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Experiencing Film Violence
By cary 24th February 2017
From its early days cinema has showcased violence.
Whether it was boxing matches or recreations of historical events violence has been infused into the very nature of the medium. If we believe the old story about the Lumière Brothers scaring their Paris audience the beginning of Cinema was a violent act in itself. With this presentation of violence came politics. Perhaps it was the accessibility of cinema that made it open to more political interference than literature or theatre (although these were also messed with), the fear that the plebs, who wouldn't/couldn't read or understand high culture, would be corrupted by this new form. Early on movies were being banned for their violence, but sometimes the reasons were as much politically motivated as out of a 'duty' to protect the masses; in the US one early boxing film was banned on racial grounds, as it showed a black boxer beating a white boxer, undermining the 'inherent' superiority of the white race.
The dominant discourse on violence today remains rooted in the spurious effects debate. Every so often a film is seen to be the cause of society's ills, or it offers the potential to corrupt and degrade. A cursory glance at the history of Hollywood film offers a list of titles that have been suggested as, but never proven to be, the inspiration for real acts of violence. Films such as Rebel Without a Cause, Taxi Driver, Natural Born Killers, Scream, Child's Play 3, not to mention the litany of 1980s Video Nasties have been implicated. But this debate fundamentally lacks an understanding of the complicated ways in which the audience experiences film violence. In this article I'll outline some of those ways, in the hope that we can move the debate a little further from the purview of the Daily Mail.
Before, During, After
The paratext are the texts that surround and inform any individual text. Generally speaking we don't watch movies in a vacuum, particularly now as we're constantly bombarded with trailers, posters, websites and even trailers for trailers. These elements, also known as the Narrative Image, inform and mediate our responses to cinema, including how we understand the violence. In short our experience and understanding of film violence occurs before (paratext), during (spectating) and after the film (in the ways we remake the film in our memories, how they compare to other texts, etc). Beyond these paratextual elements are the social and political contexts that inform the text and our responses. To give a brief example most film students are forced to watch the Odessa Steps sequence from Battleship Potemkin (Sergei Eisenstein, 1925). But the context of watching this in the 21st Century, in Europe, can't match the context of post-revolutionary Russia, or interwar Britain where the film was banned. Our approach to the film is framed by these paratextual elements of expectation where a genre, title or star, can confirm or subvert.
Generic and narrative expectations are another major part of this experience, elements which are, by and large, set by the narrative image. The Western is a genre that depends on violence – the narrative is organised around the final shoot-out, the showdown between protagonist and antagonist. It would be ridiculous to watch a mainstream Western then and be surprised by the violence in the final scenes. The emotional response to such a moment is therefore conditioned by expectation. Films that muddy the generic/narrative waters generate different responses. Take the violence in Pan's Labyrinth (Guillermo Del Toro, 2006). The film is framed as a fairytale of sorts, in which a small girl (evoking characters like Alice), explores a world of fantastic creatures. Then a man has his face bashed in with a bottle. Nothing in the narrative/genre has suggested this event, the impact is greater.
These elements of genre/narrative and paratext also condition the modality of the films. Modality is the level of reality that we ascribe to a message. For instance the News has a higher modality than Tom and Jerry; one presents itself as a true representation of reality, the other is a cartoon in which impossible events occur. Films generally exist somewhere between these two extremes. A film that employs documentary style camera work conveys a higher modality than one that involves impossible CGI shots. Similarly the advertising of a film can stress fantastic or realistic elements. Early coverage for The Blair Witch Project presented the film as true, that the footage had been recovered. For those early audiences the film had a high modality, creating a different response to later viewers who watched is as part of the normal horror genre.
Elements of Film Violence
If our approach to film violence is conditioned before we even sit in the cinema what then of the films themselves? One cannot hope to fully elucidate the complexities of this in a short essay, but I can outline a few significant elements.
Prince (1998) breaks film violence down into three elements; the referential act, the stylistic encoding and the stylistic amplitude. The referential act is the act of violence that the film depicts. Our understanding of this is complicated in itself. Has the audience experienced this act themselves, or seen it before in other films and media? Each act of violence in a film is seen in comparison to other films and the real world. Increasingly the violence we see bears no resemblance to our life experience – our referent becomes other films. The stylistic encoding is how the referential act is depicted in the film, the shots used, the sound, etc. Take for comparison the finales of High Noon (Fred Zinneman, 1952) and Dirty Harry (Don Siegel, 1971). In High Noon the hero, Will Kane, shoots the villain Frank Miller with a single bullet. It takes 5 seconds of screen time and is shown in a single shot from where Kane stands, leaving Miller in the background. When Harry shoots Scorpio over 8 single shots are shown, taking just over a minute of screen time. When Scorpio is hot we see, from multiple angles, him thrown backwards, blood spurting from his body; the same referential act, encoding in two very different styles.
The final aspect, the Stylistic Amplitude, covers ideas of graphicness and duration of the encoded act. In essence the more graphic the depiction the greater the duration. The more of the violence we see the more significant it is in the film's running time. As a general trend in Hollywood cinema more time is given over to violence in movies.
Positioning the Audience
As a final issue we need to consider how the film positions its audience in relation to the characters that enact violence. There are two positions available, one subjective (we watch/follow/align with a character(s)), the other objective (we are not aligned with anyone, we watch separate from the action). This makes a big difference in how we relate to a film. The subjective camera, using shots like point of view, implied point of view and over shoulder, invite us to partake in the violence. Narrative techniques, such as narration, further encourage our identification with characters and violence (a good example of this is Taxi Driver (Martin Scorsese, 1976)). The objective camera keeps us at a distance, although we still align with a protagonist through convention, leaving our involvement as less participatory.
Moving the discussion about film violence away from the tabloid headlines and towards a technical understanding of cinema and its audience is essential if we're ever to puzzle out how and why people watch violent films. If we can do that we may be able to finally kill off the histrionic exaggerations, with or without the use of a shotgun.
Prince, Stephen (1998) Savage Cinema: Sam Peckinpah and the Rise of Ultraviolent Movies. Austin: University of Texas Press
"The father becomes the son, and the son becomes the father": Superheroes and their Fathers
It has occurred to me that within the confines of the Superhero sub-genre that so dominates modern Hollywood output that there is a single relationship that underpins the Superheroes' actions and their relationships to order and society. This relationship is between the Superhero and his father. Several recent releases reiterate this relationship, but it has its most clear articulation in Superman (Richard Donner, 1978) the film that set a structural template for the Superhero film. Thinking of fathers inevitably leads to Freud, Jung, et al and I'm going to use this post to suggest some ideas about the relationship between the Superhero and his father. The psychoanalytic ideas I shall refer to are those of the Symbolic Order and the Father Complex to highlight an essential structural element of this style of film. By investigating this we will see how the structure of the Super-Hero film hinges on the resolution of the subject/father relationship.
The relationship between the Superhero and his Father is a dominant theme in all the major Super-Hero releases from the past 30 years. For the purposes of this paper I will refer to Superman, X-Men (Bryan Singer, 2000), Spiderman (Sam Raimi, 2002), Daredevil (Mark Stephen Johnson, 2003), Batman Begins (Christopher Nolan, 2005), The Green Hornet (Michel Gondry, 2011) and Green Lantern (Martin Campbell, 2011). Each of these films articulates a father/son relationship that must be resolved for the hero to achieve their aims – a clear instance of the father complex (where the subject is formed/dependent on the father). In several of these films the father figure is not a relation but another who assumes the patriarchal relation, such as Uncle Ben in Spiderman or Professor Xavier in X-Men, however it is their role as the representative of symbolic order, as a force which imposes law and regulates desire that is important. Often it is the removal of the father by a violent act that operates as the catalyst for the plot in these films (i.e. there is no Batman without the death of Bruce Wayne's father Thomas).
The Traumatic Father
An initial trauma concerning the father can be seen across many of these films. The attempts to cope with the traumas, and the subsequent resolutions, are what drive the films forward. In Superman this is as dual trauma as two fathers are present; both die prematurely and the conflict of the central character's choice between the two, forms much of the dramatic axis. Superman/Clark Kent/Kal-El has been passed from one father to another and so moves between two opposing Names of the Father/Symbolic Orders. The two father figures in Superman are opposed; there is the god-like natural father Jor-El who initially exists in relation to Kal-El as the perfect Real Father- his relationship existing in Kal-El's pre-linguistic state. However through the use of audio recordings and teaching he becomes the representative of one type of Symbolic Father, imposing language and order onto the young child as he travels to earth. However Jor-El is subsequently displaced by the adoptive human father, Jonathan Kent. Kent is presented as distinctly human, preaching home-spun wisdom rather than the universal forms that Jor-El communicates. At this point Jor-El moves into being representative of the Imaginary Father, a fantasy projection of the imaginary ideal on which Clarke models his Superman persona, represented by the command of Jor-El that;
The father becomes the son, and the son becomes the father.
In Superman's decision to reject the rules of Jor-El and to change time to save Lois Lane from death we see a rejection of one, non-interventionist symbolic order (and the imaginary father), to another that approves of compassion – the acceptance of an alternative symbolic order. The human has triumphed over the divine, Jonathan has defeated Jor-El (this is especially so in the special edition which contains a scene explicitly dramatizing this conflict).
