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Fashioning Spanish Cinema: Costume, Identity, and Stardom (Toronto Iberic)
by Jorge PérezCostume design is a crucial, but frequently overlooked, aspect of film that fosters an appreciation of the diverse ways in which film and fashion enrich each other. These influential industries offer representations of ideas, values, and beliefs that shape and construct cultural identities. In Fashioning Spanish Cinema, Jorge Pérez analyses the use of clothing and fashion as costumes within Spanish cinema, paying particular attention to the significance of those costumes in relation to the visual styles and the narratives of the films. The author examines the links between costume analysis and other fields and theoretical frameworks such as fashion studies, the history of dress, celebrity studies, and gender and feminist studies. Fashioning Spanish Cinema looks at instances in which costumes are essential to shaping the public image of stars, such as Conchita Montenegro, Sara Montiel, Victoria Abril, and Penélope Cruz. Focusing on examples in which costumes have discursive autonomy, it explores how costumes engage with broader issues of identity and, relatedly, how costumes impact everyday practices and fashion trends beyond cinema. Drawing on case studies from multiple periods, films by contemporary directors and genres, and red-carpet events such as the Oscars and Goya Awards, Fashioning Spanish Cinema contributes a pivotal Spanish perspective to expanding interdisciplinary work on the intersections between film and fashion.
Fashionistas (School Gyrls #1)
by Mo MoneyMonica "Mo Money" Marriott is worried her mother won't measure up to her classmates' wealthy parents during Parent's Weekend, so she lies about her mother's background.
Fassbinder Thousands of Mirrors (Semiotext(e) / Native Agents)
by Ian PenmanA kaleidoscopic study of Rainer Werner Fassbinder.Melodrama, biography, cold war thriller, drug memoir, essay in fragments, and mystery, Thousands of Mirrors is cult critic Ian Penman&’s long-awaited first full-length book: a kaleidoscopic study of Rainer Werner Fassbinder. Written over a short period "in the spirit" of RWF, who would often get films made in a matter of weeks or months, Thousands of Mirrors presents the filmmaker as Penman&’s equivalent of what Baudelaire was to Benjamin: an urban poet in the turbulent, seeds-sown, messy era just before everything changed. Beautifully written and extraordinarily compelling, echoing the fragmentary works of Roland Barthes and Emil Cioran, Eduardo Galeano and Alexander Kluge, this story has everything: sex, drugs, art, the city, cinema, and revolution.
Fast Forward
by Eric Spitznagel"Like most pornography, I found Fast Forward to be a relentless and indecent assault on the traditional family values that Americans find most sacred. Makes a great stocking stuffer."--Amy SedarisWith dreams of becoming a highly respected screenwriter, Eric Spitznagel moves to Los Angeles. When Hollywood fails to notice him, he settles for the next best thing: writing scripts for adult films. Determined to make the most of his bad luck, he sets out to make a movie that will be celebrated more for its witty dialogue and gripping plot than its raw depictions of hardcore sex. As Spitznagel discovers, making the Great American Porn is far from easy, especially when you've been hired to write a sequel to Butt Crazy.Spitznagel struggles to be taken seriously as an artist, a seeming impossibility in an industry averse to "complicated words." Along the way, he meets a director with delusions of being the porn Kurosawa, an actress with a scholarly knowledge of medical maladies, and an NBA star who might just make the biggest mistake of his life. In an industry devoted to churning out disposable erotica, can one lowly writer make an adult film that compels viewers to admire the plot without hovering a thumb over the fast forward button?Eric Spitznagel is the author of four humor books, including The Junk Food Companion: A Celebration of Eating Badly (Plume, 1999). His writing appears frequently in Playboy, Esquire, Harper's Magazine, and The Believer.
