Executive VP Joseph Mercurio Leaves University

Total Page:16

File Type:pdf, Size:1020Kb

Executive VP Joseph Mercurio Leaves University Kenneth Elmore (SED’87), BU dean of students, jumps into the Charles River in honor of the Class MED PROF TO LEAD his title as a MED professor of brims with editorial experi- of 2011. Watch a video of JOURNAL pediatrics. ence. He is currently the first Elmore taking the plunge at HOWARD BAUCHNER “It’s truly an honor and a U.S.-based editor in chief of bu.edu/bostonia. TO EDIT AMA’S INFLUENTIAL privilege to direct JAMA,” the British Archives of Disease PUBLICATION Bauchner says. in Childhood, pub- From the Gilded lished by the Royal Age to the Inter- College of Paedi- HOWARD BAUCHNER, a 25- net Age, JAMA atrics and Child year veteran of the School of has been the Health. He is a His work in complexity science Medicine, has been named scholarly flagship member of the edi- has spurred new devices to the new editor in chief of the of one of the most torial boards of sev- treat stroke-induced brain 128-year-old Journal of the influential pro- eral publications, failure, enhanced doctors’ American Medical Association fessional groups and author of more understanding of how human (JAMA). in the country. than 125 papers. posture is warped by aging Bauchner (MED’79) suc- Published continuously since Bauchner plans “intelli gent and Parkinson’s disease, and ceeds friend and fellow pedia- 1883, the magazine bills itself innovation” at JAMA, he says, helped invent synthetic gene trician Catherine DeAngelis, as “the most widely circulated by updating its website and networks, whose many uses the journal’s first woman medical journal in the world.” print presentations and bring- include fighting bacterial editor. JAMA is based in Chi- In selecting Bauchner as ing in new columnists to pro- infections. cago, so Bauchner is taking editor, JAMA has chosen vide “provocative content.” Winner in 2000 of the a leave of absence, retaining a physician whose résumé RICH BARLOW University’s highest teaching honor, the Metcalf Cup and Prize, he is famous among engineering students for his Executive VP Joseph Mercurio Leaves University ability to make extremely com- plex concepts understandable, AFTER 38 YEARS, his ability to grasp the fairs, senior vice presi- and often funny. MASTER OF MAJOR complexity of Boston dent, and since 1995, EXPANSION University and guide executive vice presi- MOVES ON effective decisions in dent. In that role, he so many facets of what has led the University’s New York City last March with It all started with we do,” Brown wrote. senior management other finalists for the awards tuition remission. In “No individual has team and directed all announcements. “I learned when August 1973, Joseph played a larger role in nonacademic pro- my name was called,” she says. Mercurio was a deter- world. Only this time, creating a collegial en- grams and service and “It’s a tremendous honor and an mined undergraduate he’s done it. vironment for all of us support activities, as august moment.” business student at Joseph P. Mercurio, who have the privilege well as business func- The award is another national Suffolk University, executive vice presi- of working at BU.” tions and commercial honor for the former New York struggling to come up dent of the University In the years since activities. Times reporter, who won the with the next semes- for the past 16 years, his first job as an asso- He has overseen Pulitzer Prize for feature re- ter’s tuition. left his post on July 1 ciate budget director the expansion of the porting in 1994, the first time “Someone told me if to launch what he calls allowed him to take Charles River Campus a black journalist received an I could get a job at BU, his “third chapter” and classes at no cost, and the Medical Cam- individual reporting award. I could get free tuition,” “form a new business Mercurio has seen the pus and has guided ef- The 37-year-old National he recalls. “So I did. enterprise.” annual budget at BU forts that pushed BU’s Book Critics Circle, made up of I took the job to get In a letter sent to grow from $89 million endowment above $1 more than 600 book reviewers, tuition remission to get University leadership, to $2 billion, and he billion for the first time. calls The Warmth of Other Suns my degree and get out President Robert A. has directed over nine He leaves behind a “a magisterial work.” Wilkerson’s into the commercial Brown described Mer- million square feet of reputation as an extra- book made the New York Times world.” curio (MET’81) as “an development, valued at ordinarily fair-minded best-seller list, with Times re- Now, almost 38 icon for the effective more than $2 billion. and supportive leader viewer Janet Maslin referring to years later, the man management of Boston After serving for in the BU community it as a “landmark” work. who planned and University” and urged four years as an associ- and as someone whose The book also won an Out- directed the largest the BU community to ate budget director, sense of purpose unit- standing Literary Work award expansion of the Bos- thank him for “his in- Mercurio was assistant ed the business and from the National Association ton University campus credible role” and wish vice president and educa tional missions for the Advancement of Colored is still eager to get out him well. comptroller, vice presi- of the University. People. into the commercial “Joe is legendary for dent for business af- ART JAHNKE p nes discussing the art of conducting. | Watch a video of CAS’ David Ferry reading his poem “The Birds.” | Visit bu.edu/bostonia. 004-15_BostoniaSummer11_03r1.indd4-15_BostoniaSummer11_03r1.indd 1515 66/10/11/10/11 33:11:11 PMPM.
