Olnef Pun Jaizu!Jdlnw\Ahsueh UOI\

Total Page:16

File Type:pdf, Size:1020Kb

Olnef Pun Jaizu!Jdlnw\Ahsueh UOI\ olnef ala!Jqe~ pun JaIZU!Jd lnW\aH sueH UOI\ uaqa~a~SneJaH Vorwort Inhalt Die fünfte Generation / Von Hans Helmut Prinzler 7 Night Moves Die Todesspur / Von Dominik Graf 9 Genrekino Recycling von Gewalt und Gesetzlosigkeit / Von Elisabeth Bronfen 15 Gesellschaftsbilder Verlorene Illusionen / Von Bert Rebhandl 33 Rollenwandel Im Wunderland / Von Daniela Sannwald 45 Gegenkultur Outlaws im Namen Amerikas / Von Diedrich Diederichsen 59 Chronik 1967-1976 Vietnam, Watergate und Woodstock / Von Olaf Möller und Bert Rebhandl 69 Fünfzig Porträts Von Altman bis Wurlitzer 93 Essays, Biografien, Filmografien, Bibliografien Robert Altman Hai Ashby John G. Avildsen ,!\ Warren Beatty Robert Benton Peter Bogdanovich John Boorman John Calley John Cassavetes Michael Cimino Shirley Clarke Francis Ford Coppola Roger Corman jjj Emile de Antonio Brian De Palma Bob Dylan Carole Eastman Robert Evans Peter Fonda William Friedkin Monte Hellman ~, Dennis Hopper Henry Jaglom Barbara Loden George Lucas Terrence Malick Elaine May Jim McBride John Milius Walter Murch Jack Nicholson Alan J. Pakula Sam Peckinpah Julia Phillips Sydney Pollack Bob Rafelson Michael Ritchie George A. Romero Jerry Schatzberg Bert Schneider Paul Schrader Martin Scorsese Steven Spielberg Robert Towne Melvin Van Peebles Andy Warhol John Waters Haskell Wexler Frederick Wiseman Rudy Wurlitzer Auswa hIliteratur Von Biskind bis Monaco 213 Hinweise Dank, Autoren, Fotos 215 Register Filme 219 Personen 225 4 Inhalt Fünfzig Porträts Robert Altman / Von Norbert Grob 94 Hai Ashby / Von Daniel Kothenschulte 97 rfiJohn G. Avildsen / Von Frank Arnold 99 Warren Beatty / Von Michael Althen 101 Robert Benton / Von Gerhard Midding 103 Peter Bogdanovich / Von Fritz Göttler 105 John Boorman / Von Annette Kilzer 108 John Calley / Von Gerhard Midding 110 John Cassavetes / Von Georg Alexander 112 Michael Cimino / Von Norbert Grob 11 5 Shirley Clarke / Von Fritz Göttler 117 Francis Ford Coppola / Von Jan Schütte 120 Roger Corman / Von Hans Schifferie 124 Emile de Antonio / Von Olaf Möller 129 Brian De Palma / Von Michael Althen 131 Bob Dylan / Von Diedrich Diederichsen 133 Carole Eastman / Von Fritz Göttler 135 Robert Evans / Von Susan Vahabzadeh 136 Peter Fonda / Von Frank Arnold 138 William Friedkin / Von Lars-Olav Beier 141 Monte Hellman / Von Hans Schifferle 143 Dennis Hopper / Von Annette Kilzer 146 Henry Jaglom / Von Frank Arnold 149 Barbara Loden / Von Hans Schifferle 152 George Lucas / Von Sabine Horst 153 Terrence Malick / Von Peter Körte 157 Elaine May / Von Stefan Grissemann 159 Jim McBride / Von Olaf Möller 161 John Milius / Von Annette Kilzer 163 Walter Murch / Von Jan Schütte 165 Jack Nicholson / Von Susan Vahabzadeh 167 Alan J. Pakula / Von Michael Althen 170 Sam Peckinpah / Von Annett Busch 172 Julia Phillips / Von Susan Vahabzadeh 174 Sydney Pollack / Von Hans Schifferle 176 Bob Rafelson / Von Michael Althen 178 Michael Ritchie / Von Frank Arnold 180 George A. Romero / Von Christian Petzold 182 Jerry Schatzberg / Von Gerhard Midding 185 Bert Schneider / Von Peter Körte 186 Paul Schrader / Von Annette Kilzer 188 Martin Scorsese / Von Norbert Grob 190 Steven Spielberg / Von Sabine Horst 194 Robert Towne / Von Gerhard Midding 197 Melvin Van Peebles / Von Annett Busch 200 Andy Warhol / Von Diedrich Diederichsen 202 John Waters / Von Stefan Grissemann 204 Haskell Wexler / Von Anke Sterneborg 206 Frederick Wiseman / Von Anke Sterneborg 209 Rudy Wurlitzer / Von Olaf Möller 211.
