David Sterritt – författare

In the late 1950s and early 1960s, the writers of the Beat Generation revolutionized American literature with their iconoclastic approach to language and their angry assault on the conformity and conservatism of postwar society. They and their followers took aim at the hypocrisy and taboos of their time--particularly those involving sex, race, and class--in such provocative works as Jack Kerouac''s On the Road (1957), Allen Ginsberg''s "Howl" (1956), and William S. Burroughs''s Naked Lunch (1959). In this Very Short Introduction, David Sterritt offers a concise overview of the social, cultural, and aesthetic sensibilities of the Beats, bringing out the similarities that connected them and also the many differences that made them a loosely knit collective rather than an organized movement. Figures in the saga include Neal Cassady, Gregory Corso, Lawrence Ferlinghetti, John Clellon Holmes, Carolyn Cassady, and Gary Snyder. As Sterritt ranges from Greenwich Village and San Francisco to Mexico, western Europe, and North Africa, he sheds much light on how the Beats approached literature, drugs, sexuality, art, music, and religion. Members of the Beat Generation hoped that their radical rejection of materialism, consumerism, and regimentation would inspire others to purify their lives and souls as well. Yet they urged the remaking of consciousness on a profoundly inward-looking basis, cultivating "the unspeakable visions of the individual," in Kerouac''s phrase. The idea was to revolutionize society by revolutionizing thought, not the other way around. This book explains how the Beats used their antiauthoritarian visions and radical styles to challenge dominant values, fending off absorption into mainstream culture while preparing ground for the larger, more explosive social upheavals of the 1960s. More than half a century later, the Beats'' impact can still be felt in literature, cinema, music, theater, and the visual arts. This compact introduction explains why. About the Series:Oxford''s Very Short Introductions series offers concise and original introductions to a wide range of subjects--from Islam to Sociology, Politics to Classics, Literary Theory to History, and Archaeology to the Bible. Not simply a textbook of definitions, each volume in this series provides trenchant and provocative--yet always balanced and complete--discussions of the central issues in a given discipline or field. Every Very Short Introduction gives a readable evolution of the subject in question, demonstrating how the subject has developed and how it has influenced society. Eventually, the series will encompass every major academic discipline, offering all students an accessible and abundant reference library. Whatever the area of study that one deems important or appealing, whatever the topic that fascinates the general reader, the Very Short Introductions series has a handy and affordable guide that will likely prove indispensable.

In the late 1950s and early 1960s, the writers of the Beat Generation revolutionized American literature with their iconoclastic approach to language and their angry assault on the conformity and conservatism of postwar society. They and their followers took aim at the hypocrisy and taboos of their time--particularly those involving sex, race, and class--in such provocative works as Jack Kerouac''s On the Road (1957), Allen Ginsberg''s "Howl" (1956), and William S. Burroughs''s Naked Lunch (1959). In this Very Short Introduction, David Sterritt offers a concise overview of the social, cultural, and aesthetic sensibilities of the Beats, bringing out the similarities that connected them and also the many differences that made them a loosely knit collective rather than an organized movement. Figures in the saga include Neal Cassady, Gregory Corso, Lawrence Ferlinghetti, John Clellon Holmes, Carolyn Cassady, and Gary Snyder. As Sterritt ranges from Greenwich Village and San Francisco to Mexico, western Europe, and North Africa, he sheds much light on how the Beats approached literature, drugs, sexuality, art, music, and religion. Members of the Beat Generation hoped that their radical rejection of materialism, consumerism, and regimentation would inspire others to purify their lives and souls as well. Yet they urged the remaking of consciousness on a profoundly inward-looking basis, cultivating "the unspeakable visions of the individual," in Kerouac''s phrase. The idea was to revolutionize society by revolutionizing thought, not the other way around. This book explains how the Beats used their antiauthoritarian visions and radical styles to challenge dominant values, fending off absorption into mainstream culture while preparing ground for the larger, more explosive social upheavals of the 1960s. More than half a century later, the Beats'' impact can still be felt in literature, cinema, music, theater, and the visual arts. This compact introduction explains why. About the Series:Oxford''s Very Short Introductions series offers concise and original introductions to a wide range of subjects--from Islam to Sociology, Politics to Classics, Literary Theory to History, and Archaeology to the Bible. Not simply a textbook of definitions, each volume in this series provides trenchant and provocative--yet always balanced and complete--discussions of the central issues in a given discipline or field. Every Very Short Introduction gives a readable evolution of the subject in question, demonstrating how the subject has developed and how it has influenced society. Eventually, the series will encompass every major academic discipline, offering all students an accessible and abundant reference library. Whatever the area of study that one deems important or appealing, whatever the topic that fascinates the general reader, the Very Short Introductions series has a handy and affordable guide that will likely prove indispensable.