Fast Forward: The Future(s) of the Cinematic Arts
by Holly WillisCinema, the primary vehicle for storytelling in the twentieth century, is being reconfigured y new media in the twenty-first. Terms such as "worldbuilding," "virtual reality," and "transmedia" introduce new methods for constructing a screenplay and experiencing and sharing a story. Similarly, 3D cinematography, hypercinema, and visual effects require different modes for composing an image, and virtual technology, motion capture, and previsualization completely rearrange the traditional flow of cinematic production. What does this mean for telling stories? Fast Forward answers this question by investigating a full range of contemporary creative practices dedicated to the future of mediated storytelling and by connecting with a new generation of filmmakers, screenwriters, technologists, media artists, and designers to discover how they work now, and toward what end. From Chris Milk and Aaron Koblin's exploration of VR spherical filmmaking to Rebeca Méndez's projection and installation work exploring climate change to the richly mediated interactive live performances of the collective Cloud Eye Control, this volume captures a moment of creative evolution and sets the stage for imagining the future of the cinematic arts.
Fast Forward: The Future(s) of the Cinematic Arts
by Holly WillisCinema, the primary vehicle for storytelling in the twentieth century, is being reconfigured by new media in the twenty-first. Terms such as "worldbuilding," "virtual reality," and "transmedia" introduce new methods for constructing a screenplay and experiencing and sharing a story. Similarly, 3D cinematography, hypercinema, and visual effects require different modes for composing an image, and virtual technology, motion capture, and previsualization completely rearrange the traditional flow of cinematic production. What does this mean for telling stories? Fast Forward answers this question by investigating a full range of contemporary creative practices dedicated to the future of mediated storytelling and by connecting with a new generation of filmmakers, screenwriters, technologists, media artists, and designers to discover how they work now, and toward what end. From Chris Milk and Aaron Koblin's exploration of VR spherical filmmaking to Rebeca Méndez's projection and installation work exploring climate change to the richly mediated interactive live performances of the collective Cloud Eye Control, this volume captures a moment of creative evolution and sets the stage for imagining the future of the cinematic arts.
A Fast Ride Out of Here: Confessions of Rock's Most Dangerous Man
by Paul Rees Pete Way'They call me a madman but compared to Pete Way, I'm out of my league.' - Ozzy OsbourneThere are rock memoirs and then there is this one. A Fast Ride Out of Here tells a story that is so shocking, so outrageous, so packed with excess and leading to such uproar and tragic consequences as to be almost beyond compare. Put simply, in terms of jaw-dropping incident, self-destruction and all-round craziness, Pete Way's rock'n'roll life makes even Keith Richards's appear routine and Ozzy Osbourne seem positively mild-mannered in comparison. Not for nothing did Nikki Sixx, bassist with LA shock-rockers Motley Crue and who 'died' for eight minutes following a heroin overdose in 1988, consider that he was a disciple of and apprenticed to Way.During a forty-year career as founding member and bassist of the venerated British hard rock band UFO, and which has also included a stint in his hell-raising buddy Ozzy's band, Pete Way has both scaled giddy heights and plunged to unfathomable lows. A heroin addict for more than ten years, he blew millions on drugs and booze and left behind him a trail of chaos and carnage. The human cost of this runs to six marriages, four divorces, a pair of estranged daughters and two dead ex-wives. Latterly, Way has fought cancer, but has survived it all and is now ready to tell his extraordinary tale. By turns hilarious, heart-rending, mordant, scabrous, self-lacerating, brutally honest and entirely compulsive, A Fast Ride Out of Here will be a monument to rock'n'roll debauchery on an epic, unparalleled scale and also to one man's sheer indestructability.
A Fast Ride Out of Here: Confessions of Rock's Most Dangerous Man
by Pete Way Paul Rees'They call me a madman but compared to Pete Way, I'm out of my league.' - Ozzy OsbourneThere are rock memoirs and then there is this one. A Fast Ride Out of Here tells a story that is so shocking, so outrageous, so packed with excess and leading to such uproar and tragic consequences as to be almost beyond compare. Put simply, in terms of jaw-dropping incident, self-destruction and all-round craziness, Pete Way's rock'n'roll life makes even Keith Richards's appear routine and Ozzy Osbourne seem positively mild-mannered in comparison. Not for nothing did Nikki Sixx, bassist with LA shock-rockers Motley Crue and who 'died' for eight minutes following a heroin overdose in 1988, consider that he was a disciple of and apprenticed to Way.During a forty-year career as founding member and bassist of the venerated British hard rock band UFO, and which has also included a stint in his hell-raising buddy Ozzy's band, Pete Way has both scaled giddy heights and plunged to unfathomable lows. A heroin addict for more than ten years, he blew millions on drugs and booze and left behind him a trail of chaos and carnage. The human cost of this runs to six marriages, four divorces, a pair of estranged daughters and two dead ex-wives. Latterly, Way has fought cancer, but has survived it all and is now ready to tell his extraordinary tale. By turns hilarious, heart-rending, mordant, scabrous, self-lacerating, brutally honest and entirely compulsive, A Fast Ride Out of Here will be a monument to rock'n'roll debauchery on an epic, unparalleled scale and also to one man's sheer indestructability.
