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[...]the commercial viability of films that fixate on the death of everything was demonstrated when Roland Emmerich's 2012 became the 5,h highest-grossing film worldwide in 2009 (behind three well-established franchises and James Cameron's Avatar [2009]), while films such as Terminator 2: [...]it is also crucial to examine the emotional engagement (or lack thereof) between the spectator and the spectacle of human extinction on screen in order to better understand how we engage with these bleak (but also potentially irreverent) images of death. [...]Trunnell and Holt turn to the vernacular use of denial (more particularly than disavowal), which they characterize as a declaration or \"refusal\" of the truth-a more deliberate and arguably conscious process than Freud's Verleugnung. [...]comfort seems to be at the root of Sontag's use of the term \"fantasy.\"

\"Casting the movie is the most important thing -- actors, directors, cinematographers,\" says Marvel Studios president Kevin Feige. \"It's putting that team in place to bring the movie to life in a way it can be and should be. That's always the hardest part. My anxiety level plummets when you get closer to the first day of shooting because we're looking pretty good at that point.\" - Even heroes need hang-ups. Marvel has \"taken superheroes and made them human,\" says Anthony Mackie, who plays Sam Wilson, aka Falcon, in Winter Solder. Marvel has made its heroes \"relatable, given them a sense of dignity and pride that's not so far off that you can't relate to them.\" - New pairings.The Batman vs. Superman project and The Avengers may be the start of crossover films if studios can negotiate rights. \"Who says X-Men can't fight Avengers?\" [Jeff Bock] says. \"With this much money at stake, you know the brain trust is trying to figure a way.\"

From the glossy monochrome of the classic Hollywood romance, to the gritty greyscale of the gangster picture, to film noir's moody interplay of light and shadow, black-and-white cinematography has been used to create a remarkably wide array of tones. Yet today, with black-and-white film stock nearly impossible to find, these cinematographic techniques are virtually extinct, and filmgoers' appreciation of them is similarly waning.Black and White Cinemais the first study to consider the use of black-and-white as an art form in its own right, providing a comprehensive and global overview of the era when it flourished, from the 1900s to the 1960s. Acclaimed film scholar Wheeler Winston Dixon introduces us to the masters of this art, discussing the signature styles and technical innovations of award-winning cinematographers like James Wong Howe, Gregg Toland, Freddie Francis, and Sven Nykvist. Giving us a unique glimpse behind the scenes, Dixon also reveals the creative teams-from lighting technicians to matte painters-whose work profoundly shaped the look of black-and-white cinema.More than just a study of film history, this book is a rallying cry, meant to inspire a love for the artistry of black-and-white film, so that we might work to preserve this important part of our cinematic heritage. Lavishly illustrated with more than forty on-the-set stills,Black and White Cinemaprovides a vivid and illuminating look at a creatively vital era.

\"American Hustle,\" \"Captain Phillips,\" \"Dallas Buyers Club,\" \"Philomena,\" \"12 Years a Slave\" and \"The Wolf of Wall Street\" all have some kind of grounding in reality. There have been quibbles about veracity here and there -- was Matthew McConaughey's character in \"Dallas Buyers Club\" really homophobic, etc. -- and \"American Hustle\" is a fictionalized version of a real scandal. But sniping about this kind of thing has become a tactic of Oscar campaigning strategy every year.

Death of the Mogulsis a detailed assessment of the last days of the \"rulers of film.\" Wheeler Winston Dixon examines the careers of such moguls as Harry Cohn at Columbia, Louis B. Mayer at MGM, Jack L. Warner at Warner Brothers, Adolph Zukor at Paramount, and Herbert J. Yates at Republic in the dying days of their once-mighty empires. He asserts that the sheer force of personality and business acumen displayed by these moguls made the studios successful; their deaths or departures hastened the studios' collapse. Almost none had a plan for leadership succession; they simply couldn't imagine a world in which they didn't reign supreme. Covering 20th Century-Fox, Selznick International Pictures, Metro-Goldwyn-Mayer, Paramount Pictures, RKO Radio Pictures, Warner Brothers, Universal Pictures, Republic Pictures, Monogram Pictures and Columbia Pictures, Dixon briefly introduces the studios and their respective bosses in the late 1940s, just before the collapse, then chronicles the last productions from the studios and their eventual demise in the late 1950s and early 1960s. He details such game-changing factors as the de Havilland decision, which made actors free agents; the Consent Decree, which forced the studios to get rid of their theaters; how the moguls dealt with their collapsing empires in the television era; and the end of the conventional studio assembly line, where producers had rosters of directors, writers, and actors under their command.Complemented by rare, behind-the-scenes stills,Death of the Mogulsis a compelling narrative of the end of the studio system at each of the Hollywood majors as television, the de Havilland decision, and the Consent Decree forced studios to slash payrolls, make the shift to color, 3D, and CinemaScope in desperate last-ditch efforts to save their kingdoms. The aftermath for some was the final switch to television production and, in some cases, the distribution of independent film.

