Ovde - Početak

More documents

Recommendations

Info

191 Dokumentarni filmovi korišteni u trećem poglavlju: Easy Riders Raging Bulls/Goli u sedlu razjareni bikovi (2003) Kenneth Bowser/Kenet Bovser Stanley Kubrick: Life in the Picture/Stenli Kjubrik: Život u slici (2001) Jan Harlan, Tom Cruise, Warner Bros/Jan Harlan, Tom Kruz, Vorner Bradars
Abstract To begin with I should underline that this paper bases primarily on examples of Americancinematography, the rationale for which is underlined in the two main reasons. Firstly, according to the volume of available literature and relevant authors, the American cinematography is the most prominent source of violence films. On the one hand, Hollywood films contain most ultra-violent scenes, while, on the other hand, US-based directors have made the most significant progress in the stylization and aesthetisation of on-screen violence. Secondly, by all accounts, the heaviest investment into scientific research and film violence studies is made in the USA. As one of the most prosperous nations, the USA invests considerably into understanding the violence rooted deep in its visual media. A recent study named Classical Film Violence (2003) by Stephen Prince declares to be the first of its kind with the subject of violence in classical Hollywood films. Chapter two of this paper derives directly from the Prince study. Bearing in mind there are no comparable studies in other national cinematography archives, the chapter on classical violence purely focuses on the Hollywood production. Chapter three is dedicated to the rise of the ultra-violent film and incorporates influences of other cinematography traditions on the representation of violence. Nonetheless, the closest attention in this chapter is still devoted to the American film. There are principal reasons for this, as towards the end of 1960s the Hollywood produced films with until then unseen volume of violence. Furthermore, there is a series of studies on modern Hollywood film violence, which makes this subject extensively covered, both theoretically and empirically. What should be emphasized is that there are authors, such as Prince, who have dedicated the bulk of their professional careers to studying film violence. Therefore, there are justified reasons why anyone doing a study on film and violence should base their work on scrutinizing the American cinematography. 192
Page 3 and 4:
Biblioteka Posebna izdanja Knjiga b
Page 6 and 7:
5 Uvod Odmah na početku treba nagl
Page 8 and 9:
7 za društvena nedela i insistiran
Page 10 and 11:
9 da su oni značajno odredili pris
Page 12 and 13:
Teorijski okvir 11 Teorija moralne
Page 14 and 15:
13 mogućim kriterijumima, kao što
Page 16 and 17:
15 moralna kampanja usmerena protiv
Page 18 and 19:
Oponašanje filmskog nasilja 17 Opo
Page 20 and 21:
19 (1999, Andy i Larry Wachowski) u
Page 22 and 23:
21 Hinkli je bio bolestan čovek ko
Page 24 and 25:
23 da akontekstualno pobrojavanje n
Page 26 and 27:
Utisak stvarnosti filmskog nasilja
Page 28 and 29:
27 Dakle, film ima tako uverljivo d
Page 30 and 31:
Osobenost filmskog reprezentovanja
Page 32 and 33:
31 (metonymic displacement), indeks
Page 34 and 35:
33 posrednim putem. Uključivanjem
Page 36 and 37:
35 određen kontekst vremena. Tako
Page 38 and 39:
37 osnovu preovlađujućeg duha vre
Page 40 and 41:
39 U filmovima se nasilje javlja be
Page 42 and 43:
41 čizme sa mamuzama, šešire, pi
Page 44 and 45:
43 žanru slavljeno i sakaćeno. Me
Page 46 and 47:
45 nasilja bi nas navela da mnoge n
Page 48 and 49:
Klasični Holivud i nasilje 47 Nasi
Page 50 and 51:
49 Drugi svetski rat, su u kinemato
Page 52 and 53:
Cenzure i nasilje na filmu do 1930.
Page 54 and 55:
53 jeste kasnije bitno uticao na am
Page 56 and 57:
55 nacionalni sud u Americi je podr
Page 58 and 59:
57 ne smeju da uključe u film, do
