bluuebunny/crossref_metadata_2025_split huggingface dataset:
Laughter and Agony in Minnelli's
The Long, Long Trailer
Authors: McElhaney Joe 
Published: November 2011

Abstract

In 1951, a radio writer and producer named Clinton Twiss published an anecdotal memoir about the experiences he and his wife Merle encountered with their purchase of a 28‐foot long trailer. The purchase came about after the couple, working steadily for 10 years, decided to take a two‐year sabbatical and travel the country, visiting each of the 48 states.
The Long, Long Trailer
recounts various comic mishaps that occurred in relation to what Twiss and his wife came to call “the monster.” The book's popularity resulted in its sale to Hollywood, where the producer Pandro S. Berman assembled the project for Metro‐Goldwyn‐Mayer. The screenplay was assigned to the husband and wife writing team of Albert Hackett and Frances Goodrich and the direction to Vincente Minnelli. Hackett, Goodrich, and Minnelli had already collaborated on
Father of the Bride
(1950) and its sequel,
Father's Little Dividend
(1951), two domestic comedies that were enormous hits for MGM (they had also collaborated on the 1948 musical
The Pirate
), and the suitability of their collective talents in adapting the Twiss material must have seemed obvious. As in the first two domestic comedies, the film uses a framing device: an exhausted male protagonist narrates a chain of events that have brought him to the state in which we initially find him. In the case of
The Long, Long Trailer
, though, the protagonist tells his story to a character within the film's diegetic world rather than, as in the first two films, directly to the camera; and the state in which we find him is less exhausted than borderline hysterical. While a modest critical success,
The Long, Long Trailer
was a major financial one, reportedly becoming the highest grossing comedy in the history of MGM up to that time (Minnelli 1974, 275). Twiss did not live to see the adaptation, having died suddenly in 1952.
Adults Only
Authors: Schaefer Eric 
Published: November 2011

AbstractThe years following World War II dealt the Hollywood film industry multiple blows. The Supreme Court'sParamountdecision (1948) and the subsequent divorce of the vertically integrated studios' production/distribution arms from their theaters left them staggering, without a guaranteed venue for their productions. Weakly performing theaters were shuttered as American families moved from cities to the expanding suburbs and as television began to dominate time once reserved for movies and radio. In the 15 years from 1946 to 1961, the percentage of television households in the United States went from virtually zero, to almost 90 percent. The studios had to pull themselves off the ropes to find new ways to attract audiences and to differentiate their product from television. This meant a renewed emphasis on technology (3‐D, widescreen, color, stereo sound), as well as an emphasis on cinematic spectacle(e.g., Around the World in Eighty Days, 1956; The Ten Commandments, 1956; etc.). Still, box office receipts plunged from a record high of almost $1.7 billion in 1946, to an anemic $900 million in 1962.
Pornography in the Cinema
Authors: Williams Linda 
Published: November 2011

Abstract

The Rite of Spring
1
had reportedly been the most notorious premiere in the history of music and ballet. What happened at that premiere in the Théâtre des Champs Élysées in Paris was quite simply a riot. Almost from the very first notes of Igor Stravinsky's music and the very first steps of Serge Diaghilev's ballet, the audience was shocked by the scenic and rhythmic evocation of pagan rituals with percussive intensities never before heard in classical music.
2
American Film Criticism
Authors: Sterritt David 
Published: November 2011

AbstractFrom its beginnings, film criticism has been divided among contrasting goals, methodologies, and means of distribution that have never been authoritatively sorted out by either practitioners or theorists. One division is between the concepts ofcriticismandreviewing. Although these terms are often used interchangeably, they are sometimes distinguished from each other such that the “critic” produces comparatively deep and thorough readings, perhaps assuming that the reader has already seen the film(s) under discussion, while the “reviewer” produces less detailed and interpretive accounts, emphasizing descriptions and evaluations that readers may use in deciding what films they want to see. Another division is betweenjournalisticandscholarlyortheory‐basedcriticism. These terms appear to set forth a clear‐cut distinction between articles published in newspapers and magazines, on one hand, and in academic books and journals, on the other. In practice, however, academic critics frequently publish their work in general interest periodicals, and journalists appear side by side with scholars in some eclectic film magazines.
It's Only a Movie
Authors: Perez Gilberto 
Published: November 2011

