Here's this month's list of film/tv/performing arts books from publisher McFarland, located in Jefferson, N.C.! If there's any media studies reader out there who's a Joss Whedon fan (or who wants to get all the skinny on his work so as to mount a studied assault against his pervasive influence..), there's a new book out this month on Buffy's controversial creator. I have a copy here in my office, and I plan to read it as soon as I get minute. I guess everyone knows where I stand: I love the guy's work, particularly Buffy and Firefly.
The Presidents on Film
With the prominence of the U.S. president and the presidency, the executive office and its occupant have naturally found their way into numerous cinematic expressions. Since 1903, presidents have been featured in no less than 407 commercial films. Ranging from respectful, biographical presentations to comic caricatures, the ways in which presidents are depicted on film reflects a great deal about contemporary perception of the office.This volume examines how filmmakers and their public have viewed the presidents and the presidency over the past 100 years. The book presents an all-inclusive list of commercial theatrical films that include an actual American president as a character, excluding documentaries, television productions and fictional characters. At times these roles are minor while in other instances they form one of the main characters of the film. In either case, however, an analysis of these depictions reveals a great deal about the president—and the filmmaker. The main body of the work is devoted to an examination, arranged in chronological order, of each of the 42 men who have served as president. A brief summary of each administration is provided along with a commentary on the overall nature of films in which the featured president appeared. Each relevant film is then discussed with the credits, plot summary, description of the presidential appearance and, when possible, an assessment of the presidential portrayal included. Photographs from notable films are also provided
The Presidents on FilmWith the prominence of the U.S. president and the presidency, the executive office and its occupant have naturally found their way into numerous cinematic expressions. Since 1903, presidents have been featured in no less than 407 commercial films. Ranging from respectful, biographical presentations to comic caricatures, the ways in which presidents are depicted on film reflects a great deal about contemporary perception of the office.This volume examines how filmmakers and their public have viewed the presidents and the presidency over the past 100 years. The book presents an all-inclusive list of commercial theatrical films that include an actual American president as a character, excluding documentaries, television productions and fictional characters. At times these roles are minor while in other instances they form one of the main characters of the film. In either case, however, an analysis of these depictions reveals a great deal about the president—and the filmmaker. The main body of the work is devoted to an examination, arranged in chronological order, of each of the 42 men who have served as president. A brief summary of each administration is provided along with a commentary on the overall nature of films in which the featured president appeared. Each relevant film is then discussed with the credits, plot summary, description of the presidential appearance and, when possible, an assessment of the presidential portrayal included. Photographs from notable films are also provided
The entertainment industry is all too much a man’s world, with Hollywood at its macho center. Thelma & Louise made film history with a female screenwriter, two female leads and a controversial, female-empowered storyline. The film is well worth studying for its impact on Hollywood and, in a broader sense, its reflection of women’s role in society.This book examines the cultural impact of Thelma & Louise, not only upon its release in 1991 but throughout the nearly fifteen years since. The book begins with a look at the role of women in media and the underrepresentation of women in the film industry, on and off screen. Next comes a thorough examination of Thelma & Louise’s public reception: the controversy it generated, the reviews it received, and the many ways it is referenced in popular culture. Case studies from newspapers across the United States, focusing on reviews and op-ed pieces in The Salt Lake Tribune, The Washington Post, The Boston Herald, The Atlanta Journal and Constitution and others, show how the film’s reception differed from region to region. The final chapter provides current female employment statistics for the film industry and offers insight into the present role of women in film.
On June 29, 1908, U.S. Attorney General Charles Bonaparte ordered the creation of a special force within the Department of Justice. Consisting of 28 agents and eight former Treasury Department investigators, it was designed to stop interstate crimes yet had no power to arrest perpetrators or carry firearms. Named the Bureau of Investigation, the agency was soon bogged down with its own inherent problems, becoming an object of corruption and contempt—until May 19, 1924. On that date, President Calvin Coolidge appointed J. Edgar Hoover to replace the corrupt director. Hard-working with a no-nonsense attitude, Hoover immediately set about reorganizing the bureau, setting a standard that he expected his agents to follow. Hoover, impressed by Hollywood’s manner of maintaining an image and manipulating the media, began to use some of these tricks to clean up his agency’s image. Thanks in part to his efforts, movies of the 1930s shifted from glorifying outlaws and gangsters to glorifying lawmakers—and who better to play that role than Hoover’s new, improved FBI?From crime-busting heroes to enemies of free speech, this volume examines the evolution of Hollywood’s portrait of the FBI over the last 75 years. The book looks in-depth at how Hollywood’s creative rewriting of history enhanced the FBI’s reputation and discusses the historical events that shaped the bureau off-screen, including the various figures who tell the real FBI story—the gangsters, the politicians, the journalists, the communists. The main body of the work examines the filmmakers, actors, technicians, writers and producers who were responsible for FBI films, following the FBI from the birth of a cultural icon in the 1930s, through the spy-busting war years and the threat of the Red Menace, and, finally, to death of Hoover and the scandals of the 1960s. Studio correspondence and once confidential FBI memos are also included.
This book is a critical encyclopedia of silent European films currently available on DVD, laser disc, and VHS. It provides concise and accurate summaries of the films, evaluates the quality of the prints, discusses the changing reputations of both films and filmmakers, and considers how the techniques developed during the silent period continue to influence filmmaking today.The book cites contemporary and recent criticism of the films and includes an extensive bibliography as well as a list of films by director. Numerous photos are also included.
This study examines the major works of contemporary American television and film screenwriter Joss Whedon. The authors argue that these works are part of an existentialist tradition that stretches back from the French atheistic existentialist Jean-Paul Sartre, through the Danish Christian existentialist Søren Kierkegaard, to the Russian novelist and existentialist Fyodor Dostoevsky. Whedon and Dostoevsky, for example, seem preoccupied with the problem of evil and human freedom. Both argue that in each and every one of us “a demon lies hidden.” Whedon personifies these demons and has them wandering about and causing havoc. Dostoevsky treats the subject only slightly more seriously.Chapters cover such topics as Russian existentialism and vampire slayage; moral choices; ethics; Faith and bad faith; constructing reality through existential choice; some limitations of science and technology; love and self-sacrifice; love, witchcraft, and vengeance; soul mates and moral responsibility; love and moral choice; forms of freedom; and Whedon as moral philosopher. 
No comments:
Post a Comment