The Best of the Whitesell Prize Competition 2005-2006
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Chapter One: Postwar Resentment and the Invention of Middle America 10
MIAMI UNIVERSITY The Graduate School Certificate for Approving the Dissertation We hereby approve the Dissertation of Jeffrey Christopher Bickerstaff Doctor of Philosophy ________________________________________ Timothy Melley, Director ________________________________________ C. Barry Chabot, Reader ________________________________________ Whitney Womack Smith, Reader ________________________________________ Marguerite S. Shaffer, Graduate School Representative ABSTRACT TALES FROM THE SILENT MAJORITY: CONSERVATIVE POPULISM AND THE INVENTION OF MIDDLE AMERICA by Jeffrey Christopher Bickerstaff In this dissertation I show how the conservative movement lured the white working class out of the Democratic New Deal Coalition and into the Republican Majority. I argue that this political transformation was accomplished in part by what I call the "invention" of Middle America. Using such cultural representations as mainstream print media, literature, and film, conservatives successfully exploited what came to be known as the Social Issue and constructed "Liberalism" as effeminate, impractical, and elitist. Chapter One charts the rise of conservative populism and Middle America against the backdrop of 1960s social upheaval. I stress the importance of backlash and resentment to Richard Nixon's ascendancy to the Presidency, describe strategies employed by the conservative movement to win majority status for the GOP, and explore the conflict between this goal and the will to ideological purity. In Chapter Two I read Rabbit Redux as John Updike's attempt to model the racial education of a conservative Middle American, Harry "Rabbit" Angstrom, in "teach-in" scenes that reflect the conflict between the social conservative and Eastern Liberal within the author's psyche. I conclude that this conflict undermines the project and, despite laudable intentions, Updike perpetuates caricatures of the Left and hastens Middle America's rejection of Liberalism. -
Nashville, Secret Honor, And Nashville Nashville
Nashville, Secret Honor, and Nashville Nashville: A Journey Through the Robert Altman Archives By Ava Burnham 1 Table of Contents Abstract 3 Preface 4 Introduction 6 Chapter 1: Nashville 7 Nashville Marketing and Reception 7 American Politics and the Origin of Nashville 12 Finding Joan Tewkesbury 13 Interview with Joan Tewkesbury 15 Journal Entry #1 18 Chapter 2: Secret Honor 21 Journal Entry #2 21 Secret Honor Archives 22 Secret Honor Production 24 Meaning and Symbolism in Secret Honor 25 Secret Honor Reception 28 Secret Honor and Nashville 30 Chapter 3: Nashville Nashville 32 Journal Entry #3 32 Nashville Nashville Introduction 32 A Call with Robert Harders 36 Nashville Nashville Production 38 Chapter 4: Nashville Today 44 Conclusion 50 Epilogue: The Nashville Screening 52 Acknowledgements 55 Bibliography 58 2 Abstract Was Robert Bernard Altman a mediocre director who was in the right place at the right time, or was he a truly talented innovator who deserves his reputation as one of Hollywood’s greatest film directors? In this paper I answer this question by providing evidence from The Robert Altman Archives at The University of Michigan, and from interviews with Frank Beaver (Professor of Communications and a colleague of Altman’s at Michigan), Joan Tewkesbury (screenwriter for Nashville), and Robert Harders (screenwriter for the unmade Nashville Nashville). Specifically, I will address three Altman films: Nashville (1975), Secret Honor (1985), and Nashville Nashville (unmade). In uncovering new information about these films, their public receptions, and Altman’s rationale and techniques for making them, I show that Altman was a thoughtful and politically-driven director who used both innovative film techniques and symbolism to create his films. -
Chernobyl Si Spegne. Via I Bambini Da Kiev
