Thursday, 5 May 2011
Gorillaz - Postmodern?
Freaky music at about 1.15 is haunted like and is not expected of the genre
Lots of chuckling and laughing in video are also put on the radio versions too which is unlikely to keep the special effects sounds out of the video format
Video all in cartoon which is rarely seen and keeps it unique
Mixing rap with dreary speaking lyrics mixes genres
Animal like (gorilla like) mumbling and rustling which is irony from the band name
Mixes humour of gorilla bums and man being groped with the sad lyrics and scary storyline - irony once again
Lot of The Gorillaz videos follow the same sort of theme mixing reality with cartoon and they even bring these cartoon characters to stage
Monday, 2 May 2011
Timbaland
Kramers Theory
The entire song is ironic as Timbaland is constantly making references to a Drive Through Restaurant and food to compare being with a woman
Even though when listened to carefully the lyrics are humerously bad, the song still ironically works as you do get that the song is basically one big metaphor to sexual references.
The music in the song sounds like jingling bells all the way through - once again nothing like what you would expect from such a renound dj like Timbaland. The music doesnt even run parralell with the lyrics to the song yet somehow the tinny beat in the background works
The song is unique and welcomes controversy as some women may find the song belittling to women - comparing us to going through a drive through and basically a 'piece of meat'
Stockhausen
Kramers Theory
The fact this is done in helicopters is ironic. As you automatically presume the music is going to sound rubbish and of poor quality, yet once listened to carefully, you can hear the quality of what is going on.
Also displays how there is no boundaries in music - anything is possible and can be done with a bit of creativity and imagination
Sort of mixes genres as you would associate a big expensive helicopter to be associates with a hiphop sort of genre with the artist trying to show off their wealth, whereas this music is obviously classical
No boundaries to producing music - technology allows you to create a unique peice even thousands of feet in the sky with a video camera.
Kramer - His View and My Translation
1. is not simply a repudiation of modernism or its continuation, but has aspects of both a break and an extension
- ?
2. is, on some level and in some way, ironic
- sometimes funny in the way it twists things - controversial
3. does not respect boundaries between sonorities and procedures of the past and of the present
- there is no boundaries in post modern music - anything is possible
4. challenges barriers between 'high' and 'low' styles
- mixes genres together
5. shows disdain for the often unquestioned value of structural unity
- ?
6. questions the mutual exclusivity of elitist and populist values
- has people unsure of their views and has them questioning with their original values
7. avoids totalizing forms (e.g., does not want entire pieces to be tonal or serial or cast in a prescribed formal mold)
- wants every piece to be unique and not formed from another peice of work
8. considers music not as autonomous but as relevant to cultural, social, and political contexts
- music is used for more reasons than just enjoyment - to display morals and share views on society
9. includes quotations of or references to music of many traditions and cultures
- mixes many societies to create pieces that will appeal to people of many traditions and cultures.
10. considers technology not only as a way to preserve and transmit music but also as deeply implicated in the production and essence of music
- technology isnt just to save music and record onto, but to produce music that is unique to each individual due to its diversity
11. embraces contradictions
- welcomes irony and controversy
12. distrusts binary oppositions
- wont mix binary opposites
13. includes fragmentations and discontinuities
- ?
14. encompasses pluralism and eclecticism
-?
15. presents multiple meanings and multiple temporalities
- music isnt just to listen to, its to share many messages
16. locates meaning and even structure in listeners, more than in scores, performances, or composers
- hits the audience directly and makes them think about what theyve just listened to
- ?
2. is, on some level and in some way, ironic
- sometimes funny in the way it twists things - controversial
3. does not respect boundaries between sonorities and procedures of the past and of the present
- there is no boundaries in post modern music - anything is possible
4. challenges barriers between 'high' and 'low' styles
- mixes genres together
5. shows disdain for the often unquestioned value of structural unity
- ?
6. questions the mutual exclusivity of elitist and populist values
- has people unsure of their views and has them questioning with their original values
7. avoids totalizing forms (e.g., does not want entire pieces to be tonal or serial or cast in a prescribed formal mold)
- wants every piece to be unique and not formed from another peice of work
8. considers music not as autonomous but as relevant to cultural, social, and political contexts
- music is used for more reasons than just enjoyment - to display morals and share views on society
9. includes quotations of or references to music of many traditions and cultures
- mixes many societies to create pieces that will appeal to people of many traditions and cultures.
10. considers technology not only as a way to preserve and transmit music but also as deeply implicated in the production and essence of music
- technology isnt just to save music and record onto, but to produce music that is unique to each individual due to its diversity
11. embraces contradictions
- welcomes irony and controversy
12. distrusts binary oppositions
- wont mix binary opposites
13. includes fragmentations and discontinuities
- ?
14. encompasses pluralism and eclecticism
-?
15. presents multiple meanings and multiple temporalities
- music isnt just to listen to, its to share many messages
16. locates meaning and even structure in listeners, more than in scores, performances, or composers
- hits the audience directly and makes them think about what theyve just listened to
Friday, 15 April 2011
CD
1. Kanye West - Goldigger
Reminds me of the good old days at Brockington
2. Ashanti - Leaving
Splitting up with my first proper long-term boyfriend who treated me like crap and finally putting my foot down
3. Ja Rule ft Ashanti -Always on Time
Love this song
4. P Diddy - I'll be missing you
Losing Shannon Burns - this was played at her funeral and never fails to make me cry and remember her for the loving amazing girl she was
5. Sean Paul - Gimme the Light
Reminds me of when my Mum used to be nice
6. Alicia Keys - Doesnt mean anything
Mum leaving and me now hating her. Everything we had now means nothing
7. Yolanda be Cool - We no Speak no Americano
Going Magaluff with my amazing best friends. Best 12 days of my life by far!
