Neil Weinstock Netanel
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195137620
- eISBN:
- 9780199871629
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195137620.001.0001
- Subject:
- Political Science, American Politics
Copyright is at once an engine of free expression and impediment to free expression. Copyright law underwrites much literature, journalism, music, art, and film. Yet copyright often stands in the way ...
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Copyright is at once an engine of free expression and impediment to free expression. Copyright law underwrites much literature, journalism, music, art, and film. Yet copyright often stands in the way of speech that would build upon existing expression to convey new messages and artistic perspectives.In a seminal 1970 article, Melville Nimmer, the leading copyright and First Amendment scholar of his day, aptly termed the copyright‐free speech conflict a “largely ignored paradox.” Yet today that conflict has come virulently to the fore, and copyright is increasingly chastised as a tool of private censorship.Why has that happened? What values and practices does the copyright‐free speech conflict put at stake? How should the conflict be resolved?These are the principal questions this book seeks to answer. This book explores the copyright‐free speech conflict as it cuts across traditional and digital media alike. In so doing, it juxtaposes the dramatic expansion of copyright holders' proprietary control against individuals' newly found ability to digitally cut, paste, edit, remix, and distribute popular sound recordings, movies, TV programs, graphics, and texts the world over. It tests whether, in light of these developments and others, copyright still serves as a vital engine of free expression and assesses how copyright does—and does not—burden speech. Taking First Amendment values as its lodestar, the book argues that copyright should be delimited by how it can best promote robust debate and expressive diversity, and it presents a blueprint for how that can be accomplished.Less
Copyright is at once an engine of free expression and impediment to free expression. Copyright law underwrites much literature, journalism, music, art, and film. Yet copyright often stands in the way of speech that would build upon existing expression to convey new messages and artistic perspectives.
In a seminal 1970 article, Melville Nimmer, the leading copyright and First Amendment scholar of his day, aptly termed the copyright‐free speech conflict a “largely ignored paradox.” Yet today that conflict has come virulently to the fore, and copyright is increasingly chastised as a tool of private censorship.
Why has that happened? What values and practices does the copyright‐free speech conflict put at stake? How should the conflict be resolved?
These are the principal questions this book seeks to answer. This book explores the copyright‐free speech conflict as it cuts across traditional and digital media alike. In so doing, it juxtaposes the dramatic expansion of copyright holders' proprietary control against individuals' newly found ability to digitally cut, paste, edit, remix, and distribute popular sound recordings, movies, TV programs, graphics, and texts the world over. It tests whether, in light of these developments and others, copyright still serves as a vital engine of free expression and assesses how copyright does—and does not—burden speech. Taking First Amendment values as its lodestar, the book argues that copyright should be delimited by how it can best promote robust debate and expressive diversity, and it presents a blueprint for how that can be accomplished.
Adele Reinhartz
- Published in print:
- 2007
- Published Online:
- May 2007
- ISBN:
- 9780195146967
- eISBN:
- 9780199785469
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195146967.003.0001
- Subject:
- Religion, History of Christianity
The Jesus movies are to be viewed as “biopics”, that is, biographical films. As such, they follow the narrative template common to this genre and make a claim to authenticity or historical accuracy ...
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The Jesus movies are to be viewed as “biopics”, that is, biographical films. As such, they follow the narrative template common to this genre and make a claim to authenticity or historical accuracy at least to some degree. What they do best, however, is provide a vehicle through which filmmakers can address contemporary concerns. This chapter explains the biopic genre and provides a historical introduction to the major Jesus films that will be considered in the study.Less
The Jesus movies are to be viewed as “biopics”, that is, biographical films. As such, they follow the narrative template common to this genre and make a claim to authenticity or historical accuracy at least to some degree. What they do best, however, is provide a vehicle through which filmmakers can address contemporary concerns. This chapter explains the biopic genre and provides a historical introduction to the major Jesus films that will be considered in the study.
Theodore Louis Trost
- Published in print:
- 2005
- Published Online:
- September 2006
- ISBN:
- 9780195167979
- eISBN:
- 9780199784981
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/019516797X.003.0015
- Subject:
- Religion, World Religions
The main purpose of religious studies as an academic discipline is to make “the strange familiar and the familiar strange”. This is what the course “Introduction to Religion in America: Religion ...
