“As Tom Wolfe put it in The Bonfire of the Vanities, ‘All the cops turned Irish: the Jewish cops … the Italian cops, the Latin cops, and the black cops.'” You’re only accepted if you adopt that brand of machismo.
Category: media
Research: What Kind Of Arts Video Do Audiences Want?
“Based on our research data, digital content has two functions primarily: it develops the audience’s familiarity with the company’s work, and it aligns their expectations of a particular performance. Rather than using supporting materials to make a purchase decision, audiences tend to consume them after booking their tickets, to gain an insight into the story and creative process, reassure themselves of the quality of the company and production, and increase their level of anticipation ahead of the performance.”
From Joe Friday To Dirty Harry: How Pop Culture’s Cops Turned Away From, And On, Their Communities
“As Andy Taylor [of Mayberry] became even more anachronistic, a fantasy of policing as it never really was, he was replaced by successive generations of cops who gradually came to occupy a separate, hermetically sealed sphere. Pop culture may not have predicted our current [Black Lives Matter] moment, but it captured the disconnectedness and animosity that define our discussions about how policing should work.”
In American Popular Culture, There’s No Such Thing As A Bad Police Shooting
“Decade after decade, pop culture has continued to churn out stories that justify and even lionize officers who kill. These stories first turned shootings – and they are almost always shootings – into acts of last resort by noble policemen, and later into exciting executions of dangerous villains. Hollywood has promoted the very myths that result in our being shocked when we see an officer shoot a fleeing person or fire into a parked car, as well as an inflated narrative of valor that generates a near-automatic presumption of the guilt of those killed by police.”
Claim: Superhero Stories Work Great For Comic Books But Are Terrible For Movies
Jonathan Lethem, who initially set out to become a visual artist, says that comic books are a unique storytelling medium with pleasures that don’t necessarily translate well to live action. “It seems to me there’s a disconnect at a fundamental formal level between what a comic book does when you encounter it and what a CGI superhero movie does when you encounter it,” he says.
How A Young Hollywood Actor Stays Motivated Through Countless Unsuccessful Auditions
“Annie Truex, an aspiring actress in Los Angeles, notes how much she’s learned much about the business of entertainment since moving to the city. For The Atlantic‘s ongoing series of interviews with American workers, I spoke with Truex about why she pursued acting, how she stays motivated throughout the audition process, and how beauty standards for women in entertainment affect her at work.”
Will AT&T’s Deal For Time Warner Kick Off A New Round Of Media Consolidation?
“Analysts were split on whether AT&T’s move would spur other companies to combine. Several attributed AT&T’s play as a way to position itself as a more robust competitor to Google and Facebook, which capture the lion’s share of online advertising, and Amazon and Apple, which have strong customer relations.”
Novel Claim: The 1980s Was A Golden Age For TV
“The ’80s bridged the gap between the medium’s tumultuous birth — when it seemed as if it couldn’t decide whether to be vaudeville, legitimate theater, radio with pictures, or free-form video art — and its Peak TV maturation, a period of increased artistic sophistication and overwhelming quantity, literary pretensions, and cinematic effects.”
How Police Pressure Shaped The Ways Hollywood Depicts Law Enforcement In America
“This is not a straightforward story about how police departments are bad and Hollywood is good, or vice versa. Nor is it a simple morality tale about how creative freedom made it possible for a liberal industry to critique a conservative profession. … But driven by the need for drama and excitement, Hollywood used genres such as action movies and reality shows to glamorize the very ideas about policing that have generated such division in the United States today.”
The Super-High Frame Rate In ‘Billy Lynn’s Long Halftime Walk’ Looks Great – And It’s Still Unwatchable
Ang Lee’s latest film “is the first ever to be shot in super-high-resolution 3-D at 120 frames per second. Lee knew its novel look—unrelenting clarity, abundant blooms of fine detail – might come off as more disturbing than impressive. ‘This is not just a new technology, but a new habit in watching movies,’ he warned the crowd. ‘I hope you keep an open mind.’ This was, perhaps, too much to ask.” Daniel Engber explains why.