Religious influences on the depictions of science in mainstream movies
David A. Kirby and Amy C. Chambers
despite poor acting,
editing. St Louis Review [news publication of the Roman Catholic Archdiocese of Saint Louis, Missouri]. 10 September, 12.
Kirby, D. A. (2011). Lab Coats in Hollywood: Science, Scientists, and Cinema.
Cambridge, MA: MIT Press.
Kirby, D. A. (2014). Censoring science in 1930s and 1940s Hollywoodcinema. In
K. Grazier, D. Nelson, J. Paglia and S. Perkowitz (eds), Hollywood Chemistry
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images in the 1930s. Literature and Medicine
’s posthistorical era. Hollywood quickly assimilated new
procedures and styles into its repertoire – including computer
imaging and animation, miniaturisation and digital developments in sound
recording and amplification. This incorporation of video and electronic
technologies into the core production processes and values of Hollywoodcinema drives such second-generation products of the blockbuster
necessitate more questioning, careful
contextualisation and collective consideration of why, when and if to warn.
Indeed there was a time when feminist, queer and critical race studies
scholars were much more worried about the treacherousness of pleasure
than about pain and hurt. For example, in the 1980s Mary Ann Doane
(1982) interrogated the ways Hollywoodcinema constructs the female body
as an idealised and pleasurable spectacle. Through a recognition and pull
of similarity, the female spectator has no choice but to over-identify with
the image, unless she fully
Knighthood: The Visual Aspects of Bill
Clinton’s Camelot Legacy’ in Peter C. Rollins and John E. O’Connor
(eds) Hollywood’s White House: The American Presidency in Film and
History (Lexington, KY: University Press of Kentucky, 2003), p. 310.
36 Herman, ‘Bestowing Knighthood’, p. 311.
37 Terry Christensen and Peter J. Haas, Projecting Politics: Political
Messages in American Films (Armonk, NY and London: M. E. Sharpe,
2005), p. 151.
38 Richard Maltby, HollywoodCinema (Malden, MA and Oxford:
Blackwell, 2nd edn, 2003), p. 289.
39 Richard D. Heffner, Oral History
: The Life and Murder of Alan Berg
(New York: Beech Tree Books, 1987).
19 Don Kunz, ‘Oliver Stone’s Talk Radio’ in Don Kunz (ed), The Films
of Oliver Stone (Lanham, MD and London: Scarecrow Press, 1997),
C or po ration s
Th e ci nem a of Ol iver S to ne
20 Norman Kagan, The Cinema of Oliver Stone (Oxford: Roundhouse,
1995), p. 144.
21 Kunz, ‘Oliver Stone’s Talk Radio’, pp. 150–1.
22 Geoff King, New HollywoodCinema: An Introduction (London and
New York: I. B. Tauris, 2002), pp. 49–85.
23 Terry Christensen and Peter J. Haas
his manifesto-essay, Colin Young cites with approval the practice of the French New Wave feature film directors, who, having studied classic Hollywoodcinema in order to identify the conventions whereby it achieved its effects, then used those same conventions themselves but in a more low-key way, leaving much more to the imagination of the audience. ‘They were not so much unconventional as restrained’, Young comments. ‘They left us space to fill and we participated.’ In his view, this was the goal towards which Observational Cinema film-makers should also be
, rush by in the background, in a manner that is weirdly reminiscent of the back projections in the car scenes of Hollywoodcinema from the 1930s. On the soundtrack, the regular clattering sound as the car passes the pylons holding up the cables marks the passage of time within each journey in an intriguing metronomic fashion.
The six upward journeys, including the goats’ journey, are presented in the first half of the film, one after another, followed by the five downward journeys in the second half. There is no break in the film between the
smoothly integrated into a seamless, immersive experience, as is often the case in Hollywoodcinema or even in more experimental work such as that by Velonaki, My Square Lady hopped backwards and
forwards across the break, both generating and exposing a series of contradictory feelings, experienced within different theatrical modes of being.
Hansky as Orpheus controlled a sense of loss, safely smashing a bottle,
boxed into a stage on a stage, boxed into a score and a libretto, experienced
as metaphor performed and received via 200 years of opera history. Hansky as Hansky
). Vulnerability and Human Rights. University Park: Pennsylvania
State University Press.
Tyler, I. (2013). Revolting Subjects: Social Abjection and Resistance in Neoliberal
Britain. London and New York: Zed Books.
Vaittinen, T. (2015). ‘The power of the vulnerable body’, International Journal of
Politics, 17:1, pp. 100–18.
White, P. (1999). Uninvited: Classical HollywoodCinema and Lesbian
Representability. Bloomington, IN: Indiana University Press.
Wiegman, R. (2014). ‘The times we’re in: Queer feminist criticism and the reparative
“turn” ’, Feminist Theory, 15:1, pp. 4
McCrisken, American History, p. 155.
13 United 93 was released in April 2006, three months before World
14 The first Golden Raspberry Awards (‘Razzies’) were hosted in 1981
by publicist J. B. Wilson as a tongue-in-cheek way to recognise the
worst in Hollywoodcinema. The Razzies have continued annually,
one day before the Oscars.
15 David Holloway, 9/11 and the War on Terror (Edinburgh: Edinburgh
University Press, 2008), p. 86.
In t r od u ctio n
Th e ci nem a of Ol iver S to ne
16 ‘New Oliver Stone 9/11 Film Introduces ‘Single