Average customer rating:
- Nice Intro but incomplete
- Good introduction
- A bit inaccessible for an introduction
- Close to perfection! An absolute must read.
- simple is as simple reads
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The Major Film Theories: An Introduction (Galaxy Book ; Gb450)
J. D. Andrew
Manufacturer: Oxford University Press, USA
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Concepts in Film Theory (Galaxy Books)
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ASIN: 0195019911 |
Book Description
Both a history of film theory and an introduction to the work of the most important writers in the field, Andrew's volume reveals the bases of thought of such major theorists as Munsterberg, Arnheim, Eisenstein, Balazs, Kracauer, Bazin, Mitry, and Metz.
Customer Reviews:
Nice Intro but incomplete.......2006-03-05
First, the strengths: Andrew gives intelligent summaries and discussion of some major historical film theorists, with chapters on Munsterberg, Arnheim, Eisenstein, Balazs, Kracauer, Bazin, Mitry, Metz, and Ayfre, and Agel. He focuses on the debate between the formalists (who believe film art is defined by its formal properties including editing, framing, mise-en-scene, lighting, and etc.) and the realist tradition (who believe that film art is defined by its basis in photography, a physical impression of its subject). The highlight is undoubtedly Andrew's excellent discussion of the great French critic Andre Bazin, which is not surprising since Andrew's Ph.D thesis was on Bazin. The weaknesses: This was published in 1976, and so it completely ignores the vast body of criticism published since then, especially feminism, and the influence of Lacan and psychoanalytic theory. Still, this is not a bad starting point for students of film theory.
Good introduction.......2006-03-01
Just as the book states, this is an introduction to film theories; and as such it fulfills its promise. The explanations and discussions are almost always clear, at times somewhat rarefied, but overall an authentic book.
A bit inaccessible for an introduction.......2004-01-13
My main issue with this book is that the title ("An Introduction") implies that the book is for anyone with an interest in film theory. However, the author sometimes goes into nearly-impenetrable technical jargon. I would disagree with the assertion that this book is easy to understand.
For instance, from page 57 comes the sentence: "In Piaget's terms, he [Eisenstein] wanted cinema to become or to produce a 'global syncretism of individual transductive inferences.'" And this is supposed to be an introduction? (You may be able to view page 57 through Amazon.com's "Search inside the book" feature.) I found myself re-reading paragraphs a few times to try to comprehend what was being said. I would recommend this book as a good survey of film theory for readers who have already had exposure to film theory and have some background in philosophy, psychology, and linguistics.
Another problem is that the book was published in 1976, so roughly 25% of film theory history is missing. An updated or revised edition is needed. It would be interesting to see if/how the recent Dogme 95 movement fits into film theory history.
This book might be valuable to film students or film geeks who've read other books about film theory, but for the average reader, this isn't the best "introduction" on the subject.
Close to perfection! An absolute must read........2003-07-25
For people interested in the theory and psychology of cinema, this is a great starting point and is a must have in any collection. J. Dudley Andrew breaks down the theories of Mitry, Metz, Arheim, and Bazin, among others, into easy to understand chapters without losing the essense of the theories. This book and the material are both so interesting that this will have you hooked on film theory. Instead of purchasing the individual books by each theorist, Andrew's book is the way to go in more ways than one. It is very easy to understand, which some books on film theory aren't, and he uses great quotes from each of the theorists. Andrew followed this up with "Concepts in Film Theory" which is the opposite of this book. It is much more difficult to understand and follow so beware.
simple is as simple reads.......2002-08-21
A great book, does exactly what it says on the cover, admittedly thirty years or so old, it still grapples sipmly with the theorie's you'd want to be introduced to if you've no idea what you're doing by looking at different theorists' views and counterviews. This book won't tell you what to think, it'll give you a set of arguments and let you decide where you go with it . . . in my humble opinion . . .
Book Description
This book presents the most authoritative assessment of contemporary Asian cinema available. Each chapter describes the cultural aspects of popular film production, analyzing key films in the context of the national, the regional and the global. Topics covered include: film theory and Asian cinema, popular film genres, major industry figures, the "art film", connections between the state and commercial interests, cultural policies, representations of national identity, trends in international co-production, and more.
Book Description
During the latter half of the 1980s and throughout the 1990s, television talk shows, infotainment news, and screaming supermarket headlines became ubiquitous in America as the “tabloidization” of the nation’s media took hold. In Tabloid Culture Kevin Glynn draws on diverse theoretical sources and an unprecedented range of electronic and print media in order to analyze important aspects and key debates that have emerged around this phenomenon.
Glynn begins by situating these media shifts within the context of Reaganism, which gave rise to distinctive ideological currents in society and led the socially and economically disenfranchised to access new forms of information via the exploding television industry. He then tackles specific daytime talk shows and tabloid newscasts such as Jerry Springer and A Current Affair, reality-TV programs such as Cops and America’s Most Wanted, and two different supermarket tabloids’ coverage of the O.J. Simpson case. Tabloid Culture is the first book to treat these diverse yet related media forms and events in tandem. Rejecting the elitist dismissal of sensationalist media, Glynn instead traces the cultural currents and countercurrents running through their forms and products. Locating both reactionary and oppositional meanings in these texts, he demonstrates how these particular media genres draw on and contribute to important cultural struggles over the meanings of race, sexuality, gender, class, “normality,” “truth,” and “reality.” The study ends by discussing how the growing use of the Internet provides an entirely new realm in which such material can circulate, distort, inform, and flourish.
