Nymphets and Ultra-Violence

Paper by Audrey Carganilla.

“I do not always know what I want, but I do know what I don’t want.” says Stanley
Kubrick, one of the most critically acclaimed directors in history. His words can reflect almost anyone’s thoughts, but let’s put it in perspective of who his work is directed to: moviegoers. In the 1960’s, weekly movie attendance and box office revenues were at an all time low due to several factors such as the American people adjusting to life after the war and the invention of the television as mentioned in Jon Lewis’ book, American Film: A History. What was also mentioned was how the younger viewers who were the majority of moviegoers were getting tired of whatever the film industry was producing and clearly wanted something new. Just as Kubrick says, they did not know exactly what they wanted in film, but they definitely knew that they did not want what the industry was currently giving them. In this essay, I will be discussing how the shift of content in film from the 1960’s to the 1970’s due to the abolishment of the Motion Picture Production

Posted at 9am on 06/17/17 | 1 comment | Filed Under: Academic Papers, Films read on

Upside-Down, Inside-Out, and Backwards: What the Hell is Coen-Noir?

Paper by Brianna Franklin.

While Joel and Ethan Coen use the conventions of film noir in their films, they also satirize the genre. The brothers use some of the classic themes of film noir, such as adultery, double crosses, alienation, and violence. The Coens take each of these themes and rework them into something both gory and humorous. In sticking with some of the film noir conventions, their stories often have a moral. In traditional film noir, humor and graphic violence are used liberally, if at all. At its core, classic noir films are morality stories, much like many of the Coens’ films. Like classic film noir, their works often include a male character who wants more than he has, and goes to extremes to increase his fortune. Ultimately, this man fails, and is either arrested or killed. Classic film noir also includes a femme fatale, a woman who uses her sexuality to get what she wants, whereas in Coen films, the women do not act out of manipulation. The films where this brand of noir is most prevalent in Blood Simple (Joel Coen and Ethan Coen [uncredited], 1984), Fargo

Posted at 9am on 06/17/17 | no comments | Filed Under: Academic Papers, Films read on