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Digital Nazis

Nazisploitation! : The Nazi Image in Low-Brow Cinema and Culture

Continuum, 2012

Book chapter

2

... in On a Silver Platter: CD-ROMs and the Promises of a New Technology, ed. Greg M. Smith, 132–50 (New York and London: New York University Press, 1999). Part of learning how to play a particular game is thus learning an underlying...

Whisper Campaign on Catfish Row: Sidney Poitier and Porgy and Bess

Poitier Revisited : Reconsidering a Black Icon in the Obama Age

Bloomsbury Academic, 2015

Book chapter

3

... Also destroyed in the fire were the studio's collection of props, all of the original acetate sound recordings for Goldwyn's films, and the Catfish Row set for Porgy and Bess (1959), which production designer Oliver Smith had built...

Maya Lin: A Strong Clear Vision

Jeff Swimmer

Jeff Swimmer is Associate Professor at Chapman University’s Dodge College of Film and Media Arts, USA, where he teaches Documentary Production and directs the renowned International Documentary program. He is an award-winning Writer and Producer of documentary films on both sides of the Atlantic. His programs have aired on BBC, PBS, NBC News, HBO, A&E, CNN, DISCOVERY, THE HISTORY CHANNEL, TRAVEL CHANNEL, ARTE and many others. His 2001 Northern Ireland: Dying For Peace (Supervising Producer, CNN) won a DuPont Award in 2001. Author affiliation details are correct at time of print publication.

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Documentary Case Studies : Behind the Scenes of the Greatest (True) Stories Ever Told

Bloomsbury Academic, 2015

Book chapter

2

... the fallen soldiers’ names would be inscribed—by year of death, rather than all of them laid out alphabetically. Lin pointed out that the mass alphabetical format was prone to multiple listings of common names (i.e. “John Smith, John Smith … ”)...

The Aesthetics of Destruction: Contemporary US Cinema and TV Culture

Reframing 9/11 : Film, Popular Culture and the “War on Terror”

Continuum, 2010

Book chapter

1

... of destruction and only subsequently introduces the events that brought about the new situation. The film introduces the main character Robert Neville (Will Smith) by showing him hunting and picking corn in the romantic, pastoral setting...

“It Was Like a Movie”: The Impossibility of Representation in Oliver Stone’s World Trade Center

Karen Randell

Karen Randell is a Principal Lecturer in Film at Southampton Solent University, UK where she is Programme Leader for Film and Television. She teaches contemporary cinema and film history and her research interests include: war genre, trauma, masculinity and early cinema. She is published on trauma in film in Art in the Age of Terrorism (London: Holberton Publication: 2005) and in SCREEN. She is co-editor(with Sean Redmond) of The War Body on Screen (Continuum, NY: 2008) and Screen Methods: Comparative Readings in Film Studies (Wallflower Press: 2005) with Jacqueline Furby. Author affiliation details are correct at time of print publication.

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Reframing 9/11 : Film, Popular Culture and the “War on Terror”

Continuum, 2010

Book chapter

1

... in Karen Randell, “Speaking the Unspeakable: Invisibility and Trauma after 9/11,” in Art in the Age of Terrorism, eds Graham Coulter-Smith and Maurice Owen (London : Holberton Publication, 2005).And much could be made of an analysis...

Cultural Anxiety, Moral Clarity, and Willful Amnesia: Filming Philip K. Dick After 9/11

Reframing 9/11 : Film, Popular Culture and the “War on Terror”

Continuum, 2010

Book chapter

1

... Anderton tries to find who he is predicted to kill and why. Through Pre-Crime’s other co-founder, Iris Hineman (Lois Smith), Anderton learns that the Precogs sometimes disagree about the future. When they do, the dissenting forecast—the...

9/11, British Muslims, and Popular Literary Fiction

Reframing 9/11 : Film, Popular Culture and the “War on Terror”

Continuum, 2010

Book chapter

1

... subject, contemporary novels such as Zadie Smith’s White Teeth and Hanif Kureishi’s The Black Album reinforce this “imagined other,” even before the events of 9/11. In this context, more recent representation of terror in Ian McEwan’s...

Left Behind in America: The Army of One at the End of History

Reframing 9/11 : Film, Popular Culture and the “War on Terror”

Continuum, 2010

Book chapter

2

... of apocalypse and its “abstract geography” begins to take shape and gain legitimacy.Smith Neil “Afterword,” in War, Citizenship, Territory, eds Cowen Deborah and Gilbert Emily (New York : Routledge, 2008), 390–1. Smith elaborates this term...

The Contemporary Politics of the Western Form: Bush, Saving Jessica Lynch, and Deadwood

Reframing 9/11 : Film, Popular Culture and the “War on Terror”

Continuum, 2010

Book chapter

1

... no one else satisfies his need for rapport. Al’s paradoxical mixture of self-interest and compassion for others culminates in the mercy killing of the ailing Reverend Smith (Ray McKinnon) at the end of season one. When no other character...