The New Hollywood boom of the late 1960s and 1970s is celebrated as a time when maverick directors bucked the system. Against the backdrop of counterculture sensibilities and the prominence of auteur theory, New Hollywood directors such as Robert Altman and Francis Ford Coppola seemed to embody creative individualism. In Post-Fordist Cinema, Jeff Menne rewrites the history of this period, arguing that auteur theory served to reconcile directors to Hollywood’s corporate project. Menne traces the surprising affinities between auteur theory and management gurus such as Peter Drucker, who envisioned a more open and flexible corporate style. In founding production companies, New Hollywood filmmakers took part in the creation of new corporate models that emphasized entrepreneurial creativity. For firms such as Kirk Douglas’s Bryna Productions, Altman’s Lion’s Gate Films, the Zanuck-Brown Company, and BBS Productions, the counterculture ethos limbered up the studio system’s sclerotic production process—with striking parallels to how management theory conceived of the role of the individual within the firm. Menne offers insightful readings of how films such as Lonely Are the Brave, Brewster McCloud, Jaws, and The King of Marvin Gardens narrate the conditions in which they were created, depicting shifting notions of work and corporate structure. While auteur theory allowed directors to cast themselves as independent creators, Menne argues that its most consequential impact came as a management doctrine. An ambitious rethinking of New Hollywood, Post-Fordist Cinema sheds new light on the cultural myth of the great director and the birth of the “creative economy.”
Acclaimed as one of the most influential and innovative American directors, Francis Ford Coppola is also lionized as a maverick auteur at war with Hollywood's power structure and an ardent critic of the postindustrial corporate America it reflects. However, Jeff Menne argues that Coppola exemplifies the new breed of creative corporate person and sees the director's oeuvre as vital for reimagining the corporation in the transformation of Hollywood. Reading auteur theory as the new American business theory, Menne reveals how Coppola's vision of a new kind of company has transformed the worker into a liberated and well-utilized artist, but has also commodified individual creativity at a level unprecedented in corporate history. Coppola negotiated the contradictory roles of shrewd businessman and creative artist by recognizing the two roles are fused in a postindustrial economy. Analyzing films like The Godfather (1970) and the overlooked Tucker: The Man and His Dream (1988) through Coppola's use of opera, Menne illustrates how Coppola developed a defining musical aesthetic while making films that reflected the idea of a corporation as family--and how his studio American Zoetrope came to represent a new brand of auteurism and the model for post-Fordist Hollywood.
The New Hollywood boom of the late 1960s and 1970s is celebrated as a time when maverick directors bucked the system. Against the backdrop of counterculture sensibilities and the prominence of auteur theory, New Hollywood directors such as Robert Altman and Francis Ford Coppola seemed to embody creative individualism. In Post-Fordist Cinema, Jeff Menne rewrites the history of this period, arguing that auteur theory served to reconcile directors to Hollywood’s corporate project. Menne traces the surprising affinities between auteur theory and management gurus such as Peter Drucker, who envisioned a more open and flexible corporate style. In founding production companies, New Hollywood filmmakers took part in the creation of new corporate models that emphasized entrepreneurial creativity. For firms such as Kirk Douglas’s Bryna Productions, Altman’s Lion’s Gate Films, the Zanuck-Brown Company, and BBS Productions, the counterculture ethos limbered up the studio system’s sclerotic production process—with striking parallels to how management theory conceived of the role of the individual within the firm. Menne offers insightful readings of how films such as Lonely Are the Brave, Brewster McCloud, Jaws, and The King of Marvin Gardens narrate the conditions in which they were created, depicting shifting notions of work and corporate structure. While auteur theory allowed directors to cast themselves as independent creators, Menne argues that its most consequential impact came as a management doctrine. An ambitious rethinking of New Hollywood, Post-Fordist Cinema sheds new light on the cultural myth of the great director and the birth of the “creative economy.”
