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Hollywood is currently one of the largest and most profitable sectors of the U.S. economy. In just a few decades, it has transformed itself from a dying company town into a merchandising emporium of movies, games, and licensed characters. It is quickly moving even further into cyberspace, virtual reality, and digital imaging. Aida Hozic writes of these enormous changes in the film industry from a novel perspective: by tracing shifts in spatial organization of film production from the enclosed worlds of old Hollywood studios through globally dispersed location shooting to digital production and distribution. Hozic's fascinating tale of latter-day capitalism suggests that the physical reorganization of production—across the American economy, but in Hollywood in particular—alters material and conceptual boundaries between work and leisure, public and private, reality and fantasy. Particular economic regimes and forms of spatial organization have specific moral implications, and so the story of Hollywood's cultural production is partly a story of censorship and moral surveillance. Hozic's account of industrial change in Hollywood, and of its attempts at moral control over the production of fantasy, is an illuminating confrontation with the peculiar nature of Hollywood's political authority and of its complex power.
The Film Studio sheds new light on the evolution of global film production, highlighting the role of film studios worldwide. The authors explore the contemporary international production environment, identifying various types of film studios and investigating the consequences for Hollywood, international film production, and the studio locations. Visit our website for sample chapters!
Mark Olmstead is a young pest control exterminator whose company, Eco PC, becomes politically incorrect in the ultra green yet polluted city of Portland, where he is besieged by animal rights protesters, including the Militant Insect Alliance, who spank him with fly swatters. He moves back to rural eastern Oregon and commutes, only to find that his hometown Morehead Gap is now mostly owned by his new landlord, Wes Titus, a politically correct developer from Portland. The town church has decayed, is infested by vermin and occupied by Waldo Ralph, an old hippie who has reconsecrated the structure as the ecocentric Church of Highs, a refuge for wildlife where he grows medical marijuana in the basement. While trying to make enough money to buy a house, Mark courts a former classmate, Sally Chan, who is half Chinese, and takes a side job as an illegal marijuana distributor, involving him with violent hippies, a black drug gang, Islamic terrorists, political assassins, the FBI and a cabal of computer hackers playing God in real life through an Internet video game called Oz and the Flying Monkeys. Mark is targeted for deletion by the Monkeys when he turns informer and he suspects that one of the Monkeys is Yakov Tete, a radical professor visiting his neighbor Diana Hartfield, a book editor vacationing from New York.
"Peter Decherney tells the story of Hollywood, from its nineteenth-century origins to the emergence of internet media empires. Using well-known movies, stars, and directors, the book shows that the elements we take to be a natural part of the Hollywood experience--stars, genre-driven storytelling, blockbuster franchises, etc.--are the product of cultural, political, and commercial forces"--
Hollywood’s global influence from the 1960s to the present age of terrorism. The team of Sarah and Ryan Eisley film Faulkner’s As I Lay Dying, then divorce, but stay in touch. Ryan directs studio pictures for Universal, takes up with a much younger actress, attends the Woodstock festival and turns countercultural in his Beverly Hills mansion. Inspired to film a documentary of the black civil rights, hippie and anti-Vietnam War movements, he encounters President Kennedy, Martin Luther King, Jr. and the Manson gang. Their son Davin goes to Vietnam as a medic and their daughter Karen leaves her husband and disappears with her three kids. Living apart from Ryan in San Francisco, Sarah goes back to graduate school and tries to hold their family together while earning a doctorate at Berkeley. She becomes a film critic, then moves to Portland and becomes a teacher in the Hollyworld of higher education. The story of the Eisley family is interwoven with major films, including Billy Budd, Dr. Strangelove, The Graduate, Woodstock, Easy Rider, 2001: A Space Odyssey, Close Encounters, Apocalypse Now, Reds, The Big Chill and The Player. The novel also exposes Communist propaganda movies such as Fail-Safe, The Way We Were, The Front and Coming Home. It deflates the show business Blacklist myth, satirizes political correctness and ridicules Marxist movie stars and professors. Third in trilogy including Holywood (2004) and Follywood (2005).
