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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 Hollywood cinema. In K. Grazier, D. Nelson, J. Paglia and S. Perkowitz (eds), Hollywood Chemistry (pp. 229–240). New York: Oxford University Press. Lederer, S. E. (1998). Repellent subjects: Hollywood censorship and surgical images in the 1930s. Literature and Medicine

in Science and the politics of openness
Open Access (free)
Jeffrey Pence

’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 Hollywood cinema drives such second-generation products of the blockbuster strategy as

in Memory and popular film
Katariina Kyrölä

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 Hollywood cinema 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

in The power of vulnerability
Open Access (free)
Ian Scott and Henry Thompson

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, Hollywood Cinema (Malden, MA and Oxford: Blackwell, 2nd edn, 2003), p. 289. 39 Richard D. Heffner, Oral History

in The cinema of Oliver Stone
Open Access (free)
Ian Scott and Henry Thompson

: 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), pp.  150–​1. C or po ration s Notes 227 Th e ci nem a of Ol iver   S to ne 228 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 Hollywood Cinema: An Introduction (London and New York: I. B. Tauris, 2002), pp. 49–​85. 23 Terry Christensen and Peter J. Haas

in The cinema of Oliver Stone
Open Access (free)
The principles of Observational Cinema
Paul Henley

his manifesto-essay, Colin Young cites with approval the practice of the French New Wave feature film directors, who, having studied classic Hollywood cinema 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

in Beyond observation
Films of the Sensory Ethnography Lab
Paul Henley

, rush by in the background, in a manner that is weirdly reminiscent of the back projections in the car scenes of Hollywood cinema 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

in Beyond observation
Gob Squad, a funny robot and dancing scientists
Simon Parry

smoothly integrated into a seamless, immersive experience, as is often the case in Hollywood cinema 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

in Science in performance
Anu Koivunen, Katariina Kyrölä, and Ingrid Ryberg

). 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 Hollywood Cinema 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

in The power of vulnerability
Open Access (free)
Ian Scott and Henry Thompson

McCrisken, American History, p. 155. 13 United 93 was released in April 2006, three months before World Trade Center. 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 Hollywood cinema. 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 Notes 25 Th e ci nem a of Ol iver   S to ne 26 16 ‘New Oliver Stone 9/​11 Film Introduces ‘Single

in The cinema of Oliver Stone