This innovative and provocative study of contemporary mainstream media culture in the United States will be valuable to those interested in both print and television media, the cultural-political influence of the Reagan era, and American culture in general.
Customer Reviews:
A Very Illuminating Examination of What Others Fear To Touch.......2005-12-03
Please do not listen to the other review of this book: it is clearly written by someone who hasn't read Glynn's carefully argued, very interesting examination of "trash" television. "John Q. Public," as he calls himself in the review, seems to make it sound so simple -- networks play things because they get ratings. But what Glynn answers in a way that all of John Q's love for PBS can't is WHY they get ratings. The answer to this question has so often been astoundingly shortsighted and downright insulting: "People watch trash TV because they're stupid, don't know any better, and never will" or something as asinine and simplistic as that.
But Glynn digs into the populist in a very interesting way, and what he finds is that these shows frequently validate everyday experiences and knowledge of everyday, working class viewers in ways that many instances of "high culture" on television don't. Glynn's point is not at all about aesthetics or artistic value (as John Q. Public assumes, having not read the book, that it is), as he largely leaves this question for the reader to answer: his point is about not just disregarding all these programs AND all their viewers because one has made such artistic judgements. In "trash" TV, Glynn finds many democratic tendencies.
At times, Glynn can overdo it, and at other times, his enthusiasm to defend overlooks, or rushes through, disturbing political content of the shows (such as inherent racism or sexism), but most of the time he is remarkably careful to balance such tensions.
This is an academic text, and so may not be ideal for everyone, though it is reasonably accessible. So, if you want to go beyond complaining that such television shouldn't exist, and if you're actually interested in why it does, and why so many people turn to it, I highly recommend this book. I share the reviewer "John Q Public's" regard for PBS, though I feel it has turned its back on many Americans, and on the real John Q Publics, so to speak. Glynn's book looks at what those John Qs are watching and starts to ask the reasons why. (For more on PBS and "the masses," though, I'd highly recommend Laurie Ouellette's *Viewers Like You?*)
Book Description
Until now, Hollywood's political history has been dominated by a steady stream of films and memoirs decrying the nightmare of the Red Scare. But Ronald and Allis Radosh show that the real drama of that era lay in the story of the movie stars, directors and especially screenwriters who joined the Communist Party or traveled in its orbit, and made the Party the focus of their political and social lives. The authors' most controversial discovery is that during the investigations of the House Committee on Un-American Activities, the Hollywood Reds themselves were beset by doubts and disagreements about their disloyalty to America, and their own treatment by the Communist Party. Abandoned by their old CP allies, they faced the Blacklist alone.
Download Description
Using material from the papers of Dalton Trumbo, Dore Schary, Melvyn Douglas and other Hollywood insiders, Ronald and Allis Radosh trace the growth of the Communist Party from the 1920s, when stars like Charlie Chaplin and Groucho Marx toured the Soviet Union and came back converted, through the 1930s and the war years, when the Party achieved critical mass in Hollywood. The Radoshes' most controversial discovery is that during the investigations of the House Committee on Un-American Activities, while others were lionizing them as blameless victims of a vicious blacklist, the Hollywood Reds themselves were beset by doubts and disagreements about their disloyalty to America and their treatment by the Communist Party. Red Star over Hollywood opens up the cells and discussion groups that defined Hollywood radicalism.
Customer Reviews:
An important analysis filling many gaps........2006-12-11
The Hollywood Blacklist is a story which has long been perpetuated by the film industry into popular culture, but RED STAR OVER HOLLYWOOD: THE FILM COLONY'S LONG ROMANCE WITH THE LEFT takes a different approach then most, documenting the large number of movie stars who did join the Communist Party and as a result had an impact on filmmaking trends. Material from the papers of Dalton Trumbo and other Hollywood insiders examine the concurrent growth of Communism through the 1930s and war years and the growing numbers of film greats who joined, experienced inner party disagreements, and influenced the industry as a whole. It's the first book to examine the discussion groups and members who helped define and promote Hollywood radicalism and makes for an important analysis filling many gaps.
Diane C. Donovan
California Bookwatch
Exceptional and Educational.......2006-08-09
Over the years I have read many books on the Red Scare in Hollywood and could never quite understand the attraction to communism. This book does the best job of describing the issues, the attraction to communism and documentation of actual plans by the communist party concerning their intent to influence films. In reading many past books, the authors never quite expressed WHY they were communists. In fact, many of the books never mentioned whether they were incorrectly persecuted or whether they actually were members of communist party. This book provides documentation and reasoning by none other than Dalton Trumbo, one of the leading communists in Hollywood and the screenwriter partially responsible for breaking the blacklist. And in the end, he disavowed his former communist party and their teachings.
