Barbara Tepa Lupack
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781501748189
- eISBN:
- 9781501748202
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501748189.003.0007
- Subject:
- Film, Television and Radio, Film
This chapter focuses on the serial The Exploits of Elaine (1914). The fictional Elaine Dodge, an enterprising young woman who dedicates herself to solving the mystery of her father's death at the ...
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This chapter focuses on the serial The Exploits of Elaine (1914). The fictional Elaine Dodge, an enterprising young woman who dedicates herself to solving the mystery of her father's death at the hands of an anonymous villain, would help to shape and advance the Wharton brothers' film career. As Pathé-Hearst's The Perils of Pauline (1914) neared its conclusion, newspaper tycoon and movie producer William Randolph Hearst was determined to create a new serial that would afford his popular star Pearl White an exciting encore. That serial was The Exploits of Elaine, which was expected to be a landmark venture for Hearst. In turn, for the Whartons, the chance to be associated with Hearst's enterprise seemed an unparalleled opportunity, one that would allow them to move beyond short pictures and to make their own singular contribution to the increasingly popular serial genre.Less
This chapter focuses on the serial The Exploits of Elaine (1914). The fictional Elaine Dodge, an enterprising young woman who dedicates herself to solving the mystery of her father's death at the hands of an anonymous villain, would help to shape and advance the Wharton brothers' film career. As Pathé-Hearst's The Perils of Pauline (1914) neared its conclusion, newspaper tycoon and movie producer William Randolph Hearst was determined to create a new serial that would afford his popular star Pearl White an exciting encore. That serial was The Exploits of Elaine, which was expected to be a landmark venture for Hearst. In turn, for the Whartons, the chance to be associated with Hearst's enterprise seemed an unparalleled opportunity, one that would allow them to move beyond short pictures and to make their own singular contribution to the increasingly popular serial genre.
Leah Wright Rigueur
- Published in print:
- 2014
- Published Online:
- October 2017
- ISBN:
- 9780691159010
- eISBN:
- 9781400852437
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691159010.003.0009
- Subject:
- History, Political History
This concluding chapter explores how the fundamental ideological rift illustrated by Elaine Jenkins' and Clarence Thomas' philosophies spoke to an evolution of the thoughts and actions that black ...
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This concluding chapter explores how the fundamental ideological rift illustrated by Elaine Jenkins' and Clarence Thomas' philosophies spoke to an evolution of the thoughts and actions that black Republicans had advanced since 1936. In that year, about one hundred African American party members from New York gathered to discuss the party's responsibilities in times of crisis; for them, Republicanism symbolized government that was “by the people,” that spoke to matters of social justice. And though they rejected the New Deal, disparaging social welfare as “handouts,” they nevertheless insisted that the party had to offer something to address racial inequality and the economic needs of the American public in a viable and empathetic way.Less
This concluding chapter explores how the fundamental ideological rift illustrated by Elaine Jenkins' and Clarence Thomas' philosophies spoke to an evolution of the thoughts and actions that black Republicans had advanced since 1936. In that year, about one hundred African American party members from New York gathered to discuss the party's responsibilities in times of crisis; for them, Republicanism symbolized government that was “by the people,” that spoke to matters of social justice. And though they rejected the New Deal, disparaging social welfare as “handouts,” they nevertheless insisted that the party had to offer something to address racial inequality and the economic needs of the American public in a viable and empathetic way.
Erika Lorraine Milam
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780691181882
- eISBN:
- 9780691185095
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691181882.003.0010
- Subject:
- Biology, Evolutionary Biology / Genetics
This chapter concerns the insights of Elaine Morgan, particularly in her 1972 book, The Descent of Woman. In this book, she argues that all theories of human evolution to date were based on a ...
