Dana Polan – författare

In this fascinating book, the first ever published on The Patty Duke Show (1963-66), Caryl Flinn and Dana Polan examine the significance of this classic US sitcom within popular culture and within American society at the time. Child acting sensation Patty Duke plays the all-American Patty as well as her staid British counterpart Cathy, who comes to live with Patty's family in Brooklyn. Far from being a frivolous show, the show's use of twin girls--and their comic antics--offers glimpses into different identities and possibilities to try on, in keeping not only with girls' popular culture of the time but the optimism of John F. Kennedy's Camelot years. At the same time, the series plugged into many of the contradictions of the mid-1960s. It flirted, as much of the US did, with foreign cultures, such as Julia Child's mediation of Frenchness, only to return to and reaffirm core US values. Like Kennedy, who encouraged the country's youth to engage with the world at large, the show gestures towards a cosmopolitanism that, ultimately, retreats into an American-based perspective, as evidenced in the series' preferential treatment of Patty over Cathy--despite the two characters being played by one actor. Drawing on archival research, Flinn and Polan bring to light the show's production background, which has until now been largely lost to history, as well as considering the series's conception, reception, its many tie-in products, and its ongoing afterlife in the decades since its initial broadcast. In so doing, they reveal hidden and overt issues that shaped American culture and ideology of the 1960s.

In this fascinating book, the first ever published on The Patty Duke Show (1963-66), Caryl Flinn and Dana Polan examine the significance of this classic US sitcom within popular culture and within American society at the time. Child acting sensation Patty Duke plays the all-American Patty as well as her staid British counterpart Cathy, who comes to live with Patty's family in Brooklyn. Far from being a frivolous show, the show's use of twin girls--and their comic antics--offers glimpses into different identities and possibilities to try on, in keeping not only with girls' popular culture of the time but the optimism of John F. Kennedy's Camelot years. At the same time, the series plugged into many of the contradictions of the mid-1960s. It flirted, as much of the US did, with foreign cultures, such as Julia Child's mediation of Frenchness, only to return to and reaffirm core US values. Like Kennedy, who encouraged the country's youth to engage with the world at large, the show gestures towards a cosmopolitanism that, ultimately, retreats into an American-based perspective, as evidenced in the series' preferential treatment of Patty over Cathy--despite the two characters being played by one actor. Drawing on archival research, Flinn and Polan bring to light the show's production background, which has until now been largely lost to history, as well as considering the series's conception, reception, its many tie-in products, and its ongoing afterlife in the decades since its initial broadcast. In so doing, they reveal hidden and overt issues that shaped American culture and ideology of the 1960s.

This engaging book chronicles the first classes on the art and industry of cinema and the colorful pioneers who taught, wrote, and advocated on behalf of the new art form. Using extensive archival research, Dana Polan looks at, for example, Columbia University's early classes on Photoplay Composition; lectures at the New School for Social Research by famed movie historian Terry Ramsaye; the film industry's sponsorship of a business course on film at Harvard; and attempts by the Academy of Motion Picture Arts and Sciences to create programs of professionalized education at the University of Southern California, Stanford, and elsewhere. Polan examines a wide range of thinkers who engaged with the new art of film, from Marxist Harry Alan Potamkin to sociologist Frederic Thrasher to Great Books advocates Mortimer Adler and Mark Van Doren.

The first full-length study of the iconic 1960s film The Great Escape and its place in Hollywood and American history.Escaped POW Virgil Hilts (Steve McQueen) on a stolen motorcycle jumps an imposing barbed wire fence—caught on film, the act and its aftermath have become an unforgettable symbol of triumph as well as defeat for 1960s America. Combining production and reception history with close reading, Dreams of Flight offers the first full-length study of The Great Escape, the classic film based on a true story of Allied prisoners who hatched an audacious plan to divert and thwart the Wehrmacht and escape into the nearby countryside.Through breezy prose and pithy analysis, Dana Polan centers The Great Escape within American cultural and intellectual history, drawing a vivid picture of the country in the 1960s. We see a nation grappling with its own military history, a society undergoing significant shifts in its culture and identity, and a film industry in transition from Old Hollywood's big-budget runaway studio films to the slow interior cinema of New Hollywood. Dreams of Flight combines this context with fan anecdotes and a close study of filmic style to bring readers into the film and trace its wide-reaching influence. Polan examines the production history, including prior adaptations in radio and television of celebrated author Paul Brickhill's original nonfiction book about the escape, and he compares the cinematic fiction to the real events of the escape in 1944. Dreams of Flight also traces the afterlife of The Great Escape in the many subsequent movies, TV commercials, and cartoons that reference it, whether reverentially or with humor.

