By Kyle Stevens
With iconic videos like Who's petrified of Virginia Woolf?, The Graduate, and Carnal Knowledge, Mike Nichols was once the main favorite American director through the cultural upheavals of the Sixties. Mike Nichols: intercourse, Language, and the Reinvention of mental Realism argues that he overhauled the fashion of mental realism, and, in doing so, maintains to form the legacies of Hollywood cinema. It additionally unearths that misreadings of his motion pictures have been principal to foundational debates on the emergence of Cinema reports as a self-discipline, inviting new reflections on serious dogma.
Focusing on Nichols' vintage video clips, in addition to later movies resembling Silkwood, The Birdcage, and Angels in America, Kyle Stevens demonstrates that Nichols' realism lies no longer within the plausibility of his characters yet of their inherent secret. via getting to the perplexing phrases and silences, breaths and laughter, that include those characters, Stevens uncovers new insights into the subversive power of a number cinematic components, and divulges how Nichols' satirical oeuvre, and Hollywood itself, participated in different of the nation's such a lot pressing social, political, and philosophical advances.
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With iconic videos like who is frightened of Virginia Woolf? , The Graduate, and Carnal wisdom, Mike Nichols used to be the main well-liked American director through the cultural upheavals of the Sixties. Mike Nichols: intercourse, Language, and the Reinvention of mental Realism argues that he overhauled the fashion of mental realism, and, in doing so, maintains to form the legacies of Hollywood cinema.
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Additional info for Mike Nichols : sex, language, and the reinvention of psychological realism
While I repeatedly appeal to Wittgenstein, Anscombe, and Austin in the following chapters, I most frequently have cause to engage Cavell. A scholar of Wittgenstein and Austin, Cavell is especially alert to how, as speakers, we never solely occupy a (Cartesian) first-person position, but always a second-person one, one that entails awareness that words, when meant, have an emotive force, and that interpersonal finitude is the foundation for human community. He has also written on cinema, engaging deeply with the puzzle of encountering an on-screen human—a fluid category that he refers to as the “human something” (World Viewed, 26).
The mother has] a voice” (181–182). Nichols and May’s influence does not stop there. Epstein observes that, “[b]y performing this exchange on Broadway and on television, Nichols and May transformed a typical Jewish routine and made it apply to a contemporary American situation: the increasing tension between young people and their parents, a tension that by the end of the decade would develop into a widespread social phenomenon” (182). 16 In fact, Epstein locates the 1960s as the pivotal era for Jewishness in America: “Little did the Jewish comedians before the 1960s know it, but American audiences would ultimately joyfully accept overtly Jewish types, language, and humor, and Jewish comedy would reconfigure the very shape of American humor” (xxii).
T]he speaking of language is part of an activity, or of a life-form,” for Wittgenstein; we word our world together: nothing is less private than language (§23). Anscombe’s 1957 book Intention remains arguably the most influential modern treatise on the subject of action, argued from a perspective about what we might say, or can say, about others’ actions. Austin developed the concept of performative utterances, which names cases in which to say something is to do something. The year before his most famous formulation of this concept arrived via How to Do Things with Words in 1962, he published “A Plea for Excuses,” an essay in which he deliberates the equivalence of kinds of actions, and how to talk about the mental content of actions.