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THE STORY: The setting is the rubbish-strewn backyard of Betty's rundown bungalow near a U.S. Air Force base in rural England. Deserted by a succession of lovers, Betty makes ends meet by selling herself to the young airmen, while her current live-
Informed by the theory of Julia Kristeva, Frances Restuccia analyzes a variety of contemporary films replete with psychoanalytic subject matter and styles. She examines films that present elaborate fantasies and, through them, prompt the viewer to cut across a crippling fundamental fantasy-by enabling a mapping of his or her private fantasy onto the one being played out on the screen. Such absorption is a function of the semiotic dimension of the film, which offers the spectator an experience of intimacy, negativity, the gaze, and death. Kristeva stresses that cinema has the power to bestow desiring subjectivity as a way of resisting the society of the spectacle through the specular. Through analyses of complex films such as Streitfeld's Female Perversions, Lynch's Mulholland Drive, Almodóvar's Volver, and Haneke's Caché, The Blue Box: Kristevan/Lacanian Readings of Contemporary Film demonstrates Julia Kristeva's concept of the "thought specular," from her fascinating chapter "Fantasy and Cinema" in Intimate Revolt. Kristeva deserves our full attention as a film theorist.
There has yet to be a strong consensus regarding when and if postmodernism ended. As such, there is no agreement about the new age’s name, origins, or tenets. Nealson’s 'Post-Postmodernism: or The Cultural Logic of Just-in-Time Capitalism' leaves out the impact of the internet and social media. Other books fail to explore post-postmodernism within a larger social-political framework and do not examine the cultural trends that have responded to such forces. This book undertakes these complexities by examining the interplay between the sociohistorical events and visual culture of the last two decades and posits that postmodernism ended with the terror attacks on September 11, 2001. Few events have such a tremendous impact on the collective consciousness that they cause immense social, political, and cultural changes, but the terror attacks marked the beginning of a new era filled with greater anxiety and uncertainty. The Bush Administration used news outlets to promote a false narrative and mislead the public, manipulating information to further its agenda and altering the nature and efficacy of mass media and ultimately launching society into an age of disinformation. 'The (Dis)Information Age' is comprised of two main phenomena: post-truth and post-postmodernism. Truth and reality have become increasingly difficult to ascertain in this post-truth world and created increased skepticism towards those in the government and media. The rise of the internet and social media has exacerbated this trend by individualizing facts and data, further fragmenting society along ideological lines. The result is people share fewer common ideas than in previous eras and are no longer living in a shared reality. Post-postmodernism, on the other hand, is a cultural movement that has responded to post-truth’s weaponization, misuse, and individualization of information. Artists of post-postmodernism seek greater connectivity and common ground to combat individualized information and ideological warfare. To them, truth resides in the collective. This study examines the intricate relationship between recent socio-historic events and cultural manifestations that respond to them to better understand the world in which we live.
Directors discussed include the Coen Brothers, David Lynch, Michael Mann, Christopher Nolan, Steven Soderbergh, and Quentin Tarantino A world-weary detective, a seductive femme fatale, a mysterious murder—these elements of classic film noir live again in more recent hardboiled detective films from Chinatown to Sin City. But the themes and styles of noir have also spilled over into contemporary films about gangsters, cops, and serial killers, such as Reservoir Dogs, The Departed, and Se7en. New hybrid genres have been created, including psycho-noirs such as Memento, techno-noirs such as The Matrix, and superhero noirs like The Dark Knight. Beginning by showing how neo-noirs have drawn upon contemporary social and historical events as well as the latest technological advances in filmmaking, this book then discusses the landmark neo-noirs, the cult auteur figures of neo-noir, international films, and the remakes that put a new spin on past noirs. The main credits and a plot summary are given for each movies—including Fargo, Get Carter, L.A. Confidential, Mulholland Drive, Oldboy, and Pulp Fiction—followed by an in-depth analysis containing original insights into the film's meaning. Also included are fascinating facts, behind-the-scenes anecdotes, and lively quotes from the cast and crew.
The unprecedented increase in lesbian representation over the past two decades has, paradoxically, coincided with queer theory's radical transformation of the study of sexuality. In Lesbian Cinema after Queer Theory, Clara Bradbury-Rance argues that this contradictory context has yielded new kinds of cinematic language through which to give desire visual form. By offering close readings of key contemporary films such as Blue Is the Warmest Colour, Water Lilies and Carol alongside a broader filmography encompassing over 300 other films released between 1927 and 2018, the book provokes new ways of understanding a changing field of representation. Bradbury-Rance resists charting a narrative of representational progress or shoring up the lesbian's categorisation in the newly available terms of the visible. Instead, she argues for a feminist framework that can understand lesbianism's queerness. Drawing on a provocative theoretical and visual corpus, Lesbian Cinema after Queer Theory reveals the conditions of lesbian legibility in the twenty-first century.
