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Chronicling one of the most popular national cinemas, this book traces the evolution of French filmmaking from 1895 - the year of the debut of the Cinematographe in Paris - to the present day. Williams offers a synthesis of history, biography, aesthetics and film theory.
Take one well-oiled effective killing machine, add a familiar hero on the ground, in the air, and on horseback; stir in a ghastly end that’s surely impossible to escape, add action, add passion, made on a shoestring budget at breakneck speed, and you’ve got the recipe for Republic Pictures. Who, after all, cannot forget The Atomic Kid, starring Mickey Rooney, or The Untamed Heiress, with an un-Oscar-worthy performance by ingénue Judy Canova? Exploding onto the movie scene in 1935, Republic Pictures brought the pop culture of the 30s and 40s to neighborhood movie houses. Week after week kids sank into their matinee seats to soak up the Golden Age of the Republic series, to ride off into the classic American West. And they gave us visions of the future. Visions that inspire film makers today. Republic was a studio that dollar for dollar packed more movie onto the screen than the majors could believe. From sunrise on into the night over grueling six day weeks, no matter how much mayhem movie makers were called upon to produce, at Republic Pictures it was all in a day’s work. Republic Pictures was the little studio in the San Fernando Valley where movies were made family style. A core of technicians, directors, and actors worked hard at their craft as Republic released a staggering total of more than a thousand films through the late 1950s. Republic Pictures was home to John Wayne for thirty-three films. Always inventing, Republic brought a song to the West. It featured the West’s first singing cowboy. Republic brought action, adventure, and escape to neighborhood movies houses across America. And they brought it with style. Scene from westerns such as The Three Mesquiteers and the Lawless Range gave screaming kids at the bijou a white-knuckle display of expert film making. Republic Pictures became a studio where major directors could bring their personal vision to the screen. Sometimes these were projects no other studio would touch such as The Quiet Man (which brought director John Ford an Oscar) and Macbeth. Killer Bs, Cowboys, Creatures and Classics: The Story of Republic Pictures is for anyone who likes B movies magic. It is the honest account of an extraordinary production house, one whose ability to turn out films quickly boded well for its transition into television production. Not only were its sets used for such shows as Leave it to Beaver and Gilligan’s Island, stock footage from Republic’s movies was used on such shows as Gunsmoke and The Life and Legend of Wyatt Earp.
Cinema has long shaped not only how mass violence is perceived but also how it is performed. Today, when media coverage is central to the execution of terror campaigns and news anchormen serve as embedded journalists, a critical understanding of how the moving image is implicated in the imaginations and actions of perpetrators and survivors of violence is all the more urgent. If the cinematic image and mass violence are among the defining features of modernity, the former is significantly implicated in the latter, and the nature of this implication is the book's central focus. This book brings together a range of newly commissioned essays and interviews from the world's leading academics and documentary filmmakers, including Ben Anderson, Errol Morris, Harun Farocki, Rithy Phan, Avi Mograbi, Brian Winston, and Michael Chanan. Contributors explore such topics as the tension between remembrance and performance, the function of moving images in the execution of political violence, and nonfiction filmmaking methods that facilitate communities of survivors to respond to, recover, and redeem a history that sought to physically and symbolically annihilate them
A New York Times bestseller The author of the beloved #1 New York Times bestseller Reading Lolita in Tehran returns with the next chapter of her life in books—a passionate and deeply moving hymn to America Ten years ago, Azar Nafisi electrified readers with her multimillion-copy bestseller Reading Lolita in Tehran, which told the story of how, against the backdrop of morality squads and executions, she taught The Great Gatsby and other classics of English and American literature to her eager students in Iran. In this electrifying follow-up, she argues that fiction is just as threatened—and just as invaluable—in America today. Blending memoir and polemic with close readings of her favorite novels, she describes the unexpected journey that led her to become an American citizen after first dreaming of America as a young girl in Tehran and coming to know the country through its fiction. She urges us to rediscover the America of The Wonderful Wizard of Oz and Adventures of Huckleberry Finn and challenges us to be truer to the words and spirit of the Founding Fathers, who understood that their democratic experiment would never thrive or survive unless they could foster a democratic imagination. Nafisi invites committed readers everywhere to join her as citizens of what she calls the Republic of Imagination, a country with no borders and few restrictions, where the only passport to entry is a free mind and a willingness to dream.
Americans today are frustrated and anxious. Our economy is sluggish, and leaves workers insecure. Income inequality, cultural divisions, and political polarization increasingly pull us apart. Our governing institutions often seem paralyzed. And our politics has failed to rise to these challenges. No wonder, then, that Americans -- and the politicians who represent them -- are overwhelmingly nostalgic for a better time. The Left looks back to the middle of the twentieth century, when unions were strong, large public programs promised to solve pressing social problems, and the movements for racial integration and sexual equality were advancing. The Right looks back to the Reagan Era, when deregulation and lower taxes spurred the economy, cultural traditionalism seemed resurgent, and America was confident and optimistic. Each side thinks returning to its golden age could solve America's problems. In The Fractured Republic, Yuval Levin argues that this politics of nostalgia is failing twenty-first-century Americans. Both parties are blind to how America has changed over the past half century -- as the large, consolidated institutions that once dominated our economy, politics, and culture have fragmented and become smaller, more diverse, and personalized. Individualism, dynamism, and liberalization have come at the cost of dwindling solidarity, cohesion, and social order. This has left us with more choices in every realm of life but less security, stability, and national unity. Both our strengths and our weaknesses are therefore consequences of these changes. And the dysfunctions of our fragmented national life will need to be answered by the strengths of our decentralized, diverse, dynamic nation. Levin argues that this calls for a modernizing politics that avoids both radical individualism and a centralizing statism and instead revives the middle layers of society -- families and communities, schools and churches, charities and associations, local governments and markets. Through them, we can achieve not a single solution to the problems of our age, but multiple and tailored answers fitted to the daunting range of challenges we face and suited to enable an American revival.
Interviews with Ang Lee (Crouching Tiger, Hidden Dragon) and other Chinese directors about their work & the ways it has impacted both on the film industry in China as well as on the world scene.
Performance artists address the political possibilities of creative agency This artistic research project addresses the challenges of global life today. In particular, it considers the creative constructs and poetic imaginaries found in articulations of contemporary agency and argues for a deeper engagement with what Elena Loizidou terms the "dreamwork" underpinning our political selves. Dreamwork is cast as the basis for mobilizing new forms of world-making activity. The Imaginary Republic brings together participating artists Tatiana Fiodorova, Sala Manca, Octavio Camargo with Brandon LaBelle and Joulia Strauss, whose practices engage with situations of struggle and autonomous cultures through a performative crafting of common spaces. From shared labors to camouflaged interventions, collaborative pedagogies to social fictions, their works operate to build unlikely scenes of solidarity. Additionally, the publication includes documentation of a related collective performance and exhibition held at Kunsthall 3,14 Bergen, as well as key essays by theorists and scholars Gerald Raunig, Rhiannon Firth, Hélène Frichot, Raimar Stange and Manuela Zechner.
Known as Hollywood's "Thrill Factory," Republic Pictures produced some of the most exciting serials to hit the big screen. The studio's chapterplays were one of the most popular Saturday matinee genres. Covering nearly 70 serials, the filmographies include full production credits; release dates; chapter titles; running times; sound systems (when applicable); a note on reissues, condensations and sequels; and an extensive cast list showing roles played. Included are an essay on the general development of the American serial and a history of Republic studio to the present.