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The main purpose of religious studies as an academic discipline is to make “the strange familiar and the familiar strange”. This is what the course “Introduction to Religion in America: Religion Observed in Popular Film” attempts, with particular emphasis on making the familiar strange. The class has three foci: religion, movies, and America. In this chapter, after a review of the issues at stake in the “Introduction to Religious Studies” course and a description of the operative method, race as a crucial concern in the interpretation of three movies: Being There, The Color Purple, and Daughters of the Dust, is discussed.Less
The main purpose of religious studies as an academic discipline is to make “the strange familiar and the familiar strange”. This is what the course “Introduction to Religion in America: Religion Observed in Popular Film” attempts, with particular emphasis on making the familiar strange. The class has three foci: religion, movies, and America. In this chapter, after a review of the issues at stake in the “Introduction to Religious Studies” course and a description of the operative method, race as a crucial concern in the interpretation of three movies: Being There, The Color Purple, and Daughters of the Dust, is discussed.
Francesca Aran Murphy
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780199219285
- eISBN:
- 9780191711664
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199219285.003.0001
- Subject:
- Religion, Theology
This introductory chapter categorizes narrative theology as a whole as movie-like. It traces the origins of narrative theologies to the transcendental Thomism of Bernard Lonergan. It divides ...
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This introductory chapter categorizes narrative theology as a whole as movie-like. It traces the origins of narrative theologies to the transcendental Thomism of Bernard Lonergan. It divides narrative theologians into three groups: story Barthianism (Lindbeck and Frei, grammatical Thomism (McCabe, Burrell and Turner), and story Thomism (Robert Jenson). It notes that a particular legacy of both Thomism and Barthianism to narrative theologies is a recoil from historicity or temporality.Less
This introductory chapter categorizes narrative theology as a whole as movie-like. It traces the origins of narrative theologies to the transcendental Thomism of Bernard Lonergan. It divides narrative theologians into three groups: story Barthianism (Lindbeck and Frei, grammatical Thomism (McCabe, Burrell and Turner), and story Thomism (Robert Jenson). It notes that a particular legacy of both Thomism and Barthianism to narrative theologies is a recoil from historicity or temporality.
Adele Reinhartz
- Published in print:
- 2007
- Published Online:
- May 2007
- ISBN:
- 9780195146967
- eISBN:
- 9780199785469
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195146967.003.0002
- Subject:
- Religion, History of Christianity
This chapter looks closely at the various techniques by which the Jesus movies stake their claim to historicity. These techniques include introductory scrolled texts, voice-over narration, and, more ...
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This chapter looks closely at the various techniques by which the Jesus movies stake their claim to historicity. These techniques include introductory scrolled texts, voice-over narration, and, more subtly, details of setting, costuming, music, and the physical appearance of the characters. The chapter then outlines the ways in which the Jesus biopics undermine their own stated claims to historicity and studies in detail two movies that self-consciously negate the claim to historicity, The Last Temptation of Christ and Jesus of Montreal.Less
This chapter looks closely at the various techniques by which the Jesus movies stake their claim to historicity. These techniques include introductory scrolled texts, voice-over narration, and, more subtly, details of setting, costuming, music, and the physical appearance of the characters. The chapter then outlines the ways in which the Jesus biopics undermine their own stated claims to historicity and studies in detail two movies that self-consciously negate the claim to historicity, The Last Temptation of Christ and Jesus of Montreal.
Adele Reinhartz
- Published in print:
- 2007
- Published Online:
- May 2007
- ISBN:
- 9780195146967
- eISBN:
- 9780199785469
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195146967.003.0013
- Subject:
- Religion, History of Christianity
This chapter describes the progression from “Jesus of Nazareth” to “Jesus of Hollywood”, and summarizes the main conclusions of the previous chapters. If the historical Jesus of Nazareth was the ...