Despite the clichés which govern much of its current forms, the cinema continues to have a vital political and aesthetic significance. Our commitment to, and our sincerity towards, our ways of being in the world have become catastrophically eroded. Nihilism and despair have taken hold. We must find a way to renew our faith in our capacity to transform the world, a faith that will give us back the reality of a world eroded by the restrictive capitalist ontology of modernity. How can we restore belief in the reality of a world when scepticism and universal pessimism have taken hold? Is it possible to find alternative ways of living, being and thinking? This book will discuss the means by which some filmmakers have grasped the vocation of resisting and transforming the present, of cultivating new forms of belief in the world when total alienation seems inevitable. ,
From his cult classic television series Twin Peaks to his most recent film Inland Empire (2006), David Lynch is best known for his unorthodox narrative style. An award-winning director, producer, and writer, Lynch distorts and disrupts traditional storylines and offers viewers a surreal, often nightmarish perspective. His unique approach to filmmaking has made his work familiar to critics and audiences worldwide, and he earned Academy Award nominations for Best Director for The Elephant Man (1980), Blue Velvet (1986), and Mulholland Drive (2001). Lynch creates a new reality for both characters and audience by focusing on the individual and embracing existentialism. In The Philosophy of David Lynch, editors William J. Devlin and Shai Biderman have compiled an impressive list of contributors to explore the philosophy at the core of the filmmaker’s work. Lynch is examined as a postmodern artist, and the themes of darkness, logic, and time are discussed in depth. Other prominent issues in Lynch’s films, such as Bad faith and freedom, ethics, politics, and religion, are also considered. Investigating myriad aspects of Lynch’s influential and innovative work, The Philosophy of David Lynch provides a fascinating look at the philosophical underpinnings of the famous cult director.
Mis/takes departs from the bulk of screen discourse by applying Jungian and Post-Jungian ideas on unconscious processes to popular film and television. This perspective offers a rich insight into the way that various myths infiltrate popular culture. By examining the function of psychological motifs and symbols in cinema and television, Terrie Waddell opens up another way of thinking about how identity can be constructed and disrupted. Mulholland Drive, Memento, The Others, The X-Files, Twin Peaks, The Sopranos, Spider, Intimacy and Absolutely Fabulous all lend themselves to this approach. The close analysis of these films/programs are guided by a number of core archetypes from trickster and Self to incest and the grotesque. The book’s four parts reflect these dominant patterns: Jung, trickster and the screen Mistaken identities, self-deception and the undead Redeemers, bad dads and matricide Excesses of the sad and the sassy Mis/takes gives readers a chance to engage with screen material in an original and subversive way. This study will be of great interest to Jungian analysts and students of film, cultural studies, media, gender studies and analytical psychology.
The April 1988 murder and decapitation of twenty-three-year-old Michael Miley in rural southern Illinois horrified and enraged local residents and law enforcement officials, some of whom suspected the homicide was a hate crime. The Rita Nitz Story: A Life Without Parole is an in-depth personal investigation into Miley’s murder, for which Rita Nitz was convicted as an accomplice to life in prison. Born in 1959, Rita was thirty when she was sentenced in 1989. Her husband, Richard Nitz, was convicted of the murder. Detailing the crime and its aftermath, Larry L. Franklin uncovers a disturbing set of facts that illuminate a possible miscarriage of justice. Was Rita Nitz involved in the murder of Michael Miley? Franklin doesn’t purport her guilt or her innocence but instead details the plight of a troubled woman who was a victim of sexual abuse and domestic violence at the hands of family members and spouses and who may also have been a victim of inadequate legal representation and a judicial system more interested in delivering the maximal punishment than in serving justice. Consulting with experts in prosecutorial conduct, jury psychology, and forensic evidence, Franklin discovered details that were withheld from the jury and the public during the trial in 1989. He also suggests other theories and names possible perpetrators involved in the murder that further imply shoddy police work and a tainted criminal investigation. Drawing on numerous conversations with Rita at the Dwight Correctional Center in Illinois, Franklin divulges the story of Rita’s tumultuous youth and her three problematic marriages. He shows her to be a battered woman who didn’t fully understand the circumstances and behavior that led to her being implicated in such a hideous crime and who lacked the financial resources and emotional strength to navigate the legal tangle that entrapped her. Franklin also points out the disparity in justice between Rita and Richard, who is up for parole in less than twenty years, while Rita remains sentenced to life without parole. In attempting to reach the truth about Miley’s murder, Franklin highlights abuses in the Illinois correctional system and disparities between the treatment of male and female convicts, sketching a blueprint that could improve law enforcement and justice in rural Illinois.
Beloved by film and art aficionados and fans of neo-noir cinema, Mulholland Drive is one of the most important and enigmatic films of recent years. It occupies a central and controversial position in the work of its director, David Lynch, who won the best director award at the 2001 Cannes Film Festival for the movie. Mulholland Drive in the Routledge Philosophers on Film series is the first full philosophical appraisal of Lynch's film. Beginning with an introduction by the editor, the volume explores the following topics: the identity of the self and its persistence through time the central, dual roles played by fantasy and reality throughout the film whether Mulholland Drive is best understood epistemologically via reason and language, or whether, as Lynch himself argues, by one's 'inner feelings' and emotions parallels between Mulholland Drive and Kafka's The Castle, both of which pit their protagonists at the mercy of unseen forces Mulholland Drive and romanticism. Additional key themes are also discussed, such as the interpenetration of ethics, classical tragedy, and the contrasting philosophical arguments of Plato and Nietzsche on tragic drama. These themes make Mulholland Drive essential and engaging reading for students of philosophy, especially aesthetics and ethics, as well as film studies.