471 research outputs found
Variations on the Author
No full text“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Are the effects of alcohol on the CNS influenced by Toll-like receptor signaling?
No full textFrances Corrigan and Mark Hutchinso
Exercise related anxiety-like behaviours are mediated by TNF receptor signaling, but not depression-like behaviours
No full textAvailable online 22 May 2018Abstract not availableJulie A. Morgan, Gaurav Singhal, Frances Corrigan, Emily J. Jaehne, Magdalene C. Jawahar, Bernhard T. Baun
The effect of the antipsychotic drug quetiapine and its metabolite norquetiapine on acute inflammation, memory and anhedonia
No full textAbstract not available.Emily J. Jaehne, Frances Corrigan, Catherine Toben, M. Catharine Jawahar, Bernhard T. Baun
Maternal separation modifies behavioural and neuroendocrine responses to stress in CCR7 deficient mice
No full textNo abstract availableEmma L. Harrison, Emily J. Jaehne, M Catharine Jawahar, Frances Corrigan, Bernhard T. Baun
Dominican Welcomes Kelly Corrigan to Lecture Series
No full textCorrigan, author of three previous memoirs, discussed her newest, Glitter and Glue, which explores the bond between mothers and daughters. Oprah Winfrey recently recommended the memoir on Oprah.com as one of her top 14 books to pick up in Februar
Coming to America
No full textForeign films achieved a high level of distinction and visibility in the United States this year, but the international movie scene has been long in development. The author traces the roots of this phenomenon and discusses the reasons for “the increasingly accented cinema seen in America.” Timothy Corrigan is a professor of English and director of cinema studies at the University of Pennsylvania in Philadelphia and the author of several books, including most recently The Film Experience (2004), written with Patricia White
“Auteurs” and the New Hollywood
No full textCorrigan analizuje kwestię autorstwa w amerykańskim kinie doby tzw. Nowego Hollywood. Wraz z nadejściem nowej generacji reżyserów (Corrigan przywołuję nazwiska m.in. Coppoli, Spielberga, Lucasa, Scorsese) politykę autorską zaczęto postrzegać w całkiem nowy sposób, a samo nazwisko twórcy filmowego niejednokrotnie było utożsamiane ze znakiem towarowym czy marką pozwalająca dobrze sprzedać konkretną produkcję. Nazwiska „wielkich” reżyserów stały się swoistym remedium w sytuacji, kiedy zaczął podupadać amerykański system studiów filmowych. Zgodnie z tak rozumianym marketingiem filmowym instytucja autora miała być zatem gwarancją porozumienie między publicznością a filmem. Sam autor przestał już być jakąś mglista obecnością (na wzór autora literackiego czy nawet na wzór autora, jakiego promowano w kinie europejskim), ale stał się przedstawicielem wielkiego biznesu. Co więcej, biznesem stało się samo „bycie auteur”. Timothy Corrigan zwraca również uwagę na to, że na ukształtowanie się współczesnego auteur w kręgu Nowego Hollywood miały wpływ trzy istotne zmiany w kulturze filmowej: wzrost produkcji przebojów realizowanych w połączonych studiach filmowych, pojawienie się filmów produkowanych w hollywoodzkich studiach mini-major, a także znaczenie technologii domowego wideo. W analizie polityki autorskiej Nowego Hollywood Corrigan wskazuje też na charakterystyczną figurę auteur-star (auteur definiowany przez swój komercyjny status gwiazdy), w obrębie której można wyróżnić dwie znaczące grupy twórców: auteur komercyjny (commercial „auteur” – np. Mel Gibson czy Robert Redford) i auteur produktów komercyjnych („auteur” of commerce – np. Steven Spielberg czy Brian de Palma). Nawiązując do eseju Barthes’a, Corrigan konkluduje, że funkcjonując w tak skomercjalizowanej formie, auteurs są dalecy od śmierci, a nawet są dziś żywotniejsi niż w jakimkolwiek innym momencie historii kina. Tekst jest tłumaczeniem jednego z rozdziałów z antologii The New American Cinema, red. Jon Lewis, Duke University Press, Durham 1998. © 1998 by Duke University Press.Corrigan examines authorship in the so-called New Hollywood. With the arrival of a new generation of directors (i.a. Coppola, Spielberg, Lucas, Scorsese) the policy of authors (la politique des auteurs) came to be perceived in an entirely new way whereas the filmmaker’s name alone was frequently identified with a trademark or a brand, which enabled the film distributors to sell a specific production at a good price. Names of the “great” directors served as a kind of remedy in the era of the waning American studio system. In line with such a definition of film marketing, the institution of the author was to serve as the guarantee of communication between the audience and the film. The author alone ceased to be a vague presence (like the literary author or like the author promoted in European films) but became a representative of big business. What’s more, “being the auteur” turned into a business. Corrigan also points out that the emergence of the contemporary auteur in the New Hollywood was influenced by three major changes in the film culture: the increase in the number of blockbusters made by syndicated film studios, the emergence of films made by the mini-major studios and the importance of the technology of home video. Corrigan also points to the characteristic figure of the auteur-star (auteur defined by his commercial star status) in which two significant groups of authors can be distinguished: commercial “auteur” – e.g. Mel Gibson or Robert Redford and “auteur” of commerce – e.g. Steven Spielberg or Brian de Palma. Citing Barthes’s essay, Corrigan closes his tekst by concluding that as auteurs “function” in such a commercialised form, they are far from being dead – on the contrary, they are more vital today than ever. The text is a translation of the chapter from the volume The New American Cinema, ed. Jon Lewis, Duke University Press, Durham 1998. © 1998 by Duke University Press
54/08/02 Review of Corrigan\u27s Plea to Free Doctor
No full textAuthor\u27s account of what took place in court at attorney William J. Corrigan\u27s bid to free Dr. Samuel H. Sheppard. [includes labeled photo of some of the principals in attendance]https://engagedscholarship.csuohio.edu/newspaper_coverage/1138/thumbnail.jp
Magnesium in acute brain injury
No full textAcute injury to the central nervous system, such as stroke and traumatic brain injury (TBI), is a leading cause of morbidity and mortality, and represents a significant public health issue worldwide. Despite extensive pre-clinical investigation, few therapeutic treatment options are available to patients meaning that severe disability and requirement of long-term rehabilitation are common outcomes. The majority of the damage that occurs following stroke and TBI is initiated by the primary injury and develops over time. Such secondary injury encompasses a number of damaging biochemical and pathophysiological events. However, the delayed nature of such injury provides an opportunity for therapeutic intervention. Indeed, magnesium decline has been identified as a key secondary injury process, one that is associated with significant functional impairment. Magnesium administration has been extensively evaluated in both experimental and clinical stroke and TBI with varied success. This chapter focuses on the role of magnesium in TBI and stroke pathophysiology, with particular emphasis on magnesium as a potential therapeutic agent.Renée J. Turner, Frances Corrigan and Robert Vin
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