Recommended publications
  • The Big Goodbye
    Robert Towne, Edward Taylor, Jack Nicholson. Los Angeles, mid- 1950s. Begin Reading Table of Contents About the Author Copyright Page Thank you for buying this Flatiron Books ebook. To receive special offers, bonus content, and info on new releases and other great reads, sign up for our newsletters. Or visit us online at us.macmillan.com/newslettersignup For email updates on the author, click here. The author and publisher have provided this e-book to you for your personal use only. You may not make this e-book publicly available in any way. Copyright infringement is against the law. If you believe the copy of this e-book you are reading infringes on the author’s copyright, please notify the publisher at: us.macmillanusa.com/piracy. For Lynne Littman and Brandon Millan We still have dreams, but we know now that most of them will come to nothing. And we also most fortunately know that it really doesn’t matter. —Raymond Chandler, letter to Charles Morton, October 9, 1950 Introduction: First Goodbyes Jack Nicholson, a boy, could never forget sitting at the bar with John J. Nicholson, Jack’s namesake and maybe even his father, a soft little dapper Irishman in glasses. He kept neatly combed what was left of his red hair and had long ago separated from Jack’s mother, their high school romance gone the way of any available drink. They told Jack that John had once been a great ballplayer and that he decorated store windows, all five Steinbachs in Asbury Park, though the only place Jack ever saw this man was in the bar, day-drinking apricot brandy and Hennessy, shot after shot, quietly waiting for the mercy to kick in.
    [Show full text]
  • American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
    For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE
    [Show full text]
  • Kubrick and Production
    Kubrick and Production FENWICK, James <http://orcid.org/0000-0002-1261-7150> Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/26322/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version FENWICK, James (2021). Kubrick and Production. In: HUNTER, I.Q. and ABRAMS, Nathan, (eds.) The Bloomsbury Companion to Stanley Kubrick. https://www.bloomsbury.com/us/the-bloomsbury-companion-to-stanley-kubrick- 9781501343636/, Bloomsbury. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Kubrick and Production James Fenwick Across the thirteen feature films that Stanley Kubrick directed, he received the credit of producer on nine of them. Moreover, if one considers the partnership with James B. Harris between 1955 and 1963, during which Harris produced three films as part of their Harris Kubrick Pictures Corporation, Kubrick was arguably involved as a producer on twelve of his own feature films. He was very much his own producer throughout most of his career, though with varying degrees of creative and business control at specific time periods. In the earliest years as a producer, Kubrick operated at a low-budget level of independence, with little influence over the way his films were handled by the studios to which he sold them. By the late 1960s, following the critical and commercial success of 2001: A Space Odyssey, Kubrick had established himself as one of the most powerful and potent producing brands in Hollywood.
