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The Genre at the Turn of the Millennium
Creatively spent and politically irrelevant, the American horror film is a mere ghost of its former self-or so goes the old saw from fans and scholars alike. Taking on this undeserved reputation, the contributors to this collection provide a comprehensive look at a decade of cinematic production, covering a wide variety of material from the last ten years with a clear critical eye. Individual essays profile the work of up-and-coming director Alexandre Aja and reassess William Malone's muchmalignedFeardotcom in the light of the torture debate at the end of President George W. Bush's administration. Other essays look at the economic, social, and formal aspects of the genre; the globalization of the U.S. film industry; the alleged escalation of cinematic violence; and the massive commercial popularity of the remake. Some essays examine specific subgenres-from the teenage horror flick to the serial killer film and the spiritual horror film-as well as the continuing relevance of classic directors such as George A. Romero, David Cronenberg, John Landis, and Stuart Gordon.Essays deliberate on the marketing of nostalgia and its concomitant aesthetic, and the curiously schizophrenic perspective of fans who happen to be scholars as well. Taken together, the contributors to this collection make a compelling case that American horror cinema is as vital, creative, and thought-provoking as it ever was.
The Life and Films of Thomas Dixon
" Thomas Dixon has a notorious reputation as the writer of the source material for D.W. Griffith’s groundbreaking and controversial 1915 feature film The Birth of a Nation . Perhaps unfairly, Dixon has been branded an arch-conservative and a racist obsessed with what he viewed as “the Negro problem.” As American Racist makes clear, however, Dixon was a complex, multitalented individual who, as well as writing some of the most popular novels of the early twentieth century, was involved in the production of some eighteen films. Dixon used the motion picture as a propaganda tool for his often outrageous opinions on race, communism, socialism, and feminism. His most spectacular production, The Fall of a Nation (1916), argues for American preparedness in the face of war and boasts a musical score by Victor Herbert, making it the first American feature film to have an original score by a major composer. Like the majority of Dixon’s films, The Fall of a Nation has been lost, but had it survived, it might well have taken its place alongside The Birth of a Nation as a masterwork of silent film. Anthony Slide examines each of Dixon’s films and discusses the novels from which they were adapted. Slide chronicles Dixon’s transformation from a major supporter of the original Ku Klux Klan in his early novels to an ardent critic of the modern Klan in his last film, Nation Aflame. American Racist is the first book to discuss Dixon’s work outside of literature and provide a wide overview of the life and career of this highly controversial twentieth-century southern populist. Anthony Slide is the author of numerous books, including Silent Players: A Biographical and Autobiographical Study of 100 Silent Film Actors and Actresses.
The Work of NBC's Stockton Helffrich
In America's First Network TV Censor, Robert Pondillo uses the records of Stockton Helffrich, the first manager of the NBC censorship department, to look at significant subjects of early censorship and how Helffrich used censorship to promote positive changes in the early days of television in the 1940s and 1950s.
Cultural Mobility and Exchange in New York, 1952-2011
America’s Japan and Japan’s Performing Arts studies the images and myths that have shaped the reception of Japan-related theater, music, and dance in the United States since the 1950s. Soon after World War II, visits by Japanese performing artists to the United States emerged as a significant category of American cultural-exchange initiatives aimed at helping establish and build friendly ties with Japan. Barbara E. Thornbury explores how “Japan” and “Japanese culture” have been constructed, reconstructed, and transformed in response to the hundreds of productions that have taken place over the past sixty years in New York, the main entry point and defining cultural nexus in the United States for the global touring market in the performing arts. Thornbury crosses disciplinary boundaries in her wide range of both primary sources and published scholarship, making the book of interest to students and scholars of performing arts studies, Japanese studies, and cultural studies.
Science and Soul in Science Fiction Films
Science fiction films, from the original Frankenstein and The Fly to Blade Runner and The Terminator, traditionally have been filled with aliens, spaceships, androids, cyborgs, and all sorts of robotic creatures along with their various creators. The popular appeal of these characters is undeniable, but what is the meaning of this generation of creatures? What is the relationship of mad scientist to subject, of human to android, of creature to creator?