He became a movie star playing The Man With No Name, and today his name is known around the world. Measured by longevity, productivity, and profits, Clint Eastwood is the most successful actor-director-producer in American film history. This book examines the major elements of his career, focusing primarily on his work as a director but also exploring the evolution of his acting style, his long association with screen violence, his interest in jazz, and the political views - sometimes hotly controversial - reflected in his films and public statements. Especially fascinating is the pivotal question that divides critics and moviegoers to this day: is Eastwood a capable director with a photogenic face, a modest acting talent, and a flair for marketing his image? Or is he a true cinematic auteur with a distinctive vision of America's history, traditions, and values? From A Fistful of Dollars and Dirty Harry to Million Dollar Baby and beyond, The Cinema of Clint Eastwood takes a close-up look at one of the screen's most influential and charismatic stars.

He became a movie star playing The Man With No Name, and today his name is known around the world. Measured by longevity, productivity, and profits, Clint Eastwood is the most successful actor-director-producer in American film history. This book examines the major elements of his career, focusing primarily on his work as a director but also exploring the evolution of his acting style, his long association with screen violence, his interest in jazz, and the political views - sometimes hotly controversial - reflected in his films and public statements. Especially fascinating is the pivotal question that divides critics and moviegoers to this day: is Eastwood a capable director with a photogenic face, a modest acting talent, and a flair for marketing his image? Or is he a true cinematic auteur with a distinctive vision of America's history, traditions, and values? From A Fistful of Dollars and Dirty Harry to Million Dollar Baby and beyond, The Cinema of Clint Eastwood takes a close-up look at one of the screen's most influential and charismatic stars.

Long renowned as the “master of suspense,” Alfred Hitchcock is one of the rare filmmakers to achieve both a critical reputation for cinematic artistry and enduring popularity with everyday moviegoers around the world. His distinctive public image brought together a serious, even tormented artist and a mischievous magician with a penchant for practical jokes.This book presents an engaging overview of Hitchcock’s life and work along with close studies of ten films spanning nearly five decades of his remarkable career. David Sterritt examines the fundamental themes that recur throughout Hitchcock’s films, including the ambiguities of reality and illusion, the blurred boundaries between guilt and innocence, the lures and perils of voyeurism, and the many ways in which the act of seeing can either reveal essential truths or lead to deception and danger. He highlights the director’s sophistication as an audiovisual stylist and audacity as a technical innovator while also exploring the religious undertones of key works.Sterritt considers films ranging from Blackmail (1929), the first talkie made in England, to Family Plot (1976), the director’s last completed movie. He analyzes canonized masterpieces such as Vertigo (1958) and Psycho (1960) alongside overlooked works including Rope (1948) and Under Capricorn (1949). Spotlighting the director’s extraordinary artistic range and thematic depth, The Films of Alfred Hitchcock offers new insights for both cinephiles and casual viewers.

Long renowned as the “master of suspense,” Alfred Hitchcock is one of the rare filmmakers to achieve both a critical reputation for cinematic artistry and enduring popularity with everyday moviegoers around the world. His distinctive public image brought together a serious, even tormented artist and a mischievous magician with a penchant for practical jokes.This book presents an engaging overview of Hitchcock’s life and work along with close studies of ten films spanning nearly five decades of his remarkable career. David Sterritt examines the fundamental themes that recur throughout Hitchcock’s films, including the ambiguities of reality and illusion, the blurred boundaries between guilt and innocence, the lures and perils of voyeurism, and the many ways in which the act of seeing can either reveal essential truths or lead to deception and danger. He highlights the director’s sophistication as an audiovisual stylist and audacity as a technical innovator while also exploring the religious undertones of key works.Sterritt considers films ranging from Blackmail (1929), the first talkie made in England, to Family Plot (1976), the director’s last completed movie. He analyzes canonized masterpieces such as Vertigo (1958) and Psycho (1960) alongside overlooked works including Rope (1948) and Under Capricorn (1949). Spotlighting the director’s extraordinary artistic range and thematic depth, The Films of Alfred Hitchcock offers new insights for both cinephiles and casual viewers.