But this book will not be without controversy as the authors are known as right-wing Republicans. While I am in the middle of the political spectrum leaning slightly to the left, I find their account very believable and documented sufficiently to overcome any perceived bias. The significance of this book to me from reading Ring Lardner's famous "I'd Hate Myself in the Morning" to watching Woody Allen's "The Front" and FINALLY getting a closing answer is overwhelming. I no longer feel the need to explore why Americans chose to follow another government's agenda to the potential detriment of our country. However, I do not fault these people for their initial attraction to communism and frankly, I don't view communism as wrong: it's just a different government method some choose. For myself, I remain quite satisfied with democracy, EVEN in these trying times. Rather, the attraction to communism was clearly a byproduct of the recent depression as well as the growth of fascism. I can live with that reasoning.
This is an exceptional book if you have any interest in the 50s, movies, or communism. In closing, I must comment on the complete disrespect shown to Elia Kazen on receipt of his lifetime achievement award some years ago when Nick Nolte and others refused to applaud or acknowledge this award. I suggest they read this book. The Red Scare was a horrible period but Freedom of Speech needs only go so far when supporting a government with intent to overthrow our own. I strongly recommend this book.
Is it a witch-hunt if the witches are real?.......2006-03-14
While George Clooney was simultaneously thumping his chest and patting his back for how he and his "community" are proudly out of touch with mainstream America, I was engaged in the rather more edifying exercise of reading this great new book by Ronald and Allis Radosh. For readers with an interest in the context of the culture-clash between the "Hollywood elite" and the poor benighted people who buy movie tickets and DVDs, this book is an excellent resource.
I say the "context" of the clash because this is a look at history, and a serious research work too. This is not a book that details the fashionable Leftist obsessions of Clooney, Streisand, Penn, and the rest, and therefore may be less satisfying to some readers than other recent books that address current names and controversies more directly. Instead, "Red Star Over Hollywood" digs deep into something far more serious and sinister ("sinister" comes from the Latin word for "left," by the way): the film colony's infiltration by agents of the Comintern, dedicated partisans of Stalin, and other actors, directors, writers, and executives eager to use the power of film to promote socialism in the United States.
As Clooney's speech -- and even more so, his movie -- make clear, modern Hollywood's sense of itself is built to a large degree on the legend of its heroic stand against "McCarthyism" and the blacklist (that's what makes Clooney's self-congratulation so laughable -- does anyone in Hollywood *defend* McCarthy?). But the Radoshes demonstrate not only that there really were communists in positions of influence (in other words, the witch-hunt turned up real witches), but that there was also a strong and active anti-communist Left in Hollywood. Even more than the relatively small number of conservatives in Hollywood, it was this anti-communist Left that was in the most direct conflict with the Stalinists, their apologists, and their dupes, particularly before and during World War II.
All of this is important information, but it's when they turn to their discussion of HUAC and the blacklist in the postwar period that the authors most directly confront Hollywood's defining myth. Far from the usual pop-psychology analysis of the deranged and sweaty McCarthy (and why do so few people seem to notice that *Senator* Joe McCarthy had nothing to do with the *House* Committee on Un-American Activities?) the authors have gone in-depth in committee records, and also into the backgrounds of the people from Hollywood who came before the committee. It's certainly easier to issue blanket denunciations of McCarthy and his ilk than to sift through pages and pages of dusty documents. Ronald and Allis Radosh are to be commended for doing the latter.
It's because this book is so heavily researched -- so filled with names, dates, and places -- that I note again that it may not be to everyone's taste. It is, I repeat, a work of history. It notably lacks the rhetorical sledgehammer blows of, say, an Ann Coulter book, and so doesn't have the fist-pumping, take-that-you-commie excitement value some readers derive from more polemical works. But those books seem to disappear as soon as they fall off the bestseller lists. This, on the other hand, is a book that deserves to be around for a long, long time.
Hollywood's Darkest Hour, the Years of the Blacklist........2006-01-01
This book has the same title as a pamphlet series on Communism written by Oliver Carlson and, though the authors claim to have used recently released records of the House Committee on Un-American Activities, I would expect it to have derived mainly from this "Red Star Over Hollywood" series. "The Red Decades of the 1930s and 1940s, and the equal and opposite anti-Communist reaction of the 1950s, became Hollywood's Great Moment on the American Political Stage."
The studios had collaborated with the McCarthyites to ruin the lives of many talented people with the blacklist of "alleged" Communists in Hollywood. If you read THE GILDING OF THE BLACKLIST by James Lardner, son of Ring, Jr., the truth will show that it just wasn't that simple. Lonnie Lardner was on WSM T.V. in Nashville for some time and is a relative of those involved.
Would you believe the accuracy of calling these names as members of ICASSP which they label "the latest Communist group" after the end of the war: Ethel Barrymore, Van Wyck Brooks, Helen Keller, Albert Einstein, Harold Ickes, James Roosevelt, Fredric March, Eddie Cantor, Charles Boyer, Humphrey Bogart, Edward G. Robinson, Charles Laughton, and Robert Young? In a 1945 'Time' magazine article: "Frank Sinatra is one of its hardest-workest speakers. It can call on Gypsy Rose Lee to bare her navel and William Rose Benet to write a script. Lena Horne will sing at any rally, and Walter Huston will recite the Gettysburg Address." At one of their rallies in Madison Square Garden, they "were entertained by Bert Lahr, Joe E. Lewis, Myrna Loy, and Ethel Merman."
When "Stalin announced the start of a new Cold War by proclaiming the United States the world's principal and most dangerous enemy," the seeds for Joseph McCarthy were planted to call a spade a spade, to destroy reputations of not only the Hollywood elite but high-ranking government employees as well. The stars, I think, were tricked into what they did best: entertain.
