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Woman Hanging Scenes in Movies: A Cinematic Exploration of Suspense and Symbolism
The cinematic depiction of a woman hanging, whether a literal hanging or a metaphorical one poised precariously on the edge, instantly evokes a potent cocktail of emotions: fear, suspense, vulnerability, and often, a complex layering of symbolism. This isn't simply a matter of graphic violence; it’s a powerful storytelling device used across genres to explore themes of power, oppression, sacrifice, and even unexpected resilience. This post delves into the history, recurring motifs, and cinematic techniques employed in these scenes, analyzing their impact on the audience and their significance within the broader narrative. We will explore why directors utilize such a visually striking and emotionally charged image, examining both literal and figurative interpretations, while acknowledging the sensitivity surrounding the topic.
H2: The Historical Context: Early Cinema and the Portrayal of Female Suffering
Early cinema, heavily influenced by melodrama and societal anxieties, often portrayed women as victims, their fragility emphasized through dramatic scenes. Hanging scenes, while less common than other forms of violence, were sometimes employed to highlight female vulnerability and societal injustice. These early portrayals often lacked the nuanced exploration seen in modern cinema, instead relying on shock value and a simplistic representation of female suffering. The context of these early films is crucial in understanding their portrayal of women and the limitations of their storytelling techniques.
H2: Genre Conventions and the Woman Hanging Trope
The woman hanging scene transcends genre boundaries, appearing in horror, thriller, drama, and even occasionally in comedic contexts (often as a subversion of expectation).
#### H3: Horror and Thriller: Suspense and the Macabre
In horror and thriller films, the hanging scene often serves as a visual representation of terror and suspense. The slow descent, the struggle, the implied pain—all create a potent atmosphere of dread. The vulnerability of the woman is emphasized, highlighting her helplessness against a powerful antagonist or a malevolent force. Directors utilize lighting, sound design, and camera angles to heighten the visceral impact of these scenes.
#### H3: Drama and Psychological Thrillers: Metaphorical Hangings
Drama and psychological thrillers frequently employ the "hanging" motif metaphorically. A woman might be depicted on the precipice of a decision, metaphorically "hanging" between two choices—life and death, freedom and confinement, truth and deception. This metaphorical approach allows filmmakers to explore the internal struggles of their characters without resorting to literal violence. The suspense comes not from the physical act but from the anticipation of the character’s fate and the consequences of their decisions.
#### H3: Subversion and Unexpected Resilience
Interestingly, some films subvert the typical portrayal of the woman as helpless victim. A character might seemingly be about to be hanged but manages a miraculous escape, highlighting resilience and unexpected strength. This reversal of expectation can be highly effective, imbuing the scene with a sense of empowerment that contrasts sharply with the initial sense of dread.
H2: Cinematic Techniques and the Power of the Image
The effectiveness of a woman hanging scene relies heavily on cinematic techniques.
#### H3: Camera Angles and Framing: Heightening the Impact
Low-angle shots emphasize the woman's vulnerability, while close-ups capture the expressions of fear and desperation. The framing of the scene, often using tight compositions to isolate the character, amplifies the sense of isolation and impending doom.
#### H3: Sound Design and Music: Building Suspense
The use of sound is crucial in building suspense and amplifying the emotional impact. Silence punctuated by creaking wood, the rhythmic ticking of a clock, or a discordant musical score can heighten the tension and intensify the viewer's anxiety.
#### H3: Lighting and Color Palette: Mood and Atmosphere
The lighting and color palette also play a significant role in shaping the mood and atmosphere of the scene. Dark shadows, muted colors, or stark contrasts can contribute to the overall feeling of dread and despair.
H2: Ethical Considerations and Responsible Depiction
It’s crucial to acknowledge the ethical considerations involved in depicting such scenes. The potential for gratuitous violence or the insensitive portrayal of trauma must be carefully managed. Responsible filmmaking requires sensitivity, a clear narrative purpose, and a focus on the storytelling, rather than exploitative shock value.
Conclusion
The portrayal of a woman hanging in movies, whether literal or metaphorical, is a powerful cinematic tool that can evoke strong emotions and contribute significantly to the narrative's impact. From early cinematic representations of female vulnerability to contemporary explorations of resilience and psychological torment, the image remains a complex and multifaceted symbol, laden with meaning and capable of eliciting a wide range of responses. The director's skill lies in using this potent imagery responsibly, ensuring that its impact serves the story and avoids gratuitous violence or insensitive representation.
FAQs
1. Are all "woman hanging" scenes inherently exploitative? No, not all such scenes are exploitative. Their impact depends heavily on the context, the narrative purpose, and the director's skill in handling the subject matter responsibly.
