Zachary Ingle – författare

Nonfiction films about sports have been around for decades, but the previously neglected subgenre of the documentary has become increasingly popular in the last several years. Despite such recent successes as Senna, Undefeated, and ESPN’s 30 for 30 series, however, few scholarly articles have been published on these works.In Gender and Genre in Sports Documentaries, editors Zachary Ingle and David M. Sutera have assembled essays that examine the various aspects of this art form. Some address questions of gender and sexuality, specifically how masculinity and homosexuality are represented in sports documentaries. Others focus on the characteristics of these films, exploring aspects of aesthetics and narrative.In addition to chapters on basketball, football, baseball, boxing, tennis, and auto racing, this collection features marginalized sports like quad rugby, pro wrestling, live action role playing (LARPing), and bodybuilding. Some of the films described will be familiar to readers, such as Murderball and Bigger Stronger Faster; others are less well-known yet important works worthy of scrutiny. Questions about gender, sexuality, and masculinity remain hot topics in sports discourse and this collection tackles those subjects, making Gender and Genre in Sports Documentaries an intriguing read for scholars, students, and the general public alike.

Nonfiction films about sports have been around for decades, but the previously neglected subgenre of the documentary has become increasingly popular in the last several years. Despite such recent successes as Senna, Undefeated, and ESPN’s 30 for 30 series, however, few scholarly articles have been published on these works.In Gender and Genre in Sports Documentaries, editors Zachary Ingle and David M. Sutera have assembled essays that examine the various aspects of this art form. Some address questions of gender and sexuality, specifically how masculinity and homosexuality are represented in sports documentaries. Others focus on the characteristics of these films, exploring aspects of aesthetics and narrative.In addition to chapters on basketball, football, baseball, boxing, tennis, and auto racing, this collection features marginalized sports like quad rugby, pro wrestling, live action role playing (LARPing), and bodybuilding. Some of the films described will be familiar to readers, such as Murderball and Bigger Stronger Faster; others are less well-known yet important works worthy of scrutiny. Questions about gender, sexuality, and masculinity remain hot topics in sports discourse and this collection tackles those subjects, making Gender and Genre in Sports Documentaries an intriguing read for scholars, students, and the general public alike.

Nonfiction films about sports have been around for decades, yet few scholarly articles have been published on these works. In Identity and Myth in Sports Documentaries, editors Zachary Ingle and David M. Sutera have assembled a collection of essays that show how myth and identity—national, religious, ethnic, and racial—are constructed, perpetuated, or questioned in documentaries produced in the United States, France, Australia, Germany, and Japan.This collection is divided into three sections. “American Identity and Myth” contains essays on consumerism, religion in sports, and post-9/11 America. “Race and Ethnicity” examines the ways in which African American, Mexican American, and Jewish identity are portrayed in the documentaries under discussion. “Global Perspectives” features films and TV series produced outside of the United States or those that provide perspectives on the international sport scene. Spanning several decades, the landmark documentaries discussed in this volume include Hoop Dreams, The Endless Summer, The Life and Times of Hank Greenberg, Olympia, and Tokyo Olympiad and address such subjects as baseball, football, basketball, boxing, soccer, surfing, and the Olympics.The essays pose such questions as "How are notions of the American dream involved in athletes’ aspirations?", "How do media texts from Australia or France construct Australian and French identity, respectively?", and "How did filmmakers such as Leni Riefenstahl, Kon Ichikawa, and Bud Greenspan infuse their Olympic documentaries with national ideology despite being intended for an international audience?" By tackling these subjects, Identity and Myth in Sports Documentaries is an intriguing read for scholars, students, and the general public alike.

Nonfiction films about sports have been around for decades, yet few scholarly articles have been published on these works. In Identity and Myth in Sports Documentaries, editors Zachary Ingle and David M. Sutera have assembled a collection of essays that show how myth and identity—national, religious, ethnic, and racial—are constructed, perpetuated, or questioned in documentaries produced in the United States, France, Australia, Germany, and Japan.This collection is divided into three sections. “American Identity and Myth” contains essays on consumerism, religion in sports, and post-9/11 America. “Race and Ethnicity” examines the ways in which African American, Mexican American, and Jewish identity are portrayed in the documentaries under discussion. “Global Perspectives” features films and TV series produced outside of the United States or those that provide perspectives on the international sport scene. Spanning several decades, the landmark documentaries discussed in this volume include Hoop Dreams, The Endless Summer, The Life and Times of Hank Greenberg, Olympia, and Tokyo Olympiad and address such subjects as baseball, football, basketball, boxing, soccer, surfing, and the Olympics.The essays pose such questions as "How are notions of the American dream involved in athletes’ aspirations?", "How do media texts from Australia or France construct Australian and French identity, respectively?", and "How did filmmakers such as Leni Riefenstahl, Kon Ichikawa, and Bud Greenspan infuse their Olympic documentaries with national ideology despite being intended for an international audience?" By tackling these subjects, Identity and Myth in Sports Documentaries is an intriguing read for scholars, students, and the general public alike.