Acclaimed as one of the most influential and innovative American directors, Francis Ford Coppola is also lionized as a maverick auteur at war with Hollywood's power structure and an ardent critic of the postindustrial corporate America it reflects. However, Jeff Menne argues that Coppola exemplifies the new breed of creative corporate person and sees the director's oeuvre as vital for reimagining the corporation in the transformation of Hollywood. Reading auteur theory as the new American business theory, Menne reveals how Coppola's vision of a new kind of company has transformed the worker into a liberated and well-utilized artist, but has also commodified individual creativity at a level unprecedented in corporate history. Coppola negotiated the contradictory roles of shrewd businessman and creative artist by recognizing the two roles are fused in a postindustrial economy. Analyzing films like The Godfather (1970) and the overlooked Tucker: The Man and His Dream (1988) through Coppola's use of opera, Menne illustrates how Coppola developed a defining musical aesthetic while making films that reflected the idea of a corporation as family--and how his studio American Zoetrope came to represent a new brand of auteurism and the model for post-Fordist Hollywood.
Home to numerous tribal reservations that survived the land run that swept around them, Shawnee stands at an intersection of worlds. For travelers of the Wild West, crossing over into Oklahoma Territory meant more than crossing a state line. "Stop for twenty minutes and see a man killed," stagecoach drivers warned visitors to Shawnee's treacherous saloons. The oil boom of the 1920s brought a wave of wealth that only encouraged nefarious activity. Shawnee's quiet present may belie its fevered past, but the spirits of former gunslingers, prostitutes and everyday folk still live on. From strange sounds at the old Sacred Heart Mission to specters roaming the halls of the luxurious Aldridge Hotel, Tanya McCoy and Jeff Provine provide an introduction to Shawnee's haunted past.
People screamed, cried, and groaned. Above the tumult I could distinguish the voices of small children. All this time the soldiers were singing.... Sometime after the first salvo, there was another round of fire and, once again, I was not hit. After this I heard fewer cries, save from time to time a small child calling its mother."?Félix Bourdon, survivor of a mass execution in Dinant, BelgiumIn August 1914, without any legitimate pretext, German soldiers killed nearly 6,000 Belgian noncombatants, including women and children, and burned some 25,000 homes and other buildings. Rehearsals is the first book to provide a detailed narrative history of the German invasion of Belgium as it affected civilians. Based on extensive eyewitness testimony, the book chronicles events in and around the towns of Liége, Aarschot, Andenne, Tamines, Dinant, and Leuven, where the worst of the German depredations occurred. Accounts of the killing, looting, and arson have long been dismissed as "atrocity propaganda," particularly in the United Kingdom and the United States. Rehearsals examines the campaign by revisionists that led to voluminous and compelling testimony about German war crimes being discredited.Recently, the case has been made that the violence that came to a peak between August 19 and August 26, 1914, was the result of a spontaneous outbreak of German paranoia about civilian sharpshooters. In Rehearsals, Jeff Lipkes offers compelling evidence that the executions were in fact part of a deliberate campaign of terrorism ordered by military authorities. In his shocking account of events that have been largely overlooked by historians of World War I, Lipkes commemorates the heroism as well as the suffering of the Belgian victims of German aggression.
This title contains two novels by Jeff Noon: Vurt - where a possee of hip malcontents are hooked on the most powerful drug you can imagine; and Pollen where people are sneezing and dying all over Manchester, due to exotic blooms flowering all over the city.
Includes all the latest updates and changes to the 2004 tax code Publishers Weekly called it "a can't-miss title." The New York Daily News praised it for "pushing the envelope" and taking "a consumerist approach that's helpful during all the other months before next April." Best of all, more than half a million people have consulted How to Pay Zero Taxes for solid guidance on paying less to the IRS. This fully updated 22nd edition contains: The latest tax changes More tax-saving tips than any other guide Easy, practical strategies to lower taxes this year, next year, and beyond Hundreds of legal ways to preserve pretax income and profit
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