Hooray for Hollywood!!
Showing posts with label HOLLYWOOD. Show all posts
Showing posts with label HOLLYWOOD. Show all posts
Universal Women: Filmmaking and Institutional Change in Early Hollywood
By Mark Garrett CooperUniversity of Illinois Press
In Universal Women, Professor Cooper launches a multi-disciplinary investigation into the mystery of why it was that Universal Film Manufacturing Company broadly supported women directors during the 1910s before abruptly reversing the policy. Drawing on philosophical, sociological, historical and structuralist interpretations of gender, culture, power, and institutions, Cooper’s study is positioned to show the interrelationship between art and the development of social norms, aesthetics, and political upheaval, and culture and epistemology in the United States.
However, readers looking for a narrative account of women director’s success and subsequent exile from Universal should look elsewhere. Cooper sets up his project by describing a confluence of events and personalities, some of which appear to be only distantly related, that played varying roles in this drama of gender. Some of these are not clearly explained, as when Professor Cooper explains the etymology of a word but does not clearly tie his explanation to the relationship he is trying to describe and defend.
His definitions and explanations take the following pattern: first, Cooper defines a word like “institution” or “organization” with an appeal to the Oxford English Dictionary. He appeals to the historical use of words to explore the concepts that fall under the definition and to point to a kind of etymological necessity: the word organization brings with it an inheritance from biology and so organizations are implicitly naturalized. Then he describes the word in its social development and practical usage. In the case of “organization” Cooper describes different sociological invocations of the word-concept.
Although in the next section, Professor Cooper describes the bi-coastal organization of Universal Film Manufacturing Company, he does not tie this historical description to the linguistic, historical and sociological discussion that preceded it. It seems that the reader is meant to intuit his purposes in such places and to develop the claims herself. I am not opposed to writing styles that foster critical thinking. But Cooper doesn’t make clear his purposes in so defining and explaining (for example). That is to say, I can look up definitions. I have access to the OED. I can read Durkheim and Weber. But I can’t get inside Cooper’s head to figure out what it is he intends by these things.
Reading Cooper’s book is a bit like watching someone’s film depicting a movie being made: it is interesting to see all the “extras” around the set–the camera crew, the lighting, the onlookers, the caterers, the director and producers and the landscape behind the backdrops and facades–but it is difficult to follow the plot of the movie being made.
The book is directed toward an academic audience; readers should be advised to plant their pinkies in the endnotes for quick reference. It will be most intelligible to those trained in film studies or who are such avid consumers of early Hollywood films and trivia that the characters are familiar–I had a hard time keeping track of names. The study is an interesting one, stressing the role that Universal played in interpreting and then enforcing what it means to be gendered as a man or as a woman. It would be interesting to see a slightly more narrative treatment of the subject–even a narrative that made clear the difficulties of narrative for such a diffuse phenomenon as the shifting meanings of gender–in order to appeal to more non-specialists.
Review by kristina grob
The Twilight Saga: Eclipse
Directed by David Slade
Summit Entertainment
Bella Swan has never been a character I’ve related to. She’s frustratingly timid, overwhelmingly insecure, and apparently has no interests or hobbies aside from her obsession with Edward Cullen. Sure, she’s had her redeeming moments, and yes, it was Bella who saved Edward from exposing himself to the Volturi in New Moon. But it wasn’t until the final moments of Eclipse that Bella became someone I can respect, and even admire.
The Twilight Saga has been heralded by many as a positive step for women in Hollywood, primarily credited for its representation of the female gaze. While I find this argument both positive and necessary, it is also problematic because it operates around a binary understanding of gender; if men do something this way, women will flip it and do it the opposite way. Feminist research and scholarship aim to disrupt this way of thinking and urge us to seek alternatives by exploring the gray area. It is in this gray area that Eclipse offers the most feminist perspective of all the Twilight films yet.