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This chapter concerns the insights of Elaine Morgan, particularly in her 1972 book, The Descent of Woman. In this book, she argues that all theories of human evolution to date were based on a male-centered notion of human evolution. The Descent of Woman was one of the earliest public rejoinders to masculinist narratives of human ancestry. An Oxford-educated Welsh writer for BBC Radio, Morgan chose as her target several of the most prominent books on human evolution circulating through the United Kingdom. By the early 1970s, in other words, evolutionary approaches to human nature were sufficiently current for other writers (and publishers) to deem them worthy of ridicule. Yet humor was a double-edged sword. Sarcasm might garner readers but for authors with no formal training in anthropology or zoology, like Morgan, maintaining a respectable public persona as a popularizer of science proved difficult.Less
This chapter concerns the insights of Elaine Morgan, particularly in her 1972 book, The Descent of Woman. In this book, she argues that all theories of human evolution to date were based on a male-centered notion of human evolution. The Descent of Woman was one of the earliest public rejoinders to masculinist narratives of human ancestry. An Oxford-educated Welsh writer for BBC Radio, Morgan chose as her target several of the most prominent books on human evolution circulating through the United Kingdom. By the early 1970s, in other words, evolutionary approaches to human nature were sufficiently current for other writers (and publishers) to deem them worthy of ridicule. Yet humor was a double-edged sword. Sarcasm might garner readers but for authors with no formal training in anthropology or zoology, like Morgan, maintaining a respectable public persona as a popularizer of science proved difficult.
Eric Hayot
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195377965
- eISBN:
- 9780199869435
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195377965.003.0002
- Subject:
- History, Cultural History, Asian History
This chapter presents a lengthy reading of an account of the torture of a Chinese goldsmith recorded in Edmund Scott's 1606 Exact Discourse of the Subtilties… of the East Indians, and Stephen ...
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This chapter presents a lengthy reading of an account of the torture of a Chinese goldsmith recorded in Edmund Scott's 1606 Exact Discourse of the Subtilties… of the East Indians, and Stephen Greenblatt's reproduction of that account in the introduction to his 1990 collection, Learning to Curse. By moving back and forth between Scott's original account of the torture and Greenblatt's reading of it, the chapter extends Greenblatt's theorization of the anecdote as the emblem of new historicist literary work beyond the limits he himself finds there. A comparison of the edited version of the text Greenblatt cites and the original manuscript allows the chapter to make the case for an anecdotal theory whose treatment of what Greenblatt calls “real bodies” and “real people” nonetheless retains a strong connection to the literary.Less
This chapter presents a lengthy reading of an account of the torture of a Chinese goldsmith recorded in Edmund Scott's 1606 Exact Discourse of the Subtilties… of the East Indians, and Stephen Greenblatt's reproduction of that account in the introduction to his 1990 collection, Learning to Curse. By moving back and forth between Scott's original account of the torture and Greenblatt's reading of it, the chapter extends Greenblatt's theorization of the anecdote as the emblem of new historicist literary work beyond the limits he himself finds there. A comparison of the edited version of the text Greenblatt cites and the original manuscript allows the chapter to make the case for an anecdotal theory whose treatment of what Greenblatt calls “real bodies” and “real people” nonetheless retains a strong connection to the literary.
Eric Hayot
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195377965
- eISBN:
- 9780199869435
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195377965.003.0008
- Subject:
- History, Cultural History, Asian History
This chapter argues the conclusion begins by considering, in order, the following three examples: (1) Der Chinese des Schmerzes (The Chinaman of Pain, 1983), a novel by Peter Handke; (2) the famous ...