Fast Times and Excellent Adventures: The Surprising History of the '80s Teen Movie
by James King'Brilliant' Mail on SundayTake a trip back to the era of troubled teens and awesome soundtracks; of Reagan, rap and Ridgemont High; of MTV, VHS and 'Axel F'; of outsiders, lost boys and dead poets; of Bill and Ted, Brooke Shields and the Brat Pack; of three Porky's, two Coreys and one summer when everyone called her Baby . . . Fast Times and Excellent Adventures goes behind the scenes of a genre where cult hits mingled with studio blockbusters, where giants like Spielberg and Coppola rubbed shoulders with baby-faced first-timers and where ambitious future superstars Sean, Demi and Tom all got their big break. Music, comedy and politics - all play a part in the surprisingly complex history of the '80s teen movie. And while the films might have been aimed primarily at adolescents, the best tackle universal issues and remain a magnet to all ages. Time of your life, huh kid?From a late '70s Hollywood in flux to an early '90s indie scene that gave youth cinema a timely reboot, respected film expert James King smartly highlights the personal struggles, the social changes and the boardroom shake-ups that produced an iconic time in movie history.
Fast Times and Excellent Adventures: The Surprising History of the '80s Teen Movie
by James King'Brilliant' Mail on SundayTake a trip back to the era of troubled teens and awesome soundtracks; of Reagan, rap and Ridgemont High; of MTV, VHS and 'Axel F'; of outsiders, lost boys and dead poets; of Bill and Ted, Brooke Shields and the Brat Pack; of three Porky's, two Coreys and one summer when everyone called her Baby . . . Fast Times and Excellent Adventures goes behind the scenes of a genre where cult hits mingled with studio blockbusters, where giants like Spielberg and Coppola rubbed shoulders with baby-faced first-timers and where ambitious future superstars Sean, Demi and Tom all got their big break. Music, comedy and politics - all play a part in the surprisingly complex history of the '80s teen movie. And while the films might have been aimed primarily at adolescents, the best tackle universal issues and remain a magnet to all ages. Time of your life, huh kid?From a late '70s Hollywood in flux to an early '90s indie scene that gave youth cinema a timely reboot, respected film expert James King smartly highlights the personal struggles, the social changes and the boardroom shake-ups that produced an iconic time in movie history.
Fasten Your Seat Belts: The Passionate Life of Bette Davis
by Lawrence J. QuirkThe illuminating, comprehensive biography of Bette Davis, one of the most electrifying Hollywood stars ever to grace the silver screen.With a career spanning six decades and more than eighty films, Bette Davis is synonymous with Hollywood legend. From her incandescent performance as Margo Channing in All About Eve, to her terrifying, psychopathic Jane Hudson in What Ever Happened to Baby Jane?, Davis generated electricity wherever she appeared, whatever she did—and not just on the silver screen. Her personal life was as passionate as her career and was so fiery that it eventually consumed her.In this landmark biography, Lawrence J. Quirk takes us behind the scenes of all of Davis’s movies, from her early unpromising roles, to her commanding presence at the pinnacle of stardom, to her degrading exploitation in horror films at the end of her career. Quirk delves into Davis’s four unhappy marriages, as well as her frosty, manipulative relationships with her three children. Also revealed are her many affairs through the years with leading men, bit players, servicemen during World War II, and, very late in her life, much younger men, who repaid her by using her and deserting her. Intense, volatile, ruled often by her emotions, Bette Davis was described by one critic as "a force of nature that could find no ordinary outlet." Fasten Your Seat Belts brilliantly explores the life and career of Bette Davis to show us the fascinating original she was.