8. Dizzee Rascall - Fix up look sharp
Seeing Dizzee in Magaluff and going back stage
9. Eminem - The way I am
Finally realising that people should accept me for who and what i am and i need to stop caring what people think all the time
10. Snow Patrol- Chasing Cars
Love this song
11. Afrojack - Take over Control
Turning 18 and this always being played in Life with me and Laura lovinggggg it
12. Tpain ft Dizzee Rascall - Im sprung remix
Loveeeee this song
13. Trey Songz - Bottoms up
Going out at the weekends with my best mates who are now majority 18 so we can all go town as a group
14. Nicki Minaj ft Drake - Moment for life
Content with life at the moment and feel everything is finally working out for the best
Reminds me of the good old days at Brockington
2. Ashanti - Leaving
Splitting up with my first proper long-term boyfriend who treated me like crap and finally putting my foot down
3. Ja Rule ft Ashanti -Always on Time
Love this song
4. P Diddy - I'll be missing you
Losing Shannon Burns - this was played at her funeral and never fails to make me cry and remember her for the loving amazing girl she was
5. Sean Paul - Gimme the Light
Reminds me of when my Mum used to be nice
6. Alicia Keys - Doesnt mean anything
Mum leaving and me now hating her. Everything we had now means nothing
7. Yolanda be Cool - We no Speak no Americano
Going Magaluff with my amazing best friends. Best 12 days of my life by far!
8. Dizzee Rascall - Fix up look sharp
Seeing Dizzee in Magaluff and going back stage
9. Eminem - The way I am
Finally realising that people should accept me for who and what i am and i need to stop caring what people think all the time
10. Snow Patrol- Chasing Cars
Love this song
11. Afrojack - Take over Control
Turning 18 and this always being played in Life with me and Laura lovinggggg it
12. Tpain ft Dizzee Rascall - Im sprung remix
Loveeeee this song
13. Trey Songz - Bottoms up
Going out at the weekends with my best mates who are now majority 18 so we can all go town as a group
14. Nicki Minaj ft Drake - Moment for life
Content with life at the moment and feel everything is finally working out for the best
Thursday, 17 March 2011
in what ways can Inglorious Basterds and Fight Club be considered postmodern?
Inglorious Basterds
Inglorious Basterds was produced by Quentin Tarantino and is a historically inaccurate film of WW2. There are many postmodern elements used by Tarantino in this film which add a clever twist to it.
A huge part of the film which is postmodern is the way it is so different to a real account of WW2. Elements such as the fact Hitler is murdered (in comparison to real life where he committed suicide) is very controversial as in a War film you would not expect a director to make such a huge change to real life. Also, the whole idea of the Basterds is obviously made up. The mix of fact and fiction in this film is what makes such a big impact on the audience and is probably what made it such a successful film. Brad Pitt, the 'lead Basterd' so to speak, is in charge of a group of men who are seeking revenge on the Nazis/German soldiers to get justice for the Jews. Unlike in real history, Pitt demans 100 scalps from each of his men, which is inaccurate in many ways- the main reason being men were shot in the war and generally not scalped after.
Another clear element of postmodernism is the music. Even though the film is set in the 40's, the non-diegetic music has been incorporated from all sorts of genres and eras. A lot of the music is from Spaghettti Westerns such as tracks in "The Good, The Bad and The Ugly". At one point when Shoshanna is doing her hair and makeup, we even hear a David Bowey track which we was obviously not released in the 40's. Although this music is completely mixing up the genre of the film and the music, the music however does work and you never find yourself wondering why a certain track has been used.
Another scene that you would never expect to see in any film is the bit where we see Shoshanna in her cinema walking from room to room. This scene has been done in a birds-eye view which shows that the cinema is of course a film set. This is breaking all the rules of films - to allow the audience to break put of escapism and through into reality and remember that it is all made up. This 'self reflexity' has been carefully planned by Tarantino and instead of questioning why he did it you feel like it actually works for the film.
In Inglorious Basterds we also witness alot of intertexuality. The doorway scene at the start of the film involving Hans Landa watching Shoshanna running off into the distance is similar to the scene done in 'The Searchers'. Furthermore, the scene when the soldier gets shot in the eye is intertexuality from the film 'Nations Pride'. The scene when the Basterds are in the bar with a Nazi soldier is also significant. When things start to get heated we see a shotgun behind the bar with the bartender slowly reaching for it and placing his hand on the trigger. This is similar to many Westerns where keeping a gun with you behind the bar was a common thing to do. This Western influence also compliments the odd bit of Western music we also hear throughout the film. Furthermore, there are many clues that this film is by Tarantino. Firstly, the bold yellow writing which flashes up is a clear 'Tarantino colour' - state Kill Bill. Also, we see Hans Landa take Bridgets' shoe - this reflects Tarantinos' foot fettish which we see in many of his films (such as the opening to Pulp Fiction).
One clear postmodern element throughout the film is the opening and the way the film is seperated up. The 'Once upon a time' opening straight leaves an enigma code with the audience as you then question the validity of this war films storyline. Also, the way it is split up into chapters is an unlikely way of making the film. The way Inglorious Basterds is made is like it is making a new reality, as an audience we become absorbed and accept this new reality, and actually by the end of it, believe it.'
Fight Club
Fight Club is a successful film directed by David Fincher starring Brad Pitt and Ed Norton. Once again, this film uses many postmodern elements which has contributed to its huge success.
Firstly, the obvious point to be made would be the narration over the top of the film. The narrator fills in extra detail and any gaps in our knowledge as we go along. However, we do start to doubt this narrator as we find he has no name for the first 2/3 of the film. This anonymity makes us feel distant from the narrator and wonder what he is hiding from us and why - another enigma code to draw the audience in and keep watching.
The fact Ed Norton plays a man with no name for the majority of the film is a very rare thing to watch in the film, however you dont find yourself dwelling on it until near the end. This postmodern element keeps us in suspense and makes the character far more interesting to watch.