    [Show full text]
  • The Studio System and Conglomerate Hollywood
    TCHC01 6/22/07 02:16 PM Page 11 PART I THE STRUCTURE OF THE INDUSTRY TCHC01 6/22/07 02:16 PM Page 12 TCHC01 6/22/07 02:16 PM Page 13 CHAPTER 1 THE STUDIO SYSTEM AND CONGLOMERATE HOLLYWOOD TOM SCHATZ Introduction In August 1995 Neal Gabler, an astute Hollywood observer, wrote an op-ed piece for The New York Times entitled “Revenge of the Studio System” in response to recent events that, in his view, signaled an industry-wide transformation (Gabler 1995). The previous year had seen the Seagram buyout of MCA-Universal, Time Warner’s purchase of the massive Turner Broadcasting System, and the launch of Dream- Works, the first new movie studio since the classical era. Then on August 1 came the bombshell that provoked Gabler’s editorial. Disney announced the acquisition of ABC and its parent conglomerate, Cap Cities, in a $19 billion deal – the second- largest merger in US history, which created the world’s largest media company. Disney CEO Michael Eisner also disclosed a quarter-billion-dollar deal with Mike Ovitz of Hollywood’s top talent agency, Creative Artists, to leave CAA and run the Disney empire. For Gabler, the Disney deals confirmed “a fundamental shift in the balance of power in Hollywood – really the third revolution in the relationship between industry forces.” Revolution I occurred nearly a century before with the formation of the Hollywood studios and the creation of a “system” that enabled them to con- trol the movie industry from the 1920s through the 1940s. Revolution II came with the postwar rise of television and the dismantling of the studio system by the courts, which allowed a new breed of talent brokers, “most notably Lew Wasserman of the Music Corporation of America [MCA],” to usurp control of the film industry.
    [Show full text]
  • Martin Scorsese and Film Culture
    Martin Scorsese and Film Culture: Radically Contextualizing the Contemporary Auteur by Marc Raymond, B.A., M.A. A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Institute of Comparative Studies in Literature, Art and Culture: Cultural Mediations Carleton University Ottawa, Canada January, 2009 > 2009, Marc Raymond Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-47489-1 Our file Notre reference ISBN: 978-0-494-47489-1 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.
    [Show full text]
  • Women of SCA 20
    FALL 2011 IN MOTION AlumnaeWom Speak on Careers,En of SCA the Industry and the SCA Experience A Day in the Life of Dr. Casper EntEr thE World of SCA’S IConIC ProfESSor The Hollywood Reporter Archive thE SCholArS of SCA BrIng thE PASt to lIfE WIth thE hElP of thr Anatomy of a Game SCA’S groundBrEAkIng trAnSmEdIA ExPErImEnt goES lIvE UNIVERSITY OF SOUTHERN CALIFORNIA FALL 2011 dEPArtmEntS StorIES MESSAGE FROM THE DEAN 3 WomEn of SCA 20 YEAR IN REVIEW 4 BUILDING THE FUTURE PHASE III 16 WHY I GIVE 18 ALUMNI AND FACULTY QUICKTAKES 26 TV AND FILM IN RELEASE 28 IN MEMORIAM 30 THE HOLLYWOOD AnAtomy of A A dAy In thE lIfE rEPortEr gAmE 10 OF DR. DREW PhotogrAPhy CASPEr 13 ArChIvE 8 Dean Elizabeth M. Daley BOARD OF COUNCILORS ALUMNI DEVELOPMENT COUNCIL Senior Associate Dean, Frank Price (Chair, Board of Councilors) John August ’94 Neal Moritz ’85 External Relations Marlene Loadvine Susan Downey ’95 Robert Osher ’81 Frank Biondi, Jr. Barry Meyer Bob Ducsay ’86 Santiago Pozo ’86 Associate Dean of Barry Diller Sidney Poitier Robert Greenblatt ’87 Shonda Rhimes ’94 Communications & PR Kristin Borella Lee Gabler John Riccitiello Tom Hoberman Jay Roach ’86 David Geffen Barney Rosenzweig Ramses Ishak ’92 Bruce Rosenblum ’79 Contributors Mel Cowan Brian T. Grazer Scott Sassa James Ishii ’76 Gary Rydstrom ’81 Ryan Gilmour Brad Grey Steven Spielberg Leslie Iwerks ’93 Josh Schwartz Cristy Lytal Jeffrey Katzenberg John Wells Polly Cohen Johnsen ’95 Peter Segal ’84 Hugh Hart Alan Levine Jim Wiatt Aaron Kaplan ’90 Stacey Sher ’85 Justin Wilson George Lucas Paul Junger Witt Michael Lehmann ’85 Jason Shuman ’96 Don Mattrick David L.