Faster, Pussycat! Kill! Kill! (Cultographies)
by Dean DeFinoRuss Meyer's Faster, Pussycat! Kill! Kill! (1965) is an enigma. A box-office failure when initially released on the grindhouse circuit, it has since been embraced by art-house audiences, and referenced in countless films, television series, and songs. A riot of styles and story clichés lifted from biker, juvenile delinquency, and beach party movies, it has the coherence of a dream, and the improvisatory daring of a jazz solo. John Waters has called it the greatest movie ever made, and Quentin Tarantino has long promised to remake it. But what draws them, and so many other cult fans to Pussycat? To help answer that question, this book looks at the production and critical reception of the film, its place within the cultural history of the 1960s, its representations of gender and sexuality, and the specific ways it meets the criteria of a cult film.
Faster, Pussycat! Kill! Kill!
by Dean DefinoRuss Meyer's Faster, Pussycat! Kill! Kill! (1965) is an enigma. A box-office failure when initially released on the grindhouse circuit, it has since been embraced by art-house audiences, and referenced in countless films, television series, and songs. A riot of styles and story clichés lifted from biker, juvenile delinquency, and beach party movies, it has the coherence of a dream, and the improvisatory daring of a jazz solo. John Waters has called it the greatest movie ever made, and Quentin Tarantino has long promised to remake it. But what draws them, and so many other cult fans to Pussycat? To help answer that question, this book looks at the production and critical reception of the film, its place within the cultural history of the 1960s, its representations of gender and sexuality, and the specific ways it meets the criteria of a cult film.
Faszinierende Unterhaltung: Die Entstehung und unterhaltsame Qualität der Emotion Awe (Ehrfurcht) bei der Medienrezeption am Beispiel von Videospielen
by Daniel PosslerVon gewaltiger Architektur in Videospielen über weite Landschaftsaufnahmen in Dokumentationen bis zu orchestraler Musik in Spielfilmen – manche unterhaltsame Medieninhalte scheinen explizit dafür geschaffen zu sein, uns in Faszination und Staunen zu versetzen. Während diese Erfahrungen in der Philosophie und Emotionspsychologie schon seit Längerem erforscht werden, blieben sie in gängigen Unterhaltungstheorien weitestgehend unberücksichtigt. Hier setzt das vorliegende Buch an. Auf Basis einer ausführlichen Aufarbeitung des Theorie- und Forschungsstands der kommunikationswissenschaftlichen Unterhaltungsforschung sowie der emotionspsychologischen Arbeiten zu Staunen und Faszination – definiert als Emotion Awe (dt. Ehrfurcht) – entwickelt Daniel Possler ein neues integratives Theoriemodell. Ziel ist die Erklärung der Entstehung sowie der Unterhaltsamkeit von Staunen und Faszination bei der Mediennutzung. Die Modellierung erfolgt dabei zunächst für Medien allgemein und wird dann auf das Fallbeispiel der Videospielnutzung übertragen.
