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Open Access (free)
Robert J. Corber

The author reviews Barry Jenkins’s 2018 film adaptation of Baldwin’s novel, If Beale Street Could Talk, finding that Jenkins’s lush, painterly, and dreamlike visual style successfully translates Baldwin’s cadenced prose into cinematic language. But in interpreting the novel as the “perfect fusion” of the anger of Baldwin’s essays and the sensuality of his fiction, Jenkins overlooks the novel’s most significant aspect, its gender politics. Baldwin began working on If Beale Street Could Talk shortly after being interviewed by Black Arts poet Nikki Giovanni for the PBS television show, Soul!. Giovanni’s rejection of Baldwin’s claims that for black men to overcome the injuries of white supremacy they needed to fulfill the breadwinner role prompted him to rethink his understanding of African American manhood and deeply influenced his representation of the novel’s black male characters. The novel aims to disarticulate black masculinity from patriarchy. Jenkins’s misunderstanding of this aspect of the novel surfaces in his treatment of the character of Frank, who in the novel serves as an example of the destructiveness of patriarchal masculinity, and in his rewriting of the novel’s ending.

James Baldwin Review
Open Access (free)
James Baldwin’s Pragmatist Aesthetics
Rohan Ghatage

This essay establishes a philosophical connection between James Baldwin and the philosopher William James by investigating how the pragmatist protocol against “vicious intellectualism” offers Baldwin a key resource for thinking through how anti-black racism might be dismantled. While Richard Wright had earlier denounced pragmatism for privileging experience over knowledge, and thereby offering the black subject no means for redressing America’s constitutive hierarchies, uncovering the current of Jamesian thought that runs through Baldwin’s essays brings into view his attempt to move beyond epistemology as the primary framework for inaugurating a future unburdened by the problem of the color line. Although Baldwin indicts contemporaneous arrangements of knowledge for producing the most dehumanizing forms of racism, he does not simply attempt to rewrite the enervating meanings to which black subjects are given. Articulating a pragmatist sensibility at various stages of his career, Baldwin repeatedly suggests that the imagining and creation of a better world is predicated upon rethinking the normative value accorded to knowledge in the practice of politics. The provocative challenge that Baldwin issues for his reader is to cease the well-established privileging of knowledge, and to instead stage the struggle for freedom within an aesthetic, rather than epistemological, paradigm.

James Baldwin Review
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Epistemology and Revolution in Charles Brockden Brown‘s Wieland
David Smith

In Wieland, Charles Brockden Brown attempted to negotiate varying forces confronting contemporary American religious and political life. Through the transformation of the temple into a Gothic zone Brown injects questions of epistemological uncertainty, clashing forces of rational Enlightenment and supernatural faith. Brown outlines the religiously motivated founding of the nation reacting to European oppression as allegorical to the Wieland patriarchs journey from the Old to New World, and his construction of the temple demonstrates the establishment of new institutions in the American landscape. Religious liberty turns into extremism, producing Gothic violence that transforms the temple into a site of horror and destruction. His children attempt to re-transform the temple along rational Enlightenment lines much the same as Brown perceived the need for America to distance itself from its revolutionary and religious extremist origins. Yet the failure of rationalism to expunge the supernatural aura from the temple allows for the tragic events to transpire that comprise the bulk of the novel. Ultimately, Brown‘s Gothic novel evinces the critical nature of the epistemological clash he sees taking place for the direction America will take, and his concerns that Gothic violence will reverberate throughout future generations find their expression in Wieland‘s temple.