2. How do metaphorical "hanging" scenes differ from literal ones? Metaphorical hangings represent a character's precarious position or internal struggle, whereas literal hangings depict the act of hanging itself.
3. What role does the character's agency play in the scene's impact? A character with agency, even in a seemingly helpless situation, can significantly alter the viewer's interpretation of the scene.
4. How has the portrayal of such scenes evolved over time? Early portrayals often focused on simple depictions of victimhood, while modern depictions are more nuanced and explore a wider range of themes and emotions.
5. What are some examples of films that use "woman hanging" scenes effectively? Analyzing specific films and their use of this trope would require a separate, in-depth study, and is beyond the scope of this article. However, researching film analysis on specific movies can provide insights into individual applications of this cinematic device.
| woman hanging scenes in movies: Women Labor Activists in the Movies Jennifer L. Borda, 2015-04-25 Some of the most indelible images of women in recent American film have been of working women fighting for labor reform or to expose corporate corruption. This critical text explores films with female labor activists as main protagonists, illuminating issues of gender and class while depicting the challenges of working class women. Films covered include Salt of the Earth, Pajama Game, Union Maids, With Babies and Banners, Norma Rae, Silkwood, and Live Nude Girls Unite! Through comparative analysis, the text examines the responses of these films to the labor and feminist movements of the last half century, and how American cinema has articulated notions of disempowerment, ambivalence and, at times, the resistance of both women and the working class at large. |
| woman hanging scenes in movies: The Hanging Angela Betzien, 2017 'We're a circle. We're forever. For eternity.' Three teenage schoolgirls go missing in Melbourne's hinterland. The clock is ticking, the search is on. One of the girls turns up days later. Confused and unkempt, she has no apparent memory of what happened and where her friends are. Sound familiar? The Hanging is a gripping thriller that questions the frequently occurring spectre of the missing girl in the Australian bush. Its mystery is a postmodern study of social panic and what lies hidden, just out of reach. |
| woman hanging scenes in movies: Last Woman Hanged Caroline Overington, 2014-11-01 Two husbands, four trials and one bloody execution: Winner of the 2015 Davitt Award for Best Crime Book (Non-fiction) -- the terrible true story of Louisa Collins. In January 1889, Louisa Collins, a 41-year-old mother of ten children, became the first woman hanged at Darlinghurst Gaol and the last woman hanged in New South Wales. Both of Louisa's husbands had died suddenly and the Crown, convinced that Louisa poisoned them with arsenic, put her on trial an extraordinary four times in order to get a conviction, to the horror of many in the legal community. Louisa protested her innocence until the end. Much of the evidence against Louisa was circumstantial. Some of the most important testimony was given by her only daughter, May, who was just 10-years-old when asked to take the stand. Louisa Collins was hanged at a time when women were in no sense equal under the law -- except when it came to the gallows. They could not vote or stand for parliament -- or sit on juries. Against this background, a small group of women rose up to try to save Louisa's life, arguing that a legal system comprised only of men -- male judges, all-male jury, male prosecutor, governor and Premier -- could not with any integrity hang a woman. The tenacity of these women would not save Louisa but it would ultimately carry women from their homes all the way to Parliament House. Caroline Overington is the author of eleven books of fiction and non-fiction, including the top-selling THE ONE WHO GOT AWAY psychological crime novel. She has said: 'My hope is that LAST WOMAN HANGED will be read not only as a true crime story but as a letter of profound thanks to that generation of women who fought so hard for the rights we still enjoy today.' Praise for LAST WOMAN HANGED 'The story she tells ... is a useful challenge to any tendency to simple moral indignation' -- Beverley Kingston, Sydney Morning Herald 'This is a fascinating book, a terrific read, and an excellent reminder of who tells the stories, and whose stories are forgotten' -- Frances Rand, South Coast Register '... what's ... interesting is Caroline Overington's even-handed appraisal of Collins's alleged crime(s) that led her to become the last woman hanged in New South Wales in 1889' -- Launceston Sunday Examiner |
