|
Showing 1 - 6 of
6 matches in All Departments
"Dukore's style is fluid and his wit delightful. I learned a
tremendous amount, as will most readers, and Bernard Shaw and the
Censors will doubtless be the last word on the topic." - Michel
Pharand, former editor of SHAW: The Journal of Bernard Shaw Studies
and author of Bernard Shaw and the French (2001). "This book shows
us a new side of Shaw and his complicated relationships to the
powerful mechanisms of stage and screen censorship in the long
twentieth century." - - Lauren Arrington, Professor of English,
Maynooth University, Ireland A fresh view of Shaw versus stage and
screen censors, this book describes Shaw as fighter and failure,
whose battles against censorship - of his plays and those of
others, of his works for the screen and those of others - he
sometimes won but usually lost. We forget usually, because
ultimately he prevailed and because his witty reports of defeats
are so buoyant, they seem to describe triumphs. We think of him as
a celebrity, not an outsider; as a classic, not one of the
avant-garde, of which Victorians and Edwardians were intolerant; as
ahead of his time, not of it, when he was called "disgusting,"
"immoral", and "degenerate." Yet it took over three decades and a
world war before British censors permitted a public performance of
Mrs Warren's Profession. We remember him as an Academy Award winner
for Pygmalion, not as an author whose dialogue censors required
deletions for showings in the United States. Scrutinizing the
powerful stage and cinema censorship in Britain and America, this
book focuses on one of its most notable campaigners against them in
the last century.
This book analyzes the interaction of crimes, punishments, and
Bernard Shaw in the nineteenth and twentieth centuries. It explores
crimes committed by professional criminals, nonprofessional
criminals, businessmen, believers in a cause, the police, the
Government, and prison officials. It examines punishments decreed
by judges, juries, colonial governors, commissars, and administered
by the police, prison warders, and prison doctors. It charts Shaw's
view of crimes and punishments in dramatic writings, non-dramatic
writings, and his actions in real life. This book presents him in
the context of his contemporaries and his world, inviting readers
to view crimes and punishments in their context, history, and
relevance to his ideas in and outside his plays, plus the relevance
of his ideas to crimes and punishments in life.
This book analyzes the interaction of crimes, punishments, and
Bernard Shaw in the nineteenth and twentieth centuries. It explores
crimes committed by professional criminals, nonprofessional
criminals, businessmen, believers in a cause, the police, the
Government, and prison officials. It examines punishments decreed
by judges, juries, colonial governors, commissars, and administered
by the police, prison warders, and prison doctors. It charts Shaw's
view of crimes and punishments in dramatic writings, non-dramatic
writings, and his actions in real life. This book presents him in
the context of his contemporaries and his world, inviting readers
to view crimes and punishments in their context, history, and
relevance to his ideas in and outside his plays, plus the relevance
of his ideas to crimes and punishments in life.
Unions, Strikes, Shaw: 'The Capitalism of the Proletariat' is the
first book to treat Bernard Shaw-socialist, dramatist, public
speaker and union member-in relation to unions and strikes. For
over half a century he urged workers to join unions, which he
called, paradoxically, "the Capitalism of the Proletariat," because
as capitalists try to get as much labor as possible from workers
while paying them as little as possible, unions try to gain as high
wages as possible from employers while working as little as
possible. He opposed general strikes as destined to fail, since
owners can hold out longer than workers, whose unions have less
money to support them during strikes. This book offers background
on major strikes in and before Shaw's time -including the Colorado
Coalfield War and the Dublin Lockout, both in 1913-before analyzing
the causes, day-by-day events and consequences of Britain's 1926
General Strike. It begins and ends with examinations of their and
Shaw's relevance to actions on unions and strikes in our own time.
"Dukore's style is fluid and his wit delightful. I learned a
tremendous amount, as will most readers, and Bernard Shaw and the
Censors will doubtless be the last word on the topic." - Michel
Pharand, former editor of SHAW: The Journal of Bernard Shaw Studies
and author of Bernard Shaw and the French (2001). "This book shows
us a new side of Shaw and his complicated relationships to the
powerful mechanisms of stage and screen censorship in the long
twentieth century." - - Lauren Arrington, Professor of English,
Maynooth University, Ireland A fresh view of Shaw versus stage and
screen censors, this book describes Shaw as fighter and failure,
whose battles against censorship - of his plays and those of
others, of his works for the screen and those of others - he
sometimes won but usually lost. We forget usually, because
ultimately he prevailed and because his witty reports of defeats
are so buoyant, they seem to describe triumphs. We think of him as
a celebrity, not an outsider; as a classic, not one of the
avant-garde, of which Victorians and Edwardians were intolerant; as
ahead of his time, not of it, when he was called "disgusting,"
"immoral", and "degenerate." Yet it took over three decades and a
world war before British censors permitted a public performance of
Mrs Warren's Profession. We remember him as an Academy Award winner
for Pygmalion, not as an author whose dialogue censors required
deletions for showings in the United States. Scrutinizing the
powerful stage and cinema censorship in Britain and America, this
book focuses on one of its most notable campaigners against them in
the last century.
One of the greatest film directors America has produced, Sam
Peckinpah revolutionized the way movies were made. In this detailed
and insightful study, Bernard F. Dukore examines Peckinpah's
fourteen feature films as a coherent body of work. He investigates
the director's virtuosic editing techniques, thematic
preoccupations that persist from his earliest to his last films,
and the structure of his dramatic depiction of violence. He also
addresses Peckinpah's cognizance of existentialism and the
substantial traces this interest has left in the films. At the
heart of Dukore's study is an extensive and detailed examination of
Peckinpah's distinctive editing techniques. Focusing on
representative sequences--including the breakout from the bank and
the final battle in The Wild Bunch, the half-hour siege that
concludes Straw Dogs, the killing of the title characters of Pat
Garrett and Billy the Kid, and combat sequences in Cross of
Iron--Dukore provides a shot-by-shot analysis that illuminates
Peckinpah's mastery of pacing and mood. Sam Peckinpah's Feature
Films demonstrates that Peckinpah's genius as a director and editor
marks not only The Wild Bunch, Straw Dogs, and other classics but
also his lesser-known feature films, even those that suffered
substantial cuts at the hands of studio producers. Dukore's organic
approach to the feature films reveals a highly unified body of work
that remains a pointed commentary on power, violence, affection,
and moral values.
|
|