    [Show full text]
  • Double Features References
    DOUBLE FEATURES BIG IDEAS IN FILM Reference List DOUBLE FEATURES BIG IDEAS IN FILM Reference List Yossarian Is Alive and Well in the Mexican Desert 4 Nora Ephron Countercultural Architecture and Dramatic Structure 6 David Mamet Shooting to Kill (selection) 7 Christine Vachon Laugh, Cry, Believe: Spielbergization and Its Discontents 10 J. Hoberman In the Blink of an Eye (selection) 15 Walter Murch “One Hang, We All Hang”: High Plains Drifter 16 Richard Hutson Lynch on Lynch (selection) 18 Chris Rodley, interview with David Lynch John Wayne: A Love Song 19 Joan Didion Nonstop Action: Why Hollywood’s Aging Heroes Won’t Give Up the Gun 20 Adam Mars-Jones Willing 23 Lorrie Moore The contents of this packet include proprietary trademarks and copyrighted materials, and may be used or quoted only with permission and appropriate credit to the Great Books Foundation. DOUBLE FEATURES Furiosa: The Virago of Mad Max: Fury Road 24 Jess Zimmerman Scary Movies 25 Kim Addonizio Skyshot 26 Manuel Muñoz Edward Hopper’s New York Movie 27 Joseph Stanton Why We Crave Horror Movies 28 Stephen King Matinée 32 Robert Coover The Last Movie 33 Rachel Hadas Some Months After My Father’s Death 34 Sheryl St. Germain The Birds (selection) 35 Camille Paglia Your Childhood Entertainment Is Not Sacred 37 Nathan Rabin Pygmalion’s Ghost: Female AI and Technological Dream Girls 38 Angelica Jade Bastién The Solace of Preparing Fried Foods and Other Quaint Remembrances from 1960s Mississippi: Thoughts on The Help 39 Roxane Gay Better Living Through Criticism: How to Think About Art, Pleasure, Beauty, and Truth (selection) 40 A.
    [Show full text]
  • We're #1 Comedy Gets a Chair Year in Review Not Your
    FALL 2010 INMOTION IMDW Enamed’RE top # games1 program HonorsCOM actorE DandY philanthropist GETS A Jack C OakieHAIR NotYE SlowingAR I DownN REVIEW WomenNOT of YCinematicOUR Arts M hostA forumMA’S INDUSTRY UNIVERSITY OF SOUTHERN CALIFORNIA Dean Elizabeth M. Daley INMOTION Senior Associate Dean, Fall 2010 External Relations Marlene Loadvine Associate Dean of Communications Stephanie Kluft Contributors Mel Cowan Cristy Lytal Justin Wilson Design Roberto A. Gomez PAGE 3 MESSAGE FROM THE DEAN Researchers Ryan Gilmour Contributing Photographers Carell Augustus PAGE 4 YEAR IN REVIEW Alan Baker Steve Cohn PAGE 6 Caleb Coppola SCA & THE ACADEMY Roberto A. Gomez PRINCESS GRACE AWARD BOARD OF COUNCILORS ALUMNI DEVELOPMENT COUNCIL PAGE 7 WCA FORUM Frank Price (Chair, John August ’94 NINA FOCH DVD Board of Councilors) Susan Downey ’95 Bob Ducsay ’86 Frank Biondi, Jr. Robert Greenblatt ’87 PAGE 8 THE STORYTELLERS John Calley Tom Hoberman Barry Diller Ramses Ishak ’92 Lee Gabler James Ishii ’76 PAGE 11 WE’RE #1 David Geffen Leslie Iwerks ’93 Brian T. Grazer Polly Cohen Johnsen ’95 Brad Grey Aaron Kaplan ’90 PAGE 12 BUILDING THE FUTURE Jeffrey Katzenberg Michael Lehmann ’85 SPECIAL SUPPLEMENT Alan Levine Laird Malamed ’94 Building Update George Lucas Michelle Manning ’81 Don Mattrick Andrew Marlowe ’92 Why I Give... Bill M. Mechanic Derek McLay Barry Meyer Andrew Millstein Sidney Poitier Neal Moritz ’85 PAGE 16 ALUMNI QUICKTAKES John Riccitiello Robert Osher ’81 Barney Rosenzweig Santiago Pozo ’86 Scott Sassa Shonda Rhimes ’94 PAGE 17 FACULTY QUICKTAKES Steven Spielberg Jay Roach ’86 John Wells Bruce Rosenblum ’79 Jim Wiatt Gary Rydstrom ’81 PAGE 18 TV AND FILMS IN RELEASE Paul Junger Witt Josh Schwartz David L.