Recommended publications
  • The Terminator by John Wills
    The Terminator By John Wills “The Terminator” is a cult time-travel story pitting hu- mans against machines. Authored and directed by James Cameron, the movie features Arnold Schwarzenegger, Linda Hamilton and Michael Biehn in leading roles. It launched Cameron as a major film di- rector, and, along with “Conan the Barbarian” (1982), established Schwarzenegger as a box office star. James Cameron directed his first movie “Xenogenesis” in 1978. A 12-minute long, $20,000 picture, “Xenogenesis” depicted a young man and woman trapped in a spaceship dominated by power- ful and hostile robots. It introduced what would be- come enduring Cameron themes: space exploration, machine sentience and epic scale. In the early 1980s, Cameron worked with Roger Corman on a number of film projects, assisting with special effects and the design of sets, before directing “Piranha II” (1981) as his debut feature. Cameron then turned to writing a science fiction movie script based around a cyborg from 2029AD travelling through time to con- Artwork from the cover of the film’s DVD release by MGM temporary Los Angeles to kill a waitress whose as Home Entertainment. The Library of Congress Collection. yet unborn son is destined to lead a resistance movement against a future cyborg army. With the input of friend Bill Wisher along with producer Gale weeks. However, critical reception hinted at longer- Anne Hurd (Hurd and Cameron had both worked for lasting appeal. “Variety” enthused over the picture: Roger Corman), Cameron finished a draft script in “a blazing, cinematic comic book, full of virtuoso May 1982. After some trouble finding industry back- moviemaking, terrific momentum, solid performances ers, Orion agreed to distribute the picture with and a compelling story.” Janet Maslin for the “New Hemdale Pictures financing it.
    [Show full text]
  • Two Centuries of Wheelchair Design, from Furniture to Film
    Enwheeled: Two Centuries of Wheelchair Design, from Furniture to Film Penny Lynne Wolfson Submitted in partial fulfillment of the Requirements for the degree Master of Arts in the History of the Decorative Arts and Design MA Program in the History of the Decorative Arts and Design Cooper-Hewitt, National Design Museum, Smithsonian Institution and Parsons The New School for Design 2014 2 Fall 08 © 2014 Penny Lynne Wolfson All Rights Reserved 3 ENWHEELED: TWO CENTURIES OF WHEELCHAIR DESIGN, FROM FURNITURE TO FILM TABLE OF CONTENTS LIST OF ILLUSTRATIONS ACKNOWLEDGEMENTS i PREFACE ii INTRODUCTION 1 CHAPTER 1. Wheelchair and User in the Nineteenth Century 31 CHAPTER 2. Twentieth-Century Wheelchair History 48 CHAPTER 3. The Wheelchair in Early Film 69 CHAPTER 4. The Wheelchair in Mid-Century Films 84 CHAPTER 5. The Later Movies: Wheelchair as Self 102 CONCLUSION 130 BIBLIOGRAPHY 135 FILMOGRAPHY 142 APPENDIX 144 ILLUSTRATIONS 150 4 List of Illustrations 1. Rocking armchair adapted to a wheelchair. 1810-1830. Watervliet, NY 2. Pages from the New Haven Folding Chair Co. catalog, 1879 3. “Dimension/Weight Table, “Premier” Everest and Jennings catalog, April 1972 4. Screen shot, Lucky Star (1929), Janet Gaynor and Charles Farrell 5. Man in a Wheelchair, Leon Kossoff, 1959-62. Oil paint on wood 6. Wheelchairs in history: Sarcophagus, 6th century A.D., China; King Philip of Spain’s gout chair, 1595; Stephen Farffler’s hand-operated wheelchair, ca. 1655; and a Bath chair, England, 18th or 19th century 7. Wheeled invalid chair, 1825-40 8. Patent drawing for invalid locomotive chair, T.S. Minniss, 1853 9.
