A Hollywood Life

2019 ◽  
pp. 238-242
Author(s):  
Harlow Robinson
Keyword(s):  
Close Friend ◽  
Movie Industry ◽  
Hollywood Movie

This chapter provides a summary and overview of Milestone’s life and career. In 1979 the Directors Guild of America honored him with a tribute, where various actors and directors praised his contribution to the Hollywood movie industry. Film historian David Parker wrote an appreciation for the printed program, noting his longevity and concern for “social candor.” Journalist Arthur Lewis wrote a profile calling Milestone “modest” and “macho.” His close friend Norman Lloyd described Milestone as “remarkable,” but observed that “personal complications” prevented his huge talent from emerging fully.

scholarly journals What’s the value of a star? Actor familiarity and likeability effects on emotional mimicry of cinematic displays

2019 ◽  
Vol 7 (1) ◽  
pp. 4-16
Author(s):  
Elen Lotman ◽  
Alan Voodla ◽  
Andero Uusberg
Keyword(s):  
Film Industry ◽  
Meta Analysis ◽  
Movie Industry ◽  
Star Power ◽  
Hollywood Films ◽  
Hollywood Movie

AbstractResearchers and practitioners have long been intrigued by the role of stars in the film industry (McDonald 2005). Actors with star status can enhance the economic prospects of a film (Wallace et al. 1993). For instance, replacing average stars with top stars has been shown to increase revenue (Nelson, Glotfelty 2012). A meta-analysis of 61 studies collating data from 1545 films has shown the significant effect of commercial star power on Hollywood films’ revenues (Hofmann, et al. 2017). The Hollywood movie industry can be viewed as a system that maintains and regulates the popularity of existing and emerging stars through agents, producers and award systems (McDonald 2013).

scholarly journals Orange & Teal

2021 ◽  
pp. 1-33
Author(s):  
Jan Koenderink ◽  
Andrea van Doorn
Keyword(s):  
Visual Arts ◽  
Human Anatomy ◽  
Surface Scattering ◽  
Movie Industry ◽  
Depth Analysis ◽  
Hollywood Movie ◽  
Arbitrary Fashion

Abstract ‘Orange & Teal’ has become the preferred ‘look’ of the Hollywood movie industry. Is this craze just another arbitrary fashion? Possibly not, because ‒ apart from the name ‒ this palette has been around for ages in the visual arts. It is variously known as ‘painting in cool and warm,’ drawing a trois croyons, use of a ‘limited palette,’ and so forth. This leaves open the question of whether there might be one or more fundamental reasons for the preference for this particular dichromatic pair. Why not yellow–blue, red–turquoise, or green–purple? Reasons might be sought in human anatomy/physiology, physics of surface scattering, or the ecology of the human Umwelt. An in-depth analysis reveals that all these factors cooperate to render the orange & teal complementary palette indeed special. It involves world, body and mind and has to be understood in a proper semiotical (biological) setting.

RACISM IN THE LAST DECADE OF HOLLYWOOD COMEDY MOVIES

2020 ◽  
Vol 6 (1) ◽  
pp. 55
Author(s):  
Thiska Septa Maiza ◽  
Ida Rochani Adi
Keyword(s):  
African American ◽  
African Americans ◽  
The United States ◽  
Movie Industry ◽  
Race And Racism ◽  
Negative Images ◽  
Hollywood Movies ◽  
The Media ◽  
American Society ◽  
Hollywood Movie

The United States is considered to have entered the post-racial era in the 21st century, where racial preference, discrimination, and prejudice towards minorities, such as African Americans, are supposed to no longer exist. As one of the media that reflected American society, Hollywood movies tried to eliminate the discussion on race and racism. It can be seen in Hollywood movies that begin to eliminate the negative images and stereotypes of African Americans. However, it does not mean that racism vanished from the Hollywood movie industry, especially in comedy movies. Comedy movies are one of the genresthat often involve African-American actors and actresses. Their stereotypes are also commonly used to make humor in the narrative. Therefore, this genre is closely related to racism. However, comedy movies in the last decade, such as Evan Almighty (2007), Wild Hogs (2007), Meet Dave (2008), The Maiden Heist (2009), Last Vegas (2013), Someone Marry Barry (2014), and Going in Style (2017), are not showing any racism on the surface. By using Interdisciplinary as the approach, this research attempts to see how Hollywood presents racism in comedy movies, especially in the last decade. The representation theory is employed to interpret the images, scenes, and dialogues from seven selected comedy movies concerning racism. Meanwhile, the theory of humor is used to find out how racism makes humor occur through African-American characters. The finding of this research indicates that negative images and stereotypes of African Americans are still sustained in Hollywood movies. These depictions are shown covertly. Meanwhile, overt racism indicates that the African American characters are used to make humor occur in comedy movies.Keywords: African American; comedy; Hollywood; humor; racism; representation

To the powerful, everyone is a close friend

2014 ◽  
Author(s):  
Emily Rutter ◽  
Caroline Ashley Wilmuth ◽  
Amy Cuddy
Keyword(s):  
Close Friend

Venus Complete: Recognition of and Respect for the Urethrovaginal Gland and its Function

2019 ◽  
Vol 3 (6) ◽  
Keyword(s):  
Sexual Satisfaction ◽  
Medical Professionals ◽  
Movie Industry ◽  
Human Female ◽  
Female Urethra ◽  
Anatomy And Physiology ◽  
Critical Elements ◽  
Raising Awareness ◽  
Women And Girls ◽  
Pass Through