| woman hanging scenes in movies: killing for culture David Kerekes, David Slater, 2016-06-03 Unlike images of sex, which were clandestine and screened only in private, images of death were made public from the onset of cinema. The father of the modern age, Thomas Edison, fed the appetite for this material with staged executions on film. Little over a century later the executions are real and the world is aghast at brutalities freely available online at the click of a button. Some of these films are created by lone individuals using shaky camera phones: Luka Magnotta, for instance, and the teenagers known as the Dnipropetrovsk maniacs. Others are shot on high definition equipment and professionally edited by organized groups, such as the militant extremists ISIS. KILLING FOR CULTURE explores these images of death and violence, and the human obsession with looking — and not looking — at them. Beginning with the mythology of the so-called ‘snuff’ film and its evolution through popular culture, this book traces death and the artifice of death in the ‘mondo’ documentaries that emerged in the 1960s, and later the faux snuff pornography that found an audience through Necrobabes and similar websites. However, it is when videos depicting the murders of Daniel Pearl and Nick Berg surfaced in the 2000s that an era of genuine atrocity commenced, one that has irrevocably changed the way in which we function as a society. |
| woman hanging scenes in movies: The Dumas Club Arturo Pérez-Reverte, 2003 In the world of rare books everything has its price. But when the book is a satanic tract, the currency is not money but life... A well-know bibliophile is found hanged days after selling a rare manuscript of Alexander Dumas's classic, The Three Musketeers. Across Madrid, Spain's wealthiest book dealer has finally laid his hands on a 17th-century manual for summoning the devil. Lucas Corso, solitary and obsessive, is the detective hired to authenticate both texts. But the further he follows the trail of devil worship, the more it leads him back to Dumas. He's the unwitting protagonist in someone's evil plot, but is he sleuth or hero, Sherlock Holmes or d'Artagnan? QUOTES AS ON EXISTING ARTWORK |
| woman hanging scenes in movies: Photoplay Movies & Video , 1983 |
| woman hanging scenes in movies: Nineteenth-century Women at the Movies Barbara Tepa Lupack, 1999 Eleven essays analyze the adaptations of novels by eight popular writers such as Jane Austen and Harriet Beecher Stowe, and examine the ways in which those writers' themes are reinterpreted, updated and often misconstrued by the filmmakers who bring them to the screen. No index. Annotation copyrighted by Book News, Inc., Portland, OR |
| woman hanging scenes in movies: Old Films, Young Eyes Simone O. Elias, 2024-11-15 Why would a modern teenager find classic films enthralling? This book presents an eye-opening tour of how old movies foreshadowed, influenced--and continue to shape--popular culture in many surprising ways. From foreseeing today's image-dominated social media landscape to ushering rock music into the mainstream, and sparking elements of the #MeToo movement, classic movies remain relevant and inspiring. Despite prevailing attitudes that old films are outdated, many dramatically broke boundaries around racism and antisemitism. They predicted current trends in divorce and sexual relations. They helped shape current icons like Taylor Swift and Lady Gaga, as well as foreshadowing more sobering events such as the Covid-19 pandemic. A Gen Z-age cultural critic, author Simone O. Elias presents an insider's perspective on the socio-cultural impact of classic Hollywood films on a modern generation. |
| woman hanging scenes in movies: Undressing Cinema Stella Bruzzi, 2012-10-12 From Audrey Hepburn in Givenchy, to sharp-suited gangsters in Tarantino movies, clothing is central to film. In Undressing Cinema, Stella Bruzzi explores how far from being mere accessories, clothes are key elements in the construction of cinematic identities, and she proposes new and dynamic links between cinema, fashion and costume history, gender, queer theory and psychoanalysis. Bruzzi uses case studies drawn from contemporary popular cinema to reassess established ideas about costume and fashion in cinema, and to challenge conventional interpretations of how masculinity and femininity are constructed through clothing. Her wide-ranging study encompasses: * haute couture in film and the rise of the movie fashion designer, from Givenchy to Gaultier * the eroticism of period costume in films such as The Piano and The Age of Innocence * clothing the modern femme fatale in Single White Female, Disclosure and The Last Seduction * generic male chic in Goodfellas, Reservoir Dogs, and Leon * pride, costume and masculinity in `Blaxploitation' films, Boyz `N The Hood and New Jack City * drag and gender confusion in cinema, from the unerotic cross-dressing of Mrs Doubtfire to the eroticised ambiguity of Orlando. |
| woman hanging scenes in movies: Desperately Seeking Something Susan Seidelman, 2024-06-18 The funny and insightful first-person story of the trailblazing movie director of the 80s and 90s whose fearless punk drama, “Smithereens” became the first American indie film to compete at Cannes, and smash hit Desperately Seeking Susan led to a four-decade career in film. Starting out in the mid-70s, a time when few women were directing movies, Susan was determined to become a filmmaker. She longed to tell stories about the unrepresented characters she wanted to see on screen: unconventional women in unusual circumstances, needing to express themselves and maintain their autonomy. Her genre-blending films reflect a passion for classic Hollywood storytelling, mixed with a playful New Wave spirit, informed by her years living in downtown NYC. Seidelman continued to shape American pop culture well into the nineties, directing the pilot of the iconic