This acceptance of the Name-of-the-Father is a key element of these films. The reconciliation of the Superhero to their fathers signals an acceptance of the symbolic father and the rules and morality associated with them. In Batman Begins Bruce Wayne initially rejects the rules of the Symbolic Father in his quest for vengeance. His father, a doctor and philanthropist, was defined by his compassion. At this point in the narrative Bruce Wayne attempts to shoot his parents' murderer, Joe Chill, but is thwarted by another assassin. This failure prompts a movement to China where Wayne takes up with a surrogate father Henri Ducard who teaches Wayne the physical skills required to complete his quest for vengeance. However it is Wayne's rejection of Ducard's invocation to kill and eventual acceptance of his Father's principles that leads to him ascending into heroic status and becoming Batman. Similar to Superman, who dramatizes his conflict in his dual persona, a tension arises between the Batman and Wayne characters. Ironically it is the Batman figure who takes the place of Wayne's father as a caretaker of Gotham, whereas Bruce Wayne becomes a mask.
Similarly problematic schisms with father figures occur in both The Green Hornet and Green Lantern. In The Green Hornet Britt Reed initially rejects the rules of his father, behaving in irresponsible and childish ways. His ascendancy to hero status comes at the realisation of his father's true worth at which point he endeavours to uphold the journalistic ideas his father held dear. In Green Lantern Hal Jordan is crippled by fear, an anxiety picked up by watching his own father die in a plane crash. It is only by realising that the image of his father that he holds is an imaginary ideal that he can fully take his place in the Symbolic Order. By rejecting the Imaginary Father of his own ego-construct and embracing the lessons imparted by the Symbolic father, Jordan is able to conquer his own fear and save the planet from the fear entity Parallax.
The Surrogate Father
Spiderman & X-Men both use surrogate father figure to depict this resistance of entry into the symbolic order. For Peter Parker Uncle Ben occupies the place of the father. It is Parker's rejection of his uncle's teaching that leads to the uncle's death. Only by embracing his Uncle's axiom that;
With great power comes great responsibility,
can Parker take his place in the social order. In X-Men Charles Xavier presents a different father figure in that he remains constant throughout the film, with no traumatic separation. However it is Wolverine's/Logan's rejection of the Symbolic Order that brings him two Xavier's School. By taking his place there, and accepting Xavier as the Symbolic Father, Wolverine is able to learn about himself. In X-Men 2 a conflict between an opposing father, General Stryker, is created in which Wolverine/Logan is given a choice. By choosing Xavier, and rejecting his creation at the hands of Stryker, a relationship similar to the Jor-El/Jonathan Kent dynamic is revealed.
The Failing Father
In Daredevil a dissonance about the relationship between the Imaginary Father and the actual father underpins the motivation of the central character. Matt Murdock believes his father to be a hard-working ex-boxer. When he discovers that he is actually a hired thug for a local mobster he runs away – a trauma that leads directly to his loss of sight. Full of grief Murdock senior cleans up his act, but this just leads to the traumatic event (his death at the hands of The Kingpin) that creates Daredevil. Murdock achieves resolution by defeating The Kingpin and resolving himself to be the type of man his father should have been.
I have written this to give a broad overview of the father issues present in the genre with a limited number of examples. However father complexes are clearly visible in Thor (Kenneth Brannagh, 2011) between Thor and Odin, and Loki and Odin; Superman Returns (Bryan Singer, 2006) between Superman and Jason; Batman (Tim Burton, 1989) between Wayne & his father but also, in a twisted echo, between Batman and the Joker; Batman Returns (Tim Burton, 1992) between The Penguin and his father; and Kick Ass (Mathew Vaughn, 2010) this time with a daughter – Hit-Girl and Big-Daddy). One wonders whether a female oriented Super-Hero film, Wonder Woman maybe, would replicate this dramatic axis, or replace it with a mother anxiety instead?
Columbo: A Marxist Fable
I'm a Columbo fan. It's a great way to while away a quiet afternoon watching the excellent, and sadly departed, Peter Falk trick another unsuspecting big shot into thinking he's an idiot, when all the while he's working the whole thing out. It's structurally entertaining, shifting the drama to a battle of wits, by revealing the murderer's identity in the first third, rather than following the traditional structure laid down by Agatha Christie, et al. It also contains some wonderful cameos, with each episode throwing us another Hollywood name who is either on their uppers, or just enjoyed the fun of the role.
What occurred to me the other day was the realization that it wasn't just the show's structure that made it different – it was its politics. Here is a mainstream American show that espouses a Marxist viewpoint (bear with me). Each episode of Columbo begins with a member of high society (the bourgeoisie) committing what they think is the perfect murder. The motive is invariably for financial gain, for the acquisition of capital. In walks Columbo, a classic member of the proletariat. He dresses badly, has a terrible car, and seems oblivious to the codes of behavior of 'high society'. But through application of thought alone, and using his shabby status to expose the prejudices of the bourgeoisie (how could such a scruffy man possibly represent a threat?) he exposes the hollow, money grabbing elite for what they are. The show flips the assumptions of Capitalist society, that worth only comes through acquisition of capital, and shows how capitalist desire leads to an abandonment of moral principals. Columbo is above all a moral figure, loyal to his job, his wife and his dog. Set against this are the money grabbers, willing to kill anyone who comes in the way of their advancement.
PS. It's also an example of the Daoist idea of the virtue of the small. Read the Te of Piglet by Benjamin Hoff for more of this.
The November Man, Motivation and Women In Refridgerators
The November Man is overall a silly film, a later entry into the Liam Neeson/Taken inspired Geri-Action series. This time Pierce Brosnan dusts off his suits and gets to play a retired spy dragged out of retirement, etc. Nothing special, but a reasonably well put together film (despite Brosnan's rather alarming action-gurn). What is of note, and what really got my back up, was the insistence, in such a throw-away film, to depict a rape against the main female character (played by Olga Kurylenko, another Bond alumnus who plays a very similar character in Quantum of Solace). I don't actually mind the fact that her character is raped – it makes sense – but what got to me was the insistence on seeing it – in POV. Not much mind, but enough. And it got me thinking. Why isn't it enough for us to know she was raped? Why then later does this character have to suffer a flash back that leaves her useless and unable to avenge herself (you know – so the guys can do the killing)? Why does her whole character have to be defined this way?
Now The November Man is throw away, I doubt we'll care about it in 5 minutes. But we will care about the preponderance of women being raped in film, and the consistent use of rape as the way to torture, threaten, and emotionally scare women. Once again women's sexual "virtue" becomes a dominant aspect of their character. How they react, how they're scarred, how they recover becomes part of the continuing moral grading of women based on sexual morality (and how men have to come in and deal with it). The woman is inevitably passed from one man (bad) to another (good) – although both are violent and murder others. But hey I guess that's just how men express love, and hate, and maybe hunger. By shooting people.
Does any of this matter and what does it have to do with refrigerators? Women in Refrigerators is a website set up in 1999 to catalogue the various atrocities that happen to female characters in comics, started after a Green Lantern found his dead girlfriend in the aforesaid white good. And it's an extensive list in which women are transformed from people to motivating factors, and of course the worse their death/rape/mutilation the greater the cathartic violence the hero gets to enact. This at a time when Hollywood is becoming more and more male-centered (check out this Variety report). Maybe we need a Hollywood Women in Refrigerators? I think, however, that it would be so extensive so as to break the internet.
As long as we keep seeing women in terms of sexual virtue, in which their whole lives are defined by a sexual trauma that can only be redeemed by a "good" man we're going to keep having wider social issues concerning real relations between men and women. As men we need to start objecting when women are reduced to this. And we need to start recognizing how it also de-humanizes us – in which we are reduced to vengeance machines carrying massive anxiety about sex and sexuality. Frankly it's not very grown up.
In 1974 Laura Mulvey published her ideas on the male gaze, suggesting that Classical Hollywood reduces women to passive objects simultaneously desired and hated by a 'male' camera. Although Mulvey's ideas are not perfect, and are deeply rooted in Oedipal silliness, her idea got traction because she was on to something important that overall women are being used for plot motivation, from which male characters act out the male audience's anxieties. Indeed, these days, women barely feature in Hollywood films (only 30% of speaking characters). Lots has been said about the harm this does to women. And quite right. But we should also consider the harm it does to men, in limiting our ideas about women. They become problems, not people. And if that's all we see it becomes real. Picking on one representation is neither here nor there and The November Man doesn't matter. But women, and men, do.
Male Anxiety and The Usual Suspects (Bryan Singer, 1995)
The Usual Suspects is an excellent film, correctly celebrated for its non-linear structure and unreliable narrator. But it's also a fascinating look at male anxiety in the way the characters are consistently calling into question each others' sexuality and masculinity. As the Suspects themselves jockey to out-man each other Verbal Kint/Keyser Soze looks on showing the virtue of thought and ambiguity amid the cock-fights. It's an anxiety that seems increasingly pervasive in male-culture, finding angry expression in communities such as Red Pill or in humorous social comment in #masculinitysofragile?. It's with great prescience that Chris McQuarrie's script for The Usual Suspects explores this.
Throughout the film the threat of loss of masculinity is ever present, with the possibility of passivity (especially in the sense of sexual penetration) seen as the greatest fear. Not so much death for McManus, Hockney, Fenster and Keaton but buggery as the ultimate humiliation. Their strength is seen in terms of this, their unwillingness to "bend over for anybody" in Kint's terms. They tease and threaten each other with penetration (Fenster to Hockney "Hey lover boy, you wanna piece?", McManus to Hockney "You wanna dance with a man for a change?") When Keaton is arrested he's told he's not a business man, "From now on, you're in the gettin'-fucked-by-us business." Bending over, being fucked is the greatest threat. Is it any wonder these men grip their guns so tightly throughout the film? This constant reassurance of their masculinity, the acceptable cinematic phallus helps define, and protect them.
