Mad to be saved : the Beats, the '50s, and film
著者
書誌事項
Mad to be saved : the Beats, the '50s, and film
Southern Illinois University Press, c1998
- : hbk
大学図書館所蔵 全11件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. 241-249) and index
内容説明・目次
内容説明
Film critic David Sterritt presents an interdisciplinary exploration of the Beat Generation, its intersections with mainstream and experimental film, and the interactions of all of these with American society and the culture of the 1950s. Sterritt balances the Beat countercultural goal of rebellion through both artistic creation and everyday behaviour against the mainstream values of conformity and conservatism, growing worry over cold-war hostilities, and the ""rat race"" toward material success. After an introductory overview of the Beat Generation, its history, its antecedents and its influences, Sterritt shows the importance of ""visual thinking"" in the lives and works of major Beat authors, most notably Jack Kerouac, Allen Ginsberg and William S. Burroughs. He turns to Mikhail Bakhtin's dialogic theory to portray the Beat writers - who were inspired by jazz and other liberating influences - as carnivalesque rebels against what they perceived as a rigid and stifling social order. Showing the Beats as social critics, Sterritt looks at the work of 1950s photographers Robert Frank and William Klein; the attack against Beat culture in the pictures and prose of ""Life"" magazine; and the counterattack in Frank's film ""Pull My Daisy"", featuring key Beat personalities. He further explores expressions of rebelliousness in ""film noir"", the melodrama of director Douglas Sirk, and other Hollywood films. Finally, Sterritt shows the changing attitudes toward the Beat sensibility in Beat-related Hollywood movies like ""A Bucket of Blood"" and ""The Beat Generation""; television programes like ""Route 66"" and ""The Many Loves of Dobie Gillis""; nonstudio films like John Cassavetes's improvisational ""Shadows"" and Shirley Clarke's experimental ""The Connection""; and radically avant-garde works by such doggedly independent screen artists as Stan Brakhage, Ron Rice, Bruce Connor and Ken Jacobs, drawing connections between their achievements and the most subversive products of their Beat contemporaries.
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