Also, if you watch closely at the start and at the very end the director has included some subliminal elements which you would miss with a blink of an eye. When we first meet Ed Norton, we see various flashes of what appears to be another person. This person is ghost like and reflects Eds' desireable self who is played by Brad Pitt. This character however does not come into it fully until Ed has completely gone mad and then Brad Pitt is suddenly there fully and not as just a ghost like figure. At this point as an audience we now believe that there is the nameless character and Tyler Durden. This is pieced together at the end when we realise they are both Tyler - this clever twist is postmodern in the way it keeps a secret from the audience. Normally as the audience we look on as a 3rd person and can see many of the storylines developing within films.
There is also a postmodern examination of masculinity. The film starts with men looking weak and vulnerable but then progresses as Fight Club and Project Mayhem are formed. By rebelling in such a way Tyler starts to get his masculinity back as he is not conforming to society and doing the everyday 'norms'. This aspect is very strange as we then discover later on that obviously Tyler is mentally not right which makes us question the men in the film as why would anyone follow or be influenced by a lunatic? This suggests that the men are desperate at this point and will accept help off anyone who will help them rebel and become their ideal selfs. This is shown through the way they all seem content and happy with what they are doing to society- even though they are actually destroying it through vandalism and harming eachother through fighting. The organisation is fascistic in the way by the end of it they are wearing uniforms,having homework, having the same haircuts etc. These factors make Tyler look like some sort of dictator who believes he can help society -when infact all he has created is a group of men who are unhappy with who they are and influenced them to fight and cause mayhem.
To continue, there is also a clear intertexual reference in the scene at the end where Tyler meets Marla in the cafe. On the marquee outside is a cinema advertising 'Seven Years in Tibet' - this poor film by Pitt was a flop and is humerous that they have decided to place that film in the shot.
Inglorious Basterds was produced by Quentin Tarantino and is a historically inaccurate film of WW2. There are many postmodern elements used by Tarantino in this film which add a clever twist to it.
A huge part of the film which is postmodern is the way it is so different to a real account of WW2. Elements such as the fact Hitler is murdered (in comparison to real life where he committed suicide) is very controversial as in a War film you would not expect a director to make such a huge change to real life. Also, the whole idea of the Basterds is obviously made up. The mix of fact and fiction in this film is what makes such a big impact on the audience and is probably what made it such a successful film. Brad Pitt, the 'lead Basterd' so to speak, is in charge of a group of men who are seeking revenge on the Nazis/German soldiers to get justice for the Jews. Unlike in real history, Pitt demans 100 scalps from each of his men, which is inaccurate in many ways- the main reason being men were shot in the war and generally not scalped after.
Another clear element of postmodernism is the music. Even though the film is set in the 40's, the non-diegetic music has been incorporated from all sorts of genres and eras. A lot of the music is from Spaghettti Westerns such as tracks in "The Good, The Bad and The Ugly". At one point when Shoshanna is doing her hair and makeup, we even hear a David Bowey track which we was obviously not released in the 40's. Although this music is completely mixing up the genre of the film and the music, the music however does work and you never find yourself wondering why a certain track has been used.
Another scene that you would never expect to see in any film is the bit where we see Shoshanna in her cinema walking from room to room. This scene has been done in a birds-eye view which shows that the cinema is of course a film set. This is breaking all the rules of films - to allow the audience to break put of escapism and through into reality and remember that it is all made up. This 'self reflexity' has been carefully planned by Tarantino and instead of questioning why he did it you feel like it actually works for the film.
In Inglorious Basterds we also witness alot of intertexuality. The doorway scene at the start of the film involving Hans Landa watching Shoshanna running off into the distance is similar to the scene done in 'The Searchers'. Furthermore, the scene when the soldier gets shot in the eye is intertexuality from the film 'Nations Pride'. The scene when the Basterds are in the bar with a Nazi soldier is also significant. When things start to get heated we see a shotgun behind the bar with the bartender slowly reaching for it and placing his hand on the trigger. This is similar to many Westerns where keeping a gun with you behind the bar was a common thing to do. This Western influence also compliments the odd bit of Western music we also hear throughout the film. Furthermore, there are many clues that this film is by Tarantino. Firstly, the bold yellow writing which flashes up is a clear 'Tarantino colour' - state Kill Bill. Also, we see Hans Landa take Bridgets' shoe - this reflects Tarantinos' foot fettish which we see in many of his films (such as the opening to Pulp Fiction).
One clear postmodern element throughout the film is the opening and the way the film is seperated up. The 'Once upon a time' opening straight leaves an enigma code with the audience as you then question the validity of this war films storyline. Also, the way it is split up into chapters is an unlikely way of making the film. The way Inglorious Basterds is made is like it is making a new reality, as an audience we become absorbed and accept this new reality, and actually by the end of it, believe it.'
Fight Club
Fight Club is a successful film directed by David Fincher starring Brad Pitt and Ed Norton. Once again, this film uses many postmodern elements which has contributed to its huge success.
Firstly, the obvious point to be made would be the narration over the top of the film. The narrator fills in extra detail and any gaps in our knowledge as we go along. However, we do start to doubt this narrator as we find he has no name for the first 2/3 of the film. This anonymity makes us feel distant from the narrator and wonder what he is hiding from us and why - another enigma code to draw the audience in and keep watching.
The fact Ed Norton plays a man with no name for the majority of the film is a very rare thing to watch in the film, however you dont find yourself dwelling on it until near the end. This postmodern element keeps us in suspense and makes the character far more interesting to watch.
Also, if you watch closely at the start and at the very end the director has included some subliminal elements which you would miss with a blink of an eye. When we first meet Ed Norton, we see various flashes of what appears to be another person. This person is ghost like and reflects Eds' desireable self who is played by Brad Pitt. This character however does not come into it fully until Ed has completely gone mad and then Brad Pitt is suddenly there fully and not as just a ghost like figure. At this point as an audience we now believe that there is the nameless character and Tyler Durden. This is pieced together at the end when we realise they are both Tyler - this clever twist is postmodern in the way it keeps a secret from the audience. Normally as the audience we look on as a 3rd person and can see many of the storylines developing within films.