Page 60 and 61:
Produkcioni kod i nasilje 59 Produk
Page 62 and 63:
61 u ovim filmovima pravdana su tim
Page 64 and 65:
Funkcionisanje produkcionog koda 63
Page 66 and 67:
65 značenja ovom momentu cenzure u
Page 68 and 69:
67 kada se oživljeno čudovište p
Page 70 and 71:
69 okrutnosti i slabog morala. Nako
Page 72 and 73:
71 derući mu kožu sa tela. Ova dv
Page 74 and 75:
73 snimano u mnogo dužem trajanju
Page 76 and 77:
75 i psihopatološkim ponašanjem.
Page 78 and 79:
77 posle pucnjave, koja se odvijala
Page 80 and 81:
79 pojavljivanja veoma kratak (ova
Page 82 and 83:
81 Ovaj film je izazvao žestoku re
Page 84 and 85:
83 Da nevolje nikada ne dolaze poje
Page 86 and 87:
85 koda radili su za industriju, š
Page 88 and 89:
Kraj produkcionog koda 87 Nakon esk
Page 90 and 91:
89 Estetika supstitucije filmskog n
Page 92 and 93:
91 Cenzura nad slobodom prikazivanj
Page 94 and 95:
93 Hauard Hoks je u filmu Skarfejs
Page 96 and 97:
95 Rika. Tokom ove scene Riko se kr
Page 98 and 99:
Uspon ultranasilnog filma 97 Nasilj
Page 100 and 101:
99 nasilje najveći problem zemlje,
Page 102 and 103:
101 dotad neviđenih inovacija zahv
Page 104 and 105:
103 Dakle, Pekinpoov način snimanj
Page 106 and 107:
Boni i Klajd 105 Boni i Klajd nasta
Page 108 and 109:
107 pucnjave, kinematografija je, k
Page 110 and 111:
109 u filmu glavne junake, inače o
Page 112 and 113:
111 uspona ultranasilnog filma. Kro
Page 114 and 115:
113 U filmu Divlja horda mogu se vi
Page 116 and 117:
115 Divlja horda ima oko trideset s
Page 118 and 119:
117 što bi trebalo da sugeriše bu
Page 120 and 121:
119 ipak pojavila. Međutim, to nij
Page 122 and 123:
121 osnovnoškolskog i srednjoškol
Page 124 and 125:
Teorija katarze i Sem Pekinpo 123 M
Page 126 and 127:
125 katarze da će se agresivnost u
Page 128 and 129:
127 postaje čovek. U ova tri filma
Page 130 and 131:
129 engleskom stvaraju onomatopejsk
Page 132 and 133:
131 Hapšenjem Aleksa počinje drug
Page 134 and 135:
133 izvedena i osnovno moralno pita
Page 136 and 137:
135 razlika, koja nasilje Paklene p
Page 138 and 139:
137 film za eskalaciju nasilja za k
Page 140 and 141:
Taksista 139 Taksista (1976) je fil
Page 142 and 143: 141 Da bi dočarao Trevisovu parano
Page 144 and 145: 143 ikada videla. To je veoma znač
Page 146 and 147: 145 većina Ratnika uspeva da prež
Page 148 and 149: 147 i na filmovima koji ne donose n
Page 150 and 151: 149 nakon nekoliko sukoba, nepromi
Page 152 and 153: 151 području iznenađenja su konst
Page 154 and 155: Ultranasilje horor filmova 153 Film
Page 156 and 157: 155 do novog pomaka u horor žanru
Page 158 and 159: Nasilje postmodernih filmova 157 No
Page 160 and 161: 159 koji predstavlja omaž završno
Page 162 and 163: Prirodno rođene ubice 161 Prirodno
Page 164 and 165: 163 nastavlja da obrazlaže svoje s
Page 166 and 167: 165 citati i reference na Kopolinu
Page 168 and 169: Kill Bill 167 Ostvarenjima Kill Bil
Page 170 and 171: 169 Nakon povratka iz stanja kome,
Page 172 and 173: 171 Vernite Grin stiže kući iz š
Page 174 and 175: 173 U osnovi, sve u filmu je znak k
Page 176 and 177: 175 je, prema izjavi Roberta Rodrig
Page 178 and 179: 177 Grada greha (2005). Eksplicitni
Page 180 and 181: 179 njegovog uključivanja u film.
Page 182 and 183: 181 Napomene Teorijski okvir 1) Mor
Page 184 and 185: 183 10) Doslovan navod novinskog č
Page 186 and 187: 185 Lorimer, Rolend (1998): Masovne
Page 188 and 189: 187 Filmografija: A Better Tomorrow
Page 190 and 191: 189 My Darling Clementine/Moja drag
Page 194 and 195: 193 Film violence is a complex matt
Page 196 and 197: 195 the more conventional instituti
Page 198 and 199: 197 on to attempt a murder on a cel
Page 200 and 201: 199 Nasilje kao nerazdvojni deo kin
Page 202: 201 CIP - Каталогизаци
show all

Ovde - Početak

Create successful ePaper yourself

Delete template?

Save as template?