New Arrivals: PN 1993 - PN 1999.9999
Showing 176 - 200 of 522 new items.
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© 2015,Using popular cinema from the United States, Britain, and France, Empire Films and the Crisis of Colonialism, 1946 - 1959, examines postwar Western attitudes toward colonialism and race relations. Historians have written much about the high politics of decolonization but little about what ordinary citizens thought about losing their empires. Popular cinema provided the main source of images of the colonies, and, according to Jon Cowans in this far-reaching book, films depicting the excesses of empire helped Westerners come to terms with decolonization and even promoted the dismantling of colonialism around the globe. Examining more than one hundred British, French, and American films from the post-World War II era, Cowans concentrates on movies that depict interactions between white colonizers and nonwhite colonial subjects, including sexual and romantic relations. Although certain conservative films eagerly supported colonialism, Cowans argues that the more numerous "liberal colonialist" productions undermined support for key aspects of colonial rule, while a few more provocative films openly favored anticolonial movements and urged "internal decolonization" for people of color in Britain, France, and the United States. Combining new archival research on the films' production with sharp analysis of their imagery and political messages, the book also assesses their reception through box-office figures and newspaper reviews. It examines both high-profile and lesser-known films on overseas colonialism, including The King and I , Bhowani Junction , and Island in the Sun , and tackles treatments of miscegenation and "internal colonialism" that appeared in Westerns and American films like Pinky and Giant . The first truly transnational history of cinema's role in decolonization, this powerful book weaves a unified historical narrative out of the experiences of three colonial powers in diverse geographic settings.
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© 2015,Jim Jarmusch: Music, Words and Noise is the first book to examine the films of Jim Jarmusch from a sound-oriented perspective. The three essential acoustic elements that structure a film-- music, words and noise--propel this book's fascinating journey through his work. Exploring the director's extensive back catalogue, including Stranger Than Paradise , Down By Law , Dead Man , and Only Lovers Left Alive , Sara Piazza's unique reading reveals how Jarmusch created a form of "sound democracy" in film, in which all acoustic layers are capable of infiltrating each other and in which sound is not subordinate to the visual. In his cultural melting pot, hierarchies are irrelevant: Schubert and Japanese noise-bands, Marlowe and Betty Boop, can coexist easily side-by-side. Developing the innovative idea of a "silent-sound film," Piazza identifies prefiguring elements from pre-sound-era film in Jarmusch's work. Highlighting the importance of Jarmusch's treatment of sound, Piazza investigates how the director's distinctive reputation consolidated itself over the course of a thirty-year career. Based in New York, Jarmusch was able to develop a fiercely personal vision far from the commercial pressures of Hollywood. The book uses wide-ranging examples from music, film, literature, and visual art, and features interviews with many prominent figures, including Ennio Morricone, Luc Sante, Roberto Benigni, John Lurie, and Jarmusch himself. An innovative account of a much-admired body of work, Jim Jarmusch will appeal not only to the many fans of the director but all those interested in the connections between sound and film. Visit the author's page for this book: http://jimjarmusch-musicwordsandnoise.com
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© 2015,Monty Python's Life of Brian film is known for its brilliant satirical humour. Less well known is that the film contains references to what was, at the time of its release, cutting edge biblical scholarship and life of Jesus research. This research, founded on the acceptance of the Historical Jesus as a Jew who needs to be understood within the context of his time, is implicitly referenced through the setting of the Brian character within a tumultuous social and political background.This collection is a compilation of essays from foremost scholars of the historical Jesus and the first century Judaea, and includes contributions from George Brooke, Richard Burridge, Paula Fredriksen, Steve Mason, Adele Reinhartz, Bart Ehrman, Amy-Jill Levine, James Crossley, Philip Davies, Joan Taylor, Bill Telford, Helen Bond, Guy Stiebel, David Tollerton, David Shepherd and Katie Turner. The collection opens up the Life of Brian to renewed investigation and, in so doing, uses the film to reflect on the historical Jesus and his times, revitalising the discussion of history and Life of Jesus research. The volume also features a preface from Terry Jones, who not only directed the film, but also played Brian's mum.