Gothic Studies
Tom Whittaker

culturally recognised as such at the time of the film. The melodramatic mode in Gary Cooper , which typically draws its source material from social conflicts and inconsistencies, serves to work through these contradictions. As such, Miró’s recourse to pathos has an important political dimension, in that it articulates the ambivalent location of female identity during the transition. This chapter will

in Hispanic and Lusophone women filmmakers
Evan Jones’s The Damned (1961), Eve (1962), King and Country (1964) and Modesty Blaise (1966)
Colin Gardner

In a Backward Country , Jones’s 1957 teleplay on land reform in Jamaica, where his own family were property owners. ‘We had a certain political kinship and we got along very well in other respects, too’, recalled Losey. 3 So well that Losey later admitted that their next project, Eve , ‘was a much more active collaboration … than any other I’ve had; and I probably made a greater personal contribution to that script than

in Joseph Losey
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Order and disorder
Chris Beasley and Heather Brook

, protect, and defend your constitutional liberties. (Jack Valenti, Chairman and CEO of the Motion Picture Association of America 1966–2004, 2002) Every man I meet wants to protect me. I can’t figure out what from. (Mae West)1 In this chapter, we begin by considering what a cultural politics approach brings to understandings of political myths and narratives of national security as these are presented in Hollywood movies. After briefly reviewing the extent and reach of Hollywood’s global domination of the film industry (see chapters 12 and 13 for more detail), we consider

in The cultural politics of contemporary Hollywood film
Contemporary ‘British’ cinema and the nation’s monarchs
Andrew Higson

imagine the monarchy, and in so doing forge a particular sense of British national identity. Heritage is not politically neutral – heritage artefacts, events and representations always carry with them particular ideas about how we might view the past, and how the past might be used in the present. One of the most vital features of Britain’s royal heritage is the sense of longevity and tradition; to mobilise

in The British monarchy on screen
Sylvie Magerstädt

Pepla and politics: the emergence of a television genre (1960s) Part II As noted in Part I, Graeco-Roman and biblical epics gained popularity in cinema in the 1950s and early 1960s to counter the apparent threat of television. Epics set in antiquity were particularly equipped to offer cinema audiences what television could not – large sets, sweeping panoramic views of ancient landscapes, crowds of extras and brightly coloured costumes and decorations. In other words, ‘Hollywood’s reaction [to the threat of television] was to seek to do things not open to the

in TV antiquity
Pop, politics and punk fanzines from 1976

Ripped, torn and cut offers a collection of original essays exploring the motivations behind – and the politics within – the multitude of fanzines that emerged in the wake of British punk from 1976. Sniffin’ Glue (1976–77), Mark Perry’s iconic punk fanzine, was but the first of many, paving the way for hundreds of home-made magazines to be cut and pasted in bedrooms across the UK. From these, glimpses into provincial cultures, teenage style wars and formative political ideas may be gleaned. An alternative history, away from the often-condescending glare of London’s media and music industry, can be formulated, drawn from such titles as Ripped & Torn, Brass Lip, City Fun, Vague, Kill Your Pet Puppy, Toxic Grafity, Hungry Beat and Hard as Nails. Here, in a pre-internet world, we see the development of networks and the dissemination of punk’s cultural impact as it fractured into myriad sub-scenes: industrial, post-punk, anarcho, Oi!, indie, goth. Ripped, torn and cut brings together academic analysis with practitioner accounts to forge a collaborative history ‘from below’. The first book of its kind, this collection reveals the contested nature of punk’s cultural politics by turning the pages of a vibrant underground press.

Art, authorship and activism
Authors: Ian Scott and Henry Thompson

This book charts and analyses the work of Oliver Stone – arguably one of the foremost political filmmakers in Hollywood during the last thirty years. Drawing on previously unseen production files from Oliver Stone’s personal archives and hours of interviews both with Stone and a range of present and former associates within the industry, the book employs a thematic structure to explore Stone’s life and work in terms of war, politics, money, love and corporations. This allows the authors both to provide a synthesis of earlier and later film work as well as locate that work within Stone’s developing critique of government. The book explores the development of aesthetic changes in Stone’s filmmaking and locates those changes within ongoing academic debates about the relationship between film and history as well as wider debates about Hollywood and the film industry. All of this is explored with detailed reference to the films themselves and related to a set of wider concerns that Stone has sought to grapple with -the American Century, exceptionalism and the American Dream, global empire, government surveillance and corporate accountability. The book concludes with a perspective on Stone’s ‘brand’ as not just an auteur and commercially viable independent filmmaker but as an activist arguing for a very distinct kind of American exceptionalism that seeks a positive role for the US globally whilst eschewing military adventurism.