Biblical Epics: Sacred Narrative in the Hollywood Cinema is a major survey and analysis of the relationship between religion and film, and traces the development of this genre in Hollywood. The book examines the impact of religion, ethnicity, sexuality, and gender on this complex genre, within the context of American history. Together, Bruce Francis Babington and Peter William Evans raise questions of narrative spectacle, Jewish-Christian relations, authorship, star meanings, the representation of Christ, and sexual desire. The authors theorize the Biblical epic in its three main forms: the Old Testament epic; the Christ film; and the Roman-Christian epic. Films analyzed include David and Bathsheba, The Last Temptation of Christ, The King of Kings, The Greatest Story Ever Told, Demetrius and the Gladiators, Samson and Delilah, and Ben Hur.
Earshot: Perspectives on Sound awakens an understanding of the decisive role that sound has played in history and culture. Although beginning with reference to antiquity, the primary focus is the changing status of sound and hearing in Western culture over the last six hundred years, covering the transition from the medieval period to the contemporary world. Since mythic times, sound has been an essential element in the formation of belief systems, personal and community identities and the negotiations between them. The varied case studies included in the book cover major reference points in the changing politics of sound, particularly in relation to the status of the other major conduit of social transactions, vision. Earshot is not a work of cultural theory but is anchored in social practices and material culture and is therefore a valuable resource for conveying sound to both undergraduate students as well as the general reader.
This text anaylses the achievment of one of the central partnerships in British film history, that of Frank Launder and Sydney Gilliat, the screen writers of famous films by Hitchcock and Carol Reed.
After covering the genre's early history and theorizing its general characteristics, this volume then focuses on specific instances of sports films, such as the biopic, the sports history film, the documentary, the fan film, the boxing film, and explores issues such as gender, race, spectacle and silent comedy. Four major films are then closely analysed – Chariots of Fire, Field of Dreams, the Indian cricket epic Lagaan, and Oliver Stone's Any Given Sunday. While recording American film's importance to the genre, the book resists the conventional over-concentration on American cinema and sports by its attention to other cinemas, for example the British, Indian, Australian, South Korean, Thai, German, New Zealand, Spanish, and so on, with the many different sports they depict.
This book commemorates the 400th anniversary of William Shakespeare's death on 23 April 1616. Four centuries later, sales of his works are second only to the Bible. Yet, in common with the authors of the Holy Book, little is known about the poet and playwright, and the few facts that have emerged over the course of several hundred years are largely speculative – when they aren't complete b*llocks. An entry from the diary written by the Revd John Ward, vicar of Stratford-upon-Avon from 1662 to 1681, is instructive, for he recorded tales passed on to him by people who had known Shakespeare. In one, he mentions that 'the Bard' held his fifty-second birthday party at New Place in Stratford and that 'Shakespeare, [the poet Michael] Drayton and Ben Jonson had a merry meeting, and it seems, drank too hard, for Shakespeare died of a feavour there contracted.' But if the date of his death is known, the actual day of his birth remains conjecture. As does so much else . . . This amusing but instructive book assembles many of the legends, the lies, the imputations, and a host of uncommon facts from the late Tudor and early Jacobean period, loosely arranged in chronological order to establish William Shakespeare in his literary and historical setting. In doing so, it shows us the man and his time, thereby illuminating the greatest playwright who ever lived.
A “masterly study” of how the business of homemade liquor shaped the history and culture of a region (Journal of American History). Homemade liquor has played a prominent role in the Appalachian economy for nearly two centuries. The region endured profound transformations during the extreme prohibition movements of the nineteenth century, when the manufacturing and sale of alcohol—an integral part of daily life for many Appalachians—was banned. Moonshiners and Prohibitionists: The Battle over Alcohol in Southern Appalachia chronicles the social tensions that accompanied the region’s early transition from a rural to an urban-industrial economy. It analyzes the dynamic relationship of the bootleggers and opponents of liquor sales in western North Carolina, as well as conflict driven by social and economic development that manifested in political discord—and also explores the life of the moonshiner and the many myths that developed around hillbilly stereotypes. “A much-needed contribution to our understanding of the complex social, economic, religious, and cultural issues underlying the prohibition impulse that swept the South between 1880 and 1920.” ―Journal of Southern History
This is a book about Irish nationalism and how Irish nationalists developed their own conception of the Irish race. Bruce Nelson begins with an exploration of the discourse of race--from the nineteenth--century belief that "race is everything" to the more recent argument that there are no races. He focuses on how English observers constructed the "native" and Catholic Irish as uncivilized and savage, and on the racialization of the Irish in the nineteenth century, especially in Britain and the United States, where Irish immigrants were often portrayed in terms that had been applied mainly to enslaved Africans and their descendants. Most of the book focuses on how the Irish created their own identity--in the context of slavery and abolition, empire, and revolution. Since the Irish were a dispersed people, this process unfolded not only in Ireland, but in the United States, Britain, Australia, South Africa, and other countries. Many nationalists were determined to repudiate anything that could interfere with the goal of building a united movement aimed at achieving full independence for Ireland. But others, including men and women who are at the heart of this study, believed that the Irish struggle must create a more inclusive sense of Irish nationhood and stand for freedom everywhere. Nelson pays close attention to this argument within Irish nationalism, and to the ways it resonated with nationalists worldwide, from India to the Caribbean.