AbstractA movie is reflexive when it calls attention to itself as a movie, when it makes manifest to the viewer its conventions and its artifice. Acknowledging the artifice of art is characteristic of modernism and the avant‐garde. But reflexivity is no modern invention or avant‐garde innovation. Art can be reflexive in different ways, for different motives, with different aims. Look at a child's playacting, the pretend people and pretend objects not soliciting belief but offered in a spirit of make‐believe: There you have a spontaneous reflexivity at the earliest stage of artistic activity. Playacting leads to theater, which, whether popular or experimental, is perhaps the form of art least inclined to conceal its artifice. The fun of watching a magician in the theater is bound up with the knowledge that the magic is fake. Hollywood movies followed on the American popular theater that flourished in the nineteenth and early twentieth centuries, and at the movies, as in the theater, the public knows the magic is fake.
Independent Film
Authors: King Geoff 
Published: November 2011

Abstract
They were often grainy, sometimes monochrome; they tended to be talky rather than full of movement or action, and they frequently betrayed their low‐budget origins. But they were also marked as “new,” fresh, and inspiring to others. There had always been independent features, of one kind or another, as long as there had been a Hollywood or any other establishment against which such distinctions could be made. During the 1980s and into the early 1990s, however, the notion of American independent cinema gained a new currency. Rather than being a catch‐all term, taken more or less literally to describe a range of very different types of nonstudio filmmaking, ranging from the avant‐garde to exploitation‐oriented genre cinema (including, at one extreme, pornography), “independent” came primarily to signify a particular type of lower‐budget feature production. This was something akin to an American “art” cinema in certain respects: Although blended in many cases with more popular generic components, often characterized as “quirky” or “off‐beat,” it became widely celebrated as an accessible alternative to the Hollywood mainstream. It also gained a new label of its own: “indie,” not just “independent,” which suggested something of the particular territory that was involved (a term that brought resonances from some similar developments in the same period in the field of popular music), as opposed to wider and less specific connotations of independence. Work of this type had its own earlier history in American cinema, not least in the films of John Cassavetes in the preceding two decades. What marked the period from the 1980s onward as different and gave it a more established identity was a gathering momentum. Rather than being perceived as occasional one‐off occurrences, or the persistent work of isolated individuals such as Cassavetes, independent films began to gain a sustained presence that had the appearance of a distinct movement in both the cinematic and the wider cultural discourses of the time.
American Avant‐Garde Cinema from 1970 to the Present
Authors: MacDonald Scott 
Published: November 2011

AbstractMuch of what has happened during the past three decades of American avant‐garde film history is a result of the explosion of creativity that characterized the 1960s and early 1970s.1Not only did a remarkable number of interesting filmmakers emerge during this moment, but filmmakers who had been productive during the 1950s and 1960s found a new audience. The American film society movement, energized by Amos Vogel's Cinema 16 in New York and Frank Stauffacher's Art in Cinema in San Francisco and Berkeley, spread across the nation during the late 1940s and the 1950s, and began a transformation in American film awareness that culminated during the next decade, producing a very wide range of interesting avant‐garde films, plus an abundance of what Gene Youngblood (1970) called “expanded cinema” (that is, multimedia presentations and happenings that expanded the use of motion pictures beyond the movie theater), as well as the beginnings of what came to be called “video art.” Much of the creative energy of this moment was devoted to rebelling against conventional American society and in particular against the social standards that had come to seem “normal” during the 1950s and early 1960s. This rebellion took two general forms, evoking the traditional distinction between the Apollonian and the Dionysian in Greek art.
Charting the Middle Course
Authors: Hark Ina Rae 
Published: November 2011