    [Show full text]
  • Stanley Kubrick: Producers and Production Companies
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by De Montfort University Open Research Archive Stanley Kubrick: Producers and Production Companies Thesis submitted by James Fenwick In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, September 2017 1 Abstract This doctoral thesis examines filmmaker Stanley Kubrick’s role as a producer and the impact of the industrial contexts upon the role and his independent production companies. The thesis represents a significant intervention into the understanding of the much-misunderstood role of the producer by exploring how business, management, working relationships and financial contexts influenced Kubrick’s methods as a producer. The thesis also shows how Kubrick contributed to the transformation of industrial practices and the role of the producer in Hollywood, particularly in areas of legal authority, promotion and publicity, and distribution. The thesis also assesses the influence and impact of Kubrick’s methods of producing and the structure of his production companies in the shaping of his own reputation and brand of cinema. The thesis takes a case study approach across four distinct phases of Kubrick’s career. The first is Kubrick’s early years as an independent filmmaker, in which he made two privately funded feature films (1951-1955). The second will be an exploration of the Harris-Kubrick Pictures Corporation and its affiliation with Kirk Douglas’ Bryna Productions (1956-1962). Thirdly, the research will examine Kubrick’s formation of Hawk Films and Polaris Productions in the 1960s (1962-1968), with a deep focus on the latter and the vital role of vice-president of the company.
    [Show full text]
  • Shelflist - DVD
    Shelflist - DVD TITLE PN1997 .T74 2001 12 angry men [dvd] / United Artists ; story and screenplay by Reginald Rose ; produced by Henry Fonda and Reginald Rose ; directed by Sidney Lumet. PN1997 .T836 2005 12 monkeys [dvd] / Universal Pictures and Atlas/Classico present an Atlas Entertainment production ; produced by Charles Roven ; screenplay by David Peoples & Janet Peoples ; directed by Terry Gilliam. PN1995.9.S26 T8 2001 2001, a space odyssey [dvd] / Metro-Goldwyn-Mayer presents a Stanley Kubrick production ; directed and produced by Stanley Kubrick ; screenplay by Stanley Kubrick and Arthur C. Clarke. PN1999.T8 A5 2002 20th Century Fox [dvd] : the blockbuster years / [produced by] Prometheus Entertainment in association with Van Ness Films, Inc., Fox Television Studios, Foxstar Productions and American Movie Classics ; directed by Kevin Burns and DS79.76.T84 2003 21 days to Baghdad [dvd] / produced by David Murdock, Mary Marsh, and Ted Duvall. PN1997.2.A1117 2004 21 grams [dvd] / a Focus Features presentation, a This is That production, a Y Productions production, an Alejandro GonzaL_lez InL_aL_rritu film ; produced by Alejandro GonzaL_lez InL_aL_rritu, Robert Salerno ; written by Guillermo PN1995.9.S87 F687 2006 400 blows [dvd] / Les Films du Carrosse, S.E.D.I.F. ; producer, Georges Charlot ; original story by FrancL'ois Truffaut ; adaptation by Marcel Moussy and FrancL'ois Truffaut ; directed by FrancL'ois Truffaut. PN1997 .F6789 2006 42nd street [dvd] / Warner Bros. Pictures, Inc. & the Vitaphone Corp. ; directed by Lloyd Bacon ; screen play by Rian James & James Seymour. HF6146.T42 C561 2006 47th annual Clio awards [dvd]. PN1997 .O88 2002 8 1/2 [dvd] / di Federico Fellini ; Angelo Rizzoli presenta ; ideato e diretto da Federico Fellini ; prodotto da Angelo Rizzoli ; soggetto, Federico Fellini, Ennio Flaiano ; sceneggiatura Federico Fellini ..