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This chapter argues the conclusion begins by considering, in order, the following three examples: (1) Der Chinese des Schmerzes (The Chinaman of Pain, 1983), a novel by Peter Handke; (2) the famous opening to Lu Xun's collection of short stories, Nahan (A Call to Arms, 1922); (3) The recent rise in exhibitions of plasticized human bodies, which appear under the names Body Worlds and Bodies: The Exhibition. Each of these, this chapter argues, could form an endpoint to this book: the Handke philosophical, the Lu Xun geographic, and the Body Worlds material. But each of these indicates, I argue, the complex dimensionality of the history of Chinese suffering, and none of them makes for an adequate closure to a story that has not yet concluded. The chapter concludes, therefore, with a section called “Toward Sympaesthetics,” which is the book's most intense engagement with the work of Elaine Scarry. This section ultimately argues that the point is not only that sympathetic exchange and representational exchange are “like” each other (which they are), but that the set of mimetic strategies through which we read representations should be turned to the reading of sympathies as well, partly because it is the nature of sympathies to be complex and intertwined with history, and partly because this kind of sustained attention to the making of sympathy will tend to undermine the normalizing assumptions about its naturalness.Less
This chapter argues the conclusion begins by considering, in order, the following three examples: (1) Der Chinese des Schmerzes (The Chinaman of Pain, 1983), a novel by Peter Handke; (2) the famous opening to Lu Xun's collection of short stories, Nahan (A Call to Arms, 1922); (3) The recent rise in exhibitions of plasticized human bodies, which appear under the names Body Worlds and Bodies: The Exhibition. Each of these, this chapter argues, could form an endpoint to this book: the Handke philosophical, the Lu Xun geographic, and the Body Worlds material. But each of these indicates, I argue, the complex dimensionality of the history of Chinese suffering, and none of them makes for an adequate closure to a story that has not yet concluded. The chapter concludes, therefore, with a section called “Toward Sympaesthetics,” which is the book's most intense engagement with the work of Elaine Scarry. This section ultimately argues that the point is not only that sympathetic exchange and representational exchange are “like” each other (which they are), but that the set of mimetic strategies through which we read representations should be turned to the reading of sympathies as well, partly because it is the nature of sympathies to be complex and intertwined with history, and partly because this kind of sustained attention to the making of sympathy will tend to undermine the normalizing assumptions about its naturalness.
Samm Deighan
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474440189
- eISBN:
- 9781474476607
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474440189.003.0005
- Subject:
- Film, Television and Radio, Film
Elaine May’s 1971 directorial debut, A New Leaf was a watershed moment within May’s career, but as a film important to the contemporary development of American comedy cinema. This chapter will ...
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Elaine May’s 1971 directorial debut, A New Leaf was a watershed moment within May’s career, but as a film important to the contemporary development of American comedy cinema. This chapter will examine A New Leaf as part of a greater comedic tradition, particularly in terms of pre-code and 1930s/1940s screwball comedy, later black comedies, and romantic comedies about unlikely couplings between unsympathetic protagonists, forging a connection between the theme of romance, finance, and mortality. This chapter argue that A New Leaf represents an important development in this subgenre, and examines A New Leaf in connection to the relatively unsentimental romantic comedies of the ‘60s and ‘70s concerned with unlikely couplings that concern an unlikely romance that develops as the result of a search for fortune.Less
Elaine May’s 1971 directorial debut, A New Leaf was a watershed moment within May’s career, but as a film important to the contemporary development of American comedy cinema. This chapter will examine A New Leaf as part of a greater comedic tradition, particularly in terms of pre-code and 1930s/1940s screwball comedy, later black comedies, and romantic comedies about unlikely couplings between unsympathetic protagonists, forging a connection between the theme of romance, finance, and mortality. This chapter argue that A New Leaf represents an important development in this subgenre, and examines A New Leaf in connection to the relatively unsentimental romantic comedies of the ‘60s and ‘70s concerned with unlikely couplings that concern an unlikely romance that develops as the result of a search for fortune.
Mark Rawlinson
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198184560
- eISBN:
- 9780191674303
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198184560.003.0002
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter addresses questions about war and representation, and assesses the assumptions that underpin extant literary critical appraisal of writing about war. It challenges the coherence of the ...
