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scholarly journals Steven’s Spectres: Stranger Things in Small-Town USA

2020 ◽  
Vol 38 ◽  
pp. 94-102
Author(s):  
Rareș Moldovan ◽  
Keyword(s):  
Popular Culture ◽  
Small Town ◽  
American Film ◽  
Steven Spielberg ◽  
Ivan Reitman ◽  
Tv Show ◽  
Robert Zemeckis

In recent years, the 80s and the attached plethora of cultural synecdoches have been haunting various genres of American film and TV. Often both the cinematic form and the content of these recirculations are structured around tropes established in the period by directors such as Steven Spielberg, John Carpenter, Robert Zemeckis, Richard Donner, Rob Reiner, Ivan Reitman and others. The paper considers the case of the Netflix TV show Stranger Things, directed by the Duffer brothers, attempting to read its spectral physiognomy and filiations, as well as to interpret its theoretical undertones in popular culture. The paper will analyze the theoretical implications between the small town of the story and the placeholder planetary spaces it is distributed to, as well as the curious palimpsest of temporalities manifest in the show’s stories, the show itself as a global product and its distribution

scholarly journals ¿Estás listo para el verano? Meatballs (1979) de Ivan Reitman: Una remembranza cinéfila

Mester ◽  
2016 ◽  
Vol 44 (1) ◽  
Author(s):  
Alberto Fuguet
Keyword(s):  
Ivan Reitman

Versatile and enduring, Lauren Shuler Donner stands among the leading producers working in Hollywood today. Her movies have resonated critically and commercially—raking in billions at the box ofce worldwide—while several also have become dening lms of their particular decade. Shuler Donner’s rst feature lm, comedy Mr. Mom (1983), developed from an original idea by writer John Hughes, was a break-out success and helped launch both Hughes’ and actor Michael Keaton’s movie careers. She went on to produce 1980s favorites such as Joel Schumacher’s St. Elmo’s Fire (1985), Hughes’ Pretty in Pink (1986), and Ladyhawke (1985). The latter, starring Michelle Pfeiffer, was directed by her then husband-to-be, Richard Donner, with whom she now runs production shop The Donners’ Company. In the 1990s, with a producer deal at Warner Bros., Shuler Donner made political comedy Dave with director Ivan Reitman, and also produced whale adventure movie Free Willy (which spawned sequels and a TV series). Both lms were box-ofce highlights of 1993. They were followed by more standouts, including Nora Ephron’s romantic comedy You’ve Got Mail (1998), starring Meg Ryan and Tom Hanks, and Oliver Stone’s football drama Any Given Sunday (1999). Among Shuler Donner’s executive producer credits is Warren Beatty’s hip-hop political satire Bulworth (1998). In the next decade, Shuler Donner ramped up the comic book-based X-Men franchise, which has yielded multiple sequels and spin-offs for Twentieth Century Fox. The producer also managed to work on movies such as Southern period drama The Secret Life of Bees (2008) and family comedy Hotel for Dogs (2009). Entering her fourth decade as a lm producer, Shuler Donner has various projects percolating. Among them, an X-Men: First Class sequel, as well as The Wolverine (2013), starring Hugh Jackman.

2013 ◽  
pp. 153-154
Keyword(s):  
Twentieth Century ◽  
Hip Hop ◽  
Comic Book ◽  
Political Satire ◽  
Romantic Comedy ◽  
Political Comedy ◽  
Original Idea ◽  
Fourth Decade ◽  
Production Shop ◽  
Ivan Reitman
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