“The Foxes of Harrow” (1946), a Southern historical romance by Black Irish-American author Frank Yerby (1916–1991), writes back to Margaret Mitchell’s bestselling novel, “Gone with the Wind” (1936). Although Yerby and Mitchell were both raised in Georgia during segregation by mothers of Irish descent, their socially assigned racial identities created divergent approaches to representing the pre- and post-Civil War South in their respective novels.
Marilyn Monroe attended the Oscars only once in 1951, before the Academy Awards were even televised. Ana de Armas is nominated for playing Monroe in Blonde this year, but Marilyn’s work as an actress is rarely given the recognition it deserves.
“It is a truth universally acknowledged…” that there is no such thing as too many period dramas—at least, this remains true for those of us who are drawn to them, time and time again. Watching period dramas bring with them a sense of comfort as they transport the viewer to a world that is so […]
In Jane Campion’s 1993 film “The Piano”, and her new film, “The Power of the Dog”, the grand piano serves as more than the emblematic instrument of feminine domestic music-making and of European bourgeois culture transported to the hinterlands of the nation or empire; it also functions as a gender technology because it regulates the metaphorical sound-body of the woman who plays it.
Listen to season three of The VSI Podcast for concise and original introductions to a selection of our VSI titles from the authors themselves.
François Truffaut is among the few French directors whose work can be labeled as “pure fiction.” He always professed that films should not become vehicles for social, political, religious, or philosophical messages.
Charlie Chaplin was certainly the greatest mime, probably the greatest actor, and arguably the greatest artist in any medium in the twentieth century. As self-transformations go, his personal rags-to riches story is hard to match. But the theme of metamorphosis also permeates his movies.
Do Hollywood’s portrayals of policing matter as much as the industry’s material entwinement with law enforcement—as much as the working relationships pursued beyond the screen? Instead of conceding that the consumers of popular media are eminently capable of thinking for themselves (and thus of resisting flattering depictions of power), more and more commentators are calling for the complete elimination of cop shows, cinematic police chases, and other, ostensibly entertaining images of law enforcement.
A Charlie Brown Christmas was never supposed to be a success. It hit on all the wrong beats. The pacing was slow, the voice actors were amateurs, and the music was mostly laid back piano jazz (the opening theme, “Christmas Time is Here,” carried a strange, wintery melody built on unconventional modal chord progressions). It was almost like the program was constructed as a sort of anti-pop statement. In many ways, that’s exactly what it was. And that’s exactly why it so worried the media executives who had commissioned it.
In the fall of 1999, another action movie came and went, garnering disappointed reviews and a pittance in ticket sales. Adapted from Michael Crichton’s novel “Eaters of the Dead”, The 13th Warrior offered a surprising premise.
From its origins as an ancient Celtic festival celebrating the end of the harvest, over time Halloween has evolved into a day of trick-or-treating, scary films, costumes, and carving pumpkins.
The SHAPE (Social Sciences, Humanities, and the Arts for People and the Economy) initiative advocates for the value of the social sciences, humanities, and arts subject areas in helping us to understand the world in which we live and find solutions to global issues. As societies around the world respond to the immediate impact of the COVID-19 pandemic, research from SHAPE disciplines has the potential to illuminate how societies process and recover from various social crises.
Listen to season two of The VSI Podcast for concise and original introductions to a selection of our VSI titles from the authors themselves.
There has always been some perceived affinity between the submissive Ophelia and East Asian women. Ophelia is a paradox in world literature. Even when she appears to depend on others for her thoughts like her Western counterpart, the Ophelias in Asian adaptations adopt some rhetorical strategies to make themselves heard, balancing between eloquence and silence, shattering the stereotypes about docile Asian women.
OUP have recently announced our support for the newly created SHAPE initiative—Social Sciences, Humanities, and the Arts for People and the Economy. To further understand the crucial role these subjects play in our everyday lives, we have put three questions to four British Academy SHAPE authors and editors—social and cultural historian Lucy Noakes, historian of objects and faith Eyal Poleg, historical sociolinguist Laura Wright, and Lecturer in Contemporary Art History Mary Kelly—on what SHAPE means to them, and to their research.
It is no secret that movies about Hollywood come with built-in Oscar buzz. Hollywood loves movies about Hollywood, the saying goes.