Home / Tag: University of Texas Press
07.27.2014 | 5 days ago | Posted at 08:22 AM
By David Luhrssen
  “Is the U.S. is an empire?” Camilla Fojas asks in her book, Islands of Empire: Pop Culture and U.S. Power (University of Texas Press). She answers with Miami Vice, the film and the TV series that depicted the U.S. as the policeman of the Caribbean in the War on Drugs—a Pax Americana Harry Truman and Dwight Eisenhower never imagined. And then Fojas goes deeper: she reminds ...
04.26.2014 | 97 days ago | Posted at 08:49 AM

Spike, Mike, Slackers & Dykes

By David Luhrssen
  Earlier this year, while reading a biography of director Paul Thomas Anderson (Magnolia), it struck me: the indie film explosion that brought Anderson, Quentin Tarantino and Steven Soderbergh to the fore is already history—a period that can be bracketed for convenience with start and end dates. The thought kept returning as I read the newly released paperback edition o...
03.27.2014 | 127 days ago | Posted at 10:48 AM
By David Luhrssen
  Film scholar David Andrews makes many arguments in his latest book and the central one is provocative: there is no such genre as “art film” or “art house,” just a set of subjective (and often dubious) signifiers by which a film (or anything else, a Brillo box?) is labeled as “art” in a culture that segregates art from everything else. Theorizing Art Cinemas: Foreign,...
01.29.2014 | | Posted at 09:05 AM

A Close Look at the Films of Paul Thomas Anderson

By David Luhrssen
  Jason Sperb is not a fan of Paul Thomas Anderson. He’s something much better—an intelligent critic trying to discern what’s valuable and what’s not in Anderson’s body of cinematic work. In his close reading of the director, Blossoms & Blood: Postmodern Media Culture and the Films of Paul Thomas Anderson (University of Texas Press), Sperb finds much to admi...
01.02.2013 | | Posted at 09:17 AM

Pop Culture and The Sheik

By David Luhrssen
  Dressed in flowing Bedouin robes, Rudolph Valentino, the swarthy Italian star of silent Hollywood, prepared to deflower the virginal English heroine of The Sheik (1921). Kansas City censors banned the film for its rape scene, yet the movie passed muster in most of America. The scene was ambiguously edited, leaving what occurred to the imagination of the beholders. Perhaps conscienc...

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