Suggested Readings and Other Resources Books Articles Film Clips
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Easy Riders, Raging Bulls: How the Sex, Drugs and Rock and Roll Generation Saved Hollywood Pdf, Epub, Ebook
EASY RIDERS, RAGING BULLS: HOW THE SEX, DRUGS AND ROCK AND ROLL GENERATION SAVED HOLLYWOOD PDF, EPUB, EBOOK Peter Biskind | 512 pages | 26 Apr 1999 | SIMON & SCHUSTER | 9780684857084 | English | New York, United States Easy Riders, Raging Bulls: How the Sex, Drugs and Rock and Roll Generation Saved Hollywood PDF Book My impression of this documentary wasn't so great due to the fact of already seeing and knowing a similar themed work a few years ago called "A Decade Under the Influence" , directed by Ted Demme and Richard LaGravenese, which was a better project for numerous reasons. Why do people go see them? The book is hefty with gossip of all kinds, which is too bad because he's talking about the revolution in films in the 60's to early 80's. It is chock full of interviews and choice information about the time period 60's's in American cinema that changed everything, for a lot better and some for not. Beatty likes to fuck alot. Biskind's book disappointed me tremendously. Return to the Books Home Page. Assassinations, cultural domination, drugging, spying, provocation: Talk about taking the fight to your opponents—the American people—and crippling them for generations! But in the kind of popularized pseudohistory ''Easy Riders, Raging Bulls'' exemplifies, anecdotes are valued above all else, bitchy gossip is privileged, dysfunction is automatically more fascinating than artistic success, aggrieved former friends and former lovers are granted the license to settle scores sometimes anonymously , documentation is disdained and historical analysis must be squeezed into the narrative quickly, so as not to disrupt the dishing. -
THE PHILOSOPHY of STEVEN SODERBERGH the Philosophy of Popular Culture
THE PHILOSOPHY OF STEVEN SODERBERGH The Philosophy of Popular Culture Th e books published in the Philosophy of Popular Culture series will illuminate and explore philosophical themes and ideas that occur in popular culture. Th e goal of this series is to demonstrate how philosophical inquiry has been reinvigorated by increased scholarly interest in the intersection of popular culture and philosophy, as well as to explore through philosophical analysis beloved modes of entertainment, such as movies, TV shows, and music. Philosophical concepts will be made accessible to the general reader through examples in popular culture. Th is series seeks to publish both established and emerging scholars who will engage a major area of popular culture for philosophical interpretation and examine the philosophical underpinnings of its themes. Eschewing ephemeral trends of philosophical and cultural theory, authors will establish and elaborate on connections between traditional philosophical ideas from important thinkers and the ever-expanding world of popular culture. Series Editor Mark T. Conard, Marymount Manhattan College, NY Books in the Series Th e Philosophy of Stanley Kubrick, edited by Jerold J. Abrams Football and Philosophy, edited by Michael W. Austin Tennis and Philosophy, edited by David Baggett Th e Philosophy of the Coen Brothers, edited by Mark T. Conard Th e Philosophy of Film Noir, edited by Mark T. Conard Th e Philosophy of Martin Scorsese, edited by Mark T. Conard Th e Philosophy of Neo-Noir, edited by Mark T. Conard Th e Philosophy of Horror, edited by Th omas Fahy Th e Philosophy of Th e X-Files, edited by Dean A. -
Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DCU Online Research Access Service Smart cinema as trans-generic mode: a study of industrial transgression and assimilation 1990-2005 Laura Canning B.A., M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. November 2013 School of Communications Supervisor: Dr. Pat Brereton 1 I hereby certify that that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_________________________________ (Candidate) ID No.: 58118276 Date: ________________ 2 Table of Contents Chapter One: Introduction p.6 Chapter Two: Literature Review p.27 Chapter Three: The industrial history of Smart cinema p.53 Chapter Four: Smart cinema, the auteur as commodity, and cult film p.82 Chapter Five: The Smart film, prestige, and ‘indie’ culture p.105 Chapter Six: Smart cinema and industrial categorisations p.137 Chapter Seven: ‘Double Coding’ and the Smart canon p.159 Chapter Eight: Smart inside and outside the system – two case studies p.210 Chapter Nine: Conclusions p.236 References and Bibliography p.259 3 Abstract Following from Sconce’s “Irony, nihilism, and the new American ‘smart’ film”, describing an American school of filmmaking that “survives (and at times thrives) at the symbolic and material intersection of ‘Hollywood’, the ‘indie’ scene and the vestiges of what cinephiles used to call ‘art films’” (Sconce, 2002, 351), I seek to link industrial and textual studies in order to explore Smart cinema as a transgeneric mode. -
