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Author: Mark Harris
Publisher: Penguin
ISBN: 9781594201523
Category : History
Languages : en
Pages : 522
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Book Description
Documents the cultural revolution behind the making of 1967's five Best Picture-nominated films, including Guess Who's Coming to Dinner, The Graduate, Doctor Doolittle, In the Heat of the Night, and Bonnie and Clyde, in an account that discusses how the movies reflected period beliefs about race, violence, and identity. 40,000 first printing.
Author: Mark Harris
Publisher: Penguin
ISBN: 9781594201523
Category : History
Languages : en
Pages : 522
Get Book
Book Description
Documents the cultural revolution behind the making of 1967's five Best Picture-nominated films, including Guess Who's Coming to Dinner, The Graduate, Doctor Doolittle, In the Heat of the Night, and Bonnie and Clyde, in an account that discusses how the movies reflected period beliefs about race, violence, and identity. 40,000 first printing.
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 4
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Book Description
Author: William Robert Bray
Publisher: Cambridge University Press
ISBN: 1107433843
Category : Literary Criticism
Languages : en
Pages : 315
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Book Description
From its beginnings, the American film industry has profited from bringing popular and acclaimed dramatic works to the screen. This is the first book to offer a comprehensive account, focusing on key texts, of how Hollywood has given a second and enduring life to such classics of the American theater as Long Day's Journey into Night, A Streetcar Named Desire and Who's Afraid of Virginia Woolf? Each chapter is written by a leading scholar and focuses on Broadway's most admired and popular productions. The book is ideally suited for classroom use and offers an otherwise unavailable introduction to a subject which is of great interest to students and scholars alike.
Author: Jonathan Kirshner
Publisher: Cornell University Press
ISBN: 0801465400
Category : Performing Arts
Languages : en
Pages : 281
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Book Description
Between 1967 and 1976 a number of extraordinary factors converged to produce an uncommonly adventurous era in the history of American film. The end of censorship, the decline of the studio system, economic changes in the industry, and demographic shifts among audiences, filmmakers, and critics created an unprecedented opportunity for a new type of Hollywood movie, one that Jonathan Kirshner identifies as the "seventies film." In Hollywood's Last Golden Age, Kirshner shows the ways in which key films from this period—including Chinatown, Five Easy Pieces, The Graduate, and Nashville, as well as underappreciated films such as The Friends of Eddie Coyle, Klute, and Night Moves—were important works of art in continuous dialogue with the political, social, personal, and philosophical issues of their times. These "seventies films" reflected the era's social and political upheavals: the civil rights movement, the domestic consequences of the Vietnam war, the sexual revolution, women's liberation, the end of the long postwar economic boom, the Shakespearean saga of the Nixon Administration and Watergate. Hollywood films, in this brief, exceptional moment, embraced a new aesthetic and a new approach to storytelling, creating self-consciously gritty, character-driven explorations of moral and narrative ambiguity. Although the rise of the blockbuster in the second half of the 1970s largely ended Hollywood’s embrace of more challenging films, Kirshner argues that seventies filmmakers showed that it was possible to combine commercial entertainment with serious explorations of politics, society, and characters’ interior lives.
Author: Sheri Chinen Biesen
Publisher: Columbia University Press
ISBN: 0231560893
Category : Performing Arts
Languages : en
Pages : 446
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Book Description
Shadows. Smoke. Dark alleys. Rain-slicked city streets. These are iconic elements of film noir visual style. Long after its 1940s heyday, noir hallmarks continue to appear in a variety of new media forms and styles. What has made the noir aesthetic at once enduring and adaptable? Sheri Chinen Biesen explores how the dark cinematic noir style has evolved across eras, from classic Hollywood to present-day streaming services. Examining both aesthetics and material production conditions, she demonstrates how technological and industrial changes have influenced the imagery of film noir. When it emerged in the early 1940s, the visual style’s distinctive shadowy look was in part a product of wartime cinema conditions and technologies, such as blackouts and nitrate film stock. Since the 1950s, technical developments from acetate film stock and new cameras and lenses to lighting, color, and digitization have shaped the changing nature of noir style. Biesen considers the persistence of the noir legacy, discussing how neo-noirs reimagine iconic imagery and why noir style has become a touchstone in the streaming era. Drawing on a wealth of archival research, she provides insightful analyses of a wide range of works, from masterpieces directed by Billy Wilder and Alfred Hitchcock to New Hollywood neo-noirs, the Coen brothers’ revisionist films, and recent HBO and Netflix series. A groundbreaking technological and industrial history of an essential yet slippery visual style, Through a Noir Lens shines a light into the shadows of film noir.