This article is about women and girls and the potential for major changes. I begin with two premises: first, the urethrovaginal gland (UVG) and its secretion, amrita, are critical elements of being a human female; and, second, there is a genetic underpinning to the robustness of UVG activity and its contribution to sexual satisfaction. The anticipation is that, in addition to facilitating women’s sexual satisfaction both through raising awareness and identifying geneticbased pharmaceuticals, we might also modestly enhance medical care and biomedical research endeavors relevant to human female sexual anatomy and physiology. However, there is substantial, almost uniform ignorance, reticence and untoward prejudice among medical professionals-both clinicians and researchers-that has compromised innumerable girls and women. Most important has been the ubiquitous incorrect presumption that the only fluid to pass through-or issue from-the female urethra is urine. The source of the other important urethral effluent, amrita, is the UVG (sometimes known as the Skene gland), but the UVG has most often been considered a fiction, a myth or irrelevant. Thus, its secretion, amrita, has similarly been considered a fiction, myth or irrelevant. Only one venue has openly acknowledged and exploited amrita: the adult movie industry. However, such endorsement predictably added to the rationales for making light of or ignoring this aspect of femininity.

PINGVINAS IR PROTĖJAS. Įsivaizdavimas kaip kitybė manyje

2007 ◽  
Vol 4 ◽  
pp. 21-37
Author(s):  
Kristupas Sabolius
Keyword(s):  
Fight Club ◽  
The World ◽  
The Moment ◽  
Hollywood Movie

Kitybės klausimas dažniausiai kyla iš ego santykio su kitais arba su pasauliu. Šiame straipsnyje daroma prielaida, kad įsivaizdavimo funkcija ištirpdo subjektą ir jame pačiame atveria intersubjektyvią perspektyvą. Šiuo tikslu sugretinami Sartre’o, Husserlio bei Merleau-Ponty įsivaizdavimo funkcijos tyrimai, kuriuose išryškėja vaizdo kaip iš ego centro išslystančios ribos statusas, ir Holivudo filmo „Kovos klubas“ siužetas. Viename iš šios juostos epizodų pasirodantis pingvinas žymi egologinės schizmos akimirką ir tampa fantazijos apsireiškimu ir įsikūnijimu.Išgryninus žaidybinį, savarankišką ir multiformišką charakterį, galime konstantuoti, kad įsivaizdavimas, jei kalbėtume Kanto terminais, yra ne papildanti tarpinė funkcija, bet transcendentalinio subjekto genezėje atlieka paradoksalų „svetimos vidujybės“ arba „vidinės svetimybės“ vaidmenį. Vaizduotė yra katalizatoriaus, kuris, likdamas šalia, įgalina transcendentalinių formų išsikristalizavimą.Pagrindiniai žodžiai: vaizduotė, įsivaizdavimas, fantazija, ego, kitybė, sąmonė.PENGUIN AND PROTEUSImagination as Otherness in meKristupas Sabolius SummaryThe question of Otherness is usually taken into account while discussing the Ego’s relation with Others as well as with the World. This article is based on the premises that the function of phantasy melts the subjectivity, revealing the perspective of intersubjectivity within it. On this purpose Sartre’s, Husserl’s and Merleau-Ponty’s researches on the function of imagination, which elucidate the image as the boundary slipping from the centre of Ego, are compared to the story of Hollywood’ movie „Fight Club“. The penguin, which appears in one of the episodes, registers the moment of egological schism, thus becoming the revelation and incarnation of phantasy. While the playful, autonomous and multiform character of imaginary is cleared out, we can ascertain, speaking in Kantian terms, that it has not a complementary or intermediary function, but, in the genesis of transcendental subject, plays the paradoxical role of „allien innerness“ or „inner alienity“. Thought remaining always beside, imagination is a catalyzer which enables crystallization of transcendental forms.Keywords: imagination, imaginary, phantasy, ego, otherness, consciousness.

POSITIVE POLITENESS STRATEGIES IN MIDNIGHT IN PARIS MOVIE BY WOODY ALLEN

2018 ◽  
Vol 6 (1) ◽  
pp. 38-52
Author(s):  
Wirdah Amaliyah Permadi
Keyword(s):  
Qualitative Method ◽  
Woody Allen ◽  
Politeness Strategies ◽  
Cooperation Strategy ◽  
Hollywood Movie

This study is an analysis of positive politeness strategies in Midnight in Paris movie by Woody Allen. The writer takes positive politeness strategies in a movie because the writer believes that people can learn pragmatics deeper through a movie and wants to see how the positive politeness strategies are employed in a movie through dialogues, since the writer also believes that understanding politeness is important. The aims of this study are to mention and describe the kinds of positive politeness strategies that are employed by the characters in Midnight in Paris movie and to explain the reasons that influence the characters to employ those strategies. This study uses qualitative method. The source of the data is taken from a Hollywood movie entitled Midnight in Paris by Woody Allen. The data is in the form of sentences which deal with utterances related to the positive politeness strategies. The data are utterances employed by the characters from the movie which indicate positive politeness strategies. The data are analyzed into kinds of positive politeness strategies. The writer finds that there are 13 positive politeness strategies in this movie from 50 data. Exaggerate (interest, approval, sympathy with H) strategy is the most dominant kind of positive politeness strategies employed by the characters in Midnight in Paris movie with 15 data, while both assert or presuppose knowledge of and concern for the hearer’s wants strategy and give gifts to H (goods, sympathy, understanding, cooperation) strategy are the lowest with only 1 datum of each strategy.

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