There is also a postmodern examination of masculinity. The film starts with men looking weak and vulnerable but then progresses as Fight Club and Project Mayhem are formed. By rebelling in such a way Tyler starts to get his masculinity back as he is not conforming to society and doing the everyday 'norms'. This aspect is very strange as we then discover later on that obviously Tyler is mentally not right which makes us question the men in the film as why would anyone follow or be influenced by a lunatic? This suggests that the men are desperate at this point and will accept help off anyone who will help them rebel and become their ideal selfs. This is shown through the way they all seem content and happy with what they are doing to society- even though they are actually destroying it through vandalism and harming eachother through fighting. The organisation is fascistic in the way by the end of it they are wearing uniforms,having homework, having the same haircuts etc. These factors make Tyler look like some sort of dictator who believes he can help society -when infact all he has created is a group of men who are unhappy with who they are and influenced them to fight and cause mayhem.
To continue, there is also a clear intertexual reference in the scene at the end where Tyler meets Marla in the cafe. On the marquee outside is a cinema advertising 'Seven Years in Tibet' - this poor film by Pitt was a flop and is humerous that they have decided to place that film in the shot.
Tuesday, 15 March 2011
Female Superheroes
American Dream (Marvel Comics-MC2)
Batgirl (DC Comics)
Batwoman (DC Comics)
Boom Boom (Marvel Comics
Captain Universe (Marvel Comics)
Catwoman (DC comics)
Elasti-Girl (DC Comics)
Invisible Woman (Marvel Comics)
Spider-Woman (Marvel Comics
Batgirl (DC Comics)
Batwoman (DC Comics)
Boom Boom (Marvel Comics
Captain Universe (Marvel Comics)
Catwoman (DC comics)
Elasti-Girl (DC Comics)
Invisible Woman (Marvel Comics)
Spider-Woman (Marvel Comics
marvel comics superheroes
Overview
Marvel Publishing, Inc., commonly referred to as Marvel Comics, is an American company that publishes comic books and related media. Marvel Entertainment, Inc., a subsidiary of The Walt Disney Company, owns Marvel Publishing.[2]
The comic book arm of the company started in 1939 as Timely Publications, and by the early 1950s had generally become known as Atlas Comics. Marvel's modern incarnation dates from 1961, with the company later that year launching Fantastic Four and other superhero titles created by Stan Lee, Jack Kirby, Steve Ditko, and others.
Marvel counts among its characters such well-known properties as Spider-Man, Iron Man, the X-Men, the Hulk, the Fantastic Four, Captain America, Daredevil, Thor, the Punisher, Doctor Strange, and the Silver Surfer; antagonists such as Doctor Doom, the Green Goblin, Doctor Octopus, Venom, Magneto, Galactus, and the Red Skull; and others. Most of Marvel's fictional characters operate in a single reality known as the Marvel Universe, with locales set in real-life cities such as New York, Los Angeles and Chicago.
1960's
The first modern comic books under the Marvel Comics brand were the science-fiction anthology Journey into Mystery #69 and the teen-humor title Patsy Walker #95 (both cover dated June 1961), which each displayed an "MC" box on its cover.[13] Then, in the wake of DC Comics' success in reviving superheroes in the late 1950s and early 1960s, particularly with the Flash, Green Lantern, and other members of the team the Justice League of America, Marvel followed suit.[14] The introduction of modern Marvel's first superhero team, in The Fantastic Four #1, cover-dated November 1961,[15] began establishing the company's reputation. From then until the end of 1969, Marvel published a total of 831 comic books with at least one new superhero story,[16] the majority of them written by editor-in-chief Stan Lee, in addition to a smattering of Western (such as Rawhide Kid), humor (such as Millie the Model), romance (such as Love Romances), and war comics like Sgt. Fury and his Howling Commandos.
Marvel Publishing, Inc., commonly referred to as Marvel Comics, is an American company that publishes comic books and related media. Marvel Entertainment, Inc., a subsidiary of The Walt Disney Company, owns Marvel Publishing.[2]
The comic book arm of the company started in 1939 as Timely Publications, and by the early 1950s had generally become known as Atlas Comics. Marvel's modern incarnation dates from 1961, with the company later that year launching Fantastic Four and other superhero titles created by Stan Lee, Jack Kirby, Steve Ditko, and others.
Marvel counts among its characters such well-known properties as Spider-Man, Iron Man, the X-Men, the Hulk, the Fantastic Four, Captain America, Daredevil, Thor, the Punisher, Doctor Strange, and the Silver Surfer; antagonists such as Doctor Doom, the Green Goblin, Doctor Octopus, Venom, Magneto, Galactus, and the Red Skull; and others. Most of Marvel's fictional characters operate in a single reality known as the Marvel Universe, with locales set in real-life cities such as New York, Los Angeles and Chicago.
1960's
The first modern comic books under the Marvel Comics brand were the science-fiction anthology Journey into Mystery #69 and the teen-humor title Patsy Walker #95 (both cover dated June 1961), which each displayed an "MC" box on its cover.[13] Then, in the wake of DC Comics' success in reviving superheroes in the late 1950s and early 1960s, particularly with the Flash, Green Lantern, and other members of the team the Justice League of America, Marvel followed suit.[14] The introduction of modern Marvel's first superhero team, in The Fantastic Four #1, cover-dated November 1961,[15] began establishing the company's reputation. From then until the end of 1969, Marvel published a total of 831 comic books with at least one new superhero story,[16] the majority of them written by editor-in-chief Stan Lee, in addition to a smattering of Western (such as Rawhide Kid), humor (such as Millie the Model), romance (such as Love Romances), and war comics like Sgt. Fury and his Howling Commandos.
