Late style

2017 ◽  
Author(s):  
Ben McCann
Keyword(s):  
Late Style ◽  
The Core ◽  
Male Group ◽  
Mise En Scene ◽  
Location Shooting ◽  
The Look

This last chapter looks at Duvivier’s late style, and makes the case that his final films, before his death in 1967, retain the classicism of mise en scène, the evocative location shooting, and the core thematic concerns – deception, misanthropy, the fragility of the (male) group, the dangerous woman – that characterise Duvivier’s career. It will explore how Duvivier continued to return to source texts (Pot-Bouille [1957], Chair de poule [1963]), made chamber pieces (Marie-Octobre [1959], Diaboliquement vôtre [1967]) and Gothic noir (La Chambre ardente [1962]). This period also saw Duvivier re-imagine the coordinates of French noir and the fantasy film, two genres generally overlooked by most critics at the time. The chapter also evaluates Duvivier’s contributions to the look and logic of the ‘Tradition of Quality’ cinema. He continued to push at the rigid boundaries between commercial and auteur work, working with significant stars (Brigitte Bardot, Danielle Darrieux, Alain Delon and Jean-Pierre Léaud).

Grave Visions: Visual Experience and Adaptation

2021 ◽  
Author(s):  
Richard David Evan
Keyword(s):  
Visual Experience ◽  
Point Of View ◽  
Early Cinema ◽  
Gothic Novel ◽  
Francis Ford Coppola ◽  
Mise En Scene ◽  
Critical Insight ◽  
The Spectator ◽  
The Look ◽  
Insight Into

Rather than approaching the ‘look’ of adaptation through point of view or the ‘vision’ of the adapter, this chapter examines the material, visible texture of screen adaptation. Using two adaptations of Bram Stoker’s gothic novel Dracula, I analyse how each uses mise en scène, cinematography, and editing to thicken and make tangible Stoker’s questioning of the reliability of vision in modernity. The first, Nosferatu (F.W Murnau, 1922) employs the tricks of early cinema to shock spectators, while the second—Bram Stoker’s Dracula (Francis Ford Coppola, 1992)—uses a neo-baroque aesthetic that ruptures the screen and engulfs the spectator, much like one of Dracula’s victims. This chapter suggests that critical insight into an adaptation can be found quite literally in sight, and embraces how the materiality of adaptation overlaps with the materiality of vision.

Discovering Usher

2018 ◽  
pp. 7-10
Author(s):  
Evert Jan van Leeuwen
Keyword(s):  
Target Audience ◽  
The Other ◽  
Audience Member ◽  
Emotional Intensity ◽  
Mise En Scene ◽  
The Look ◽  
New Generation ◽  
Magic Lantern

This introductory chapter provides an overview of House of Usher (1960), which was a part of American International Pictures' TV series The Curse of Corman. This TV series introduced American International's Poe pictures to a new generation. It is the emotional intensity conveyed through the mise-en-scène that sets the Poe pictures apart from their immediate rivals. The Poe pictures appealed to AIP's target audience — teenagers — because their aesthetics were also akin to the look and feel of EC horror comics. More than any of the other Poe pictures, House of Usher is a work of pulp expressionism that appeals to the angst holed up inside the minds of many a teenage audience member. Like a magic lantern, the film projector reveals a series of beautifully crafted, colourful tableau that in sequence give expression to Edgar Allan Poe's vision of human frailty and corruption, and the void that awaits beyond the threshold of life. This book explains why House of Usher has attracted a cult audience for nearly 60 years.

The Look of Usher: Picturing a Story of Death

2018 ◽  
pp. 45-64
Author(s):  
Evert Jan van Leeuwen
Keyword(s):  
Edgar Allan Poe ◽  
Horror Films ◽  
Horror Film ◽  
States Of Mind ◽  
Emotional Feeling ◽  
Mise En Scene ◽  
Natural Forms ◽  
The Look ◽  
Subjective States ◽  
Edvard Munch

This chapter analyses the artistic aspects of House of Usher (1960) to reveal how Roger Corman's crew managed to successfully fuse the dark Romantic tradition to which Edgar Allan Poe belongs with a more expressionist horror film aesthetic that made the film more directly appealing to 1960s horror-movie audiences. Used in the context of low-budget horror films, expressionism should be understood as a term denoting ‘art which depends on free and obvious distortions of natural forms to convey emotional feeling’. House of Usher is not expressionistic because its frames resemble the art of Edvard Munch, but because its mise-en-scène is not naturalistic but functions as a visual vehicle for the expression of subjective states of mind and emotions. In developing House of Usher, Corman told his crew: ‘I never want to see “reality” in any of these scenes’. The décor of the Usher mansion is not designed for verisimilitude, but to give the audience a glimpse at the fear that lurks in the darkest corners of Roderick's psyche.

