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Movies matter – that is the message of Reel to Real, bell hooks’ classic collection of essays on film. They matter on a personal level, providing us with unforgettable moments, even life-changing experiences and they can confront us, too, with the most profound social issues of race, sex and class. Here bell hooks – one of America’s most celebrated and thrilling cultural critics – talks back to films that have moved and provoked her, from Quentin Tarantino’s Pulp Fiction to the work of Spike Lee. Including also her conversations with master filmmakers such as Charles Burnett and Julie Dash, Reel to Real is a must read for anyone who believes that movies are worth arguing about.
All too often, highly fictionalized cinematic depictions of the past are accepted as the unassailable truth by those unfamiliar with the "real" account. This book profiles sixty movies that portray actual moments in history, and compares the mythologized account of each event to what really happened. Movies chronicled include The Ten Commandments, Spartacus, A Man for All Seasons, Gladiator, Gandhi, Apollo 13, The Thin Red Line, Dances with Wolves, Braveheart, The Last Emperor, All the Presidents Men, Mutiny on the Bounty, Gone with the Wind, Bonnie & Clyde, Patton, and Elizabeth. Sanello also contrasts several historical figures with their filmed treatments, including Julius Caesar, Henry V, Christopher Columbus, Joan of Arc, Sir Thomas More, Jesus Christ, Catherine the Great, Sigmund Freud, and Harry Houdini. Lavishly illustrated with sixty film stills, Reel v. Real shows how a happening's genuine details are frequently reshaped and distorted by Hollywood's bottomless appetite for over-the-top flamboyance and melodrama.
Real trials and courtroom movies are made for each other. Lawyers are storytellers, courtrooms are theaters, and the trial process provides drama, surprise, suspense or comedy. This book will serve as a video guide to help you identify the courtroom movies you'd like to see. It ranks each of the films on a one- to four- gavel system, with four gavels for the classics. And it answers the questions you'll be asking as you see the films. Where does truth end and trickery begin? Can lawyers really pull rabbits out of hats with unexpected courtroom stunts? Did the trial process reveal the truth-or conceal it? How well do reel trials reflect real events? These are just some of the topics you'll encounter as the authors analyze over 200 courtroom movies, including such classics as To Kill a Mockingbird, My Cousin Vinny, 12 Angry Men, and The Trial of the Chicago 7. An index at the back of the book lists all of the films reviewed in the book. The book celebrates the courtroom genre that has intrigued viewers around the world. The authors will entertain and educate you on a fascinating journey through nine decades of reel law, lawyers and justice.
Americans have had a long-standing love affair with the wilderness. As cities grew and frontiers disappeared, film emerged to feed an insatiable curiosity about wildlife. The camera promised to bring us into contact with the animal world, undetected and unarmed. Yet the camera's penetration of this world has inevitably brought human artifice and technology into the picture as well. In the first major analysis of American nature films in the twentieth century, Gregg Mitman shows how our cultural values, scientific needs, and new technologies produced the images that have shaped our contemporary view of wildlife. Like the museum and the zoo, the nature film sought to recreate the experience of unspoiled nature while appealing to a popular audience, through a blend of scientific research and commercial promotion, education and entertainment, authenticity and artifice. Travelogue-expedition films, like Teddy Roosevelt's African safari, catered to upper- and middle-class patrons who were intrigued by the exotic and entertained by the thrill of big-game hunting and collecting. The proliferation of nature movies and television shows in the 1950s, such as Disney's True-Life Adventures and Marlin Perkins's Wild Kingdom, made nature familiar and accessible to America's baby-boom generation, fostering the environmental activism of the latter part of the twentieth century. Reel Nature reveals the shifting conventions of nature films and their enormous impact on our perceptions of, and politics about, the environment. Whether crafted to elicit thrills or to educate audiences about the real-life drama of threatened wildlife, nature films then and now reveal much about the yearnings of Americans to be both close to nature and yet distinctly apart.
Latinx representation in the popular imagination has infuriated and befuddled the Latinx community for decades. These misrepresentations and stereotypes soon became as American as apple pie. But these cardboard cutouts and examples of lazy storytelling could never embody the rich traditions and histories of Latinx peoples. Not seeing real Latinxs on TV and film reels as kids inspired the authors to dive deep into the world of mainstream television and film to uncover examples of representation, good and bad. The result: a riveting ride through televisual and celluloid reels that make up mainstream culture. As pop culture experts Frederick Luis Aldama and Christopher González show, the way Latinx peoples have appeared and are still represented in mainstream TV and film narratives is as frustrating as it is illuminating. Stereotypes such as drug lords, petty criminals, buffoons, and sexed-up lovers have filled both small and silver screens—and the minds of the public. Aldama and González blaze new paths through Latinx cultural phenomena that disrupt stereotypes, breathing complexity into real Latinx subjectivities and experiences. In this grand sleuthing sweep of Latinx representation in mainstream TV and film that continues to shape the imagination of U.S. society, these two Latinx pop culture authorities call us all to scholarly action.
As the cradle-religion I belong to has been, at every age, probing into her managing and conserving of the Mmysterious Ttreasures entrusted to her, with the enlightenment, offered by Vatican Council II, I too longed to scrutinize my own handling of Catholic Christian Ffaith. I wanted to examine whether the religion I practice personally was real or reel? tTrue or false? gGenuine or false? aAuthentic or artificial? hHeartfelt or routine? fFruitful or poisonous? oOriginal or counterfeit? sSingle-hearted or double-hearted? Certainly, as a priest I had lot of occasions like recollections and retreats regularly to regularly assess the genuineness of my religious holdings and practices. Though I began 10ten years back, gathering all my scribbles and journals of evaluation about my personal religion, I started putting them seriously into a book form only after Pope Benedict XVI announced year 2012 as the Year of Faith. I considered it a call from God who wanted to befriend me more intensely and to promote to my friends this habit of assessing ones own faith. This is how this book was conceived and shaped. This book can be considered as a self-imposed act of examining my conscience about the identity, nature, and application, and practice of religion in my life. I hope and pray this effort of mine will surely assist my readers do the same, not only during this Year of Faith as it would be ended 24 November 24, 2013;, but also later on in life when tumult of waves and trials is daunting against our faith and religion.
Books that blend explorations of pop music with a coming-of-age memoir have become bestsellers for authors like Nick Hornby and Chuck Klosterman. I take the concept one step further in my proposed book, "Reel to Real by Reel," which features uncut interviews--collected during my days as a music journalist. As the interviews are arranged in chronological order, the book offers two unique reading experiences at once: a look at the uncensored thoughts of touring musicians; and the life story of the author who conducted the interviews: a music fan since birth, a performing musician in his own right, a Christian who often struggles with questions about faith, and an OCD sufferer who finds some relief in music. • Robyn Hitchcock • Glenn Tilbrook (Squeeze) • Mike Peters (the Alarm) • Charlie Gillingham (Counting Crows) • Buddy Cage (Bob Dylan, Jerry Garcia, Stir Fried) • Bruce Cockburn • Sean Kelly (the Samples) • Bill Mallonee (Vigilantes of Love) • Tim Finn • Dug Pinnick (King's X) • Alex Lifeson (Rush) • Matt Slocum (Sixpence None the Richer) • Neil Finn (Crowded House) • Michael Sweet (Stryper) • Steve Taylor • Ben Gibbard (Death Cab for Cutie) • Ray Davies (the Kinks) • Jon Auer (the Posies)
Short fictions that examine meaning through a cinematic lens.