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In 1988, director Martin Scorsese fulfilled his lifelong dream of making a film about Jesus Christ. Rather than celebrating the film as a statement of faith, churches and religious leaders immediately went on the attack, alleging blasphemy. At the height of the controversy, thousands of phone calls a day flooded the Universal switchboard, and before the year was out, more than three million mailings protesting the film fanned out across the country. For the first time in history, a studio took responsibility for protecting theaters and scrambled to recruit a "field crisis team" to guide The Last Temptation of Christ through its contentious American openings. Overseas, the film faced widespread censorship actions, with thirteen countries eventually banning the film. The response in Europe turned violent when opposition groups sacked theaters in France and Greece and caused injuries to dozens of moviegoers. Twenty years later, author Thomas R. Lindlof offers a comprehensive account of how this provocative film came to be made and how Universal Pictures and its parent company MCA became targets of the most intense, unremitting attacks ever mounted against a media company. The film faced early and determined opposition from elements of the religious Right when it was being developed at Paramount during the last year the studio was run by the celebrated troika of Barry Diller, Michael Eisner, and Jeffrey Katzenberg. By the mid-1980s, Scorsese's film was widely regarded as unmakeable—a political stick of dynamite that no one dared touch. Through the joint efforts of two of the era's most influential executives, CAA president Michael Ovitz and Universal Pictures chairman Thomas P. Pollock, this improbable project found its way into production. The making of The Last Temptation of Christ caught evangelical Christians at a moment when they were suffering a crisis of confidence in their leadership. The religious right seized on the film as a way to rehabilitate its image and to mobilize ordinary citizens to attack liberalism in art and culture. The ensuing controversy over the film's alleged blasphemy escalated into a full-scale war fought out very openly in the media. Universal/MCA faced unprecedented calls for boycotts of its business interests, anti-Semitic rhetoric and death threats were directed at MCA chairman Lew Wasserman and other MCA executives, and the industry faced the specter of violence at theaters. Hollywood Under Siege draws upon interviews with many of the key figures—Martin Scorsese, Paul Schrader, Michael Ovitz, Jeffrey Katzenberg, Jack Valenti, Thomas P. Pollock, and Willem Dafoe—to explore the trajectory of the film from its conception to the subsequent epic controversy and beyond. Lindlof offers a fascinating dissection of a critical episode in the embryonic culture wars, illuminating the explosive effects of the clash between the interests of the media industry and the forces of social conservatism.
In the harrowing days after September 11, 2001, the President of the United States reached out to one man to help guide the nation in its quest to shore up domestic security. In this candid and compelling memoir, Tom Ridge describes the whirlwind series of events that took him from the state capital of Pennsylvania, into the fray of Washington, D.C., and onto the world stage as a new leader in the fight against international terrorism. A Washington outsider, Ridge went above and beyond in his new post, identifying the need to integrate response teams on a wide-reaching scale and leading the nation's ambitious initiative of establishing a new Cabinet department, the Department of Homeland Security. The author recounts how the new department's unsung heroes, brought together under great duress, succeeded against difficult odds and navigated the politics of terrorism. Perhaps most importantly, Ridge offers a prescriptive look to the future with provocative ideas such as a national ID card and the use of biometrics to track not just who enters the United States but also how long they are here. Tom Ridge simply tells it like it is, offering a refreshingly honest assessment of the state of homeland security today—and what it needs to be tomorrow.
