James Zborowski

. Struggling later to reconcile these two perspectives and seeing that she cannot, Babe tells her friend that Deeds is ‘either the dumbest, stupidest, most imbecilic idiot in the world or else he’s the grandest thing alive’. Capra gives us a parallel moment, again with Jean Arthur, but this time in the company of James Stewart, in Deeds’s closest relative, Mr. Smith Goes to Washington (1939). There James Stewart is not a newly minted millionaire but a newly appointed senator, who, like Gary Cooper, is uprooted from his small town and finds himself in a modern metropolis, and

in Classical Hollywood cinema
Open Access (free)
Christopher Morgan

discursive remarks on this idea of science contributing to the reawakening of spiritual hope can be found in his essay ‘Undod’ or ‘Unity’ (1988) in which he points to Fritjof Capra’s The Tao of Physics as a book ‘which is full of hope of regaining the old faith of the West in unity of being through the most recent discoveries and theories in the world of physics’ (33). It is worth quoting at some length Thomas’s remarks concerning this hoped-for synthesis: Gradually in the course of this century the realization has grown that matter is not half as solid as the materialists

in R. S. Thomas
Abstract only
Don Fairservice

. The use of an echo room was a relatively recent development, used to good effect in Frank Capra’s Platinum Blonde (1931). Post reporter Stewart Smith (Robert Williams) has married wealthy Anne Schuyler (Jean Harlow). Reacting against a requirement to attend endless stuffed- shirt receptions and missing his more earthy newspaper cronies, he elects to stay home. Lonely, and bored with playing hopscotch

in Film editing: history, theory and practice
Jane Chin Davidson

, for instance, Patty Chang’s 2005 video installation, Shangri-La, is an exploration of the subjects from Frank Capra’s 1937 movie Lost Horizon, based on James Hilton’s novel. Chang provides a clear contrast between the subject created for the movie and its representation through the conceptual methodology of video art. The discourse of Chineseness initiated in film theory has branched out to conceptual forms of representation, expressing metaphorically the instability of the loss of the discrete subject of identity, as digital expressions provide different methods

in Staging art and Chineseness
A cinematic response to pessimism
Davide Panagia

, or Kant and Capra. These are, to anyone’s eyes, perverse couplings or risky marriages, to be sure. The claim(s) Cavell makes about film(s) are not representational where x and y films are said to offer better understandings or a more capacious or effective semblance of democratic life. Cavell cannot make those claims, given his own anxiety about claim-making, and his

in Cinema, democracy and perfectionism
Abstract only
Girls in the news
Peter William Evans

clashes, the collaboration became intimate enough for her to consider ending her marriage. Professionally, too, she was able to offer helpful advice to a relative novice as a film director. A romantic comedy, Climbing High owed much not only to English stage comedy (for instance, to farces by Frederick Lonsdale or Ben Travers) but also to Hollywood screwball (such as It Happened One Night (Capra, 1934)) and its British musical

in Carol Reed
Selling the Reagan revolution through the 1984 Olympic Games
Umberto Tulli

’; B. Shaikin, Sport and Politics: The Olympics and the Los Angeles Games (New York: Praeger, 1988); K. Reich, Making it Happen: Peter Ueberroth and the 1984 Olympics (Santa Barbara, CA: Capra Press, 1986). ROFE___9781526131058_Print.indd 238 11/06/2018 09:15 Selling the Reagan revolution 239   7 R. Edelman, ‘The Russians are not coming! The Soviet withdrawal from the Games of the XXIII Olympiad’, International Journal of the History of Sport, 32:1 (2015).   8 A. Tomlinson, ‘Los Angeles 1984 and 1932: commercializing the American dream’, in A. Tomlinson and

in Sport and diplomacy
The Marshall Plan films about Greece
Katerina Loukopoulou

, when he personally hired renowned fiction film director Frank Capra to work on the Why We Fight non-fiction film series (1942–5). Marshall even publicly defended his mobilisation of cinema at the Senate in response to accusations of trivialisation of the war effort. 5 While the Why We Fight series was produced for US audiences, the MP documentary films were commissioned exclusively for European ones, while a parallel and

in Global humanitarianism and media culture
Jonathan Purkis

increasingly interventionist State during the 1960s. Yet sociology itself can also be seen to reflect this instrumental approach. The eco-sociologist Alwyn Jones (1987) has suggested that instrumental and anthropocentric positions are prevalent in sociology and support what he calls the ‘industrial growth model’ of society. Jones draws on some of the psychoanalytical aspects of Herbert Marcuse’s work, those of libertarian socialist and radical Catholic Ivan Illich, as well as ecologists such as E. F. Schumacher (1976) and Fritjof Capra (1982). He claims that sociology still

in Changing anarchism
Abstract only
Towards a ‘tolerable state of order’?
Thomas R. Seitz

]would seem to bear a responsibility for providing the information necessary for [the people] to comprehend the situation that has actually developed in Vietnam. That has not been done.’11 As a result, Congress remained an obstacle rather than an ally when it came to security assistance efforts in the developing world. Securing such broad, popular support for security assistance was a cherished goal of Cold War presidents, from Truman onward. Truman himself had even approached film-maker Frank Capra, creator of the successful Why We Fight series of Second World War

in The evolving role of nation-building in US foreign policy