Hliebing Dissertation Revised 05092012 3
Copyright by Hans-Martin Liebing 2012 The Dissertation Committee for Hans-Martin Liebing certifies that this is the approved version of the following dissertation: Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood Committee: Thomas Schatz, Supervisor Hans-Bernhard Moeller Charles Ramírez Berg Joseph D. Straubhaar Howard Suber Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood by Hans-Martin Liebing, M.A.; M.F.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication In loving memory of Christa Liebing-Cornely and Martha and Robert Cornely Acknowledgements I would like to thank my committee members Tom Schatz, Charles Ramírez Berg, Joe Straubhaar, Bernd Moeller and Howard Suber for their generous support and inspiring insights during the dissertation writing process. Tom encouraged me to pursue this project and has supported it every step of the way. I can not thank him enough for making this journey exciting and memorable. Howard’s classes on Film Structure and Strategic Thinking at The University of California, Los Angeles, have shaped my perception of the entertainment industry, and having him on my committee has been a great privilege. Charles’ extensive knowledge about narrative strategies and Joe’s unparalleled global media expertise were invaluable for the writing of this dissertation. Bernd served as my guiding light in the complex European cinema arena and helped me keep perspective. I consider myself very fortunate for having such an accomplished and supportive group of individuals on my doctoral committee. -
Red and White on the Silver Screen: the Shifting Meaning and Use of American Indians in Hollywood Films from the 1930S to the 1970S
RED AND WHITE ON THE SILVER SCREEN: THE SHIFTING MEANING AND USE OF AMERICAN INDIANS IN HOLLYWOOD FILMS FROM THE 1930s TO THE 1970s a dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Bryan W. Kvet May, 2016 (c) Copyright All rights reserved Except for previously published materials Dissertation Written by Bryan W. Kvet B.A., Grove City College, 1994 M.A., Kent State University, 1998 Ph.D., Kent State University, 2015 Approved by ___Kenneth Bindas_______________, Chair, Doctoral Dissertation Committee Dr. Kenneth Bindas ___Clarence Wunderlin ___________, Members, Doctoral Dissertation Committee Dr. Clarence Wunderlin ___James Seelye_________________, Dr. James Seelye ___Bob Batchelor________________, Dr. Bob Batchelor ___Paul Haridakis________________, Dr. Paul Haridakis Accepted by ___Kenneth Bindas_______________, Chair, Department of History Dr. Kenneth Bindas ___James L. Blank________________, Dean, College of Arts and Sciences Dr. James L. Blank TABLE OF CONTENTS…………………………………………………………………iv LIST OF FIGURES………………………………………………………………………v ACKNOWLEDGEMENTS……………………………………………………………...vii CHAPTERS Introduction………………………………………………………………………1 Part I: 1930 - 1945 1. "You Haven't Seen Any Indians Yet:" Hollywood's Bloodthirsty Savages……………………………………….26 2. "Don't You Realize this Is a New Empire?" Hollywood's Noble Savages……………………………………………...72 Epilogue for Part I………………………………………………………………..121 Part II: 1945 - 1960 3. "Small Warrior Should Have Father:" The Cold War Family in American Indian Films………………………...136 4. "In a Hundred Years it Might've Worked:" American Indian Films and Civil Rights………………………………....185 Epilogue for Part II……………………………………………………………….244 Part III, 1960 - 1970 5. "If Things Keep Trying to Live, the White Man Will Rub Them Out:" The American Indian Film and the Counterculture………………………260 6. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright There’s a Problem with the Connection: American Eccentricity and Existential Anxiety Kim Wilkins 305165062 A thesis submitted in fulfilment of the degree of Doctor of Philosophy. University of Sydney. 1 I hereby declare that, except where indicated in the notes, this thesis contains only my own original work. As I have stated throughout this work, some sections of this thesis have been published previously. A version of Chapter Two features in Peter Kunze’s collection The Films of Wes Anderson: Critical Essays on an Indiewood Icon, published by Palgrave Macmillan in 2014, and Chapter Three was published under the title ‘The sounds of silence: hyper-dialogue and American Eccentricity’ as an article in New Review of Film and Television Studies no. -