Though historians of English literature have long labeled the eighteenth century the golden age of letter writing, few have paid more than lip service to the unique epistolary craftsmanship of the period. Bruce Redford corrects this omission with the first sustained investigation of the eighteenth-century familiar letter as a literary form in its own right. His study supplies the reader with a critical approach and biographical perspective for appreciating the genre that defined an era. Redford examines six masters of the "talking letter": Lady Mary Wortley Montagu, William Cowper, Thomas Gray, Horace Walpole, James Boswell, and Samuel Johnson. All seek the paradoxical goal of artful spontaneity. Each exploits the distinctive resources of the eighteenth-century letter writer: a flexible conversational manner, a repertoire of literary and social allusion, a flair for dramatic impersonation. The voices of these letter writers "make distance, presence," in Samuel Richardson's phrase, by devising substitutes for gesture, vocal inflection, and physical context, turning each letter into a performance--an act. The resulting verbal constructs create a mysterious tension between the claims of fact and the possibilities of art. Redford recovers a neglected literary form and makes possible a deeper understanding of major eighteenth-century writers who devoted much of their talent and time to "the converse of the pen.
The story of James and John Stuart Mill is one of the great dramas of the 19thcentury. In the tense yet loving struggle of this extraordinarily influential father and son, we can see the genesis of evolution of Liberal ideas-about love, sex, and women, wealth and work, authority and rebellion-which ushered in the modern age. The result of more than a decade of research and reflection, this is a study of the relationship between James Mill, the self-made utilitarian philosopher who tried (with only partial success) to shape his son in his own image. Mazlish integrates psychology and intellectual history as part of his larger and continuing effort to spur deeper understanding of the character, limitations, and possibilities of the social sciences.John Stuart Mill's rebellion against a joyless, loveless upbringing, one in strict accordance with the principles of Utilitarianism, was rooted ina powerful Oedipal struggle against his father's authority. Mazlish describes this rebellion as playing an important role in the genesis of classical nineteenth century liberalism. Behind this intellectual development were the women in Mills' life: Harriet the mother, never mentioned by her son in his autobiography, and Harriet Taylor, with whom Mill lived in a scandalous, if chaste, ménage a trois. It was this long relationship which informed his famous essay 'The Subjection of Women,' one of the most eloquent feminist statements ever written. A work of brilliant historical research and psychological insights, James and John Stuart Mill shows how the nineteenth-century struggle of fathers and sons shaped the social transformation of society.
Why have the great revolutionary leaders of modern times from Robespierre to Lenin and Mao Tse-tung‘so often been ascetics, austere "puritans" with few emotional ties? What functions, political as well as personal, do these ascetic traits perform for the modern revolutionary leader and for his followers?Noted historian and author Bruce Mazlish is convinced that, beginning in the nineteenth century, the needs of modernizing revolutions have produced a distinct new type of political leader, the revolutionary ascetic. This individual's denial of personal pleasures and commitments both enables him to perform politically necessary, if personally repulsive, revolutionary acts, and to command the allegiance of his more worldly followers.Starting with Cromwell and the religious ascetics of the Puritan Revolution, Mazlish shows, in a series of fascinating personality sketches, how this asceticism first became secularized with the French Revolution and then in the nineteenth and twentieth centuries was put to the service of a new kind of "total" modernizing revolution in Russia, China, and elsewhere. In two remarkably vivid portraits of Lenin and Mao Tse-tung, Mazlish shows us precisely how two of the century's best-known revolutionaries consciously and unconsciously used their personal asceticism to induce revolutionary change.
This book is an exploration of the American experiment in self-governing. The book first presents the foundations of American government. It next explores the institutions of American democracy. It describes the various governmental arenas - the judiciary, the Congress, the executive branch, and the bureaucracy ... Next, the book focuses on the processes of American government and democracy. Through the avenues of public opinion, political parties, elections, interest groups, and the media, citizens can access and direct their government to achieve their desired goals. The book then provides a detailed analysis of various issues of civil rights and liberties. They include the most fundamental rights of Americans, such as freedom of speech and religion, and are considered by many to be the foundation of our democracy. Finally, the book addresses the policy-making process and its consequences. -Pref.
Biblical Epics: Sacred Narrative in the Hollywood Cinema is a major survey and analysis of the relationship between religion and film, and traces the development of this genre in Hollywood. The book examines the impact of religion, ethnicity, sexuality, and gender on this complex genre, within the context of American history. Together, Bruce Francis Babington and Peter William Evans raise questions of narrative spectacle, Jewish-Christian relations, authorship, star meanings, the representation of Christ, and sexual desire. The authors theorize the Biblical epic in its three main forms: the Old Testament epic; the Christ film; and the Roman-Christian epic. Films analyzed include David and Bathsheba, The Last Temptation of Christ, The King of Kings, The Greatest Story Ever Told, Demetrius and the Gladiators, Samson and Delilah, and Ben Hur.
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