    [Show full text]
  • As I Hear My Voice Calling: Issues and Matters in Autobiography1
    As I Hear My Voice Calling: Issues and Matters in Autobiography1 João de Mancelos (Universidade da Beira Interior) Palavras-chave: Autobiografia, narrativa ficcional, estratégias narrativas, Maya Angelou, Bob Dylan, Michael J. Fox Keywords: Autobiography, fictional narrative, narrative strategies, Maya Angelou, Bob Dylan, Michael J. Fox 1. True lies In the novel The Naked Civil Servant (1968), Quentin Crisp defines autobiography as “an obituary in serial form with the last installment missing” (Crisp, 1997: 212). Any more serious attempt to precise the concept of autobiography is probably doomed to fail, due to the complexity inherent to this genre. As James Olney argues, “everyone knows what biography is, but no two observers, no matter how assured they may be, are in agreement” (Olney, 1980: 3). The definitions a researcher finds in a dictionary do not survive a rigorous scrutiny and rise more questions than they offer reassuring answers. For instances, the Collins English Dictionary presents autobiography as “An amount of a person’s life written or otherwise recorded by that person” (Collins, 1991: 102). In my perspective, this definition is far from deserving to be inscribed on a marble slab, for three reasons: a) Numerous autobiographies are not written by the self, but by ghost writers who organize the recollections of an unarticulated football player or of a politician more inclined to an ideological speech. In those cases, there is an authorial coincidence between the biographer that remembers but does not write, and the biographer who writes but does not remember. b) It is arguable that biographical narratives are precise, since what an author presents is the fragmented memory of a restricted number of events.
    [Show full text]
  • February 2019 Vol
    LOOK HERE www.framinghamlibrary.org FIRST AFRICAN AMERICAN/BLACK HISTORY MONTH February 2019 Vol. 5 I No. 2 Join us as we celebrate African American/Black History Month with a variety of programs. Wednesday February 6, 7pm – Main Library, Costin Room Main Library From Slavery to Freedom: A Slave Narrative 49 Lexington Street I 508-532-5570 Monday-Thursday 9-9 of Aunt Sally Williams as recorded by Edna Dean Proctor Friday-Saturday 9-5 Edna Dean Proctor, buried in Framingham, spent many years at the New York Sunday 1-5 (see schedule for home of publisher Henry Bowen. When Aunt Sally showed up at Bowen’s closed Sundays) offices in 1857, Edna was asked to record her story of slavery to freedom. Christa McAuliffe Storyteller Libby Franck will portray abolitionist Edna Dean Proctor and Branch Library Adrienne Williams will sing songs of the period. In collaboration with the Framingham History Center. 746 Water Street I 508-532-5636 Monday-Thursday 9:30-9 Tuesday February 19, 7-8:45pm – McAuliffe Branch, Community Room Friday-Saturday 9:30-5 No Short Climb: “Race Workers” and America’s Sunday Noon-4 (see schedule for Documentary: closed Sundays) Defense Technology Holiday Hours Framingham State University Professor Both Libraries will be closed Sunday Robert Johnson, Jr. will screen his film February 17 and Monday February 18 and discuss the important contributions for Presidents’ Day. made to science and technology by African-Americans prior to and during WWII. Wednesday February 27, 7pm – Main Library, Costin Room The Kevin Harris Project presents “Embers” did you New York-based jazz pianist Kevin Harris presents a timely performance.