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© 2006,Movies play a central role in shaping our understanding of crime and the world generally, helping us define what is good and bad, desirable and unworthy, lawful and illicit, strong and weak. Crime films raise controversial issues about the distribution of social power and the meanings of deviance, and they provide a safe space for fantasies of rebellion, punishment, and the restoration of order. In the first comprehensive study of its kind, well-known criminologist Nicole Rafter examines the relationship between society and crime films from the perspectives of criminal justice, film history and technique, and sociology. Shots in the Mirror begins with an overview of the history of crime films and the emergence of various genres, surveying important films from the silent era, the early gangster films of the '30s, classic film noir, the work of Hitchcock, and recent innovations by Scorsese, Tarrentino, and the Coen brothers. Keeping pace with the evolution of crime films, Shots in the Mirror has been updated to respond to recent developments, trends, and shifting circumstances in the genre. This new edition expands the scope and increases the depth and variety of the previous edition by including foreign films in addition to American movies. Rafter also integrates an entirely new body of literature into the study, reflecting the rapid expansion of scholarship on law-related films over the past three years. She has added a chapter on psycho movies, a previously unrecognized subcategory of crime films. Another new chapter, "The Alternative Tradition and Films of Moral Ambiguity," focuses on recent sex crime films. This new final chapter grows organically out of the first edition's distinction between traditional crime films, with their easy solutions to social problems, and those more unusual critical films which belong to the bleaker, morally ambiguous, alternative tradition. Rafter examines more than three hundred films in this study, considering what they have to say, socially and ideologically, about the causes of crime, and adding valuable contributions to the on-going debate on whether media representations of violence cause crime. Shots in the Mirror is both a marvelous history of crime films and a trenchant analysis of their complex relationship to larger society.
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© 2012,An expanded edition of a classic work of film criticism, with a provocative and eloquent new chapter on Marnie, Hitchcock's most heartfelt--and most controversial--film.
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© 2015,With iconic movies likeWho's Afraid of Virginia Woolf?, The Graduate, andCarnal Knowledge, Mike Nichols was the most prominent American director during the cultural upheavals of the 1960s. Mike Nichols: Sex, Language, and the Reinvention of Psychological Realism argues that he overhauled thestyle of psychological realism, and, in doing so, continues to shape the legacies of Hollywood cinema. It also reveals that misreadings of his films were central to foundational debates at the emergence of Cinema Studies as a discipline, inviting new reflections on critical dogma.Focusing on Nichols' classic movies, as well as later films such asSilkwood, The Birdcage, and Angels in America, Kyle Stevens demonstrates that Nichols' realism lies not in the plausibility of his characters but in their inherent mystery. By attending to the puzzling words and silences, breaths andlaughter, that comprise these characters, Stevens uncovers new insights into the subversive potential of a range of cinematic elements, and reveals how Nichols' satirical oeuvre, and Hollywood itself, participated in several of the nation's most urgent social, political, and philosophicaladvances.
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© 2015,From the mid-1930s to the late 1950s, Mexican cinema became the most successful Latin American cinema and the leading Spanish-language film industry in the world. Many Cine de Oro (Golden Age cinema) films adhered to the dominant Hollywood model, but a small yet formidable filmmaking faction rejected Hollywood's paradigm outright. Directors Fernando de Fuentes, Emilio Fernández, Luis Buñuel, Juan Bustillo Oro, Adolfo Best Maugard, and Julio Bracho sought to create a unique national cinema that, through the stories it told and the ways it told them, was wholly Mexican. The Classical Mexican Cinema traces the emergence and evolution of this Mexican cinematic aesthetic, a distinctive film form designed to express lo mexicano . Charles Ramírez Berg begins by locating the classical style's pre-cinematic roots in the work of popular Mexican artist José Guadalupe Posada at the turn of the twentieth century. He also looks at the dawning of Mexican classicism in the poetics of Enrique Rosas' El Automóvil Gris , the crowning achievement of Mexico's silent filmmaking era and the film that set the stage for the Golden Age films. Berg then analyzes mature examples of classical Mexican filmmaking by the predominant Golden Age auteurs of three successive decades. Drawing on neoformalism and neoauteurism within a cultural studies framework, he brilliantly reveals how the poetics of Classical Mexican Cinema deviated from the formal norms of the Golden Age to express a uniquely Mexican sensibility thematically, stylistically, and ideologically.
