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Hollywood under siege : Martin Scorsese, the religious right, and the culture wars

Autor: Thomas R Lindlof
Editorial: Lexington, Ky. : University Press of Kentucky, ©2008.
Edición/Formato:   Libro : Publicación gubernamental estatal o provincial : Inglés (eng)Ver todas las ediciones y todos los formatos
Base de datos:WorldCat
Resumen:
"In 1988, director Martin Scorsese fulfilled his lifelong dream of making a film about Jesus Christ. Rather than celebrating the film as a statement of faith, churches and religious leaders immediately went on the attack, alleging blasphemy. At the height of the controversy, thousands of phone calls a day flooded the Universal Pictures switchboard, and before the year was out, more than three million mailings  Leer más
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Género/Forma: Criticism, interpretation, etc
Persona designada: Martin Scorsese; Martin Scorsese; Martin Scorsese
Tipo de material: Publicación gubernamental, Publicación gubernamental estatal o provincial, Recurso en Internet
Tipo de documento: Libro/Texto, Recurso en Internet
Todos autores / colaboradores: Thomas R Lindlof
ISBN: 9780813125176 0813125170
Número OCLC: 209662215
Descripción: xi, 394 pages : illustrations ; 25 cm
Contenido: Dying dangerously --
Paramount --
Universal --
Morocco --
Fevers under the veil --
Summer of the locust --
Teeth bared, knuckles white --
The big wind-up --
Trouble in flyover country --
Scorched earth blues.
Responsabilidad: Thomas R. Lindlof.
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In the late 1980s, the major conservative Christian groups suffered a series of public setbacks. This book asserts that the Christian right realigned itself and tried to solidify its self-appointed  Leer más

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"Thomas Lindlof has produced a compelling -- and often hopeful -- chapter in the long, depressing history of censorship." -- Colin O'Shea, "Bright Lights Film Journal"

 
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Datos enlazados


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schema:reviewBody""In 1988, director Martin Scorsese fulfilled his lifelong dream of making a film about Jesus Christ. Rather than celebrating the film as a statement of faith, churches and religious leaders immediately went on the attack, alleging blasphemy. At the height of the controversy, thousands of phone calls a day flooded the Universal Pictures switchboard, and before the year was out, more than three million mailings protesting the film fanned out across the country. For the first time in history, a studio took responsibility for protecting theaters and scrambled to recruit a "field crisis team" to guide The Last Temptation of Christ through its contentious American openings. Overseas, the film faced widespread censorship actions; thirteen countries eventually banned the film. The response in Europe turned violent when opposition groups sacked theaters in France and Greece and caused injuries to dozens of moviegoers." "Twenty years later, Thomas R. Lindlof offers a comprehensive account of how this provocative film came to be made and how Universal Pictures and its parent company MCA became targets of the most intense, unremitting attacks ever mounted against a media company. The film faced early and determined opposition from elements of the religious right when it was being developed at Paramount during the last year the studio was run by the celebrated troika of Barry Diller, Michael Eisner, and Jeffrey Katzenberg. By the mid-1980s, Scorsese's film was widely regarded as unmakeable - a political stick of dynamite that no one dared touch. Through the joint efforts of two of the era's most influential executives, CAA president Michael Ovitz and Universal Pictures chairman Thomas P. Pollock, this improbable project found its way into production." "Hollywood Under Siege draws on interviews with many of the key figures - Martin Scorsese, Paul Schrader, Michael Ovitz, Jeffrey Katzenberg, Jack Valenti, Thomas P. Pollock, and Willem Dafoe - to explore the trajectory of the film from its conception to the subsequent epic controversy and beyond. Lindlof offers a fascinating dissection of a critical episode in the embryonic culture wars, illuminating the explosive effects of the clash between the interests of the media industry and the forces of social conservatism."--Jacket."
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