Acclaimed as one of the most influential and innovative American directors; Francis Ford Coppola is also lionized as a maverick auteur at war with Hollywoods power structure and an ardent critic of the postindustrial corporate America it reflects. However; Jeff Menne argues that Coppola exemplifies the new breed of creative corporate person and sees the directors oeuvre as vital for reimagining the corporation in the transformation of Hollywood. Reading auteur theory as the new American business theory; Menne reveals how Coppolas vision of a new kind of company has transformed the worker into a liberated and well-utilized artist; but has also commodified individual creativity at a level unprecedented in corporate history. Coppola negotiated the contradictory roles of shrewd businessman and creative artist by recognizing the two roles are fused in a postindustrial economy. Analyzing films like The Godfather (1970) and the overlooked Tucker: The Man and His Dream (1988) through Coppolas use of opera; Menne illustrates how Coppola developed a defining musical aesthetic while making films that reflected the idea of a corporation as family--and how his studio American Zoetrope came to represent a new brand of auteurism and the model for post-Fordist Hollywood.
#888723 in eBooks 2013-05-29 2013-05-29File Name: B00JL86AYC
Review
0 of 0 people found the following review helpful. A fresh theological contributionBy James MyersThis is an impressive book. It is a Theo-literary performance that is exhaustive; but somehow not exhausting. At the center of this work is a theological dialogue with theatre. As such; Vander Lugt beautifully practices what he teaches by artfully engaging theatre and opening up his readers horizons of theological possibility. More than this; this book opens up a whole new conversation in ethics concerning the dialectic relationship between formation and performance; which allows the reader to not have to choose between taking the actors in the theodrama or the actions in the theodrama as primary over against the other. As far as I can tell; the greatest strength of this book is that it refuses to reduce theological ethics to biblical proof-texting; logical principles or situational ethics; commending instead a holistic approach of formation and performance grounded in and oriented toward the triune God; Scripture; the church; tradition; unbelievers; and local contexts. Being embedded in each of these dimensions; we are called to cultivate disponibility (receptivity; openness; etc) in order to participate and perform the faith fittingly and beautifully with the trust that the triune God himself; in and through these various dimensions; will make our performance formative for others.1 of 1 people found the following review helpful. Excellent Addition to the Field of Theology Theatre!By COLE MATSONEnjoyable to read; and very well structured. Vander Lugt provides a good summary of recent developments in the field of theology and theatre; focusing especially on the work of Hans Urs von Balthasar; Kevin Vanhoozer; and Samuel Wells. Incorporating both scripted theatre and improvisation; Vander Lugt develops a comprehensive theatrical model that explores the trinitarian; biblical; ecclesial; traditional; missional; and contextual aspects of theodramatic formation and performance. Most importantly; Vander Lugts understanding of theatre from within; as an improvisational actor himself; allows him to build upon previous theatrical models and increase theatres explanatory power for theology. A worthy new addition to the field!
