{"title":"Index","authors":"","doi":"10.1515/9781501736117-015","DOIUrl":"https://doi.org/10.1515/9781501736117-015","url":null,"abstract":"","PeriodicalId":416491,"journal":{"name":"When the Movies Mattered","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133472602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"City of Losers, Losing City","authors":"H. Hendershot","doi":"10.7591/cornell/9781501736094.003.0006","DOIUrl":"https://doi.org/10.7591/cornell/9781501736094.003.0006","url":null,"abstract":"In 1965, when John Lindsay was elected mayor of New York City, “the ungovernable city” was spiraling economically, and crime rates were on the rise. That same year, only two major films were shot on location in New York. Just two years later, in 1967, forty-two features were shot in the city, for one straightforward reason: the Mayor’s Office of Film, Theatre and Broadcasting. One actor embodied the New Hollywood vision of the city: Al Pacino. This chapter engages with Pacino’s films of this era—spanning from Panic in Needle Park to Cruising, with Dog Day Afternoon as centerpiece—to examine how New York City, which came to symbolize all that was wrong with the American city in the troubled 1970s.","PeriodicalId":416491,"journal":{"name":"When the Movies Mattered","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121183426","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Frontmatter","authors":"","doi":"10.1515/9781501736117-fm","DOIUrl":"https://doi.org/10.1515/9781501736117-fm","url":null,"abstract":"","PeriodicalId":416491,"journal":{"name":"When the Movies Mattered","volume":"AES-17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126542656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"7. Cinematic Tone in Polanski’s Chinatown: Can “Life” Itself Be “False”?","authors":"R. Pippin","doi":"10.1515/9781501736117-008","DOIUrl":"https://doi.org/10.1515/9781501736117-008","url":null,"abstract":"","PeriodicalId":416491,"journal":{"name":"When the Movies Mattered","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125392632","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Frontmatter","authors":"","doi":"10.7591/9781501736117-fm","DOIUrl":"https://doi.org/10.7591/9781501736117-fm","url":null,"abstract":"","PeriodicalId":416491,"journal":{"name":"When the Movies Mattered","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124804124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Cinematic Tone in Polanski’s Chinatown","authors":"R. Pippin","doi":"10.7591/cornell/9781501736094.003.0008","DOIUrl":"https://doi.org/10.7591/cornell/9781501736094.003.0008","url":null,"abstract":"\u0000 Chinatown, a landmark of the New Hollywood, successfully recreates and revises the classic film noir milieu. Setting the film in the Los Angeles of the late nineteen-thirties, the aptness of such a setting for the United States of the nineteen-seventies is intentionally suggested. But the film’s creation of such a noir tonality is so successful that it raises the question of whether the unambiguous and profound evil present in the film suggests a world gone wrong—so wrong that no “right” action in such a world is conceivable. This chapter will examine what it would mean to suggest the wrongness of an entire way of life, what is responsible for such wrongness, and what it suggests about the possibility (or impossibility) of any right action in such a world.","PeriodicalId":416491,"journal":{"name":"When the Movies Mattered","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122401607","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Mad Housewives of the Neo-Woman’s Film","authors":"M. Haskell","doi":"10.7591/cornell/9781501736094.003.0002","DOIUrl":"https://doi.org/10.7591/cornell/9781501736094.003.0002","url":null,"abstract":"In this chapter Molly Haskell revisits her landmark book, From Reverence to Rape, which argued that the star system of the classical studio period offered leading actresses power, autonomy and even a subversive feminism that was, ironically, undermined by the freedoms offered by the New Hollywood. In retrospect, however, and with a close consideration of specific films and their interesting, idiosyncratic portrayals, Haskell here considers whether in fact these wayward and searching women, characters unglued and actresses without conventional star personae, can be seen as part of the general sense of rebellion against old norms and social strictures.","PeriodicalId":416491,"journal":{"name":"When the Movies Mattered","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123094734","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Appendix: Time Line—the New Hollywood Years","authors":"","doi":"10.7591/9781501736117-012","DOIUrl":"https://doi.org/10.7591/9781501736117-012","url":null,"abstract":"","PeriodicalId":416491,"journal":{"name":"When the Movies Mattered","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126302927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"4. Robert Altman: Documentaries, Dreamscapes, and Dialogic Cinema","authors":"D. Sterritt","doi":"10.1515/9781501736117-005","DOIUrl":"https://doi.org/10.1515/9781501736117-005","url":null,"abstract":"","PeriodicalId":416491,"journal":{"name":"When the Movies Mattered","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114274057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Index","authors":"","doi":"10.7591/9781501736117-015","DOIUrl":"https://doi.org/10.7591/9781501736117-015","url":null,"abstract":"","PeriodicalId":416491,"journal":{"name":"When the Movies Mattered","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114911406","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
求助内容：
应助结果提醒方式：
京公网安备 11010802042870号