What kind of collection could possibly find common ground among The Son of Kong , Platoon , and Pink Flamingos ? What kind of fevered minds could conceive of such a list? What are the unheard-of qualities that tie them all together? The answers: This book. The National Society of Film Critics. And the far-reaching enticements of the B movie itself. Once the B movie was the Hollywood stepchild, the underbelly of the double feature. Today it is a more inclusive category, embracing films that fall outside the mainstream by dint of their budgets, their visions, their grit, and occasionally- sometimes essentially- their lack of what the culture cops call"good taste.” The films in The B List are offbeat, unpredictable, and decidedly idiosyncratic. And that's why we love them.

The introduction gives an overview of Hitchcock's long career, with special attention to the varied influences on his work; themes that run through many of his films, from the 'transference of guilt', to the connection between knowledge and danger; the overlooked importance of his presence within his films, including his famous cameo appearances and characters who represent him within the story; his fascination with performance and the ambiguities of illusion and reality; the question of viewing him and his work through the auteur theory; and other issues. Also discussed is the relationship between Hitchcock as a serious, even tormented artist and Hitchcock as a magician with a weakness for cinematic practical jokes. Six chapters then provide in-depth examinations of key films: Blackmail, his first talkie; Shadow of a Doubt, one of his personal favourites; The Wrong Man, which questions the nature of guilt and innocence; Vertigo, arguably his most profound work; Psycho, his most savage look at the nature of evil; and The Birds, his last masterpiece and one of his most widely misunderstood works.

The introduction gives an overview of Hitchcock's long career, with special attention to the varied influences on his work; themes that run through many of his films, from the 'transference of guilt', to the connection between knowledge and danger; the overlooked importance of his presence within his films, including his famous cameo appearances and characters who represent him within the story; his fascination with performance and the ambiguities of illusion and reality; the question of viewing him and his work through the auteur theory; and other issues. Also discussed is the relationship between Hitchcock as a serious, even tormented artist and Hitchcock as a magician with a weakness for cinematic practical jokes. Six chapters then provide in-depth examinations of key films: Blackmail, his first talkie; Shadow of a Doubt, one of his personal favourites; The Wrong Man, which questions the nature of guilt and innocence; Vertigo, arguably his most profound work; Psycho, his most savage look at the nature of evil; and The Birds, his last masterpiece and one of his most widely misunderstood works.

The Films of Jean-Luc Godard examines the work of one of the most versatile and influential filmmakers in the history of cinema. With a career ranging from France's New Wave movement in the early 1960s to a period of political experimentation in the late 1960s and 70s, and, currently, a contemplative period in which Godard has explored issues of spirituality, sexuality, and the aesthetics of sound, image, and montage, the filmmaker's work defies easy categorization. In this study, David Sterritt offers an introductory overview of Godard's work as a filmmaker, critic, and video artist. In subsequent chapters, he traces Godard's visionary ideas through six of his key films, including Breathless, My Life to Live, Weekend, Numéro deux, Hail Mary, and Nouvelle Vague formats. Linking Godard's works to key social and cultural developments, The Films of Jean-Luc Godard explains their importance in modernist and postmodernist art of the last half century.

The Films of Jean-Luc Godard examines the work of one of the most versatile and influential filmmakers in the history of cinema. With a career ranging from France's New Wave movement in the early 1960s to a period of political experimentation in the late 1960s and 70s, and, currently, a contemplative period in which Godard has explored issues of spirituality, sexuality, and the aesthetics of sound, image, and montage, the filmmaker's work defies easy categorization. In this study, David Sterritt offers an introductory overview of Godard's work as a filmmaker, critic, and video artist. In subsequent chapters, he traces Godard's visionary ideas through six of his key films, including Breathless, My Life to Live, Weekend, Numéro deux, Hail Mary, and Nouvelle Vague formats. Linking Godard's works to key social and cultural developments, The Films of Jean-Luc Godard explains their importance in modernist and postmodernist art of the last half century.