A behind-the-scenes look at the making of The Last Temptation of Christ and the controversy following its release. In 1988, director Martin Scorsese fulfilled his lifelong dream of making a film about Jesus Christ. Rather than celebrating the film as a statement of faith, churches and religious leaders immediately went on the attack, alleging blasphemy. At the height of the controversy, thousands of phone calls a day flooded the Universal switchboard, and before the year was out, more than three million mailings protesting the film fanned out across the country. For the first time in history, a studio took responsibility for protecting theaters and scrambled to recruit a “field crisis team” to guide The Last Temptation of Christ through its contentious American openings. Overseas, the film faced widespread censorship actions, with thirteen countries eventually banning the film. The response in Europe turned violent when opposition groups sacked theaters in France and Greece and caused injuries to dozens of moviegoers. Twenty years later, author Thomas R. Lindlof offers a comprehensive account of how this provocative film came to be made and how Universal Pictures and its parent company MCA became targets of the most intense, unremitting attacks ever mounted against a media company. The film faced early and determined opposition from elements of the religious Right when it was being developed at Paramount during the last year the studio was run by the celebrated troika of Barry Diller, Michael Eisner, and Jeffrey Katzenberg. By the mid-1980s, Scorsese’s film was widely regarded as unmakeable?a political stick of dynamite that no one dared touch. Through the joint efforts of two of the era’s most influential executives, CAA president Michael Ovitz and Universal Pictures chairman Thomas P. Pollock, this improbable project found its way into production. The making of The Last Temptation of Christ caught evangelical Christians at a moment when they were suffering a crisis of confidence in their leadership. The religious right seized on the film as a way to rehabilitate its image and to mobilize ordinary citizens to attack liberalism in art and culture. The ensuing controversy over the film’s alleged blasphemy escalated into a full-scale war fought out very openly in the media. Universal/MCA faced unprecedented calls for boycotts of its business interests, anti-Semitic rhetoric and death threats were directed at MCA chairman Lew Wasserman and other MCA executives, and the industry faced the specter of violence at theaters. Hollywood Under Siege draws upon interviews with many of the key figures?Martin Scorsese, Paul Schrader, Michael Ovitz, Jeffrey Katzenberg, Jack Valenti, Thomas P. Pollock, and Willem Dafoe?to explore the trajectory of the film from its conception to the subsequent epic controversy and beyond. Lindlof offers a fascinating dissection of a critical episode in the embryonic culture wars, illuminating the explosive effects of the clash between the interests of the media industry and the forces of social conservatism. Praise for Hollywood Under Siege “No other book has traced the development of a major motion picture from conception through production to reception with the kind of care and detail that Lindlof does here. Hollywood Under Siege provides valuable insight into the machinery of the film industry, and into the machinations of American culture on a broader front as well.” —Thomas Schatz, author of The Genius of the System: Hollywood Filmmaking in the Studio Era and Executive Director of the University of Texas Film Institute “Riveting and accurate. Even though I thought I knew the events, I found myself captured anew.” —Paul Schrader, screenwriter and director “As a study of a landmark moment in American cinema, Lindlof’s book is both profound and extremely entertaining.” —Los Angeles Times “Lindlof has meticulously researched the history of the film from its initial optioning to its ultimate fate, up to the present time, successfully placing it into cultural context. Although extremely detailed, the book is readable and eminently instructive.” —Library Journal
Winner of the 2010 Eudora Welty Book Prize and the Mississippi Library Association’s Nonfiction Author’s Award for 2011 Under Surge, Under Siege shows how Hurricane Katrina tore into Bay St. Louis, Mississippi, raking away lives, buildings, and livelihoods in a place known for its picturesque, coastal views; its laid-back, artsy downtown; and its deep-dyed southern cordiality. The tragedy also revealed the inner workings of a community with an indomitable heart and profound neighborly bonds. Those connections often brought out the best in people under the worst of circumstances. In Under Surge, Under Siege, Ellis Anderson, who rode out the storm in her Bay St. Louis home and sheltered many neighbors afterwards, offers stories of generosity, heroism, and laughter in the midst of terror and desperate uncertainty. Divided into two parts, this book invites readers into the intimate enclave before, during, and after the storm. “Under Surge” focuses on connections between residents, and then it demonstrates how those bonds sustained them through the worst hurricane in US history. “Under Siege” documents the first three years of the grinding aftermath, detailing the unforeseen burdens of stress and depression, insurance scandals, and opportunists that threatened to complete the annihilation of the plucky town. A blend of memoir, personal diary, and firsthand reportage, Under Surge, Under Siege creates a compelling American testament to the strength of the human spirit.
Maggie Hope is off to California to solve a crime that hits too close to home—and to confront the very evil she thought she had left behind in Europe—as the acclaimed World War II mystery series from New York Times bestselling author Susan Elia MacNeal continues. NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE MILWAUKEE JOURNAL SENTINEL • “An absolute triumph . . . Maggie Hope is irresistible.”—Hilary Davidson, author of Her Last Breath Los Angeles, 1943. As the Allies beat back the Nazis in the Mediterranean and the United States military slowly closes in on Tokyo, Walt Disney cranks out wartime propaganda and the Cocoanut Grove is alive with jazz and swing every night. But behind this sunny façade lies a darker reality. Up in the lush foothills of Hollywood, a woman floats lifeless in the pool of one of California’s trendiest hotels. When American-born secret agent and British spy Maggie Hope learns that this woman was engaged to her former fiancée, John Sterling, and that he suspects her death was no accident, intuition tells her he’s right. Leaving London under siege is a lot to ask—but John was once the love of Maggie’s life . . . and she can’t say no. Maggie struggles with seeing her lost love again, but more shocking is the realization that her country is as divided and convulsed with hatred as Europe. The Zoot Suit Riots loom large in Los Angeles, and the Ku Klux Klan casts a long shadow everywhere. But there is little time to dwell on memories once she starts digging into the case. As she traces a web of deception from the infamous Garden of Allah to the iconic Carthay Circle Theater, she discovers things aren’t always the way things appear in the movies—and the political situation in America is more complicated, and dangerous, than the newsreels would have them all believe.
