Film Streams Programming Calendar New Hollywood

Total Page:16

File Type:pdf, Size:1020Kb

Film Streams Programming Calendar New Hollywood Film Streams Programming Calendar The Ruth Sokolof Theater . October – December 2009 v3.2 Taxi Driver 1976 New Hollywood: American 70s October 16 – December 24, 2009 Easy Rider 1969 Taxi Driver 1976 Raging Bull 1980 Five Easy Pieces 1970 Chinatown 1974 The Last Picture Show 1971 The Landlord 1970 Dog Day Afternoon 1975 The Exorcist 1973 Days of Heaven 1978 Gimme Shelter 1970 Sleeper 1973 The Long Goodbye 1973 A New Leaf 1971 Series generously sponsored by Nashville 1975 Shampoo 1975 Sam Walker and Elizabeth Emlen Walker. Apocalypse Now 1979 The Parallax View 1974 The 1970s was a watershed decade for American filmmaking, an era defined cinema, since dubbed the New Hollywood, saw the by experimentation and innovation. European films of the 1960s exposed blooming of a cadre of talent—Coppola, Scorsese, American audiences and filmmakers to unconventional, artistic films. This Altman, Ashby, Malick, to name just a few—and influence combined with the social unrest at the time created an audience forever changed the landscape of film. that was hungry for raw and edgy films. The studios had no choice but to open —Lindsay Trapnell, Film Streams Education their doors to brash and daring young filmmakers armed with a strong artistic & Operations Manager vision and a mission to show the truth onscreen. Reflecting the turbulent times and pushing previous boundaries, these films were personal, provocative, and See reverse side of newsletter for laced with outcasts, sex, drugs, and anti-authoritarianism. This new dawn of full calendar of films and dates. American Stories: 8 Documentaries Presented with the State Humanities Councils October 30 – November 12, 2009 American Dream 1990 Revolution ’67 2007 The Real Dirt Stranger with a Camera 2000 on Farmer John 2005 Ralph Ellison: After Innocence 2005 An American Journey 2002 Hollywood Chinese 2007 Chiefs 2002 An understanding of where we come from, in this series—all supported by one or more state humanities councils an acknowledgment of where we are, an throughout the United States—create a captivating portrait of America over awareness for where we’re headed—this is the past century. Each confronts a grand subject in the tradition of great what the humanities offers us, and perhaps documentary-making: by honing in on personal stories that most effectively, never so resoundingly as through cinema. From incisively, and powerfully convey the essence of that issue. Presented in a Native American basketball team to race and collaboration with the Nebraska Humanities Council and Federation of representation in Hollywood, from individual State Humanities Councils, this special series will coincide with the 2009 rebellion on an Illinois farmland to street-rioting National Humanities Conference held in Omaha from November 5 – 8. in a New Jersey city, the eight documentaries See reverse side of newsletter for full calendar of films and dates. The Met: Live in HD Forever Young Film Streams’ Family & Children series, made possible, 2009-10 Season in part, with support from Lincoln Financial Group. Presented with Opera Omaha Babe, the Gallant Pig 1995 October 2 – 3, 8 Tosca – Puccini Der Rosenkavalier – Strauss Sat October 10 (Live) Sat January 9 (Live) The 5,000 Wed October 14 (Encore) Wed January 13 (Encore) Fingers of Dr. T 1953 October 10 – 11, 15, Aida – Verdi Carmen – Bizet 17 – 18, 22 Sat October 24 (Live) Sat January 16 (Live) Wed October 28 (Encore) Wed January 20 (Encore) Wallace & Gromit in The Curse of Turandot – Puccini Simon Boccanegra – Verdi the Were-Rabbit 2005 Sat November 7 (Live) Sat February 6 (Live) October 24 – 25, 29, 31 Wed November 11 (Encore) Wed February 10 (Encore) November 1, 5 Les Contes d’Hoffman – Hamlet – Thomas Annie 1982 Looney Tunes: Offenbach Sat March 27 (Live) November 7 – 8, 12, Bugs Bunny & Friends Sat December 19 (Live) Wed March 31 (Encore) 14 – 15, 19 December 19 – 20 Wed December 23 (Encore) Armida – Rossini The Black Stallion 1979 The Muppet Sat May 1 (Live) November 21 – 22, 26, Christmas Carol 1992 Wed May 5 (Encore) 28 – 29, December 3 December 24, 26, 27, 31 The New Adventures of Pippi Longstocking 1988 All live Saturday broadcasts begin at 12pm, with a prelude talk by December 5 – 6, 10, 12 – 13, 17 Opera Omaha at 11am. Wednesday encore presentations begin at 6pm. Tickets on sale now ($20 Film Streams Members, Opera Omaha Subscribers, and Met Members; $24 non-members). For more It’s a Wonderful Life 1946 information or tickets, visit filmstreams.org or call (402) 933-0259. December 25 – 31 And… Directed by Frank Capra. Film Streams Information Film Streams is a 501(c)3 nonprofit arts organization dedicated to enhancing the cultural environment of the Omaha-Council Bluffs area through the presentation and discussion of film as an art form. For more info, visit us at filmstreams.org. Location, Hours & Parking Board of Directors Staff Film Streams’ Ruth Sokolof Theater is located at Scott Anderson 1340 Webster Street in downtown Omaha, within Andy Holland Rachel Jacobson, Director the Saddle Creek Records complex—west of Qwest David Jacobson, Chairman Casey Logan, Communications Coord. Center Omaha and one block south of Cuming Street. Rachel Jacobson, Founder/Director Hallie Sharkey, Membership Associate Showtimes begin in the early evening Monday, Mark Javitch Lindsay Trapnell, Educ. & Operations Mgr. Tuesday, Wednesday, Friday, and early afternoon Alexander Payne Andrew Bouska, Associate Manager Thursday, Saturday, Sunday. John P. Schlegel, S.J. Amanda Fehlner, Shift Manager Steven W. Seline Cooper Moon, Shift Manager Parking is available in the lot behind our theater, Betiana Simon Jim Foyt, Projectionist accessible from 14th Street (now two-way) between Paul G. Smith Jeff Jenkins, Projectionist Cuming and Webster. Street parking is also Katie Weitz White Craig D, Theater Staff available in the vicinity surrounding the cinema Aaron Haug, Theater Staff (free after 5pm weekdays and all day on weekends). Advisory Board Joe Knapp, Theater Staff Chris Viner, Theater Staff Tickets Kurt Andersen Myriel Boes Nicholas Burroughs, Design Intern Buy tickets in-person at the box office (open 30 Jason Kulbel Connie White, Balcony Booking minutes before the first showtime of the day), online Danny Lee Ladely at filmstreams.org, or at any Homer’s location. Design Partner Robb Nansel Unless otherwise noted, tickets are $8 general Oxide Design Co. Joel Schlessinger admission, $6 for seniors, students, and teachers, Lyn Wallin Ziegenbein and $4 for members. See the reverse side for more Stay in Touch: Sign up to receive information about the benefits of membership. Michael B. Yanney, Director Emeritus our e-newsletter at filmstreams.org. Gifts & Carol Gendler Donations Tom & Patti Peterson Peter & Kristae Zandbergen Film Streams Supporters $20,000 + Scott & Sheila Anderson Anonymous Aaron Ferer & Sons, Co. Many thanks to the following contributors for Weitz Family Foundation Fred & Marcia Backer Nebraska Arts Council Jerry Banks their support of the Ruth Sokolof Theater. Todd & Betiana Simon Shannon & Rik Bonness Foundation Dr. Frederick Bronski Michael & Penny Cox Janie & Allan Murow Marcia & Steve Pitlor Richard D. Holland Terry & Catherine Ferguson Lisa & Bruce Dale Linde Ringling Jeff & Barb Popp Genereux Investment Fred & Janet Davis Kim & Bill Roberts Iris & Marty Ricks $10,000 - $19,999 Management Henry Davis Carol & David Van Metre Todd Robinson Douglas County Visitor Aviture Tony & Claudia Deeb Sandi & Bill Bruns & Cheryle Manasil Improvement Fund Gary & Sally Kaplan Alice & Charlie Deffenbaugh Emily & Craig Moody Jan Buckingham Omaha Steaks Rocky