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This chapter describes the progression from “Jesus of Nazareth” to “Jesus of Hollywood”, and summarizes the main conclusions of the previous chapters. If the historical Jesus of Nazareth was the unique and only Son of God as the Gospels proclaim, then Jesus of Hollywood is his opposite — multiple, diverse, and born of many parents. These include not only the directors of the Jesus biopics over the course of a century, but the numerous others professionals, including screenwriters, producers, camera operators, and costume and set designers, whose creative and technical work is essential for the production of any film. As the products of multiple authors, the biopic Jesuses have more in common with the main character of the Gospel narratives, who varies somewhat from text to text. Yet while some of the movie Saviors' actions and words resemble those attributed to Jesus in the Gospels, it is unlikely that the Evangelists would recognize their own particular Jesus in any of the films that have been discussed.Less
This chapter describes the progression from “Jesus of Nazareth” to “Jesus of Hollywood”, and summarizes the main conclusions of the previous chapters. If the historical Jesus of Nazareth was the unique and only Son of God as the Gospels proclaim, then Jesus of Hollywood is his opposite — multiple, diverse, and born of many parents. These include not only the directors of the Jesus biopics over the course of a century, but the numerous others professionals, including screenwriters, producers, camera operators, and costume and set designers, whose creative and technical work is essential for the production of any film. As the products of multiple authors, the biopic Jesuses have more in common with the main character of the Gospel narratives, who varies somewhat from text to text. Yet while some of the movie Saviors' actions and words resemble those attributed to Jesus in the Gospels, it is unlikely that the Evangelists would recognize their own particular Jesus in any of the films that have been discussed.
Jeremy Lott
- Published in print:
- 2009
- Published Online:
- January 2009
- ISBN:
- 9780195374360
- eISBN:
- 9780199871902
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195374360.003.0008
- Subject:
- Religion, Religion and Society
This chapter reviews critical coverage of Mel Gibson’s The Passion of the Christ and finds little attempt to understand or portray the movie on its own terms—that it was not any effort at a literal ...
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This chapter reviews critical coverage of Mel Gibson’s The Passion of the Christ and finds little attempt to understand or portray the movie on its own terms—that it was not any effort at a literal portrayal of the gospels but was structured around a very specifically Catholic piety centered on the Stations of the Cross and the Eucharistic sensibility of Christ’s body and blood. Because they did not grasp these liturgical dimensions, the media instead focused on controversies about the movie’s purported anti-Semitism, its bloodiness, and supposed literalism. This led to many wrong predictions, including that the movie would bomb at the box office, that Gibson would lose his fortune, and that it would ignite a wave of anti-Semitism, and missing a major story—that millions of evangelicals warmly embraced a picture of very Roman Catholic sensibility.Less
This chapter reviews critical coverage of Mel Gibson’s The Passion of the Christ and finds little attempt to understand or portray the movie on its own terms—that it was not any effort at a literal portrayal of the gospels but was structured around a very specifically Catholic piety centered on the Stations of the Cross and the Eucharistic sensibility of Christ’s body and blood. Because they did not grasp these liturgical dimensions, the media instead focused on controversies about the movie’s purported anti-Semitism, its bloodiness, and supposed literalism. This led to many wrong predictions, including that the movie would bomb at the box office, that Gibson would lose his fortune, and that it would ignite a wave of anti-Semitism, and missing a major story—that millions of evangelicals warmly embraced a picture of very Roman Catholic sensibility.
Richard J. Meyer
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9789622095861
- eISBN:
- 9789882207080
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622095861.001.0001
- Subject:
- Film, Television and Radio, Film
This book tells the story of the “Emperor of Film”, who dominated the golden age of Chinese silent movies. Jin Yan achieved his greatest stardom in the 1930s, when women literally threw themselves at ...
