Hitchcock and the Anxiety of Authorship examines issues of cinema authorship engaged by and dynamized within the director's films. A unique study of self-reflexivity in Hitchcock's work from his earliest English silents to his final Hollywood features, this book considers how the director's releases constitute ever-shifting meditations on the conditions and struggles of creative agency in cinema. Abramson explores how, located in literal and emblematic sites of dramatic production, exhibition, and reception, and populated by figures of directors, actors, and audiences, Hitchcock's films exhibit a complicated, often disturbing vision of authorship - one that consistently problematizes rather than exemplifies the director's longstanding auteurist image. Viewing Hitchcock in a striking new light, Abramson analyzes these allegories of vexed agency in the context of his concepts of and commentary on the troubled association between cinema artistry and authorship, as well as the changing cultural, industrial, theoretical, and historical milieus in which his features were produced. Accordingly, the book illuminates how Hitchcock and his cinema register the constant dynamics that constitute film authorship.
This volume examines Mary Poppins as a 1960s film reflecting and invested in its radically changing times, a largely but not unmitigatedly antiestablishment musical resonant with conditions and issues powerfully affecting baby boomers. Among the explosion of baby boomer films that rocked the 1960s, the most stirring early work was likely Mary Poppins. This 1964 film captivated young audiences, earning top-grossing ticket sales, multiple Oscars, and landmark status as a cultural phenomenon. The book illuminates Mary Poppins as a musical teeming with preoccupations of American youth in the early-to-mid-1960s, including antiestablishment desires, anxieties, and pleasures. Reading against the dominant grain, this book deciphers Mary Poppins as a mid-century reflection that spans the generation gap, dysfunctional nuclear family, youth unrest, activism including feminist advocacy, counterculturalism, capitalist imperialism, race relations, socially conscious music, and hallucinogenic consciousness expansion. Conjunctively, the book explores tensions inherent in this studio production as a mainstream Disney release evoking imperatives of 1960s American youth while sanitizing figures and values representing radical change. Further, examining the film’s collective authorship, this volume traces Mary Poppins’ origins in the writings and life of nonconformist author P.L. Travers as well as in Disney cinema and the studio’s adaptation processes. Analysis extends to diverse facets of Mary Poppins’ reception, including the shifting image of its star, Julie Andrews, the film’s influence on popular culture and controversy among some as an adaptation, its appropriation by drug culture, association with the teenpic, and status as cinema of social consciousness. This book is ideal for students, researchers, and scholars of cinema studies and youth culture.
Originally published in 1993, this monograph addresses a central problem in Piaget’s work, which is the temporal construction of necessary knowledge. The main argument is that both normative and empirical issues are relevant to a minimally adequate account of the development of modal understanding. This central argument embodies three main claims. One claim is philosophical. Although the concepts of knowledge and necessity are problematic, there is sufficient agreement about their core elements due to the fundamental difference between truth-value and modality. Any account of human rationality has to respect this distinction. The second claim is that this normative distinction is not always respected in psychological research on the origins of knowledge where emphasis is placed on the procedures and methods used to gain good empirical evidence. An account of the initial acquisition of knowledge is not thereby an account of its legitimation in the human mind. The third claim relates to epistemology. Intellectual development is a process in which available knowledge is used in the construction of better knowledge. The monograph identifies features of a modal model of intellectual construction, whereby some form of necessary knowledge is always used. Intellectual development occurs as the reduction of modal errors through the differentiation and coordination of available forms of modal understanding. Piaget’s work continues to provide distinctive and intelligible answers to a substantive and outstanding problem.
The Greek military victories at Marathon, Salamis, and Plataia during the Persian Wars profoundly shaped fifth-century politics and culture. By long tradition, the victors commemorated their deliverance by dedicating thank-offerings in the sanctuaries of their gods, and the Athenians erected no fewer than ten new temples and other buildings. Because these buildings were all at some stage of construction during the political ascendency of Perikles, in the third quarter of the fifth century, modern writers refer to them collectively as the Periklean building program. In Trophies of Victory, T. Leslie Shear, Jr., who directed archaeological excavations at the Athenian Agora for more than twenty-five years, provides the first comprehensive account of the Periklean buildings as a group. This richly illustrated book examines each building in detail, including its archaeological reconstruction, architectural design, sculptural decoration, chronology, and construction history. Shear emphasizes the Parthenon's revolutionary features and how they influenced smaller contemporary temples. He examines inscriptions that show how every aspect of public works was strictly controlled by the Athenian Assembly. In the case of the buildings on the Acropolis and the Telesterion at Eleusis, he looks at accounts of their overseers, which illuminate the administration, financing, and organization of public works. Throughout, the book provides new details about how the Periklean buildings proclaimed Athenian military prowess, aggrandized the city's cults and festivals, and laid claim to its religious and cultural primacy in the Greek world.
Most celebrated among these were the two death penalty murder trials in which she represented Erik Menendez, who, along with his brother, killed his parents after years of sexual and emotional abuse.
Hitchcock and the Anxiety of Authorship examines issues of cinema authorship engaged by and dynamized within the director's films. A unique study of self-reflexivity in Hitchcock's work from his earliest English silents to his final Hollywood features, this book considers how the director's releases constitute ever-shifting meditations on the conditions and struggles of creative agency in cinema. Abramson explores how, located in literal and emblematic sites of dramatic production, exhibition, and reception, and populated by figures of directors, actors, and audiences, Hitchcock's films exhibit a complicated, often disturbing vision of authorship - one that consistently problematizes rather than exemplifies the director's longstanding auteurist image. Viewing Hitchcock in a striking new light, Abramson analyzes these allegories of vexed agency in the context of his concepts of and commentary on the troubled association between cinema artistry and authorship, as well as the changing cultural, industrial, theoretical, and historical milieus in which his features were produced. Accordingly, the book illuminates how Hitchcock and his cinema register the constant dynamics that constitute film authorship.
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