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Russ Meyer: Interviews offers a detailed look into the mind, life, and successful career of the maverick filmmaker Russ Meyer. Known for his audacious visual style and boundary-pushing content, Meyer (1922–2004) carved out a unique niche in the film industry with his provocative and often controversial works, including Faster, Pussycat! Kill! Kill!; Beyond the Valley of the Dolls; and Vixen! In this volume, Meyer talks over the course of eighteen newspaper and magazine interviews—conducted between the late 1960s and early 1990s—about assignments in still- and motion-picture combat photography during World War II, learning all aspects of the filmmaking craft when he was shooting industrial films after the war, later stumbling into the business of photographing pin-up girls for magazines, and how that segued into his first forays in what would become the sexploitation movie market. Working with small budgets and small crews, Meyer became a skilled director and pitchman for his own work, hitting the road with reels of film in his car, going from town to town, getting them shown in small moviehouses, building an audience, making big profits, then using them to make his next film. The films were expertly photographed, inventively edited, and featured intriguing (and violent, carnal, and funny) storylines, and ticket sales numbers eventually caught the eyes of the Hollywood studio system, for which Meyer briefly worked, before once again striking out on his own with ever-more violent, sexual, and cartoonish features. Meyer made fortunes, he lost fortunes, then he made them again, and he was always game for getting involved in controversy, which was easy due to the content of his films. After his final theatrical feature—Beneath the Valley of the Ultra-Vixens—in 1979, Meyer reinvented himself as an entrepreneur by making his films available on the burgeoning home video market, leaving him a celebrated and very wealthy man.

This book offers fresh insights into the central role of journalism in shaping popular memories of community heroism in times of crisis. Further, it challenges familiar assumptions about Hollywood celebrity reporting and shows journalists'active role in connecting popular culture icons with local communities.This book showcases fresh insights into how audiences collaborated and contributed to these widespread stories. The chapters included show how His Girl Friday, a Hollywood classic about tabloid newsroom stars, became a must-see movie for journalists, inspiring hundreds to choose the profession. Other appearances include Peter Fleming (James Bond creator Ian Fleming's brother) and Norman Rockwell who helped create heroic characters in the news that became global symbols of community leadership. This offers a look at digital news activists who recreated heroic icons in social media to champion human rights in the Middle East. The historical and contemporary case studies offer insights into larger news trends that have contributed to the enduring popularity of these diverse, heroic identities in journalism.Presenting unique views of community, collaborative and interactive journalism, this book will be a valuable resource to students and scholars of journalism, communication, media and political history, as well as professionals already operating within the field of journalism.

Excerpt:'It was a cold, dull, February day; but it did not rain, and the street was thronged with vehicles, whilst the pedestrians—mostly of the lower classes, for the district was a poor one—hustled against each other on the pavements. No one took any notice of the two children who had been standing before a toy shop window for the last ten minutes. And, indeed, there was nothing about them to attract the observation of a casual observer, although the countenance of the little girl, with its finely-cut features and sweet expression, possessed a delicate beauty which was certainly out of the common. No one looking at Peggy Pringle would have guessed that she was blind, for her eyes, in colour the darkest blue, were as clear as crystal; but the sad fact was that the blessing of sight was denied to her.'

On January 12, 1926, radio audiences heard the first exchanges of wit and wisdom between'Sam'n'Henry'--the verbal jousters who would evolve into Amos'n'Andy and whose broadcasts launched the radio sitcom. Here is a detailed look at 20 of the most popular such sitcoms that aired between the mid-1920s and early 1950s, the three-decade heyday of radio.Each series is discussed from an artistic standpoint, with attention to the program's character development and style of comedy as well as its influence on other shows. The book provides complete biographical profiles of each sitcom's stars as well as several actors whose careers consisted primarily of supporting roles. Appendices include an abbreviated summary of 13 sitcoms beyond those discussed in the main body of the book, and a comprehensive list of 170 radio sitcoms. Notes, bibliography, index.

Dans ce livre, le fondateur de la philosophie centrée sur l'objet découvre en l'un des poètes classiques du canon occidental, Dante Alighieri, un puissant stimulant pour dépasser le subjectivisme de la pensée moderne – sans pour autant retomber dans le naturalisme ancien ou le dogmatisme médiéval. Il est bien connu que les œuvres poétiques de Dante interprètent l'amour comme la force motrice de l'univers : tel qu'inspiré par sa muse décédée, Béatrice, l'amour constitue de fait la forme ultime de l'attachement à l'objet lui-même, entr'aperçu objectivement dans l'écart qui le sépare de ses propres qualités.« C'est pourquoi la place fondatrice que Dante accorde à l'amour et à la beauté est pour Harman d'une portée philosophique universelle, et doit être examinée dans les trois champs de l'éthique, de l'esthétique et de la métaphysique. Cet examen aboutit d'ailleurs, en vérité, à contester la nature de cette triplicité traditionnelle, comprise comme autant de sous-domaines de la philosophie, puisque l'esthétique devient la philosophie même et non plus l'une de ses parties. L'ouvrage va alors vérifier la puissance investigatrice de l'amour en démontrant la supériorité générale d'une orientation objectale face à l'orientation désignée comme « formaliste », dont Kant serait le représentant majeur. » (Quentin Meillassoux)

There are no haunted houses, right? No ghosts. No warlocks. No invisible evil presences. No messages from the dead. And yet the reports keep pouring in. How can a person cope when life is complicated by paranormal events? The stories in this collection explore answers to that question.

Captain Jim Grant of the Colby Police Department suffers lifechanging injuries while attempting to apprehend a suspect. On his flight back from recuperative leave, Jim sits next to the handsome Jake Handley, who he learns is a history professor at Colby State University.Due to his injuries, Jim is no longer able to work the streets so he accepts a promotion. However, the new job is desk bound, and the lack of action isn't easy for the action man to adapt to. There is one compensation, he's given a cute male assistant, who he learns is also gay. Alas, his boss is one of the biggest homophobes on the force, so Jim is beyond careful where and how often he and Jake are seen out in public together.Jake is out at work. While he realizes a university faculty is a whole lot different to a police department, he nevertheless begins to rail at the restrictions Jim places on their relationship. However, Jim is the first person Jake calls when a student threatens to make up a story about how Jake had agreed to raise the student's grade if the student agreed to perform sexual favors on Jake.Getting involved in an active investigation would be likely to cause questions to be asked within the police department. Will Jim risk his career and reputation for his lover, or will he cop out?