Consider the term twilight as a useful analogy: the time between day and night that can’t be classified as either, but is rather a little of both. The same is true for Bella’s struggle throughout the series, and it is never more apparent than in Eclipse. She is human, but has never felt at home in that world. With Edward, and the Cullen Clan, she feels things she hasn’t felt before: real, strong, and capable. But as any card-carrying feminist knows, leaving your “natural” world, seeking alternatives, and disrupting the status quo is never easy, and never without doubt.
Unfortunately, for Bella, her doubt comes in the form of a warm-blooded, hot-bodied fella, her best friend Jacob. While most of the film, and nearly all the witty dialogue, focuses on the jealousy and tension between Edward and Jacob, in the end it is Bella who makes the choice. And as she articulates at the close of the film, her decision is not based on pleasing Edward or Jacob, or anyone else for that matter, but rather on fulfilling her own desires.
Cinematically, the film has found balance amid the Hollywood effect; Eclipse lacks the low budget kitsch of Twilight without falling victim to the highly dramatized vampire visuals, and indulgent makeup, of New Moon. Though it is full of action and violence, the filmmakers should be commended for opting away from blood and gore, and instead crystallizing the vampire skeletons so they shatter like glass.
There are quite a few threads of social commentary being made throughout the film that offer plenty of fodder for further analysis, primarily around issues of choice. The ongoing battle between the dark-skinned, warm-blooded Quileutes versus the cold, soulless White people is an easy analogy for colonization. But when Jacob is injured during battle, Dr. Cullen is not only allowed on the Rez, but genuinely thanked by the tribe. We also learn the sad and violent story of Rosalie’s turning, and are provided insight into her disdain for Bella. “None of us chose this,” she reminds her, offering a subtle but important acknowledgment of the privilege of choice, and the power of having one.
Review by Alicia Sowisdral
Summit Entertainment
Bella Swan has never been a character I’ve related to. She’s frustratingly timid, overwhelmingly insecure, and apparently has no interests or hobbies aside from her obsession with Edward Cullen. Sure, she’s had her redeeming moments, and yes, it was Bella who saved Edward from exposing himself to the Volturi in New Moon. But it wasn’t until the final moments of Eclipse that Bella became someone I can respect, and even admire.
The Twilight Saga has been heralded by many as a positive step for women in Hollywood, primarily credited for its representation of the female gaze. While I find this argument both positive and necessary, it is also problematic because it operates around a binary understanding of gender; if men do something this way, women will flip it and do it the opposite way. Feminist research and scholarship aim to disrupt this way of thinking and urge us to seek alternatives by exploring the gray area. It is in this gray area that Eclipse offers the most feminist perspective of all the Twilight films yet.
Consider the term twilight as a useful analogy: the time between day and night that can’t be classified as either, but is rather a little of both. The same is true for Bella’s struggle throughout the series, and it is never more apparent than in Eclipse. She is human, but has never felt at home in that world. With Edward, and the Cullen Clan, she feels things she hasn’t felt before: real, strong, and capable. But as any card-carrying feminist knows, leaving your “natural” world, seeking alternatives, and disrupting the status quo is never easy, and never without doubt.
Unfortunately, for Bella, her doubt comes in the form of a warm-blooded, hot-bodied fella, her best friend Jacob. While most of the film, and nearly all the witty dialogue, focuses on the jealousy and tension between Edward and Jacob, in the end it is Bella who makes the choice. And as she articulates at the close of the film, her decision is not based on pleasing Edward or Jacob, or anyone else for that matter, but rather on fulfilling her own desires.
Cinematically, the film has found balance amid the Hollywood effect; Eclipse lacks the low budget kitsch of Twilight without falling victim to the highly dramatized vampire visuals, and indulgent makeup, of New Moon. Though it is full of action and violence, the filmmakers should be commended for opting away from blood and gore, and instead crystallizing the vampire skeletons so they shatter like glass.
