Mike Nichols : sex, language, and the reinvention of by Kyle Stevens

By Kyle Stevens

With iconic video clips like Who's fearful of Virginia Woolf?, The Graduate, and Carnal Knowledge, Mike Nichols used to be the main in demand American director through the cultural upheavals of the Nineteen 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 primary to foundational debates on the emergence of Cinema stories as a self-discipline, inviting new reflections on serious dogma.

Focusing on Nichols' vintage videos, in addition to later movies akin to Silkwood, The Birdcage, and Angels in America, Kyle Stevens demonstrates that Nichols' realism lies now not within the plausibility of his characters yet of their inherent secret. via getting to the confusing phrases and silences, breaths and laughter, that include those characters, Stevens uncovers new insights into the subversive strength of a variety of cinematic components, and divulges how Nichols' satirical oeuvre, and Hollywood itself, participated in numerous of the nation's such a lot pressing social, political, and philosophical advances.

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Additional info for Mike Nichols : sex, language, and the reinvention of psychological realism

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I do this by looking at his work with actors, particularly Meryl Streep—who has made more films with Nichols than with any other director—and at the repetition of actors across roles in Angels in America. These “chameleonic” instances of performance are able to comment on characters from within while sustaining psychological depth. Nichols and Streep’s collaborations reflect upon the changes Streep’s stardom brings to Hollywood, and her refusal to represent herself, I argue, upends the moralizing force of traditional stardom’s reliance upon individualist ideals and powerfully contests 1980s and 1990s discourse about politicized identities.

Nichols and Streep’s collaborations reflect upon the changes Streep’s stardom brings to Hollywood, and her refusal to represent herself, I argue, upends the moralizing force of traditional stardom’s reliance upon individualist ideals and powerfully contests 1980s and 1990s discourse about politicized identities. Finally, the concluding chapter considers what restoring Nichols to the picture of film history does to our idea of New Hollywood, to our sense of whether it ended sometime in the mid-seventies, or whether, as Nichols did, it persevered.

How much more certain would knowledge be if it came from and out of the excitement of learning itself? ” elements that may come from the teacher/director or the audience. ” by working together, creating a performance solely by reacting to each other. For instance, in “Contact,” players may not begin speaking until they have touched each other in some manner (and there must arise a reason for doing so). Coleman reports that a “favorite” exercise of The Compass Players was Spolin’s “how to do it” or “teaching” scene, in which one player must instruct a partner how to perform various activities, from asking the boss for a raise to frying a fish (94).

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