The assumptions in this book leave a black mark on their careers and memory. If you don't know for a fact that a rumor about a celebrity is not just so much gossip, it is best left unsaid and unprinted. Some parts of this book can cause as much harm as the false claims of McCarthy -- after the fact. These people they named cannot clear their names, which is a dirty shame; most if not all are dead now. Today, it is possible to get anything in print -- if you know the right people, "fiction" claiming to be factual (non-fiction).
These movies are some they call Communist or about Communism: 'Mission to Moscow' from a book by Joseph Davies, published three weeks after Pearl Harbor (described as Stalinist propoganda; 'Tender Comrade,' from a book by Patrick McGilligan; 'Salt of the Earth;' 'Cloak and Dagger' written by Ring Lardner, Jr.; 'Action in the North Atlantic' and Hangmen Also Die' both in 1943; 'North Star,' 'Song of Russia,' and 'Thirty Seconds over Tokyo.' More recent films include 'The Way We Were,' 'The Front,' 'Marathon Man,' 'The house on Carroll Street,' 'Fellow Traveler,' 'The Majestic,' and 'One of the Hollywood Ten.'
This book goes on to slander stars of today who have different political views from the authors, those they call 'activists.' Being an outspoken activist in America today is not the same as being a Communist! Ronald and Allis Radosh choose controversial subjects which can't be proven either way. This book is a great disappointment and should be approached in the manner of "Consider the Source." Peter Collier, a writer and their editor on this parable, should have been listed as co-author, as he went over it tooth-and-nail (line by line) and edited out what he didn't want included. Who knows what he may have added? Ronald has written another book about COMMIES; Allis, one about a consumer activist, which makes them experts on this subject.
Exploding myths about Red Hollywood.......2005-09-24
Remember the Hollywood blacklist? The Hollywood Ten? I'll bet you know a lot about these events even if you weren't alive in the 1950s. That's because Tinseltown has a vested interest in keeping the memory of this era alive. It was the era of the Red Scare, of Senator Joseph McCarthy waving his infamous list of communist subversives during a speech in West Virginia. It was the time of congressional investigations, a time when invoking the Fifth Amendment might keep you safe from a contempt charge but would make you look guilty as sin in the public eye. For a select few the McCarthy era was a time of great fear, and no one feared this witch-hunt against communism more than Hollywood. Why? Because, despite the mountains of claims to the contrary that have emerged over the years, the movie industry oozed communists. There were so many Reds in Hollywood that they should have renamed the town Little Moscow. Yet even today, you won't hear about this truth in the media. You will, however, get the skinny on what really went on if you pick up a copy of Ronald Radosh's "Red Star Over Hollywood: The Film Colony's Long Romance with the Left."
Talk about exploding myths! Radosh's book, which he co-wrote with his wife Allis, cuts through the layers of denial and presents us with an ugly picture of the real Hollywood of the 1930s, 1940s, and 1950s. Vladimir Lenin, the little pipsqueak who brought the nightmare of Marxism to the Soviet Union back in the early part of the twentieth century, had a soft spot for film and theater. He believed that the best way to spread communism around the globe was through movies and plays. This is exactly what the Kremlin crowd set out to accomplish in the following decades. They managed to gain converts to their cause--men who later became movers and shakers like Budd Schulberg, Joseph Losey, and Maurice Rapf--by allowing them to work closely with the Soviet film industry. Once these people came back to the United States, they spread their plague to others with the help of party apparatchiks Willi Munzenberg, V.J. Jerome, and John Howard Lawson. In no time at all, writes Radosh, a branch of the communist party flourished in Hollywood. So many big names signed on that newcomers to the industry, in an attempt to make contacts and find work, had to become communists or fellow travelers themselves.
The Hollywood branch of the communist party worked to increase their membership and influence in several ways. One of the most successful methods involved the tried and true "United Frontism" and "Popular Front" techniques, or the forming of organizations that on the surface embraced popular progressive causes to lure in unsuspecting liberals while maintaining strong communist control behind the scenes. Radosh reveals that the concerns many people had about the rise of National Socialist Germany in the 1930s helped increase membership, although the party's propensity to change direction, oftentimes overnight according to directives issued from the Kremlin, tended to alienate many members. Also off putting was the heavy-handed discipline that could fall on an unsuspecting member at any time. Albert Maltz, for example, discovered the inflexibility of the party when he wrote an article deemed "revisionist" by the upper hierarchy. His very public refutation of his article left little doubt about the strong-arm tactics used behind the scenes. Despite the ugliness the Hollywood Reds occasionally displayed, they were somewhat successful in spreading their propaganda through films like "Mission to Moscow," "The Spanish Earth," and "The North Star." Congressional investigations threw some of these dupes in the slammer, and silenced a few more, but many never repudiated their warped views.