    [Show full text]
  • (75F60a5) the New York Times Guide to the Best 1,000 Movies Ever
    The New York Times Guide To The Best 1,000 Movies Ever Made Vincent Canby, Janet Maslin, Peter M. Nichols - book pdf free by Vincent Canby, Janet Maslin, Peter M. Nichols The New York Times Guide to the Best 1,000 Movies Ever Made, Free Download The New York Times Guide to the Best 1,000 Movies Ever Made Full Version Vincent Canby, Janet Maslin, Peter M. Nichols, Vincent Canby, Janet Maslin, Peter M. Nichols ebook The New York Times Guide to the Best 1,000 Movies Ever Made, Download Free The New York Times Guide to the Best 1,000 Movies Ever Made Book, The New York Times Guide to the Best 1,000 Movies Ever Made Ebook Download, The New York Times Guide to the Best 1,000 Movies Ever Made Free Download, PDF The New York Times Guide to the Best 1,000 Movies Ever Made Full Collection, The New York Times Guide to the Best 1,000 Movies Ever Made Books Online, The New York Times Guide to the Best 1,000 Movies Ever Made by Vincent Canby, Janet Maslin, Peter M. Nichols Download, Read Online The New York Times Guide to the Best 1,000 Movies Ever Made E-Books, Download The New York Times Guide to the Best 1,000 Movies Ever Made E-Books, Read The New York Times Guide to the Best 1,000 Movies Ever Made Book Free, read online free The New York Times Guide to the Best 1,000 Movies Ever Made, Download Online The New York Times Guide to the Best 1,000 Movies Ever Made Book, The New York Times Guide to the Best 1,000 Movies Ever Made Free PDF Online, The New York Times Guide to the Best 1,000 Movies Ever Made Full Collection, Download The New York Times Guide to the Best 1,000 Movies Ever Made E-Books, pdf download The New York Times Guide to the Best 1,000 Movies Ever Made, full book The New York Times Guide to the Best 1,000 Movies Ever Made, The New York Times Guide to the Best 1,000 Movies Ever Made by Vincent Canby, Janet Maslin, Peter M.
    [Show full text]
  • Eddie Murphy in the Cut: Race, Class, Culture, and 1980S Film Comedy
    Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-10-2019 Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy Gail A. McFarland Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation McFarland, Gail A., "Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy." Thesis, Georgia State University, 2019. https://scholarworks.gsu.edu/aas_theses/59 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EDDIE MURPHY IN THE CUT: RACE, CLASS, CULTURE, AND 1980S FILM COMEDY by GAIL A. MCFARLAND Under the Direction of Lia T. Bascomb, PhD ABSTRACT Race, class, and politics in film comedy have been debated in the field of African American culture and aesthetics, with scholars and filmmakers arguing the merits of narrative space without adequately addressing the issue of subversive agency of aesthetic expression by black film comedians. With special attention to the 1980-1989 work of comedian Eddie Murphy, this study will look at the film and television work found in this moment as an incisive cut in traditional Hollywood industry and narrative practices in order to show black comedic agency through aesthetic and cinematic narrative subversion. Through close examination of the film, Beverly Hills Cop (Brest, 1984), this project works to shed new light on the cinematic and standup trickster influences of comedy, and the little recognized existence of the 1980s as a decade that defines a base period for chronicling and inspecting the black aesthetic narrative subversion of American film comedy.
    [Show full text]
  • Otherness, Appropriation, and Identity in Thunderheart
    The Best of Both Worlds: Otherness, Appropriation, and Identity in Thunderheart Pack, Sam. Wicazo Sa Review, Volume 16, Number 2, Fall 2001, pp. 97-114 (Article) Published by University of Minnesota Press DOI: 10.1353/wic.2001.0028 For additional information about this article http://muse.jhu.edu/journals/wic/summary/v016/16.2pack.html Access Provided by CAPES-Fundação Coordenação de Aperfeiçoamento de Pessoal de NÃ-vel Superior at 07/28/11 2:58PM GMT The Best of Both Worlds Otherness, Appropriation, and Identity in Thunderheart Sam Pack n many respects, Thunderheart1 (1992) is a refreshing departure from Iits predecessors in the Native American film genre. While seemingly enlightened, I will argue that the film still relies upon too many Holly- wood crutches in depicting Native Americans, which is particularly evident in its utilization of three tropes: the construction of the “other,” the appropriation of native spirituality, and the formation of identity. I will also analyze several film reviews to demonstrate how the critical reception of Thunderheart reflects mainstream America’s ambivalence to- ward Native Americans. Thunderheart tells the story of a mixed-blood FBI agent (Ray Levoi) who ventures onto the Pine Ridge Indian Reservation in South Dakota to solve a murder but finds his Indian identity in the process. When he realizes that the government is involved in a murder and a plot to mine uranium on the reservation, Levoi teams with tribal policeman Walter Crow Horse and traditional elder Grandpa Sam Reaches to stop the plot and preserve the environment of the reservation.