Except that it doesn't. They are all undone by the most passive one of them all. One who talks rather than acts, who hurts and plans. Is it any coincidence that Verbal states that "I'll probably shit blood tonight" having been punched by Keaton, revealing his own penetrability (unsurprisingly anal). Agent Kujan tries to dominate him mentally and physically, but its his own status as a "cripple" and a "gimp" (which means both disabled and a sexual submissive) that give him an advantage. It's beyond these men, and their physical anxiety, to understand that they can be controlled by talk, not physicality, that passivity can be controlling.
Fundamentally this is the fear of the feminine (passive, talking, penetrated) that has taken root in our culture since the Victorian era – it's created a binary opposition where attitudes and qualities accrue on either side and slippage isn't possible. It's beyond anyone in the film to see that Verbal Kint could move across boundaries, have qualities from either groups. It's a division especially riven into US culture from the Western in which masculinity is held superior for its silence, action and ruggedness, with women connected to the home and hearth but also the emasculating forces of civilization.
Oddly it reminds of the classical split between Rome and Greece, and the USA is often compared to Rome. The Greeks had Odysseus praised for his wiles and planning, his cunning and speech. For the Romans he became Ulysses a treacherous man, whose deceit was an un-Roman quality. It may not be un-linked that the Greeks were more interested in sex between men. We don't know whether Alexander the Great was a top, but it's clear in the Illiad that Achilles was a bottom.
Classical diversions aside The Usual Suspects suggests the current growing anxiety in some men about their gender – that any quality that aligns them with women/homosexuality is to be driven away. Ironically, this leads to their downfall. Turns out their masculinity is fragile, rather like a Kobayashi mug.
On Pixels (Chris Columbus, 2015), Race and Gender in Hollywood
It has been with a depressing familiarity that Hollywood has got itself in a mess this Oscar season about the lack of racial diversity in its nominees. Not only is this the second year without any non-white nominees for the key awards, it smacks of the same attitudes present since Hattie McDaniel accepted her Oscar in a Whites Only hotel for a film that painted slavery as not that bad and a nice backdrop to the problems of wealthy white people. Meanwhile the argument about equal pay for women goes on, spearheaded by Jennifer Lawrence, and the startling lack of female directors is still to be noted (it's worth listening to this excellent interview with Lexi Alexender on the topic) while male directors with a history of failures keep getting work.
All this came together in my mind while watching the execrable Pixels directed by journeyman Chris Columbus who has had some success (most notably with the first two, most boring, Harry Potters, Home Alone and Mrs Doubtfire) and some sizable flops (the $100 million Bicentennial Man being the most offensive). That Columbus gets a budget of $88 million for this dross when directors like Kathryn Bigelow and Mary Harron have barely made any films in the past 10 years shows how much the gender problem lingers throughout the Hollywood system. God knows how much Adam Sandler got for his lazy performance, but I've no doubt he probably made double the money that Michelle Monaghan received. Worse still this film puts a capable actress through the indignity of playing an horrific male-fantasy of rebound MILF; the sort of woman who goes for men who basically harass her when she's in a fragile emotional state. Watch as Sandler, playing a TV repair guy, literally says "Wow" as she enters and then proceeds to explain that he's shocked that any man would leave her because she's so hot! Instead of, like a real person, phoning his boss and getting him sacked, she tolerates this eventually deciding that the schlub has potential. The rest of the film is lazy as hell, and continues to demean women throughout, seeing them exclusively as the reward for male effort – including one character having a threesome arranged for him by the President because he helped save the world. In a kids movie. It's also an incredibly white film, with non-white characters limited to support (in fact the only two significant non-whites, both male, need to be rescued by our white heroes in the film's tepid denouement). The only engaging character in the film is Q*bert, an animated sidekick – and even he is transformed into a sexy-hot-female-warrior so one hero can live his weird cyber-sex fantasies. Did I mention it's, y'know, for kids?
Generally considered as a flop Pixels managed to drag in $244 million globally, meaning it probably covered it's costs. But it stands as an excellent expression of all that's wrong with Hollywood – a story conceived around a cool idea, but one that no-one thought through; misogyny from the get go (the cast has two characters called Cyber Chick #1, and Cyber Chick #2); lack of diversity; and a horrible view of its audience.
Yes the Oscars are an affront. Yes the pay-gap is wrong. But the problem will not be solved by a few awards, or a few pay rises. Until it hits the execs who put this tripe together, who treat their audience as a bunch of idiots with the emotional intelligence of zero, nothing changes. Please stop spending your money on this stuff – seek out the work of female directors, make an effort to watch films made by, and for, diverse people. Otherwise there's another 100 years of this.
Body Double (Brian De Palma, 1984)
Having scandalized a nation with the excellent Dressed to Kill (1980) De Palma planned to go one better with his next Body Double, this time re-mixing Vertigo and Rear Window and then adding some madness that's all his own. It's more polished than its predecessor, but lacks the visceral shocks, although much is made up by the gleeful deconstruction of male spectatorship in a film in which a crime is solved because the protagonist (Craig Wasson as a loser B-Movie actor) surfs porn channels at night. The twist is so ludicrous it trumps all other elements in this thriller that once again throws the audience a dirty look and suggest that watching films might just be a bit perverted.
Wasson is Jake Scully an actor fired from a terrible vampire film because he suffers from claustrophobia. He goes home and finds his wife in bed with another man (worse than that, he makes her "Glow"). A new friend (Gregg Henry) offers him a place to stay, in what must be the most 1980s location ever, the Ultramodern Chemosphere complete with rotating bed and a telescope that spies on the hot woman dancing opposite. Mix in a mysterious Native American TV engineer and a murder plot soon hatches in which, in the least subtly phallic way imaginable, a woman is killed by a very large drill. Haunted by this woman Jake cracks up, watches porn and spies Melanie Griffith (as porn-star Holly Body) who has some familiar dance moves. Jake, being a bit mad, decides the best way to follow up his observation is to star in a porn-film opposite Holly, a scene which includes Frankie Goes to Hollywood singing their subtle anthem Relax (and I mean the actual band turns up, not just the song).
On paper nothing should work about this film. The protagonist is unlikable, the plot hinges on ludicrous behavior and coincidences and the finale involves a dog misidentifying his owner, but the whole is done with such (heavily 1980s) style and verve that it works, dashing though its running time at breakneck speed. It also makes some neat observations about the male audience, and the differences between being a Peeping Tom and watching porn. Just as in Dressed to Kill women are not represented well, there are only two really, but the men are far worse: a bunch of selfish, obsessive voyeurs. And De Palma's willingness to throw in every thriller trick makes it hypnotic watching.


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Home > English > Faculty Publications > 218
Placing the Places in Wordsworth's 1802 Sonnets
Stephen C. Behrendt, University of Nebraska- LincolnFollow
1995 Author(s)
Studies in English Literature, 1500-1900, Autumn, 1995, Vol. 35, No. 4, pp. 641-667
Wordsworth's political sonnets of summer and fall 1802 recount the sights and sounds the poet encountered during the brief respite provided by the Peace of Amiens, which enabled him to return to France and to the woman and child who were the physical reminders of the time he had spent there ten years earlier in the spirited days following the French Revolution. Published together in 1807 in Poems, in Two Volumes, they juxtapose the dispirited and pathetic state of France in 1802 with the ebullience Wordsworth recalled from that earlier time. More important, the sequence documents his "return" to England, tracing his anticipation of touching English soil again, his landing at Dover, his progress toward London, and his reactions to the capital's decay.' Interwoven with this geographical record is a series of carefully structured comparisons of France's intellectual, cultural, and spiritual desolation with the state of affairs in England, a "conservative mythmaking narrative" that turns toward reaffirmation in a vision of a newly-and differently- idealized Britain.2
The sequence traces a "crisis of patriotism" arising from the poet's recognition that, whatever his disappointment with his country's responses to the French Revolution, he could not bring himself to desire England's defeat.3 It recounts his paradoxical conclusion that the values embodied in the initial ideals of the French Revolution which he had so much admired and which had been perverted and then lost by 1802 still resided in his native country, albeit increasingly imperiled by the growth of materialist capitalism. Characterized throughout by an ambivalence that reflects contemporary public uneasiness about the Peace of Amiens and its implications,4 the sequence foreshadows the militarism of poems (like the sonnet to the men of Kent) composed during the national alarm over the prospect of a French invasion. Yet Wordsworth resists the easy jingoism that pervades the writings of many of his contemporaries and instead reverts back to the model provided by Milton some two centuries earlier in grounding his uneasy optimism about the future in a faith in an informed and appropriately self-aware British citizenry. Wordsworth's increasing militancy reflects the poet's sense both of public duty and private conviction in the years following his visit to France, and the subsequent embrace of patriotic domesticity-of heartfelt Englishness-signaled both in his manner of documenting his return to his homeland and in his immediate marriage to Mary Hutchinson.
Comparative Literature Commons, English Language and Literature Commons, Modern Literature Commons, Reading and Language Commons

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Wyoming-Montana Water Science Center
Flooding and High-Flow Conditions in Wyoming and Montana Active
By Wyoming-Montana Water Science Center March 26, 2018
Greybull River near Basin, Wyoming
N F Flathead River at Blankenship Bridge near Columbia Falls, MT
Swiftcurrent Creek at Many Glacier, MT
Nov. 7, 2006 @ 1400 hrs
Wind River near Crowheart, WY
June 15, 2017 @ 13,300 ft3/s
The USGS monitors flood and high-flow conditions at more than 300 streamgages across Montana and Wyoming. Water level and flow information are used by the National Weather Service (NWS) to make accurate flood forecasts. High-flow conditions are expressed as percentiles comparing current (within the past few hours) instantaneous flow to historical daily mean flow for all days of the year.