I enjoyed Radosh's book, the first one of his I've had the chance to read. The author and his spouse obviously know what they're talking about and, since Ronald Radosh himself was a communist for many years, he understands how these groups think and act. "Red Star Over Hollywood" occasionally suffers from dry prose and a bewildering number of groups and individuals, but the authors always manage to bring the book back up to speed by throwing in some great anecdotes. For instance, the part where we learn about Ronald Reagan (at the time a liberal) and his buddy William Holden crashing a communist get together in an attempt to inject some common sense into the proceedings is great fun to read about. Reagan got up and started talking only to find himself under verbal attack for some forty minutes. God bless him! The account of Albert Maltz's forced rehabilitation is absolutely chilling, a sobering tale that hints at the violent tendencies inherent in communism. Arguably the best part of the book, however, involves the long, strange trip writer Dalton Trumbo took from the time of his blacklisting to his repudiation of the communist party later in life. So many intriguing stories pop up in the book that the actual creation of the blacklist takes a backseat.
I have one recommendation and one warning to those readers about to attempt the book. In the case of the former, if you're not very familiar with this time period, read a background history of the Red Scare first. Doing so will assist you in learning the context for what happens here and help you learn the basics about a few of the groups and personalities associated with the blacklist. In the case of the latter, the topic is so huge that Radosh doesn't have the space to cover many of the important Reds. There is almost nothing here about Lillian Hellman or Dashiell Hammett, for example, and both of those individuals had a lot to do with the influence of communism in film and books. Nevertheless, this book is well worth your time. Read it and remember it the next time Hollywood releases yet another "we were innocent" propaganda piece.
Book Description
"This book will have significant impact in film and media studies because Kaplan so skillfully 'translates' the most interesting work done in trauma studies and takes it in new and original directions. It is illuminating, lucid, and persuasive." --Patrice Petro, author of Aftershocks of the New: Feminism and Film History "This book is an engaging read--a real page turner--not only because of its conversational style and beautiful prose but also because it addresses some of the most complex psychological issues facing our culture today." --Kelly Oliver, W. Alton Jones Professor, Vanderbilt University It may be said that every trauma is two traumas or ten thousand--depending on the number of people involved. How one experiences and reacts to an event is unique and depends largely on one's direct or indirect positioning, personal and psychic history, and individual memories. But equally important to the experience of trauma are the broader political and cultural contexts within which a catastrophe takes place and how it is "managed" by institutional forces, including the media. In Trauma Culture, E. Ann Kaplan explores the relationship between the impact of trauma on individuals and on entire cultures and nations. Arguing that humans possess a compelling need to draw meaning from personal experience and to communicate what happens to others, she examines the artistic, literary, and cinematic forms that are often used to bridge the individual and collective experiences. Case studies, including Sigmund Freud's Moses and Monotheism, Marguerite Duras's La Douleur, Sarah Kofman's Rue Ordener, Rue Labat, Alfred Hitchcock's Spellbound, and Tracey Moffatt's Night Cries, reveal how empathy can be fostered without the sensationalistic element that typifies the media. From World War II to 9/11, this passionate study eloquently navigates the contentious debates surrounding trauma theory and persuasively advocates the responsible sharing and translating of catastrophe. E. Ann Kaplan is a professor of English at SUNY-Stony Brook, where she founded and directs the Humanities Instiute. She was recently the president of the Society for Cinema and Media Studies.
Average customer rating:
- Excellent work by Fetzer
- The unaware Zapruder filmed a closed-set staged-event.
- JAMES FETZER'S THE GREAT ZAPRUDER FILM HOAX : COMMENT BY JOHN CHUCKMAN
- Pure, unadulterated lies and unfounded accusations
- This garbage gives conspiracy theorists a bad name
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The Great Zapruder Film Hoax: Deceit and Deception in the Death of JFK
Manufacturer: Open Court
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Murder in Dealey Plaza: What We Know Now that We Didn't Know Then
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Image of an Assassination - A New Look at the Zapruder Film
ASIN: 081269547X |
Book Description
The assassination of John F. Kennedy has produced a wealth of dubious evidence and bizarre disappearances, from faked photographs of Lee Harvey Oswald to the missing brain of the president. Until now, Abraham Zapruder’s 27-second home movie capturing the murder of JFK has been considered sacrosanct. This book, bringing together all the leading authorities in the assassination research community, challenges that notion. These experts examined the film from every imaginable perspective, including the technical processes of video production, the laws of physics, contradictions by eyewitnesses, and medical evidence. Their conclusion is chilling but thoroughly documented: that the Zapruder film has been doctored, pointing to a meticulously planned, high-tech falsification of evidence of this momentous, still unsolved, event. Published to coincide with the 40th anniversary of Kennedy's death, contributors include David W. Mantick, the foremost expert on JFK assassination medical evidence, and David Healy, an authority on film processing. Black-and-white photographs are included.
Customer Reviews:
Excellent work by Fetzer.......2006-09-26
This book describes the results of painstaking work by Fetzer and others, using simple tools of geometry and measurements of the still-existing concrete structures at Dealey Plaza in Dallas, to prove that the Zapruder film was heavily and professionally modified to show an incorrect series of events.