AbstractScience fiction, as a genre about encounters with the unknown, holds out both the promise of wonder and the fear of disaster. Possibly because disasters are both more cinematic1and more dramatic than wonder, when the movies do SF we are more likely to see what we dread than what we hope for. The first two distinct eras of the genre emphasized fears, but of different things. The 1950s, of course, used the genre in low‐budget B‐pictures without big stars as a prism to reflect on the anxiety of nuclear annihilation, either from the communist foes of the Cold War or as unintended consequences of America's own deployment of the atomic bomb. In 1968, after a waning of the genre early in the decade,2001: A Space OdysseyandPlanet of the Apesreinvented screen SF for big budgets, expensive effects, and, in the latter case, a major movie star in the lead. Both of these films also deviated from the formula in which either the communist threat or the unintended consequences of nuclear testing appeared in the symbolic guise of a monstrous Other. Here the monsters were clearly humans themselves, come to the end of their evolutionary usefulness and replaced by an alien‐designed Star Child, on the one hand, and evolved primates, on the other.
Back to the Future
Authors: Jeffords Susan 
Published: November 2011

Abstract
The 1980s marked the beginning of what came to be called “The Reagan Revolution.” The lynchpin of the Reagan Revolution was “Reaganomics,” a supply‐side economic theory that argued for government deregulation, tax cuts, and limiting growth of social spending. On the international front, the Reagan Revolution adopted a confrontational stance toward communism and the Soviet Union, labeling it “the evil empire.” This political philosophy included an end to détente, a ramping up of the US military, and the development of what came to be known as “Star Wars,” the Strategic Defense Initiative focused on an effort to create a “shield” in space that would protect the United States against missile attacks.
Eros and Thanatos
Authors: Doherty Thomas 
Published: November 2011

Abstract
In Hollywood parlance, a “four quadrant” film strikes the golden vein that scores with the four demographic pillars supporting a blockbuster yield (young/old, male/female), but any studio bottom liner knows that age pays better than gender and teen‐age pays best of all. For the motion picture industry, the mother lode is the actuarial span from around 12 to 20, the chronological bookends for the gregarious, leisured, and tribally cohesive segment of the population whose hormones crave action and whose eyeballs seek diversion.
Plasmatics and Prisons
Authors: Whissel Kristen 
Published: November 2011

Abstract

In the final decade of the twentieth century, the use of computer‐generated images (CGI) and digital visual effects became a hallmark of popular, live‐action American blockbusters. Accomplished mostly in postproduction, such practices ranged from color adjustment at the level of the pixel to spectacular visual effects designed to astonish audiences. One of the first such recognizable spectacular effects was the digital morph, which created smooth transformations of a “source” image into a “target” image using software programs to cross‐dissolve and warp images. In Ron Howard's
Willow
(1988) and James Cameron's
The Abyss
(1989) characters and creatures shape‐shift their surface appearance in single scenes organized around the display of this astonishing effect; in later films, particularly in Cameron's
Terminator 2: Judgment Day
(1991), the Wachowski Brothers'
The Matrix
(1999), and Bryan Singer's
X‐Men
(2000), the ability to morph defines characters who exercise this (spectacular) power with thrilling dramatic effects. In addition to giving bodies seemingly unfettered capacity for instantaneous change, the morph also allowed landscapes and cityscapes to transform themselves with fluid ease in films like Peter Jackson's
Heavenly Creatures
(1994) and Alex Proyas's
Dark City
(1998), while in films like Chuck Russell's
The Mask
(1994) and Tom Shadyac's
The Nutty Professor
(1996) morphing gave the human body comic plasticity that allowed it to stretch, bulge, and bend in often comic and cartoonish fashion.
The Blockbuster Superhero
Authors: Beaty Bart 
Published: November 2011