Anno 63* N. 109 Quotidiano LIRE 650 Spcd. abb. post, gruppo 1/70 SABATO 10 MAGGIO 1986 Arretrati L. 1.300 ORGANO DEL PARTITO COMUNISTA ITALIANO Nell'interno Cambiano i venti, da oggi fino a lunedì soffieranno da Est sull'Italia 7Q\.Ì Maddalena- ) Napoli SAHDCOSA k. ITALIA .GRECI Al t» "UUmif "Cagliari *Souda iraLI'""' SJ7 ~ C©ro Torna la nube radioattiva • (> J . Cfl£M Chernobyl si spegne. Via i bambini da Kiev "~~^ \-..-'2 raglia «Preavviso» del servizio meteorologico alla Protezione civile: non si hanno però dati sui rischi effettivi di conta Q Base americana minazione - Svolta nell'atteggiamento dell'Urss, che da ieri ha iniziato a fornire informazioni dettagliate alPAiea ROMA — Torna la nube radioattiva. O almeno quanto rimane delle masse d'aria che si trovavano su Chernobyl, Il giorno della tragedia nucleare. Lo dicono gli esperti del servizio meteorologico nazionale dell'Aeronautica che hanno Inviato un «preavviso! alla Protezione Comìzio fiume civile. Il cambiamento del venti che erano stati a nostro favore fino alla notte scorsa, inale ranno Invece a «rientro» tra oggi e lunedì sull'Italia. Il «preavviso» alla Protezione civile dice Colate di che «nel corso della giornata di oggi e fino a lunedì, si prevede l'instaurarsi di moderate correnti da settentrione con componenti da est». In prati cemento di Gheddafi ca, torneranno sulla peniso la le masse d'aria attual mente presenti sulla Jugo per soste slavia e sull'Europa orienta Le manifestazioni le. Andranno a «slstermars!» Nuove minacce — come hanno spiegato gli specialisti — sulle regioni nere il di oggi e domani del medio-basso versante adriatico, su quelle appenni niche centro-meridionali, reattore all'Italia sui versanti orientali delle di GERARDO CHIAROMONTE regioni meridionali, con un flusso che interesserà preva Dal nostro corrispondente Gheddafi ha fatto la sua prima ricomparsa In pubblico dal lentemente gli strati bassi MOSCA — Primo rapporto sulla situazione a Chernobyl: Io fatidico 15 aprile del bombardamento americano. -
Oliver Stone's Nixon: Politics on the Edge of Darkness IAN SCOTT
Oliver Stone's Nixon: Politics on the Edge of Darkness IAN SCOTT In the introduction to his controversial book, The Ends of Power , former White House Chief of Staff, H.R. Haldeman describes Watergate as being an expression «of the dark side of President Nixon» 1. Later in the book Haldeman cites former Special Counsel Charles Colson as a key man who «encouraged the dark impulses in Nixon's mind» 2. Stephen Ambrose has written that Nixon «never abandoned his black impulses to lash out at the world...», while Henry Kissinger offered the view that «the thoughtful analytical side of Nixon was most in evidence during crises, while periods of calm seemed to unleash the darker passions of his nature» 3. Christopher Wilkinson -talking directly about Oliver Stone's film-has focused on the movie's analogy of a «beast» that «also became a metaphor for the dark side of Nixon himself» 4. Wherever you look in the vast array of literature on the life and times of President Richard Nixon, as sure as you are to hear the description «Shakespearean tragedy», so the notions of dark and brooding forces are never far away, following in the shadows of the man. As many have pointed out, however, Nixon's unknown blacker side was not merely a temperamental reaction, not only a protective camouflage to deflect from the poor boy made good syndrome that he was proud about and talked a great deal of, but always remained an Achilles heel in his own mind; no the concealment of emotional energy was tied up in the fascination with life and beyond. -
The President's Conservatives: Richard Nixon and the American Conservative Movement
ALL THE PRESIDENT'S CONSERVATIVES: RICHARD NIXON AND THE AMERICAN CONSERVATIVE MOVEMENT. David Sarias Rodriguez Department of History University of Sheffield Submitted for the degree of PhD October 2010 ABSTRACT This doctoral dissertation exammes the relationship between the American conservative movement and Richard Nixon between the late 1940s and the Watergate scandal, with a particular emphasis on the latter's presidency. It complements the sizeable bodies ofliterature about both Nixon himself and American conservatism, shedding new light on the former's role in the collapse of the post-1945 liberal consensus. This thesis emphasises the part played by Nixon in the slow march of American conservatism from the political margins in the immediate post-war years to the centre of national politics by the late 1960s. The American conservative movement is treated as a diverse epistemic community made up of six distinct sub-groupings - National Review conservatives, Southern conservatives, classical liberals, neoconservatives, American Enterprise Institute conservatives and the 'Young Turks' of the New Right - which, although philosophically and behaviourally autonomous, remained intimately associated under the overall leadership of the intellectuals who operated from the National Review. Although for nearly three decades Richard Nixon and American conservatives endured each other in a mutually frustrating and yet seemingly unbreakable relationship, Nixon never became a fully-fledged member of the movement. Yet, from the days of Alger Hiss to those of the' Silent Majority', he remained the political actor best able to articulate and manipulate the conservative canon into a populist, electorally successful message. During his presidency, the administration's behaviour played a crucial role - even if not always deliberately - in the momentous transformation of the conservative movement into a more diverse, better-organised, modernised and more efficient political force. -
Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C
DOCUMENT RESUME ED 301 906 C3 506 492 AUTHOR Newsom, Iris, Ed. TITLE Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C. REPORT NO ISBN-0-8444-0570-1; ISBN-0887-8234 PUB DATE 87 NOTE 189p. AVAILABLE FROMSuperintendent of Documents, U.S. Government Printing Office, Washington, DC 20402 (Ztock No. 030-001-00120-2, $21.00). PUB TYPE Collected Works - General (020) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Cultural Activities; *Dance; *Film Industry; *Films; Music; *Television; *Theater Arts IDENTIFIERS *Library of Congress; *Screenwriters ABSTRACT Liberally illustrated with photographs and drawings, this book is comprised of articles on the history of the performing arts at the Library of Congress. The articles, listed with their authors, are (1) "Stranger in Paradise: The Writer in Hollywood" (Virginia M. Clark); (2) "Live Television Is Alive and Well at the Library of Congress" (Robert Saudek); (3) "Color and Music and Movement: The Federal Theatre Project Lives on in the Pages of Its Production Bulletins" (Ruth B. Kerns);(4) "A Gift of Love through Music: The Legacy of Elizabeth Sprague Coolidge" (Elise K. Kirk); (5) "Ballet for Martha: The Commissioning of 'Appalachian Spring" (Wayne D. Shirley); (6) "With Villa North of the Border--On Location" (Aurelio de los Reyes); and (7) "All the Presidents' Movies" (Karen Jaehne). Performances at the library during the 1986-87season, research facilities, and performing arts publications of the library are also covered. (MS) * Reproductions supplied by EDRS are the best that can be made * from the original document. 1 U $ DEPARTMENT OP EDUCATION Office of Educational Research and Improvement 411.111.... -
Nashville by David Sterritt “The a List: the National Society of Film Critics’ 100 Essential Films,” 2002
Nashville By David Sterritt “The A List: The National Society of Film Critics’ 100 Essential Films,” 2002 It was clear in 1975, and it’s still clear decades later, that “Nashville” is the film Robert Altman was born to make. Altman has directed other films of dis- tinction, to be sure. He was a slow start- er—years of TV episodes and a few mi- nor movies preceded the 1970 comedy “M*A*S*H,” which introduced his per- sonal style and launched the major phase of his career—and his (occasional) peaks of popularity have been separated by (frequent) spells of relative obscurity, the most lengthy of which extended clear through the 1980s. Still, he has di- rected a larger number of momentous Ronee Blakley and Henry Gibson receive cheers at a rally. movies than most filmmakers manage to Courtesy Library of Congress do, from “McCabe and Mrs. Miller” and “Thieves Like Us” to “The Player” and “Short Cuts,” and terested in personalities than ideologies, but revealing of he is regarded by most right-thinking cinephiles as an the direction he’d take in future projects like the stage original and influential artist. To say “Nashville” is his play adaptation “Secret Honor” and the “Tanner ‘88” masterpiece is to say it’s a central work from a central television series. Hal Phillip Walker is the candidate’s figure of modern American cinema. name, and the Replacement Party is his cause. We never see him onscreen, but we hear a lot of his rhetoric, and It’s also a real sweet honey of a number, to borrow the some of it has an almost-makes-sense loopiness that re- language of its country-tinged screenplay. -