A percentile is a value on a scale of one hundred that indicates the percent of a distribution that is equal to or below it.
"<95" indicates that the estimated streamflow is less than the 95th percentile for all days of the year,
"95-98" indicates that the estimated streamflow is between the 95th and 98th percentiles for all days of the year,
">=99" indicates that estimated streamflow is greater than the 99th percentile, and
"Not ranked" indicates that a flow category has not been computed. Common reasons for a "Not ranked" category are insufficient historical data or no current streamflow estimates.
Flood stages are determined by the NWS; not all USGS streamgages have flood stages. A depiction of other streamgages at or above flood stage is available the NWS River Conditions Map.
Current Flooding and High-Flow Conditions:
(Current-conditions data are provisional and subject to change)
Wyoming:
Map: Flood and high flows
Data table: Locations above flood stages
Map: Current streamflow conditions vs historical streamflows
Flood of August 1, 1985 in Cheyenne, WY
Floods of May 1978 in southeastern Montana and northeastern Wyoming
Montana:
Floods of May 1981 in west-central Montana
Floods of June 1964 in northwestern Montana
Devastating floods across much of the U.S. were severe and unrelenting during the spring and summer of 2011. When floods happen, USGS crews are among the first-responders. Often working in dangerous conditions, USGS scientists measure streamflow and river levels, repair and install streamgages, measure water quality and changes in sediment flow, and assess river changes. From flood forecasts to difficult decisions about flood management, science is critical for flood preparations and response.
How can a 100-year flood strike twice in 15 years? This is a downloadable poster discussing the meaning and use of probability language in flood characterization.
Poster: 100-Year Flood--It's All About Chance
Brian L Loving
Deputy Center Director for Observing Systems
bloving@usgs.gov
Floods and Droughts
Below are other science projects associated with floods and high-flows in Wyoming and Montana.
The 1972 Black Hills-Rapid City Flood
The 1972 Black Hills-Rapid City Flood Revisited
Dakota Water Science Center
Black Hills Area Floods - 1877 to 1890
Black Hills Area Floods - 1877 to 1890Look under the Multimedia table for pictures and more information regarding the event date and location, flow data (if available), a brief summary of the event, and links to available photographs or scanned newspaper articles.
Below are data or web applications associated with floods and high-flows in Wyoming and Montana.
USGS Peak Streamflow Data
The National Water Information System (NWIS) is the USGS water data portal where you can find a wealth of historic and real-time data related to floods. The NWIS website also is where you can query peak streamflow data by station, state (Wyoming or Montana), or region.
FloodWatch - View flood and high-flow conditions.
The USGS FloodWatch website is a map-based resource from USGS WaterWatch that gives users hourly visual updates for flood conditions at over 3000 locations across the United States (Wyoming or Montana). Learn how to use FloodWatch.
Surface-water data for Wyoming
Real-time, daily, peak-flow, field measurements, and statistics of current and historical data that describe stream levels, streamflow (discharge), reservoir and lake levels, surface-water quality, and rainfall in Wyoming. Surface-water data are collected and stored as either discrete field-water-level measurements or as continuous time-series data from automated recorders.
Surface-water data for Montana
Real-time, daily, peak-flow, field measurements, and statistics of current and historical data that describe stream levels, streamflow (discharge), reservoir and lake levels, surface-water quality, and rainfall in Montana. Surface-water data are collected and stored as either discrete field-water-level measurements or as continuous time-series data from automated recorders.
Below are publications associated with floods and high-flows in Wyoming and Montana.
Montana StreamStats
About this volumeMontana StreamStats is a Web-based geographic information system (http://water.usgs.gov/osw/streamstats/) application that provides users with access to basin and streamflow characteristics for gaged and ungaged streams in Montana. Montana StreamStats was developed by the U.S. Geological Survey (USGS) in cooperation with the Montana Departments of Transportation, Environmental Qua
Water Resources, Wyoming-Montana Water Science Center
Filter Total Items: 52
Publication Type (field_pub_type)
TypeArticleBookBook ChapterConference PaperOtherReportThesis
Release Date (field_release_date)
Year2022202120202019201820172016201520142013201220112010200920082007200620052004200320022001200019991998199719961995
Water-surface profile and flood boundaries for the computed 100-year flood, lower Salt River, Lincoln County, Wyoming
The water-surface profile and flood boundaries for the computed 100-year flood were determined for a part of the lower Salt River in Lincoln County, Wyoming. Channel cross-section data were provided by Lincoln County. Cross-section data for bridges and other structures were collected and compiled by the U.S. Geological Survey. Roughness coefficients ranged from 0.034 to 0.100. The 100-year flood w
Flood boundaries and water-surface profiles for the computed 50-, 100-, and 500-year floods, Childs Draw and tributary, near Cheyenne, Wyoming, August, 1991
Flood boundaries and water-surface profile for the computed 100-year flood, Swift Creek at Afton, Wyoming, 1986
Flood flows on Swift Creek near Afton, Wyoming, were analyzed. Peak discharge with an average recurrence interval of 100 years was computed and used to determine the flood boundaries and water surface profile in the study reach. The study was done in cooperation with Lincoln County and the Town of Afton to determine the extent of flooding in the Town of Afton from a 100-year flood on Swift Creek.
Floodflow characteristics at bridge site on Interstate 80, the Green River near Green River, Wyoming
Hydrologic effects of hypothetical earthquake-caused floods below Jackson Lake, northwestern Wyoming
Jackson Lake, located in Grand Teton National Park, Wyoming, is in an area of seismic instability. There is a possibility of flooding in the Snake River downstream from Jackson Lake Dam in the event of a severe earthquake. Hypothetical floods were routed 38 miles (61 kilometers) downstream from the dam for three cases: (1) Instantaneous destruction of the dam outlet structure, (2) instantaneous de
Relations between total-sediment load and peak discharge for rainstorm runoff on five ephemeral streams in Wyoming
Total-sediment loads transported by ephemeral flows are a function of rainstorm energy and peak discharge. Rainstorm energy, estimated by rainfall intensity, is the primary mechanism for soil-particle detachment. Vegetation, soil cohesiveness, and land slope also are related to the amount of sediment detached, but these factors remain nearly constant, except for seasonal or human-induced changes i
Analysis of runoff from small drainage basins in Wyoming
A flood-hydrograph study has defined the magnitude and frequency of flood volumes and flood peaks that can be expected from drainage basins smaller than 11 square miles in the plains and valley areas of Wyoming. Rainfall and runoff data, collected for 9 years on a seasonal basis (April through September), were used to calibrate a rainfall-runoff model on each of 22 small basins. Long-term records
Peak-flow characteristics of Wyoming streams
Peak-flow characteristics for unregulated streams in Wyoming are described in this report. Frequency relations for annual peak flows through water year 2000 at 364 streamflow-gaging stations in and near Wyoming were evaluated and revised or updated as needed. Analyses of historical floods, temporal trends, and generalized skew were included in the evaluation. Physical and climatic basin characteri
Using the National Flood Frequency Program, version 3; a computer program for estimating magnitude and frequency of floods for ungaged sites
The National Flood Frequency Program, version 3 : a computer program for estimating magnitude and frequency of floods for ungaged sites
For many years, the U.S. Geological Survey (USGS) has been developing regional regression equations for estimating flood magnitude and frequency at ungaged sites. These regression equations are used to transfer flood characteristics from gaged to ungaged sites through the use of watershed and climatic characteristics as explanatory or predictor variables. Generally, these equations have been devel
Flood Event Viewer
During large, short-term events, the USGS collects streamflow and additional data (including storm tide, wave height, high-water marks, and additional sensor deployments) to aid in documenting flood events. The USGS Flood Event Viewer provides convenient, map-based access to downloadable event-based data.
Water Resources, New Jersey Water Science Center, Upper Midwest Water Science Center
Below are news stories associated with floods and high-flows in Wyoming and Montana.
See Social Media
Study Links Major Floods in North America and Europe to Multi-Decade Ocean Patterns
The number of major floods in natural rivers across Europe and North America has not increased overall during the past 80 years, a recent study has concluded. Instead researchers found that the occurrence of major flooding in North America and Europe often varies with North Atlantic Ocean temperature patterns.
Climate Research and Development Program, Groundwater and Streamflow Information Program, New England Water Science Center, Communications and Publishing
USGS Measures Flooding in Missouri
U.S. Geological Survey field crews are measuring flooding on rivers and streams across southwestern and southern Missouri and northeast into the St...


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Scholar's Story
Temple Beth El Mitzvah Day at Boomers
Junior League of Boca Raton
Donna Klein Academy Mitzvah Day
FAU Basketball & Soccer
Give-N-Go Soccer
St. Jude -- Christmas Gifts
Tivoli Condominium Community
Rotary Boca Raton & Sunrise
Habit Grill
Brookdale Assisted Living
Lost Tree Village
Lynn University
"I couldn't have done it without them"
SCHOLAR: "I started with the Help with Homework Program and Campo Alegre in 2004 while in elementary school. Today, I am a nineteen year old college student at Florida Atlantic University. I always needed help from my tutors with science and math, then I started knowing what to do. I'm now studying criminal justice, and my dream is to work for the FBI."