Abstract

In a post‐credit scene included at the end of
Iron Man
(Jon Favreau, 2008), the titular hero (Robert Downey, Jr) returns to the home of his alter ego and is confronted by an intruder, S.H.I.E.L.D. director Nick Fury (Samuel L. Jackson). Fury asks him: “You think you're the only superhero in the world? Mr Stark you've become part of a bigger universe. You just don't know it yet.” While Tony Stark lacks a sense of the bigger picture, the same can hardly be said of the filmgoers who came to this film armed with a background in the superhero comics produced by Marvel Comics. The audience of knowledgeable comic book fans anticipates key relationships, character developments, and actions that cannot possibly be encompassed by a feature‐length film. These spectators are alert to such things as the foreshadowing of the emergence of War Machine, the rival to Iron Man that will be taken on by his friend James Rhodes (Terrence Howard, replaced for the sequels by Don Cheadle), or the background shots of Captain America's partially assembled shield on Stark's workbench, an allusion to Iron Man's partner and sometime rival in Marvel's
Avengers
comic book series. Thus, when Fury, with the last line of the film, informs Stark that he would like to speak to him “about the Avenger Initiative,” it serves not only to anticipate Fury's role in the
Iron Man
sequel scheduled to be released two years later, but begins the process of advertising the
Avengers
film scheduled for release for the first weekend in May 2012. In the world of Marvel Comics, The Avengers is the superhero team that originally featured Iron Man, Captain America, Thor, the Hulk, Ant‐Man and the Wasp. In the world of Marvel Studios,
Iron Man
was the second Avengers‐related film, following
Hulk
(Ang Lee, 2003) and preceding, by one month,
The Incredible Hulk
(Louis Leterrier, 2008), and it will be followed by
Thor
(Kenneth Branagh, 2011) and
Captain America: The First Avenger
(Joe Johnston, 2011), with the casts of those four franchises combining for the potential mega‐event film
The Avengers
(Joss Whedon) in 2012. Significantly, Fury's specific use of the term “universe” directly alludes to the lexicon already in place in the comics world referring to the fictional worlds inhabited by characters across different titles and series. This quick scene informs the audience that Iron Man exists in the same world as the heroes of previous films based on Marvel characters, including Spider‐Man, the Hulk, the Fantastic Four, and the X‐Men, and it also anticipates future films.
Limited Engagement
Authors: Carruthers Susan L. 
Published: November 2011

Abstract
Imagine a landscape of desolate streets strewn with vast mounds of garbage and burnt out vehicles. Buildings — an indistinguishable jumble of shops and homes, punctuated by golden‐domed mosques and filigreed minarets — are pock‐marked by artillery rounds where they haven't been pulverized into rubble. Everything chokes with dust. And everyone is armed — armed with a camera if not also with more lethal weapons. Cell phones serve both to detonate improvised explosive devices and to document the carnage. While “jihadis” film beheadings and suicide bombers record their last messages before martyrdom, American troops engage in their own obsessive digital self‐documentation. Flurrying shutters click to produce a gruesome montage of grins, grimaces, tears, blood, corpses, and severed body parts.
Familial Poland anomaly revisited
Authors: Baban Anwar , Torre Michele , Costanzo Sara , Gimelli Stefania , Bianca Sebastiano , Divizia Maria Teresa , Sénès Filippo Maria , Garavelli Livia , Rivieri Francesca , Lerone Margherita , Valle Maura , Ravazzolo Roberto , Calevo Maria Grazia 
Published: November 2011

AbstractPoland anomaly (PA) is a pectoral muscle hypoplasia/aplasia variably associated with ipsilateral thoracic (TA) and/or upper limb anomalies (ULA). PA is usually sporadic and sometimes familial, making recurrence risk an issue in genetic counseling. Multidisciplinary evaluation of 240 PA patients was carried out, including physical examination of patients and their parents in 190 PA (subjects of the study). Familial conditions were classified into three groups. Group1: true familial PA (F‐PA): pectoral muscle defects with familial recurrence: 8(4.2%). Group2: familial Poland‐like anomaly families (F‐PLA): PA index case and ≥1 relative(s) showing normal pectoral muscles but ULA and/or TA common in PA: 16(8.4%). Group3: sporadic PA (S‐PA): 166(87.4%). F‐PA indicated a stronger male (87.5%) and left side (62.5%) prevalence, but fewer ULA (37.5%) compared to the other two groups. Maternal transmission (6/8) was more common in F‐PA. Statistical significance was not reached due to the small number of F‐PA and F‐PLA. Karyotyping and array‐comparative genomic hybridization were performed in 13 families. Three maternally inherited copy number variants were identified in three patients: 1p31.1 deletion, Xp11.22 duplication, and 16q23.1 duplication. Interestingly, the proband's mother carrying the 16q23.1 duplication displayed moderate breast and areola asymmetry, but normal pectoral muscles on ultrasound. Though there is no recent review discussing recurrence of PA, we reviewed 31 published PA families. On the basis of our study and previous reports, familial PA is not uncommon. Nonetheless, no information can be derived either regarding a molecular basis or clinical tools with which to identify cases with recurrence risk. © 2011 Wiley Periodicals, Inc.
Implantation of a Melody® valve in triscuspid position
Authors: Riede F.T. , Dähnert I. 
Published: November 2011