Fat, Crazy, and Tired: Tales from the Trenches of Transformation
by Van Lathan Jr.Podcaster and former TMZ host Van Lathan Jr. writes a sharp, funny, and brutally honest, cultural critique of the unspoken obstacles and extreme anxiety that keep us from maintaining good health in America&’s &“wellness waistland,&” explored through vignettes about his mental health and weight loss journey as a Black man. A formerly chubby kid who self‑identified for much of his life as &“the fat friend,&” media personality and podcast host Van Lathan Jr. has struggled with physical and mental health his entire life. He was used to being his besties' wing man on the dating scene, the slack bench‑dweller at the gym, and his mother's biggest fan at every meal, especially whenever she served up her infamous mac and cheese with five different kinds of cheese. At 365 lbs, Van hated being fat so much, he found it harder than being Black! After dedicating years to improving his physical and mental health, with many ups and downs, in 2020 Van found himself in a shared slump with other Americans when the Covid-19 pandemic hit and the George Floyd video was released—suddenly he was surrounded by carbs galore, binge-ing everything, feeling non‑stop exhaustion, and crippling waves of anxiety and depression. Fat, Crazy, and Tired isn't just about Van's ultimately unsuccessful journey to an Instagram‑able body and zen; it's about the unspoken personal battlefield of attaining and maintaining what Americans deem as good health. He explores the real reasons behind our unending physical and mental health battles—culture, family, and the baggage of life—and demonstrates how we can better understand our bodies by better understanding ourselves. He takes it back to his southern upbringing in Baton Rouge, opens up about how being &“the Black guy&” at work at TMZ overshadowed his identity, and shares how he holds up to survive the madness.&“Detox&” cleanses? Weight loss pills? Celery juice? No, thank you. Unlike the self‑help gurus that push you to go &“all or nothing&” and &“keep it 100,&” Van wants you to be happier and healthier at 50% without totally admonishing yourself to get there. Packed with double doses of humor Fat, Crazy, and Tired shares abrutally honest cultural critique of mental health and our weight loss obsession in what he dubs America&’s &“wellness waistland.&”
Fat, Drunk, and Stupid: The Inside Story Behind the Making of Animal House
by Matty SimmonsIn 1976 the creators of National Lampoon, America's most popular humor magazine, decided to make a movie. It would be set on a college campus in the 1960s, loosely based on the experiences of Lampoon writers Chris Miller and Harold Ramis and Lampoon editor Doug Kenney. They named it Animal House, in honor of Miller's fraternity at Dartmouth, where the members had been nicknamed after animals. Miller, Ramis, and Kenney wrote a film treatment that was rejected and ridiculed by Hollywood studios—until at last Universal Pictures agreed to produce the film, with a budget of $3 million.A cast was assembled, made up almost completely of unknowns. Stephen Furst, who played Flounder, had been delivering pizzas. Kevin Bacon was a waiter in Manhattan when he was hired to play Chip. Chevy Chase was considered for the role of Otter, but it wound up going to the lesser-known Tim Matheson. John Belushi, for his unforgettable role as Bluto, made $40,000 (the movie's highest-paid actor). For four weeks in the fall of 1977, the actors and crew invaded the college town of Eugene, Oregon, forming their own sort of fraternity in the process. The hilarious, unforgettable movie they made wound up earning more than $600 million and became one of America's most beloved comedy classics. It launched countless careers and paved the way for today's comedies from directors such as Judd Apatow and Todd Phillips.Bestselling author Matty Simmons was the founder of National Lampoon and the producer of Animal House. In Fat, Drunk, and Stupid, he draws from exclusive interviews with actors including Karen Allen, Kevin Bacon, Peter Riegert, and Mark Metcalf, director John Landis, fellow producer Ivan Reitman, and other key players—as well as behind-the-scenes photos—to tell the movie's outrageous story, from its birth in the New York offices of the National Lampoon to writing a script, assembling the perfect cast, the wild weeks of filming, and, ultimately, to the film's release and megasuccess. This is a hilarious romp through one of the biggest grossing, most memorable, most frequently quoted, and most celebrated comedies of all time.
Fat kid rules the world
by K. L. GoingTroy Billings at 6'1", 296 pounds, is standing at the edge of a subway platform seriously contemplating suicide when he meets Curt MacCrae -a sage-like, semi-homeless punk guitar genius who also happens to be a drop-out legend at Troy's school on the Lower East Side of Manhattan. <P><P> "I saved your life. You owe me lunch," Curt tells Troy, and Troy can't imagine refusing; after all, think of the headline: FAT KID ARGUES WITH PIECE OF TWINE. <P> But with Curt, Troy gets more than he bargained for and soon finds himself recruited as Curt's drummer. "We'll be called Rage/Tectonic. Sort of a punk rock, Clash sort of thing," Curt informs him. There's only one problem. Troy can't play the drums. Oh yes, and his father thinks Curt's a drug addict. And his brother thinks Troy's a loser. But with Curt, anything is possible. "You'll see," says Curt. "We're going to be HUGE. " <P> In an outstanding, funny, edgy debut, K. L. Going presents two unlikely friends who ultimately save each other. <P> Winner of Pacific Northwest Library Association’s Young Reader’s Choice Award
The Fat Lady Sang
by Robert EvansFrom the legendary producer and author of The Kid Stays in the Picture—one of the greatest Hollywood memoirs ever written—comes a long-awaited second work with all the elements of a star-studded blockbuster: glamour and conflict, giddy highs and near-fatal lows, struggle and perseverance, tragedy and triumph.