Spike Lee has directed, written, produced, and acted in dozens of films that present an expansive, nuanced, proudly opinionated, and richly multifaceted portrait of American society. As the only African-American filmmaker ever to establish a world-class career, Lee has paid acute attention to the experiences of racial and ethnic minorities. But white men and women also play important roles in his movies, and his interest in class, race, and urban life hasn’t prevented his films from ranging over broad swaths of the American scene in stories as diverse as the audiences who view them. His defining trait is a willingness to raise hard questions about contemporary America without pretending to have easy answers; his pictures are designed to challenge and provoke us, not ease our minds or pacify our emotions. The opening words of his 1989 masterpiece Do the Right Thing present his core message in two emphatic syllables: “Wake up!”Spike Lee’s America is a vibrant and provocative engagement not only with the work of a great filmmaker, but also with American society and politics.

Spike Lee has directed, written, produced, and acted in dozens of films that present an expansive, nuanced, proudly opinionated, and richly multifaceted portrait of American society. As the only African-American filmmaker ever to establish a world-class career, Lee has paid acute attention to the experiences of racial and ethnic minorities. But white men and women also play important roles in his movies, and his interest in class, race, and urban life hasn’t prevented his films from ranging over broad swaths of the American scene in stories as diverse as the audiences who view them. His defining trait is a willingness to raise hard questions about contemporary America without pretending to have easy answers; his pictures are designed to challenge and provoke us, not ease our minds or pacify our emotions. The opening words of his 1989 masterpiece Do the Right Thing present his core message in two emphatic syllables: “Wake up!”Spike Lee’s America is a vibrant and provocative engagement not only with the work of a great filmmaker, but also with American society and politics.

Spike Lee has directed, written, produced, and acted in dozens of films that present an expansive, nuanced, proudly opinionated, and richly multifaceted portrait of American society. As the only African-American filmmaker ever to establish a world-class career, Lee has paid acute attention to the experiences of racial and ethnic minorities. But white men and women also play important roles in his movies, and his interest in class, race, and urban life hasn’t prevented his films from ranging over broad swaths of the American scene in stories as diverse as the audiences who view them. His defining trait is a willingness to raise hard questions about contemporary America without pretending to have easy answers; his pictures are designed to challenge and provoke us, not ease our minds or pacify our emotions. The opening words of his 1989 masterpiece Do the Right Thing present his core message in two emphatic syllables: “Wake up!”

Spike Lee’s America is a vibrant and provocative engagement not only with the work of a great filmmaker, but also with American society and politics.

Rock ‘n’ Roll Movies presents an eclectic look at the many manifestations of rock in motion pictures, from teen-oriented B-movies to Hollywood blockbusters to avant-garde meditations to reverent biopics to animated shorts to performance documentaries. Acclaimed film critic David Sterritt considers the diverse ways that filmmakers have regarded rock ‘n’ roll, some cynically cashing in on its popularity and others responding to the music as sincere fans, some depicting rock as harmless fun and others representing it as an open challenge to mainstream norms.

Rock ‘n’ Roll Movies presents an eclectic look at the many manifestations of rock in motion pictures, from teen-oriented B-movies to Hollywood blockbusters to avant-garde meditations to reverent biopics to animated shorts to performance documentaries. Acclaimed film critic David Sterritt considers the diverse ways that filmmakers have regarded rock ‘n’ roll, some cynically cashing in on its popularity and others responding to the music as sincere fans, some depicting rock as harmless fun and others representing it as an open challenge to mainstream norms.

Some thirty years ago filmmaker Jean-Luc Godard told critic Gene Youngblood, I am trying to change the world. He has pursued his revolution in works ranging from the explosive Breathless to the eloquent Contempt to the controversial Hail Mary and the postmodern Histoire(s) du cinéma, shaking up conventional formulas with boldly innovative ap-proaches to every aspect of cinema and video-including film criticism via provocative essays in Cahiers du Cinéma and interviews dating to the early years of his career. This book presents a varied selection of his conversations with critics, scholars, and journalists, spanning the 1960s to the 1990s and illuminating key facets of his life, work, and ideas. Topics include the seductiveness of cinema (Films are the only things by which to look inside of people, and that's why people are so fond of movies and why they'll never die); film as a blend of truth and beauty (I mix images and sounds like a scientist, I hope. The mystery of the scientific is the same as the mystery of the artist. So is the misery); and the personal realities of aging (Maybe it's that when you get old, in one way you feel younger and younger but still being old-young oldness, if I may say so, which is very. . .comforting). As challenging and evocative as they are quirky and unpredictable, these interviews cast light on Godard's lifelong position as a proudly unclassifiable thinker who feels, as he said in 1980, that a language is obviously made to cross borders. I'm someone whose real country is language, and whose territory is movies. David Sterritt is an associate professor of film at Long Island University and film critic of The Christian Science Monitor.