Lewis Kathy & Gary Ensz Marcia Joffe-Bouska Jeanne & Pat Salerno Paul & Annette Smith Kevin McCarthy Thomas Fay & Joan Squires & Tom Bouska Judy Schweikart Sokolof Family Foundation Munson Thoroughbreds Anne C. Foley Larry & Andi Kavich Greg Searson The Holland Foundation (Dr. Tim I. Munson) Nelson & Linda Gordman Connie Keith John Selig John & Terrie Ringwalt Ellyn Grant Susan & Jeffrey Aizenberg Bruce & Anne Shackman $5,000 - $9,999 Don & Beth Van de Water Jerry & Patricia Gress Carolyn Anderson Aaron & Robin Shaddy Anonymous Terry & Judy Haney Rabbi & Mrs. Aryeh Azriel Charles G. & Susan L. Smith Sam Walker $500 - $999 Greg & Jeannie Heckman Mogens & Cindy Bay Leonard & Kate Sommer & Elizabeth Emlen Walker Anonymous* Julie Morsman Schroeder Andrew Bernstein Mark & Karen Stacey Bluestem Prairie Foundation University of Nebraska Foundation Jon & Amy Blumenthal Duane & Monte Thompson The Burlington Capital Group/ at Omaha Kallie Larsen My Boes Mike & Susan Toohey Gail & Michael B. Yanney Gerry Morrow Lozier Corporation Julie & Charles Burt Judy Vann Nancy & David Jacobson William & Monica Blizek Sharee & Murray Newman Jim & Anne Carroll Eduardo Vasquez Peter Kiewit Foundation David & Lea Bailis Kiewit Corporation Bill & Linda Orr Bruce & Sharon Clawson John Wagner Richard & Joanie Jacobson & Carolyn McNamara Kutak Rock, LLP Pinnacle Bank Creighton University Mary & Tom Bernstein David Weisser Bob & Maggie Mundy Ed & Ilga Rauchut Hal & Mary Daub Alan & Marcia Baer Family Arnold & Anne Weitz Qwest Foundation Charitible Trust Security National Bank Dick & Chris DeWitt Of Omaha Todd White Joel & Nancy Schlessinger Dr. Douglas Bernard & Rosemary Jim & Judy Wigton Fred & Eve Simon & Karen Brouillette Rob & Norma Shoemaker Duhaime John Wilhelm Valmont Industries, Inc. W. Eric Bunderson Joe Sisson & Jennifer Larsen Roger & Jody duRand Mary Beth & Jim Winner Mike & Brenda Whealy Plonsker Financial Jim & Deb Suttle Jill
Recommended publications
  • October 18 - November 28, 2019 Your Movie! Now Serving!
    Grab a Brew with October 18 - November 28, 2019 your Movie! Now Serving! 905-545-8888 • 177 SHERMAN AVE. N., HAMILTON ,ON • WWW.PLAYHOUSECINEMA.CA WINNER Highest Award! Atwood is Back at the Playhouse! Cannes Film Festival 2019! - Palme D’or New documentary gets up close & personal Tiff -3rd Runner - Up Audience Award! with Canada’ international literary star! This black comedy thriller is rated 100% on Rotten Tomatoes. Greed and class discrimination threaten the newly formed symbiotic re- MARGARET lationship between the wealthy Park family and the destitute Kim clan. ATWOOD: A Word After a Word “HHHH, “Parasite” is unquestionably one of the best films of the year.” After a Word is Power. - Brian Tellerico Rogerebert.com ONE WEEK! Nov 8-14 Playhouse hosting AGH Screenings! ‘Scorcese’s EPIC MOB PICTURE is HEADED to a Best Picture Win at Oscars!” - Peter Travers , Rolling Stone SE LAYHOU 2! AGH at P 27! Starts Nov 2 Oct 23- OPENS Nov 29th Scarlett Johansson Laura Dern Adam Driver Descriptions below are for films playing at BEETLEJUICE THE CABINET OF DR. CALIGARI Dir.Tim Burton • USA • 1988 • 91min • Rated PG. FEAT. THE VOC HARMONIC ORCHESTRA the Playhouse Cinema from October 18 2019, Dir. Paul Downs Colaizzo • USA • 2019 • 103min • Rated STC. through to and including November 28, 2019. TIM BURTON’S HAUNTED CLASSIC “Beetlejuice, directed by Tim Burton, is a ghost story from the LIVE MUSICAL ACCOMPANIMENT • CO-PRESENTED BY AGH haunters' perspective.The drearily happy Maitlands (Alec Baldwin and Iconic German Expressionist silent horror - routinely cited as one of Geena Davis) drive into the river, come up dead, and return to their the greatest films ever made - presented with live music accompani- Admission Prices beloved, quaint house as spooks intent on despatching the hideous ment by the VOC Silent Film Harmonic, from Kitchener-Waterloo.
