By Vern
Vern, the self-styled 'outlaw movie critic' is defined through Hellboy director Guillermo Del Toro as "equal parts Hell's Angels and Pauline Kael... a countrywide treasure!"
Now Vern unleashes his magnum opus: an in-depth examine of the world's basically aikido teacher became movie star/director/writer/blues guitarist/energy drink inventor, the ass-kicking auteur Steven Seagal.
"A ebook that'll shake the very foundations of movie feedback, holiday their wrists after which throw them via a window."
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Additional resources for Seagalogy: The Ass-Kicking Films of Steven Seagal
Sample text
We shall look at how the Grand Tours of Europe by aristocrats and social climbers of the eighteenth century were enacted by stars as they travelled abroad and associated themselves with the physical sites of the past, conducted their fans on vicarious travels in geographical as well as by imaginative Introduction: Olympus Moves to Hollywood 23 means through the symbolism of the star body. From looking at the star in the locales of modern Europe we then turn to a case-study of the production of Metro-Goldwyn-Mayer’s Ben-Hur: A Tale of the Christ (Fred Niblo, 1925), which places rising star Ramon Novarro into cinematic antiquity itself.
79 The radiantly coherent idea of the classical form is thus but a fleeting impression, as if through the persistence of vision of cultural repetition alone its ‘universal’ authority belies any one of its images viewed up close. 80 Carden-Coyne notes that the mass ruin visited upon the bodies of servicemen during the war lead to a suspicion of the notion of physical wholeness. ‘Embodiment had become trickery, an illusion’, she notes’, leading to a ‘post-war obsession: the presence and absence of the human body’.
40 Some of these myths troubled the Victorians. Referring to the ‘sensuous gods’ of the pagan past, G. 41 Rather like Peter Brooks’ theory of the ‘moral occult’ that describes the structures of post-sacred values within the characters and narratives of Victorian melodrama,42 Hunt Jackson here seeks a balance of sacred and profane. However, rather than obscure the mythic value, Jackson seeks to emphasise it by substituting the pagan value system for a more generalised Christian one. What is most striking when reading his verse is the way Hunt Jackson makes allusions to contemporary music and theatre to ‘re-form’ the classic in often strikingly proto-cinematic allusions to light and projected fantasies, in this year when cinema saw its first public exhibitions.