    [Show full text]
  • A Survey of Stanley Kubrick's Unrealized Projects
    Special — Peer Reviewed Cinergie – Il cinema e le altre arti. N.12 (2017) https://doi.org/10.6092/issn.2280-9481/7349 ISSN 2280-9481 Waiting for a miracle: a survey of Stanley Kubrick’s unrealized projects Filippo Ulivieri Published: 4th December 2017 Abstract A survey of Stanley Kubrick’s unfinished films generally includes Napoleon, Aryan Papers and A.I. Artificial Intelligence. A few extra projects are commonly included as well: One-Eyed Jacks, The German Lieutenant and The Burning Secret. Three more scripts have enjoyed media recognition recently, after the announce- ment of their tentative production: Lunatic at Large, The Down Slope and God Fearing Man. But this only scratches the surface of the extensive range of cinematic interests that Kubrick manifested. The follow- ing article lists all the projects the director considered, developed and abandoned in his career. A study of Kubrick’s work that encompasses his unsuccessful endeavors could help us better understand his tastes, methodology and the necessary ingredients that would make a good film according to Stanley Kubrick. Keywords: Kubrick; unfinished films; unrealized projects Filippo Ulivieri Corresponding Author: [email protected] Filippo Ulivieri is an independent scholar and author. He has extensively researched the life and works of Stanley Kubrick: his features on the director’s career have appeared in several international newspapers and magazines. He is the author of Stanley Kubrick and Me: Thirty Years at His Side, the biography of Kubrick’s personal assistant Emilio D’Alessandro (Il Saggiatore, 2012; Arcade Publishing, 2016), and co-scenarist of Alex Infascelli’s documentary S is for Stanley (2015).
    [Show full text]
  • The Hollywood War Machine
    The Hollywood War Machine The newly expanded and revised edition of The Hollywood War Machine includes wide- ranging exploration of numerous popular military-themed films that have appeared in the close to a decade since the first edition was published. Within the Hollywood movie community, there has not been even the slightest decline in well-financed pictures focus- ing on warfare and closely related motifs. The second edition includes a new chapter on recent popular films and another that analyzes the relationship between these movies and the bourgeoning gun culture in the United States, marked in recent years by a dra- matic increase in episodes of mass killings. Carl Boggs is Professor of Social Sciences at National University in Los Angeles, Adjunct Professor at Antioch University in Los Angeles, and author or editor of numerous books including Imperial Delusions: American Militarism and Endless War (Rowman & Littlefield 2004) and Masters of War: Militarism and Blowback in an Era of American Empire (Routledge 2003). Tom Pollard is Professor of Social Sciences at National University in San Jose and a docu- mentary filmmaker whose work has appeared on BBC, the Discovery Channel, the Life Network, Canadian Broadcasting System, and various PBS channels. His most recent books include: Loving Vampires: Pop Culture’s Undead Metaphors (2015) and Holly- wood 9/11: Superheros, Supervillians, and Super Disasters (2011). The Hollywood War Machine U.S. Militarism and Popular Culture, Second Edition Carl Boggs and Tom Pollard First published 2007 by Paradigm Publishers Second edition published 2016 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2016 Taylor & Francis The right of Carl Boggs and Tom Pollard to be identified as authors of this work has been asserted by them in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
    [Show full text]