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© 2015,The Culture and Philosophy of Ridley Scott, edited by Adam Barkman, Ashley Barkman, and Nancy Kang, brings together eighteen critical essays that illuminate a nearly comprehensive selection of the director s feature films from cutting-edge multidisciplinary and comparative perspectives. Chapters examine such signature works as Alien (1979), Blade Runner (1982), Thelma and Louise (1991), Gladiator (2000), Hannibal (2001), Black Hawk Down (2001), and American Gangster (2007). This volume divides the chapters into three major thematic groups: responsibility, remembering, and revision; real, alienated, and ideal lives; and gender, identity, and selfhood. Each section features six discrete essays, each of which forwards an original thesis about the film or films chosen for analysis. Each chapter features close readings of scenes as well as broader discussions that will interest academics, non-specialists, as well as educated readers with an interest in films as visual texts. While recognizing Scott s undeniable contributions to contemporary popular cinema, the volume does not shy away from honest and well-evidenced critique. Each chapter s approach correlates with philosophical, literary, or cultural studies perspectives. Using both combined and single-film discussions, the contributors examine such topics as gender roles and feminist theory; philosophical abstractions like ethics, honor, and personal responsibility; historical memory and the challenges of accurately rendering historical events on screen; literary archetypes and generic conventions; race relations and the effect of class difference on character construction; how religion shapes personal and collective values; the role of a constantly changing technological universe; and the schism between individual and group-based power structures. The Culture and Philosophy of Ridley Scott assembles the critical essays of scholars working in the fields of philosophy, literary studies, and cultural studies. An international group, they are based in the United States, Canada, Argentina, Italy, Greece, Korea, the United Kingdom, and New Zealand. The guiding assumption on the part of all the writers is that the filmmaker is the leading determiner of a motion picture s ethos, artistic vision, and potential for audience engagement. While not discounting the production team (including screenwriters, actors, and cinematographers, among others), auteur theory recognizes the seminal role of the director as the nucleus of the meaning-making process. With Scott an active and prolific presence in the entertainment industry today, the timeliness of this volume is optimal."
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© 2015,From one of the most admired critics of our time, brilliant insights into the act of watching movies and an enlightening discussion about how to derive more from any film experience. Since first publishing his landmark Biographical Dictionary of Film in 1975 (recently released in its sixth edition), David Thomson has been one of our most provocative authorities on all things cinema. Now he offers his most inventive exploration of the medium yet: guiding us through each element of the viewing experience, considering the significance of everything from what we see and hear on-screen--actors, shots, cuts, dialogue, music--to the specifics of how, where, and with whom we do the viewing. With customary candor and wit, Thomson delivers keen analyses of a range of films from classics such as Psycho and Citizen Kane to contemporary fare such as 12 Years a Slave and All Is Lost, revealing how to more deeply appreciate both the artistry and (yes) manipulation of film, and how watching movies approaches something like watching life itself. Discerning, funny, and utterly unique, How to Watch a Movie is a welcome twist on a classic proverb: Give a movie fan a film, she'll be entertained for an hour or two; teach a movie fan to watch, his experience will be enriched forever.
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© 2015,From the earliest days of cinema, scandalous films such as The Kiss (1896) attracted audiences eager to see provocative images on screen. With controversial content, motion pictures challenged social norms and prevailing laws at the intersection of art and entertainment. Today, the First Amendment protects a wide range of free speech, but this wasn't always the case. For the first fifty years, movies could be censored and banned by city and state officials charged with protecting the moral fabric of their communities. Once film was embraced under the First Amendment by the Supreme Court's Miracle decision in 1952, new problems pushed notions of acceptable content even further. Dirty Words & Filthy Pictures explores movies that changed the law and resulted in greater creative freedom for all. Relying on primary sources that include court decisions, contemporary periodicals, state censorship ordinances, and studio production codes, Jeremy Geltzer offers a comprehensive and fascinating history of cinema and free speech, from the earliest films of Thomas Edison to the impact of pornography and the Internet. With incisive case studies of risqué pictures, subversive foreign films, and banned B-movies, he reveals how the legal battles over film content changed long-held interpretations of the Constitution, expanded personal freedoms, and opened a new era of free speech. An important contribution to film studies and media law, Geltzer's work presents the history of film and the First Amendment with an unprecedented level of detail.
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© 2015,In this provocative study of cinematic and televisual representations of "sex radicalism," Carol Siegel explores how representations of sexually explicit content on film have shaped American cultural visions of sex and sexual politics in the 21st century. Siegel distinguishes between a liberal approach to visual representations, which has over-emphasized normative equal opportunity while undervaluing our distinctive erotic selves, and a radical approach to visual representation, which portrays forbidden sexualities and desires. She illustrates how visual media participates in and even drives political policies related to pedophilia, prostitution, interracial relationships, and war. By examining such popular film and television shows as Mystic River, The Wire, Fifty Shades of Grey, Batman Returns, and the HBO hits, Sex and the City and Girls, Siegel takes the discussion of radical sex in the movies out of the margins of political discussions and puts it in the center, where, she argues, it has belonged all along.