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This book tells the story of the “Emperor of Film”, who dominated the golden age of Chinese silent movies. Jin Yan achieved his greatest stardom in the 1930s, when women literally threw themselves at his feet. Married first to the Chinese actress Wang Renmei, his movie roles with “the Goddess” Ruan Ling-yu spurred public demand for more of them together in films made by the leading studio, Lianhua. It was Jin who made Ruan aware of film's awesome power to portray social problems while evading the censors with melodramatic soap opera formats. Jin's life spanned the most turbulent period in modern Chinese history — a childhood escape from Japanese-occupied Korea, through the long civil war, the bitter Cultural Revolution, and Deng Xiaoping's reformation. Jin's embodiment of the modernizing May Fourth ideals of the 1920s and 30s added a new layer of sexuality to the liberal movement, but the Communists later cast Jin aside in their campaign to “learn from Lei Feng”, a humble young soldier. As Jin's second wife Qin Yi rose to new heights in the politically charged film world, the sick and aging star languished in obscurity. This book reproduces dozens of stills from the personal collection of Qin Yi and the China Film Archive, and contextualizes Jin's tragic transformation with details on many fellow performers.Less
This book tells the story of the “Emperor of Film”, who dominated the golden age of Chinese silent movies. Jin Yan achieved his greatest stardom in the 1930s, when women literally threw themselves at his feet. Married first to the Chinese actress Wang Renmei, his movie roles with “the Goddess” Ruan Ling-yu spurred public demand for more of them together in films made by the leading studio, Lianhua. It was Jin who made Ruan aware of film's awesome power to portray social problems while evading the censors with melodramatic soap opera formats. Jin's life spanned the most turbulent period in modern Chinese history — a childhood escape from Japanese-occupied Korea, through the long civil war, the bitter Cultural Revolution, and Deng Xiaoping's reformation. Jin's embodiment of the modernizing May Fourth ideals of the 1920s and 30s added a new layer of sexuality to the liberal movement, but the Communists later cast Jin aside in their campaign to “learn from Lei Feng”, a humble young soldier. As Jin's second wife Qin Yi rose to new heights in the politically charged film world, the sick and aging star languished in obscurity. This book reproduces dozens of stills from the personal collection of Qin Yi and the China Film Archive, and contextualizes Jin's tragic transformation with details on many fellow performers.
Gina Marchetti
- Published in print:
- 2007
- Published Online:
- September 2011
- ISBN:
- 9789622098015
- eISBN:
- 9789882206601
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622098015.001.0001
- Subject:
- Film, Television and Radio, Film
Infernal Affairs has received journalistic, popular and corporate notice but little vigorous critical attention. This book explores the way this example of Hong Kong's cinematic eclecticism has ...
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Infernal Affairs has received journalistic, popular and corporate notice but little vigorous critical attention. This book explores the way this example of Hong Kong's cinematic eclecticism has crossed borders as a story, a commercial product and a work of art; and has had an undeniable impact on current Hong Kong cinema. Moreover the author uses this film to highlight the way Hong Kong cinema continues to be inextricably intertwined with global film culture and the transnational movie market.Less
Infernal Affairs has received journalistic, popular and corporate notice but little vigorous critical attention. This book explores the way this example of Hong Kong's cinematic eclecticism has crossed borders as a story, a commercial product and a work of art; and has had an undeniable impact on current Hong Kong cinema. Moreover the author uses this film to highlight the way Hong Kong cinema continues to be inextricably intertwined with global film culture and the transnational movie market.
Steve Reich
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780195151152
- eISBN:
- 9780199850044
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195151152.003.0048
- Subject:
- Music, History, American
This chapter describes The Cave as a new type of music theater, with aspects of both opera and movies. Throughout the work, five large video projection screens (each approximately 6 ft. X 8 ft.) ...
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This chapter describes The Cave as a new type of music theater, with aspects of both opera and movies. Throughout the work, five large video projection screens (each approximately 6 ft. X 8 ft.) present interviews, landscapes, and architectural footage in sequences timed with live music. In addition, in the first and last acts, texts from biblical sources are rhythmically typed out, and sung.Less
This chapter describes The Cave as a new type of music theater, with aspects of both opera and movies. Throughout the work, five large video projection screens (each approximately 6 ft. X 8 ft.) present interviews, landscapes, and architectural footage in sequences timed with live music. In addition, in the first and last acts, texts from biblical sources are rhythmically typed out, and sung.
Bryant Simon
- Published in print:
- 2004
- Published Online:
- September 2007
- ISBN:
- 9780195167535
- eISBN:
- 9780199789016
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195167535.003.0005
- Subject:
- History, Cultural History
Atlantic City's final years as the Queen of Resorts coincided with what a number of scholars have dubbed “the golden age of American cinema”. Each year, hundreds of thousands of people went to the ...
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Atlantic City's final years as the Queen of Resorts coincided with what a number of scholars have dubbed “the golden age of American cinema”. Each year, hundreds of thousands of people went to the movies in Atlantic City. The city had almost one theater seat for every year-round adult resident. With all these movies houses, the resorts offered a range of entertainment choices from neighborhood theaters to bigger, dressier ones. Continuing an Atlantic City tradition, the picture show offered white moviegoers a “luxury experience” at a middle-class price.Less
Atlantic City's final years as the Queen of Resorts coincided with what a number of scholars have dubbed “the golden age of American cinema”. Each year, hundreds of thousands of people went to the movies in Atlantic City. The city had almost one theater seat for every year-round adult resident. With all these movies houses, the resorts offered a range of entertainment choices from neighborhood theaters to bigger, dressier ones. Continuing an Atlantic City tradition, the picture show offered white moviegoers a “luxury experience” at a middle-class price.