The first full-length study of the iconic 1960s film The Great Escape and its place in Hollywood and American history.Escaped POW Virgil Hilts (Steve McQueen) on a stolen motorcycle jumps an imposing barbed wire fence—caught on film, the act and its aftermath have become an unforgettable symbol of triumph as well as defeat for 1960s America. Combining production and reception history with close reading, Dreams of Flight offers the first full-length study of The Great Escape, the classic film based on a true story of Allied prisoners who hatched an audacious plan to divert and thwart the Wehrmacht and escape into the nearby countryside.Through breezy prose and pithy analysis, Dana Polan centers The Great Escape within American cultural and intellectual history, drawing a vivid picture of the country in the 1960s. We see a nation grappling with its own military history, a society undergoing significant shifts in its culture and identity, and a film industry in transition from Old Hollywood's big-budget runaway studio films to the slow interior cinema of New Hollywood. Dreams of Flight combines this context with fan anecdotes and a close study of filmic style to bring readers into the film and trace its wide-reaching influence. Polan examines the production history, including prior adaptations in radio and television of celebrated author Paul Brickhill's original nonfiction book about the escape, and he compares the cinematic fiction to the real events of the escape in 1944. Dreams of Flight also traces the afterlife of The Great Escape in the many subsequent movies, TV commercials, and cartoons that reference it, whether reverentially or with humor.

“In its original run on HBO, The Sopranos mattered, and it matters still,” Dana Polan asserts early in this analysis of the hit show, in which he sets out to clarify the impact and importance of the series in both its cultural and media-industry contexts. A renowned film and TV scholar, Polan combines a close and extended reading of the show itself-and of select episodes and scenes-with broader attention to the social landscape with which it is in dialogue. For Polan, The Sopranos is a work of playful irony that complicates simplistic attempts to grasp its meanings and values. The show seductively beckons the viewer into an amoral universe, hinting at ways to make sense of its ethically complicated situations, only to challenge the viewer’s complacent grasp of things. It deftly exploits the interplay between art culture and popular culture by mixing elements of art cinema-meandering plots, narrative breaks, and an uncertain progression-with the allure of a soap opera, delving into its characters’ sex lives, mob rivalries, and parent–child conflicts.A show about corrupt figures who parasitically try to squeeze illicit profit from the system, The Sopranos itself seems a target of attempts to glom on to its fame as a successful TV series: attempts by media executives, marketers, critics and writers, and even presidential candidates. “Everyone wants a piece of Sopranos action,” says Polan, and he traces the marketing of the series across both official and unauthorized media platforms, including cookbooks, games, DVDs, and the kitschy Sopranos bus tour. Critiquing previous books on The Sopranos, Polan suggests that in their quest to find deep meaning, many of the authors missed the show’s ironic and comedic side.

“In its original run on HBO, The Sopranos mattered, and it matters still,” Dana Polan asserts early in this analysis of the hit show, in which he sets out to clarify the impact and importance of the series in both its cultural and media-industry contexts. A renowned film and TV scholar, Polan combines a close and extended reading of the show itself-and of select episodes and scenes-with broader attention to the social landscape with which it is in dialogue. For Polan, The Sopranos is a work of playful irony that complicates simplistic attempts to grasp its meanings and values. The show seductively beckons the viewer into an amoral universe, hinting at ways to make sense of its ethically complicated situations, only to challenge the viewer’s complacent grasp of things. It deftly exploits the interplay between art culture and popular culture by mixing elements of art cinema-meandering plots, narrative breaks, and an uncertain progression-with the allure of a soap opera, delving into its characters’ sex lives, mob rivalries, and parent–child conflicts.A show about corrupt figures who parasitically try to squeeze illicit profit from the system, The Sopranos itself seems a target of attempts to glom on to its fame as a successful TV series: attempts by media executives, marketers, critics and writers, and even presidential candidates. “Everyone wants a piece of Sopranos action,” says Polan, and he traces the marketing of the series across both official and unauthorized media platforms, including cookbooks, games, DVDs, and the kitschy Sopranos bus tour. Critiquing previous books on The Sopranos, Polan suggests that in their quest to find deep meaning, many of the authors missed the show’s ironic and comedic side.

