robert Evans, the most consummate of producers. Here too is Robert Towne's fabled script, widely considered the greatest original screenplay ever written. Wasson for the first time peels off layers of myth to provide the true account of its creation. Looming over the story of this classic movie is the imminent eclipse of the '70s filmmaker-friendly studios as they gave way to the corporate Hollywood we know today.

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Acting

Pier Paolo Pasolini ◽

10.7312/columbia/9780231180306.003.0006 ◽

2017 ◽

pp. 125-146

Author(s):

Gian Maria Annovi

Keyword(s):

Canterbury Tales ◽

Original Screenplay ◽

The Self ◽

Male Body ◽

Arabian Nights ◽

Mise En Scene ◽

Material Element ◽

The Spectator ◽

Queer Performance ◽

The Canterbury Tales

Chapter Five is devoted to films that feature Pasolini in roles that evoke or directly address his authorial function. This is the case for his self-projections onto character-authors such as Chaucer in I racconti di Canterbury (The Canterbury Tales, 1972), or Giotto’s pupil in Il Decameron (The Decameron, 1971). The director’s on-screen performances contribute to the composition of the self-portrait of a multimedia author, and at the same time affirm the intimate bond between work and authorial corporeality. In The Trilogy of Life, Pasolini presents authorship like a corporeal, material element in the film, not a mere abstract function. In doing so, he also develops a discourse of cinematic spectatorship based on the spectator’s recognition of the film’s author. In the case of Il fiore delle mille e una note (Arabian Nights)’s night original screenplay, this recognition would have also included the open representation of Pasolini’s homosexuality, and his sexual encounter with three young Arabs guys. This explicit on-screen queer performance was ultimately not included in the version of Arabian Nights that was actually shot. However, even if the author’s body is not on the screen, through the mise-en-scène of his queer gaze and the explicit depiction of the male body, Pasolini obliges the spectator to participate in the dynamics of homosexual desire, thus challenging the allegedly tolerant society of the 1970s.

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