TV series “Sex And The City,” focusing her sharp lens on the changing place of women in American society and helping to fundamentally reshape our self-image in ways that are still felt today. BOOK DETAILS: Raised in the safe cocoon of 1960s suburbia, Susan Seidelman wasn’t a misfit, an oddball, or an outlier. She was a “good-girl” with a little bit of “bad” hidden inside. A restless teenager, she dreamed of escape and reinvention, a theme that would play out in her films as well as in her own life. Because she loved stories, a high school guidance counselor suggested she become a librarian, but she had her sights set further afield. In 1973, she left the Philly suburbs, enrolled at NYU’s burgeoning graduate film school and moved to NYC’s Lower East Side. There, she found herself in the right place at the right time. New York City was falling apart, but out of that chaos came a burst of creative energy whose effects are still felt in American pop culture today. Downtown became a vibrant playground where film, music, performance and graffiti art cross-pollinated and where Seidelman chronicled the lives of the colorful misfits, oddballs, dreamers and schemers she met there. It’s all in DESPERATELY SEEKING SOMETHING. Seidelman not only has a keen perspective on the times she’s lived through -- from her Twiggy-obsessed girlhood, through the Women’s Lib movement of the early 70s, the punk scene of the late 70s, Madonna-mania of the 80s, to the dot-com “greed is good” 90s, and beyond--she tells great stories. |
| woman hanging scenes in movies: The Psychology of Moviegoing Ashton D. Trice, Hunter W. Greer, 2019-04-11 How do we choose what movies to go see? How do we process the sounds and images of those films? How do they influence our behaviors, attitudes and beliefs after we leave the theater? Using psychology theory, this book answers these questions while considering the effects of relatively permanent personality variables, our changeable moods and the people we are with in such scenarios. It also points out areas of the study in which further work is necessary and where new concepts, such as awe and aesthetic pleasure, may further understanding. |
| woman hanging scenes in movies: Across a Green Ocean Wendy Lee, 2015-02-01 A widow and her two grown children search for answers about the past in both America and China, in this insightful novel of an immigrant family’s journey. After a lifetime of sacrifice, Ling’s husband has passed away. Though she has both a son and a daughter to comfort her, she has struggled to understand how they live their lives—Emily, an immigration lawyer in New York City, inexplicably refuses to have children; and Michael is unable to commit to a relationship or a career. Michael yearns for a deeper connection to his family, but has never been able to find the courage to come out to them as gay. But when he finds a letter to his father from a long-ago friend—written mostly in Chinese except for a mysterious line at the end: Everything has been forgiven—he impulsively travels to China in the hopes of learning more about a man he never really knew. In this rapidly modernizing country, he begins to understand his father’s decisions—including one that reverberates into the present day. Meanwhile, on the other side of the world, Ling and Emily question their own choices, trying to forge a path that bends toward new loves and fresh beginnings. From the author of Happy Family, named one of the top ten debuts of the year by Booklist, this is a powerfully honest novel that captures the complexity of the immigrant experience, exploring one family’s hidden history, unspoken hurts, and search for a place to call home. |
| woman hanging scenes in movies: Once Upon A Time in the Italian West Howard Hughes, 2006-03-31 The ideal popular guide to the key Spaghetti Westerns - mainly the good but also the bad and the ugly - this is an authoritative, entertaining and comprehensive companion to the films that created the mythical Spaghetti West in the most improbable circumstances. Sergio Leone's Dollars trilogy is covered, with many more major and minor Spaghetti Westerns, including Sergio Corbucci's Navajo Joe, Carlo Lizzani's The Hills Run Red and Duccio Tessari's A Pistol for Ringo. This popular guide explores the films through the biographies and filmographies of key personnel, stories of the films' making, their locations and sets, sources, musical scores, detailed cast information, box office fortunes internationally, with many illustrations, including original posters and stills. |
| woman hanging scenes in movies: Meeting Movies Norman Norwood Holland, 2007 Casablanca, for example, provides millions with a sense of satisfaction. Why? How did this movie about World War II satisfy an adolescent boy afraid of not being a man, but too young to be in the military? How did such an outrageously sentimental film enable Holland (and many others) to deal with the scary state of the world in 1942 and, indeed, ever since? Meeting Movies poses such questions again and again. As a professor of literature and film, Holland feels compelled to interpret. Yet, beneath and beyond his intellectualizing, a variety of half-conscious personal considerations and recurring themes color his feelings and hence his interpretations. And this, he claims, is true for all of us.--BOOK JACKET. |