    [Show full text]
  • 1,000 Films to See Before You Die Published in the Guardian, June 2007
    1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation.
    [Show full text]
  • Ruth Prawer Jhabvala's Adapted Screenplays
    Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone.
    [Show full text]
  • Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
    DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß.
    [Show full text]
  • 1. Will Learn How to Analyze Historical Narratives
    History 308/708, RN314/614, TX849 Religious Thought in America Fall Term, 2018 MWF: 1:25-2:15 Jon H. Roberts Office Hours: Mon. 3-5, Tues. 9-10, Office: 226 Bay State Road, Room 406 and by appointment 617-353-2557 (O); 781-209-0982 (H) [email protected] Course Description: Few concepts have proved more difficult to define than religion, but most students of the subject would agree that religious traditions commonly include rituals and other practices, aesthetic and emotional experiences, and a body of ideas typically expressed as beliefs. This course focuses on those beliefs during the course of American history from the first English colonial settlement to the present and on their interaction with the broader currents of American culture. Theology is the term often used to describe the systematic expression of religious doctrine. It is clearly possible, however, to discuss religious beliefs outside the context of formal theology, and it is at least arguable that some of the most influential beliefs in American history have received their most vivid and forceful expressions beyond the purview of theological discourse. Accordingly, while much of our attention in this course will focus on the works of theologians and clergy--the religious “professionals”--we shall also deal with religious strategies that a widely disparate group of other thinkers (e.g., scientists, artists, and other influential lay people) have deployed in attempting to account for the nature of the cosmos, the structure of the social order, and the dynamics of human experience. Most of the people whom we’ll be studying were committed proponents of Christianity or Judaism, but the course lectures and readings will also occasionally move outside of those traditions to include others.
    [Show full text]
  • Survey of Contemporary Horror Fiction Kendyll Clark Summer II 2006
    Clark 1 Survey of Contemporary Horror Fiction Kendyll Clark Summer II 2006 Clark 2 Introduction What scares you? Fear manifests in many different ways for every being on this earth. However diverse these horrific episodes may be, there is one universal element common to every human experience: We all have fears. One avenue through which we can explore, identify and even vicariously experience our most primal fears is through horror fiction. H.P. Lovecraft said: The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown. These facts few psychologists will dispute, and their truth must establish for all time the genuineness and dignity of the weirdly horrible tale as literary form (www.quotationspage.com). Coupled with Lovecraft's fear of the unknown is the fear of any threat to our fragile mortality, fear of anything that may potentially cause physical harm to our being. This is a phobia innate to every person. The most precious and frail endowment of human existence is our ability to sustain and promote our humanity. When this gift is threatened in any way, shape or form, a fear is created. There are several ways through which we can more concretely define these fears, subcategories to the dread of any danger to our delicate subsistence. For example, fear of the unexplained. This phobia can be defined as dread of that which we cannot rationalize with existing or obtainable evidence. Another is the fear of the unseen. This phobia could be described as fright of something that is intangible or concealed.
