Projections of Psychic Reality: Gender and Power on the American Film Screen: A Three-Part Centennial Program on Film and Psychoanalysis

1994 ◽  
Author(s):  
Harriet Kimble Wrye
Keyword(s):  
American Film ◽  
Gender And Power ◽  
Psychic Reality

Contraceptive Use: Gender and Power

2009 ◽  
Author(s):  
Judith Soon ◽  
Jean Shoveller ◽  
Jennifer Reade
Keyword(s):  
Contraceptive Use ◽  
Gender And Power

Celebrating Lindsay Anderson's In Celebration

2014 ◽  
Vol 11 (2-3) ◽  
pp. 370-377
Author(s):  
Brian McFarlane
Keyword(s):  
The Novel ◽  
American Film ◽  
Royal Court ◽  
Television Version

On stage, Lindsay Anderson directed ten plays by David Storey, who also wrote the novel on which This Sporting Life is based. Anderson directed Storey's In Celebration both in the theatre, at the Royal Court in 1969, and on television, for the American Film Theatre in 1975. Although it focuses primarily on the television version of In Celebration, a work which is all too often neglected in critical discussions of Anderson's output, this article examines Anderson as a director for both stage and screen, and also explores the numerous significant links between Storey's and Anderson's oeuvres.

The American Film Institute

1971 ◽  
Vol 25 (1) ◽  
pp. 40-40
Author(s):  
George Stevens, Jr.
Keyword(s):  
American Film

Messy, Energetic, Intense: A Roundtable Conversation among New York's Asian American Experimental Filmmakers of the Eighties with Roddy Bogawa, Daryl Chin, Shu Lea Cheang, and Rea Tajiri

2020 ◽  
Vol 73 (3) ◽  
pp. 66-78
Author(s):  
Vince Schleitwiler ◽  
Abby Sun ◽  
Rea Tajiri
Keyword(s):  
New York ◽  
New York City ◽  
Asian American ◽  
York City ◽  
American Film ◽  
The Sixties ◽  
History Of

This roundtable grew out of conversations between filmmaker Rea Tajiri, programmer Abby Sun, and scholar Vince Schleitwiler about a misunderstood chapter in the history of Asian American film and media: New York City in the eighties, a vibrant capital of Asian American filmmaking with a distinctively experimental edge. To tell this story, Rea Tajiri contacted her artist contemporaries Shu Lea Cheang and Roddy Bogawa as well as writer and critic Daryl Chin. Daryl had been a fixture in New York City art circles since the sixties, his presence central to Asian American film from the beginning. The scope of this discussion extends loosely from the mid-seventies through the late nineties, with Tajiri, Abby Sun, and Vince Schleitwiler initiating topics, compiling responses, and finalizing its form as a collage-style conversation.

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