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Magill's Cinema Annual provides comprehensive information on the theatrical releases of each year. Featured are extensive essays, cast and character listings, production credits, running time, country of origin, MPAA rating, nine comprehensive indexes and more.
In this insightful book, one of America's leading commentators on culture and society turns his gaze upon cinematic race relations, examining the relationship between film, race and culture. Acute, richly illustrated and timely, the book deepens our understanding of the politics of race and the symbolic complexity of segregation and discrimination.
Magill's Cinema Annual offers an in-depth retrospective of significant domestic and foreign films released in the U.S. in 1997. Distinguishing features include its extensive credits, awards and nominations. MPAA ratings, eight indexes, and most importantly its exhaustive critical reviews with author bylines.
Those tales of old--King Arthur, Robin Hood, The Crusades, Marco Polo, Joan of Arc--have been told and retold, and the tradition of their telling has been gloriously upheld by filmmaking from its very inception. From the earliest of Georges Melies's films in 1897, to a 1996 animated Hunchback of Notre Dame, film has offered not just fantasy but exploration of these roles so vital to the modern psyche. St. Joan has undergone the transition from peasant girl to self-assured saint, and Camelot has transcended the soundstage to evoke the Kennedys in the White House. Here is the first comprehensive survey of more than 900 cinematic depictions of the European Middle Ages--date of production, country of origin, director, production company, cast, and a synopsis and commentary. A bibliography, index, and over 100 stills complete this remarkable work.
"Magill's Cinema Annual provides comprehensive information on the theatrical releases of each year. Featured are extensive essays, cast and character listings, production credits, running time, country of origin, MPAA rating, nine comprehensive indexes and more.
Women have always been heroes. But it is no longer enough just to say so. As we shake off the last traces of a major patriarchal hangover, women need a new name of their own. As sheroes, all women can fully embrace their fiery fempower and celebrate their no-holds-barred individuality. From the serhoic foremothers who blazed trails and broke barriers, to today's women warriors from sports, science, cyberspace, city hall, the lecture hall, and the silver screen, Sheroes paints 200 portraits of powerful and inspiring role models for women poised for the future. Drawn from the fictional and real worlds, the sheroic profiles include: Dian Fossey, Martina Navratilova, Sojourner Truth, Indira Ghandi, Aretha Franklin, Margaret Mead, Coretta Scott king, Georgia O'Keeffe, Jackie Joyner-Kersee, Agent Scully, Joan Baez, Eleanor Roosevelt, Coco Chanel, Anita Hill, Thelma and Louise, Ripley, Roseanne, Nobel Peace Prize winner, Wangari Maathai, and others.
Essays on the continuing power and applicability of medieval images, with particular reference to recent films. The middle ages provide the material for mass-market films, for historical and fantasy fiction, for political propaganda and claims of legitimacy, and these in their turn exert a force well outside academia. The phenomenon is tooimportant to be left unscrutinised: these essays show the continuing power and applicability of medieval images - and also, it must be said, their dangerousness and often their falsity. Of the ten essays in this volume, several examine modern movies, including the highly-successful A Knight's Tale (Chaucer as a PR agent) and the much-derided First Knight (the Round Table fights the Gulf War). Others deal with the appropriation of history and literature by a variety of interested parties: King Alfred press-ganged for the Royal Navy and the burghers of Winchester in 1901, William Langland discovered as a prophet of future Socialism, Chaucer at once venerated and tidied into New England respectability. Vikings, Normans and Saxons are claimed as forebears and disowned as losers in works as complex as Rider Haggard's Eric Brighteyes, at once neo-saga and anti-saga. Victorian melodramaprovides the clichés of "the bad baronet" who revives the droit de seigneur (but baronets are notoriously modern creations); and of the "bony grasping hand" of the Catholic Church and its canon lawyers (an image spread in ways eerily reminiscent of the modern "urban legend" in its Internet forms). Contributors: BRUCE BRASINGTON, WILLIAM CALIN, CARL HAMMER, JONA HAMMER, PAUL HARDWICK, NICKOLAS HAYDOCK, GWENDOLYN MORGAN, JOANNE PARKER, CLARE A. SIMMONS, WILLIAM F. WOODS. Professor TOM SHIPPEY teaches in the Department of English at the University of St Louis; Dr MARTIN ARNOLD teaches at University College, Scarborough.
Super women. Who are some of the most awesome women in history? Sheroes: Women hold up half the sky and, most days, do even more of the heavy lifting including childbearing and child-rearing. All after a long day at the office. Women have always been strong, true heroes ? sheroes, oftentimes unacknowledged. As we shake off the last traces of a major patriarchal hangover, women are coming into their own. In the 21st Century, all women can fully embrace their fiery fempower and celebrate their no-holds-barred individuality. It is time to acknowledge the successful women of the world. Super women as female role models: From the foremothers who blazed trails and broke barriers, to today's women warriors from sports, science, cyberspace, city hall, the lecture hall, and the silver screen, The Book of Awesome Women paints 200 portraits of powerful and inspiring role models for women and girls poised to become super women of the future. Successful women: Some of the super women you will meet in The Book of Awesome Women: • Dian Fossey • Martina Navratilova • Sojourner Truth • Indira Ghandi • Aretha Franklin • Margaret Mead • Coretta Scott King • Georgia O'Keeffe • Jackie Joyner-Kersee • Joan Baez • Eleanor Roosevelt • Coco Chanel • Anita Hill • Nobel Peace Prize winner, Wangari Maathai • and many more Now is the time to acknowledge the greatness of women!
Challenging the classic horror frame in American film American filmmakers appropriate the “look” of horror in Holocaust films and often use Nazis and Holocaust imagery to explain evil in the world, say authors Caroline Joan (Kay) S. Picart and David A. Frank. In Frames of Evil: The Holocaust as Horror in American Film, Picart and Frank challenge this classic horror frame—the narrative and visual borders used to demarcate monsters and the monstrous. After examining the way in which directors and producers of the most influential American Holocaust movies default to this Gothic frame, they propose that multiple frames are needed to account for evil and genocide. Using Schindler’s List, The Silence of the Lambs, and Apt Pupil as case studies, the authors provide substantive and critical analyses of these films that transcend the classic horror interpretation. For example, Schindler’s List, say Picart and Frank, has the appearance of a historical docudrama but actually employs the visual rhetoric and narrative devices of the Hollywood horror film. The authors argue that evil has a face: Nazism, which is configured as quintessentially innate, and supernaturally crafty. Frames of Evil, which is augmented by thirty-six film and publicity stills, also explores the commercial exploitation of suffering in film and offers constructive ways of critically evaluating this exploitation. The authors suggest that audiences will recognize their participation in much larger narrative formulas that place a premium on monstrosity and elide the role of modernity in depriving millions of their lives and dignity, often framing the suffering of others in a manner that allows for merely “documentary” enjoyment.