Raymond J. Haberski
- Published in print:
- 2007
- Published Online:
- September 2011
- ISBN:
- 9780813124292
- eISBN:
- 9780813134918
- Item type:
- book
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813124292.001.0001
- Subject:
- Film, Television and Radio, Film
In the postwar era, the lure of controversy sold movie tickets as much as the promise of entertainment did. This book investigates the movie culture that emerged as official censorship declined and ...
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In the postwar era, the lure of controversy sold movie tickets as much as the promise of entertainment did. This book investigates the movie culture that emerged as official censorship declined and details how the struggle to free the screen has influenced our contemporary understanding of art and taste. These conflicts over film content were fought largely in the theaters and courts of New York City in the decades following World War II. Many of the regulators and religious leaders who sought to ensure that no questionable content invaded the public consciousness were headquartered in New York, as were the critics, exhibitors, and activists who sought to expand the options available to moviegoers. Despite Hollywood's dominance of film production, New York proved to be not only the arena for struggles over film content but also the market where the financial fates of movies were sealed. Advocates for a wider range of cinematic expression eventually prevailed against the forces of censorship, but Freedom to Offend is no simple homily on the triumph of freedom from repression. In this analysis of controversies surrounding films from The Bicycle Thief to Deep Throat, the book offers a cautionary tale about the responsible use of the twin privileges of free choice and free expression. It calls attention to what was lost as well as what was gained when movie culture freed itself from the restrictions of the early postwar years. It exposes the unquestioning defense of the doctrine of free expression as a form of absolutism that mirrors the censorial impulse found among the postwar era's restrictive moral guardians. Beginning in New York and spreading across America throughout the twentieth century, the battles between these opposing worldviews set the stage for debates on the social effects of the work of artists and filmmakers.Less
In the postwar era, the lure of controversy sold movie tickets as much as the promise of entertainment did. This book investigates the movie culture that emerged as official censorship declined and details how the struggle to free the screen has influenced our contemporary understanding of art and taste. These conflicts over film content were fought largely in the theaters and courts of New York City in the decades following World War II. Many of the regulators and religious leaders who sought to ensure that no questionable content invaded the public consciousness were headquartered in New York, as were the critics, exhibitors, and activists who sought to expand the options available to moviegoers. Despite Hollywood's dominance of film production, New York proved to be not only the arena for struggles over film content but also the market where the financial fates of movies were sealed. Advocates for a wider range of cinematic expression eventually prevailed against the forces of censorship, but Freedom to Offend is no simple homily on the triumph of freedom from repression. In this analysis of controversies surrounding films from The Bicycle Thief to Deep Throat, the book offers a cautionary tale about the responsible use of the twin privileges of free choice and free expression. It calls attention to what was lost as well as what was gained when movie culture freed itself from the restrictions of the early postwar years. It exposes the unquestioning defense of the doctrine of free expression as a form of absolutism that mirrors the censorial impulse found among the postwar era's restrictive moral guardians. Beginning in New York and spreading across America throughout the twentieth century, the battles between these opposing worldviews set the stage for debates on the social effects of the work of artists and filmmakers.
Robert Wyatt and John Andrew Johnson
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195327113
- eISBN:
- 9780199851249
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327113.003.0063
- Subject:
- Music, Popular
This chapter presents an excerpt from Alec Wilder's 1972 book American Popular Song: The Great Innovators focusing on his review of the movie musical A Damsel in Distress. Wilder suggests that the ...
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This chapter presents an excerpt from Alec Wilder's 1972 book American Popular Song: The Great Innovators focusing on his review of the movie musical A Damsel in Distress. Wilder suggests that the most popular tune in this musical was A Foggy Dance composed by George Gershwin with lyrics by his brother Ira. He notes Gershwin's use of repeated notes in this song and argues that it was one of the best-known lyrics by Ira.Less
This chapter presents an excerpt from Alec Wilder's 1972 book American Popular Song: The Great Innovators focusing on his review of the movie musical A Damsel in Distress. Wilder suggests that the most popular tune in this musical was A Foggy Dance composed by George Gershwin with lyrics by his brother Ira. He notes Gershwin's use of repeated notes in this song and argues that it was one of the best-known lyrics by Ira.