A Trend Analysis of Film Ratings, Grosses, and Awards: 1989-1993 Jennifer Paige Willey
Southern Adventist University KnowledgeExchange@Southern Senior Research Projects Southern Scholars 1994 A Trend Analysis of Film Ratings, Grosses, and Awards: 1989-1993 Jennifer Paige Willey Follow this and additional works at: https://knowledge.e.southern.edu/senior_research Part of the Film and Media Studies Commons Recommended Citation Willey, Jennifer Paige, "A Trend Analysis of Film Ratings, Grosses, and Awards: 1989-1993" (1994). Senior Research Projects. 126. https://knowledge.e.southern.edu/senior_research/126 This Article is brought to you for free and open access by the Southern Scholars at KnowledgeExchange@Southern. It has been accepted for inclusion in Senior Research Projects by an authorized administrator of KnowledgeExchange@Southern. For more information, please contact [email protected]. A TREND ANALYSIS OF FILM RATINGS, GROSSES, AND AWARDS: 1989-1993 by Jennifer Paige Willey In Fulfillment of Southern Scholars Curriculum Requirements JOUR495 Directed Study: Film Research Pamela Maize Harris, Professor Southern College of Seventh-day Adventists April27, 1994 TABLE OF CONTENTS INTRODUCTION 1 HISTORICAL BACKGROUND 2 Self-Regulation/ Censorship 2 Rating System 3 Academy Awards 4 RESEARCH QUESTIONS 7 LITERATURE REVIEW 8 Ratings 8 Values 10 Family-Oriented Films 13 Film Content 14 The Messages in and Influence of Movies & TV 16 Impact of Awards 17 Grosses 18 Attendance 19 METHODS OF RESEARCH 20 How data was collected 20 How data was organized 23 Limitations 23 RESULTS 26 CONCLUSIONS/INTERPRETATION OF THE DATA 35 SUGGESTIONS FOR FURTHER RESEARCH 48 WORKS CITED so APPENDIX A 53 APPENDIXB 54 1 INTRODUCTION This study analyzes trends films have followed in the last five years, 1989 through 1993, and seeks to determine specifically if content is changing. -
Authorship and Post-Classical Hollywood" (2015)
Old Dominion University ODU Digital Commons Communication & Theatre Arts Faculty Communication & Theatre Arts Publications 2015 Understanding Tony Scott: Authorship and Post- Classical Hollywood Robert Arnett Old Dominion University, [email protected] Follow this and additional works at: https://digitalcommons.odu.edu/communication_fac_pubs Part of the Film Production Commons Repository Citation Arnett, Robert, "Understanding Tony Scott: Authorship and Post-Classical Hollywood" (2015). Communication & Theatre Arts Faculty Publications. 20. https://digitalcommons.odu.edu/communication_fac_pubs/20 Original Publication Citation Arnett, R. (2015). Understanding Tony Scott: Authorship and Post-Classical Hollywood. Film Criticism, 39(3), 48-67. This Article is brought to you for free and open access by the Communication & Theatre Arts at ODU Digital Commons. It has been accepted for inclusion in Communication & Theatre Arts Faculty Publications by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. Understanding Tony Scott: Authorship and Post-Classical Hollywood Robert Arnett Few directors represent post-classical Hollywood cinema better than Tony Scott. His Hollywood career arcs from the 1980s and the iconic Top Gun (1984) to 2010, with the underrated Unstoppable. Scott’s films innovated the fragmentation and excessiveness of the post-classical Hollywood films, including the ability to overwhelm to an extent that negates for many critics and academics the possibility of any substance. Of Tony Scott, David Thomson, in his massive The New Biographical Dictionary o f Film (2003), managed about 100— dismissive—words, issuing, in effect, a challenge: those that see something in Tony Scott have “the advantage over me” (794).1 What Thomson and others fail to see in Tony Scott’s all-too-short career is a Hollywood director with a distinct authorship in the post-classical context. -
Columbia Pictures: Portrait of a Studio
University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 1992 Columbia Pictures: Portrait of a Studio Bernard F. Dick Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Dick, Bernard F., "Columbia Pictures: Portrait of a Studio" (1992). Film and Media Studies. 8. https://uknowledge.uky.edu/upk_film_and_media_studies/8 COLUMBIA PICTURES This page intentionally left blank COLUMBIA PICTURES Portrait of a Studio BERNARD F. DICK Editor THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1992 by The University Press of Kentucky Paperback edition 2010 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Cataloging-in-Publication Data for the hardcover edition is available from the Library of Congress ISBN 978-0-8131-3019-4 (pbk: alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. -
