By Sharon Waxman
The Nineties observed a surprise wave of dynamic new directing expertise that took the Hollywood studio procedure by means of typhoon. on the leading edge of that circulate have been six leading edge and bold administrators whose motion pictures driven the limits of moviemaking and introduced to the realm that anything fascinating was once taking place in Hollywood. Sharon Waxman of the New York Times spent the last decade overlaying those younger filmmakers, and in Rebels at the Backlot she weaves jointly the lives and careers of Quentin Tarantino, Pulp Fiction; Steven Soderbergh, Traffic; David Fincher, Fight Club; Paul Thomas Anderson, Boogie Nights; David O. Russell, Three Kings; and Spike Jonze, Being John Malkovich.
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Additional info for Rebels on the Backlot: Six Maverick Directors and How They Conquered the Hollywood Studio System
16 Though adhering to the fundamental structure of its target genre, The Lap of Luxury nonetheless sets itself apart from reality TV by inverting the essential premise of contest-based reality programs. Unlike the typical reality game show, where the display of people competing against one another for a prize drives the action, The Lap of Luxury is actually no contest at all. Instead, it is an elaborate set-up in which all but one of the contestants are actors working from a script. The exception is the unwitting star of the show, Matthew Kennedy Gould, a man from Mt.
Parody in ancient Greece was also used in the adaptation of Homeric poetry into comedy, of which the Batrachomyomachia, or Battle of the Frogs and Mice, is the only extant example, and in the Old Comedy of Aristophanes. ”9 Rose’s defi nition does not apply to all parody, as Linda Hutcheon demonstrates in her study of twentieth-century parodic art forms for example, but it does describe the parody found in Joe Schmo and “Sir Thopas,” for each takes a humorous look at other genres to explore serious literary and social issues without resorting to the negativity associated with other forms.
17. 18. 19. 20. 21. 22. 23. 17 of Chicago Press, 2000), pp. 15 and 16 [1–19]. Gallagher’s and Greenblatt’s commentary, in its original context, is addressed to the problem of the challenges posed to literary criticism in the wake of the insight, partly drawn from the Geertzian anthropology of the 1970s and partly from the contemporary “pantextualism” of deconstruction, that “all culture is text” (p. ” This is apparently the trap Bernard-Henri Lévy fell into when he created his stream-of-consciousness narrative reconstruction of the last moments of Pearl’s life in his book Who Killed Daniel Pearl?