Vaclav Smil
- Published in print:
- 2005
- Published Online:
- July 2005
- ISBN:
- 9780195168747
- eISBN:
- 9780199835522
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195168747.003.0005
- Subject:
- Economics and Finance, Economic History
A rapid succession of technical advances laid the foundations for massive dissemination of information and created new forms of communication. The former innovations included automated typesetting ...
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A rapid succession of technical advances laid the foundations for massive dissemination of information and created new forms of communication. The former innovations included automated typesetting (linotypes) and typewriting, chemical processes for papermaking based on wood pulp, affordable photographic cameras, convenient films, movies, and sound recordings. New means of communication included telephones and the epochal discovery of Hertzian waves that were soon used for the first wireless broadcasts and later developed into the still expanding universe of electronic devices.Less
A rapid succession of technical advances laid the foundations for massive dissemination of information and created new forms of communication. The former innovations included automated typesetting (linotypes) and typewriting, chemical processes for papermaking based on wood pulp, affordable photographic cameras, convenient films, movies, and sound recordings. New means of communication included telephones and the epochal discovery of Hertzian waves that were soon used for the first wireless broadcasts and later developed into the still expanding universe of electronic devices.
Peter Buse, Núria Triana Toribio, and Andy Willis
- Published in print:
- 2007
- Published Online:
- July 2012
- ISBN:
- 9780719071362
- eISBN:
- 9781781700952
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719071362.003.0038
- Subject:
- Film, Television and Radio, Film
This chapter provides a synoptic view on the contributions of Álex de la Inglesia, a unique filmmaker. Jordi Sánchez Navarro, in Freaks en acción notes that de la Iglesia's films address an audience ...
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This chapter provides a synoptic view on the contributions of Álex de la Inglesia, a unique filmmaker. Jordi Sánchez Navarro, in Freaks en acción notes that de la Iglesia's films address an audience fluent in television, superhero comics, the costumbrista humour of Bruguera's comic strips, the sense of adventure of Tintin, the cinema of genres, Hitchcock and Star Wars. De la Iglesia's two projects immediately after Crimen Ferpecto – the television movie La habitación del niño and the feature-length Oxford Crimes – appear to illustrate the bifurcation in the director's work. Oxford Crimes is a literary adaptation based on the novel The Oxford Murders by Guillermo Martínez, and is to be filmed in English with a British cast. It is a thriller, and is therefore firmly rooted in a popular genre.Less
This chapter provides a synoptic view on the contributions of Álex de la Inglesia, a unique filmmaker. Jordi Sánchez Navarro, in Freaks en acción notes that de la Iglesia's films address an audience fluent in television, superhero comics, the costumbrista humour of Bruguera's comic strips, the sense of adventure of Tintin, the cinema of genres, Hitchcock and Star Wars. De la Iglesia's two projects immediately after Crimen Ferpecto – the television movie La habitación del niño and the feature-length Oxford Crimes – appear to illustrate the bifurcation in the director's work. Oxford Crimes is a literary adaptation based on the novel The Oxford Murders by Guillermo Martínez, and is to be filmed in English with a British cast. It is a thriller, and is therefore firmly rooted in a popular genre.
Jeffrey Spivak
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9780813126432
- eISBN:
- 9780813135663
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813126432.003.0020
- Subject:
- Film, Television and Radio, Film
Buzz was interred at Wiefels and Son Funeral Directors in Palm Springs. Etta Dunn Berkeley was named as executor and sole beneficiary of her husband's estate, which was valued at $100,000 even. Eight ...
