Mad Max

2020 ◽  
Author(s):  
Martyn Conterio
Keyword(s):  
Critical Reception ◽  
New Wave ◽  
Cultural Impact ◽  
Artistic Vision ◽  
The Creation ◽  
Rock N Roll ◽  
Action Cinema ◽  
Classical Hollywood

Mad Max (1979) is a freak picture. Too classy and well-crafted to be lumped in with low-budget Ozploitation titles, yet completely unlike other films made during the 1970s Australian New Wave, George Miller's directorial debut is a singular piece of action cinema, one that had a major cultural impact and spawned a movie icon in Max Rockatansky (played by Mel Gibson). This monograph examines the film's considerable formal qualities in detail, including Miller's theory of cinema as “visual rock 'n' roll” and his marriage of classical Hollywood editing and Soviet-style montage. George Miller is arguably the single most important filmmaker in Australia's history, bringing a commercial and artistic vision to the screen few of his compatriots have ever managed before or since. Taking in everything from the film's extremely controversial critical reception to its legacy today via a string of sequels and the creation of an entire subgenre—postapocalyptic action—this book is for film students and fans alike.

scholarly journals An Early European Critic of Hobbes’s De Corpore

2017 ◽  
Vol 30 (1) ◽  
pp. 4-27 ◽  
Author(s):  
Stephen Clucas
Keyword(s):  
Natural Philosophy ◽  
Critical Reception ◽  
Human Being ◽  
The Common ◽  
The Creation ◽  
Common Understanding ◽  
Previous Scholarship ◽  
Philosophical Underpinning ◽  
Scholastic Tradition

The Animadversiones in Elementorum Philosophiae by a little known Flemish scholar G. Moranus, published in Brussels in 1655 was an early European response to Hobbes’s De Corpore. Although it is has been referred to by various Hobbes scholars, such as Noel Malcolm, Doug Jesseph, and Alexander Bird it has been little studied. Previous scholarship has tended to focus on the mathematical criticisms of André Tacquet which Moranus included in the form of a letter in his volume. Moranus’s philosophical objections to Hobbes’s natural philosophy offer a fascinating picture of the critical reception of Hobbes’s work by a religious writer trained in the late Scholastic tradition. Moranus’s opening criticism clearly shows that he is unhappy with Hobbes’s exclusion of the divine and the immaterial from natural philosophy. He asks what authority Hobbes has for breaking with the common understanding of philosophy, as defined by Cicero ‘the knowledge of things human and divine’. He also offers natural philosophical and theological criticisms of Hobbes for overlooking the generation of things involved in the Creation. He also attacks the natural philosophical underpinning of Hobbes’s civil philosophy. In this paper I look at a number of philosophical topics which Moranus criticised in Hobbes’s work, including his mechanical psychology, his theory of imaginary space, his use of the concept of accidents, his blurring of the distinction between the human being and the animal, and his theories of motion. Moranus’s criticisms, which are a mixture of philosophical and theological objections, gives us some clear indications of what made Hobbes’ natural philosophy controversial amongst his contemporaries, and sheds new light on the early continental reception of Hobbes’s work.

Journey to the End of Art: The Evolution of the Novels of Louis-Ferdinand Céline

PMLA ◽  
1972 ◽  
Vol 87 (1) ◽  
pp. 80-89 ◽  
Author(s):  
Colin W. Nettelbeck
Keyword(s):  
Value Of Life ◽  
Western Civilization ◽  
Artistic Vision ◽  
The Creation ◽  
End Of Art ◽  
Negative Reputation

Contrary to its negative reputation, Céline's literary opus, with the exception of Voyage au bout de la nuit, evolves toward a spirit of regeneration. Although inVoyage Céline shows the image of death as a paralyzing force to derive from man's egoism, his own artistic vision remains too self-centered to allow him to follow his intuition of the beauty of life. Mort à crédit, Casse-pipe, and Guignol's Band, as novels of initiation, are an attempt to eradicate this egoism, and the presence of death is now counterbalanced both by a structure that permits of catharsis and by the creation of archetypal figures representing the superior value of life. The pamphlets, despite their treatment of the Jews, emphasize and elucidate this shift towards affirmation. The novels of maturity, Féerie pour une autre fois, D'un château l'autre, and Nord, through their structure and symbolism, make explicit that Céline's basic artistic intention has become not only to transcend the disintegration of Western civilization but to provide the mechanism for a similar transcendence in his reader. In Rigodon, he reaches a level of contemplation from which even the collapse of a civilization can be seen as promising new life.