The Global Industrial Complex: Systems of Domination is a groundbreaking collection of essays by a diverse set of leading scholars who examine the entangled and evolving global array of corporate-state structures of hegemonic power—what the editors refer to as “the power complex”—that was first analyzed by C. Wright Mills in his 1956 classic work, The Power Elite. In this new volume edited by Steven Best, Richard Kahn, Anthony J. Nocella II, and Peter McLaren, the power complex is conceived as co-constituted, interdependent and imbricated systems of domination. Spreading insidiously on a global level, the transnational institutional relationships of the power complex combine the logics of capitalist exploitation and profits and industrialist norms of efficiency, control, and mass production, While some have begun to analyze these institutional complexes as separate entities, this book is unique in analyzing them as overlapping, mutually-enforcing systems that operate globally and which will undoubtedly frame the macro-narrative of the 21st century (and perhaps beyond). The global industrial complex—a grand power complex of complexes—thus poses one of the most formidable challenges to the sustainability of planetary democracy, freedom and peace today. But there can be no serious talk of opposition to it until it is more popularly named and understood. The Global Industrial Complex aims to be a foundational contribution to this emerging educational and political project.
When a young woman falls down a flight of stairs and is left brain dead, her family agrees to donate her organs. Dr. Jesse Travis oversees the grim task, saving several other seriously ill patients. But one of the organ recipients returns to the hospital with a complication no one could have seen coming-West Nile Virus. Soon, other patients who received organs at Community General begin dying of West Nile-related illnesses, and Jesse is suspected as being at fault... Dr. Mark Sloan knows his friend isn't to blame-and he soon uncovers a conspiracy of greed and personal revenge that may mean the end of his career.
You wanna go where nobody knows your name. Chuck takes the Radio City to a little out-of-the-way planet where the locals leave outsiders alone. The Ramseys meet up with some nomad friends. And while the adults drink and catch up, the younger generation makes their own fun. While Brad tries to hustle his friends out of their money, Chuck forgets about interest on an old loan he only sort of repaid. As consequences swirl around both of them, an out-of-his-element wizard scurries to keep the Ramseys safe while also keeping a low profile. Because that's what wizards do best: keep a low profile. Low Flyer is the second mission of Black Ocean: Mirth & Mayhem. It follows a mismatched duo of itinerant comedian and outlaw wizard as they roam the galaxy trying to eke out a living and stay ahead of the consequences of their actions. Black Ocean: Mirth & Mayhem looks back at an earlier era in the Black Ocean universe, and returning readers will get to see how some of their favorite characters came to be. Fans of morally gray heroes and slick talking conmen will love this series. Grab your copy before someone else does.
Essays “capturing media ecologies as varied as museum installations, film festival showings, photography, and multiple varieties of internet sharing.” —Jump Cut In Documentary Across Platforms, noted scholar of film and experimental media Patricia R. Zimmermann offers a glimpse into the ever-evolving constellation of practices known as “documentary” and the way in which they investigate, engage with, and interrogate the world. Collected here for the first time are her celebrated essays and speculations about documentary, experimental, and new media published outside of traditional scholarly venues. These essays envision documentary as a complex ecology composed of different technologies, sets of practices, and specific relationships to communities, engagement, politics, and social struggles. Through the lens of reverse engineering—the concept that ideas, just like objects, can be disassembled to learn how they work and then rebuilt into something new and better—Zimmermann explores how numerous small-scale documentary works present strategies of intervention into existing power structures. Adaptive to their context, modular, and unfixed, the documentary practices she explores exploit both sophisticated high-end professional and consumer-grade amateur technologies, moving through different political terrains, different platforms, and different exhibition contexts. Together these essays demonstrate documentary’s role as a conceptual practice to think through how the world is organized and to imagine ways that it might be reorganized with actions, communities, and ideas.
Gina Domingo lives in the world of southern California pop culture. Cuban-American by birth, Gina is less a multiculturalist than an omniculturalist, absorbing everything in her path. But her life with her overly-protective parents takes an unexpected turn when GinaÍs paternal grandmother, Estela, visits. Here is GinaÍs abuela„whom Gina hasnÍt seen since the family left Cuba„come to set the record straight. Now GinaÍs entire range of experience, memories, and family truths begin to change. Estela doesnÍt impose her history on a family still coming to grips with its past and life in exile. Instead, she regales her granddaughter with tales of the island. When Estela unexpectedly dies while visiting the United States, Gina finds she has been bequeathed a legacy of freedom to create her own memories, her own version of the past. Like SalingerÍs Holden Caulfield, or the heroines of Joyce Carol OatesÍs Foxfire, the teenaged protagonist of Brand New Memory is possessed of a voice so simpàtica„so engrossing in her perception of herself, her family, and her friends„that we find ourselves mesmerized and unable to stop turning the pages.