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Dergiler / Journal of American Studies of Turkey / 2012 / Sayı: 35

Gore Vidal in the Cinema

Laurence RAW
Sayfa
111–132
Yayın Tarihi
2012-06-01
DOI
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Well, why don’t we shape these dreams, deliberately?” Vidal, Hollywood 447 .

📌 3 Maddede Bu Makale

🎯
Amaç & Hipotez:Throughout his writing life Gore Vidal had an ambivalent relationship with the world of films in general, and Hollywood in particular.
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Temel Bulgular & Veri:One character remarks in his novel Hollywood 1989 : “We [Hollywood producers] are now supplying the world with all sorts of dreams and ideas.
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Sonuç & Katkı:Well, why don’t we shape these dreams, deliberately?” Vidal, Hollywood 447 .
🔬Tür:Araştırma Makalesi
📍Kapsam:Genişletilmiş Akademik Örneklem
⚙️Değişkenler:Alan Parametreleri

Abstract

Throughout his writing life Gore Vidal had an ambivalent relationship with the world of films in general, and Hollywood in particular. On the one hand he understood how Hollywood was a dominant cultural force in twentieth century American cultures, helping to shape people’s beliefs as well as embodying changing political moods. One character remarks in his novel Hollywood 1989 : “We [Hollywood producers] are now supplying the world with all sorts of dreams and ideas. Well, why don’t we shape these dreams, deliberately?” Vidal, Hollywood 447 .

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Bu Makaleye Atıf Yap

RAW, L. (2012). Gore Vidal in the Cinema. Journal of American Studies of Turkey, Sayı: 35, 111–132. https://ajindex.com/articles/717881

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Kaynakça (12)

  1. Altman, Dennis. Gore Vidal’s America. Cambridge, UK, and Malden, VA: Polity Press, 2005.
  2. Print. “AMC Backstory: Myra Breckinridge.” Dir. Rex Hastings. Perf. Raquel Welch, Michael Sarne. AMC, 2001.
  3. Television. Bahrenburg, Bruce. “An Opening Night in the Old Style.” Newark Sunday News, 5 Jul. 1970: 3. Print. Ben Hur. Dir. William Wyler. Perf. Charlton Heston, Stephen Boyd, Jack Hawkins. MGM, 1959. Film. Bob Roberts. Dir. Tim Robbins. Perf. Tim Robbins, Susan Sarandon, Alan Rickman. Warner Brothers/ Live Entertainment/ Polygram Filmed Entertainment, 1992. Film. Caligula. Dir. Tinto Brass. Perf. Malcolm McDowell, Helen Mirren, John Gielgud. Penthouse Films International/ Felix Cinematografica, 1979. Film. The Best Man. Dir. Franklin J. Schaffner. Perf. Henry Fonda, Cliff Robertson, Margaret Leighton. Millar/Turman Productions/ United Artists, 1964.
  4. Film. Dick, Bernard F. “The Passenger and Literary Existentialism.” Literature/ Film Quarterly 5, 1 (1977): 66-74.
  5. Print. Diffrient, David Scott. “Hard to Handle? Camp Criticism, Trash – Film Reception and the Transgressive Pleasures of Myra Breckinridge.” Cinema Journal 52.2 (Winter 2013): 46-65.
  6. Print. Disch, Thomas. The Dreams Our Stuff is Made Of. New York: Free Press, 1998.
  7. Print. Endres, Nikolai. “Roman Fever: Petronius’ Satyricon and Gore Vidal’s The City and the Pillar.” Ancient Narrative 4 (2004): 99-141. Print. Fellini’s Roma. Dir. Federico Fellini. Perf. Peter Gonzales Falcon, Fiona Florence, Britta Barnes. Ultra Film/ Les Productions Artistes Associés, 1972.
  8. Film. Frank, Marcie. How to be an Intellectual in the Age of TV: The Lessons of Gore Vidal. Durham, NC and London: Duke UP, 2005. Print. Gattaca. Dir. Andrew Niccol. Perf. Ethan Hawke, Jude Law, Uma Thurman. Columbia Pictures, 1996.
  9. Film. “Gore Vidal: Self.” The Internet Movie Database (2012). Web. 24 Mar. 2012. Igby Goes Down. Dir. Burr Steers. Perf. Kieran Culkin, Clare Danes, Jeff Goldblum. United Artists/ Atlantic Streamline, 2002.
  10. Film. Isherwood, Charles. “Mr. Chairman, the Great Stage of Nostalgia …” New York Times 1 Apr. 2012. Web. 18 Mar. 2013. Is Paris Burning? Dir. René Clément. Perf. Jean-Paul Belmondo, Charles Boyer, Jean-Pierre Cassel. Marianne Productions/ Transcontinental Films, 1966.
  11. Film. Kaplan, Fred. Gore Vidal: A Biography. New York: Doubleday, 1999.
  12. Print. Kloman, Harry. “Gore Vidal’s Television Plays.” The Gore Vidal Index (2012). Web. 13 Apr. 2012. Last of the Mobile Hot Shots. Dir. Sidney Lumet. Perf. James Coburn, Lynn Redgr