A fascinating exploration of the most significant superhero films and television shows in history, from the classic serial Adventures of Captain Marvel to the Disney+ hit show WandaVision.In The 100 Greatest Superhero Films and TV Shows, Zachary Ingle and David M. Sutera celebrate over eighty years of superhero cinema and television. Featuring blockbusters such as Black Panther and The Dark Knight, Ingle and Sutera also include lesser-known yet critically acclaimed shows like The Boys, cult films such as The Toxic Avenger, and foreign series like Astro Boy to provide a well-rounded perspective of the genre. All one hundred selections are evaluated based on qualities such as plot and character development, adherence to the original source materials, technological innovations, and social impact. The entries cover both live-action and animated films and TV series, and almost a third of the entries are not associated with Marvel or DC—a testament to the genre’s variety in its eighty-year history. The 100 Greatest Superhero Films and TV Shows includes an analysis of the superhero’s evolution and its relevance to the feminist movement, auteur theory, convergence culture, critical race theory, and more. Featuring more than 80 photographs alongside the authors’ selections, the diverse entries are sure to inspire debate and entertain all fans of superhero movies and television shows.

Rogue filmmaker Robert Rodriguez (b. 1968) rocketed to fame with his ultra-low-budget film El Mariachi (1992). The Spanish-language action film, and the making-of book that accompanied it, were inspirational to filmmakers trying to work with the most meager of resources. Rodriguez embodies the postmodern auteur, maintaining a firm control of his projects by not only writing and producing his films, but also editing, shooting, composing, as well as working with the visual effects. He was one of the first American filmmakers to wholeheartedly adopt digital filmmaking, now the norm. Spy Kids 3-D: Game Over (2003) helped bring back 3-D to mainstream theatres. He is as comfortable making family films (the Spy Kids series) as action (Sin City) and horror films (Planet Terror). He has maintained his guerilla filmmaking approach, despite increasing budgets, choosing to work outside of Hollywood and even founding his own studio (Troublemaker Studios) in Austin, Texas. He has also arguably become the most successful Latino filmmaker.In this, the first book devoted to Rodriguez, interviews and articles from 1993 to 2010 reveal a filmmaker passionate about making films on his own terms. He addresses the subjects central to his life and work: guerilla filmmaking, the digital revolution, his family, and his disdain for Hollywood. An easy and frank subject, these portraits depict the rebel director at his most candid, forging a path for others to break free from Hollywood hegemony.

Rogue filmmaker Robert Rodriguez (b. 1968) rocketed to fame with his ultra-low-budget film El Mariachi (1992). The Spanish-language action film, and the making-of book that accompanied it, were inspirational to filmmakers trying to work with the most meager of resources. Rodriguez embodies the postmodern auteur, maintaining a firm control of his projects by not only writing and producing his films, but also editing, shooting, composing, as well as working with the visual effects. He was one of the first American filmmakers to wholeheartedly adopt digital filmmaking, now the norm. Spy Kids 3-D: Game Over (2003) helped bring back 3-D to mainstream theatres. He is as comfortable making family films (the Spy Kids series) as action (Sin City) and horror films (Planet Terror). He has maintained his guerilla filmmaking approach, despite increasing budgets, choosing to work outside of Hollywood and even founding his own studio (Troublemaker Studios) in Austin, Texas. He has also arguably become the most successful Latino filmmaker.In this, the first book devoted to Rodriguez, interviews and articles from 1993 to 2010 reveal a filmmaker passionate about making films on his own terms. He addresses the subjects central to his life and work: guerilla filmmaking, the digital revolution, his family, and his disdain for Hollywood. An easy and frank subject, these portraits depict the rebel director at his most candid, forging a path for others to break free from Hollywood hegemony.

Rogue filmmaker Robert Rodriguez (b. 1968) rocketed to fame with his ultra-low-budget film El Mariachi (1992). The Spanish-language action film, and the making-of book that accompanied it, were inspirational to filmmakers trying to work with the most meager of resources. Rodriguez embodies the postmodern auteur, maintaining a firm control of his projects by not only writing and producing his films, but also editing, shooting, composing, as well as working with the visual effects. He was one of the first American filmmakers to wholeheartedly adopt digital filmmaking, now the norm. Spy Kids 3-D: Game Over (2003) helped bring back 3-D to mainstream theatres. He is as comfortable making family films (the Spy Kids series) as action (Sin City) and horror films (Planet Terror). He has maintained his guerilla filmmaking approach, despite increasing budgets, choosing to work outside of Hollywood and even founding his own studio (Troublemaker Studios) in Austin, Texas. He has also arguably become the most successful Latino filmmaker. In this, the first book devoted to Rodriguez, interviews and articles from 1993 to 2010 reveal a filmmaker passionate about making films on his own terms. He addresses the subjects central to his life and work: guerilla filmmaking, the digital revolution, his family, and his disdain for Hollywood. An easy and frank subject, these portraits depict the rebel director at his most candid, forging a path for others to break free from Hollywood hegemony.

Fan Phenomena: The Big Lebowski examines how this quirky movie evolved from its underwhelming debut to attract a mass following on par with that of The Rocky Horror Picture Show. Contributors take a close look at the film’s phenomenal impact on popular culture and language and examine the script’s rich philosophical implications, whether it is the nihilism within the film itself or the Dudeism that Jeff Bridges’ God-like character has bred (the 'Church of the Latter-Day Dude' has attracted more than 70,000 official adherents through its online ordination process). Covering issues concerning gender and sexuality within the film, such as Maude’s feminist art and Jackie Treehorn’s Malibu garden party, the essays here also explore the gender divides the film has created in today’s society, such as male versus female fandom rivalry at festivals. These gatherings – part costume contest, part bowling tournament, part trivia contest, part fan meet-up – have, since their debut in Louisville, K Y, in 2002, sprung up all around America and have even expanded globally, and the book takes an inside look at these events and includes interviews with Lebowski festival organizers and authors of other fan books and academic treatises.