RACE, MILIEU, AND MOMENT IN “TITANIC” BY JAMES CAMERON: HISTORICAL APPROACH

Literary criticism is defined as a science and try to investigate literary work with analyse and comparison. The purpose of this study is to get some information and to identify the race milieu and moment in literary work. Outlined Hipollyte Taine perspective in three concepts, namely (1) race, (2) Milieu, and (3) Moment. This phenomenon occurs in Titanic film by James Cameron. The researcher using Qualitative descriptive methods to analyse race, milieu and moment in Titanic film by James Cameron. The data collected by recording the data. Data analysed using Hippolyte Taine and Guerin theory for historical biographical approach. The result of analysis found that the disparity in the status of ship passengers for the poorer and upper classes is depicted in James Cameron's film Titanic as evidence of social class inequality. Because of his act of obtaining an award despite being in the lower class, Jack, as a class representative, does not have the right to be considered a person at the bottom. Mileu pits the position of social class against the community, which is backed up by the class division. Meanwhile, Moment is viewed through the lens of a social class that exists between the bourgeoisie and the proletariat, as evidenced by the numerous forms of discrimination discovered.

How aesthetic practitioners can learn from a blockbuster director

Film production has many commonalities between starting and running a business. In this article, Jason Ratcliffe discusses some of the techniques used by film director James Cameron to produce blockbuster hits that can be applied to our thinking when growing an aesthetic clinic's brand

Figura mitologicznej Kasandry w filmach science fiction

The article reflects on how characters with the features of the mythological Cassandra function in science fiction films. Such references are part of the rich tradition of building fictional depictions of the near or distant future on the foundation of mythical stories. The study aimed to examine the considerable and complex meaning which Cassandra conveys through the ages and to determine its usefulness in constructing pop culture ideas about the current condition of humanity. In contemporary fiction, Cassandra is brought to the fore more often than in ancient sources, and her fullest portrait is drawn in those films that both consider her a figure of the powerlessness of the prophets and take into account her personal drama. In Terminator 2: Judgment Day (1991) by James Cameron, 12 Monkeys (1995) by Terry Gilliam, Minority Report (2002) by Steven Spielberg, and Arrival (2016) by Denis Villeneuve, the figure of Cassandra is examined through her prophetic gift, the alleged madness of the seer and the fearfulness of the prophetism itself.

Disciplinary Modernity and the Mechanical Uncanny in James Cameron’s The Terminator (1984)

This paper explores how operations of the mechanical uncanny in the iconic techno-dystopian film, The Terminator, directed by James Cameron in 1984, facilitate a deepening of apperception among sci-fi viewers regarding the perils of naïve technological progressivism. Some significant aspects of the film which have hitherto gone uncriticised pertain to the relationship between bodily discipline and the mechanical uncanny. In the Terminator, we see the extents to which the disciplinary mechanisms of modernity render our bodies docile, and the ways by which our bodies become organized according the logics of a totalizing mechanistic ethos. Therefore, in The Terminator, the uncanny effect created through uncertainty regarding who is human and who is replicant, may not seem so sophisticated or so subtle, but I insist that the uncanny effect leaves the viewer poised with an uncertain affect pertaining to the contents of their own humanity.

How to overcome lockdown: selective isolation versus contact tracing

At this stage of the COVID-19 pandemic, two policy aims are imperative: avoiding the need for a general lockdown of the population, with all its economic, social and health costs, and preventing the healthcare system from being overwhelmed by the unchecked spread of infection. Achieving these two aims requires the consideration of unpalatable measures. Julian Savulescu and James Cameron argue that mandatory isolation of the elderly is justified under these circumstances, as they are at increased risk of becoming severely ill from COVID-19, and are thus likely to put disproportionate strain on limited healthcare resources. However, their arguments for this strategy are contingent on the lack of viable alternatives. We suggest that there is a possible alternative: a mandatory, centralised contact-tracing app. We argue that this strategy is ethically preferable to the selective isolation of the elderly, because it does not target members of a certain group, relying instead on the movements of each individual, and because it avoids the extended isolation of certain members of the society. Although this type of contact-tracing app has its drawbacks, we contend that this measure warrants serious consideration.

Resenha crítica do filme Titanic: Uma análise histórica

A presente resenha baseia-se na análise histórica do filme Titanic. O filme foi lançado em 19 de dezembro 1997 nos Estados Unidos – EUA, sendo escrito, dirigido, co-produzido e co-edificado por James Cameron. Entre os principais personagens pode-se destacar: Leonardo DiCaprio interpretando Jack Dawson, Kate Winslet interpretando Rose DeWitt Bukater, Glória Stuart interpretando Rose Calvert, Bill Paxton interpretando Brock Lovett, Billy Zane interpretando Cal Hockley, Kathy Bates interpretando Molly Brown, Frances Fisher interpretando Ruth DeWitt Bukater, Bernard Hill interpretando o Capitão Edward J. Smith, Jonathan Hyde interpretando J. Bruce Ismay, e Victor Jay Garber interpretando o engenheiro Thomas Andrewns. Trilha sonora composta por James Horner (compositor da música-tema), intérprete (músicas do filme) Céline Dion, e letrista Will Jennings. Equipe técnica composta pelo diretor de fotografia Russell Carpenter, montador James Cameron, e Conrad Buff. Diretor de arte Martin Laing, engenheiro de som Gary Rydstrom, e Gary Summers. Editor dos efeitos especiais e supervisor de efeitos visuais Rob Legato. Empresas envolvidas na produção do filme: 20th Century Fox, Lightstorm Entertainment, Paramount Pictures. Efeitos visuais Digital Domain, distribuidor brasileiro (lançamento) Fox Film do Brasil. Efeitos especiais Industrial Light & Magic (ILM).

Cadre

Chapter three examines Reid’s elevation in the Party. When he finished his national service, Reid became a full-time officer of the YCL which entailed a move from Govan to London. From the provincial working-class culture of Govan he found himself rubbing shoulders with the metropolitan elite which include Michael Foot, Claude Cockburn, James Cameron and others. The first test of his commitment to the party came with the Hungarian Uprising of 1956. The event provoked high profile resignations of some leading Marxist historians, such as EP Thompson and Christopher Hill, but was not enough to shake Reid’s belief in the party and its leadership; indeed, it strengthened it. The chapter also deals with Reid’s domestic life in London as he married in 1958 and became a father soon after. A full-time official’s salary was too meagre to raise a family forcing Reid to resigned his post and return to Glasgow.