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Media Coverage of the Humanitarian Disaster in the Congo and the United Nations Response, 1997–2008
Africa’s Deadliest Conflict deals with the complex intersection of the legacy of post-colonial history—a humanitarian crisis of epic proportions—and changing norms of international intervention associated with the idea of human security and the responsibility to protect (R2P). It attempts to explain why, despite a softening of norms related to the sanctity of state sovereignty, the international community dealt so ineffectively with a brutal conflict in the Democratic Republic of the Congo, which between 1997 and 2011 claimed an estimated 5.5 million. In particular, the book focuses on the role of mass media in creating a will to intervene, a role considered by many to be the key to prodding a reluctant international community to action.
Included in the book are a primer on Congolese history, a review of United Nations peacekeeping missions in the Congo, and a detailed examination of both US television news and New York Times coverage of the Congo from 1997 through 2008. Separate conclusions are offered with respect to peacekeeping in the Age of R2P and on the role of mass media in both promoting and inhibiting robust international responses to large-scale humanitarian crises.
Influence, Imitation, and Intertextuality
Alfred Hitchcock is arguably the most famous director to have ever made a film. Almost single-handedly he turned the suspense thriller into one of the most popular film genres of all time, while his Psycho updated the horror film and inspired two generations of directors to imitate and adapt this most Hitchcockian of movies. Yet while much scholarly and popular attention has focused on the director’s oeuvre, until now there has been no extensive study of how Alfred Hitchcock’s films and methods have affected and transformed the history of the film medium. In this book, thirteen original essays by leading film scholars reveal the richness and variety of Alfred Hitchcock’s legacy as they trace his shaping influence on particular films, filmmakers, genres, and even on film criticism. Some essays concentrate on films that imitate Hitchcock in diverse ways, including the movies of Brian de Palma and thrillers such as True Lies, The Silence of the Lambs, and Dead Again. Other essays look at genres that have been influenced by Hitchcock’s work, including the 1970s paranoid thriller, the Italian giallo film, and the post-Psycho horror film. The remaining essays investigate developments within film culture and academic film study, including the enthusiasm of French New Wave filmmakers for Hitchcock’s work, his influence on the filmic representation of violence in the post-studio Hollywood era, and the ways in which his films have become central texts for film theorists.
The Legacy of Krzysztof Kieślowski
Polish filmmaker Krzysztof Kie?lowski died unexpectedly in March 1996 at precisely the moment he had reached the height of his career and gained a global audience for his work with the Three Colors trilogy (1993–94). Since his death he has been hailed as one of the greatest and most influential directors of all time, elevated to the elite of world cinema alongside Jean Renoir, Robert Bresson, Federico Fellini, Yasujiro Ozu, Max Ophüls, and Andrei Tarkovsky. In After Kie?lowski, leading contributors diverge from the typical analysis of Kie?lowski’s work to focus on his legacy in films made after his death, including those based on his scripts and ideas and those made entirely by other filmmakers. Kie?lowski’s rich legacy is rooted in not only a very significant body of early work made before his breakthrough films but another trilogy of films that he had been working on prior to his death, several of which have gone on to be produced. Furthermore, actors and assistant directors involved with Kie?lowski also made films that develop his earlier, incomplete projects or that derive thematically and stylistically from his work. After Kie?lowski considers Kie?lowski’s legacy from three broad perspectives—the Polish, the European, and the global. Contributors trace his direct influence on filmmakers in Poland and Europe, including Jerzy Stuhr, Krzysztof Zanussi, Emmanel Finkiel, Julie Bertucelli, and Tom Tykwer, as well as points of thematic coincidence between his work and that of Jean-Luc Godard, P. T. Anderson, David Lynch, Michael Haneke, Abbas Kiarostami, and Paul Haggis. This collection also traces the reemergence of Kie?lowski’s unique visual signature in films by Ridley Scott, Santosh Sivan, John Sayles, and Julian Schnabel, and his highly original use of television serial-narrative form that is echoed in at least two major American television series, HBO’s Six Feet Under and ABC’s Lost. Examining Kie?lowski’s legacy is a way of thinking both about the unique features of Kie?lowski’s work and about issues that are now at the heart of contemporary filmmaking. Film scholars and students will appreciate this groundbreaking volume.