Spiderman
Spider-Man is a fictional Marvel Comics superhero. The character was created by writer-editor Stan Lee and writer-artist Steve Ditko. He first appeared in Amazing Fantasy #15 (Aug. 1962). Lee and Ditko conceived of the character as an orphan being raised by his Aunt May and Uncle Ben, and as a teenager, having to deal with the normal struggles of adolescence in addition to those of a costumed crime fighter. Spider-Man's creators gave him super strength and agility, the ability to cling to most surfaces, shoot spider-webs using devices of his own invention which he called "web-shooters", and react to danger quickly with his "spider-sense", enabling him to combat his foes.
The film -
Spider-Man is a 2002 American superhero film, the first in the Spider-Man film series based on the fictional Marvel Comics character Spider-Man. It was directed by Sam Raimi and written by David Koepp. It stars Tobey Maguire as Peter Parker, a high-school student who turns to crimefighting after developing spiderlike powers, along with Willem Dafoe as the Green Goblin, Kirsten Dunst as Peter's love interest, and James Franco as his best friend.
After being stuck in development hell for nearly 25 years, the film was released on May 3, 2002, by Columbia Pictures, to excellent reviews and a record-breaking opening weekend. With $821.71 million worldwide, it was 2002's third-highest-grossing film and is the 26th highest-grossing film of all time. Spider-Man was, for its time, the most successful film based on a comic book. The film's success has led to two sequels, Spider-Man 2 and Spider-Man 3.
The film -
Spider-Man is a 2002 American superhero film, the first in the Spider-Man film series based on the fictional Marvel Comics character Spider-Man. It was directed by Sam Raimi and written by David Koepp. It stars Tobey Maguire as Peter Parker, a high-school student who turns to crimefighting after developing spiderlike powers, along with Willem Dafoe as the Green Goblin, Kirsten Dunst as Peter's love interest, and James Franco as his best friend.
After being stuck in development hell for nearly 25 years, the film was released on May 3, 2002, by Columbia Pictures, to excellent reviews and a record-breaking opening weekend. With $821.71 million worldwide, it was 2002's third-highest-grossing film and is the 26th highest-grossing film of all time. Spider-Man was, for its time, the most successful film based on a comic book. The film's success has led to two sequels, Spider-Man 2 and Spider-Man 3.
Batman
Michael Keaton -Keaton's career was given another major boost when, in 1989, Tim Burton cast him as millionaire playboy / crime-fighter "Bruce Wayne" in the big budget Batman (1989). To say there were howls of protest by fans of the caped crusader comic strip is an understatement! Warner Bros. was deluged with thousands of letters of complaint commenting that comedian Keaton was the wrong choice for the Caped Crusader. Their fears were proven wrong when Keaton turned in a sensational performance, and he held his own on screen with opponent Jack Nicholson playing the lunatic villain, "The Joker". Keen to diversify his work, Keaton next appeared as a psychotic tenant in Pacific Heights (1990), as a hard-working cop in One Good Cop (1991) and then donned the black cape and cowl once more for Batman Returns (1992).
Adam West-
Producer William Dozier cast West as Batman and his alter ego, Bruce Wayne, in the hit television series Batman, in part after seeing West perform as the James Bond-like spy Captain Q in a Nestlé Quik television ad. West beat out Lyle Waggoner for the Batman role.
The popular, campy show ran on ABC from 1966 to 1968; a film version was released in 1966.
Tuesday, 15 February 2011
The Dust Brothers
Born: 1983
The Dust Brothers were among the preeminent producers of the 1990s, helming records for everyone from Tone-Loc to Beck to Hanson while influencing countless others with their signature cut-and-paste marriage of hip-hop and rock. Not to be confused with the British production duo the Chemical Brothers, who began their career under the same name before receiving a cease-and-desist order, the Los Angeles-based Dust Brothers were Mike Simpson and John King, who met in 1983 while working at the Pomona College radio station. They originally teamed to DJ at parties, and by the end of the decade scored a production deal with the Delicious Vinyl label. In 1989, they scored chart success producing debuts from rappers Tone-Loc (the monster hit "Wild Thing") and Young MC, but their most distinctive early work was on the Beastie Boys' groundbreaking Paul's Boutique, widely acclaimed among the most innovative and influential albums of the period for its pioneering use of digital sampling. In the years to follow, the Dust Brothers emerged among the most sought-after remixers and producers in the industry, working on projects for everyone from White Zombie to Technotronic to Shonen Knife; they also founded their own label, Nickel Bag (later changed to Ideal), and in 1996 helmed Beck's extraordinary Odelay. Branching out even further, in 1997 they produced Hanson's chart-topping "MMMBop," as well as a handful of tracks from the Rolling Stones' Bridges to Babylon LP. Their first full-length solo record was the score for the 1999 film Fight Club
The Dust Brothers were among the preeminent producers of the 1990s, helming records for everyone from Tone-Loc to Beck to Hanson while influencing countless others with their signature cut-and-paste marriage of hip-hop and rock. Not to be confused with the British production duo the Chemical Brothers, who began their career under the same name before receiving a cease-and-desist order, the Los Angeles-based Dust Brothers were Mike Simpson and John King, who met in 1983 while working at the Pomona College radio station. They originally teamed to DJ at parties, and by the end of the decade scored a production deal with the Delicious Vinyl label. In 1989, they scored chart success producing debuts from rappers Tone-Loc (the monster hit "Wild Thing") and Young MC, but their most distinctive early work was on the Beastie Boys' groundbreaking Paul's Boutique, widely acclaimed among the most innovative and influential albums of the period for its pioneering use of digital sampling. In the years to follow, the Dust Brothers emerged among the most sought-after remixers and producers in the industry, working on projects for everyone from White Zombie to Technotronic to Shonen Knife; they also founded their own label, Nickel Bag (later changed to Ideal), and in 1996 helmed Beck's extraordinary Odelay. Branching out even further, in 1997 they produced Hanson's chart-topping "MMMBop," as well as a handful of tracks from the Rolling Stones' Bridges to Babylon LP. Their first full-length solo record was the score for the 1999 film Fight Club
David Fincher - Filmography
Alien 3 (1992)
Seven (1995)
The Game (1997)
Fight Club (1999)
Panic Room (2002)
Zodiac (2007)
The Curious Case of Benjamin Button (2008)
The Social Network (2010)
The Girl with the Dragon Tattoo (2011)
The Game (1997)
Fight Club (1999)
Panic Room (2002)
Zodiac (2007)
The Curious Case of Benjamin Button (2008)
The Social Network (2010)
The Girl with the Dragon Tattoo (2011)
Fight Club
Fight Club is a 1999 American film adapted from the 1996 novel of the same name by Chuck Palahniuk. The film was directed by David Fincher and stars Edward Norton, Brad Pitt, and Helena Bonham Carter. Norton plays the unnamed protagonist, an "everyman" who is discontented with his white-collar job in American society. He forms a "fight club" with soap maker Tyler Durden, played by Pitt, and becomes embroiled in a relationship with him and a dissolute woman, Marla Singer, played by Bonham Carter.