Julia Child’s TV show, The French Chef, was extraordinarily popular during its broadcast from 1963 until 1973. Child became a cultural icon in the 1960s, and, in the years since, she and her show have remained enduring influences on American cooking, American television, and American culture. In this concise book, Dana Polan considers what made Child’s program such a success. It was not the first televised cooking show, but it did define and popularize the genre. Polan examines the development of the show, its day-to-day production, and its critical and fan reception. He argues that The French Chef changed the conventions of television’s culinary culture by rendering personality indispensable. Child was energetic and enthusiastic, and her cooking lessons were never just about food preparation, although she was an effective and unpretentious instructor. They were also about social mobility, the discovery of foreign culture, and a personal enjoyment and fulfillment that promised to transcend domestic drudgery. Polan situates Julia Child and The French Chef in their historical and cultural moment, while never losing sight of Child’s unique personality and captivating on-air presence.

What happens when we set out to understand LEGO not just as a physical object but as an idea, an icon of modernity, an image-maybe even a moving image? To what extent can the LEGO brick fit into the multimedia landscape of popular culture, especially film culture, today? Launching from these questions, Dana Polan traces LEGO from thing to film and asserts that The LEGO Movie is an exemplar of key directions in mainstream cinema, combining the visceral impact of effects and spectacle with ironic self-awareness and savvy critique of mass culture as it reaches for new heights of creativity.Incorporating insights from conversations with producer Dan Lin and writer-directors Phil Lord and Chris Miller, Polan examines the production and reception of The LEGO Movie and closely analyzes the film within popular culture at large and in relation to LEGO as a toy and commodity. He identifies the film’s particular stylistic and narrative qualities, its grasp of and response to the culture industry, and what makes it a distinctive work of animation within the seeming omnipresence of animation in Hollywood, and reveals why the blockbuster film, in all its silliness and seriousness, stands apart as a divergent cultural work.

Martin Scorsese's 1990 movie Goodfellas, starring Robert De Niro, Ray Liotta, Joe Pesci, Lorraine Bracco and Paul Sorvino, narrates the rise and fall of Mafia associate Henry Hill and his friends and family from 1955 to 1980. The film's focus is on the half-Irish Henry Hill (Liotta) and his Jewish spouse Karen (Bracco), who envy the gangster lifestyle but can never fully be part of the Mafia’s inner circle because of their ethnic identities. Dana Polan's compelling study chronicle the production history of the film, starting with Nick Pileggi’s source book, Wiseguy (1985) and its transformation into a script by Pileggi and Scorsese. He moves on to to consider thematic and formal aspects of the movie: the many moments (aural as well as visual) that make filmic form palpable and celebrate cinematicness; Goodfellas' ethnographic concern with communities whose members build up special worlds for themselves; and connected to that, the complicated relation between artists and other kinds of world-builders (such as the Mafia men Scorsese depicts through his own art of cinema); the complicatedinterweave of dynamic form and morally dubious content; a narrative that has the ambition of historical sweep combined with a complicated, frequently nonchronological time-frame; the contrast between everyday victims and the special community (of criminals); the role of outsiders who want in (like Henry andeventually Karen – who at first wants to stay out but is seduced eventually into the lifestyle), and the function of voice-over narration. Polan concludes with a consideration of the film’s reception and its lasting impact on later popular culture such as the TV series The Sopranos.

Steven Spielberg's Close Encounters of the Third Kind (1977) is a film very much of its cinematic moment, combining the gritty realism of entrapment in the everyday with furtive dreams of escape.Dana Polan's compelling study of the film examines its significance to New Hollywood cinema and the science fiction genre. He argues that Close Encounters is a film that is an allegory of the cinematic experience overall; it both narrates a tale of visual seduction and plays it out viscerally for the spectator who shares the amazement of the protagonist Roy Neary as his mundane reality is transformed into something awe-inspiring.Providing an in-depth look into the film's production history, including all three different versions, Polan situates Close Encounters within Spielberg's repertoire. He argues that despite the film's popular success, it is in fact a rejection of several entrenched American values, including family, home and marriage. It offers, through its visual fascination, alternative understandings of masculinity and morality, familial responsibility, and what it means to follow the 'American Dream'.