Cities are the new battleground of our increasingly urban world. From the slums of the global South to the wealthy financial centers of the West, Cities Under Siege traces the spread of political violence through the sites, spaces, infrastructure and symbols of the world’s rapidly expanding metropolitan areas. Drawing on a wealth of original research, Stephen Graham shows how Western militaries and security forces now perceive all urban terrain as a conflict zone inhabited by lurking shadow enemies. Urban inhabitants have become targets that need to be continually tracked, scanned and controlled. Graham examines the transformation of Western armies into high-tech urban counter-insurgency forces. He looks at the militarization and surveillance of international borders, the use of ‘security’ concerns to suppress democratic dissent, and the enacting of legislation to suspend civilian law. In doing so, he reveals how the New Military Urbanism permeates the entire fabric of urban life, from subway and transport networks hardwired with high-tech ‘command and control’ systems to the insidious militarization of a popular culture corrupted by the all-pervasive discourse of ‘terrorism.’
From the preeminent historian of modern comedy comes an expansive history of showbiz and the culture wars There is a common belief that we live in unprecedented times, that people are too sensitive today, that nobody objected to the actions of actors, comedians, and filmmakers in the past. Modern pundits would have us believe that Americans of a previous generation had tougher skin and seldom complained. But does this argument hold up to scrutiny? In Outrageous, celebrated cultural historian Kliph Nesteroff demonstrates that Americans have been objecting to entertainment for nearly two hundred years, sometimes rationally, often irrationally. Likewise, powerful political interests have sought to circumvent the arts using censorship, legal harassment, and outright propaganda. From Mae West through Johnny Carson, Amos ’n’ Andy through Beavis and Butt-Head, Outrageous chronicles the controversies of American show business and the ongoing attempts to change what we watch, read, and hear.
Theories of the domestic stemming from the 19th century have focused on the home as a refuge and place of repose for the family, a nurturing environment for children and a safe place for visitors. Under this conception, domestic space is positioned as nurturing and private, a refuge and place of retreat which gave rise to theories of 'home as haven'. While, arguably, some social conditions might suggest this is the case, Domesticity Under Siege exposes a different world, one in which the boundaries of nurturing domesticity collide with both outside and inside agents. Whether these agents are external military forces, psychological trauma or familial violence, they re-position meta-narratives of domesticity, not through identity politics or specialized subgroup experience, but relative to the actions of the world around an inhabited domain. That is, when home is constituted as a private realm, a place where individuals or groups can reside in 'safety and comfort', it is argued as a place in which the individual exercises control or power. However, there are many occasions when forces act upon the home and threaten aspects of safety and comfort, often through such things as ruination, violence, mortality, and infestation. Organised around four thematic sections, 'Microbes, Animals and Insects', 'Human Agents', Wars and Disasters as Agents' and 'Hauntings, Eeriness and the Uncanny', chapters provide a range of approaches to the home which challenge notions of 'haven' and reflect major causes that have played an important role in undermining the modern home. Examples and case studies explore the domestic screen, hoarding, hauntings, violence and imprisonment in the home, wartime interior art, the Hanover Merzbau and Wolfgang Staudte's 1946 film Die Mörder sind unter uns ('The Murderers are Among Us').
A groundbreaking book that dissects a slanderous history dating from cinema’s earliest days to contemporary Hollywood blockbusters that feature machine-gun wielding and bomb-blowing "evil" Arabs Award-winning film authority Jack G. Shaheen, noting that only Native Americans have been more relentlessly smeared on the silver screen, painstakingly makes his case that "Arab" has remained Hollywood’s shameless shorthand for "bad guy," long after the movie industry has shifted its portrayal of other minority groups. In this comprehensive study of over one thousand films, arranged alphabetically in such chapters as "Villains," "Sheikhs," "Cameos," and "Cliffhangers," Shaheen documents the tendency to portray Muslim Arabs as Public Enemy #1—brutal, heartless, uncivilized Others bent on terrorizing civilized Westerners. Shaheen examines how and why such a stereotype has grown and spread in the film industry and what may be done to change Hollywood’s defamation of Arabs.
Explores how the DVD market's collapse has triggered a refocus on special effects and 3D over expensive actors and writers, drawing on insights from industry experts to consider if an increasingly eccentric movie business is salvageable.