Thursday, 10 February 2011
Inglourious Basterds - Postmodern Elements
In inglourious basterds there are verious postmodern elements which is typical of quentin tarantino.
Firstly, the music. in a war film you would expect to find old fashioned music from the era it is set or if not modern music conducted to sound old. however, in i.b, tarantino uses modern music. for example, in one scene he plays a david bowey song. although the song works for the scene of shosanna doing her hair and makeup, yet clearlly wasnt released in that time era.
also, the way tarantino uses music from spaghetti westerns is strange. this is odd as you wouldnt expect cowboy like music in a war film because it is completely mixing two genres. yet in the woods scene it does work.
Furthermore, the way the film starts with 'once upon a time' and is split into chapters is post modern. in a war film you would maybe expect it to be split up into dates/years, yet not chapters with that opening line. this implies it is a fairy tale and all made up. which in the most it is, yet the idea is that you believe this happened during WW2.
another element is the way in the first scene where the colonel goes to the house where the man is hiding the jews under the floorboads, you can notice that the backdrops are actually painted. this is strange as you would expect them to just film in a place where the backdrops work, rather than painting them yourself.
To continue, tarantino also gets the basterds to 'scalp' the people they kill. this would not of happened in WW2, so mixing two different time periods together and entwining different ways of killing makes the film different and gets the audience to think about what really happened back in the war.
In the scene where we see soshonna walking around her cinema, it turns into a birds eye view so you can see that it is all just a set and not a real building. this is postmodern as you would NEVER expect a film director to allow the audience to recognise that it is all a set as it gets rid of the authenticity of the film and almost spoils it for the audience as they then are placed back into reality of knowing the film is just a film. however, when you are watching i.b you dont really pay much attention to it, and it almost skips your mind of what youve just witnessed. its only a little while after when i really noticed it and couldnt believe what tarantino had done on such a huge film.
Another scene where postmodernism is used is where there is a split screen of a man trying to get a nitrate film onto a bus. this is strange as this is a modern thing to do (to split screen) and the whole film is based on old fashioned war.
Firstly, the music. in a war film you would expect to find old fashioned music from the era it is set or if not modern music conducted to sound old. however, in i.b, tarantino uses modern music. for example, in one scene he plays a david bowey song. although the song works for the scene of shosanna doing her hair and makeup, yet clearlly wasnt released in that time era.
also, the way tarantino uses music from spaghetti westerns is strange. this is odd as you wouldnt expect cowboy like music in a war film because it is completely mixing two genres. yet in the woods scene it does work.
Furthermore, the way the film starts with 'once upon a time' and is split into chapters is post modern. in a war film you would maybe expect it to be split up into dates/years, yet not chapters with that opening line. this implies it is a fairy tale and all made up. which in the most it is, yet the idea is that you believe this happened during WW2.
another element is the way in the first scene where the colonel goes to the house where the man is hiding the jews under the floorboads, you can notice that the backdrops are actually painted. this is strange as you would expect them to just film in a place where the backdrops work, rather than painting them yourself.
To continue, tarantino also gets the basterds to 'scalp' the people they kill. this would not of happened in WW2, so mixing two different time periods together and entwining different ways of killing makes the film different and gets the audience to think about what really happened back in the war.
In the scene where we see soshonna walking around her cinema, it turns into a birds eye view so you can see that it is all just a set and not a real building. this is postmodern as you would NEVER expect a film director to allow the audience to recognise that it is all a set as it gets rid of the authenticity of the film and almost spoils it for the audience as they then are placed back into reality of knowing the film is just a film. however, when you are watching i.b you dont really pay much attention to it, and it almost skips your mind of what youve just witnessed. its only a little while after when i really noticed it and couldnt believe what tarantino had done on such a huge film.
Another scene where postmodernism is used is where there is a split screen of a man trying to get a nitrate film onto a bus. this is strange as this is a modern thing to do (to split screen) and the whole film is based on old fashioned war.
Postmodernism Theories
john fiske.
a scene only makes sence when put into context with others we have seen. for example, a car chase scene only makes sence because of what we have saw on tv etc as we are not likely to of been in a car chase ourselves. the viewer of this car chase then decodes it.
jacques derrida.
made sence of the way commentators of 9/11 could only describe it like something 'from a film'. (the day after tomorrow.)
so... if we encounter a real life genre experience, the decoding process becomes confused.
in relation to inglorious basterds.
because now there are little people alive who experience WW2, when we watch inglorious basterds we decode it from other films and documentaries we have seen to make sence of it.
gerard genette.
transtextuality -
1. intertextuality
2. architextuality
3. metatextuality
4. hypotextuality
in relation to inglorious basterds.
