paul swann. The Hollywood Feature Film in Postwar Britain. New York: St. Martin's. 1987. Pp. 168. $29.95

1988 ◽  
Keyword(s):  
New York ◽  
Feature Film

Mythology

Ridley Scott ◽  
2019 ◽  
pp. 78-83
Author(s):  
Vincent LoBrutto
Keyword(s):  
New York ◽  
Fairy Tale ◽  
Original Version ◽  
Ridley Scott ◽  
Feature Film ◽  
Big Brother ◽  
Box Office ◽  
The Future ◽  
To Come ◽  
Athletic Woman

In the Orwellian year of 1984, during Super Bowl XVIII, a commercial for Apple’s Mackintosh computer ran and became one of the most eye-catching and provocative sixty-second spots ever made. It was never shown again on television. As directed by Ridley Scott, the commercial portrays the grim world of the future dominated by Big Brother until a beautiful, athletic woman liberates everyone. For his next feature film Scott embraced the fantasy genre with Legend, a good versus evil tale set it a mythical land. Disaster hit the production when the entire elaborate set burned down. Miraculously, no one was injured, and the fairy tale environment was quickly rebuilt. The original version of Legend did poorly in front of test audiences and Scott cut it down radically, which hurt the film even more at the box office. In 1986 Ridley Scott Associates was expanded with the addition of a New York office, with more to come in the future.

The Film Kids 25 Years On: A Qualitative Study of Rape Culture and Representations of Sexual Violence in Skateboarding

Young ◽  
2020 ◽  
pp. 110330882096645
Author(s):  
Indigo Willing
Keyword(s):  
New York ◽  
Sexual Violence ◽  
Sexual Coercion ◽  
Cultural Dimensions ◽  
Rape Culture ◽  
25Th Anniversary ◽  
Feature Film ◽  
Male Power ◽  
The Social ◽  
Feminist Theories

This article examines the 1995 fictional feature film Kids, which locates its story in skateboarding culture. The film reached its 25th anniversary in 2020; it is directed by Larry Clark and written by Harmony Korine, both recognizable figures in skateboarding, and it featured a cast of youth from the New York skateboarding scene. The research analyses narrative content that depicts sexual coercion and rape. Contemporary social and feminist theories of sexual violence, rape culture and media on the film inform the analysis. The discussion points to how the characters that the boys play embody forms of hegemonic masculinity, pointing to the social and cultural dimensions of male power and how sexual violence can be an element of that. The article also presents an occasion to reflect on such issues in skateboarding culture more widely, with emerging insights that can be useful to studies of other male-dominated youth cultures, lifestyle sports and subcultures.

scholarly journals The Time Capsule and the Cut-Up: Negotiating Temporality, Anticipating Catastrophe

2020 ◽  
Vol 37 (7-8) ◽  
pp. 95-114
Author(s):  
John Beck ◽  
Mark Dorrian
Keyword(s):  
New York ◽  
Atomic Bomb ◽  
World's Fair ◽  
Feature Film ◽  
Complex Relation ◽  
New York World's Fair ◽  
The Face ◽  
Time Capsule ◽  
And Control

The first feature film made about the design and deployment of the atomic bomb, The Beginning or the End (1947), begins with fake newsreel footage depicting the burial in a time capsule of a copy of the film and a projector to show it on. The scene, with its funereal overtones yet grim optimism that, even in the face of catastrophic destruction, the germ of civilization will endure, recalls the ceremonies surrounding the interment of the Westinghouse time capsule at the New York World’s Fair in 1939. Time capsules, this article argues, stand in a complex relation to war and temporality, seeking to at once anticipate and work through the challenge posed to futurity by the threat of global conflict. As a container, the capsule attempts to deliver and control the reception of a legible inventory of the present, yet the principle of selection and the impossibility of predicting how information might be received in the deep future – if it is received at all – threatens this aim. The dilemma faced by time capsule curators is, we argue with reference to William Burroughs’ and Brion Gysin’s so-called cut-up method of writing, one of control. By reading the time capsule through the cut-up, anticipated catastrophe can be seen to be functioning proleptically in the present and already active as a challenge to the capsule as proof against disaster.

scholarly journals Pierwsza ekranizacja Pana Twardowskiego

2017 ◽  
Vol 20 (29) ◽  
pp. 149-160
Author(s):  
Małgorzata Hendrykowska ◽  
Marek Hendrykowski
Keyword(s):  
New York ◽  
Film Adaptation ◽  
Feature Film ◽  
Part Feature

The article discusses the oldest recorded film adaptation of the legend of Pan Twardowski, found in the archives of the George Eastman House in Rochester, New York. The two-part feature film was filmed in Russia between 1916 and 1917, and its creator was the famed Polish filmmaker Władysław Starewicz.

Claims to Native Identity in Children’s Literature

2019 ◽  
Vol 43 (4) ◽  
pp. 123-132
Author(s):  
Debbie Reese
Keyword(s):  
United States ◽  
New York ◽  
Children's Literature ◽  
American Indian ◽  
Children’S Literature ◽  
New York Times ◽  
The United States ◽  
Feature Film ◽  
Native Identity ◽  
The Gift

This commentary essay examines several individuals who wrote books for children and made claims to Native identity that are fraudulent, or otherwise problematic. Asa Carter, for example, posed as a Cherokee named “Forrest Carter” and published The Education of Little Tree, put forth as the autobiography of someone who had been on the Trail of Tears. So popular that it was published in Korean, Turkish, Czeck, Slovenian, and Spanish, in 1997 Little Tree became a feature film. Although the author’s fraud was exposed in The New York Times, the book continues to be published. Jamake Highwater, posing as a Blackfoot/Cherokee, won the most prestigious children’s literature award, the Newbery Honor given by the American Library Association, for Anpao: An American Indian Odyssey, in 1978. Paul Goble is a British writer who loved American Indian stories so much that he moved to the United States to live near Plains tribes, where he was given a Native name. Both that name and the ways he spoke of the gift led people to believe that he had been adopted into the Lakota tribe. Like Carter and Highwater, but more prolific, Goble’s books sell well in a market that retains narrow and stereotypical views of Native peoples. The essay concludes by discussing the ways that the works of Carter, Highwater, and Goble impact publishing today.

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