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This chapter addresses questions about war and representation, and assesses the assumptions that underpin extant literary critical appraisal of writing about war. It challenges the coherence of the opposition of war literature to discourses identified with the prosecution of war, and it proposes a reading of wartime culture whose fundamental premise is that the material events of military conflict, notably lethal wounding, require symbolization and discursive mediation if war is to function as an instrument of political policy. Following Elaine Scarry, manifold verbal representations of violence are interpreted as redescriptions: the destruction of human flesh and consciousness is rationalized and occluded by a logic that substitutes ends for means. This model makes possible a less stratified understanding of the function of representations of violence in a society at war, and permits an analysis which is responsive to the contradictory values invested in state-legitimated killing.Less
This chapter addresses questions about war and representation, and assesses the assumptions that underpin extant literary critical appraisal of writing about war. It challenges the coherence of the opposition of war literature to discourses identified with the prosecution of war, and it proposes a reading of wartime culture whose fundamental premise is that the material events of military conflict, notably lethal wounding, require symbolization and discursive mediation if war is to function as an instrument of political policy. Following Elaine Scarry, manifold verbal representations of violence are interpreted as redescriptions: the destruction of human flesh and consciousness is rationalized and occluded by a logic that substitutes ends for means. This model makes possible a less stratified understanding of the function of representations of violence in a society at war, and permits an analysis which is responsive to the contradictory values invested in state-legitimated killing.
Lucy Bending
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198187172
- eISBN:
- 9780191674648
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198187172.003.0004
- Subject:
- Literature, 19th-century and Victorian Literature
It has become a commonplace that pain defies language and, as such, that it is unique as a sensation that cannot be described or shared: sufferers ...
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It has become a commonplace that pain defies language and, as such, that it is unique as a sensation that cannot be described or shared: sufferers suffer alone, unable to translate their physical pains into words. This chapter looks into the arguments of those who promote this line of reasoning, most notably Virginia Woolf and Elaine Scarry, and refutes their claims both theoretically and by arguing from the rhetorical strategies of Victorian writers. The flaw in such arguments is that their proponents refuse to accept that pain can enter into language and be accommodated by its structures — whether descriptive or metaphorical — in the face of a paucity of directly expressive words for painful sensations. In response, the chapter schematizes the conventional attitudes towards physical pain, outside the realms of medicine and Christianity, that were open to the Victorian sufferer and writer.Less
It has become a commonplace that pain defies language and, as such, that it is unique as a sensation that cannot be described or shared: sufferers suffer alone, unable to translate their physical pains into words. This chapter looks into the arguments of those who promote this line of reasoning, most notably Virginia Woolf and Elaine Scarry, and refutes their claims both theoretically and by arguing from the rhetorical strategies of Victorian writers. The flaw in such arguments is that their proponents refuse to accept that pain can enter into language and be accommodated by its structures — whether descriptive or metaphorical — in the face of a paucity of directly expressive words for painful sensations. In response, the chapter schematizes the conventional attitudes towards physical pain, outside the realms of medicine and Christianity, that were open to the Victorian sufferer and writer.
Alexandra Heller-Nicholas and Dean Brandum (eds)
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474440189
- eISBN:
- 9781474476607
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474440189.001.0001
- Subject:
- Film, Television and Radio, Film
This book explores the diverse career of director, screenwriter, comic and actor, Elaine May Spanning from obscurity to notoriety, the films of director, screenwriter, actor and comic Elaine May have ...
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This book explores the diverse career of director, screenwriter, comic and actor, Elaine May Spanning from obscurity to notoriety, the films of director, screenwriter, actor and comic Elaine May have recently experienced a long-overdue renaissance. Although she made only four films — A New Leaf (1971), The Heartbreak Kid (1972), Mikey and Nicky (1976) and Ishtar (1987) — and never reached the level of acclaim of her frequent collaborator Mike Nichols, May’s work is as enigmatic, sophisticated and unceasingly fascinating as her own complicated, reluctant star persona. This collection focuses both on the films she has directed, and also emphasises her work with other high profile collaborators such as John Cassavetes and Otto Preminger.Less
This book explores the diverse career of director, screenwriter, comic and actor, Elaine May Spanning from obscurity to notoriety, the films of director, screenwriter, actor and comic Elaine May have recently experienced a long-overdue renaissance. Although she made only four films — A New Leaf (1971), The Heartbreak Kid (1972), Mikey and Nicky (1976) and Ishtar (1987) — and never reached the level of acclaim of her frequent collaborator Mike Nichols, May’s work is as enigmatic, sophisticated and unceasingly fascinating as her own complicated, reluctant star persona. This collection focuses both on the films she has directed, and also emphasises her work with other high profile collaborators such as John Cassavetes and Otto Preminger.