In perspective: Setting up new Combined Authorities in England: A National Audit Office assessment

2019 ◽  
Vol 34 (2) ◽  
pp. 94-105
Author(s):  
Aileen Murphie
Keyword(s):  
Regional Level ◽  
Elected Officials ◽  
New Wave ◽  
National Audit ◽  
High Point ◽  
Mayoral Elections ◽  
Local Areas ◽  
The Future ◽  
The Creation ◽  
Set Up

In May 2017, nine combined authorities had been created in England. Also, by May 2017, six of the combined authorities had held mayoral elections and England now has six new elected officials at what one might call regional level, elected on turnouts of between 21 and 34% of local electorates. This means that 34% of the population of England now lives in combined authority areas and 22% in combined authority areas with an elected mayor. So, the administrative map of England now looks different and the governance of England is now different. The question is how much the new authorities will matter. The second question is how well combined authorities are set up to benefit local areas. The creation of combined authorities effectively forms a statute-based vehicle to take forward devolution deals. The subsidary question relates to the future of devolution: are the combined authorities now in existence the start of a new wave? Or the high point? In this article I will set out the challenges currently facing the combined authorities and set out the financial context in which they are operating.

scholarly journals ‘If I had more time it could be better, but the new wave’s about spontaneity, right?’: Finding meaning in Britain’s early punk fanzines (1976‐77)

2020 ◽  
Vol 9 (2) ◽  
pp. 223-245 ◽  
Author(s):  
Matthew Worley
Keyword(s):  
United Kingdom ◽  
New Wave ◽  
Cultural Impact ◽  
Cultural Formation ◽  
The United Kingdom ◽  
Finding Meaning

This article uses fanzines produced within the United Kingdom in 1976‐77 to explore how punk’s politics, production and cultural impact were understood by those first enticed by the new wave. It is divided into three principal sections, the first offering some context: a rough survey of who made fanzines and how. The second explores definitions of punk’s new wave, looking at how emergent cultures were understood and the rationale applied to any point or purpose. Third, the inherent tensions of punk’s cultural formation are teased from fanzine editorials and articles seeking to maintain the momentum of 1976‐77 and protect against perceived infiltration or dilution. In each case, choice examples are given and the article is not meant to suggest any definitive reading. Rather, the objective is to test, challenge and confirm recurring punk myths and give voice to those who were there without enabling any conceited subjectivity to transform into universalism.

Otherness: the Director and the Discovery of the Actor

1998 ◽  
Vol 14 (53) ◽  
pp. 3-8
Author(s):  
Charles Marowitz
Keyword(s):  
United States ◽  
Open Space ◽  
The Other ◽  
New Wave ◽  
Alternative Approach ◽  
Peter Brook ◽  
The Creation ◽  
Formative Years

Charles Marowitz worked extensively as a director in Britain from the late 'fifties through the 'seventies, and was one of the editors of the influential Encore magazine in the formative years of the ‘new wave’. His free-lance work included the co-direction with Peter Brook of the seminal ‘Theatre of Cruelty’ season, and the premiere production of Joe Orton's Loot. Later, in partnership with Jim Haynes, a season at the London Traverse Theatre led to the creation of his own, more enduring Open Space Theatre in a basement in Tottenham Court Road – one of the identifying events of 1968 and its theatrical aftermath. Since returning to his native United States, Marowitz has worked out of Malibu, and continued his parallel role as writer – in which he has become best known for his sequence of ‘collage’ Shakespeares ranging from Hamlet to The Shrew, and also as a self-professed ‘counterfeit critic’ and theoretician of acting and directing. The following article also forms the final chapter of his latest book, The Other Way: an Alternative Approach to Acting and Directing, to be published by Applause Books later this year. It represents, also, a concise charting of his own voyage of discovery – of the role of the director, and of the recognition of the autonomy and ‘higher calling’ of the actor that this has involved.

John Lasseter

2016 ◽  
Author(s):  
Richard Neupert
Keyword(s):  
Corporate Culture ◽  
Computer Animation ◽  
Technical Skill ◽  
Artistic Development ◽  
Artistic Vision ◽  
Commercial Medium ◽  
Computer Generated Imagery ◽  
Classical Hollywood

