Year 13
Year 13
Links
3.1 Magazine Industry
Here is the episode that covers the NZ magazine industry (the one we watched in class). Here is the Youtube clip of it.
Look at the official website of the magazine we have been studying - the 'advertise' link is particularly useful.
Actual cases they have made judgements on.
3.3 Censorship in NZ
OFLC - Film Censorship
Official site of the OFLC which has lots of student resources and case studies as well as background about the laws of NZ.
BSA - Broadcasting Censorship
Background and case studies in broadcasting standards.
An international site that has warnings about censorship issues and operates as a media watch-dog. Type in 'New Zealand' in the search box to see any stories involving our country.
Another international site that has a section of New Zealand cases that have come to its attention.
3.4 Film Noir
Trends in Cinema Today - 'The New Depression Cinema'
Not directly related to Film Noir, but an interesting and easy read about today's cinema and how much it might reflect the times (recession, liberal well-liked president etc).
An article on the development of noir, as both a literary and film genre. General background.
An article on the film, mainly covering the film making process.
An article on the background of defining noir. Sections of the femme fatale and modern noir films.
Out of the Past - Pod Casts
Pod-cast discussions of various aspects of Film Noir. Of interest there are some on Brick (a neo-noir we watched part of), Double Indemnity, The Maltese Falcon, and The Third Man.
An article on this film. Not terribly long, but some good background to the plot.
A site that covers different genres, including noir. Quite broad in its content, rather than useful for specific films or aspects.
Another article on this classic Noir film.
A few articles - very relevant to the films and conventions we have studied (femme fatale, hard-boiled protagonist, where The Maltese Falcon fits in the development of the genre)
Not necessarily a reliable source, but relevant in that it focusses on the connection between Film Noir and society.
A knowledge of neo-Noir could help in extending your understanding.
A blog-site, so not as authoritative, but a good analysis of how this film fits the conventions. Good if you want to extend your analysis of Film Noir beyond the 50s and explain how it has come to suit our modern era.
'The Dark Knight' as a take on the Iraq War
'No Country for Old Men' as a terrorism allegory
'...Thanks to its dour depiction of unreasonable, unstoppable evil, the film courts topical terrorism-related allegorical interpretations, even as it strives for Old Testament classicism....'
'No Country for Old Men' as Neo-Noir
'...No Country for Old Men belongs to a category of film known as “neo-noir.” Such films descend from the film noirs of the 40s and 50s, black and white crime films characterized by murders, fallible protagonists, flawed lawmen or ordinary people who make bad decisions, and consequent investigations. The original noirs are set in corrupt cities at night, but neo-noirs, like this one, being shot in color, prefer the desert as their image of the wasteland. But the greatest difference between these two versions of the noir genre is that the originals, bound as they were by the Production Code, always had a moral framework. If the DA or the mayor is a crook, the governor stands for law and order. Such a moral framework was not merely imposed but more often than not supported the story’s structure and meaning. Not so with neo-noir. Starting with Chinatown (1974) the crooks get away with it. Crime pays. Public morality doesn’t exist and private virtues, though not always, lead to ruin or despair...'
This article looks at a group of three recent neo-noir films and links them to the war in Iraq as well as Noir conventions.
"...The reference points forward, too: For Sheriff Bell’s desert county is clearly a parable of Iraq, with its hapless would-be peacemaker overwhelmed by the rival gangs shooting it out among one another. At the end, war-weary and baffled, the sheriff takes retirement and leaves the land to its fate. That hasn’t happened yet with Uncle Sam, but— be patient, if you can— it will. It is Lumet in Before the Devil, though, who deserves the last word. Russell Crowe’s Richie Roberts is the Calvinistically honest cop who, proof against all corruption, symbolizes our ultimate innocence; Tommy Lee Jones’s Sheriff Bell is at least honorably defeated, as we hope to be in Iraq. But the world can go completely dark, too, as Lumet suggests, and evil rule the day. In such a world, vengeance is possible, but not justice. And vengeance can come home..."
This site quotes an article looking a the recent spate of neo-noir films and linking them to the post-9/11 climate.
"...Parallels exist today. The events in New York and Washington, D.C., are enshrined in recent history, but we still feel queasy. And cinematic art reflects it, not here and there, but in the clot of films depicting murder, misanthropy and endings far from tidy, happy..."
3.8 Magazine Production
A site that has practical tips on things like covers and fonts, using real examples.