Barbara Tepa Lupack
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781501748189
- eISBN:
- 9781501748202
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501748189.003.0008
- Subject:
- Film, Television and Radio, Film
This chapter details how, given The Exploits of Elaine's enormous appeal, plans for an extension, or “extender,” began even as the original serial was still in production. Indeed, the opening episode ...
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This chapter details how, given The Exploits of Elaine's enormous appeal, plans for an extension, or “extender,” began even as the original serial was still in production. Indeed, the opening episode of The New Exploits of Elaine (1915) was released just one week after the first serial concluded. By picking up where Exploits left off, both William Randolph Hearst and the Whartons hoped to maintain the keen interest in the adventures of Elaine Dodge and Craig Kennedy—and in Pearl White and Arnold Daly, the popular stars who played them. The production of serial-sequels, by then, had become an increasingly common practice among studios hoping to capitalize on their original successes. The unresolved-plot ending of The New Exploits of Elaine provided a natural segue into the third and final installment of the Elaine serial. On the one hand, The Romance of Elaine harked back to familiar elements of the serial formula, among them recurring threats from a mysterious villain, death-defying escapes, car chases, explosions, and romantic rescues. On the other, it celebrated Elaine's tenacity and reinforced the image of her as a new and increasingly independent female type of protagonist within a sensational, action-packed, typically male-oriented and male-dominated story line.Less
This chapter details how, given The Exploits of Elaine's enormous appeal, plans for an extension, or “extender,” began even as the original serial was still in production. Indeed, the opening episode of The New Exploits of Elaine (1915) was released just one week after the first serial concluded. By picking up where Exploits left off, both William Randolph Hearst and the Whartons hoped to maintain the keen interest in the adventures of Elaine Dodge and Craig Kennedy—and in Pearl White and Arnold Daly, the popular stars who played them. The production of serial-sequels, by then, had become an increasingly common practice among studios hoping to capitalize on their original successes. The unresolved-plot ending of The New Exploits of Elaine provided a natural segue into the third and final installment of the Elaine serial. On the one hand, The Romance of Elaine harked back to familiar elements of the serial formula, among them recurring threats from a mysterious villain, death-defying escapes, car chases, explosions, and romantic rescues. On the other, it celebrated Elaine's tenacity and reinforced the image of her as a new and increasingly independent female type of protagonist within a sensational, action-packed, typically male-oriented and male-dominated story line.
M. Heather Carver and Elaine J. Lawless
- Published in print:
- 2009
- Published Online:
- March 2014
- ISBN:
- 9781604732085
- eISBN:
- 9781604733471
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604732085.003.0004
- Subject:
- Sociology, Gender and Sexuality
This chapter focuses on the performers tasked with performing narratives from Elaine’s book, Women Escaping Violence along with their own stories. Elaine also describes her changing roles from ...
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This chapter focuses on the performers tasked with performing narratives from Elaine’s book, Women Escaping Violence along with their own stories. Elaine also describes her changing roles from ethnographer, volunteer at the shelter, professor, writer, and teacher to performer and autoethnographic writer.Less
This chapter focuses on the performers tasked with performing narratives from Elaine’s book, Women Escaping Violence along with their own stories. Elaine also describes her changing roles from ethnographer, volunteer at the shelter, professor, writer, and teacher to performer and autoethnographic writer.
M. Heather Carver and Elaine J. Lawless
- Published in print:
- 2009
- Published Online:
- March 2014
- ISBN:
- 9781604732085
- eISBN:
- 9781604733471
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604732085.003.0008
- Subject:
- Sociology, Gender and Sexuality
This chapter presents a scene featuring Heather and Elaine at a table loaded with books, food, drinks, and cell phones. One shares her written notes with the audience while the other one continues to ...