HER PARENT: "I always had the dream that my daughter would go to school. Now it is happening. I never had the opportunity to go to school, and now I want to give that to my three children."
HER TUTORS: "We worked many hours to help her with her homework and her projects. She wanted to learn, and we wanted so much to see her succeed."
PROGRAM FOUNDER: "This is one of our many success stories. When we started these programs thirty years ago, we saw children working with their parents in the fields. Most parents didn't even realize their children had to go to school. The first thing we did was to get them the appropriate school clothes. Today, it is a much different story. Over the past thirty plus years, we've helped about 5000 children go to school, most of whom graduate. It is a dream come true."
© Farmworkers Children Center


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After 5 years of killing healthy deer, the Ann Arbor City Council voted 9-1 to approve the proposed 2023 budget which did NOT include...
"The 450-foot rule, which the Michigan Department of Natural Resources made Ann Arbor follow for the first two culls, limited the areas...
"Ann Arbor will expand its deer cull in 2018 after the city council voted Monday, Oct. 16, to spend another $35,940 on the contract to...
Excerpt and photo from M-Live. See full article here> A deer found dead near Nichols Arboretum in Ann Arbor was not killed as part of the...
Ann Arbor's second-annual deer cull is now complete and another 96 deer are dead. City officials announced the early completion of 2017...
As per the City's website, there will be a special City Council session on Monday, November 14 at 7 p.m. to hold a public hearing...
[Excerpt from M-Live. See full article here] ROCHESTER HILLS — A family called the police after finding a large buck that had been shot...
Ann Arbor could end up spending more than $250,000 on deer management efforts in 2017. The city's staff presented updated budget...
Following a controversial inaugural deer cull last winter, Ann Arbor officials are planning to take a combination approach this coming...
Council Member Chuck Warpehoski, who supports conducting annual culls to reduce the city's deer population, is defending his seat against...


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Haas "vastly superior" to rivals "by every metric"
Feb 8, 2019, 4:00 PM
Haas's new Formula 1 title sponsor picked the American team over the likes of McLaren and Williams because "by every metric they were vastly superior".
British energy drinks company Rich Energy agreed a title deal with Haas late last year and this week the team unveiled its 2019 F1 car with a JPS Lotus-inspired black-and-gold livery to echo the colour scheme of its new backer's product.
Rich Energy was linked with both sponsoring and buying the Force India team last summer before turning its attentions to Haas, but it was also known to have had conversations with title-winning teams McLaren and Williams.
Asked why it picked Haas, which is preparing for only its fourth year in F1 but finished fifth in the constructors' championship last season, Rich Energy CEO William Storey said: "By every metric they were vastly superior.
"They had the best business model in the sport, they were uniquely positioned to exploit regulation changes and I think they are run in a very, very unpretentious fashion.
"I think they are proper racers, Gene Haas is a wonderful businessman who is approaching motor racing in the right way, Gunther Steiner is a brilliant team principal and they have got two drivers with personality."
See more Haas photos:
Gallery: Haas's 2019 Formula 1 car
Gallery: All Haas F1 cars since 2016
Haas entered F1 in 2016 through partnerships with Ferrari, which involves the use of as many car parts as allowed by the FIA regulations, and Italian constructor Dallara, which produces Haas's own components.
The team scored points on its debut and last year challenged the works Renault team for fourth in the championship.
Storey told Motorsport.com: "We were reviewing options of various deals, reviewing teams, and we felt [impressed] in terms of their management, their ethos, their business model, how efficient they are, how professional they are at focusing on the important things.
"A lot of big teams, in my opinion, get waylaid by peripheral stuff. I don't think it's any secret we were speaking to other teams, all of whom put in very, very good proposals.
"But we just felt that when we analysed it in the cold light of day that Haas was head and shoulders above the rest in terms of a partnership for us."
Storey has slammed critics of Rich Energy and its product as like those who discredit the moon landing in 1969, or claim Elvis Presley is still alive.
He has named West Ham United Football Club co-owner David Sullivan as one of seven shareholders, indicating there is a significant amount of money behind the company.
"We have not got where we have got by following the crowd," said Storey. "We are a bit contrarian by nature and when others are fearful, be greedy.
"We intend to be in F1 long, long-term, and we believe that Haas are absolutely a dream partner for us.
"It is very 'David taking on the Goliaths' in F1 and we are doing the same in the drinks business."
F1 2019: Launch dates, testing schedule, calendar and line-ups
Honda wants "no grey areas" in F1 engine regulations
Teams Haas F1 Team


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How do you sell a haunted house? The answers might scare you
Jay MacDonald @omnisaurus
October 25, 2016 in Real Estate
© Armando Alderotti/Shutterstock.com
Excited to tour a haunted house this Halloween? For a real thrill, try selling one!
As strange as it seems, Realtors encounter haunted house scenarios with some frequency. In fact, California real estate broker Cindi Hagley was approached to sell so many chilling Victorians in and around San Francisco that she founded Past Life Homes, a nationwide resource to help frightened sellers get top dollar. Today, "stigmatized" homes comprise 3% of her business.
"Is it freaky? The best way I can describe any haunting is, it feels like cold electricity to me," she says. "If it's friendly, I can handle it. If not, I have business partners who can 'clear' the home."
If your house is haunted, could it affect your home sale or listing price? Should you tell your Realtor? And if you do, must he or she disclose it to potential buyers?
Caution: The answers might scare you.
RATE SEARCH: Found the right house? Shop right now for a mortgage at Bankrate.com.
They're not haunted; they're stigmatized
A Wright University study found that so-called "stigmatized" homes where murders, suicides or violent crimes occurred spent 45% longer on market than nonstigmatized properties. According to the National Association of Realtors, only 15% of U.S. homebuyers would pay full price for a stigmatized home, while 20% would expect discounts, ranging from 31% to 50%.
The disconnect? Few states require sellers to disclose anything more than a home's "material facts," such as:
Structural concerns
Roof age
Foundation leaks
Just a handful of states, including California, require sellers to disclose "stigmas" such as deaths on the property or whether the home is "open and notoriously" known to be haunted or a crime scene.
"In those states, the law itself does not recognize the term 'haunted,' but they do recognize the term 'stigmatized,'" says Bonnie Vent, a San Diego-based psychic medium, energy clearer and author of "Is My House Haunted? A Practical Guide." "I know of at least one court that let the buyer out of the sale because the seller made it commonly known she felt the house was haunted but didn't make it known to the buyer."
Local tourist attractions
Software developer Roy Condrey admits he felt "creeped out" whenever he worked inside his rental property in Chapin, South Carolina. Once he discovered that 2 previous residents had died in the home due to complications from AIDS, he decided to save others a similar shock by creating DiedInHouse.com, a nationwide database that connects users with the death records of specific addresses.
"It's not fair for a buyer not to know because it's not a comp (market comparable)," Condrey says. "A haunted house just keeps tiering down in price until it forecloses, goes up for bank auction, and the buyers find out after they've moved in and can't do anything about it."
And it's not always the undead that make a haunted house unnerving.
"These houses become local tourist attractions. People drive by on Halloween, pointing and taking pictures," he says. "You can go online and look up the "Amityville Horror' house or the O.J. Simpson house. They're dark attractions."
42% of Americans believe in ghosts
Condrey says about 4.5 million U.S. residential properties have a record of death on premises. So far, he's sold more than 70,000 property reports to cautious buyers.
"Just like they label a house 'stigmatized,' people are afraid to be stigmatized by belief in ghosts," he says. "There's a Harris poll that says that 42% of Americans believe in ghosts. If that's true, that's 150 million people who admit it. But there are a lot of people who won't because they don't want to be stigmatized for believing in it."
While it's not typically in a listing agent's best interest to disclose more than state law requires, Hagley encourages all sellers to level with their Realtor about a home's paranormal activity.
"Guess what: A haunted or stigmatized home marketed properly doesn't need to sell for less than market value," she insists. "If a home has paranormal activity, I'll have at least 3 or 4 offers, and I won't disclose that activity until the offers come in. Once I do, now ego comes into play. At that point, I may have a couple of offers drop out, leaving me 1 or 2 buyers I can work with."
A "dead and breakfast?"
As with any listing, Hagley recommends staging the home for broad appeal. Should she sense paranormal activity, part of that staging may involve a spiritual clearing by any number of specialists, from psychics, priests and rabbis to Feng Shui masters. And she's not afraid to propose a sleepover to reassure nervous buyers.
"If they're concerned, I might say, 'Hey, why don't you test drive the home?' On a weekend, I will have the seller stage the home, have catering come and let the potential buyer live in the home for 2 or 3 days and experience what it feels like to them," she says. "We'll do anything that makes both the buyer and seller feel comfortable with the transaction and maximizes the value of that home."
As for the "dark tourism" trend, Hagley says don't bet on a flood of buyers interested in turning your home into a haunted "dead and breakfast."
"I've never met one legitimate buyer who has said, 'Hey, I want to buy a haunted house,'" she says. "I've had people who say it doesn't bother them, but anyone who says they specifically want a haunted house hasn't panned out."
RATE SEARCH: Don't have much of a down payment? Search today for a low down-payment mortgage on Bankrate.com.
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20 Completely Random and Geeky Facts About Stop-Motion Animation
Posted on July 20, 2018 by Lisa Tate • 4 Comments
Henry Selick and Tim Burton loom over Halloween Town 25 years ago. This stop-motion classic will be the subject of a panel discussion at San Diego Comic-Con 2018. Image © Walt Disney Pictures.