    [Show full text]
  • Horror Goes Beyond What Most People Think of When They Hear the Term – Unnecessary and Overabundance of Killing, Gore, Or Even “Torture Porn”
    Horror goes beyond what most people think of when they hear the term – unnecessary and overabundance of killing, gore, or even “torture porn”. Unfortunately, for most, this concept of horror stems mostly from film. However, horror in literature goes far beyond this. Horror can be seen as art, commentary on society, a form that brings about community, shows the face of humanity, as history, and yes, a good scare and lingering disturbance. What is horror? - Concept of horror o Not just fear, but strong fear o Horror differs per individual ▪ Known vs. unknown • One of H.P. Lovecraft's most famous quotes about the genre is that: "The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown” ▪ Seen vs. hidden ▪ Fight vs. flight ▪ Fear or anxiety - Why/how do we experience horror? o Different aspects of horror o Literary theories of horror ▪ Rejection of filth / unclean (Kosher) / bodily fluids • Carnivore vs. herbivore ▪ We are “above” that which has been rejected and abjected (objective vs. subjective) ▪ Freud / Marx / Feminism ▪ Mother – birth, menstruation, Oedipus ▪ Expulsion of sin - Why do we enjoy horror? [The paradox] - Evolution of horror o Culture / history o Literature ▪ From the epic poem to the classic to the schlock to the ??? • Epic of Gilgamesh and mythology • Holy books • Beowulf • The Monk • Mary Shelley, Bram Stoker, Poe ▪ Horror as a new genre - Horror in books classified as horror o Divine Comedy – Dante Aligheri (14th century) o Doctor Faustus – Christopher Marlowe (1592) o The Monk – Matthew Gregory Lewis (1796) o Frankenstein – Mary Wollstonecraft Shelley (1818) o Tales of Mystery and Imagination – Edgar Allan Poe (1838) o Dr.
    [Show full text]
  • William Peter Blatty’S “For Those Who Have Sfinding Peter, a Deeply Moving Memoir That
    A NOTE TO READERS: This is an uncorrected page proof. Please note that any #1 New York Times bestselling author of THE EXORCIST quotations for review must be checked against the finished book. o reads the dedication of William Peter Blatty’s “For those who have SFinding Peter, a deeply moving memoir that FINDING PETER PETER FINDING William Peter Blatty tests the bounds of grief, love, and the soul. Blatty, lost a loved one to the bestselling author and Oscar Award–winning that liar and fraud screenwriter of The Exorcist, lived a charmed life among the elite stars of Hollywood. His son named Death.” Peter, born over a decade after The Exorcist, grew from an apple-cheeked boy into an “imposing young man with a quick, warm smile.” But when Peter died very suddenly from a rare disorder, Blatty’s world turned upside down. As he and his wife struggled through their unrelenting grief, a series of strange and supernatural events began occurring—and Blatty became convinced that Peter was sending messages from the afterlife. A true and unabashedly personal story, Finding Peter will shake the most cynical of readers—and it will remind those in grief that our loved ones do truly live on. WILLIAM PETER BLATTY is the bestselling author of The Exorcist, which he turned into an Academy Award–winning screenplay. Blatty lives with his wife, Julie, in Bethesda, Maryland. FOR REVIEW COPIES AND ALL OTHER INFORMATION, please contact: Patricia Jackson, Director of Publicity at [email protected] NATIONAL MARKETING CAMPAIGN: Publication Date: March 30, 2015 • National Television Campaign: Interviews on top-tier national ISBN: 978-1-62157-332-6 television programs and Christian television programs.
    [Show full text]
  • The Bestseller and the Blockbuster Mentality
    The Bestseller and the Blockbuster Mentality McGowan, P. (2018). The Bestseller and the Blockbuster Mentality. In K. Curnutt (Ed.), American Literature in Transition, 1970-80 (pp. 210-225). (American Literature in Transition). Cambridge University Press. Published in: American Literature in Transition, 1970-80 Document Version: Peer reviewed version Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights Copyright 2018 Cambridge University Press. This work is made available online in accordance with the publisher’s policies. Please refer to any applicable terms of use of the publisher. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:26. Sep. 2021 Chapter Twelve: The Bestseller and the Blockbuster Mentality Philip McGowan The 1970s was a decade of important cultural and literary interest in the history of the United States for manifold reasons: aside from the first attempted impeachment of a president in over a century, and the celebration of the nation’s bicentennial marked by events that ran from April 1975 to July 4, 1976, the American literary world underwent a transition of irrevocable proportions.