Le Cinéma, Un Art Imaginaire ? Élie Castiel
Document generated on 09/27/2021 10:23 p.m. Séquences : la revue de cinéma Le Cinéma, un art imaginaire ? Élie Castiel Nicolas Boukhrief Made in France Number 302, May 2016 URI: https://id.erudit.org/iderudit/82179ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this article Castiel, É. (2016). Le Cinéma, un art imaginaire ? Séquences : la revue de cinéma, (302), 44–44. Tous droits réservés © La revue Séquences Inc., 2016 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 44 | RECENSION Le Cinéma, un art imaginaire ? En tête à tête avec Orson : ournaliste, chargée d’études, auteure de plusieurs textes Conversations entre Orson Janalytiques ou littéraires, Patricia Yves signe un livre où, paradoxalement, l’évidente approche anticinéma place le 7e art Welles et Henry Jaglom parmi l’une des expressions les plus louangées de l’activité humaine. Cet ouvrage, sorte de our le 30e anniversaire de la miroir, de reflet de notre condi- Pmort de ce géant aux pieds tion, même si « cantonner l’art d’argile que fut Orson Welles, de à re-présenter le monde, à le nombreuses éditions de livres et doubler, condamne peut-être de documents de tous genres ont l’art à n’être que récréatif plutôt vu le jour. -
3. an American Reflection Steven Spielberg, the Jewish Holocaust
ઞखഀ An American Reflection: Steven Spielberg, The Jewish Holocaust and the Israeli-Palestinian Conflict* Shai Ginsburg )Evlf!Vojwfstjuz* On the face of it, the sense of discomfort, even outrage stirred by Steven Spielberg’s Munich (2005) is quite bewildering. Indeed, Spielberg was often censured for “infantilizing the audience, reconstituting the spectator as child, then overwhelming him and her with sound and spectacle, obliterating irony, aesthetic self-consciousness, and critical reflection.”1) The terms in which Munich was censured, however, diverge from this familiar rebuke and suggest that much more is at stake than the artistic merit of the film. More than any other of Spielberg’s films, Munich attracted ire for its politics, for what some viewed as a highly distorted treatment of terrorism and violence in the context of the Israeli-Palestinian Conflict. Critics thus decried what * I would like to thank Sangjun Jeong and Dongshin Yi for their insightful comments on my argument. 1) Peter Biskind, Easy Riders, Raging Bulls: How the Sex-drugs-and-rock-‘n’-roll Generation Saved Hollywood (New York: Simon &Schuster, 1998), 343-344. 4IBJ(JOTCVSH they saw as “a shocking reluctance to distinguish murderers from their murdered victimsor perhaps not a reluctance at all but rather a deliberate attempt to suggest that all were equally victims,” as Gabriel Schoenfeld, writing for the conservative Commentary, puts it.2) For critics like Schoenfeld, however, the gist of the matter lies elsewhere, in how Spielberg’s endeavor to portray “the way vengeance and violenceeven necessary, justified violencecorrupt both their victims and their perpetrators,”3) and how that endeavor ultimately turns into a vilification of the state in general and, more specifically, the State of Israel. -
WRAP THESIS Gallimore 2014.Pdf
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/62970 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Subjectivity, Immediacy, and the Digital: Historical Reassessment in Contemporary American Cinema Adam Gallimore A thesis submitted in fulfilment of the requirement for the degree of Doctor of Philosophy in Film and Television Studies Department of Film and Television Studies University of Warwick June 2014 i Table of Contents List of Illustrations iv Acknowledgements ix Declaration xi Abstract xii Introduction 1 Historical reassessment: attitudes, assumptions, methodologies Review of Literature 12 Historiography 13 Historical cinema 25 Film, technology, and the digital 42 Conclusion 60 Chapter One: Historical Subjectivity and Film Style 62 Terrence Malick’s The New World 66 Voiceover and historical subjectivity in The New World 71 Opening titles and themes of nature 83 A narrative of conversion: the film’s coda 90 The historical epic and film style 95 Camera movement and transcendental film style 101 Digital editing 108 ii Historical re-enactment 112 Myth and history in The New World 117 Distancing the subject: Steven Soderbergh’s Che 121 Visual approaches of digital filmmaking