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© 2015,Over the last five decades, the films of director Brian De Palma (b. 1940) have been among the biggest successes ( The Untouchables, Mission: Impossible ) and the most high-profile failures ( The Bonfire of the Vanities ) in Hollywood history. De Palma helped launch the careers of such prominent actors as Robert De Niro, John Travolta, and Sissy Spacek (who was nominated for an Academy Award as Best Actress in Carrie). Indeed Quentin Tarantino named Blow Out as one of his top three favorite films, praising De Palma as the best living American director. Picketed by feminists protesting its depictions of violence against women, Dressed to Kill helped to create the erotic thriller genre. Scarface, with its over-the-top performance by Al Pacino, remains a cult favorite. In the twenty-first century, De Palma has continued to experiment, incorporating elements from videogames ( Femme Fatale ), tabloid journalism ( The Black Dahlia ), YouTube, and Skype ( Redacted and Passion ) into his latest works. What makes De Palma such a maverick even when he is making Hollywood genre films? Why do his movies often feature megalomaniacs and failed heroes? Is he merely a misogynist and an imitator of Alfred Hitchcock? To answer these questions, author Douglas Keesey takes a biographical approach to De Palma's cinema, showing how De Palma reworks events from his own life into his films. Written in an accessible style, and including a chapter on every one of his films to date, this book is for anyone who wants to know more about De Palma's controversial films or who wants to better understand the man who made them.
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© 2016,For two decades after the mid-1950s, biracial popular music played a fundamental role in progressive social movements on both sides of the Atlantic. Balancing rock's capacity for utopian popular cultural empowerment with its usefulness for the capitalist media industries, Rock 'N' Filmexplores how the music's contradictory potentials were reproduced in various kinds of cinema, including major studio productions, minor studios' exploitation projects, independent documentaries, and the avant-garde.These include Rock Around the Clock and other 1950s jukebox musicals; the films Elvis made before being drafted, especially King Creole, as well as the formulaic comedies in which Hollywood abused his genius in the 1960s; early documentaries such as The T.A.M.I. Show that presented James Brown andthe Rolling Stones as the core of a black-white, US-UK cultural commonality; A Hard Day's Night that marked the British Invasion; Dont Look Back, Monterey Pop, Woodstock, and other Direct Cinema documentaries about the music of the counterculture; and avant-garde films about the Rolling Stones byJean-Luc Godard, Kenneth Anger, and Robert Frank. After the turn of the decade, notably Gimme Shelter, in which the Stones appeared to be complicit in the Hells Angels' murder of a young black man, 1960s' music - and films about it - reverted to separate black and white traditions based respectively on soul and country. These producedblaxploitation and Lady Sings the Blues on the one hand, and bigoted representations of Southern culture in Nashville on the other. Ending with the deaths of their stars, both films implied that rock 'n' roll had died or even, as David Bowie proclaimed, that it had committed suicide. But in hisdocumentary about Bowie, Ziggy Stardust and the Spiders from Mars, D.A. Pennebaker triumphantly re-affirmed the community of musicians and fans in glam rock.In analyzing this history, David E. James adapts the methodology of histories of the classic film musical to show how the rock 'n' roll film both displaced and recreated it.