\"While the guys are home playing video games and surfing the Internet, the ladies are making an event of going to the movies,\" [Paul Dergarabedian] says. \"Look at Sex and the City and Magic Mike. These are girls' nights out, and there's business to be done outside of just comic book movies.\" \"As you think of what's available this summer, you have Captain America, Spider-Man, Godzilla,\" says Dave Hollis, Disney's president of distribution. \"They have a certain, well, male feel. A rock-'em-sock-'em nature. We saw a need for relief, palate-wise.\" \"It can take the business a while to catch up,\" Dergarabedian says. \"But you can't deny what's happening in theaters. Studios that ignore the phenomenon do so at their own peril.\"

  \"American Hustle,\" \"Captain Phillips,\" \"Dallas Buyers Club,\" \"Philomena,\" \"12 Years a Slave\" and \"The Wolf of Wall Street\" all have some kind of grounding in reality. There have been quibbles about veracity here and there -- was Matthew McConaughey's character in \"Dallas Buyers Club\" really homophobic, etc. -- and \"American Hustle\" is a fictionalized version of a real scandal. But sniping about this kind of thing has become a tactic of Oscar campaigning strategy every year. Again, we can debate the meaning of the word \"true.\" Where a film like \"12 Years a Slave\" is based on the actual memoir of Solomon Northup, a free black man who was kidnapped into slavery for a dozen years, \"American Hustle\" merely uses the Abscam scandal of the late 1970s as a jumping-off point, creating fictional characters to make a larger point. But the Abscam scandal really did happen, and the greed on display by the major characters will certainly be recognizable as genuine.

Wheeler Winston Dixon, the prolific author of books on François Truffant, Jean-Luc Godard, American experimental cinema, and film theory, history, and criticism, has also been making experimental films and videos of his own for the past three decades. Dixon 's career spans the late 1960s to the mid-1990s, including such early works as The DC Five Memorial Film (1969), which interweaves home movies of Dixon's 1950s Connecticut childhood with footage shot in 1969 in New York City and at a farm upstate; Quick Constant and Solid Instant (1969), featuring a Fluxus group performance piece and a poetry reading by Gerard Malanga; and Madagascar, or, Caroline Kennedy's Sinful Life in London (1976), in which a fictional Caroline recovers from a hangover. Later works include the cleverly edited Serial Metaphysics (1972), an examination of the American commercial lifestyle recut entirely from existing television advertisements; and the feature-length What Can I Do? (1993), a rigorous and tender portrait of an elderly woman who holds dinner party guests in thrall to her difficult family life.

  To show their great debt to the original American garage-band sound, Los Peyotes have a song called \"No Puedo Hacerte Mia.\" Yes, it's a Spanish version of The Seeds' \"Can't Seem to Make You Mine.\" (The original has recently been excavated for an Axe body spray commercial.) Los Peyotes do the song justice. You'd think Sky Saxon had changed his name to Sky Sanchez. Consumer note: Introducing Los Peyotes is available on amazon.com as an import. But you can get it cheaper through Dirty Water's American distributor, Get Hip Recordings. (Visit gethip.com. Then click \"store,\" then \"exclusive labels,\" then \"Dirty Water\" -- you probably can figure it out from there.) And it's even cheaper from your favorite download vendor -- eMusic, Amazon, iTunes. Also check out Los Peyotes at myspace.com/peyotes. Smash Hits includes those songs, some recent live and studio recordings, the original two songs from the \"It's Lame\" single, and the infamous \"Ritual TV Smashing Finale,\" recorded live in 1970. (According to the liner notes, Norton honcho Billy Miller said of this recording, \"You guys make 'Sister Ray' sound like 'MacArthur Park.'\" He wasn't far off.)

Throughout April, Lincoln residents can support Lincoln Public Schools elementary and middle school media centers by recycling aluminum cans. Five cents per pound will go to an LPSlibrary for cans taken to A-Can Recycling, 3255 S. 10th St., and A&J Recycling, 3250 N. 20th, Unit 8. Midland Recycling also will take cash donations.