- the big bold cartoon like lettering of the basterds names is in yellow which links to kill bill
- The Searchers final scene featuring John Ford, he stands in a doorway so you can see his silhouette which links to the scene in inglorious basterds when the captain is watching the jew run away in the doorway.
- can see that inglorious basterds is just one big set when he does a birds eye view of the cinema
WW2 timeline
1939
•Hitler invades Poland on 1 September. Britain and France declare war on Germany two days later.
1940
•Rationing starts in the UK.
•German 'Blitzkrieg' overwhelms Belgium, Holland and France.
•Churchill becomes Prime Minister of Britain.
•British Expeditionary Force evacuated from Dunkirk.
•British victory in Battle of Britain forces Hitler to postpone invasion plans.
1941
•Hitler begins Operation Barbarossa - the invasion of Russia.
•The Blitz continues against Britain's major cities.
•Allies take Tobruk in North Africa, and resist German attacks.
•Japan attacks Pearl Harbor, and the US enters the war.
1942
•Germany suffers setbacks at Stalingrad and El Alamein.
•Singapore falls to the Japanese in February - around 25,000 prisoners taken.
•American naval victory at Battle of Midway, in June, marks turning point in Pacific War.
•Mass murder of Jewish people at Auschwitz begins.
1943
•Surrender at Stalingrad marks Germany's first major defeat.
•Allied victory in North Africa enables invasion of Italy to be launched.
•Italy surrenders, but Germany takes over the battle.
•British and Indian forces fight Japanese in Burma.
1944
•Allies land at Anzio and bomb monastery at Monte Cassino.
•Soviet offensive gathers pace in Eastern Europe.
•D Day: The Allied invasion of France. Paris is liberated in August.
•Guam liberated by the US Okinawa, and Iwo Jima bombed.
1945
•Auschwitz liberated by Soviet troops.
•Russians reach Berlin: Hitler commits suicide and Germany surrenders on 7 May.
•Truman becomes President of the US on Roosevelt's death, and Attlee replaces Churchill.
•After atomic bombs are dropped on Hiroshima and Nagasaki, Japan surrenders on 14 August.
•Hitler invades Poland on 1 September. Britain and France declare war on Germany two days later.
1940
•Rationing starts in the UK.
•German 'Blitzkrieg' overwhelms Belgium, Holland and France.
•Churchill becomes Prime Minister of Britain.
•British Expeditionary Force evacuated from Dunkirk.
•British victory in Battle of Britain forces Hitler to postpone invasion plans.
1941
•Hitler begins Operation Barbarossa - the invasion of Russia.
•The Blitz continues against Britain's major cities.
•Allies take Tobruk in North Africa, and resist German attacks.
•Japan attacks Pearl Harbor, and the US enters the war.
1942
•Germany suffers setbacks at Stalingrad and El Alamein.
•Singapore falls to the Japanese in February - around 25,000 prisoners taken.
•American naval victory at Battle of Midway, in June, marks turning point in Pacific War.
•Mass murder of Jewish people at Auschwitz begins.
1943
•Surrender at Stalingrad marks Germany's first major defeat.
•Allied victory in North Africa enables invasion of Italy to be launched.
•Italy surrenders, but Germany takes over the battle.
•British and Indian forces fight Japanese in Burma.
1944
•Allies land at Anzio and bomb monastery at Monte Cassino.
•Soviet offensive gathers pace in Eastern Europe.
•D Day: The Allied invasion of France. Paris is liberated in August.
•Guam liberated by the US Okinawa, and Iwo Jima bombed.
1945
•Auschwitz liberated by Soviet troops.
•Russians reach Berlin: Hitler commits suicide and Germany surrenders on 7 May.
•Truman becomes President of the US on Roosevelt's death, and Attlee replaces Churchill.
•After atomic bombs are dropped on Hiroshima and Nagasaki, Japan surrenders on 14 August.
Thursday, 20 January 2011
Ennio Morricone
Born 10th Novemeber 1928 he is considered one of the most prolific and influential film composers of his era. Morricone has composed and arranged scores for more than 500 film and TV productions.[3] He is well-known for his long-term collaborations with international acclaimed directors such as Sergio Leone, Brian De Palma, Barry Levinson, and Giuseppe Tornatore.
He wrote the characteristic film scores of Leone's Spaghetti Westerns A Fistful of Dollars (1964), For a Few Dollars More (1965), The Good, the Bad and the Ugly (1966) and Once Upon a Time in the West (1968). In the 80s, Morricone composed the scores for John Carpenter's horror movie The Thing (1982), Leone's Once Upon a Time in America (1984), Roland Joffé's The Mission (1986), Brian De Palma's The Untouchables (1987) and Giuseppe Tornatore's Cinema Paradiso (1988).
Spaghetti Westerns
During the 1960s and 1970s, a revival of the Western emerged in Italy with the "Spaghetti Westerns" or "Italo-Westerns". The most famous of them is The Good, the Bad, and the Ugly. Many of these films are low-budget affairs, shot in locations (for example, the Spanish desert region of Almería) chosen for their inexpensive crew and production costs as well as their similarity to landscapes of the Southwestern United States. Spaghetti Westerns were characterized by the presence of more action and violence than the Hollywood Westerns. Also, the protagonists usually acted out of more selfish motives (money or revenge being the most common) than in the classical westerns.
The films directed by Sergio Leone have a parodic dimension (the strange opening scene of Once Upon a Time in the West being a reversal of Fred Zinnemann's High Noon opening scene) which gave them a different tone to the Hollywood Westerns. Charles Bronson, Lee Van Cleef and Clint Eastwood became famous by starring in Spaghetti Westerns, although they were also to provide a showcase for other noted actors such as Jason Robards, James Coburn, Klaus Kinski and Henry Fonda.
