By Steven Blush
"American Hardcore units the checklist directly in regards to the final nice American subculture"—Paper magazine
Steven Blush's "definitive remedy of Hardcore Punk" (Los Angeles instances) replaced the way in which we glance at Punk Rock. The Sony photo Classics–distributed documentary American Hardcore premiered on the 2006 Sundance movie competition. This revised and elevated moment variation comprises thousands of latest bands, thirty new interviews, flyers, a brand new bankruptcy ("Destroy Babylon"), and a brand new paintings gallery with over one hundred twenty five infrequent images and pictures.
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Extra resources for American Hardcore: A Tribal History
What follows is a short account of what Le Roi Lear looks like if one takes a deliberately anti-exceptionalist approach to its experiments with location shooting, its long takes, and its depth of field staging—actively seeking the way theatrical effects can be recycled in cinema. Besides yielding a richer sense of a specific film, to read in this way is to expand our sense of the formal properties specific to a given medium— and to reconsider the importance of apparently residual theatrical conventions such as tableau to modern film mise en scène.
Leitch summarizes the interests served by this accommodation in adaptation studies more generally: to defend literary works and literature against the mass popularity of cinema, to valorize authorial agency and originality in a critical climate 35 36 11 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 81 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 711 KATHERINE ROWE increasingly opposed to either, and to escape from the current orientation of film theory and from theoretical problems in general. (Leitch 2003: 168) We can expand on Leitch’s list by observing the different ways these interests are refracted in the three fields concerned with adaptation.
Rejecting the idea that the success of a performative can be traced to the intentionality of the speaker, Austin distinguishes between “felicitous” and “infelicitous” speech acts on contextual and circumstantial grounds, specifically identifying theatrical performance as an arena in which infelicities proliferate: “a performative utterance will, for example, be in a peculiar way hollow or void if said by an actor on the stage, or if spoken in a poem, or spoken in soliloquy” (Austin 1962: 22, his italics).