14 Ergebnisse.

The story of how the movies assumed a gritty facade in the name of authenticity, with working actors transforming into artists, poets, painters, troubadours, and filmmakers--both on- and off-screen. This is the tale of how Hollywood, inspired by the success of Easy Rider, sold a cycle of films as the new dirty real. Dennis Hopper, Peter Fonda, Monte Hellman, Jack Nicholson, Kris Kristofferson, and Sam Peckinpah, among others, parlayed a nostal...

Exploring the explosion of the Who onto the international music scene, this heavily illustrated book looks at this furious band as an embodiment of pop art. "Ours is music with built-in hatred, " said Pete Townshend. A Band with Built-In Hate pictures the Who from their inception as the Detours in the mid-sixties to the late-seventies, post-Quadrophenia. It is a story of ambition and anger, glamor and grime, viewed through the prism of pop art...

A sleazy, neon- and grease-stuffed chronicle of London‿s 1972 music scene.

A Band with Built-In Hate pictures The Who through the prism of pop art and the levelling of high and low culture it brought about. Peter Stanfield guides us through the British pop revolution as it was embodied by the band: first, under the mentorship of arch-mod Peter Meaden, and then with Kit Lambert and Chris Stamp, two aspiring filmmakers, at the very centre of things in Soho. Guided by contemporary commentators - most conspicuously, Nik ...

From The Wild Angels in 1966 until its conclusion in 1972, the cycle of outlaw motorcycle films contained forty-odd formulaic examples. Hoodlum Movies is not only about the films, its focus is on why and how these films were made, who they were made for, and how the cycle developed through the second half of the 1960s and came to a shuddering halt in 1972.

From The Wild Angels in 1966 until its conclusion in 1972, the cycle of outlaw motorcycle films contained forty-odd formulaic examples. Hoodlum Movies is not only about the films, its focus is on why and how these films were made, who they were made for, and how the cycle developed through the second half of the 1960s and came to a shuddering halt in 1972.

In the words of Richard Maltby, this "describes two improbably imbricated worlds and the piece of cultural history their intersections provoked." One of these worlds comprises a clutch of noisy, garish pulp movies. The other is occupied by critics, intellectuals, cinephiles, and filmmakers who championed the cause of these movies and incited the cultural guardians of the day by attacking a rigorously policed canon of tasteful, rarified, and os...

This study interrogates the assumption that the classroom is the best place for teaching English to speakers of other languages (TESOL). It explores postmodern pedagogies that dissolve the boundaries between classroom and community and shows how these might transform TESOL practice. Based on the extensive reflections of 15 participants, it analyses the range and properties of the places of their English acquisition and finds the classroom to b...

Explosive! Terrifying! You won't believe your eyes! Such movie taglines were common in the 1950s, as Hollywood churned out low-budget pictures that were sold on the basis of their sensational content. This title examines seven of these film cycles, including short-lived trends like boxing movies, war pictures, and social problem films, as well as uniquely 1950s takes on established genres like the gangster picture.

Explosive! Terrifying! You won't believe your eyes! Such movie taglines were common in the 1950s, as Hollywood churned out low-budget pictures that were sold on the basis of their sensational content. This title examines seven of these film cycles, including short-lived trends like boxing movies, war pictures, and social problem films, as well as uniquely 1950s takes on established genres like the gangster picture.

For the first time, this book tells the 'lost' story of the 1930s Western. Written from a concern to understand Western films primarily as products of Hollywood's studio system, it recovers the context in which Westerns were produced, exhibited and viewed in the 1930s. Peter Stanfield highlights the hitherto marginalised 'B' or 'series' Western, the significance of female audiences, the role of independent exhibitors and of censorship in shapi...

For the first time, this book tells the 'lost' story of the 1930s Western. Written from a concern to understand Western films primarily as products of Hollywood's studio system, it recovers the context in which Westerns were produced, exhibited and viewed in the 1930s.

Writing in the late 1930s, New York journalist Joseph Mitchell observed: "Except for the minstrel show, the strip act is probably America's only original contribution to the theater. "In "Body and Soul, Peter Stanfield's arguments echo Mitchell's observation. Stanfield begins by exploring how Hollywood used blackface minstrelsy to represent an emerging urban American theatrical history, and ends with a look at how American film at the close of...

Peter Stanfield, a senior lecturer in media arts at Southampton Institute, England, is the author of Hollywood, Westerns and the 1930s: The Lost Trail. ¿