Robert Altman is one of the most inventive, unpredictable, and hotly debated American filmmakers of the past thirty years. His movies include popular hits (M.A.S.H., Nashville), critical successes (Thieves Like Us, The Long Goodbye, Short Cuts), and outright disasters (Beyond Therapy). Through triumph and tribulation alike, Altman has never lost the experimental spirit that brought him into feature filmmaking after twenty years of refining his talent on industrial movies and TV episodes. He also has maintained a gregarious, often garrulous nature, rarely missing an opportunity to discuss his work, life, and ambitions with the many critics and scholars who have plied him with questions throughout his career. The lively interviews in this book, drawn from a wide variety of sources, range from a colorful talk with Altman as he prepared an early foray into the western genre (McCabe and Mrs. Miller) to a mid-1990s conversation about the challenges of blending jazz and cinema in Kansas City. The interviews probe the many corners of Altman's work, including his epic battles with Hollywood studios and producers, his deep commitment to independent production, his creative views on video and stage-to-screen adaptation (a major facet of his career), and his insistence that he is more an audiovisual artist than a storytelling entertainer. Altman's conversations cast light on his idiosyncratic personality, revealing his taste for intoxicating experiences both on and off the screen and suggesting links between his risk-taking behaviors at the gambling table and the motion-picture set. This collection of interviews is a first-person portrait of a true American maverick whose freewheeling career has waged a decades-long campaign against Hollywood complacency and served as inspiration for new generations of independent screen artists. David Sterritt has been film critic for The Christian Science Monitor since 1968. He is an associate professor of film at Long Island University and the editor of Jean-Luc Godard: Interviews (University Press of Mississippi).

This collection of interviews with the renowned filmmaker, animator, artist, and member of the Monty Python comedy troupe covers the phases of his career from his early work as a cartoonist and animator through his most recent and most difficult projects.Among many subjects, Gilliam discusses his formative years as an artist and humor-magazine cartoonist, his move from the United States to England, his entry into British television, and his success as resident animator for the Monty Python's Flying Circus television show.As co-director of Monty Python and the Holy Grail and as director of Jabberwocky Gilliam made his advent as a maker of feature films, followed by such popular movies as Time Bandits and The Fisher King. A mixture of critical acclaim and film-studio animosity greeted his epic Brazil. Gilliam discusses all these, as well as the damage The Adventures of Baron Munchausen did to his career and the disasters that plagued his attempt to film a time-travel comedy called The Man Who Killed Don Quixote after the commercial disappointment of his unexpectedly acerbic Fear and Loathing in Las Vegas. In his conversations with a diverse array of interviewers Gilliam talks about an eclectic succession of topics, including his idiosyncratic tastes in painting and architecture, his fascination with the art and history of medieval Europe, his outspoken hostility for the commercial film industry, his views on comedy, fantasy, and film, and his philosophical perspectives on contemporary society.""I like the idea,"" he says, ""of actual demons sucking your brains out--envy and greed, these things being tangible. It's somehow on a common level, a more sensible way of dealing with the world. . . .""

David Sterritt, film critic for the Christian Science Monitor and professor of film at Long Island University, is one of the most astute, acclaimed, and thought-provoking critics in America. Sterritt's sharp eye for telling detail and deep understanding of cinema and its history make his work appealing to scholars and lay audiences. Guiltless Pleasures: A David Sterritt Film Reader collects his most incisive essays from 1970 to the present. The collection emphasizes films and filmmakers that are often overlooked or undervalued because they stray from ordinary norms of commercial cinema. While focusing on such rewarding challenges as the avant-garde masterpieces of Stan Brakhage, the unsettling videos of Robert Wilson, and the violent, disturbing films of Gaspar Noé, Sterritt writes equally well and insightfully on mainstream Hollywood films. At a time when admitting to ""guilty pleasures"" has become a common pastime among serious moviegoers, Sterritt argues that there's no reason to feel guilty about the alchemy of cinema. After all, he maintains, the inner journeys we take by means of movies and other cultural works are a large part of what makes life worth living. David Sterritt is chairman of the National Society of Film Critics. He is the author of Screening the Beats: Media Culture and the Beat Sensibility, The Films of Jean-Luc Godard, and Mad to Be Saved: The Beats, the '50s, and Film, and his work has appeared in the New York Times, the Chronicle of Higher Education, Film Comment, and Cineaste. He lives in New York City.