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Mad to be saved : the Beats, the '50s, and film / David Sterritt - Sterritt, David
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Sterritt, David:
Mad to be saved : the Beats, the '50s, and film / David Sterritt - First edition

ISBN: 0809321807

Hardcover, ID: 5628787251

[EAN: 9780809321803], [PU: Carbondale : Southern Illinois University Press], History|Civilization, History|Modern|20th Century, Literary Criticism|American|General, Literary Criticism|General, Performing Arts|Film|General, Performing Arts|Film|History & Criticism, Jacket, Fine cloth copy in an equally fine dw. Particularly and surprisingly well-preserved; tight, bright, clean and especially sharp-cornered. Literally as new and still in the publisher's protective shrink-wrap.; 8vo 8" - 9" tall; 258 pages; Description: xii, 258 p. ; 24 cm. Subjects: Beat generation. Motion pictures and literature --United States --Literature and society --History --American literature --20th century --History and criticism --Experimental films --Motion pictures. Summary: Film critic David Sterritt presents an interdisciplinary exploration of the Beat Generation, its intersections with main-stream 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 behavior 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 melodramas 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 programs 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. 258 pp.

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Mad to Be Saved: The Beats, the 50's, and Film - Sterritt, David
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Sterritt, David:
Mad to Be Saved: The Beats, the 50's, and Film - used book

ISBN: 9780809321803

ID: 3357130

Film critic David Sterritt presents an interdisciplinary exploration of the Beat Generation, its intersections with main-stream 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 behavior 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 melodramas 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 programs 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. Mad to Be Saved: The Beats, the 50's, and Film Sterritt, David, Southern Illinois University Press

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Mad to Be Saved: The Beats, the 50's, and Film - Sterritt, David
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Sterritt, David:
Mad to Be Saved: The Beats, the 50's, and Film - hardcover

ISBN: 9780809321803

[ED: Hardcover], [PU: SOUTHERN ILLINOIS UNIV PR], 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 behavior 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 melodramas 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 programs like Route 66 and The Many Loves of Dobie Gills nonstudio films like John Cassavetes's improvisational Shadows andShirley 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 cont Versandfertig in 2-4 Wochen, DE, [SC: 0.00], Neuware, gewerbliches Angebot, offene Rechnung (Vorkasse vorbehalten)

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Mad to Be Saved : The Beats, the '50s, and Film - David Sterritt
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David Sterritt:
Mad to Be Saved : The Beats, the '50s, and Film - used book

ISBN: 0809321807

ID: 5245412

Film critic David Sterritt presents an interdisciplinary exploration of the Beat Generation, its intersections with main-stream 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 behavior 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 melodramas of director Douglas Sirk, and other Hollywood films. Finally, Sterritt shows the changing attitudes toward the Beat sensibility in Beat-rel 20th century,americas,arts music and photography,beat generation,criticism and theory,history,history and criticism,humor and entertainment,literary criticism,literary criticism and collections Movies, Southern Illinois University Press

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Mad to be Saved - David Sterritt
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David Sterritt:
Mad to be Saved - hardcover

1998, ISBN: 9780809321803

ID: 550761

Hardcover, Buch, [PU: Southern Illinois University Press]

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Details of the book
Mad to Be Saved: The Beats, the 50's, and Film

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 behavior 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 melodramas 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 programs like Route 66 and The Many Loves of Dobie Gills; nonstudio films like John Cassavetes's improvisational Shadows andShirley 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 cont

Details of the book - Mad to Be Saved: The Beats, the 50's, and Film


EAN (ISBN-13): 9780809321803
ISBN (ISBN-10): 0809321807
Hardcover
Paperback
Publishing year: 1998
Publisher: SOUTHERN ILLINOIS UNIV PR
272 Pages
Weight: 0,603 kg
Language: eng/Englisch

Book in our database since 03.06.2007 22:36:47
Book found last time on 29.08.2017 16:42:10
ISBN/EAN: 0809321807

ISBN - alternate spelling:
0-8093-2180-7, 978-0-8093-2180-3


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