By Murray Pomerance
Examines the various different types of cinematic badness over the last 100 years, from Nosferatu to The proficient Mr. Ripley.
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Examines the numerous kinds of cinematic badness over the last 100 years, from Nosferatu to The gifted Mr. Ripley.
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Like it or hate it, big name is among the dominant gains of recent life-and one of many least understood. Fred Inglis units out to right this challenge during this enjoyable and enlightening social historical past of recent famous person, from eighteenth-century London to present day Hollywood. Vividly written and brimming with interesting tales of figures whose lives mark vital moments within the background of famous person, this ebook explains how status has replaced during the last two-and-a-half centuries.
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Additional resources for Bad: Infamy, Darkness, Evil, and Slime on Screen
Williams explores the possibility that the “obsessional” acting style Portman used may have been related to his secret homosexual orientation, problematized by repressive British cultural codes of the era. ” James Bond films have typified Hollywood’s vision of immorality and evil in a coherent way since 1962. Steven Woodward’s “The Arch Archenemies of James Bond” explores the treatment of villainy in the twenty-two James Bond films so far, arguing that ultimately the Bond villain, “surrounded by beautiful women who do not love him, comfortable with wealth although obsessed with its acquisition, connoisseur of food and wine although ascetic to a fault,” constitutes the real enigma in Bond narratives.
Part II, “Auteurs of Negativity, Icons of Darkness,” focuses on screen darkness and immorality as particularized in particular motion pictures or in the work of particular filmmakers. ’: Jean Cocteau and the Treachery of Friendship” is a biographically focused reading of the important film work of Jean Cocteau (1889–1963). ” Here, the artist is analyzed as morally culpable, rather than the neutral medium through which social morality is filtered and depicted. Dixon’s analysis of Cocteau’s apparent perfidy in his working method brings new insight to the appreciation of works such as La Belle et la Bête, Orphée, Les Enfants terribles, and Le Sang d’un poète among others.
If you perceive me, you will not see me anymore” (Stafford and Terpak 2001, 250–51). Demonstrating the oscillation in visual apprehension such visual illusions called perception and knowledge into question. Thus, both rational demystifying demonstration 30 TOM GUNNING and religiously mystical enigmas used optical illusions as means less to deceive the viewer than to cause her to reflect on the limited and fragile nature of human perception. ” Rather, such illusions operate to confound habitual attitudes toward perception, indeed sowing doubts about the nature of reality.