There are quite a few threads of social commentary being made throughout the film that offer plenty of fodder for further analysis, primarily around issues of choice. The ongoing battle between the dark-skinned, warm-blooded Quileutes versus the cold, soulless White people is an easy analogy for colonization. But when Jacob is injured during battle, Dr. Cullen is not only allowed on the Rez, but genuinely thanked by the tribe. We also learn the sad and violent story of Rosalie’s turning, and are provided insight into her disdain for Bella. “None of us chose this,” she reminds her, offering a subtle but important acknowledgment of the privilege of choice, and the power of having one.
Review by Alicia Sowisdral
SCARLETT JOHANSSON on Craig Ferguson's Late Night
Ferguson is the best interviewer on late night TV !...Highlights include Scarlett stating that she drinks the OBAMA Kool aid and Craig revealing an awesome "Don't Tread on Me" tatoo !
- All Rights Reserved 2010 - The Niles Lesh Project Follow NILES LESH / MIENFOKS on TWITTER !
SANDRA BULLOCK & BETTY WHITE - Get Real Behind the Scenes of The Proposal
THE NILES LESH PROJECT - ALL RIGHTS RESERVED 2009
OPRAH, ASHTON KUTCHER & TWITTER - Effectively End Civilization As We Know It
Golly it was only last week when I though Twitter was so cool, now it has been drug beneath the greasy wheels of the Hollywood dream machine Oprah and Ashton Kutcher the polar ends of the who gives aFuck universe have usurped the masses yet again !
Ashton Kutcher's 1,000,000 followers
Oprah Tweets !
This refreshingly poignant tweet from Shaquille O'neal has my vote for greatest tweet ever !
Way to take it to the hole Shaq
Oprah is a noob and must learn not to bring that weak shit in here !
Be afraid be very afraid !
THE NILES LESH PROJECT - ALL RIGHTS RESERVED 2009
JOAQUIN PHEONIX - Amazing Letterman Interview !
Wow, I have not seen a interview go like this since the old NBC days when Dave used to skewer the guest! Joaquin seems to have a " my publicist made me do this show, F**k You and CBS " attitude pure awesomeness. I found it quite refreshing to Letterman's normal
grandma style interviews of the Hollywood elite !
grandma style interviews of the Hollywood elite !
SALMA HAYEK - Has Got Milk !
Why can't more celebrity moms be like Salma, I am talking to you Angelina !
CHRISTIAN BALE - Terminator Tirade !
Bale has an argument with assistant DP @ Terminator 4 - Shane Duckworth
This was the best tirade directed at a crew mwmber since Orson Wells ! He delivered about 50 F- Bombs !!!
This was the best tirade directed at a crew mwmber since Orson Wells ! He delivered about 50 F- Bombs !!!
RICARDO MONTALBAN - 1920 - 2009
Ricardo Montalban died on January 13, 2009 in Los Angeles, California at the age of 88. He cause of death has not been identified.
Montalban received a Tony in 1958 for his role in the musical Jamaica and an Emmy in 1978 for his role in How the West Was Won.
In 1975 he was the television spokesman for the new Chrysler Cordoba. His delivery of the line “soft Corinthian leather”, referring to the luxury upholstery, became a much parodied line and a favorite of impersonators.
The actor’s best known television role was that of Mr. Roarke in the series Fantasy Island. He starred on the show from 1978 to 1984. He and his sidekick, Tattoo who was played by Herve Villechaize, became pop icons. Villechaize died in 1993 at age 50.
Ricardo Montalban was so smooth & cool he made me want to be latin ! There was a great SNL skit with Bill Murray as the host of a latin game show "Quienes mas macho"?
Si, Ricardo Montalban es mas macho" ! He was great as Mr Roarke, but his finest work was as the eugenically engineered super human Khan, from the original Star Trek series. He reprized the role in the third Star Trek movie "Wrath of Khan". This remains the best of the Star Trek movies and below is the best scene of the movie
"Revenge is a dish that is best served cold...it is very cold in space"
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