Fetzer et. al. got started on to path to their discovery when they noticed a few years ago that the photo taken by one of the girls shown in the background of the Zapruder film contained a sight line that would only be correct if the girl (Moorman) was standing on the street next to the curb. Yet, the Zapruder film inexplicably was showing the girl standing on the grass above the curb. Which was correct? Looking first at the Moorman photo, the researchers were able to establish that the perspective in the original photo taken by Moorman had not been altered after the photo was taken since that photo had been published worldwide by the wire services within an hour after the assassination. Then, working backwards, using simple geometry and careful survey measurements they were able to determine the exact spot where Moorman stood when she snapped her picture, which turned out to be 2 feet into the street next to the curb, just as she had said in her signed, sworn, statement to the police on the day of the assassination. The authors showed that it is a physical impossibility for Moorman to have taken her photo from the position on the grass, approximately 12 inches higher in elevation, where she is shown in the Zapruder film. With that as a starting point, the researchers were able to show that there were other alterations in the Zapruder film including two missing sequences of frames, a series of altered frames (including those with Moorman) where the back ground has been cut, enlarged 130 percent, and repasted into modified frames, and a series of frames modified with a slightly relocated freeway sign, apparently to obscure something taking place behind the sign.
I started off reading this book with deep skepticism over the claim implied by its title but after seeing the results of their work, they have proven every one of their claims without leaving room for even a shadow of doubt.
This is a classic real-life detective story that is fascinating reading. The best evidence that Kennedy was killed by a conspiracy is now the very existence of the doctored-up Zapruder film since only a large conspiracy would have had the physical and technical resources to do such a thing in 1963. Certainly the original suspect in the crime, Lee Harvey Oswald, would not have been able to produce the doctored film and he would not have cared anyway since he was himself killed two days after the crime.
Does the crime matter anymore? Probably not since after 42 years, all of the players in the conspiracy are either dead or in a nursing home but it's still important to establish the truth, even for a crime from the distant past, and Fetzer has done this in superb fashion. This work will finally bring closure to the troubling assassination for those who read it.
The unaware Zapruder filmed a closed-set staged-event........2006-09-10
It was filmed before a live audience .When some of the "witnesses", didn't respond to the gunshots and the aftermath,it just adds credence to a vast conspiracy theory.Zapruder handed over the film.And had to legally fight to get it back.The filmed shooting clearly shows the upper-right side of JFK's head ,being removed.So,why were the released autopsy photos,showing an exit wound having grazed the very top right-side of JFK's head? Two top autopsy doctors reported that JFK's top right-side and brain were imploded and expeled onto the limo's trunk.Later,their stories were recanted and rectified to stating that Kennedy's brain was removed and stored for further examination.When RFK found out about this,he ordered it returned.Yet,the doctors then stated the JFK brain was now "lost and misplaced" . It appears that the CIA monkeyed with the Zapruder film, by removing some frames.The film clearly shows JFK being hit ,from the back ,reaching for his throat, bullit possibly going forward to hit Connelly's back scapula and raising wrist.All body-hits in a split second ,at close-range and at street level.The close-range shot did not impede the bullit's progress.This adds support to a police-escourt shooter ,being involved. Zapruder seemed shakened by the whole experience.I think some of audience,at the Ford's Theatre 1865,also knew the evening's comedy would unfold into live tragedy,before their very eyes.
JAMES FETZER'S THE GREAT ZAPRUDER FILM HOAX : COMMENT BY JOHN CHUCKMAN.......2006-08-23
There can be no review of a book this bad. Fetzer has cut-and-pasted together a series of these horrid little volumes, hoping the catchy titles sell a few thousand copies to the unsuspecting curious.
All of Fetzer's books on the Kennedy assassination are of this nature. Don't waste one dollar on a used copy.
Read people like Summers or Joesten if you want to understand why so many thoughtful people have consigned The Warren Report to the trash, the same place Fetzer's work belongs.
Pure, unadulterated lies and unfounded accusations.......2006-02-06
Don't waste your money and time with this trash. If I could I would give it a -5 rating.
This garbage gives conspiracy theorists a bad name.......2005-12-06
"Perhaps no greater debate has raged in the history of the study of the death of JFK than over the authenticity of a 27-second home movie of the assassination, known as "the Zapruder film"."
This is from the beginning of the description of this book in the section above. What's laughable about this statement is that this "debate" is only a recent phenomenon -- dreamed up by those extremist conspiracy buffs who wish to shoehorn the evidence to fit the most ridiculous theories. I personally believe that President Kennedy was assassinated as a result of a conspiracy. I have been to Dealey Plaza twice and, in my estimation, the Warren Report should be in the fiction section of the library. But believing that the Zapruder film is a fake? If you believe that, I've got the Brooklyn Bridge for sale -- cheap.
In order to both quickly refute the findings of the contributors to this book and not waste any more time on this theory than is necessary, I will say this: I find it absolutely ludicrous that anyone could think that the technology to alter the Zapruder film existed in 1963. In 1963, special photographic effects were, at best, in their infancy. Douglas Trumbull, George Lucas, the Wachowski brothers and digital imaging were still decades away. Yet somehow the conspirators, according to Fetzer and company, were able to perpetrate a hoax so convincing that for almost 40 years, no one questioned the film's authenticity? Nuts!
And why, if the conspirators had access to the film and were able to manipulate the images to suit their story, then why didn't they (1) alter the film to make it appear as if there was enough time between the first and second shots to accomodate the recirculation time of Oswald's rifle (2) eliminate Governor Connolly's puffed cheeks and mussed hair at frame 238, thereby eradicating evidence of the Governor being hit by a separate shot from Kennedy and (3) alter the film so that President Kennedy appears to be jolted forward by the head shot rather than backwards as he is on the film? For such a thorough job of alteration, it's ridiculous to believe that the conspirators who were allegedly involved it this plot left so much pro-conspriacy evidence on the film.