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Buzz was interred at Wiefels and Son Funeral Directors in Palm Springs. Etta Dunn Berkeley was named as executor and sole beneficiary of her husband's estate, which was valued at $100,000 even. Eight years after Buzz's death, he was paid tribute to during the opening ceremonies of the 1984 Olympic Games at the Coliseum in Los Angeles. Etta lived on for more than two decades after Buzz's passing, well into her nineties. Sadly, financial hardship may have been the instigating factor in her decision to auction off most of Buzz's personal property. Years after his passing, Hollywood and cable channels such as Turner Classic Movies remembered Buzz whenever a tribute to the heyday of 1930s musicals was held. In Hollywood, nothing could be more appropriate than the inclusion of “Busby Berkeley” to the Hollywood Chamber of Commerce's Walk of Fame.Less
Buzz was interred at Wiefels and Son Funeral Directors in Palm Springs. Etta Dunn Berkeley was named as executor and sole beneficiary of her husband's estate, which was valued at $100,000 even. Eight years after Buzz's death, he was paid tribute to during the opening ceremonies of the 1984 Olympic Games at the Coliseum in Los Angeles. Etta lived on for more than two decades after Buzz's passing, well into her nineties. Sadly, financial hardship may have been the instigating factor in her decision to auction off most of Buzz's personal property. Years after his passing, Hollywood and cable channels such as Turner Classic Movies remembered Buzz whenever a tribute to the heyday of 1930s musicals was held. In Hollywood, nothing could be more appropriate than the inclusion of “Busby Berkeley” to the Hollywood Chamber of Commerce's Walk of Fame.
Marilyn Ann Moss
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780813133935
- eISBN:
- 9780813135595
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813133935.003.0017
- Subject:
- Film, Television and Radio, Film
Raoul Walsh was known as Hollywood's adventurous, often impishly irreverent “one-eyed bandit.” He carved out a career that spanned over half a century and upward of 200 movies—and helped transform ...
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Raoul Walsh was known as Hollywood's adventurous, often impishly irreverent “one-eyed bandit.” He carved out a career that spanned over half a century and upward of 200 movies—and helped transform the Hollywood studio yarn into a breathless art form. Walsh also walked in the land of his imagination, his great adventures. But, in his American scene, so iconic in its depiction, understanding, and inventions of American types, no such community, large or small, exists. Walsh's imaginary world is large and contains multitudes. He also never won an Academy Award and, some say, never received the recognition he should have gotten in his lifetime. Walsh was considered an action director who could dive into the heart of his sad, doomed characters trying to outrun the cruel social world for a world of adventure and escape.Less
Raoul Walsh was known as Hollywood's adventurous, often impishly irreverent “one-eyed bandit.” He carved out a career that spanned over half a century and upward of 200 movies—and helped transform the Hollywood studio yarn into a breathless art form. Walsh also walked in the land of his imagination, his great adventures. But, in his American scene, so iconic in its depiction, understanding, and inventions of American types, no such community, large or small, exists. Walsh's imaginary world is large and contains multitudes. He also never won an Academy Award and, some say, never received the recognition he should have gotten in his lifetime. Walsh was considered an action director who could dive into the heart of his sad, doomed characters trying to outrun the cruel social world for a world of adventure and escape.
Jon Lewis
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780520284319
- eISBN:
- 9780520959910
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520284319.001.0001
- Subject:
- Film, Television and Radio, Film
The history of Hollywood’s postwar transition is framed by two spectacular dead bodies: Elizabeth Short, AKA the Black Dahlia, found dumped and posed in a vacant lot in January 1947 and Marilyn ...
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The history of Hollywood’s postwar transition is framed by two spectacular dead bodies: Elizabeth Short, AKA the Black Dahlia, found dumped and posed in a vacant lot in January 1947 and Marilyn Monroe, the studio era’s last real movie star, discovered dead at her home in August 1962. Short and Monroe are just two of the many left for dead after the collapse of the studio system, Hollywood’s awkward adolescence during which the company town’s many competing subcultures -- celebrities, moguls, mobsters, gossip mongers, industry wannabes, and desperate transients – came into frequent contact and conflict. Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles focuses on the lives lost at the crossroads between a dreamed-of Los Angeles and the real thing after the Second World War.Less
The history of Hollywood’s postwar transition is framed by two spectacular dead bodies: Elizabeth Short, AKA the Black Dahlia, found dumped and posed in a vacant lot in January 1947 and Marilyn Monroe, the studio era’s last real movie star, discovered dead at her home in August 1962. Short and Monroe are just two of the many left for dead after the collapse of the studio system, Hollywood’s awkward adolescence during which the company town’s many competing subcultures -- celebrities, moguls, mobsters, gossip mongers, industry wannabes, and desperate transients – came into frequent contact and conflict. Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles focuses on the lives lost at the crossroads between a dreamed-of Los Angeles and the real thing after the Second World War.