| woman hanging scenes in movies: Eight Men Speak Oscar Ryan, Edward Cecil-Smith, Frank Love, Mildred Goldberg, 2013-03-30 The first scholarly edition of the only play banned in Canada for political reasons. |
| woman hanging scenes in movies: Movies and Methods Bill Nichols, 1985-09-06 The original Movies and Methods volume (1976) captured the dynamic evolution of film theory and criticism into an important new discipline, incorporating methods from structuralism, semiotics, and feminist thought. Now there is again ferment in the field. Movies and Methods, Volume II, captures the developments that have given history and genre studies imaginative new models and indicates how feminist, structuralist, and psychoanalytic approaches to film have achieved fresh, valuable insights. In his thoughtful introduction, Nichols provides a context for the paradoxes that confront film studies today. He shows how shared methods and approaches continue to stimulate much of the best writing about film, points to common problems most critics and theorists have tried to resolve, and describes the internal contraditions that have restricted the usefulness of post-structuralism. Mini-introductions place each essay in a larger context and suggest its linkages with other essays in the volume. A great variety of approaches and methods characterize film writing today, and the final part conveys their diversity—from statistical style analysis to phenomenology and from gay criticisms to neoformalism. This concluding part also shows how the rigorous use of a broad range of approaches has helped remove post-structuralist criticism from its position of dominance through most of the seventies and early eighties. The writings collected in this volume exhibit not only a strong sense of personal engagement but als a persistent awareness of the social importance of the cinema in our culture. Movies and Methods, Volume II, will prove as invaluable to the serious student of cinema as its predecessor; it will be an essential reference work for years to come. |
| woman hanging scenes in movies: Folk Horror Revival: Field Studies - Second Edition Folk Horror Revival, 2018 A new and revised edition of the seminal tome Folk Horror Revival: Field Studies. A collection of essays, interviews and artwork by a host of talents exploring the weird fields of folk horror, urban wyrd and other strange edges. Contributors include Robin Hardy, Ronald Hutton, Alan Lee, Philip Pullman, Thomas Ligotti, Kim Newman, Adam Scovell, Gary Lachman, Susan Cooper and a whole host of other intriguing and vastly talented souls. An indispensable companion for all explorers of the strange cinematic, televisual, literary and folkloric realms. This edition contains numerous extra interviews and essays as well as updating some information and presented with improved design. 100% of all sales profits of this book are charitably donated at quarterly intervals to The Wildlife Trusts. |
| woman hanging scenes in movies: Art of Satoshi Kon , 2015-08-18 Director Satoshi Kon blazed a brilliant animation career before his tragic death in 2010 at age 46. Now Dark Horse is privileged to remember him and his works through The Art of Satoshi Kon, a beautiful book of Kon’s illustrations for his movies Perfect Blue, Tokyo Godfathers, Milennium Actress, Paprika and his televison series Paranoia Agent, plus his unfinished The Dreaming Machine, his manga, commercial art, and several little-known and incomplete projects by the creator! Includes a special message from Academy Award nominated director Darren Aronofsky (The Wrestler, Black Swan, Noah) |
| woman hanging scenes in movies: Horror Films of 2000-2009 John Kenneth Muir, 2022-10-12 Horror films have always reflected their audiences' fears and anxieties. In the United States, the 2000s were a decade full of change in response to the 9/11 terrorist attacks, the contested presidential election of 2000, and the wars in Iraq and Afghanistan. These social and political changes, as well as the influences of Japanese horror and New French extremism, had a profound effect on American horror filmmaking during the 2000s. This filmography covers more than 300 horror films released in America from 2000 through 2009, including such popular forms as found footage, torture porn, and remakes. Each entry covers a single film and includes credits, a synopsis, and a lengthy critical commentary. The appendices include common horror conventions, a performer hall of fame, and memorable ad lines. |
| woman hanging scenes in movies: Flicker Theodore Roszak, 2005-04-01 From the golden age of art movies and underground cinema to X-rated porn, splatter films, and midnight movies, this breathtaking thriller is a tour de force of cinematic fact and fantasy, full of metaphysical mysteries that will haunt the dreams of every moviegoer. Jonathan Gates could not have anticipated that his student studies would lead him to uncover the secret history of the movies—a tale of intrigue, deception, and death that stretches back to the 14th century. But he succumbs to what will be a lifelong obsession with the mysterious Max Castle, a nearly forgotten genius of the silent screen who later became the greatest director of horror films, only to vanish in the 1940s, at the height of his talent. Now, 20 years later, as Jonathan seeks the truth behind Castle's disappearance, the innocent entertainments of his youth—the sexy sirens, the screwball comedies, the high romance—take on a sinister appearance. His tortured quest takes him from Hollywood's Poverty Row into the shadowy lore of ancient religious heresies. He encounters a cast of exotic characters, including Orson Welles and John Huston, who teach him that there's more to film than meets the eye, and journeys through the dark side of nostalgia, where the Three Stooges and Shirley Temple join company with an alien god whose purposes are anything but entertainment. |