As a serious student of the Kennedy assassination, I am insulted by these wild-eyed lunatic theories that are cooked up to sell books. The pro-Warren Report forces love to throw a blanket over all conspiracy advocates, characterizing all of them as kooks who can't accept that JFK was murdered by a lone nut. Stupid theories don't get us any closer to the truth -- they just fuel the anti-conspiracy fires that do nothing but pad the pockets of the authors and give comfort to those who subscribe to the Warren Commission's view of the assassination.
However, even more disgusting is the willingness to smear those who cannot defend themselves. Some conspiracy advocates have actually suggested that Abraham Zapruder was part of the conspiracy. After all, how else could the conspriators obtain the film in order to alter it? Poor Mr. Zapruder, who was haunted by what he had filmed until his death in 1970, is not here to defend himself. To slur a man who, by most accounts, was a quiet, decent person, in order to sell a book or forward a ridiculous theory is the lowest kind of smear job imaginable. I'm sure that, given enough time, some idiot will come up with some half-witted theory that Jackie Kennedy was in on the conspiracy as well. Shame on you and your ilk, Mr. Fetzer -- this shameful exploitation of John F. Kennedy's memory is a travesty.
Book Description
The Vietnam War has been depicted by every available medium, each presenting a message, an agenda, of what the filmmakers and producers choose to project about America's involvement in Southeast Asia. This collection of essays, most of which are previously unpublished, analyzes the themes, modes, and stylistic strategies seen in a broad range of films and television programs.
From diverse perspectives, the contributors comprehensively examine early documentary and fiction films, postwar films of the 1970s such as The Deer Hunter and Apocalypse Now, and the reformulated postwar films of the 1980s—Platoon, Full Metal Jacket, and Born on the Fourth of July. They also address made-for-television movies and serial dramas like China Beach and Tour of Duty. The authors show how the earliest film responses to America's involvement in Vietnam employ myth and metaphor and are at times unable to escape glamorized Hollywood. Later films strive to portray a more realistic Vietnam experience, often creating images that are an attempt to memorialize or to manufacture different kinds of myths. As they consider direct and indirect representations of the war, the contributors also examine the power or powerlessness of individual soldiers, the racial views presented, and inscriptions of gender roles. Also included in this volume is a chapter that discusses teaching Vietnam films and helping students discern and understand film rhetoric, what the movies say, and who they chose to communicate those messages.
Amazon.com
Someone was bound to go after Michael Moore eventually and this book holds nothing back. An immensely popular figure to political left-wingers, Michael Moore presents himself as a regular working-class guy in a baseball cap with the courage to take some rich and powerful folks to task for their corrupt and deceitful ways. David T. Hardy and Jason Clarke say this populist, muckraker image is pure whitewash. Believing that this charade has gone on for too long, and done too much damage to the U.S., they have written this book to expose Moore as narcissistic and irresponsible and his body of work "as manipulative as totalitarian propaganda." To prove their point, they pick apart Moore's books and movies to illustrate how he is consistently manipulative, dishonest, and, at times, simply absurd. They show how he altered the timeline of Roger and Me in order to unfairly blame things on General Motors that happened before their layoffs, not as a result of them. Regarding Bowling for Columbine, the authors explain how he took quotes out of context and reassembled them to give the impression that people made speeches they did not make---most famously his interview with Charlton Heston, then president of the NRA. They also illustrate how Moore manipulated statistics in his books Dude, Where's My Country and Stupid White Men to fit his theories, making some truly outrageous claims in the process. The authors have certainly done their homework, and it's impossible to view Moore's work the same way after reading this book. "How does a man with so many contradictions manage to blind his enormous trove of followers to how hypocritical he really is? How does he get away with it?" they ask. If the authors have their way, he won't much longer. Now that Moore has joined the ranks of the rich and powerful, Hardy and Clarke have engaged in bit of muckraking of their own. --Shawn Carkonen
Book Description
Watching Michael Moore in action -- passing off manipulating facts in Bowling for Columbine, spinning statistics in Stupid White Men and Dude, Where's My Country?, shamelessly grandstanding at the Academy Awards, and epitomizing the hypocrisy he's made a king's fortune railing against -- has spurred authors David T. Hardy and Jason Clarke to take action into their own hands. In Michael Moore Is a Big Fat Stupid White Man, Hardy and Clarke dish it back hard to the fervent prophet of the far left, turning a careful eye on Moore's use of camera tricks and publicity ploys to present his own version of the truth.
Postwar documentarians gave us the documentary, Rob Reiner gave us the mockumentary, and Moore initiated a third genre, the crockumentary.
How, they ask, does Moore pull off a proletarian, "man-of-the-people" image so at odds with his lifestyle as a fabulously wealthy Manhattanite? And how large of an impact do his incendiary, ill-founded polemics have on the growing community that follows him with near-religious devotion? Loaded with well-researched, solidly reasoned arguments, and laced with irreverent wit, Michael Moore Is a Big Fat Stupid White Man fires back at one of the left's biggest targets -- politically and literally.