Retaliation against the outgroup: The role of self-uncertainty

2018 ◽  
Vol 22 (5) ◽  
pp. 708-723 ◽  
Author(s):  
Elizabeth M. Niedbala ◽  
Zachary P. Hohman
Keyword(s):  
University Students ◽  
Social Group ◽  
Defensive Behavior ◽  
Past Research ◽  
Terrorist Group ◽  
The Core ◽  
Male Group ◽  
Group Members

Outgroups who threaten the core aspects of one’s identity, such as one’s social group and its values, may make group members feel self-uncertain. Because past research associates uncertainty with defensive behavior, we propose that self-uncertainty will drive aggressive retaliation against a threatening outgroup. Two experiments tested the role of self-uncertainty in retaliation motivation. In Experiment 1, university students were threatened by their school rival and then reported self-uncertainty and willingness to retaliate. The threat evoked anger and caused male group members to feel significantly more self-uncertain, which was associated with significantly greater retaliation motivation. In Experiment 2, we manipulated Americans’ feelings of self-uncertainty and threat from a terrorist group, ISIS. Uncertain males were significantly more willing to retaliate against ISIS after threats that caused anger and fear. For male group members, outgroup threat increases self-uncertainty, which then motivates them to be more willing to violently retaliate.

Textual Analysis

Saw ◽  
2011 ◽  
pp. 35-42
Author(s):  
Benjamin Poole
Keyword(s):  
White Noise ◽  
Textual Analysis ◽  
Marketing Campaign ◽  
Horror Genre ◽  
Musical Theme ◽  
Mise En Scene ◽  
The Look

This chapter presents a textual analysis of SAW (2004). The look of the SAW film is grimily distinctive; in contrast to the gloss that commercial horror often employs, SAW appears grotty and rancid. The glowing textures and the grimy mise-en-scène create a world that is hyper-real, yet visually compelling. The roots of the film's look would seem to lie within the gorgeous cinematography of 1980s Italian horror. SAW's day-glo chiaroscuro is expressive of the characters' broken subconscious; tenebrous psychological shadows that suggest shady misdeeds and guilt. Meanwhile, SAW's score is composed of incessant white noise; urgent metal throbs, scraping crescendos, empty rises. It is a soundscape that compliments the threatening atmospheres and urban backstages of the SAW universe. The main musical theme of SAW is the incidental score, 'Hello Zepp', a semi-classical piece that uses swelling strings and peaking synths to intense effect. 'Hello Zepp' is used within all of the subsequent SAW films to communicate the final victories of Jigsaw's creed, and also as part of the marketing campaign. With its iconography of harsh reverberations, the theme locates the film within the horror genre, while its swells and strings empower the narrative, adding grandeur to the film's squalor.

scholarly journals The Dynamics of Communication in the Context of Relations and Events Performed on Stage

2019 ◽  
Vol 7 (1) ◽  
pp. 56
Author(s):  
Iva Rosanda Žigo
Keyword(s):  
Media Theory ◽  
Future Research ◽  
Cultural Issues ◽  
The Core ◽  
Communication Processes ◽  
Mise En Scene ◽  
The Media ◽  
Core Issue ◽  
Different Levels

This paper discusses communication processes in the context of performative arts and focuses on staged events as communicative events which disperse messages across different levels and in different directions in order to construct meanings in a multi-layered way, to include artistic, ideological, political and other dimensions. The core issue is the role of the director as the motivating and organizing stance of all the processes that evolve on stage. The modalities of organizing theatrical acts intertwine as the process of directing unfolds, stage after stage, and the ultimate goal to reach the audience needs to be kept in focus the entire time. It is possible to distinguish four such stages mediated specifically by directing itself. Organization of events to be set on the stage and sustained by strategies of communication starts with the abandonment of the literary template, with the articulation of the theatrical concept. The next stage is described in terms of a confrontation between the text and the performance (mise-en-scène), to be followed by the semiotic elaboration of signs which are structured and manipulated with in accordance with a specific directorial concept. Finally, the fourth stage is about creating a meta-text, and at this level, the directed communication connects with current social, political and cultural issues that provide the context to the theatrical expression. This paper provides an overview of most relevant views on this subject excerpted from the field of semiotics and from the theory of theatre communication, and it provides arguments for drawing this area of research into the broader context of the media theory, also announcing future research to pursue this direction of thought.

