Peter Stanfield ist ein führender britischer Filmwissenschaftler, dessen Werk tief in die Geschichte und Ästhetik des Kinos eintaucht. Seine Schriften untersuchen entscheidende Genres und Epochen und decken die zugrundeliegenden Mechanismen der Filmproduktion und ihre kulturelle Resonanz auf. Stanfields Analyse bietet aufschlussreiche Perspektiven darauf, wie Filme gesellschaftliche Stimmungen geprägt und widergespiegelt haben, und seine Veröffentlichungen werden für ihre Gelehrsamkeit und seinen fesselnden Stil geschätzt.
Focusing on the 1930s Western genre, this book uncovers the often-overlooked narrative of how these films were created within Hollywood's studio system. It explores the production, exhibition, and audience reception of Westerns during this era, providing a comprehensive understanding of their cultural significance and historical context. Through this lens, the book sheds light on the intricacies of filmmaking and the impact of societal factors on the Western genre.
A sleazy, neon- and grease-stuffed chronicle of London's 1972 music scene.
A new portrait of The Who through the prism of pop art.
Challenging the notion that classrooms are the ideal settings for teaching English to speakers of other languages, this study examines postmodern pedagogies that blend classroom learning with community engagement. Analyzing reflections from 15 participants, it reveals the limitations of traditional classroom dynamics on learner agency. The study advocates for transforming English classrooms into spaces for critical reflection on social issues, promoting participative learning as students engage with local English-speaking communities to find solutions.
From The Wild Angels in 1966 until its conclusion in 1972, the cycle of outlaw motorcycle films contained forty-odd formulaic examples. Hoodlum Movies is not only about the films, its focus is on why and how these films were made, who they were made for, and how the cycle developed through the second half of the 1960s and came to a shuddering halt in 1972.
This is the tale of how Hollywood, inspired by the success of Easy Rider, sold a cycle of films as the new dirty real.