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© 2015,He was the consummate designer of film architecture on a grand scale, influenced by German expressionism and the work of the great European directors. He was known for his visual flair and timeless innovation, a man who meticulously preplanned the color and design of each film through a series of continuity sketches that made clear camera angles, lighting, and the actors' positions for each scene, translating dramatic conventions of the stage to the new capabilities of film. Here is the long-awaited book on William Cameron Menzies, Hollywood's first and greatest production designer, a job title David O. Selznick invented for Menzies' extraordinary, all-encompassing, Academy Award-winning work on Gone With the Wind (which he effectively co-directed). It was Menzies--winner of the first-ever Academy Award for Art Direction, jointly for The Dove (1927) and Tempest (1928), and who was as well a director (fourteen pictures) and a producer (twelve pictures)--who changed the way movies were (and still are) made, in a career that spanned four decades, from the 1920s through the 1950s. His more than 120 films include Rosita (1923), Things to Come (1936), Foreign Correspondent (1940), Kings Row (1942), Mr. Lucky (1943), The Pride of the Yankees (1943), For Whom the Bell Tolls (1943), Address Unknown (1944), It's a Wonderful Life (1947), Invaders from Mars (1953), and Around the World in 80 Days (1956). Now, James Curtis, acclaimed film historian and biographer, writes of Menzies' life and work as the most influential designer in the history of film. His artistry encompassed the large, scenic drawings of Douglas Fairbanks' The Thief of Bagdad (1924), which created a new standard for beauty on the screen and whose exotic fairy-tale sets are still regarded as pure genius. ("I saw The Thief of Bagdad when it first came out," said Orson Welles--he was, at the time, a nine-year-old boy. "I'll never forget it.") Curtis writes of Menzies' design and supervision of John Barrymore's Beloved Rogue (1927), a film that remains a masterpiece of craft and synthesis, one of the most distinctive pictures to emerge from Hollywood's waning days of silent films, and of his extraordinary, opulent appointments for Gone With the Wind (1939). It was Menzies who defined and solidified the role of art director as having overall control of the look of the motion picture, collaborating with producers like David O. Selznick and Samuel Goldwyn; with directors such as D. W. Griffith, Raoul Walsh, Alfred Hitchcock, Lewis Milestone, and Frank Capra. And with actors as varied as Ingrid Bergman, W. C. Fields, Cary Grant, Clark Gable, John Barrymore, Barbara Stanwyck, Ronald Reagan, Gary Cooper, Vivien Leigh, Carole Lombard, Mary Pickford, Gloria Swanson, and David Niven. Interviewing colleagues, actors, directors, friends, and family, and with full access to the William Cameron Menzies family collection of original artwork, correspondence, scrapbooks, and unpublished writing, Curtis brilliantly gives us the path-finding work of the movies' most daring and dynamic production designer: his evolution as artist, art director, production designer, and director. Here is a portrait of a man in his time that makes clear how the movies were forever transformed by his startling, visionary work. (With 16 pages of color illustrations, and black-and-white photographs throughout.)
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© 2015,As film history's oldest and one of today's most prominent forms, the live-action short film has both historical and contemporary significance. Felando discusses the historical significance of the short film, identifies the fiction short's conventions, and offers two general research categories: the classical short and the art short.
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© 2015,Step inside the Lucasfilm art departments for the creation of fantastical worlds, unforgettable characters, and unimaginable creatures. The Art of Star Wars: The Force Awakens will take you there, from the earliest gathering of artists and production designers at Lucasfilm headquarters in San Francisco to the fever pitch of production at Pinewood Studios to the conclusion of post-production at Industrial Light & Magic--all with unprecedented access. Exclusive interviews with the entire creative team impart fascinating insights in bringing director J.J. Abrams's vision to life; unused "blue sky" concept art offers glimpses into roads not traveled. Bursting with hundreds of stunning works of art, including production paintings, concept sketches, storyboards, blueprints, and matte paintings, this visual feast will delight Star Wars fans and cineastes for decades to come. The Art of Star Wars: The Force Awakens is the definitive expression of how the latest chapter in the Star Wars saga was dreamed into being. ALSO AVAILABLE FROM ABRAMS IN FALL 2016: The Making of Star Wars: The Force Awakens by Mark Cotta Vaz. Forewords by J.J. Abrams and Kathleen Kennedy. ISBN: 978-1-4197-2022-2
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© 2015,Stanley Kubrick: New Perspectives brings together essays by scholars who have examined the traces that Kubrick's work has left in archives, in particular his own collection of film-related materials, which was donated to the University of the Arts London in 2007. Richly illustrated with film stills and previously unseen material from the Stanley Kubrick Archive, this book is designed to open the reader's eyes to the wonder and richness of Kubrick's oeuvre. The collection held by the University is made up of a range of material including props, scripts, research, production paperwork such as call sheets, costumes and photographs for all his films and Look, as well as material for those projects that were conceived but never visualised. By maintaining a high degree of control in the film making process, Kubrick was able to retain material generated by his pioneering techniques, research and production work: arguably making this collection one of the most complete examples of film making practice world wide. Kubrick's films have inspired a huge amount of critical commentary, yet until recently critics and scholars have made little use of archival resources. The essays included in this collection offer new perspectives on Kubrick's working methods, the manifold influences on his films, their themes and style as well as their marketing and reception. Between them, the essays cover the totality of Kubrick's career, from his beginnings as a photojournalist and documentary filmmaker in the late 1940s and early 1950s to his last movie, Eyes Wide Shut , which was released a few months after his death in 1999. Ranging from low-budget noir thrillers to spectacular historical and futuristic epics, from war films to erotic dramas, from horror to topical movies, Kubrick's work explores fundamental questions about sexuality and violence, military organisations and combat, male bonding and marriage, human nature and social change. In doing so, he has produced iconic images (and sounds) representing key events and developments of the 20th century, including World War I, the threat of nuclear apocalypse, the space race, the Vietnam War, the rise of juvenile delinquency and family breakdown.
