Books by "Robert J. Corber"
4 books found
In the 1960s transitioning from acting to politics was rare. Ronald Reagan was not the first to do it, but he was the first to jump from the screen to the stump and on to credibility as a presidential contender. Reagan's transformation from struggling liberal actor to influential conservative spokesman in five years--and then to the California governorship six years later--is a remarkable and compelling story. In Becoming Ronald Reagan Robert Mann explores Reagan's early life and his career during the 1950s and early 1960s: his growing desire for acclaim in high school and college, his political awakening as a young Hollywood actor, his ideological evolution in the 1950s as he traveled the country for General Electric, the refining of his political skills during this period, his growing aversion to big government, and his disdain for the totalitarian leaders in the Soviet Union and elsewhere. All these experiences and more shaped Reagan's politics and influenced his career as an elected official. Mann not only demonstrates how Reagan the actor became Reagan the political leader and how the liberal became a conservative, he also shows how the skills Reagan learned and the lessons he absorbed from 1954 to 1964 made him the inspiring leader so many Americans remember and revere to this day. Becoming Ronald Reagan is an indelible portrait of a true American icon and a politician like none other.
Triumph Over Containment offers an uncompromising look at some of the greatest films and directors of the 1950s, from household names like Alfred Hitchcock and Stanley Kubrick to lesser-known iconoclasts like Samuel Fuller and Ida Lupino. It scours a variety of different genres to find pockets of resistance to the repressive and oppressive norms of Cold War culture.
There is no shortage of iconic masculine imagery of the soldier in American film and literature—one only has to think of George C. Scott as Patton in front of a giant American flag, Sylvester Stallone as Rambo, or Burt Lancaster rolling around in the surf in From Here to Eternity. In Male Armor, Jon Robert Adams examines the ways in which novels, plays, and films about America’s late-twentieth-century wars reflect altering perceptions of masculinity in the culture at large. He highlights the gap between the cultural conception of masculinity and the individual experience of it, and exposes the myth of war as an experience that verifies manhood. Drawing on a wide range of work, from the war novels of Ernest Hemingway, Norman Mailer, James Jones, and Joseph Heller to David Rabe’s play Streamers and Anthony Swofford’s Jarhead, Adams examines the evolving image of the soldier from World War I to Operation Desert Storm. In discussing these changing perceptions of masculinity, he reveals how works about war in the late twentieth century attempt to eradicate inconsistencies among American civilian conceptions of war, the military’s expectations of the soldier, and the soldier’s experience of combat. Adams argues that these inconsistencies are largely responsible not only for continuing support of the war enterprise but also for the soldiers’ difficulty in reintegration to civilian society upon their return. He intends Male Armor to provide a corrective to the public’s continued investment in the war enterprise as a guarantor both of masculinity and, by extension, of the nation.
This book offers a new approach to film studies by showing how our brains use our interpretations of various other films in order to understand Alfred Hitchcock’s Vertigo. Borrowing from behavioral psychology, cognitive science and philosophy, author Robert J. Belton seeks to explain differences of critical opinion as inevitable. The book begins by introducing the hermeneutic spiral, a cognitive processing model that categorizes responses to Vertigo’s meaning, ranging from wide consensus to wild speculations of critical “outliers.” Belton then provides an overview of the film, arguing that different interpreters literally see and attend to different things. The fourth chapter builds on this conclusion, arguing that because people see different things, one can force the production of new meanings by deliberately drawing attention to unusual comparisons. The latter chapters outline a number of such comparisons—including avant-garde films and the works of Stanley Kubrick and David Lynch—to shed new light on the meanings of Vertigo.