J Hoberman – författare

Like Paris in the 1920s, New York City in the 1960s was a cauldron of avant-garde ferment and artistic innovation. Boundaries were transgressed and new forms created. Drawing on interviews, memoirs, and the alternative press, Everything Is Now chron­icles this collective drama as it was played out in coffeehouses, bars, lofts, storefront theaters, and, ultimately, the streets.The principals here are penniless filmmak­ers, jazz musicians, and performing poets, as well as less classifiable artists. Most were outsiders at the time. They include Amiri Baraka, Bob Dylan, Allen Ginsberg, Yayoi Kusama, Yoko Ono, Nam June Paik, Carolee Schneemann, Jack Smith, Andy Warhol, and many more. Some were associ­ated with specific movements (Avant Rock, Destruction Art, Fluxus, Free Jazz, Guerrilla Theater, Happenings, Mimeographed Zines, Pop Art, Protest-Folk, Ridiculous Theater, Stand-Up Poetry, Underground Comix, and Underground Movies). But there were also movements of one. Their art, rooted in the detritus and excitement of urban life, was taboo-breaking and confrontational.As J. Hoberman shows in this riveting his­tory, these subcultures coalesced into a counterculture that changed the city, the country, and the world.

A new anthology from one of America's foremost critics of movies and culture

Named a Best Book of the Year by Financial Times

"Singular, stylish and slightly intoxicating in its scope."—Rolling Stone

Acclaimed media critic J. Hoberman''s masterful and majestic exploration of the Reagan years as seen through the unforgettable movies of the era

The third book in a brilliant and ambitious trilogy, celebrated cultural and film critic J. Hoberman''s Make My Day is a major new work of film and pop culture history. In it he chronicles the Reagan years, from the waning days of the Watergate scandal when disaster films like Earthquake ruled the box office to the nostalgia of feel-good movies like Rocky and Star Wars, and the delirium of the 1984 presidential campaign and beyond.

Bookended by the Bicentennial celebrations and the Iran-Contra affair, the period of Reagan''s ascendance brought such movie events as Jaws, Apocalypse Now, Blade Runner, Ghostbusters, Blue Velvet, and Back to the Future, as well as the birth of MTV, the Strategic Defense Initiative, and the Second Cold War.

An exploration of the synergy between American politics and popular culture, Make My Day is the concluding volume of Hoberman''s Found Illusions trilogy; the first volume, The Dream Life, was described by Slate''s David Edelstein as "one of the most vital cultural histories I''ve ever read"; Film Comment called the second, An Army of Phantoms, "utterly compulsive reading." Reagan, a supporting player in Hoberman''s previous volumes, here takes center stage as the peer of Indiana Jones and John Rambo, the embodiment of a Hollywood that, even then, no longer existed.

One of the world's most erudite and entertaining film critics on the state of cinema in the post-digital-and post-9/11-age. This witty and allusive book, in the style of classic film theorists/critics like André Bazin and Siegfried Kracauer, includes considerations of global cinema's most important figures and films, from Lars von Trier and Jia Zhangke to WALL-E, Avatar and Inception.

One of the world''s most erudite and entertaining film critics on the state of cinema in the post-digital-and post-9/11-age. This witty and allusive book, in the style of classic film theorists/critics like Andr� Bazin and Siegfried Kracauer, includes considerations of global cinema''s most important figures and films, from Lars von Trier and Jia Zhangke to WALL-E, Avatar and Inception.

Like Paris in the 1920s, New York City in the 1960s was a cauldron of avant-garde ferment and artistic innovation. Boundaries were transgressed and new forms created. Drawing on interviews, memoirs, and the alternative press, Everything Is Now chron�icles this collective drama as it was played out in coffeehouses, bars, lofts, storefront theaters, and, ultimately, the streets.The principals here are penniless filmmak�ers, jazz musicians, and performing poets, as well as less classifiable artists. Most were outsiders at the time. They include Amiri Baraka, Bob Dylan, Allen Ginsberg, Yayoi Kusama, Yoko Ono, Nam June Paik, Carolee Schneemann, Jack Smith, Andy Warhol, and many more. Some were associ�ated with specific movements (Avant Rock, Destruction Art, Fluxus, Free Jazz, Guerrilla Theater, Happenings, Mimeographed Zines, Pop Art, Protest-Folk, Ridiculous Theater, Stand-Up Poetry, Underground Comix, and Underground Movies). But there were also movements of one. Their art, rooted in the detritus and excitement of urban life, was taboo-breaking and confrontational.As J. Hoberman shows in this riveting his�tory, these subcultures coalesced into a counterculture that changed the city, the country, and the world.

Like Paris in the 1920s, New York City in the 1960s was a cauldron of avant-garde ferment and artistic innovation. Boundaries were transgressed and new forms created. Drawing on interviews, memoirs, and the alternative press, Everything Is Now chronicles this collective drama as it was played out in coffeehouses, bars, lofts, storefront theaters, and, ultimately, the streets. The principals here include Amiri Baraka, Bob Dylan, Allen Ginsberg, Yoko Ono, Nam June Paik, Carolee Schneemann, Andy Warhol, and many more. Their art, rooted in the detritus and excitement of urban life, was taboo breaking and confrontational. As J. Hoberman shows in this riveting history, these subcultures coalesced into a counterculture that changed the city, the country, and the world.

The Marx Brothers are universally considered to be classic Hollywood’s preeminent comedy team and Duck Soup is generally regarded as their quintessential film. A topical satire of dictatorship and government in general, the movie was a critical failure and box-office let-down on its initial release in 1933.J. Hoberman's study of the film traces its reputation history, from the initial disappointment of its release, to its rise to cult status in the 1960s when the Marx’s anarchic, anti-establishment humor seemed again timely. Hoberman places Duck Soup, alongside analogous comedies—Dr. Strangelove (1964), the Beatles films, Morgan! (1966), The President’s Analyst (1967) and The Producers (1968). It attained canonical stature as a touchstone for Woody Allen and would be recognized by the Library of Congress in the 1990s.Hoberman's analysis provides a historical and political context as well as an in-depth production history, drawing on primary sources and emphasizing director McCarey’s prior work along with the Marx Brothers as well as the situation at Paramount, a substantial synopsis, and an account of the movie’s initial reception, concluding with its subsequent elevation to comic masterpiece.

The Marx Brothers are universally considered to be classic Hollywood''s preeminent comedy team and Duck Soup is generally regarded as their quintessential film. A topical satire of dictatorship and government in general, the movie was a critical failure and box-office let-down on its initial release in 1933.J. Hoberman''s study of the film traces its reputation history, from the initial disappointment of its release, to its rise to cult status in the 1960s when the Marx''s anarchic, anti-establishment humor seemed again timely. Hoberman places Duck Soup, alongside analogous comedies-Dr. Strangelove (1964), the Beatles films, Morgan! (1966), The President''s Analyst (1967) and The Producers (1968). It attained canonical stature as a touchstone for Woody Allen and would be recognized by the Library of Congress in the 1990s.Hoberman''s analysis provides a historical and political context as well as an in-depth production history, drawing on primary sources and emphasizing director McCarey''s prior work along with the Marx Brothers as well as the situation at Paramount, a substantial synopsis, and an account of the movie''s initial reception, concluding with its subsequent elevation to comic masterpiece.