Dimitris Eleftheriotis
- Published in print:
- 2010
- Published Online:
- March 2012
- ISBN:
- 9780748633128
- eISBN:
- 9780748651269
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748633128.003.0001
- Subject:
- Film, Television and Radio, Film
This book investigates the reasons that the cinematic movement of the frame becomes such an attractive and pervasive aesthetic in cinema in general and in travel films in particular. The chapter is ...
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This book investigates the reasons that the cinematic movement of the frame becomes such an attractive and pervasive aesthetic in cinema in general and in travel films in particular. The chapter is organised around three areas of enquiry. Part I situates the genealogy of movements of exploration, discovery and revelation in the articulations of subjectivity, vision and movement of nineteenth-century technologies of vision. It suggests that certain types of mobile vision prefigure the cinematic use of frame mobility and identifies two particular types of (virtual or actual) movement as particularly significant: a steady, smooth and continuous motion with linear direction and a circular movement around specific objects of interest. Part II considers specific kinds of contemporary or recent non-American ‘road movies’. Part III considers the mobility of films as cultural products involved in processes of international circulation.Less
This book investigates the reasons that the cinematic movement of the frame becomes such an attractive and pervasive aesthetic in cinema in general and in travel films in particular. The chapter is organised around three areas of enquiry. Part I situates the genealogy of movements of exploration, discovery and revelation in the articulations of subjectivity, vision and movement of nineteenth-century technologies of vision. It suggests that certain types of mobile vision prefigure the cinematic use of frame mobility and identifies two particular types of (virtual or actual) movement as particularly significant: a steady, smooth and continuous motion with linear direction and a circular movement around specific objects of interest. Part II considers specific kinds of contemporary or recent non-American ‘road movies’. Part III considers the mobility of films as cultural products involved in processes of international circulation.
Liam Burke
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781628462036
- eISBN:
- 9781626745193
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628462036.001.0001
- Subject:
- Literature, Comics Studies
In the summer of 2000 X-Men surpassed all box office expectations and ushered in an era of unprecedented production of comic book film adaptations. This trend, now in its second decade, has blossomed ...
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In the summer of 2000 X-Men surpassed all box office expectations and ushered in an era of unprecedented production of comic book film adaptations. This trend, now in its second decade, has blossomed into Hollywood's leading genre. From superheroes to Spartan warriors, The Comic Book Film Adaptation offers the first dedicated study to examine how comic books moved from the fringes of popular culture to the center of mainstream film production. Through in-depth analysis, industry interviews, and audience research, this book charts the cause-and-effect of this influential trend. It considers the cultural traumas, business demands, and digital possibilities that Hollywood faced at the dawn of the twenty-first century. The industry managed to meet these challenges by exploiting comics and their existing audiences. However, studios were caught off-guard when these comic book fans, empowered by digital media, began to influence the success of adaptations. Nonetheless, filmmakers soon developed strategies to take advantage of this intense fanbase, while codifying the trend into a more lucrative genre, the comic book movie, which appealed to an even wider audience. Central to this vibrant trend is a comic aesthetic in which filmmakers utilize digital filmmaking technologies to engage with the language and conventions of comics like never before. The Comic Book Film Adaptation explores this unique moment in which cinema is stimulated, challenged, and enriched by the once-dismissed medium of comics.Less
In the summer of 2000 X-Men surpassed all box office expectations and ushered in an era of unprecedented production of comic book film adaptations. This trend, now in its second decade, has blossomed into Hollywood's leading genre. From superheroes to Spartan warriors, The Comic Book Film Adaptation offers the first dedicated study to examine how comic books moved from the fringes of popular culture to the center of mainstream film production. Through in-depth analysis, industry interviews, and audience research, this book charts the cause-and-effect of this influential trend. It considers the cultural traumas, business demands, and digital possibilities that Hollywood faced at the dawn of the twenty-first century. The industry managed to meet these challenges by exploiting comics and their existing audiences. However, studios were caught off-guard when these comic book fans, empowered by digital media, began to influence the success of adaptations. Nonetheless, filmmakers soon developed strategies to take advantage of this intense fanbase, while codifying the trend into a more lucrative genre, the comic book movie, which appealed to an even wider audience. Central to this vibrant trend is a comic aesthetic in which filmmakers utilize digital filmmaking technologies to engage with the language and conventions of comics like never before. The Comic Book Film Adaptation explores this unique moment in which cinema is stimulated, challenged, and enriched by the once-dismissed medium of comics.