Author: Jeff Menne
Publisher: Columbia University Press
ISBN: 0231545088
Category : Performing Arts
Languages : en
Pages : 273
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Book Description
The New Hollywood boom of the late 1960s and 1970s is celebrated as a time when maverick directors bucked the system. Against the backdrop of counterculture sensibilities and the prominence of auteur theory, New Hollywood directors such as Robert Altman and Francis Ford Coppola seemed to embody creative individualism. In Post-Fordist Cinema, Jeff Menne rewrites the history of this period, arguing that auteur theory served to reconcile directors to Hollywood’s corporate project. Menne traces the surprising affinities between auteur theory and management gurus such as Peter Drucker, who envisioned a more open and flexible corporate style. In founding production companies, New Hollywood filmmakers took part in the creation of new corporate models that emphasized entrepreneurial creativity. For firms such as Kirk Douglas’s Bryna Productions, Altman’s Lion’s Gate Films, the Zanuck-Brown Company, and BBS Productions, the counterculture ethos limbered up the studio system’s sclerotic production process—with striking parallels to how management theory conceived of the role of the individual within the firm. Menne offers insightful readings of how films such as Lonely Are the Brave, Brewster McCloud, Jaws, and The King of Marvin Gardens narrate the conditions in which they were created, depicting shifting notions of work and corporate structure. While auteur theory allowed directors to cast themselves as independent creators, Menne argues that its most consequential impact came as a management doctrine. An ambitious rethinking of New Hollywood, Post-Fordist Cinema sheds new light on the cultural myth of the great director and the birth of the “creative economy.”
Author: National Gallery (Great Britain)
Publisher:
ISBN:
Category : Painters
Languages : en
Pages : 212
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Book Description
Author: Eric Alterman
Publisher: Penguin
ISBN: 0143121642
Category : History
Languages : en
Pages : 578
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Book Description
A major history of American liberalism and the key personalities behind the movement Why is it that nearly every liberal initiative since the end of the New Deal—whether busing, urban development, affirmative action, welfare, gun control, or Roe v. Wade—has fallen victim to its grand aspirations, often exacerbating the very problem it seeks to solve? In this groundbreaking work, the first full treatment of modern liberalism in the United States, bestselling journalist and historian Eric Alterman together with Kevin Mattson present a comprehensive history of this proud, yet frequently maligned tradition. In The Cause, we meet the politicians, preachers, intellectuals, artists, and activists—from Eleanor Roosevelt to Barack Obama, Adlai Stevenson to Hubert Humphrey, and Billie Holiday to Bruce Springsteen—who have battled for the heart and soul of the nation.
Author: Nathan Abrams
Publisher: Bloomsbury Publishing USA
ISBN: 1501360396
Category : Performing Arts
Languages : en
Pages : 270
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Book Description
As a period of film history, The American New Wave (ordinarily understood as beginning in 1967 and ending in 1980) remains a preoccupation for scholars and audiences alike. In traditional accounts, it is considered to be bookended by two periods of conservatism, and viewed as a (brief) period of explosive creativity within the Hollywood system. From Bonnie and Clyde to Heaven's Gate, it produced films that continue to be watched, discussed, analysed and poured over. It has, however, also become rigidly defined as a cinema of director-auteurs who made a number of aesthetically and politically significant films. This has led to marginalization and exclusion of many important artists and filmmakers, as well as a temporal rigidity about what and who is considered part of the 'New Wave proper'. This collection seeks to reinvigorate debate around this area of film history. It also looks in part to demonstrate the legacy of aesthetic experimentation and political radicalism after 1980 as part of the 'legacy' of the New Wave. Thanks to important new work that questions received scholarly wisdom, reveals previously marginalised filmmakers (and the films they made), considers new genres, personnel, and films under the banner of 'New Wave, New Hollywood', and reevaluates the traditional approaches and perspectives on the films that have enjoyed most critical attention, New Wave, New Hollywood: Reassessment, Recovery, Legacy looks to begin a new discussion about Hollywood cinema after 1967.
Author: Joe Street
Publisher: University Press of Florida
ISBN: 0813063485
Category : History
Languages : en
Pages : 245
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Book Description
“Street provides a crucial critical and cultural service by not only studying Eastwood’s individual films in sharp detail but also by providing a close and serious analysis of the cultural and historic times of the films.”—Sam B. Girgus, author of Clint Eastwood’s America “By far the most comprehensive, sustained, and detailed discussion of the Dirty Harry phenomenon. A thorough and engaging account of how a fictitious renegade cop became an enduring icon of the angry conservative backlash that sought to halt 1960s liberalism in its tracks.”—Nick Heffernan, author of Culture, Environment and Ecopolitics Clint Eastwood’s Dirty Harry became the prototype for a new kind of movie cop—an antihero in pursuit of his own vision of justice. The Dirty Harry series helped cement Eastwood and his character, Harry Callahan, as central figures in 1970s and 1980s Hollywood cinema. In Dirty Harry’s America, Joe Street argues that the movies shed critical light on the culture and politics of the post-1960s era and locates San Francisco as the symbolic cultural battleground of the time. Across the entire series, conservative anger and moral outrage confront elitist liberalism and moral relativism. Paying particular attention the films' representation of crime, family and community, sexuality, and race, Street maintains that through referencing real events and political struggles, the films themselves became active participants in the culture wars. Unapologetic carrier of right and might, Harry Callahan becomes America’s Ur-conservative: “unbending, moral, incorruptible, and most important, always right.” Long after the series, Callahan’s legacy remains strong in American political discourse, cinema, and pop culture, and he continues to shape Eastwood’s later political and cinematic career.