    [Show full text]
  • The Careers of Burt Lancaster and Kirk Douglas As Referenced in Literature a Study in Film Perception
    The Careers of Burt Lancaster and Kirk Douglas as Referenced in Literature A Study in Film Perception Henryk Hoffmann Series in Cinema and Culture Copyright © 2020 Henryk Hoffmann. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series in Cinema and Culture Library of Congress Control Number: 2020942585 ISBN: 978-1-64889-036-9 Cover design by Vernon Press using elements designed by Freepik and PublicDomainPictures from Pixabay. Selections from Getting Garbo: A Novel of Hollywood Noir , copyright 2004 by Jerry Ludwig, used by permission of Sourcebooks. Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. To the youngest members of the family— Zuzanna Maria, Ella Louise, Tymon Oskar and Graham Joseph— with utmost admiration, unconditional love, great expectations and best wishes Table of contents List of Figures vii Introduction ix PART ONE.
    [Show full text]
  • Locus Magazine
    T A B L E o f C O N T E N T S April 2013 • Issue 627 • Vol. 70 • No. 4 CHARLES N. BROWN 46th Year of Publication • 30-Time Hugo Winner Founder Cover and Interview Designs by Francesca Myman (1968-2009) LIZA GROEN TROMBI Editor-in-Chief KIRSTEN GONG-WONG Managing Editor MARK R. KELLY Locus Online Editor-in-Chief CAROLYN F. CUSHMAN TIM PRATT Senior Editors FRANCESCA MYMAN Design Editor HEATHER SHAW Assistant Editor JONATHAN STRAHAN Reviews Editor TERRY BISSON GWENDA BOND GARDNER DOZOIS AMY GOLDSCHLAGER CECELIA HOLLAND RICH HORTON RUSSELL LETSON I N T E R V I E W S ADRIENNE MARTINI FAREN MILLER Terry Bisson: Personal Alternate History / 6 GARY K. WOLFE Libba Bray: Eco-Friendly Fembot Who Survives on the Tears of Teen Girls / 57 Contributing Editors KAREN BURNHAM P E O P L E & P U B L I S H I N G / 8 Roundtable Blog Editor Notes on milestones, awards, books sold, etc., with news this issue about Alex Bledsoe, Ginjer WILLIAM G. CONTENTO Buchanan and Carl Sagan, Cherie Priest, Elizabeth Bear, Terry Pratchett, and many others. Computer Projects Locus, The Magazine of the Science Fiction & Fantasy M A I N S T O R I E S / 5 & 10 Field (ISSN 0047-4959), is published monthly, at $7.50 per copy, by Locus Publications, 34 Ridgewood Lane, Oakland CA 94611. Please send all mail to: Kiernan and Salaam Win Tiptree Awards • 2012 Kitschies Winners • 2013 Philip K. Dick Award Locus Publications, PO Box 13305, Oakland CA Judges • SFWA vs.
    [Show full text]
  • 1 Introduction
    Notes 1 Introduction 1. It may be noted that, while the child is a relatively recent construction, the phase of life we think of as adolescence is even more recent. ‘It is as if,’ writes Ariès, ‘to every period in history, there corresponded a privileged age and a particular division of human life: “youth” is the privileged age of the seventeenth century, childhood of the nineteenth, adolescence of the twen- tieth’ (29). Marcel Danesi prefers to distinguish adolescence (a psychosocial and biological category) from teenagerhood (a socially constructed category having its origins in 1950s consumerism and the media) (3–6). 2. This is what Derrida would refer to as the ‘free play’ between Romanticism and Calvinism. In a key essay, ‘Structure, Sign and Play’, Derrida argues that the whole of Western thought is structured on the principle of a centre whose function ‘was not only to orient, balance, and organize the structure … but above all to make sure that the organizing principle of the structure would limit what we might call the play of the structure’ (278). In giving rise to binary oppositions, this centre operates to deny, repress or marginalise other meanings, readings and possibilities. For example, Romantic views of the child in the nineteenth-century were privileged while Calvinist views of the child were repressed, marginalised. In deconstruction, Derrida seeks to reverse or decentre these oppositions to show how the term that is central may just as easily be marginal, and to demonstrate how the hierarchy is highly unstable, even arbitrary. However, rather than simply adopting this other term as the new centre Derrida urges us to surrender to the free play of opposites, so that we may see all possibilities.
    [Show full text]