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This chapter presents a scene featuring Heather and Elaine at a table loaded with books, food, drinks, and cell phones. One shares her written notes with the audience while the other one continues to write. They then share their thoughts on writing about their bodies.Less
This chapter presents a scene featuring Heather and Elaine at a table loaded with books, food, drinks, and cell phones. One shares her written notes with the audience while the other one continues to write. They then share their thoughts on writing about their bodies.
M. Heather Carver and Elaine J. Lawless
- Published in print:
- 2009
- Published Online:
- March 2014
- ISBN:
- 9781604732085
- eISBN:
- 9781604733471
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604732085.003.0011
- Subject:
- Sociology, Gender and Sexuality
This chapter describes Elaine’s conversation with a local judge who presides over the court sessions in which “petitioners” come to seek ex partes and orders of protection against “respondents” they ...
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This chapter describes Elaine’s conversation with a local judge who presides over the court sessions in which “petitioners” come to seek ex partes and orders of protection against “respondents” they are afraid of. The judge sought Elaine to talk to her about how hard it is for women to articulate, to actually speak, the violence they have endured. He then invited her to attend a sessions to get an idea of what abusers say to defend their actions.Less
This chapter describes Elaine’s conversation with a local judge who presides over the court sessions in which “petitioners” come to seek ex partes and orders of protection against “respondents” they are afraid of. The judge sought Elaine to talk to her about how hard it is for women to articulate, to actually speak, the violence they have endured. He then invited her to attend a sessions to get an idea of what abusers say to defend their actions.
Jake Wilson
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474440189
- eISBN:
- 9781474476607
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474440189.003.0004
- Subject:
- Film, Television and Radio, Film
Before Elaine May was a film director, she was famous for her improvised comedy skits with Mike Nichols. While May's subsequent films may not be improvised in the literal sense, this essay will argue ...
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Before Elaine May was a film director, she was famous for her improvised comedy skits with Mike Nichols. While May's subsequent films may not be improvised in the literal sense, this essay will argue that in many respects they can be seen as extensions of the principles guiding her early work with Nichols, in particular the notion of performance as a shared act of creation in the moment. This chapter establishes connections between the sketches of Nichols and May and two aspects of May's filmmaking above all. First, all of her films are built around double acts, implying a complicity between performers even when the characters they are playing are at odds or deceiving each other―an extension of the “yes, and...” principle associated with the tradition of theatre improvisation founded by Viola. Second, the allegedly “troubled” production histories of all her films can be seen as implying a commitment to filmmaking as existential adventure which places her at odds with standard Hollywood practice―and which can be linked to the way the films explicitly question conventional notions of success and failure.Less
Before Elaine May was a film director, she was famous for her improvised comedy skits with Mike Nichols. While May's subsequent films may not be improvised in the literal sense, this essay will argue that in many respects they can be seen as extensions of the principles guiding her early work with Nichols, in particular the notion of performance as a shared act of creation in the moment. This chapter establishes connections between the sketches of Nichols and May and two aspects of May's filmmaking above all. First, all of her films are built around double acts, implying a complicity between performers even when the characters they are playing are at odds or deceiving each other―an extension of the “yes, and...” principle associated with the tradition of theatre improvisation founded by Viola. Second, the allegedly “troubled” production histories of all her films can be seen as implying a commitment to filmmaking as existential adventure which places her at odds with standard Hollywood practice―and which can be linked to the way the films explicitly question conventional notions of success and failure.
ANNA RICHARDS
- Published in print:
- 2004
- Published Online:
- January 2010
- ISBN:
- 9780199267545
- eISBN:
- 9780191708398
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199267545.003.0005
- Subject:
- Literature, Women's Literature
This chapter examines only one writer from around 1800, but several from the middle and the turn of the 19th century. It notes that in light of the pressure placed on women writers to conform to ...