Celebrated as Pixar's “Chief Creative Officer,” John Lasseter is a revolutionary figure in animation history and one of today's most important filmmakers. Lasseter films from Luxo Jr. to Toy Story and Cars 2 highlighted his gift for creating emotionally engaging characters. At the same time, they helped launch computer animation as a viable commercial medium and serve as blueprints for the genre's still-expanding commercial and artistic development. This book explores Lasseter's signature aesthetic and storytelling strategies and details how he became the architect of Pixar's studio style. The book contends that Lasseter's accomplishments emerged from a unique blend of technical skill and artistic vision, as well as a passion for working with collaborators. In addition, the book traces the director's career arc from the time Lasseter joined Pixar in 1984. As it shows, Lasseter's ability to keep a foot in both animation and computer-generated imagery allowed him to thrive in an unconventional corporate culture that valued creative interaction between colleagues. The ideas that emerged built an animation studio that updated and refined classical Hollywood storytelling practices—and changed commercial animation forever.

scholarly journals Remembering Thomas Becket in Saint-Lô

Arts ◽  
2021 ◽  
Vol 10 (3) ◽  
pp. 67
Author(s):  
Alyce A. Jordan
Keyword(s):  
Nineteenth Century ◽  
Middle Ages ◽  
New Wave ◽  
Stained Glass ◽  
Artistic Production ◽  
The Creation ◽  
The Town ◽  
The Middle Ages

France numbered second only to England in its veneration of the martyred archbishop of Canterbury. Nowhere in France was that veneration more widespread than Normandy, where churches and chapels devoted to Saint Thomas, many embellished with sculptures, paintings, and stained-glass windows, appeared throughout the Middle Ages. A nineteenth-century resurgence of interest in the martyred archbishop of Canterbury gave rise to a new wave of artistic production dedicated to him. A number of these modern commissions appear in the same sites and thus in direct visual dialogue with their medieval counterparts. This essay examines the long legacy of artistic dedications to Saint-Thomas in the town of Saint-Lô. It considers the medieval and modern contexts underpinning the creation of these works and what they reveal about Thomas Becket’s enduring import across nine centuries of Saint-Lô’s history.

Breaking the Wave

2019 ◽  
pp. 70-110
Author(s):  
Victor Fan
Keyword(s):  
Hong Kong ◽  
Women Filmmakers ◽  
New Wave ◽  
Pier Paolo Pasolini ◽  
Commercial Television ◽  
Free Indirect Discourse ◽  
Gay Male ◽  
Male Characters ◽  
Indirect Discourse ◽  
Classical Hollywood

This chapter asks the question: Can women filmmakers, cinematic spectators, and televisual viewers speak from their doubly––sociopolitically and gendered––extraterritorialised position? It -historicises the theoretical discourse and film practice of the first phase (1968–78) of the Hong Kong New Wave from the perspectives of women filmmakers and critics. It also discusses three different ways by which women speak through the cinema and television as authors, all aiming to establish what Pier Paolo Pasolini (1922–75) would call a free indirect discourse. For independent filmmaker Tang Shu-hsuen, through unlearning Euro-American aesthetics and relearning medieval Chinese one from the perspective of modern women, a cinema specific to the extraterritorial position of a Hong Kong female spectator can be fostered. For screenwriter Joyce Chan and her collaborator director Patrick Tam, a free indirect discourse can only be achieved when the addresser-message-addressee mode of communication in commercial television is actively challenged. Finally, for director Ann Hui and screenwriter Shu Kei and Wong Chi, the classical Hollywood paradigm can be reconfigured to enable desubjectivised and abjectivised gay male characters to negotiate their traumas and desires in terms that are understandable by heterosexual and heteronormative viewers.

Demystifying “Little Pink”: The creation and evolution of a gendered label for nationalistic activists in China

2017 ◽  
Vol 20 (6) ◽  
pp. 2162-2185 ◽  
Author(s):  
Kecheng Fang ◽  
Maria Repnikova
Keyword(s):  
Online Community ◽  
Digital Data ◽  
New Wave ◽  
Digital Activism ◽  
Contemporary China ◽  
The Creation ◽  
The Cross ◽  
Election Results ◽  
Radical Nationalism

In 2016, Little Pink has emerged as the label for a new wave of female-led cyber-nationalism in China. While increasingly popularized in media and online discourses, little is known about the evolution of this label and its significance for our understanding of China’s digital activism. This article takes the first step at unraveling the Little Pink mystery by examining its origins and contestation in China’s online community during the cross-strait memes war of 2016 when mainland nationalists mobilized to challenge Taiwan’s election results. Drawing on multifaceted digital data, this study shows that Little Pink was an invented label and that gender was used by conflicting cyber groups in their attempts at reframing the imagery of nationalism. More broadly, this article demonstrates that cyber-nationalism is a phenomenon contested across different digital groups in China, and it should be analyzed more as a case of ambivalence in digital activism than as a manifestation of state propaganda or growing radical nationalism in contemporary China.

Sign in / Sign up

Export Citation Format

Share Document