Rural Comedy in the Twentieth Century
There was a time when rural comedians drew most of their humor from tales of farmers' daughters, hogs, hens, and hill country high jinks. Lum and Abner and Ma and Pa Kettle might not have toured happily under the "Redneck" marquee, but they were its precursors. In Ain't That a Knee-Slapper: Rural Comedy in the Twentieth Century, author Tim Hollis traces the evolution of this classic American form of humor in the mass media, beginning with the golden age of radio, when such comedians as Bob Burns, Judy Canova, and Lum and Abner kept listeners laughing. The book then moves into the motion pictures of the 1930s, 1940s, and 1950s, when the established radio stars enjoyed second careers on the silver screen and were joined by live-action renditions of the comic strip characters Li'l Abner and Snuffy Smith, along with the much-loved Ma and Pa Kettle series of films. Hollis explores such rural sitcoms as The Real McCoys in the late 1950s and from the 1960s, The Andy Griffith Show, The Beverly Hillbillies, Green Acres, Hee Haw, and many others. Along the way, readers are taken on side trips into the world of animated cartoons and television commercials that succeeded through a distinctly rural sense of fun. While rural comedy fell out of vogue and networks sacked shows in the early 1970s, the emergence of such hits as The Dukes of Hazzard brought the genre whooping back to the mainstream. Hollis concludes with a brief look at the current state of rural humor, which manifests itself in a more suburban, redneck brand of standup comedy. Tim Hollis is the author of numerous books, including Hi There, Boys and Girls! America's Local Children's TV Programs and (with Greg Ehrbar) Mouse Tracks: The Story of Walt Disney Records.
Alan Ball: Conversations features interviews that span Alan Ball's entire career and include detailed observations and insights into his Academy Award-winning film American Beauty and Emmy Award-winning television shows Six Feet Under and True Blood. Ball began his career as a playwright in New York, and his work soon caught the attention of Hollywood television producers. After writing for the sitcoms Grace Under Fire and Cybill, Ball turned his attention to the screenplay that would become American Beauty. The critical success of this film opened up exciting possibilities for him in the realm of television. He created the critically acclaimed show Six Feet Under, and after the series finale, he decided to explore the issue of American bigotry toward the Middle East in his 2007 play All That I Will Ever Be and the film Towelhead, which he adapted and directed in the same year. Ball returned to television once again with the series True Blood--an adaptation of the humorous, entertaining, and erotic world of Charlaine Harris's vampire novels. In 2012 Ball announced that he would step down as executive producer of True Blood, in part, to produce both a new television series and his latest screenplay, What's the Matter with Margie?
Albert Maysles has created some of the most influential documentaries of the postwar period. Such films as Salesman, Gimme Shelter, and Grey Gardens continue to generate intense debate about the ethics and aesthetics of the documentary form. In this in-depth study, Joe McElhaney offers a novel understanding of the historical relevance of Maysles. By closely focusing on Maysles's expressive use of his camera, particularly in relation to the filming of the human figure, this book situates Maysles's films within not only documentary film history but film history in general, arguing for their broad-ranging importance to both narrative film and documentary cinema. Complete with an engaging interview with Maysles and a detailed comparison of the variant releases of his documentary on the Beatles (What's Happening: The Beatles in the U.S.A. and The Beatles: The First U.S. Visit), this work is a pivotal study of a significant filmmaker.
This in-depth study of Mexican film director Alejandro Gonzalez Inarritu explores his role in moving Mexican filmmaking from a traditional nationalist agenda toward a more global focus. Working in the United States and in Mexico, Inarritu crosses national borders while his movies break the barriers of distribution, production, narration, and style. His features also experiment with transnational identity as characters emigrate and settings change. In studying the international scope of Inarritu's influential films Amores Perros, 21 Grams, and Babel, Celestino Deleyto and Maria del Mar Azcona trace common themes such as human suffering and redemption, chance, and accidental encounters. The authors also analyze the director's powerful visual style and his consistent use of multiple characters and a fragmented narrative structure. The book concludes with a new interview of Inarritu that touches on the themes and subject matter of his chief works.
Themes and Variations
The essays in American Cinema 1890-1909 explore and define how the making of motion pictures flowered into an industry that would finally become the central entertainment institution of the world. Beginning with all the early types of pictures that moved, this volume tells the story of the invention and consolidation of the various processes that gave rise to what we now call "cinema."