A stop-motion masterpiece turns a quarter of a century this year.
Tim Burton's The Nightmare Before Christmas, directed by Henry Selick, drew inspiration from the early stop-motion holiday specials of Rankin/Bass, as well as from Dr. Seuss's How the Grinch Stole Christmas and Burton's own memories watching Halloween and the Christmas decorations have that weird crossover time in the fall.
Burton first wrote the poem on which the story was based in the '70s while still working for Disney, and experienced failed efforts to get the poem turned into a book (which it later became) or a holiday television special. It wasn't until 1993 that the story hit the big screen.
Today, Burton's Nightmare remains a cult classic, and it has even inspired a three-month makeover of Disney parks' Haunted Mansion attractions from Halloween to the Christmas season. Despite Disney wanting to recreate a CGI sequel, Burton passed up making an easy profit to keep the integrity of his stop-motion classic intact.
This year, the official Disney fan club, D23 will highlight the 25th anniversary of the film with a special panel featuring Selick and other important members of The Nightmare Before Christmas family during San Diego Comic-Con 2018.
In celebration of this milestone for Burton's stop-motion classic, here are 20 fun and geeky facts about not only the movie, but about artistry of stop-motion movie making:
1. The Nightmare Before Christmas took three years to create, at 24 frames per second. The completed film has around 110,000 frames, and there were more than 400 heads with various expressions created for Jack alone. Surprised, aren't you?
2. The ragdoll Sally, who had such an important role in the movie, is not named in the picture book. She can only be seen on one page—in the crowd of Halloween Town residents watching Jack's presentation about what he saw in Christmas Town.
3. Jack Skellington pops up as an Easter egg in at least two other stop-motion Selick films: Roald Dahl's James and the Giant Peach, where he appears as a pirate captain, and as literally an egg in Neil Gaiman's Coraline, where his face appears briefly in the yolk of an egg.
4. One of the fun Easter eggs in the movie Nightmare Before Christmas itself is of composer and frequent Burton collaborator Danny Elfman's face, hidden within the bass of the Halloween Town band.
5. The Giant Skeleton in Laika's Kubo and the Two Strings was actually a giant, weighing in at 400 pounds and standing 16 feet tall.
6. The first motion picture camera was patented in 1888, but it was ten years later when filmmakers J. Stuart Blackton and Albert E. Smith, founders of Vitagraph Studios, created the first stop-motion animated film, The Humpty Dumpty Circus, using a toy circus set. The original film is long lost, except for still images.
A still from the very first stop-motion animation film, "The Humpty Dumpty Circus." Image Public Domain.
7. In 2015, Being John Malkovich writer Charles Kaufman teamed up with stop-motion director Duke Johnson to direct the stop-motion comedy-drama Anomalisa, adapted from a 2005 audio play Kaufman wrote under the pseudonym Francis Fregoli. Focusing on a man who sees everyone as the same until he meets a special woman, this movie was the first R-rated film to be nominated for the Academy Award for Best Animated Feature Film. It lost to Pixar's Inside Out.
8. Stop-motion sequences have been used in many live action films. For example, James Cameron's 1984 sci-fi action film Terminator took advantage of several types of special effects and animatronics, but the T800 robot in the final chase scene was done using stop-motion animation.
9. Ray Harryhausen was a master of incorporating his "Dynamation" style stop-motion animation into movies from the fighting skeletons in Jason and the Argonauts to the giant octopus in It Came From Beneath the Sea to the Cyclops and serpent woman in The 7th Voyage of Sinbad. He also lent his talents to creating the title ape in the 1933 classic King Kong and the original 1949 Mighty Joe Young long before recent remakes relied on CGI and motion capture to bring the apes to life.
10. Animators Seamus Walsh and Mark Caballero helped Harryhausen complete the final installment in his fairy tale series The Story of the Tortoise and the Hare in 2002. Harryhausen had started the film in 1952, 50 years earlier. Seamus and Caballero have since founded their own studio, Screen Novelties, and have contributed to such shows as Robot Chicken and the sock puppet sequence in the Captain Underpants movie.
11. Many movies and animated features pay homage to or reference Harryhausen, but it was London Pop band The Hoosiers who reached the Top 20 on the UK Singles Charts with their 2007 song "Worried About Ray" inspired by his films. Harryhausen died in 2013, and his complete collection of 50,000 pieces was given to England's National Media Museum in 2010.
12. Robot Chicken, the Adult Swim stop-motion sketch comedy series created by Seth Green and Matthew Senreich, was inspired by ToyFare magazine's photo comic strip "Twisted ToyFare Theater." Some of its geeky targets for parody includes mainstays like Star Wars, DC and Marvel Comics, and The Walking Dead.
13. Several art, media, and history museums around the world from Smithsonian to Walt Disney Family Museum have hosted exhibits based on stop-motion animation or particular stop-motion movies, but there is no official museum dedicated exclusively to the art form—yet.*
14. In 2009, a respective of Tim Burton's work opened at MoMa in New York, featuring several drawings, paintings and movie pieces, including a good amount of puppets and maquettes used in his stop-motion work. The World of Tim Burton exhibit currently travels worldwide and is now on view in Mexico City until early August.
Star Wars, DC, and Walking Dead just a few of the pop culture icons parodied in Adult Swim's stop-motion Robot Chicken. Image © Adult Swim.
15. One stop-motion project Burton planned but never got to do was a stop-motion adaptation of The Addams Family. The project was dropped in 2013.
16. It is now well-known Wes Anderson's latest stop-motion feature, Isle of Dogs, when said out loud, reveals the confession "I Love Dogs." Anderson said the film was also influenced by both Rankin/Bass holiday specials and the films of Akira Kurosawa.
17. Rankin/Bass founders Arthur Rankin, Jr. and Jules Bass, not aware of how valuable the pieces used in their 1964 holiday classic Rudolph The Red-Nosed Reindeer would be, gave several of the puppets used in the film to a secretary, who in turn gave them as gifts to family members. The only two known surviving pieces, a Rudolph and a Santa puppet, appraised about $8,000 to $10,000, were purchased by a toy collector who had them restored by Screen Novelties, increasing the value to more than $30,000.
18. While creating his popular characters Wallace and Gromit, claymation master Nick Park made the decision to create the dog, Gromit, without a mouth when he realized he couldn't reach past the character's eyebrows to adjust the face. Instead, Park felt even a small eyebrow movement would give the lovable dog a range of expressions.
19. At a 2014 panel for San Diego Comic-Con, The Boxtrolls animator Travis Knight said they could complete around 1 to 2 minutes of footage per week. He said, "It's the worst way to make a movie. It makes no sense. You're cutting your hands and contorting your body. But it's an incredible art form that is so rare and so beautiful."
20. Many bands rely on stop-motion animation to help tell their stories. Some of the standout items used in stop-motion music videos include the White Stripes' LEGO figures in "Fell in Love With a Girl," dried beans in Kinna Grannis's "In Your Arms," string art in Son Lux's "Change Is Everything," and toast in OK Go's "Last Leaf." The most played music video in the history of MTV is the stop-motion animation spectacular "Sledgehammer" by Peter Gabriel, which won nine MTV Video Music Awards in 1987. Among the items Gabriel uses are wallpaper, paint, toy airplanes, whole chickens, fruit, wooden blocks, chalk, good old claymation, and, of course, sledgehammers.
In case you've forgotten it—or need some inspiration for your own stop-motion project—here it is.
* In case anyone knows of a "stop-motion museum" she overlooked, GeekMom Lisa would love to know about it.
Liked it? Take a second to support Lisa Tate on Patreon!
Filed Under: Entertainment, Featured, TV and Movies
Lisa Kay Tate is a veteran feature writer with nearly 25 years experience in newspaper, magazine and freelance writing. She and her husband, a history and world geography teacher, live on the edge of "New Texico" where they keep busy raising their two geeklings and sharing space with their dog, Sirius Black, and cat, Loki.
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4 Responses to 20 Completely Random and Geeky Facts About Stop-Motion Animation
Modesta says:
It's really great childhood memoery especially Peter Gabriel this series are fantastic their motion graphic also in their time unique and classic
Lisa Tate says:
Natalie Jibbs says:
Let's take a moment to pat ourselves on the back because we have come so far with our modern softwares and tools.
Back then even to film some really easy scenes was extremely difficult.
Very true. Amazing what we can do today in animation.
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10 years of the Alfa Mito. Nothing to celebrate
Ten years ago there was a revolution in Alfa Romeo. The presentation of the Mito meant a new attempt of the brand to grab a piece in the smaller segments, where Mini demonstrated that small and premium could be successful. As the European consumers were showing more interest in the premium cars, the demand soon started to move downwards in the segments. Audi, BMW and Mercedes launched their premium subcompacts and compacts.
The Mito was born following this market trend and making use of Fiat's know-how with small cars. The company used the Punto's platform to develop a premium subcompact that was supposed to be a challenging rival to the Mini. But the for several reasons, what started as an innovating product finished as one big flop for Alfa Romeo and Fiat Group. There are no reasons to celebrate the 10th birthday of the Alfa Mito.
Estimated data indicates that Alfa Romeo has sold around 285.000 units of the Mito since its launch. That is certainly a very low volume for a subcompact and the big plans the brand had in 2008. Unfortunately the top management (Luca De Meo and Sergio Marchionne) didn't take into account two things that ruined their plans. The Mito arrived at a time when the drivers in Europe became more rational and the 3-door hatchbacks were not among their preferences anymore.
