Download As If!: The Oral History of Clueless as Told by Amy by Jen Chaney PDF

By Jen Chaney

Do we ever become bored with Clueless? Ugh, as if!
Acclaimed popular culture journalist Jen Chaney celebrates the 20th anniversary of the vintage film's liberate within the first publication of its sort, weaving jointly unique interviews with author and director Amy Heckerling; key solid participants, together with Alicia Silverstone (Cher), Paul Rudd (Josh), Stacey sprint (Dionne), Donald Faison (Murray), Elisa Donovan (Amber), Wallace Shawn (Mr. Hall), Twink Caplan (Ms. Geist and affiliate producer); and different the most important Clueless gamers like gown dressmaker Mona could, casting director Marcia Ross, director of images invoice Pope, former Paramount chairwoman Sherry Lansing, and lots of extra. solid and workforce additionally pay heartfelt tribute to the overdue Brittany Murphy, who lit up the reveal as Cher's protégée, Tai.

Chaney explores the impression of Jane Austen's Emma because the not going framework for Heckerling's script, the rigorous casting procedure (including the longer term stars who didn't make the cut), the practical but fashion-forward cloth cabinet, the original slang that drew from the previous and coined new words for the long run, the sun-drenched soundtrack that set the tone, and—above all—the vast quantity of labor, creativity, and craft that went into making Clueless glance so without problems vibrant and glossy.

As If! illuminates why plaid skirts and knee socks won't ever exit of fashion, and why Clueless is still the most loved comedies of all time.

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Additional info for As If!: The Oral History of Clueless as Told by Amy Heckerling and the Cast and Crew

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Without the two groups, only exploitation will remain. Paramount, then, is the ferocious defense of advanced art from both the masses and the machine of popular entertainment. ’ Greenberg’s heavily critical view of the unwashed masses and the rising protest against capitalist corruption of culture would also go on to define thought on mass culture for the next two decades, with Macdonald becoming the leading figure in a self-imposed struggle for the maintenance of critical and artistic standards against the swelling tide of mass culture.

Macdonald at Partisan Review 43 Macdonald further confesses that even at the height of Soviet cinema’s great period, citizens favored Hollywood productions. In 1925 Moscow’s big blockbuster was not Battleship Potemkin, but the American-made action epic The Thief of Baghdad, starring Douglas Fairbanks. Influenced by such box-office successes, Macdonald reports that the Soviet filmworks began to blatantly copy American products. Charlie Chaplin and Buster Keaton soon had their own Russian counterparts, chased around Red Square by mock-Keystone cops to the great amusement of audiences across the USSR.

As had quickly become his habit, Macdonald again deems the output of Hollywood inferior to that of Soviet cinema, represented primarily by Eisenstein. The ideas and criteria presented define future concerns about the American mass culture machine, as the article exhibits a loss of faith in cinema’s ability to enlighten its consumers due to the heinous strictures placed on directors by the marketplace. ” In short, each is a “good little boy” who does as he is told. These timid directors are not fully to blame.

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