Secret Honor – Illustrated Screenplay
Secret Honor – Illustrated Screenplay directed by Robert Altman © Sandcastle 5 Productions, Inc., 1984 © 2004 The Criterion Collection [Transcribed from the movie by Tara Carreon] YOU ARE REQUIRED TO READ THE COPYRIGHT NOTICE AT THIS LINK BEFORE YOU READ THE FOLLOWING WORK, THAT IS AVAILABLE SOLELY FOR PRIVATE STUDY, SCHOLARSHIP OR RESEARCH PURSUANT TO 17 U.S.C. SECTION 107 AND 108. IN THE EVENT THAT THE LIBRARY DETERMINES THAT UNLAWFUL COPYING OF THIS WORK HAS OCCURRED, THE LIBRARY HAS THE RIGHT TO BLOCK THE I.P. ADDRESS AT WHICH THE UNLAWFUL COPYING APPEARED TO HAVE OCCURRED. THANK YOU FOR RESPECTING THE RIGHTS OF COPYRIGHT OWNERS. This work is a fictional meditation concerning the character of and events in the history of Richard M. Nixon, who is impersonated in this film. The dramatist’s imagination has created some fictional events in an effort to illuminate the character of President Nixon. This film is not a work of history or a historical recreation. It is a work of fiction, using as a fictional character a real person, President Richard M. Nixon – in an attempt to understand. [Clock Chiming] SANDCASTLE 5 PRODUCTIONS, INC. in cooperation with UNIVERSITY OF MICHIGAN DEPARTMENT OF COMMUNICATION and the LOS ANGELES ACTORS’ THEATRE presents PHILIP BAKER HALL in SECRET HONOR A Political Myth [Door Lock Unlocking] Musical Score by GEORGE BURT Art Director STEPHEN ALTMAN Editor JULIET WEBER Director of Photography PIERRE MIGNOT Associate Director ROBERT HARDERS Executive Producer SCOTT BUSHNELL Written by DONALD FREED and ARNOLD M. STONE Produced and Directed by ROBERT ALTMAN [President Richard Nixon] Um, testing. -
Robert Altman: Erste Bibliographische Notizen 2006
Repositorium für die Medienwissenschaft Nina Jebsen; Hans Jürgen Wulff Robert Altman: Erste bibliographische Notizen 2006 https://doi.org/10.25969/mediarep/12862 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Jebsen, Nina; Wulff, Hans Jürgen: Robert Altman: Erste bibliographische Notizen. Hamburg: Universität Hamburg, Institut für Germanistik 2006 (Medienwissenschaft: Berichte und Papiere 57). DOI: https://doi.org/10.25969/mediarep/12862. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0057_06.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Hamburg: Berichte und Papiere 57 / 2006: Robert Altman. ISSN 1613-7477. Redaktion und Copyright dieser Ausgabe: Nina Jebsen, Hans J. Wulff. Letzte Änderung: 28. Februar 2006. URL der Hamburger Ausgabe: .http: //www1.uni-hamburg.de/Medien/berichte/arbeiten/0057_06.pdf. Robert Altman: Erste bibliographische Notizen Zusammengestellt v. Nina Jebsen u. Hans J. Wulff Inhalt //www.bfi.org.uk/showing/nft/interviews/altman/1.ht Bibliographie ml. 1. Interviews Beaver, Frank: An Interview with Robert Altman. In: Interviews: Chronologische Liste Michigan Quarterly Review 22, 1, Winter 1983, pp. 2. Bücher 45-55. 3. Artikel 4. Einzelne Filme (im Alphabet der Filme) Braudy, Leo / Kolker, Robert P.: Robert Altman: An Interview. In: Post Script: Essays in Film and the Humanities 1, 1, Fall 1981, pp. -
Cinetopia International Film Festival Announces Ann Arbor Film Schedule
FOR IMMEDIATE RELEASE April 23, 2013 Media contact: Emily Mathews, 734-668-8397 ext. 46 or [email protected] Cinetopia International Film Festival announces Ann Arbor film schedule Features the best comedies, dramas, and documentaries from the world’s best film festivals Ann Arbor, Mich. – More than 40 of the best feature length comedies, dramas, and documentaries from the best film festivals around the world will play during this year’s Cinetopia International Film Festival presented by AT&T. Announced today, the full program line-up includes 27 English language films, 16 foreign language films, and 11 documentaries. The festival will take place June 6-9 at three Ann Arbor locations, as well as select screenings at the Detroit Film Theatre in the Detroit Institute of Arts. See the end of this press release for the complete Ann Arbor film schedule; the DFT line-up will be announced in early May. Tickets for this year’s Cinetopia will go on sale to the general public on April 