By Nancy Griffin, Kim Masters
Publish yr note: First released in 1996
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Hit and Run tells the unbelievable and infrequently hilarious tale of ways Hollywood movie packagers went on a crusade to reinvent themselves as studio executives -- at Sony's rate. Veteran newshounds Nancy Griffin and Kim Masters chronicle the increase of Jon Peters, a former hairdresser, seventh-grade dropout, and juvenile antisocial, and his soulless soul mate, Peter Guber -- and the entire intercourse, medicinal drugs, and fistfights alongside the best way. it's the tale of the final word Hollywood con task and the traditional during which each next company blunder has been measured.
Hit and Run promises rock-solid company reporting liberally laced with within gossip and outrageous scandal -- plus a brand new afterword bringing us brand new at the newest fallout from the Guber-Peters legacy.
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Additional info for Hit and Run: How Jon Peters and Peter Guber Took Sony For A Ride in Hollywood
Example text
4 Ibid. 5 I acknowledge my debt to Laurent Creton for his insights on these matters. com/ greenlighting-movies-tentpole-era-numbers-game, accessed April 28, 2014. 7 A. O. com/2013/12/01/magazine/the-big-picture-strikes-back. _r=0, accessed April 28, 2014. 8 I would like to thank Michel Marie for drawing attention to this input from French production companies. 9 See, in particular, Jean-Michel Frodon, L’ Âge moderne du cinéma français: de la Nouvelle Vague à nos jours (Paris: Flammarion, 1995), René Prédal, Le Cinéma français des années 1990: une génération de transition (Paris: Armand Colin, 2008); René Prédal, Le Cinéma français depuis 2000: un renouvellement incessant (Paris: Armand Colin, 2008); and Tim Palmer, Brutal Intimacy: Analyzing Contemporary French Cinema (Middletown, CT: Wesleyan University Press, 2011).
Also focusing on the heritage film, Gwénaëlle Le Gras in Chapter 14 demonstrates how the French passion for history and the country’s cultural legacy has enabled stars to exploit the heritage film, because of its association of spectacle with identity, as a means of flourishing in a highly competitive industry. Political Cinema and the Legacy of France’s Postcolonial Past Many of the concerns addressed by political cinema arise from the consequences of French colonialism, both in the former colonies and also the former métropole, France itself.
These new experiences do not take place in a cinematic dispositif in the proper and usual sense of the word, which, although it presents variants in terms of different periods and countries, has nevertheless remained essentially stable. In spite of contemporary transformations, cinema remains marked by the unique power of taking place in an elsewhere, with an invitation offered to the spectator to adopt another type of gaze. Beyond the typical technical attributes relating to the image, sound, and comfort, a theater is characterized by the ritual of the screening session as an interlude in time and space, within which receptiveness is a given, a special kind of attention being devoted to the film.