The Fatal Alliance: A Century of War on Film
by David Thomson“A marvelous bombshell of a book, by one of our most formidably knowledgeable and insightful writers on film, it is filled with surprises and witty asides. Though Thomson is quick to pounce on the hypocrisies and historical omissions of some of these war movies, there is nothing compromised about his own daredevil judgments. We are in the hands of a master critic/essayist.”—Phillip LopateFrom one of the greatest living writers on film, a magisterial look at a century of battle depicted on screen, and a meditation on the twisted relationship between war and the movies.In The Fatal Alliance the acclaimed film critic David Thomson offers us one of his most provocative books yet—a rich, arresting, and troubling study of that most beloved genre: the war movie. It is not a standard history or survey of war films, although Thomson turns his typically piercing eye to many favorites—from All Quiet on the Western Front to The Bridge on the River Kwai to Saving Private Ryan. But The Fatal Alliance does much more, exploring how war and cinema in the twentieth century became inextricably linked. Movies had only begun to exist by the beginning of World War I, yet in less than a century, had transformed civilian experience of war—and history itself—for millions around the globe. This reality is the moral conundrum at the heart of Thomson’s book. War movies bring both prestige and are so often box office blockbusters; but is there something problematic at how much moviegoers enjoy depictions of violence on a grand scale, such as Apocalypse Now, Black Hawk Down, or even Star Wars? And what does this truth say about us, our culture, and our changing sense of warfare and the past?
Fate and Freedom in Korean Historical Films (East Asian Popular Culture)
by Kyung Moon HwangThis open access book examines the depiction of Korean history in recent South Korean historical films. Released over the Hallyu (“Korean Wave”) period starting in the mid-1990s, these films have reflected, shaped, and extended the thriving public discourse over national history. In these works, the balance between fate and freedom—the negotiation between societal constraints and individual will, as well as cyclical and linear history—functions as a central theme, subtext, or plot device for illuminating a rich variety of historical events, figures, and issues. In sum, these highly accomplished films set in Korea’s past address universal concerns about the relationship between structure and agency, whether in collective identity or in individual lives. Written in an engaging and accessible style by an established historian, Fate and Freedom in Korean Historical Films offers a distinctive perspective on understanding and appreciating Korean history and culture.
Fate in Film: A Deterministic Approach to Cinema (Short Cuts)
by Thomas M. PuhrThe course of events is predetermined and cannot be changed. Forces beyond our control—or even our comprehension—shape our fates. Such is the deterministic worldview embedded in a wide swath of contemporary cinema, from arthouse experiments to popular genre films, through both thematic concerns and narrative structures. These films, especially the recent spate of “elevated” science fiction and horror, tap into this deep-seated anxiety by focusing on characters who ultimately fail to transcend the patterns and structures that define them.Thomas M. Puhr identifies and analyzes the ways that cinema has dealt with the tension between fate and free will, from Stanley Kubrick’s The Shining to Christopher Nolan’s Tenet. He examines films that express deterministic ideas, including circular narratives of stasis or confinement and fatalistic portraits of external forces dictating characters’ lives. Puhr considers determinism at the levels of the individual, the family, and society, reading films in which characters are trapped by past or alternate selves, the burdens of family histories, or oppressive social structures. He explores how films such as Joel and Ethan Coen’s Inside Llewyn Davis, Ari Aster’s Hereditary, Jordan Peele’s Us, and Lucrecia Martel’s Zama confront the limits of human agency. Puhr relates deterministic themes to the nature of moviegoing: In denying characters any ability to choose alternative paths, these films mirror how viewers themselves can only sit and watch.Recasting the works of some of today’s most compelling directors, Fate in Film is an innovative critical account of an unrecognized yet crucial aspect of contemporary cinema.