The Mito had another problem: it wanted to play in the premium category but featured the same perceived quality of the Punto, a mainstream protagonist. The small Alfa was more expensive than the Punto because it was supposed to be a rival to the Mini, and later to the Audi A1 and Citroen DS3. But it was available only with 3-doors and its interior didn't correspond to a real premium subcompact.
In 2009, during its first full year in the market, Alfa Romeo sold around 65.000 units. Italy counted for 45% of the total. That was its sales peak because soon the Mito was going to face tough times in Europe. Sales didn't stop falling since 2010, when global volume totaled 54.000 units. In 2011, as the European economy entered in a recession period, the Mito got a new threat: the B-SUVs were born. In 2013, when Europe was living the worst part of the crisis, a total of 20.000 Mitos were sold.
It was clear that the Mito was playing in the wrong segment as the shift from small hatchbacks to small SUVs was clear. Meanwhile the company didn't do much to revert the negative trend as it never launched a restyling. Last year Alfa Romeo sold between 12.000 and 13.000 units, or the lowest annual result ever, which lead us to think that there won't be any successor, but a small SUV that is supposed to hit the market in 2020. After 10 years in the market, 285.000 units sold and no successor in the pipeline, Alfa Romeo can't celebrate.
This entry was posted in Alfa Romeo, MiTo and tagged alfa romeo, Alfa Romeo Mito, AlfaRomeo, MiTo. Bookmark the permalink.
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7 thoughts on "10 years of the Alfa Mito. Nothing to celebrate"
Well, the crisis began to bite in 2009 / 2010: that partially explain the sudden drop in 2010. Then, after Crysler bail-out, everything changed and priority number one was paying back US federal bridge loan. Mistakes were made, sure, however, all in all, if we take FCA finances over the last decade into the picture, the management did a damn good job.
Boss says:
Not a bad car at all. Design is still great!!!
Chassis and quality perception not so much.
It's an excellent small car, but it's understandable that it won't be replaced.
Hopefully they introduce a compact SUV in its manufacturing plant.
AndyT says:
I really wanted to buy a Mito (and sometimes think of it), bit the interior is just too awful. I love the outside and actually like it more now than I did when it was launched. I wish Alfa had given the car a better interior some years ago.
I do think that Alfa should launch one new stylish hatch to replace both the Mito and Giulietta, but I think we know they won't.
6spot says:
I am on my third Mito and cannot fault any of them.
Previously I have owned BMW M-sports, Audi Quattros and Toyotas.
None of them even come close to the Mito Experience.
The Mito is true class – something you cannot buy.
The fact that the Mini has been a great success and the Mito has not remains the biggest mystery to me.
But at the same time I am absolutely delighted as I consider myself an individual that has a different, rare and special car.
I am frequently stopped by people in considerably nicer motors or as they walk by my car.
They always say the same thing – "What is that ? It is beautiful"
I like this very much for two reasons:
Firstly in times when people ignore each other, it is always good to engage.
And secondly because they are right.
I started with the Jtdm, then the Cloverleaf and now the Veloce.
You drive this car – this car does not drive you.
If they stop making this car this will be a personal tragedy for me.
I am ever hopeful for an F1 inspired edition with the 4C 1750 engine lifted out and carefully placed into a red and white Mito.
Pingback: Stelvio & Giulia boost Alfa Romeo global sales in 2017. But for how long? | Fiat Group's World
Boba says:
New model with four doors – 500000+ min…
Just one mistacke!


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HomeUK NewsLiverpool locals are praised for standing together a week after the attack
Liverpool locals are praised for standing together a week after the attack
people Pass through Liverpool They were praised for being "side by side" after the Memorial Day attacks, for reminding the public that they are the "eyes and ears" of the police in the fight against terrorism.
A week after the explosion outside the city's women's hospital, officials thanked the locals for their "patient and understanding" during the investigation.
The bomb used in the incident was a homemade explosive with ball bearings on it. The police said it could cause "major injury or death."
As the investigation continues, the police thank the public for their patience (Peter Byrne/PA) / Amplifier line
Emad Al Swealmeen, 32, died when his taxi exploded outside Liverpool Women's Stadium Hospital Just before 11 am on November 14th, taxi driver David Perry escaped with an injury.
Officials are investigating "round the clock", and the police said there is more work to be done to "fight terrorism" because they vowed to work hard to ensure the safety of the city when the festival approaches.
Although we know that some people may feel anxious and worried, we have seen people from all over Liverpool standing side by side
Seven days after the explosion, the police and local politicians paid tribute to the response of the public, emergency rescuers and hospital staff in an open letter.
This letter was published on Sunday, on behalf of Merseyside police Chief Police Officer Serena Kennedy, Mayor Joanne Anderson, Merseyside Police With Crime Commissioner Emily Spurrell and Joint Authority Metro Mayor Steve Rotheram.
It commends people uniting together "in adversity" and states: "The ultimate goal of terrorism is to create discord, mistrust and fear in our communities. Although we know that some people may feel anxious and worried, we People have been seen standing side by side in Liverpool.
"This is because Liverpool has a proud tradition as a multicultural city, and the wider Merseyside region is always united at times like this, where the pride of all our communities is obvious to all.
"This is a region defined by its spirit of friendship, kindness and solidarity. We are very grateful to the residents for their patience and understanding (the police investigation is still continuing), but we are not surprised."
They praised the "extraordinary work" of the hospital administrators and staff. Since last Sunday, the hospital has delivered more than 150 babies and provided specialized care for more than 60 newborns in the neonatology department.
They also thanked the locals for bringing hot drinks to the officials stationed outside the hospital, and thanked them for providing support and gifts to the staff.
After the Memorial Day attack, the city's investigation continues (Peter Byrne/PA) / Amplifier line
Calling for the public's help, the person behind this letter said: "The community defeats terrorism. This is why we all need to work together.
"The police rely on information provided by the public to ensure the safety of all of us, and the public is sometimes like their eyes and ears.
"There is more work to be done. The five local authorities and Merseyside Police are already working together to strengthen existing plans to support businesses and tourists in the area before Christmas."
They promised to "ensure that people have the confidence to go out and enjoy the city because they know they will be safe."
The letter added: "We work together in the face of difficulties and tragedies. We support each other in times of difficulty. We are united.
"We have seen it before, and we saw it again this week.
"In the words of the Liverpool Women's Hospital: Continue to'keep good', but also'keep vigilant' and'keep safe'."
Although the Islamic conspiracy is a line of investigation, the Palestinian Authority understands that investigators remain open and their motives have not yet been determined.
The police and security services are still believed to be working to resolve the current understanding that the hospital is the intended target.
According to reports, Al Swealmeen, an asylum-seeker who had converted to Christianity, arrived in the UK from the Middle East in 2014 and was denied asylum the following year, but a new appeal was in progress at the time of his death.
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Opinion : Is the TV licence an outdated throwback to the past?
Ivor | May 3, 2016
Wasn't the weather poor for the Early May bank holiday?
Cloudy and overcast it seemed better to stay indoors rather then venture outside.
Thankfully yours truly spent most of the weekend at a neighbours house watching the enthralling snooker final on their television.
Regular readers will know that your humble servant does not have a television of at my own home. The cost of the licence and the poor quality of programmes made it not worthwhile to pay for a TV set. Anyway I can nip around to my neighbour if there should be anything important on, like the snooker.
In this modern age the TV licence is a monolith of the past. With programmes streamed on the internet and available on 'catch up' services people can simply watch on a portable phone anywhere they want even if they don't have a TV licence.
It is assumed that everyone has a TV and someone at every house has to buy a licence. The television licence is just another tax on every house in the UK.
Rather than the TV licence being a yearly charge surely it should be incorporated into the initial cost of a TV set? A lifetime set licence to watch would be far better than a yearly bill.
As the licence fee goes to the main state broadcaster, why not abolish the TV licence completely and increase income tax slightly to fund the state broadcaster directly? At least the retired would not be affected and would still be able to watch for free.
You would have no idea how difficult it is to convince the licensing authorities that my good self does not have a TV. Even when they are told that I don't have one at my home the cloud of an impromptu inspection by licensing officers hangs over me.
It would not be too bad if the programmes were any good. Many say the halcyon days of television were back in the 1970's, of course back then there were only three channels to choose from (of which the licence funded two channels) and BBC2 showed a test card for most of the time.
If they didn't make so many dreary and boring programmes and reduced the number of channels perhaps the licence fee could be cut so the cost was more reasonable?
As far as I'm concerned the snooker, motor racing and a few educational documentary programmes are all that are worth watching these days. Most of the other programmes are shire dribble.
I would rather watch the wind blowing the plants and the wildlife that visits my garden than endure some of the programmes on TV these days.
*My blogs are published every Tuesday and Friday evening around 8.00pm here on the WycombeToday.com website.
You can also follow me on Facebook at https://www.facebook.com/ivor.wycombe or on Twitter at https://twitter.com/Ivor_Wycombe.
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Tricks, Tips, Press
Game Walkthroughs
Best Action Games to Download and Play
Posted by Angelica Smuart on July 29 2017 in Tricks, Tips, Press Game Reviews
3.5 of 5 based on 39 votes
Play every classic Half-life game for free!
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Download Avengers Endgame into your schedule. It's on!