What face familiarity feelings say about the lateralization of specific entities within the core system

2019 ◽  
Vol 42 ◽  
Author(s):  
Guido Gainotti
Keyword(s):  
Temporal Lobe ◽  
Memory System ◽  
Core System ◽  
The Core ◽  
Memory Traces ◽  
Specific Memory ◽  
Target Article ◽  
Temporal Structures ◽  
The Right

Abstract The target article carefully describes the memory system, centered on the temporal lobe that builds specific memory traces. It does not, however, mention the laterality effects that exist within this system. This commentary briefly surveys evidence showing that clear asymmetries exist within the temporal lobe structures subserving the core system and that the right temporal structures mainly underpin face familiarity feelings.

A scanning electron microscopic study on dissolving process of cholesterol gallstones by chenodeoxycholic acid (CDCA)

1978 ◽  
Vol 36 (2) ◽  
pp. 522-523
Author(s):  
T. Kanetaka ◽  
M. Cho ◽  
S. Kawamura ◽  
T. Sado ◽  
K. Hara
Keyword(s):  
Electron Microscope ◽  
Chenodeoxycholic Acid ◽  
Outer Surface ◽  
Electron Microscopic ◽  
Cholesterol Gallstones ◽  
The Core ◽  
Scanning Electron Microscopic Study ◽  
Scanning Electron Microscopic ◽  
Acceleration Voltage ◽  
Scanning Electron

The authors have investigated the dissolution process of human cholesterol gallstones using a scanning electron microscope(SEM). This study was carried out by comparing control gallstones incubated in beagle bile with gallstones obtained from patients who were treated with chenodeoxycholic acid(CDCA).The cholesterol gallstones for this study were obtained from 14 patients. Three control patients were treated without CDCA and eleven patients were treated with CDCA 300-600 mg/day for periods ranging from four to twenty five months. It was confirmed through chemical analysis that these gallstones contained more than 80% cholesterol in both the outer surface and the core.The specimen were obtained from the outer surface and the core of the gallstones. Each specimen was attached to alminum sheet and coated with carbon to 100Å thickness. The SEM observation was made by Hitachi S-550 with 20 kV acceleration voltage and with 60-20, 000X magnification.

The Structure and Development of Microbodies in the Fat Body and other Tissues of an Insect (Calpodes Ethlius)

1970 ◽  
Vol 28 ◽  
pp. 148-149
Author(s):  
M. Locke ◽  
J. T. McMahon
Keyword(s):  
Electron Microscopy ◽  
Liquid Crystals ◽  
Fat Body ◽  
Competitive Inhibitor ◽  
Dense Core ◽  
Urate Oxidase ◽  
Blood Proteins ◽  
Free Base ◽  
The Core ◽  
The Matrix

The fat body of insects has always been compared functionally to the liver of vertebrates. Both synthesize and store glycogen and lipid and are concerned with the formation of blood proteins. The comparison becomes even more apt with the discovery of microbodies and the localization of urate oxidase and catalase in insect fat body.The microbodies are oval to spherical bodies about 1μ across with a depression and dense core on one side. The core is made of coiled tubules together with dense material close to the depressed membrane. The tubules may appear loose or densely packed but always intertwined like liquid crystals, never straight as in solid crystals (Fig. 1). When fat body is reacted with diaminobenzidine free base and H2O2 at pH 9.0 to determine the distribution of catalase, electron microscopy shows the enzyme in the matrix of the microbodies (Fig. 2). The reaction is abolished by 3-amino-1, 2, 4-triazole, a competitive inhibitor of catalase. The fat body is the only tissue which consistantly reacts positively for urate oxidase. The reaction product is sharply localized in granules of about the same size and distribution as the microbodies. The reaction is inhibited by 2, 6, 8-trichloropurine, a competitive inhibitor of urate oxidase.

Sign in / Sign up

Export Citation Format

Share Document