It is no secret that movies about Hollywood come with built-in Oscar buzz. Hollywood loves movies about Hollywood, the saying goes.
Can humor have a temperature? Do some like their comedy hot or cold? A quick survey of movies from Norway and Brazil invites us to consider how climate and geography can affect a people’s sense of humor.
This second part of our Q&A with Sophie Goldsworthy, Director of Content Strategy & Acquisitions at OUP, and Professor Julia Black CBE FCA, Strategic Director of Innovation and Professor of Law at the London School of Economics and Political Science, and President-elect of the British Academy, reflects on how SHAPE disciplines can help us to understand the impact of the events of the pandemic and look towards the future of SHAPE.
OUP is excited to support the newly created SHAPE initiative—Social Sciences, Humanities, and the Arts for People and the Economy. SHAPE has been coined to enable us to clearly communicate the value that these disciplines bring to not only enriching the world in which we live, but also enhancing our understanding of it. In the first instalment this two-part Q&A, we spoke to Sophie Goldsworthy and Professor Julia Black to find out more about SHAPE and what it means to them.
Since the 19th century, stage and film directors have mounted hundreds of adaptations of Shakespeare drawn on East Asian motifs, and by the late 20th century, Shakespeare had become one of the most frequently performed playwrights in East Asia.
Had he lived, Bruce Lee would have been 80 on 27 November 2020. This anniversary will be marked by countless people and innumerable institutions all over the world, from China to Russia to the USA, and almost everywhere in between. This is because, in the space of a few episodes of a couple of US TV series and four martial arts films, Bruce Lee changed global popular culture forever.
It has come to this. We have reached an arbitrary new landmark in COVID-19 deaths in the United States. Inexorably oncoming, some respected epidemiologists are spooked by the specter of more waves and say we may go to 1 million. Such numbers would not make this pandemic any more unique. These large numbers, as any […]
On 3 July 2020, Lin-Manuel Miranda’s Hamilton—perhaps somewhat inadvertently—took its place alongside decades of Broadway shows and stars which had helped foster an awareness of American race relations via the small screen. When Disney won the $75 million bidding war for the global theatrical distribution rights of Hamilton, the filmed recording of the show’s original cast performing […]
At a time when Hong Kong’s status as a semi-autonomous region of the People’s Republic of China is under threat, we should not forget what the area’s former independence from the mainland once meant for its citizens and their cultural identity. During the 99 years that Hong Kong was under British governance, the tiny territory […]
Many of the top box office hits in France are little known in the United States and most have been comedies. While some of these have been remade by Hollywood (think of The Birdcage in 1996, Dinner for Schmucks in 2010, or The Upside in 2017), rarely are the remakes as good as the originals. […]
Comedy has always offered swift relief in times of stress. A good laugh can be good therapy, can lift us out of sadness and depression. Our sense of humor can restore us to high spirits and renew our sense of hope. Some scientists even believe that humor activates pathways in our brain that circumvent the […]
There are many ways people are passing time with staying home during the pandemic. Some are taking up new hobbies. Some are exploring virtual museums. Some may even be preparing for a neighborhood sing-along out their windows. But many people are turning to television to provide entertainment, comfort, and/or escape. Since the late 1990s, as […]
The film industry started making jazz-related features as soon as synchronized sound came in, in 1927: “I’m gonna sing it jazzy,” Al Jolson’s Jack Robin optimistically declares in the pioneering talkie The Jazz Singer, before taking off on Irving Berlin’s “Blue Skies.” (He gets closer to the jazzy mark whistling a quasi-improvised chorus of “Toot Toot […]
Unfinished works tease us. They come with baggage. They cling to their authors whose lives, in turn, weigh heavy upon them. Why were they broken off? How might they be continued?
The summer of 1939 was busy for Metro-Goldwyn-Mayer, one of Hollywood’s major studios, as it rolled out The Wizard of Oz, a movie musical almost two years in preparation. The budget for production and promotion was almost $3 million, making it MGM’s most expensive effort up to that time. A June radio broadcast introduced the songs and characters to the public.
The endtime is coming. The night is very long indeed; sun and moon have vanished. From the east march the frost-giants, bent on the destruction of all that is living. From the south come fiery powers, swords gleaming brightly. A dragon flies overhead. And, terrifyingly, the dead are walking too.