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"Scott, Ridley"
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Ancient Egyptians in Black and White: ‘Exodus: Gods and Kings’ and the Hamitic Hypothesis
In this essay, I consider how the racial politics of Ridley Scott’s whitewashing of ancient Egypt in Exodus: Gods and Kings intersects with the Hamitic Hypothesis, a racial theory that asserts Black people’s inherent inferiority to other races and that civilization is the unique possession of the White race. First, I outline the historical development of the Hamitic Hypothesis. Then, I highlight instances in which some of the most respected White intellectuals from the late-seventeenth through the mid-twentieth century deploy the hypothesis in assertions that the ancient Egyptians were a race of dark-skinned Caucasians. By focusing on this detail, I demonstrate that prominent White scholars’ arguments in favor of their racial kinship with ancient Egyptians were frequently burdened with the insecure admission that these ancient Egyptian Caucasians sometimes resembled Negroes in certain respects—most frequently noted being skin color. In the concluding section of this essay, I use Scott’s film to point out that the success of the Hamitic Hypothesis in its racial discourse has transformed a racial perception of the ancient Egyptian from a dark-skinned Caucasian into a White person with appearance akin to Northern European White people.
Journal Article
Ridley Scott : a biography
\"With celebrated works such as Alien, Blade Runner, Thelma & Louise, and Gladiator, Ridley Scott has secured his place in Hollywood. This legendary director and filmmaker has had an undeniable influence on art and the culture of filmmaking, but is also a respected media businessman. In Ridley Scott: A Biography, Vincent LoBrutto delves into Ridley Scott's oeuvre in a way that allows readers to understand the yin and yang of his exceptional career. Presented is a unique crosscut between the biographical facts of Ridley Scott's personal life--his birth and early days in northeast England, his life in New York City--and his career in Hollywood as a director and producer of television commercials, TV series, miniseries, and feature films. Every film is presented, analyzed, and probed for a greater understanding of the visionary, his personality, and his thought process, for a deeper perception of his astounding work and accomplishments. The voices of cast and crew who have worked with Ridley Scott, as well as the words of the man himself, are woven throughout this book for a fully realized, critical biography, revealing the depth of the artist and his achievements\"-- Provided by publisher.
Book
From Impulse to Action—Noah (2014) and Exodus: Gods and Kings (2014) as Secular Bible Epics
Several large-scale Bible epics have been produced in the decade after the revival of epic cinema at the turn of the millennium. Yet, while many biblical films of this period were primarily aimed at religious audiences, Darren Aronofsky’s Noah (2014) and Ridley Scott’s Exodus:Gods and Kings (2014) stand out due to their broader epic appeal and religious skepticism. Using Gilles Deleuze’s concepts of the impulse-image and the action-image as framework, this article analyses some of the nuances and complexities of both films. It argues that although both films offer scale and spectacle consistent with older biblical epics, the portrayal of their lead characters as a man determined on destruction (Noah) and religious skeptic and warrior (Exodus) differentiates them from traditional biblical cinema. Additionally, comparing both films helps articulate nuances within Deleuze’s movement-image that are often overlooked. Having proclaimed that modern cinema brings with it a crisis of truth that challenges the certainties of classic American cinema and its clear ideas on morality and belief, Deleuze ultimately calls for a leap of faith to reinstate the possibility of action. The article concludes that Noah and Exodus offer us a bit of both—spiritual uncertainty and a return of classic epic cinema.
Journal Article
Sytuacja ekonomiczna kina hiszpańskiego w XXI wieku
On the one hand, as a national cinematography that is involved in transnational cooperation and exchange networks, at the same time using transnational codes and a universal film language. The article discusses the basic features of contemporary Spanish film industry (such as mimicry in relation to the hegemonic cinema, excessive local and endogamous productions or recognition of assimilating cinematography as \"internationality of authors\") as well as the main difficulties the researcher of the latest Spanish cinema has to face. 7 B. Jordan, Audiences, Film Culture, Public Subsidies: The End of Spanish Cinema?, w: Śmiertelne zagrożenie jest częścią sagi uznanej przez Lidię Merás za najbardziej lukratywną serię w historii kina hiszpańskiego, L. Merás, The „Torrente\" Tetralogy: A Homegrown Saga, w: (Re)viewing Creative, Critical and Commercial Practices in Contemporary Spanish Cinema, red.