| woman hanging scenes in movies: New York Magazine , 1988-12-12 New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea. |
| woman hanging scenes in movies: Werewolf Complex Denis Duclos, 1998-02 On crime and violence in the United States |
| woman hanging scenes in movies: The Horror Show Guide Mike Mayo, 2013-04-01 This cinefile’s guidebook covers the horror genre monstrously well! Find reviews of over 1,000 of the best, weirdest, wickedest, wackiest, and most entertaining scary movies from every age of horror! Atomic bombs, mad serial killers, zealous zombies, maniacal monsters lurking around every corner, and the unleashing of technology, rapidly changing and dominating our lives. Slasher and splatter films. Italian giallo and Japanese city-stomping monster flicks. Psychological horrors, spoofs, and nature running amuck. You will find these terrors and many more in The Horror Show Guide: The Ultimate Frightfest of Movies. No gravestone is left unturned to bring you entertaining critiques, fascinating top-ten lists, numerous photos, and extensive credit information to satisfy even the most die-hard fans. Written by a fan for fans, The Horror Show Guide helps lead even the uninitiated to unexpected treasures of unease and mayhem with lists of similar motifs, including ... Urban Horrors Nasty Bugs, Mad Scientists and Maniacal Medicos Evil Dolls Bad Hair Days Big Bad Werewolves Most Appetizing Cannibals Classic Ghost Stories Fiendish Families Guilty Pleasures Literary Adaptations Horrible Highways and Byways Post-Apocalyptic Horrors Most Regrettable Remakes Towns with a Secret and many more. With reviews on many overlooked, underappreciated gems, new devotees and discriminating dark-cinema enthusiasts alike will love this big, beautiful, end-all, be-all guide to an always popular film genre. With many photos, illustrations, and other graphics, The Horror Show Guide is richly illustrated. Its helpful appendix of movie credits, bibliography, and extensive index add to its usefulness. |
| woman hanging scenes in movies: New York Magazine , 1988-12-19 New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea. |
| woman hanging scenes in movies: The Cinema of Cuba Ann Marie Stock, Guy Baron, Antonio Álvarez Pitaluga, 2017-06-30 Contemporary Cuba is opening up to the rest of the world. Its colonial past and the Communist revolution have left a lasting imprint on society, yet there is a tangible sense of rapid change which is reflected in the island's national cinema. New screen technologies and digital distribution media have supported the efficacy and global reach of Cuban filmmakers whose work, somewhat in lieu of adequate distribution and traditional screening facilities in Cuba itself, is often disseminated via 'flash' (USB memory sticks).Channelling an energetic DIY attitude through grassroots movements and ad-hoc resourcefulness, the new filmmakers of Cuba have inspired the editors of this book to embrace their contagious enthusiasm through essays on authentic Cuban cinema. Whilst the book provides a comprehensive overview of the history behind current practices, it also moves beyond this to examine key case studies as well as 'snapshots' of individuals working within the industry today. Chapters celebrate the shared creativity as well as diversity of Cuban cinema, including both productions of the Cuban Film Institute's (ICAIC) as well as those from the industry margins. The films discussed demonstrate a driving cinematic force through social criticism, the emphasis of debate and historical change through film, reassessments of gender relations, the use of new technologies and much more. |
| woman hanging scenes in movies: New York Magazine , 1989-02-13 New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea. |
| woman hanging scenes in movies: Science Fiction, Fantasy and Horror Film Sequels, Series and Remakes Kim R. Holston, Tom Winchester, 2018-02-12 Science fiction, fantasy and horror movies have spawned more sequels and remakes than any other film genre. Following Volume I, which covered 400 films made 1931-1995, Volume II analyzes 334 releases from 1996 through 2016. The traditional cinematic monsters are represented--Dracula, Frankenstein, the Wolf Man, a new Mummy. A new wave of popular series inspired by comics and video games, as well as The Lord of the Rings trilogy, could never have been credibly produced without the advances in special effects technology. Audiences follow the exploits of superheroes like Captain America, Iron Man, Spider-Man and Thor, and such heroines as the vampire Selene, zombie killer Alice, dystopian rebels Katniss Everdeen and Imperator Furiosa, and Soviet spy turned American agent Black Widow. The continuing depredations of Jason Voorhees, Freddy Krueger and Michael Myers are described. Pre-1996 movies that have since been remade are included. Entries features cast and credits, detailed synopsis, critics' reviews, and original analysis. |
