Oxford University Press's
Academic Insights for the Thinking World
By Mitch Kachun
Like many scholars who study nineteenth century African American history and literature, I am excited by the attention surrounding the newly released film, 12 Years a Slave, based on the experiences of Solomon Northup, a free black man from New York who was kidnapped in 1841 and sold into slavery.
By Jill L. Levensen
In its fall preview issue for 2013 (dated 2-9 September), New York magazine lists Romeo and Juliet with other films opening on 11 October 2013, and it comments: “Julian Fellowes (the beloved creator of Downton Abbey) tries to de-Luhrmann-ize this classic.” The statement makes two notable points.
By Christine Sismondo
“Where everybody knows your name.” Easily one of the best phrases ever written. That string of five words summed up the idea of the “local,” a refuge from the dynamism of modernity where a small clutch of people get together nearly every day to shoot the shit over a pint – or four.
In a Reddit AMA session a few months ago, Bryan Cranston was asked when he thought his character on Breaking Bad broke bad. His response: “My feeling is that Walt broke bad in the very first episode. It was very subtle but he did because that’s when he decided to become someone that he’s not in order to gain financially. He made the Faustian deal at that point and everything else was a slippery slope.”
Reflecting on his futuristic 2002 film Minority Report, Steven Spielberg said “one of the most exciting scenes” he had to shoot was this action scene – in which two characters (John and Agatha) traverse a busy shopping mall with armed police in pursuit, relying on Agatha’s ability to see into the future in order to hide and successfully evade capture.
By Scott Trudell
In the opening shots of Vince Gilligan’s Breaking Bad, a pair of khaki pants is suspended, for a tranquil moment, in the desert air. The pants are then unceremoniously run over by an RV methamphetamine lab with two murdered bodies in back. When the camper crashes into a ditch, the driver Walter White (played by Bryan Cranston) gets out.
Following last year’s release of On the Road, adapted by director Walter Salles from the legendary Jack Kerouac novel published in 1957, two more Beat Generation movies are on the way. Big Sur, a November release directed by Michael Polish, stars Jean-Marc Barr, Stana Katic, Anthony Edwards, and Radha Mitchell in a story based on Kerouac’s 1962 novel about his efforts to shake off inner demons at an isolated cabin near the California coast.
By Douglas Kerr
The ghost of Sherlock Holmes started life (if that’s the word) early. Conan Doyle sent the detective plunging over the Reichenbach Falls in the grip of Professor Moriarty in “The Final Problem,” published in the Strand magazine in December 1893. The following year, music-hall audiences were joining in the chorus of a popular song, written by Richard Morton and composed and sung by H. C. Barry.
June marks the end of a long season for professional basketball in the US—the National Basketball Association (NBA) playoff finals cap the end of a season that begins in October. American television broadcasts professional basketball games just as it does other major sports, and seeks to draw an audience for sports telecasts by dramatizing broadcasted games. To help draw audiences, many networks use dramatic theme music for the games.
By Arthur P. Shimamura
As a child, I encountered the Man of Steel in the Adventures of Superman, the 1950s TV series that I watched as morning reruns a decade later. My Superman was “faster than a speeding bullet” and fought for “truth, justice and the American way.” My 26-year-old son, Thomas, encountered a similarly invincible superhero in Superman: The Movie, the 1978 blockbuster which starred Christopher Reeve.
By Robin Rosenberg
I like Superman—as a character, as a superhero, as an embodiment of (certain) values. I looked forward to seeing Man of Steel this summer. Although I was disappointed, I’ll start with its strengths. Warning: Spoilers ahead.
By Suzanne Walker
The night I saw The Avengers for the first time, I took the train back to my apartment and immediately dashed off the following email to a friend of mine: “The Avengers was amazing, I can’t even describe it. Feeling strangely fearless about life, and my head is filled with too many intellectual thoughts about superheroes.”
Is it a bird? Is it a plane? Is it another Superman-related blogpost to tie in with today’s release of Man of Steel? Hold on to the bulging blue bicep of Oxford University Press and prepare to gaze below in wonder as we take you on a ride over the past 80 years of Superman.
What do you get when you combine Hollywood, African American actors, gritty urban settings, sex, and a whole lot of action? Some would simply call it a recipe for box office success, but since the early 1970s, most people have known this filmmaking formula by the name “Blaxploitation.” Blaxploitation cinema occupies a fascinating place in the landscape of American pop culture.
By Arthur P. Shimamura
Our memories, in many ways, define who we are as an individual or at least who we think we are. In the recent documentary, Stories We Tell, filmmaker Sarah Polley presents her own tale of the search for her biological father. Through interviews with relative and friends, snapshots, and re-enactments of pertinent events that look like old home movies, the documentary moves like a real-life Rashomon, wherein bits of the “truth” are revealed from various points of views.
By Philip V. Bohlman and Dafni Tragaki
In the spirit of the Eurovision Song Contest motto for 2013 “We Are One,” we seek the common space afforded by dialogic reflections on the European unity that has inspired and eluded the Eurovision since 1956. We search to rescue stretto from the fragments of the largest and most spectacular popular-music competition in the world.