Journal Article
Generating History: AI and Cinematic Representations of the Past
[...]these new histories unearthed by big data analysis depend on and privilege the analysis of text, and where images are involved, on systems that translate images into textual descriptions, which are still very rudimentary and prone to some fairly egregious errors. [...]translations require image coding processes that Taylor and Tilton contend is both \"destructive\" in its omission of vast elements of the image that cannot be captured textually (1.e., are not described with words and thus effectively cease to exist as components of the image) and \"Interpretive\" in the use of cultural frames (e.g., adjectives) that evaluate the content of the image.5 As such, it should be regarded as a form of machine vision or \"distant viewing\" that is necessarily socially and culturally constructed.6 Pictures are indeed worth a thousand words, but which words depends on who is looking at the picture and why, or, in the case of machine vision, who programmed the translation algorithm and decided which image archives to use as a dataset for training. [...]as Joanna Zylinska observes of our current age of AI 2.0, belief in the realization of Artificial Generalized Intelligence (AGI) has waned while \"much of what passes off for AI today is a product of coupling big data with statistical analysis. \"13 The promise of AGI to replicate, if not exceed, human intelligence remains somewhat distant and theoretical, while the analysis of vast amounts of textual and image data sets to identify patterns or support the generation of new material currently dominates AI research and application.14 Terence Broads contribution to machine learning included the development of an autoencoder that, after training, could both recognize and generate images of Ridley Scott's film.
Journal Article
Daguerreotypes
In the digital age, photography confronts its future under the competing signs of ubiquity and obsolescence. While technology has allowed amateurs and experts alike to create high-quality photographs in the blink of an eye, new electronic formats have severed the original photochemical link between image and subject. At the same time, recent cinematic photography has stretched the concept of photography and raised questions about its truth value as a documentary medium. Despite this situation, photography remains a stubbornly substantive form of evidence: referenced by artists, filmmakers, and writers as a powerful emblem of truth, photography has found its home in other media at precisely the moment of its own material demise.
By examining this idea of photography as articulated in literature, film, and the graphic novel, Daguerreotypes demonstrates how photography secures identity for figures with an otherwise unstable sense of self. Lisa Saltzman argues that in many modern works, the photograph asserts itself as a guarantor of identity, whether genuine or fabricated. From Roland Barthes's Camera Lucida to Ridley Scott's Blade Runner, W. G. Sebald's Austerlitz to Alison Bechdel's Fun Home—we find traces of photography's \"fugitive subjects\" throughout contemporary culture. Ultimately, Daguerreotypes reveals how the photograph, at once personal memento and material witness, has inspired a range of modern artistic and critical practices.
eBook
Positive Microbiology in the Movies
Microbes are essential for sustaining life in our planet. Also, we use microbes for multiple processes like food fermentation, production of antibiotics and other drugs, biofuel production, biomining and so forth. However, this essential role is scarcely rep- resented in commercial movies. Although films are an artistic recreation of reality, we must not forget that they fix in the public's imagination the cliché that ‘microbes are bad’. In this article, some commercial movies that depict the beneficial biotechnological use of microorganisms are discussed as tools to be used in education and to engage general audiences, countering germophobia, and encourage them in the path of ‘positive microbiology’.
Journal Article
Rank Xerox, un eslabón perdido del cyberpunk
En el año 1978 Stefano Tamburini y Andrea Pazienza crearon un relato cyberpunk que, aunque más punk que cyber, podría ser considerado el preámbulo de algunas obras consideradas fundacionales del género, como lo fueron Blade Runner de Ridley Scott (1982) o posteriormente el Neuromante de William Gibson (1984). Probablemente también inspirado en la novela de Philip K. Dick ¿Sueñan los androides con ovejas eléctricas? (1968), desde la periferia cultural y underground, propia del cómic de finales de los años setenta, Tamburini y Pazienzia crearon Rank Xerox, un androide desbocado en una Roma ultratecnificada, totalitaria y extrema, probablemente el ancestro perdido de Roy Batty, el replicante modelo Nexus-6, el brillante antagonista de Rick Deckard en Blade Runner. Utilizando una mirada casi arqueológica, desenterraremos al androide romano, para poner luz sobre un periodo olvidado de la cultura underground europea.
Journal Article