AbstractA transcatheter pulmonary valve (Melody®) was implanted within a stenotic biological valve prosthesis in tricuspid position, as an alternative to the fourth major cardiac surgery in a 12‐year‐old girl. There were no complications. The postinterventional result was very good. © 2012 Wiley Periodicals, Inc.
MGUard versus bAre‐metal stents plus manual thRombectomy in ST‐elevation myocarDial infarction pAtieNts—(GUARDIAN) trial: Study design and rationale
Authors: Cassese Salvatore , Esposito Giovanni , Mauro Ciro , Varbella Ferdinando , Carraturo Antonio , Montinaro Antonio , Cirillo Plinio , Galasso Gennaro , Rapacciuolo Antonio , Piscione Federico 
Published: November 2011

AbstractBackground: Distal embolization may decrease coronary and myocardial reperfusion after percutaneous coronary intervention (PCI) in ST‐elevation myocardial infarction (STEMI). In this setting, manual thrombectomy (MT) resulted in better perfusion and clinical outcomes when compared with “conventional” PCI (direct stenting or stenting after predilation). MGuard net protective stent (MGS, Inspire‐MD, Tel‐Aviv, Israel) is a new bare‐metal stent (BMS) with a polyethylene theraphthalate mesh coverage anchored to the external surface of the struts aiming to minimize distal embolization during PCI. Purpose: We intend to determine whether MGS implantation is comparable with a strategy of MT pretreatment followed by BMS deployment. Study design: The MGUard versus bAre‐metal stents plus manual thRombectomy in ST‐elevation myocarDial Infarction pAtieNts (GUARDIAN) is a multicentre, prospective, randomized, noninferiority, open‐label trial with a planned inclusion of 556 STEMI patients. Patients are assigned to treatment with MGS or MT pretreatment followed by BMS implantation in the infarct‐related artery. All patients are treated medically according to current international guidelines. Randomization is performed before coronary angiography. The primary endpoint is complete (≥70%) ST‐segment resolution at 60 min after PCI. Secondary endpoints are thrombolysis in myocardial infarction (TIMI) coronary flow grade ≥2, corrected TIMI frame count <23, myocardial blush grade of the infarct related area ≥2, and major adverse cardiac events rate at 30‐day, 6‐month, and 1‐year follow‐up. A cardiac magnetic resonance imaging substudy is planned to investigate microvascular obstruction and infarct size area reduction, at prespecified time‐points, among 80 consecutive patients enrolled. Conclusions: If MGS implantation is noninferior to a strategy of MT pretreatment followed by BMS deployment, it will lend support to the use of this treatment as another possible option for STEMI patients undergoing PCI. © 2012 Wiley Periodicals, Inc.
Two melodies in concert: Transcatheter double‐valve replacement
Authors: Jux Christian , Akintuerk Hakan , Schranz Dietmar 
Published: November 2011

AbstractPercutaneous pulmonary valve implantation has been established as a valuable treatment option for elder children and adolescents with conduit failure in the right ventricular outflow tract. Transcatheter valve implantation in the tricuspid position is restricted to single case reports. A 26‐year‐old male initially diagnosed with tetralogy of Fallot and hypoplastic pulmonary arteries hitherto underwent a total of five open chest procedures including tricuspid valve replacement with a bioprosthesis and a pulmonary homograft exchange. He now presented with severe right heart failure due to a degenerated pulmonary homograft and calcified, severely stenotic tricuspid bioprosthesis with markedly dilated and reduced right ventricular function. We report on the first successful percutaneous transcatheter double‐valve replacement using two Melody valves in the pulmonary and tricuspid position, respectively. © 2011 Wiley Periodicals, Inc.