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An Interview with James Campbell
Douglas Field
Justin A. Joyce

James Baldwin Review editors Douglas Field and Justin A. Joyce interview author and Baldwin biographer James Campbell on the occasion of the reissue of his book Talking at the Gates (Polygon and University of California Press, 2021).

James Baldwin Review

Screening the Hollywood Rebels in 1950s Britain explores the relationship between classic American films about juvenile delinquency and British popular youth culture in the mid-twentieth century. The book examines the censorship, publicity and fandom surrounding such Hollywood films as The Wild One, Blackboard Jungle, Rebel Without a Cause, Rock Around the Clock and Jailhouse Rock alongside such British films as The Blue Lamp, Spare the Rod and Serious Charge. Intersecting with star studies and social and cultural history, this is the first book to re-vision the stardom surrounding three extraordinarily influential Hollywood stars: Marlon Brando, James Dean and Elvis Presley. By looking specifically at the meanings of these American stars to British fans, this analysis provides a logical and sustained narrative that explains how and why these Hollywood images fed into, and disrupted, British cultural life. Screening the Hollywood Rebels in 1950s Britain is based upon a wide range of sources including censorship records, both mainstream and trade newspapers and periodicals, archival accounts and memoirs, as well as the films themselves. The book is a timely intervention of film culture and focuses on key questions about screen violence and censorship, masculinity and transnational stardom, method acting and performance, Americanisation and popular post-war British culture. The book is essential reading for researchers, academics and students of film and social and cultural history, alongside general readers interested in the links between the media and popular youth culture in the 1950s.

Television, formalism and the arts documentary in 1960s Britain
Jamie Sexton

): Maurice Béjart, Max Frisch, Walter Gropius, Norman Mailer, Rufino Tamayo, Pierre Boulez, Richard Smith, Sonny Rollins, Oscar Niemeyer, Jacques Lipchitz, James Jones, Victor Vasarely and Sean Kenny. Each programme was approximately 28 minutes in length, with the exception of the Norman Mailer programme, which was a double-length episode entitled Will the Real Norman Mailer Please Stand Up. While Who Is? was more recognisable as an ‘arts programme’ than New Tempo, it did experiment with the more conventional, humanist templates within which it worked. Like New Tempo, it

in Experimental British television
Abstract only
Sam Rohdie

, irrationality, insecurity, insanity) and the impossibility of imaginary, fictional identifications that made of Fuller’s films a battleground of tones, colours, movements, shocks that resonated with some of the most important artistic aspects of modern painting (the exaggerations of Pop Art, the immediacy and violence of Abstract Expressionism) and the American novel (Dos Passos, Norman Mailer). As with Nicholas

in Montage
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Des O’Rawe

interviewer’s relentless diatribe about politics, culture, and drugs becomes increasingly abstract and absurd. (Apparently, Godard lifted many of the questions directly­– i­ f randomly­– f­ rom a recent Playboy magazine interview with Norman Mailer.)26 However, Godard’s position is obvious enough: the media manufactures its own truth; there is never really an interview, only a dominant point of view being legitimised by the illusion of journalistic interaction, by a hermetically (and hermeneutically) sealed ideological apparatus. In other words, in the age of mass communica

in Regarding the real
Douglas Morrey

1986 with the intention that the completed product should be premiered at the festival the following year. Godard was granted a number of high-profile American stars – Norman Mailer, Woody Allen, Molly Ringwald, Burgess Meredith – but the production soon ran into difficulties. Typically, Godard writes these difficulties into the fabric of the film, which opens with a phone call from Golan expressing his concern that the movie

in Jean-Luc Godard
Des O’Rawe

Torres: Part II is also a documentary about the business of boxing, and its shady world of impresarios, officials, and managers. It also­– ­more explicitly than José Torres: Part I­– ­configures boxing as the quintessential US metaphor, and includes the presence of its pre-­eminent intellectual of the day, Norman Mailer. After New York, Sōfū and his party headed to Europe, where Teshigahara was introduced to Barcelona, and the world of Gaudí. While he claimed to be ‘totally unprepared for the intense shock of this encounter with [Gaudí’s] architecture’, it is quite

in Regarding the real
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Les Amants du Pont-Neuf and the spectacle of vagrancy
Fergus Daly
Garin Dowd

taking the part of Edgar in Godard’s King Lear (1987). The circumstances whereby Godard came to sign a contract with the film’s Hollywood producers, Golan and Globus of Cannon, have since become the stuff of legend, as has the story of how Norman Mailer stormed off the shoot and the much-heralded involvement of Woody Allen as the Fool came to be limited to a few minutes delivered to camera in the final cut. Of the roles taken

in Leos Carax
RE/Search Publications, the bookshelf question and ideational flow
S. Alexander Reed

.G. Ballard’s experimental microfiction The Atrocity Exhibition Robert Taber’s guerrilla guide The War of the Flea Norman Mailer’s anti-government takedown The Armies of the Night Allen Ginsberg’s banned classic of beat poetry Howl and Other Poems David Cooper’s anti-conservative psychiatric work The Death of the Family William C. Schutz’s group psychotherapy manifesto Joy: Expanding Human Awareness James Joyce’s künstlerroman A Portrait of the Artist as a Young Man And here too are coffee-table histories such as Hilaire Belloc’s Warfare in England, Christopher Lloyd’s The

in Ripped, torn and cut
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Des O’Rawe

(Basingstoke: Palgrave Macmillan, 2011), p. 268.  8 Claire Clouzot, William Klein: Films (Paris: Maison Européenne de la Photographie, 1998), p. 18.  9 Serge Daney, Postcards from the Cinema, trans. Paul Douglas Grant (Oxford: Berg, 2007), p. 83. 110 10 Regarding the real Jean-­Luc Godard, The Future(s) of Film: Three Interviews: 2000– 01, trans. John O’Toole (Bern: Verlag Gachnang and Springer, 2002), pp. 74–5. 11 In this respect, Muhammad Ali: The Greatest also calls to mind Norman Mailer’s book, The Fight (New York: Little, Brown, 1975). For a useful overview of

in Regarding the real