Westerns
The Western is a genre of art that may be found in film, television, radio, literature, painting and other visual arts. Westerns are devoted to telling stories set primarily in the latter half of the 19th century in the American Old West. Some Westerns are set as early as the Battle of the Alamo in 1836 but most are set between the end of the American Civil War (1865) and the massacre at Wounded Knee in 1890.Early Westerns were mostly filmed in the studio, just like other early Hollywood films, but when location shooting became more common from the 1930s, producers of Westerns used desolate corners of Arizona, California, Colorado, Kansas, Montana, Nevada, New Mexico, Oklahoma, Texas, Utah, or Wyoming.
Blaxploitation
Blaxploitation is a film genre that emerged in the United States circa 1971 when many exploitation films were made specifically (and perhaps exclusively) for an audience of urban black people.
Famous films include -
Hammer Starring Fred Williamson as B.J. Hammer, a boxer who gets mixed up with a crooked manager who wants him to throw a fight for the Mafia.
Cleopatra Jones and its sequel, Cleopatra Jones and the Casino of Gold (1975), star Tamara Dobson as a karate-chopping government agent. The first film marked the beginning of a subgenre of blaxploitation films which focused on strong female leads who took an active role in shootouts and fights
Jackie Brown (1997) Starring Pam Grier, Samuel L. Jackson, and an all-star supporting cast, director Quentin Tarantino partly pays homage to the blaxploitation genre. Based on the Elmore Leonard novel Rum Punch, Tarantino's title change, casting of Grier, and '70s-style poster art, are all references to Grier's 1974 film Foxy Brown.
Famous films include -
Hammer Starring Fred Williamson as B.J. Hammer, a boxer who gets mixed up with a crooked manager who wants him to throw a fight for the Mafia.
Cleopatra Jones and its sequel, Cleopatra Jones and the Casino of Gold (1975), star Tamara Dobson as a karate-chopping government agent. The first film marked the beginning of a subgenre of blaxploitation films which focused on strong female leads who took an active role in shootouts and fights
Jackie Brown (1997) Starring Pam Grier, Samuel L. Jackson, and an all-star supporting cast, director Quentin Tarantino partly pays homage to the blaxploitation genre. Based on the Elmore Leonard novel Rum Punch, Tarantino's title change, casting of Grier, and '70s-style poster art, are all references to Grier's 1974 film Foxy Brown.
Music In Inglourious Basterds
this is the soundtrack used in Inglorious Basterds, it is made up of 22 songs!
■ The Green Leaves of Summer – Nick Perito – From the movie The Alamo
■ The Verdict – Ennio Morricone – From the movie The Big Gundown
■ L’incontro Con La Figlia – Ennio Morricone – From the movie The Return of Ringo
■ White Lightning – Charles Bernstein – From the movie White Lightning
■ Il Mercenario (Reprisa) - Ennio Morricone – From the movie Il Mercenario
■ Slaughter - Billy Preston – From the movie Slaughter
■ Algiers, November 1954 – Ennio Morricone & Gillo Pontecorvo – From the movie The Battle of Algiers
■ The Surrender (La resa) – Ennio Morricone – From the movie The Big Gundown
■ One Silver Dollar (Un Dollaro Bucato) – Gianni Ferrio – From the movie Blood for a Silver Dollar
■ Bath Attack – Charles Bernstein – From the movie The Entity
■ Davon geht die Welt nicht unter – Zarah Leander – From the movie Die große Liebe
■ The Man With The Big Sombrero – June Havoc – From the movie Hi Diddle Diddle
■ Ich wollt ich wär ein Huhn – Lilian Harvey and Willy Fritsch – From the movie Glückskinder
■ Main Theme From Dark of the Sun – Jacques Loussier – From the movie Dark of the Sun
■ Cat People (Putting Out Fire) – David Bowie – From the movie Cat People
■ Mystic and Severe – Ennio Morricone – From the movie Death Rides a Horse
■ The Devil’s Rumble – Mike Curb and The Arrows – From the movie Devil’s Angels
■ Zulus – Elmer Bernstein – From the movie Zulu Dawn
■ Tiger Tank – Lalo Schifrin – From the movie Kelly’s Heroes
■ Un Amico – Ennio Morricone – From the movie Revolver
■ Eastern Condors – Sherman Chow Gam – Cheung – From the movie Eastern Condors
■ Rabbia e Tarantella – Ennio Morricone – From the movie Allonsanfàn
Tuesday, 18 January 2011
Inglourious Basterds
Rotten Tomatoes -88%
Some positive comments -
Simply Tarantino's best. A very intelligent script that combines war movie elements with some pointed observations about violence in movies and in society.
Tarantino's visual style and flare for the fantasy make for an intriguing and colorful World War II drama.
This is filmmaking at its bravest, and whether Tarantino is a genius or a fool, he does nothing by accident.
Some negative comments -
It's these fine sequences that can make you truly regret Tarantino's snarky, in-joke impulses, not to mention his arrogant -- perhaps even dangerous -- lack of concern with the story's moral dimensions.
Its biggest flaw, though, for those who care about such things, may be its moral attitude. That might seem a stodgy thing to bring up in the context of a Quentin Tarantino movie, but it takes such center stage that it needs to be examined.
One basterd of a movie... Who wants to hear Quentin Tarantino dialogue in a foreign language, thus having to read it?
Quentin Tarantino
Quentin Tarantino
Born Quentin Jerome Tarantino
March 27, 1963 (
Knoxville, Tennessee, U.S.
Occupation Film director, producer, screenwriter, cinematographer, actor
An American film director, screenwriter, producer, cinematographer and occasional actor.
Born Quentin Jerome Tarantino
March 27, 1963 (
Knoxville, Tennessee, U.S.
Occupation Film director, producer, screenwriter, cinematographer, actor
An American film director, screenwriter, producer, cinematographer and occasional actor.
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