    [Show full text]
  • Bamcinématek Presents Under the Influence: Scorsese/Walsh, a 12
    BAMcinématek presents Under the Influence: Scorsese/Walsh, a 12-film series pairing Martin Scorsese works with their inspirations from Raoul Walsh’s seminal oeuvre, Mar 12—26 Opens with Walsh’s Regeneration, featuring live piano by acclaimed silent film accompanist Steve Sterner The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Brooklyn, NY/Feb 12, 2014—From Wednesday, March 12 through Wednesday, March 26, BAMcinématek presents Under the Influence: Scorsese/Walsh, pairing six Scorsese classics with their inspirations from Raoul Walsh’s seminal oeuvre. The still-undervalued Walsh’s lean, mean portraits of gangsters, knack for evoking gritty urban locales, and assured handling of white- knuckle action provide a virtual template for modern-day maestro (and avowed Walsh admirer) Martin Scorsese’s work. Viewed side by side, the films of these two iconic auteurs reveal a fascinating and ongoing creative dialogue across the generations. One of the great action directors of the Hollywood studio era, Raoul Walsh was the swaggering, manly-man artist behind some of the best movies to star James Cagney, Humphrey Bogart, and Errol Flynn. ―Walsh’s explosive outcast characters were bigger than life,‖ said Martin Scorsese, whose own violent, masculine oeuvre is just as full of explosive outcasts. ―Their lust for life was insatiable, even as their actions precipitated their tragic destiny. The world was too small for them.‖ Walsh was ―probably Scorsese’s single most important influence,‖ wrote critic Dave Kehr (Moving Image Source), even if Scorsese’s debts to Michael Powell, Luchino Visconti, and other filmmakers have been more widely acknowledged over the years.
    [Show full text]
  • 18 Gender, Race, and the Ma(S)King of 'Joni Mitchell'
    18 Gender, race, and the ma(s)king of ‘Joni Mitchell’ kevin fellezs I thought I was black for about three years. I felt like there was a black poet trapped inside me, and [‘The Jungle Line’] was about Harlem – the primitive juxtaposed against the Frankenstein of mod- ern industrialization; the wheels turning and the gears grinding and the beboppers with the junky spit running down their trumpets. All of that together with that Burundi tribal thing was perfect. But people just thought it was weird. (joni mitchell)1 Art is short for artificial. So, the art of art is to be as real as you can within this artificial situation. That’s what it’s all about. That’s what art is! In a way, it’s a lie to get you to see the truth. (joni mitchell)2 Joni Mitchell has always been weird, even by her own account. Personifying as well as versifying the tensions, contradictions, and affinities between the footloose and the fenced-in that is a main theme running through her work, she has remained one of pop music’s enduring enigmas despite over five decades in the music business.3 By turns, she has described herself or been characterised by others as an idiosyncratic singer-songwriter, the ‘consum- mate hippy chick’, ‘Annie Hall meets urban cowgirl’, the ‘babe in bopperland, the novice at the slot machines, the tourist, the hitcher’, a poet, a painter, a reluctant yet ambitious superstar.4 Who, in fact, are we confronting in a ‘self-confessional singer-songwriter’ who withholds her ‘real’ name? Born Roberta Joan Anderson to parents preparing for a son named Robert John on November 7, 1943, the artist better known as Joni Mitchell concocted her name through a combination of youthful pretensions and her first, brief marriage.