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© 2013,Terry Gilliam has been making movies for more than forty years, and this volume analyzes a selection of his thrilling directorial work, from his early films with Monty Python to The Imaginarium of Doctor Parnussus (2009). The frenetic genius, auteur, and social critic continues to create indelible images on screen--if, that is, he can get funding for his next project. Featuring eleven original essays from an international group of scholars, this collection argues that when Gilliam makes a movie, he goes to war: against Hollywood caution and convention, against American hyper-consumerism and imperial militarism, against narrative vapidity and spoon-fed mediocrity, and against the brutalizing notion and cruel vision of the "American Dream."
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© 2015,By 1915, Hollywood had become the epicenter of American filmmaking, with studio "dream factories" structuring its vast production. Filmmakers designed Hollywood studios with a distinct artistic and industrial mission in mind, which in turn influenced the form, content, and business of the films that were made and the impressions of the people who viewed them. The first book to retell the history of film studio architecture, Studios Before the System expands the social and cultural footprint of cinema's virtual worlds and their contribution to wider developments in global technology and urban modernism. Focusing on six significant early film corporations in the United States and France--the Edison Manufacturing Company, American Mutoscope and Biograph, American Vitagraph, Georges Méliès's Star Films, Gaumont, and Pathé Frères--as well as smaller producers and film companies, Studios Before the System describes how filmmakers first envisioned the space they needed and then sourced modern materials to create novel film worlds. Artificially reproducing the natural environment, film studios helped usher in the world's Second Industrial Revolution and what Lewis Mumford would later call the "specific art of the machine." From housing workshops for set, prop, and costume design to dressing rooms and writing departments, studio architecture was always present though rarely visible to the average spectator in the twentieth century, providing the scaffolding under which culture, film aesthetics, and our relation to lived space took shape.
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© 2006,A study of Spielberg's film career, this text analyses the components of Spielberg's worldview, the issues which animate his most significant works, the roots of his immense acceptance, and the influence his vast spectrum of imaginative products exerts on the public consciousness.
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© 2006,In The Road Story and the Rebel: Moving Through Film, Fiction, and Television, Beat studies scholar Katie Mills examines how road stories, which have offered declarations of independence to generations of rebellious Americans, have been transformed by media, technology, and social movements. The genre, which includes literature, films, television shows, and several types of digital media, has evolved, says Mills, as each new generation questions its own identity and embraces the thrill of "automobility" (autonomy and mobility) thus providing audiences a means to consider radically altered notions of independence, even as the genre cycles between innovation and commodification. This cultural history reveals the unique qualities of road stories and follows the evolution from the Beats' postwar literary adventures to today's postmodern reality television shows. Tracing the road story as it moves to both LeRoi Jones's critique of the Beats' romanticization of blacks as well as to the mainstream in the 1960s with CBS's Route 66, Mills also documents the rebel subcultures of novelist Ken Kesey and the Merry Pranksters, who used film and LSD as inspiration on a cross-country bus trip, and she examines the sexualization of male mobility and biker mythology in the films Scorpio Rising, The Wild Angels, and Easy Rider. Mills addresses how the filmmakers of the 1970s--Coppola, Scorsese, and Bogdanovich--flourished in New Hollywood with road films that reflected mainstream audiences and how feminists Joan Didion and Betty Friedan subsequently critiqued them. A new generation of women and minority storytellers gain clout and bring genre remapping to the national consciousness, Mills explains, as the road story evolves from such novels as Song of Solomon to films like Thelma and Louise and television's Road Rules 2. The Road Story and the Rebel, which includes twenty illustrations, effectively explores the cultural significance of sixty years of rebellion in film, literature, television, and digital media. Spanning media platforms and marginalized communities, the text offers new interpretations of canonical works and reintroduces forgotten works, revealing the genre to be more political and philosophical than previously understood.
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