Download Description
"
Watching Michael Moore in action -- passing off manipulating facts in
Bowling for Columbine, spinning statistics in
Stupid White Men and
Dude, Where's My Country?, shamelessly grandstanding at the Academy Awards, and epitomizing the hypocrisy he's made a king's fortune railing against -- has spurred authors David T. Hardy and Jason Clarke to take action into their own hands. In
Michael Moore Is a Big Fat Stupid White Man, Hardy and Clarke dish it back hard to the fervent prophet of the far left, turning a careful eye on Moore's use of camera tricks and publicity ploys to present his own version of the truth.
Postwar documentarians gave us the documentary, Rob Reiner gave us the mockumentary, and Moore initiated a third genre, the crockumentary.
How, they ask, does Moore pull off a proletarian, ""man-of-the-people"" image so at odds with his lifestyle as a fabulously wealthy Manhattanite? And how large of an impact do his incendiary, ill-founded polemics have on the growing community that follows him with near-religious devotion? Loaded with well-researched, solidly reasoned arguments, and laced with irreverent wit,
Michael Moore Is a Big Fat Stupid White Man fires back at one of the left's biggest targets -- politically and literally.
"
Customer Reviews:
The Awful Truth - Michael Could Be A Liar!!!! .......2007-08-17
It took me quite a while to get this book discovered (more than two and a half years after its release). I already own two books (Stupid White Man and Dude, Where's My Country?) and a DVD (Fahrenheit 9/11) by Michael Moore. When I bought them all, it was not necessarily because I'm his fan and agreed with everything he said, but I thought that his pieces of work could be at least entertaining, for talking about controversial subjects which were en vogue.
This time around, I decided to see the flip side of the coin by buying "Michael Moore is a Big Fat Stupid White Man". At first I thought I would only see pointless and personal attacks to Michael, but the book actually does much more than that.
Basically, this book shows that every Michael's piece of work since his early years with Roger & Me is just a compilation of disconnected and unrelated facts assembled in such a way that the general public would believe the opposite. Throughout the reading, it is possible to find the most polemic points of each of Michael's works with explanations on how a certain "lie" became a "truth" after a good dose of manipulation. The book even approaches the details on what makes a documentary a real documentary and as it seems, none of Michael's movies can really be called a documentary, but just dumb entertainment.
If I remember well the details on how Michael's books and movies were made, the revelations from this book make a lot of sense to me, although I'm still not able to determine who's telling the truth in the end of the day. Maybe both, maybe none.
The only conclusion I'm able to draw is: regardless if this is a book which reveals the real truth about Michael or not, it entertained me a lot, just like Michael's ones. So my five-star rating is for the entertainment this book provided me, not necessarily because I believe in those presented assumptions.
Gibberish.......2007-07-21
Possibly the worst-written, most repetitive book I've had the displeasure to read. Was it really too much trouble for the "authors" to bother taking a writing class?
On the plus side, the pages turned out to be fairly absorbent...so it has that going for it.
Good book.......2007-07-19
It's difficult to write a good book on this subject because the authors are putting facts accurately as opposed to lying to make a good story. Nevertheless the authors do a good job exposing manipulations. And yes, Michael Moore does lie and manipulate facts; nobody non-communist should have any doubts especially after his recent promotion of health care in ... Cuba.
A bigger piece of poo does not exist in print!.......2007-05-14
It's truly amazing how many people will stoop to saying whatever sensational things they can dream up to make money. MM has his faults and truly is self centered, but you have to love his liberalistic attitude, and his willingness to expose the truth. I got the book for free from someone that was unfortunate enough to pay for it: A politics professor that was going to present it to his class. After reading it, he of course gave it away, and he is a conservative. If you love sensationalism and are looking for fuel for your hate fire, this is great kindling!
The truth Provaled!.......2007-04-18
This book answered the questions that Michael left unanswered. Why did he leave them unanswered? Because they faulted his arguments. Michael splices and edits interviews, news reports, and newspapers. Creates COMPLETELY false ads claiming the candidates for president at the time were running them on national tv. This book goes back as far as "Rodger and Me" to explain how Michael had no problem stabbing Rodger (spokesmen for GM at the time) in the back to make millions off of him. "we were friends" explained Rodger. This books shows that Michael can not be trusted. Even if you are the farthest left winger in this country, that Moore is not on your side. Claiming that Americans are idiots and deserved 9-11. and the day after 9-11 was mad because the terrorists attacked the wrong part of the country "should have hit the white house or in texas, the highest republican dominate states" and bumped and forced him to edit his book that was to release 9-12. Michael is not a good American and this book explains all his flaws not only in his books and movies but also through out his life. Great book. Would recommend to EVERYONE even if you like Michael, keep an open mind and read the book. Even the authors of the book read and watched Moore's documentary's.
Book Description
The Fog of War provides the background behind the Academy Award-winning documentary by Errol Morris. In this intriguing work, editors James G. Blight and janet M. Lang, who served as academic advisors on the film, bring together film transcripts, documents, dialogues, and essays to explore the issues raised by Robert McNamara's life and work.
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- The Merchant of Marvels and the Peddler of Dreams
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- The Prince Kidnaps a Bride (Lost Princesses, Book 3)
- The Pythons
- The Revival Slim and Beautiful Diet: For Total Body Wellness
- The Secret (Unabridged, 4-CD Set)
- The Shaping of Things to Come: Innovation and Mission for the 21 Century Church
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