Father Knows Best (TV Milestones Series)
by Mary R. DesjardinsAlthough the iconic television series Father Knows Best (CBS 1954-55; NBC 1955-58; CBS 1958-60) has enjoyed a long history in rerun syndication and an enduring fan base, it is often remembered as cultural shorthand for 1950s-era conformism and authoritarianism. In this study of Father Knows Best, author Mary R. Desjardins examines the program, its popularity, and its critical position within historical, industrial, and generic contexts to challenge oversimplified assumptions about the show's use of comedy and melodrama in exploring the place of family in mid-twentieth-century American society. Desjardins begins by looking at Father Knows Best within media and production contexts, including its origin on radio, its place in the history of Screen Gems telefilm production, and its roots in the backgrounds and creative philosophies of co-producer Eugene Rodney and star-producer Robert Young. She goes on to examine the social contexts for the creation and reception of the series, especially in the era's emphasis on family togetherness, shared parenting by both father and mother, and generational stages of the life cycle. Against this background, Desjardins also discusses several Father Knows Best episodes in-depth to consider their treatment of conflicts over appropriate gender roles for women. She concludes by exploring how the series' cast participated in reevaluations of the Anderson family's meaning in relation to "real families" of the fifties, through television specials, talk show appearances, magazine and book interviews, and documentaries. Blending melodrama and comedy, naturalistic acting, and stylized cinematic visuals, Father Knows Best dramatized ideological tensions in the most typical situations facing the American family. Scholars of mid-century American popular culture and film history as well as fans of the show will appreciate Desjardin's measured analysis.
Father of the Modern Circus 'Billy Buttons': The Life & Times of Philip Astley
by Steve WardThe world of the circus has a long and colorful history but it was with a man named Philip Astley that the modern circus was founded. It was 250 years ago, in April 1768, that Astley pegged out a circular ride on the banks of the river Thames and gave performances of trick riding to a paying audience. Trick riding was nothing new, so what made Astley so popular? He was an accomplished horseman, a military hero and an instinctive showman. Above all, he was an entrepreneur who realized that people would pay good money to be entertained and to be entertained well. He created the comic character of Billy Buttons, and other acts were added to his performances: clowns, rope dancers, tumblers and strongmen. The circus, as we might recognize it today, was born.Father of the Modern Circus Billy Buttons investigates the life and times of this veritable giant of the circus world. Standing well over 6 feet tall, with a stentorian voice and character to match, it was difficult to ignore him wherever he went. From his early days as an apprentice cabinetmaker and his military exploits in the 15th Dragoons to the trials and tribulations of establishing himself as a respected performer and his international successes in France and Ireland, this book gives a detailed account of the larger than life figure that was Philip Astley.
Father Struck It Rich (Leisure Class In America Ser.)
by Evalyn Walsh Mclean Boyden SparkesThomas Walsh discovered fabulous golden wealth in the historic Camp Bird Mine near Ouray, Colorado. His daughter, Evalyn Walsh McLean, tells an engaging true story of the family that wanted for nothing. They led a life of extravagance. It enabled them to acquire possessions such as the Hope Diamond and the fabulous homes that hosted spectacular social functions and served as retreats for kings and presidents.-Print ed.
Fatherhood: Stories about being a dad
by William McInnesWilliam McInnes, one of Australia's best-known storytellers and actors, has turned to a subject that is close to his heart. Fatherhood is about family, about memories of his father and the memories he's creating as a dad himself, with his own son and daughter.Warm, witty and nostalgic, these tales are just like a friendly chat over the back fence, or the banter of a backyard BBQ. They will stir your own memories: of hot summer days and cooling off under the sprinkler while Dad works in the garden with the radio tuned to the sports results; that time Dad tried to teach you to drive - and then got out of the car and kissed the ground; or taking your own kids on a family road trip.Fatherhood is full of memories: the happy, the hilarious, the sad, bad, and the unexpectedly poignant moments. You will laugh, you may even cry - but you will recognise yourself and those you love somewhere in these pages.