By John Gregory Dunne
March, 1998 First classic Books version - Retail ePub from OverDrive
Happily filling a reqeust!
In 1967, John Gregory Dunne requested for limitless entry to the internal workings of 20th Century Fox. Miraculously, he acquired it. For twelve months Dunne went far and wide there has been to move and talked to everybody worthy speaking to in the studio. He tracked each step of the construction of images like "Dr. Dolittle," "Planet of the Apes," and "The Boston Strangler." the result's a piece of reportage that, thirty years later, should still be our so much minutely saw and for this reason such a lot uproariously humorous portrait of the movie business.
Whether he's recounting a showdown among Fox's studio head and artful shark-like brokers, staring at a producer's female friend thieve a silver plate from a cafe, or protecting his eyes opposed to the glare of a Hollywood greatest the place the visitors comprise a chimp in a white tie and tails, Dunne captures his topic in all its showmanship, savvy, vulgarity, and hype. now not given that F. Scott Fitzgerald and Nathanael West has somebody performed Hollywood better.
"Reads as racily as a novel...(Dunne) has a novelist's ear for speech and eye for revealing detail...Anyone who has tiptoed alongside these corridors of energy is sure to claim that Dunne's impressionism earrings true."--Los Angeles instances
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As Conway puts it, thematic and visual analysis of sex in these films is a way of wielding power, a means to self-knowledge, and an index to the elusiveness of the conjuncture of emotional and physical pleasure for women, thus contributing to larger debates not only about sex on film, but also on the cultural status of women. Frequently, sexual expression is associated with anger, violence, sadism, and even masochism – sometimes to the point of murder, as in certain films of Catherine Breillat and Bruno Dumont, thus contributing to larger debates not only about sex on film, but also about the role of sex within the psychic economy of individuals troubled by the conditions of their existence in the contemporary world.
8 I would like to thank Michel Marie for drawing attention to this input from French production companies. 9 See, in particular, Jean-Michel Frodon, L’ Âge moderne du cinéma français: de la Nouvelle Vague à nos jours (Paris: Flammarion, 1995), René Prédal, Le Cinéma français des années 1990: une génération de transition (Paris: Armand Colin, 2008); René Prédal, Le Cinéma français depuis 2000: un renouvellement incessant (Paris: Armand Colin, 2008); and Tim Palmer, Brutal Intimacy: Analyzing Contemporary French Cinema (Middletown, CT: Wesleyan University Press, 2011).
Particularly as they concern the feeling of belonging to France. ” As Raphaëlle Moine points out in Chapter 10, extending Vincendeau’s insights, the processes that one can observe in this movement of beur stars from the margins to the center, are in the vanguard of larger forces that are currently taking place in French society itself. As might be expected in a society that many claim is undergoing a crisis of identity in the face of economic and cultural changes brought about by global capitalism and transnational migration, political cinema has enjoyed a marked resurgence during the period under consideration.