By Simon Dwyer
Quick EYE was once the seminal British counter-culture magazine based in 1979 through journalist Simon Dwyer. Dwyer's vintage speedy EYE articles at the moment are issued in 3 designated booklet variations. quantity three comprises in-depth function interviews with the top British artists Gilbert & George, and visionary film-maker the overdue Derek Jarman. additionally contains "Brazil", Dwyer's surprising research into governmental keep an eye on and erosions of civil liberty in Eighties Britain “ a document which is still much more suitable this present day.
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Additional resources for Rapid Eye 3: From Wasteland to Utopia
The term “big house,” from which the MGM ﬁlm got its name, referred to federal efforts during the Progressive Era to create large model prisons like San Quentin and Sing Sing “designed to eliminate the abusive forms of corporal punishment and prison labor prevailing at . . state prisons that maintained late nineteenth century practice” (185). It is therefore no coincidence that Bensonatta, where the convicts receive such gentle treatment and develop a sense of community, is a federal facility in the Midwest.
Universal’s All Quiet on the Western Front” (181). Balio describes such ﬁlms as “injected with plenty of star power, [and] glamorous and elegant trappings” (180). Perhaps their appeal came from how such extravagance pushed aside the scarcity so many Americans faced. The trailer for another of the year’s prestige productions, Morocco, described it as “a super picture with Gary Cooper, Marlene Dietrich . . ” 1930 — MOVIES AND SOCIAL DIFFERENCE 27 During this year the adoption of and ongoing adaptation to synchronized sound promoted the development of certain genres that beneﬁted from the new technology.
Oblique Approaches and Disavowals of Desperation In the chapters that follow, the contributors to this volume focus on how the decade unfolded year by year in regard to its ﬁlms. They emphasize such themes as portrayals of class, ethnicity, and race; representations of gender and sexuality; the deployment of the actor’s voice and of his or her body, and the discourses of stardom more generally; the resistance to tyranny in the past and the attempt to ignore its ascendancy in the present; the inﬂuence of the New Deal and of the industry’s decision to foreground its own achievements in a consciously promoted “greatest year” to end the decade.
Rapid Eye 3: From Wasteland to Utopia by Simon Dwyer