    [Show full text]
  • Redalyc.FROM EMMA to CLUELESS: IRONIC REPRESENTATIONS of JANE AUSTEN
    Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Azerêdo, Genilda FROM EMMA TO CLUELESS: IRONIC REPRESENTATIONS OF JANE AUSTEN Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 51, julio-diciembre, 2006, pp. 235-263 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348689013 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative From Emma to Clueless: ironic representation... 235 FROM EMMA TO CLUELESS: IRONIC REPRESENTATIONS OF JANE AUSTEN1 Genilda Azerêdo Universidade Federal da Paraíba Abstract This essay discusses the constructions and functions of irony in Amy Hecherling’s Clueless (1995), a contemporary and loose filmic adaptation of Jane Austen’s Emma (1816). The analysis reveals that Heckerling plays with the intersection of past and present and parodies, through an explicit ironical look, both Austen’s and our contemporary world. Keywords: irony; parody; adaptation. A first great distinction between Diarmuid Lawrence’s (1996) and Douglas McGrath’s (1996) adaptations of Emma and Amy Heckerling’s Clueless (1995) is related to the acknowledgment of the ‘original’ source, Austen’s novel, in the construction of the adapted text, and consequently the question of faithfulness to what they consider to be Austen’s world and values. Whereas the period-piece adaptations make great efforts to reconstruct and recreate Austen’s past village life in pre-industrial England in minute details—attention is given to historical locations, accurate period decor, authentic dances, period music, food, costumes, Ilha do Desterro Florianópolis nº 51 p.
    [Show full text]
  • Reading Group Guide Spotlight
    Spotlight on: Reading Group Guide Happiness Sold Separately Author: Lolly Winston Born c. 962, in Hartford, CT; married Anders Wallgren Name: Lolly Winston (a consulting software engineer). Education: Attended Born: 962 Simon’s Rock College; Bard College, B.A.; Sarah Education: Attended Lawrence College, M.F.A. Addresses: Home: CA. Simon’s Rock College; Email: [email protected]. Bard College, B.A.; Sarah Lawrence College, M.F.A. Address: CA. Email: lolly@ lollywinston.com Career: Writer. Previously worked as a waitress, corporate copywriter, public affairs officer for a trauma hospital, and freelance journalist; taught English as a second language and classes in writing. Writings: Good Grief (novel), Warner Books (New York, NY), 2004. Happiness Sold Separately (novel), Warner Books (New York, NY), 2006. Contributor of short stories and essays to anthologies, including The Third Berkshire Anthology; Girls’ Night Out; Kiss Tomorrow Hello Doubleday, 2006; and Bad Girls. Contributor of articles to periodicals, including Redbook, Family Circle, Working Mother, New Woman, Sunset, Automotive News, and Lifetime; contributor of short stories to periodicals, including the Sun and Southeast Review. Good Grief has been published in fifteen languages. Media Adaptations: Happiness Sold Separately has been made into an audiobook by Hachette Audio and is being adapted for a film produced by Julia Roberts. Sidelights: Author Lolly Winston has been writing in some form or another for most of her adult life, ranging from copywriting to articles automotive magazines. Fiction, however, remained her first love, and she set herself a goal of writing her first novel by the time she was forty.Good Grief is the result of Winston’s vow.
    [Show full text]
  • Hard to Stop Image and Authorship in the Films of Steven Seagal
    Hard To Stop Image and Authorship in the Films of Steven Seagal BY Michael Van Esler Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ______________________________ Chairperson: Dr. Chuck Berg ______________________________ Dr. Michael Baskett ______________________________ Prof. Robert Hurst Date Defended: April 18th, 2011 Acceptance Page The Thesis Committee for Michael Van Esler certifies that this is the approved version of the following thesis: Hard To Stop: Image and Authorship in the Films of Steven Seagal _____________________________ Chairperson: Dr. Chuck Berg Date Approved: ii Abstract Little serious scholarly work has been done on the career of Steven Seagal which is surprising given his immense popularity in the early 1990s. In addition to suggesting more work be done on less traditional stars, this thesis asks what factors lead to an understanding of Steven Seagal as a working class action hero. It makes the case for understanding Seagal as a star because of the impressive box office success of his films along with his immense popularity during that time frame. The thesis focuses mainly on Seagal‘s films from 1988 until 1995, with only occasional references to his later, less commercially successful work which nonetheless helps explicate the essence of the Seagal persona. The main theoretical texts utilized in this thesis are Richard Dyer‘s Stars, which examines both the sociological and semiotic implications of stardom, and Rick Altman‘s Film/Genre, which explores the evolution of the working class action film.
    [Show full text]