Gaming world is so attached with the word 'action games'. These games are focused on physical challenges and the users while playing are so attentive and sharp. Higher attention is a must while playing action games. This genre of games majorly includes Fighting games, Shooter games, Adventure games and the Platform games as well. Action games gave the players a feel of heroism which engages the gamers at their very best. Destroy your enemies and keep on surfing the missions. Here is the few highly suggested action packed games with their features. First one is:
This is a game hardly unknown to any gamer around the world; as it has a lot of the versions which are famous among the gamers. Full of actions and thrills, GTA V is a game full of adventures and interesting challenges. You can challenge almost everything around you to amuse yourself. You can do several missions which will pay you back in the game. This game has three amazing characters and you can customize them as per your demand. This is the second most expensive video game ever produced in the world. You can download this game via freegamepick.net. This game has won several awards from 2012 to 2014.
This action packed game has everything that you have loved about the previous part 'Dishonored'. Some reviews say that this installment is even more improved with its impressive design. It is a layered game which has a lot of the surprises to reveal. The basic game play has a lot of the attractive features. Level design is also incredible as it has a lot of the thrills. This game is highly rated on Steam games and on all of the other platforms as well. It has won the award for best action and adventure game. It was designed by the Arkane Studios and later on published by Bethesda Softworks.
Batman Arkham Knight is an action packed game which is famous all over the world for obvious reasons. This game is the fourth installment of the Batman series. Batman movie has also been a vital reason for the popularity of this game. Player has to fight all of the super criminals of Gotham city. You can experience the best of the Batman's features while playing this game. It is available on all of the platforms to play and has won several gaming awards as well. It was released on 23 June 2015. It was developed by Rocksteady Studios and published by the Warner Bros Interactive.
This action game was released in 2010 and took over the gaming world like a storm. It is an action cum adventure game which will let you experience a lot of the shocking wonders and thrills. This is the second title of Red Dead series. It has won several VGX awards after its release. You can explore the game world while playing this game. Red Dead Redemption 2 was also the eighth most expensive video game. It was declared the best game for many years after its release. It is a fiction game in which the player goes through the several cities on foot and on the horse as well.
This game will take you to the era of World War 1 where destruction is all around and you have to play your role at the Battlefield. You have the option to use several maps to destroy your enemies. Playing with friends is also an amazing feature of this game. Battlefield 1 emphasizes on the team work and it has different game modes to play. This action game was quite improved as compared to the previous installments. You can use destructive vehicles and latest weapons to fight your enemy. This is the fifteenth installment of the battlefield series. Battlefield 1 was highly recommended by the users. It was released on 21st October 2016.


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Scholes appointed manager of Oldham
156dESPN
Manchester United legend Paul Scholes appointed Oldham manager
Neville & Scholes: Dreaming big with Salford City (4:14)
ESPN's Mark Ogden sits down with Gary Neville and Paul Scholes to discuss Salford City's journey so far and what the future holds for the club. (4:14)
Former Manchester United midfielder Paul Scholes has been appointed manager of League Two side Oldham Athletic on a one-and-a-half year contract.
Scholes said: "I just feel ready, really. I've had chances before, I've got my A licence and now the time is right.
"It's been 20-30 years since there has been excitement at the club. I'm like every other manager I want to try and change that and I hope I can do it."
Pete Wild had been installed as manager on an interim basis following the sacking on Frankie Bunn on Dec. 27, and masterminded a 2-1 victory away at Premier League Fulham in the FA Cup third round.
However, owner Abdallah Lemsagam moved to appoint a full time manager and has turned to Oldham-born Scholes on a full time basis until 2020. His first game in charge will be Yeovil at home next Tuesday after Wild signed off with a 3-0 win at Crawley Town on Saturday.
Speaking about the appointment, Lemsagam said: "Paul has won everything there is to win in football. He is a man who will bring a lot of footballing knowledge and his hunger to succeed in management will be there for everyone to see.
"It's no secret how much he has wanted this job in the past and how much he loves this club, so I'm very happy to bring him into our family at Oldham Athletic. Paul will have my backing 100% and hopefully we can work together to bring success back to this club."
Oldham, 14th in League Two, were made to wait before confirming the appointment due to Scholes' involvement as part-owner of National League club Salford. However, following a meeting of the English Football League, the move has been given the go-ahead.
Salford City confirmed in a statement on Monday that Scholes would resign as a director at the club but will retain his 10 percent shareholding.
"From the start we have always said that each of the Class of 92 would offer different levels of commitment dependant on their individual roles. Salford City is a long term interest for the Co92 and Paul will retain his 10 percent shareholding in the club," a statement read.
"It is great that Paul is back in football and everyone at the club wishes him all the best in his new venture into football management."
Scholes, 44, is the fourth of the six members of the famed Class of 92 crop of Manchester United academy players to try his hand at management.
Ryan Giggs, who is now Wales boss, was the first when he was appointed caretaker manager at United following the sacking of David Moyes in 2014, before Gary Neville's first and only role came during a four-month stint at Valencia in 2015-16.
His brother Phil Neville is the England women's team manager, having previously worked as a coach at Valencia. Nicky Butt is the head of United's academy but has never had a full-time role while David Beckham is launching Major League Soccer franchise Inter Miami C.F.
The six ex-players are all part owners of Conference Premier side Salford City.


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Home > Search results: Brooksbank, David New Search Favorites
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Booth, Alison L.; Snower, Dennis J.: Acquiring Skills: Market Failures, Their Symptoms, and Policy Responses / Brooksbank, David
by Brooksbank, David in The Economic Journal Vol. 108, No. 448 (1998), p. 913-914
"...2565820 2565820 ger GBVCP eng Brooksbank, David Booth, Alison L.; Snower, Dennis J.: Acquiring..."
Marketing as a Determinant of Long-Run Competitive Success in Medium-Sized U.K. Manufacturing Firms
by Brooksbank, Roger in Small Business Economics Vol. 20, No. 3 (2003), p. 259-272
"...40229265 40229265 ger GBVCP eng Brooksbank, Roger Marketing as a Determinant of Long-Run..."
Marketing and Company Performance: An Examination of Medium Sized Manufacturing Firms in Britain
by Brooksbank, Roger in Small Business Economics Vol. 4, No. 3 (1992), p. 221-236
"...40228826 40228826 ger GBVCP eng Brooksbank, Roger Marketing and Company Performance: An Examination..."
Gies, David T.: The Cambridge Companion to Modern Spanish Culture / Jones, Anny Brooksbank
by Jones, Anny Brooksbank in The Modern Language Review Vol. 95, No. 3 (2000), p. 869-871
"...10.2307/3735577 doi 3735577 3735577 ger GBVCP eng Jones, Anny Brooksbank Gies, David T.: The..."
From Politics to Culture-and Back
by Jones, Anny Brooksbank in Latin American Perspectives Vol. 27, No. 4 (2000), p. 144-154
"..., David: The Politics of Culture in the Shadow of Capital. Jones, Anny Brooksbank book-review gnd f book..."
by Collard, David in The Economic Journal Vol. 108, No. 450 (1998), p. 1640-1667
"...-Alai, Parviz Lamberton, Donald Brooksbank, David Trotter, Stephen Cleaver, K. Hadjimatheou, George..."
Small business policy and support
by Brooksbank, David in Environment & planning / C Vol. 26, No. 2 (2008), p. 287-291
"... and support Brooksbank, David in Environment & planning / C Los Angeles : Sage Publications Vol. 26..."
The Welsh Economy: A Statistical Profile
by Brooksbank, David in Contemporary Wales : an annual review of economic and social research Vol. 18, No. 0 (2005), p. 275-298
"... The Welsh Economy: A Statistical Profile Brooksbank, David in Contemporary Wales : an annual review of..."
by Brooksbank, David in Contemporary Wales : an annual review of economic and social research Vol. 16 (2003), p. 178-204
"... Profile Brooksbank, David in Contemporary Wales : an annual review of economic and social research Cardiff..."
"... Profile Brooksbank, David Drinkwater, Stephen in Contemporary Wales : an annual review of economic and..."
Strategic marketing in action: A comparison of higher and lower performing manufacturing firms in the UK
by Brooksbank, Roger in Marketing intelligence & planning Vol. 25, No. 1 (2007), p. 31-44
"... comparison of higher and lower performing manufacturing firms in the UK Brooksbank, Roger Taylor, David in..."
The adoption of strategic marketing and its contribution to the competitive success of New Zealand companies
by Brooksbank, Roger in Marketing intelligence & planning Vol. 20, No. 7 (2002), p. 452
"... its contribution to the competitive success of New Zealand companies Brooksbank, Roger Taylor, David..."
Changing the Name of the Game? RSA, Indigenous and Inward Investors and the National Assembly for Wales
by Brooksbank, David J. in Regional studies Vol. 35, No. 3 (2001), p. 271-278
"... the Game? RSA, Indigenous and Inward Investors and the National Assembly for Wales Brooksbank, David J..."
Special issue: the changing role of universities in knowledge generation, dissemination and commercialization: introduction
by Packham, Gary In The international journal of entrepreneurship and innovation Vol. 11, No. 4 (2010), p. 261-263
"... introduction Gary Packham, David Pickernell and David Brooksbank Packham, Gary Pickernell, David Brooksbank..."
Reviving the Valleys of South Wales: Case-study Evidence of a Link with Low Pay
by Brooksbank, David in European urban and regional studies Vol. 5, No. 3 (1998), p. 277
"... South Wales: Case-study Evidence of a Link with Low Pay Brooksbank, David Pickernell, David Morse..."
Strategic Marketing in New Zealand Companies
by Brooksbank, Roger in Journal of global marketing Vol. 23, No. 1 (2010), p. 33-45
"... Companies Brooksbank, Roger Garland, Ron Taylor, David in Journal of global marketing Philadelphia, Pa..."
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