29. Tickets are $9 for Michigan Theater members and $12 for non-members; weekend festival passes and voucher books are also available. Visit cinetopiafestival.org for full pricing and purchase information. About Cinetopia International Film Festival presented by AT&T: Experience more than 40 of the best feature-length dramas, comedies, and documentaries from the world’s best film festivals, including Sundance, Cannes, Venice, Toronto, and Berlin, all selected exclusively for Cinetopia by the Michigan Theater programming team. Cinetopia will honor the rich world history of cinema artists and Michigan’s proud legacy of outstanding screenwriters through special pre- and post-film events, including presentations, discussion panels, and Q&A sessions with directors, writers, and stars. -
Nixon Goes to Hollywood Una Storia Culturale Dell'era Nixon Dalla Mimesis Del Vero All'estetizzazione Del Falso
www.giornaledistoria.net – Lorenzo Marras, Nixon goes to Hollywood. Una storia culturale dell'era Nixon dalla mimesis del vero all'estetizzazione del falso NIXON GOES TO HOLLYWOOD UNA STORIA CULTURALE DELL'ERA NIXON DALLA MIMESIS DEL VERO ALL'ESTETIZZAZIONE DEL FALSO di Lorenzo Marras Disinformazione è un eufemismo che sta per inganno [...] la disinformazione dà una falsa rappresentazione della realtà che viene fornita addomesticando i fatti, riportando impropriamente le parole degli altri, ignorando o negando prove decisive, o raccontando una storia, cioè mistificando i dati Jackson–Jamieson1 Nel 2008 è uscito un film di particolare interesse storico, soprattutto per quanto concerne il rapporto tra la finzione, la retorica e la spettacolarizzazione cinematografica: "Frost/Nixon. Il Duello", di Ron Howard, interpretato da Frank Langella e Michael Sheen. Nonostante gli anni trascorsi, Frost/Nixon può risultare interessante sia per rileggere la figura di Nixon sia per mostrarne l'attualità nell'epoca di Trump2. La tesi di questo scritto è che in un'epoca di disinformazione istituzionalizzata, un'analisi culturale di Nixon – un'analisi filtrata attraverso la cultura di massa e il cinema3 – offra l'occasione per una riflessione sull'uso pubblico della Storia, la percezione della verità e la sua manipolazione a fini politici e commerciali. D'altronde chi, in una democrazia liberale, se non Nixon, ha elevato tale metodologia a prassi politica e comunicativa? Com'è noto, fin dai tempi di Aristotele e Quintiliano, la narrazione storica ha sempre portato con sé una certa dose di retorica, la quale ha colorato i fatti raccontati con sfumature che non sempre mantenevano fede alla celebre formula di Otto Ranke: «descrivere le cose per come sono avvenute» (wie es eigentlich gewesen). -
Richard Nixon I Mit Złego Prezydenta W Amerykańskiej Kulturze Popularnej
Uniwersytet Jagielloński Wydział Studiów Międzynarodowych i Politycznych Instytut Nauk Politycznych i Stosunków Międzynarodowych Piotr Tarczyński Richard Nixon i mit złego prezydenta w amerykańskiej kulturze popularnej rozprawa doktorska przygotowana pod opieką prof. dra hab. Adama Walaszka Kraków 2014 Nixon jest nami, my jesteśmy Nixonem. Gore Vidal 2 Spis treści Wstęp...............................................................................................................4 Rozdział 1. Wokół teorii mitu politycznego...............................................17 1.1. Mit a prawda, wiara w mit..................................................................19 1.2. Mit polityczny a ideologia..................................................................27 1.3. Mity jako narracje...............................................................................34 1.4. Mit polityczny a kultura popularna....................................................37 Rozdział 2. Zarys amerykańskiej mitologii politycznej...........................47 2.1. Mit amerykańskiej wyjątkowości.......................................................48 2.2. Mit pogranicza ...................................................................................60 2.3. Monomit i monomit amerykański......................................................67 2.4. Mitologia prezydentury.......................................................................70 2.5. Monomit amerykańskiej prezydentury ..............................................79 Rozdział 3. Richard Nixon