| woman hanging scenes in movies: New York Magazine , 1989-01-02 New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea. |
| woman hanging scenes in movies: Directory of World Cinema: Australia and New Zealand Ben Goldsmith, Geoff Lealand, 2010-12-15 This addition to Intellect's Directory of World Cinema series turns the spotlight on Australia and New Zealand and offers an in-depth and exciting look at the cinema produced in these two countries since the turn of the twentieth century. Though the two nations share considerable cultural and economic connections, their film industries remain distinct, marked by differences of scale, level of government involvement and funding and relations with other countries and national cinemas. Through essays about prominent genres and themes, profiles of directors and comprehensive reviews of significant titles, this user-friendly guide explores the diversity and distinctiveness of films from Australia and New Zealand from Whale Rider to The Piano to Wolf Creek. |
| woman hanging scenes in movies: Mafia Movies Dana Renga, 2019-07-05 The mafia has always fascinated filmmakers and television producers. Al Capone, Salvatore Giuliano, Lucky Luciano, Ciro Di Marzio, Roberto Saviano, Don Vito and Michael Corleone, and Tony Soprano are some of the historical and fictional figures that contribute to the myth of the Italian and Italian-American mafias perpetuated onscreen. This collection looks at mafia movies and television over time and across cultures, from the early classics to the Godfather trilogy and contemporary Italian films and television series. The only comprehensive collection of its type, Mafia Movies treats over fifty films and TV shows created since 1906, while introducing Italian and Italian-American mafia history and culture. The second edition includes new original essays on essential films and TV shows that have emerged since the publication of the first edition, such as Boardwalk Empire and Mob Wives, as well as a new roundtable section on Italy's other mafias in film and television, written as a collaborative essay by more than ten scholars. The edition also introduces a new section called Double Takes that elaborates on some of the most popular mafia films and TV shows (e.g. The Godfather and The Sopranos) organized around themes such as adaptation, gender and politics, urban spaces, and performance and stardom. |
| woman hanging scenes in movies: Cinematic Women, From Objecthood to Heroism: Essays on Female Gender Representation on Western Screens and in TV Productions Lisa V. Mazey, 2020-05-05 Women have fulfilled film roles that exhibit their historically subservient or sexualised positions in society, among others. Over the decades, the gender identity of women has fluctuated to include powerful women, emotionally strong women, lesbian women, and even neurologically atypical women. These identities reflect the change in societal norms and what is now acknowledged as more likely and more mainstream. The evolution of society’s views of women can be mapped through these roles; from 1950’s America where women were depicted as the counterpart to male characters and their masculinity either as a threat or support to the patriarchal norms; to more recent times, where these norms have been questioned, challenged, deconstructed and reconstructed to include women in a more equitable balance. The fight for equal access, equal pay and equal standing still exists in all walks of life and different cultures requiring continued scrutiny of the norms that made that fight necessary. The essays offer a unique vantage of the changing culture and conversations that allowed, encouraged, and praised an evolution of women’s roles. They strive to represent the issues faced by women, from the early heyday of Hollywood through to films as recent as 2007; examining depictions of the masculine gaze, mental and physical oppression, the mother figure, as well as how these roles may develop in the future. The book contains valuable material for film students at an undergraduate or post-graduate level, as well as scholars from a range of disciplines including cultural studies, media studies, film studies and women’s and gender studies. |
| woman hanging scenes in movies: Roger Ebert's Movie Yearbook 2010 Roger Ebert, 2009-11-09 Roger Ebert's Movie Yearbook 2010 is the ultimate source for movies, movie reviews, and much more. For nearly 25 years, Roger Ebert's annual collection has been recognized as the preeminent source for full-length critical movie reviews, and his 2010 yearbook does not disappoint. The yearbook includes every review Ebert has written from January 2007 to July 2009. It also includes interviews, essays, tributes, and all-new questions and answers from his Questions for the Movie Answer Man columns. Fans get a bonus feature, too, with new entries to Ebert's Little Movie Glossary. This is the must-have go-to guide for movie fanatics. |
| woman hanging scenes in movies: New York Magazine , 1990-08-13 New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea. |