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This chapter examines only one writer from around 1800, but several from the middle and the turn of the 19th century. It notes that in light of the pressure placed on women writers to conform to patriarchal expectations, however, it is not surprising that even later works are seldom wholly ‘emancipatory’; that many consist of what Elaine Showalter has described as a ‘double-voiced discourse’, in which a more ‘feminist’ message exists alongside a conventional one.Less
This chapter examines only one writer from around 1800, but several from the middle and the turn of the 19th century. It notes that in light of the pressure placed on women writers to conform to patriarchal expectations, however, it is not surprising that even later works are seldom wholly ‘emancipatory’; that many consist of what Elaine Showalter has described as a ‘double-voiced discourse’, in which a more ‘feminist’ message exists alongside a conventional one.
Terry Chester Shulman
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780813178097
- eISBN:
- 9780813178127
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813178097.003.0018
- Subject:
- Film, Television and Radio, Film
The studios throw Maurice work as a movie extra. Dolores is left hanging following Jack’s departure until she learns of his romantic involvement with Elaine Jacobs, a college student, and files for ...
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The studios throw Maurice work as a movie extra. Dolores is left hanging following Jack’s departure until she learns of his romantic involvement with Elaine Jacobs, a college student, and files for divorce. Dolores is already seeing her gynecologist, John Vruwink. After getting custody of her children in the divorce, she takes on a second pair of dependents, the now nearly destitute Maurice and Helene.Less
The studios throw Maurice work as a movie extra. Dolores is left hanging following Jack’s departure until she learns of his romantic involvement with Elaine Jacobs, a college student, and files for divorce. Dolores is already seeing her gynecologist, John Vruwink. After getting custody of her children in the divorce, she takes on a second pair of dependents, the now nearly destitute Maurice and Helene.
Lee E. Williams and Lee E. Williams
- Published in print:
- 2008
- Published Online:
- March 2014
- ISBN:
- 9781604731903
- eISBN:
- 9781604738209
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604731903.003.0006
- Subject:
- History, African-American History
This book has examined the racial riots that erupted in four different communities of America in the years after World War I: Knoxville in Tennessee, Elaine in Arkansas, Tulsa in Oklahoma, and ...
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This book has examined the racial riots that erupted in four different communities of America in the years after World War I: Knoxville in Tennessee, Elaine in Arkansas, Tulsa in Oklahoma, and Chicago in Illinois. It has shown that blacks were the victims of these riots and identified racial tension between blacks and whites as the underlying cause. The book has also looked at the differing reasons for each conflict. The Knoxville riot stemmed from sexual criminality, while the Elaine riot had something to do with economic betterment and repression. The Tulsa situation was attributed to sexual, social, and economic inequities, and the Chicago problem to white and black economic competition and social injustice. Nevertheless, all four racial riots arose from the troubled history of racially torn America. Racial riots are solid evidence of the injustices of racial relations in the country, which emerged as a new form of revenge after lynching came under national attack.Less
This book has examined the racial riots that erupted in four different communities of America in the years after World War I: Knoxville in Tennessee, Elaine in Arkansas, Tulsa in Oklahoma, and Chicago in Illinois. It has shown that blacks were the victims of these riots and identified racial tension between blacks and whites as the underlying cause. The book has also looked at the differing reasons for each conflict. The Knoxville riot stemmed from sexual criminality, while the Elaine riot had something to do with economic betterment and repression. The Tulsa situation was attributed to sexual, social, and economic inequities, and the Chicago problem to white and black economic competition and social injustice. Nevertheless, all four racial riots arose from the troubled history of racially torn America. Racial riots are solid evidence of the injustices of racial relations in the country, which emerged as a new form of revenge after lynching came under national attack.
Tim O’Farrell
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474440189
- eISBN:
- 9781474476607
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474440189.003.0011
- Subject:
- Film, Television and Radio, Film
Elaine May's documentary Mike Nichols: An American Master (2016) surveys Nichols' life and, in particular, work as a noted Hollywood director. The American Masters series, described on the PBS ...
