Open Access (free)
Barry Atkins

sentimentality in recreating the milieu of Frank Capra’s film It’s a Wonderful Life (1946).2 A joke is being played out here at the expense of many of the common assumptions that are made about the players of computer games – that they are male, immature, are only interested in women in terms of breast-size, and what they mean by ‘better than life’ shows the banality of an imagination stunted by the encounter with computer games rather than somehow nurtured chap6.p65 141 13/02/03, 14:24 142 More than a game by it. The computer game as effective simulation becomes a

in More than a game
Coupland and postmodern spirituality
Andrew Tate

the postmodern ‘God’ of this particular narrative, Coupland allows his characters more than one ‘second chance’. Bauman, similarly, has observed that postmodernity ‘does not know of’ a world with an ‘inbuilt finality and irreversibility of choices’.56 Indeed, it is evident that this happy ending quite explicitly owes as much to Frank Capra’s It’s a Wonderful Life (1947) as it does to New Testament eschatology. The ‘You are the first generation raised without religion’ 155 celebrated film narrates a crisis in its hero’s life, as a depressed George Bailey (James

in Douglas Coupland
John Mundy and Glyn White

responsible for the successful innovations; it does not develop in a vacuum and in this instance stage comedy (for example, Noël Coward’s Private Lives (1931)) was an important influence that remains under-recognised. It is also clear that Hollywood wasn’t entirely sure how it had improved on this venerable tradition. The It Happened One Night director Frank Capra quoted collaborator Myles Connelly

in Laughing matters
Open Access (free)
Ian Scott and Henry Thompson

juncture. Arguably, politics has been the worst of all pursuits for filmmakers throughout Hollywood’s history. The triumphant and insightful, not to say commercially successful, films in this genre often are perceived to be few and far between. For every Mr. Smith Goes to Washington (1939) there is a State of the Union (1948); for every The Manchurian Candidate (1962), a Seven Days in May (1964); and for every JFK there is a Nixon. However, each of these combinations are instructive: the first pair were directed by Frank Capra, the second by John Frankenheimer, and the

in The cinema of Oliver Stone
Abstract only
Notes on voice and collaboration
Marianne Hirsch and Leo Spitzer

historian, and as someone less directly and immediately involved, as the in-law, in fact, promised to provide some necessary distance and balance. Dominick La Capra has written on historians’ transferential relationship to the subjects they work on, on the personal investments they are not trained to acknowledge and reveal.11 With two of us working together, we had a chance to acknowledge these investments, and to act as checks on one another’s. At the same time, the deeply familial nature of the project makes it so overlaid with unconscious processes on every level that

in Writing otherwise
Open Access (free)
Pleasantville and the textuality of media memory
Paul Grainge

liberal fairytale about freedom and tolerance in the Frank Capra tradition’. 7 While the visual technique of Pleasantville was central to many favourable reviews, the type and degree of the film’s quotational referencing became a theme of critical concern, if not explicit complaint. The film invokes a gathering of cultural moments and movements under the aegis of a growing expressive creativity in

in Memory and popular film
Abstract only
Torino and the Collettivo Punx Anarchici
Giacomo Bottà

Vol. 7: Da Capitale Politica a Capitale Industriale (Torino: Einaudi, 2001).   4 N. Tranfaglia, Storia di Torino Vol. 9. Gli Anni della Repubblica (Torino: Giulio Einaudi, 1999), p. 19.    5 B. De Sario, Resistenze Innaturali (Milano: Agenzia X, 2009).    6 R. Farano (‘Tax’), interview with author, 12 March 2011.    7 M. Mathieu, interview with author, 19 February 2011. Similarly, G. Capra, interview with author, 18 March 2011, recalled: ‘I was never interested in 1977 punk; my cultural step was directly from Genesis to Dead Kennedys; from Gentle Giant to DOA

in Fight back
Abstract only
Point of view and communication
James Zborowski

Introduction: point of view and communication This book engages closely with six masterpieces of the classical Hollywood cinema under three large topic headings. The films are (in chronological order, rather than as ordered in this book): Mr. Deeds Goes to Town (Capra, 1936), Only Angels Have Wings (Hawks, 1939), Letter from an Unknown Woman (Ophuls, 1948), Vertigo (Hitchcock, 1958), Anatomy of a Murder (Preminger, 1959) and The Man Who Shot Liberty Valance (Ford, 1962). The topics are point of view, distance and communication. I offer what follows as a work of

in Classical Hollywood cinema
Abstract only
We need to talk about Julien
Ben McCann

  1 Introduction: we need to talk about Julien When the French cinema dies, it might do worse than find his [Duvivier’s] name written across its retina. (Alistair Cooke 1971: 125) No one speaks of Julien Duvivier without apologising. (Dudley Andrew 1997: 283) Once upon a time, Julien Duvivier (1896–​ 1967) was considered one of the world’s great film directors. He was beloved by Orson Welles, Rouben Mamoulian, Frank Capra, and John Ford, while Ingmar Bergman once admitted that, of all the careers that he would have liked to have had, it would be Duvivier’s. The

in Julien Duvivier
Ross M. English

closely divided, there is a danger of enough supporters of the measure leaving the Capitol that a vote could be called by the filibustering Senator and the measure may be defeated. These are particular dangers towards the end of the week when Senators are looking to return home to their constituencies. Faced with these problems, the proponents of the measure may choose to withdraw it for another time, or to negotiate. The filibuster was immortalised in Frank Capra’s excellent 1939 film Mr Smith Goes to Washington, where an honest but naive young Senator, Jefferson Smith

in The United States Congress