Androids, Humanoids, and Other Folklore Monsters is a profound investigation of this popular cultural form. Starting his discussion with the possible source of these creatures, anthropologist and writer Per Schelde identifies the origin of these critters in the folklore of past generations. Continuing in the tradition of ancient folklore, contends Schelde, science fiction film is a fictional account of the ongoing battle between nature and culture. With the advance of science, the trolls, dwarves, pixies, nixies, and huldres that represented the unknown natural forces of the world were virtually killed off by ever-increasing knowledge and technology. The natural forces of the past that provided a threat to humans were replaced by the danger of unknown scientific experiments and disasters, as represented by their offspring: science fiction monsters.
As the development of genetics, biomedical engineering, and artificial intelligence blur the lines between human and machine in the real world, thus invading the natural landscape with the products of man's techno-culture, the representation of this development poses interesting questions. As Per Schelde shows, it becomes increasingly difficult in science fiction film to define the humans from their creations, and thus increasingly difficult to identify the monster.
Unlike science fiction literature, science fiction film has until now been largely neglected as a genre worthy of study and scholarship. Androids, Humanoids, and Other Folklore Monsters explores science fiction (sf) film as the modern incarnation of folklore, emblematic of the struggle between nature and culturebut with a new twist.
Schelde explains how, as science conquered the forests and mountains of the wild, the mythic creatures of these realmstrolls, elves, and ogreswere relegated to cartoons and children's stories. Technology and outer space came to represent the modern wild, and this new unknown came alive in the popular imagination with the embodiments of our fears of that unknown: androids, cyborgs, genetics, and artificial intelligence gone awry. Implicit in all of these is a fear, and an indictment, of the power of science to invade our minds and bodies, replacing the individual soul with a mechanical, machine-made one.
Focusing his analysis on sixty-five popular films, from Frankenstein and Metropolis to Invasion of the Body Snatchers, The Terminator, and Blade Runner, Per Schelde brings his command of traditional folklore to this serious but eminently readable look at SF movies, decoding their curious and often terrifying images as expressions of modern man's angst in the face of a rapidly advancing culture he cannot control. Anyone with an interest in popular culture, folklore, film studies, or science fiction will enjoy this original and comprehensive study.
Animals, Cartoons, and Culture
The Animated Bestiary critically evaluates the depiction of animals in cartoons and animation more generally. Paul Wells argues that artists use animals to engage with issues that would be more difficult to address directly because of political, religious, or social taboos.
From Mickey to WALL-E
Animators work within a strictly defined, limited space that requires difficult artistic decisions. The blank frame presents a dilemma for all animators, and the decision of what to include and leave out raises important questions about artistry, authorship, and cultural influence. In Animating Space: From Mickey to WALL-E, renowned scholar J. P. Telotte explores how animation has confronted the blank template, and how responses to that confrontation have changed. Focusing on American animation, Telotte tracks the development of animation in line with changing cultural attitudes toward space and examines innovations that elevated the medium from a novelty to a fully realized art form. From Winsor McCay and the Fleischer brothers to the Walt Disney Company, Warner Bros., and Pixar Studios, Animating Space explores the contributions of those who invented animation, those who refined it, and those who, in the current digital age, are using it to redefine the very possibilities of cinema.
Hollywood's Forgotten Rebel
Possessing a unique beauty and refined acting skills, Ann Dvorak (1911--1979) found success in Hollywood at a time when many actors were still struggling to adapt to the era of talkies. Seemingly destined for A-list fame, critics touted her as "Hollywood's New Cinderella" after film mogul Howard Hughes cast her as Cesca in the gangster film Scarface (1932). Dvorak's journey to superstardom was derailed when she walked out on her contractual obligations to Warner Bros. for an extended honeymoon. Later, she initiated a legal dispute over her contract, an action that was unprecedented at a time when studios exercised complete control over actors' careers.
As the first full-length biography of an often-overlooked actress, Ann Dvorak: Hollywood's Forgotten Rebel explores the life and career of one of the first individuals who dared to challenge the studio system that ruled Tinseltown. The actress reached her pinnacle during the early 1930s, when the film industry was relatively uncensored and free to produce movies with more daring storylines. She played several female leads in films including The Strange Love of Molly Louvain (1932), and Three on a Match (1932), and Heat Lightning (1934), but after her walk-out, Warner Bros retaliated by casting her in less significant roles.
Following the casting conflicts and illness, Dvorak filed a lawsuit against the Warner Bros. studio, setting a precedent for other stars who eventually rebelled against the established Hollywood system. In this insightful memoir, Christina Rice explores the spirited rebellion of a talented actress whose promising career fell victim to the studio empire.