| woman hanging scenes in movies: Fire and Desire Jane M. Gaines, 2017-12-29 In the silent era, American cinema was defined by two separate and parallel industries, with white and black companies producing films for their respective, segregated audiences. Jane Gaines's highly anticipated new book reconsiders the race films of this era with an ambitious historical and theoretical agenda. Fire and Desire offers a penetrating look at the black independent film movement during the silent period. Gaines traces the profound influence that D. W. Griffith's racist epic The Birth of a Nation exerted on black filmmakers such as Oscar Micheaux, the director of the newly recovered Within Our Gates. Beginning with What Happened in the Tunnel, a movie that played with race and sex taboos by featuring the first interracial kiss in film, Gaines also explores the cinematic constitution of self and other through surprise encounters: James Baldwin sees himself in the face of Bette Davis, family resemblance is read in Richard S. Robert's portrait of an interracial family, and black film pioneer George P. Johnson looks back on Micheaux. Given the impossibility of purity and the co-implication of white and black, Fire and Desire ultimately questions the category of race movies itself. |
| woman hanging scenes in movies: Blood Sucking Freak John Szpunar, 2018-08-27 New York City, 1976. Newspaper ads dare the denizens of Times Square to see a morbid little movie called The Incredible Torture Show. The film is yanked from theaters before it finds its audience. Years later it is retitled Blood Sucking Freaks and hits pay dirt, playing to shocked crowds and becoming a perverse cult classic. Its writer and director is Joel M. Reed. Like his films, the life of Joel M. Reed is a crazy cocktail of New York satire and sleaze, from swanky supper clubs in the 1950s through to the decrepit grindhouses of the 1970s. Using Reed and his films as its cornerstone, this book — twenty years in the making — is a dirty snapshot of the last gasp of Times Square before AIDS, crack cocaine, and anti-pornography laws strike their final blow. Strap yourself in for an unforgettable journey. |
| woman hanging scenes in movies: Seeing the American Woman, 1880-1920 Katherine H. Adams, Michael L. Keene, Jennifer C. Koella, 2011-12-08 From 1880 to 1920, the first truly national visual culture developed in the United States as a result of the completion of the Pacific Railroad. Women, especially young and beautiful ones, found new lives shaped by their participation in that visual culture. This rapidly evolving age left behind the cult of domesticity that reigned in the nineteenth century to give rise to new types of women based on a single feature--a type of hair, skin, dress, or prop--including the Gibson Girl, the sob sister, the stunt girl, the hoochy-coochy dancer, and the bearded lady. Exploring both high and low culture, from the circus and film to newspapers and magazines, this work examines depictions of women at the dawn of mass media, depictions that would remain influential throughout the twentieth century. |
| woman hanging scenes in movies: "Laura" as Novel, Film, and Myth Eugene McNamara, 1992 A study of the 1944 film, Laura, this volume also examines the original book on which the film was based, how the book was turned into a film, and what impact the film has had on viewers and on other films. |
| woman hanging scenes in movies: The Woman in Black Susan Hill, 2007 Proud and solitary, Eel Marsh House surveys the windswept reaches of the salt marshes beyond Nine Lives Causeway. Arthur Kipps, a junior solicitor, is summoned to attend the funeral of Mrs Alice Drablow, the house's sole inhabitant, unaware of the tragic secrets which lie hidden behind the shuttered windows. It is not until he glimpses a pale young woman, dressed all in black, at the funeral, that a creeping sense of unease begins to take hold, a feeling deepened by the reluctance of the locals to talk of the woman in black - and her terrible purpose. |
| woman hanging scenes in movies: Roger Ebert's Movie Home Companion Roger Ebert, 1992 Marking 25 years as a film critic, Roger Ebert--the only film critic to win a Pulitzer Prize--devotes the introduction of his annual Movie Home Companion to observations on the art of moviegoing. Then come some 1,100 full-length reviews of the most interesting films on home video, all fully indexed by title, director, and stars. Includes 150 new reviews. |
| woman hanging scenes in movies: Passage Connie Willis, 2014-06-30 Dr. Joanna Lander is a psychologist specializing in near-death experiences. She is about to get help from a new doctor with the power to give her the chance to get as close to death as anyone can. A brilliant young neurologist, Dr. Richard Wright has come up with a way to manufacture the near-death experience using a psychoactive drug. Joanna's first NDE is as fascinating as she imagined - so astounding that she knows she must go back, if only to find out why that place is so hauntingly familiar. But each time Joanna goes under, her sense of dread begins to grow, because part of her already knows why the experience is so familiar, and why she has every reason to be afraid. Yet just when Joanna thinks she understands, she's in for the biggest surprise of all - a shattering scenario that will keep you feverishly reading until the final climactic page. |
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