Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Father Knows Best
A historical and analytical examination of the iconic 1950s television and radio family sitcom. Although the iconic television series Father Knows Best (CBS 1954–55; NBC 1955–58; CBS 1958–60) has enjoyed a long history in rerun syndication and an enduring fan base, it is often remembered as cultural shorthand for 1950s-era conformism and authoritarianism. In this study of Father Knows Best,author Mary R. Desjardins examines the program, its popularity, and its critical position within historical, industrial, and generic contexts to challenge oversimplified assumptions about the show's use of comedy and melodrama in exploring the place of family in mid-twentieth-century American society...
In the Limelight and Under the Microscope
A timely collection exploring the politics of female celebrity across a range of contemporary, historical, media and national contexts. >
Willing Seduction
Josef von Sternberg's 1930 film The Blue Angel (Der blaue Engel) is among the best known films of the Weimar Republic (1919-1933). A significant landmark as one of Germany's first major sound films, it is known primarily for launching Marlene Dietrich into Hollywood stardom and for initiating the mythic pairing of the Austrian-born American director von Sternberg with the star performer Dietrich. This fascinating cultural history of The Blue Angel provides a new interpretive framework with which to approach this classic Weimar film and suggests that discourses on mass and high culture are integral to the film's thematic and narrative structure. These discourses surface above all in the relat...
Women, Pleasure, Film
The Lola film is a distinct subgenre of the woman's film in which woman's claim to pleasure is entertained without recourse to the figure of the femme fatale. Lola embodies a recognizable set of characteristics through which over time a select group of directors, actors, and audiences have responded in ways that do not succumb to the imperatives of gender. There are over thirty-five Lola films, starting with Marlene Dietrich in The Blue Angel: many are German, others are French, American, British, Italian, and Spanish, but her claim has also resonated in Argentina, China, Egypt, Mexico, Thailand, and the Philippines. Lola can be working class, lesbian, transgender, ethnic, suburban, or any combination. This book examines Lola as a specific and enduring aspect of the early twentieth-century "new woman": woman's forthright claim to pleasure on her own terms, liberated, if only as a cinematic fantasy, from the usual constraints of sex and gender.
Being Rita Hayworth
'Being Rita Hayworth' considers the ways in which this actress has been treated by film scholarship over the years to accomplish its own goals, sometimes at her expense.
The German Cinema Book
This comprehensively revised, updated and significantly extended edition introduces German film history from its beginnings to the present day, covering key periods and movements including early and silent cinema, Weimar cinema, Nazi cinema, the New German Cinema, the Berlin School, the cinema of migration, and moving images in the digital era. Contributions by leading international scholars are grouped into sections that focus on genre; stars; authorship; film production, distribution and exhibition; theory and politics, including women's and queer cinema; and transnational connections. Spotlight articles within each section offer key case studies, including of individual films that illuminate larger histories (Heimat, Downfall, The Lives of Others, The Edge of Heaven and many more); stars from Ossi Oswalda and Hans Albers, to Hanna Schygulla and Nina Hoss; directors including F.W. Murnau, Walter Ruttmann, Wim Wenders and Helke Sander; and film theorists including Siegfried Kracauer and Béla Balázs. The volume provides a methodological template for the study of a national cinema in a transnational horizon.
Christian Ethics and Corporate Culture
The essays collected in this book discuss the contemporary practice of corporate responsibility by applying the Christian principles of the unity of knowledge and pursuit of truth to the traditional principles of justice, human dignity and the common good, to rediscover a corporate culture that will help transform our economic system and the characteristics required to build an enduring trust in economic relationships. In this volume a select group of management theorists, theologians, legal scholars, economists and ethicists jointly strive to give back to the market economy its ethical and political dimensions. They assess the quality of present day corporate social responsibility, discuss the social and environmental costs of production and argue for an agenda that can be used in modern corporations in their effort to align profitability and growth with business ethics.
Losing the Plot
"It is widely understood that the modernist novel sought to escape what Virginia Woolf called the "tyranny" of plot. Yet even as twentieth-century writers pushed against the constraints of Victorian, plot-driven novels, Pardis Dabashi shows that plot kept its hold on them through the influence of another medium: the cinema. Focusing on the novels of Nella Larsen, Djuna Barnes, and William Faulkner-writers known for their moviegoing affinities and connections to early film-Dabashi uses the relationship between literature and the cinema to reveal a profound longing for plot in modernist fiction. Dabashi links the moviegoing practices of Larsen, Barnes, and Faulkner to the tensions in their works, tensions between the formal properties of the novels and the characters in them. In making a distinction between what the novel is doing and what their characters desire, these authors ponder how it is one thing to withhold plot as a gesture of modernist aesthetics, and quite another to be denied the comfort of plot's architecture in one's living and breathing existence"--
Merry Murderers
This book explores the different trends and the various changes in the representational history of femmes fatales within twentieth century American culture. While providing precedents, discussing the Western cultural history of this iconic female figure, as well as presenting the cultural and theoretical debates surrounding ‘her,’ the major focus lies in Maurine Dallas Watkins’s story entitled Chicago and how its diachronic and transmedial revivals contributed to this debate and what kind of an interpretation it provided of the lethal woman. Through a cultural, historical, literary and cinematic excavation this book argues that the story of Chicago produces a unique kind of deathly wom...
