Just days before Marlon Brando’s 93rd birthday on 3 April, Barack Obama announced that he will write his presidential memoirs at an exotic South Pacific hideaway once owned by Brando. Thirty miles north of Tahiti and accessible only by boat or small aircraft, the island of Tetiaroa was transformed into a high-end resort after Brando […]
Shadows is the first film John Cassavetes directed and, regarding the version he released in 1959, it is the only film he created that distinctly explores themes of Blackness and Black identity in an American urban landscape. Too Late Blues, A Woman Under the Influence, The Killing of a Chinese Bookie, and Love Streams all depict identity and race in different and attention-worthy ways as well, but none of Cassavetes’ directorial work after 1959 engages with these topics to the same degree or with the same immediacy.
Early in the 1957 film A King in New York, the second-to-last feature that Charlie Chaplin would write and direct and the last in which he would star, an unusual debate erupts between the two principal characters, one an exiled monarch and the other a precocious schoolboy.
For more than a century, capitalism has been the dominant planetary system for supplying people with, quite literally, their daily bread. It transformed our cultures and knit us together in a global network of buying and selling. But how do we understand it? How do we make sense of it? What do we talk about when we talk about capitalism? Recently we did a study to track talk of capitalism over two hundred years.
Thanks to everyone who joined us at the Society of Cinema and Media Studies 2017 annual conference. OUP’s Media Studies team had a great time in Chicago, attending conference sessions and meeting with authors and conference goers alike.
This March, the Oxford University Press cinema and media studies editorial and marketing team will see you in chilly Chicago for the SCMS annual conference. We’ve listed our favorite sessions below. And, don’t forget to test your film expertise with our film quotes quiz.
Four days after Donald Trump’s inauguration, an unlikely novel reached the top of Amazon’s bestseller list. It was not the latest potboiler by John Grisham, Stephen King, or any other likely suspect. Topping the list on 24 January was 1984, George Orwell’s 68-year-old masterpiece about a dystopian society in which the ruling authorities routinely alter the meanings of words and facts to suit their own purposes.
American screenwriter, author, and director of over 20 films, Sam Fuller influenced the work of filmmakers the likes of Jim Jarmusch, Quentin Tarantino, and Luc Moullet.
The perceived failures of election forecasting in 2016 have caused many to suggest the polls are broken. However, scholars are quick to point out that more than polling failure this election has demonstrated that people have a hard time thinking probabilistically about election outcomes. Our research suggests skewed media coverage of polls may also be to blame: News media are likely to cover the most newsworthy polls.
Hitchcock’s famous Psycho (1960) has an enduring legacy in the slasher-horror genre. Its impact on this genre is an enduring one, as suggested by the A&E series Bates Motel, culminating with Rihanna cast in Janet Leigh’s indelible role (Figure 1). Perhaps its most striking contribution, however, is its thematization of a figure I call the death-mother.
Stories that link diseases to their possible causes are popular, and often generate humour, bemusement, and skepticism. Readers assume that today’s health hazards will be tomorrow’s health saviours. Rod Liddle’s headline in the Sunday Times is an example: “Toasties get you laid, fat prevents dementia and I’m a sex god.” Liddle starts with some fun statistics showing that those who ate cheese toasties had more enjoyable sex than those who did not.
For a long time, people in other countries had to watch American war films. Now they are making their own. In recent years, Russia and Germany have produced dueling filmic visions of their great contest on World War II’s Eastern Front. Paid for with about $30 million in state money, Stalingrad, directed by Feder Bondarchuk grossed around $50 million within weeks of hitting Russian screens in October, 2013.
Some decades ago, British film scholar Laura Mulvey showed us that movies possessed a male gaze. That is, the viewer was assumed to be a man — a straight, white one — and films were created by men to entertain men like them.We’ve made some progress. Among this year’s Academy Award nominees are eighteen African Americans, five Asian Americans, and one native-born Hispanic American.
From dreams of Prince Charming or dashing doctors in white coats, to the lure of dark strangers and vampire lovers; from rock stars and rebels to soulmates, dependable family types or simply good companions, female fantasies about men tell us as much about the history of women as about masculine icons. The timeline below highlights ten heartthrobs, fictional and real, that set hearts aflutter over the decades.
Fake news has always had a presence American politics. No less an august figure than Benjamin Franklin partook of the practice. In 1782 Franklin generated a fake version of a real Boston newspaper, featuring his own inspired but false story about American troops uncovering bags of scalps to be sent to the King of England. As the story was spun, the scalps were intended to win the King’s friendship toward Native Americans.
Wiseman’s films are often, yet mistakenly, grouped with his contemporaries Richard Leacock, D.A. Pennebaker, and Albert and David Maysles as part of the American direct cinema movement of the 1960s and 70s. These filmmakers, like Wiseman, were using recently developed lightweight, portable 16mm cameras with synchronized sound recording equipment to capture events spontaneously, but there the similarity to Wiseman ends.