By Leger Grindon
Knockout: The Boxer and Boxing in American Cinema is the 1st book-length research of the Hollywood boxing movie, a well-liked motion picture leisure because the Thirties, that incorporates such classics as "Million greenback Baby," "Rocky," and "Raging Bull." The boxer stands along the cowboy, the gangster, and the detective as a personality that formed America's rules of manhood. Leger Grindon relates the Hollywood boxing movie to the literature of Jack London, Ernest Hemingway, and Clifford Odets; the impact of ring champions, relatively Joe Louis and Muhammad Ali; and controversies surrounding masculinity, race, and sports.
Knockout breaks new flooring in movie style research by way of concentrating on the basic dramatic conflicts uniting either documentary and fictional motion pictures with compelling social matters. The boxing movie portrays greater than the increase and fall of a champion; it exposes the physique so as to show the spirit. no longer easily a brute, the display boxer dramatizes conflicts and aspirations critical to an American audience's adventure.
This ebook positive aspects chapters at the conventions of the boxing movie, the background of the style and its dating to well-known ring champions, and self-contained remedies of thirty-two person motion pictures together with a bankruptcy dedicated to Raging Bull.
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Additional info for Knockout: The Boxer and Boxing in American Cinema
W. J. T. Mitchell, “Going Too Far with the Sister Arts,” in James A. W. ), Space, Time, Image, Sign: Essays on Literature and the Visual Arts (New York: Peter Lang, 1987), p. 1 (emphasis in original). Chapter 1 Notes 18 5 6 7 Kamilla Elliott 8 9 10 11 12 13 14 Chapter 1 15 16 17 18 W. J. T. Mitchell, Iconology: Image, Text, Ideology (Chicago: University of Chicago Press, 1986), p. 43. Gotthold Ephraim Lessing, Laocoön: An Essay upon the Limits of Painting and Poetry (1766). This taxonomy builds on a more expansive set of poetry and painting differentiations developed since Lessing.
Stromgren and Martin F. Norden, Movies: A Language in Light (Englewood Cliffs, NJ: Prentice-Hall, 1984), p. 173. Eisenstein, “Film Language,” pp. 108, 115. Eisenstein extends the literary analogy from practice to criticism. Lamenting that “in comparison with analyses of [literature] . . my analysis is still quite descriptive and easy,” he offers analogical remedies: “An analysis of the very lenses employed in ﬁlming . . with camera angles and lighting . . would serve as an exact analogy to an analysis of the expressiveness of phrases and words .
Frank Lloyd, USA. ) Bleak House, Ideal Pictures, 1920. John L. Fell, Film and the Narrative Tradition (Norman: University of Oklahoma Press, 1974). I am indebted to Guerric DeBona for this information. Astonishingly, he does not mention Thackeray’s illustrations, which are in the same school. shtml). I use David Bordwell’s term here from his On the History of Film Style (Cambridge, MA: Harvard University Press, 1997). As early as 1913, Adolph Zukor, president of Famous Players, informed audiences: “We are trying to let the story tell itself as far as possible.