By Norman K. Denzin
Ranging over a wealthy number of fabric from movie and movie literature, and encompassing a severe interrogation of conventional realist ethnographic and cinematic texts, this e-book highlights the level to which the cinema has contributed to the increase of voyeurism all through society.
The cinema not just turns its viewers into voyeurs, eagerly following the lives of its reveal characters, yet casts its key gamers as onlookers, spying on other's lives. the character of the cinematic voyeur is tested intensive, as are its implications for modern society. Norman okay Denzin analyzes Hollywood's manipulations of gender, race and sophistication, and, drawing at the paintings of Foucault, argues that the cinematic gaze needs to be understood as pa
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Additional resources for The Cinematic Society: The Voyeur's Gaze (Published in association with Theory, Culture & Society)
The closer ties between the Group Theatre and the Theatre Union enabled Cobb to jump back and forth between the companies for the next couple of years. indb 36 12/18/13 7:38 AM Group Experiences 37 stage voice in a second production of Odets’s Waiting for Lefty. When Clurman paired the play on a bill with another Odets piece, Till the Day I Die, Cobb took the stage for the first time with the company in the minor role of a police detective. Till the Day I Die, churned out by Odets in five days and running 136 performances into the summer of 1935, deals with a German Communist driven to suicide when the Nazis persuade his comrades that he has betrayed them.
220. 20. , p. 49. 21. Helen Krich Chinoy, “Reunion: A Self-Portrait of the Group Theatre,” Educational Theatre Journal 28, no. 4 (December 1976), p. 528. indb 32 12/18/13 7:38 AM Chapter 4 Group Experiences Cobb’s second return from California was nowhere near as abject as his first one. His résumé from the Pasadena Playhouse helped him get radio work that, while not paying much, verged on the steady, and there was no more talk of taking up another trade. Further, he found a New York theater scene that had expanded significantly even in his short time on the West Coast.
16 Some of the Group’s organization problems were idiosyncratic, others reminiscent of those that had plagued Stanislavsky in Moscow. Stella Adler, a member of the first family of the Yiddish Theatre and the company’s most prominent female player, sardonically acknowledged that collegial playing didn’t come easily to her. “You could not put me into an ensemble. I was a princess. My father was a king, my mother was a queen. You couldn’t do that to me. I hated it. I hated everybody. It was part of my tradition.