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Elaine May's documentary Mike Nichols: An American Master (2016) surveys Nichols' life and, in particular, work as a noted Hollywood director. The American Masters series, described on the PBS website as "an award-winning biography series", is designed to produce biographies of leading figures in American culture. May's contribution to the series is at first sight a conventional short form television documentary profile of an artist. However, it repays examination both as an example of May's artistry (the opening includes a signature sly moment, importing archival footage of a blustery Adolf Hitler to reference Nichols German Jewish background, reminding us of May and Nichols' shared heritage) and as a launching pad for dissecting the way May and Nichols' careers have become intertwined in fact and in Hollywood legend. I will frame the documentary's content by considering other May tributes to Nichols (such as speeches at the AFI Life Achievement Awards and at the Kennedy Center Honors) and her early comedy work with Nichols, as well as biographical background to material which is suggested or touched on in the documentaryLess
Elaine May's documentary Mike Nichols: An American Master (2016) surveys Nichols' life and, in particular, work as a noted Hollywood director. The American Masters series, described on the PBS website as "an award-winning biography series", is designed to produce biographies of leading figures in American culture. May's contribution to the series is at first sight a conventional short form television documentary profile of an artist. However, it repays examination both as an example of May's artistry (the opening includes a signature sly moment, importing archival footage of a blustery Adolf Hitler to reference Nichols German Jewish background, reminding us of May and Nichols' shared heritage) and as a launching pad for dissecting the way May and Nichols' careers have become intertwined in fact and in Hollywood legend. I will frame the documentary's content by considering other May tributes to Nichols (such as speeches at the AFI Life Achievement Awards and at the Kennedy Center Honors) and her early comedy work with Nichols, as well as biographical background to material which is suggested or touched on in the documentary
Alexandra Heller-Nicholas and Dean Brandum
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474440189
- eISBN:
- 9781474476607
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474440189.003.0012
- Subject:
- Film, Television and Radio, Film
This chapter is an interview with Allie Hagan, the screenwriter of When in Doubt, Seduce, a forthcoming film based on the comedy collaboration between Elaine May and Mike Nichols. Hagan discusses the ...
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This chapter is an interview with Allie Hagan, the screenwriter of When in Doubt, Seduce, a forthcoming film based on the comedy collaboration between Elaine May and Mike Nichols. Hagan discusses the current rise in interest in Elaine May, the relationship between May and Nichols, and adapting a real relationship to the screen.Less
This chapter is an interview with Allie Hagan, the screenwriter of When in Doubt, Seduce, a forthcoming film based on the comedy collaboration between Elaine May and Mike Nichols. Hagan discusses the current rise in interest in Elaine May, the relationship between May and Nichols, and adapting a real relationship to the screen.
Alexandra Heller-Nicholas
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474440189
- eISBN:
- 9781474476607
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474440189.003.0001
- Subject:
- Film, Television and Radio, Film
While not unknown, the films of Elaine May and the importance of her career have been hidden in plain sight. Beginning her career in stand-up comedy with her long-time collaborator Mike Nichols, ...
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While not unknown, the films of Elaine May and the importance of her career have been hidden in plain sight. Beginning her career in stand-up comedy with her long-time collaborator Mike Nichols, while he would go on to win major awards for his directorial work, May’s four features — A New Leaf (1971), The Heartbreak Kid (1972), Mikey and Nicky (1976) and Ishtar (1987) — have until recently spanned from the forgotten to the unobtainable to the maligned. Presenting a fascinating set of challenges for how film history, gender, authorship and other subjects are typically approached, this introduction outlines why May is important, why her work long overdue critical reassessment, and outlines the broader approach of the book ReFocus: The Films of Elaine May.Less
While not unknown, the films of Elaine May and the importance of her career have been hidden in plain sight. Beginning her career in stand-up comedy with her long-time collaborator Mike Nichols, while he would go on to win major awards for his directorial work, May’s four features — A New Leaf (1971), The Heartbreak Kid (1972), Mikey and Nicky (1976) and Ishtar (1987) — have until recently spanned from the forgotten to the unobtainable to the maligned. Presenting a fascinating set of challenges for how film history, gender, authorship and other subjects are typically approached, this introduction outlines why May is important, why her work long overdue critical reassessment, and outlines the broader approach of the book ReFocus: The Films of Elaine May.
