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ends with Rachel ducking into her newspaper’s A/V lab to teach little Aidan how to make bootleg videotapes. Its emphasis on the mechanics of copying and the ethics of underground distribution codes The Ring’s conclusion as morally vexed at best, and it also suggests that there is much more at stake in this ghost story than its ghost. As Carol Clover observes, “the horror movie is somehow more than the sum of its monsters.”12 The Ring changes both Ringu’s social allegories and its generic references to pursue metacinematic contemplation of the experiences of

that it is both about found footage and found footage itself while leaving open the question of who added this epi- logue and why. In short, Cannibal Holocaust’s claim to be found footage does not resolve any of the loose ends or inconsistencies of its opening mockumen- tary gambit, but it does change the movie’s classification by placing a ter- tiary frame tale—John K. Kirov and the bootleg distributors—around the PanAmerican Broadcasting System and the original “Green Inferno” crew. The title card attributes Cannibal Holocaust’s excesses to its diegetic film

bookstore chains: growth of, 27; interior design/organization of, 57, 240n50, 243n103, 248n13; and movie guides as genre, 196; origins of, 27 bootlegs, 104–105, 110 Borders, 27, 243n103 Bourdieu, Pierre, 6, 71, 136, 157–158, 171, 248–249n18, 250n33 Box Office Essentials software, 182 Bozeman, MT, 114 Bozeman Film Festival (BFF), 114 Brandt, Claire, 103–104, 105 Brandt, Eddie, 103, 104 Brokeback Mountain (2005), 139 browsers, 67–72; classification struggles of, 70–71; and clerks, relationship with, 73–74, 75; collection of viewing experiences of, 69; defined, 51

a conviction when the district judge had made what he believed to be improper comments to the jury, either in summations or in instructions. In one bootlegging case, Rudkin joined an opinion to reverse when the district judge had instructed the jury: " 'You are not to be hoodwinked and bamboozled by anybody; not by unreasonable tes- timony, if it is unreasonable.'" When lawyers fell below Rudkin's ex- pectations, he bluntly told them: "The information in this case is a complex mass, slovenly thrown together." And if his colleagues on the court themselves

M. “The Development of Music Appreciation in America.” Papers and Proceedings of the Music Teachers’ National Association 16 (1922): 112–20. Rich, Stephen G. “Some Unnoticed Aspects of the School Use of Phonographs.” Journal of Educational Method 3 (November 1923): 108–14. Ritter, Frédéric Louis. Music in America. New ed. New York: Charles Scribner’s Sons, 1890. Rojas, Pete. “Bootleg Culture.” Salon, 1 August 2002. 2002/08/01/bootlegs/. Roland-Manuel. “Musique et mécanique.” Le Menestrel 85 (25 May 1923): 233–34. Rose, Frank. “Music

get work, and for a time he kept a low profile. In a way, he had no choice. In 1925, he had married and needed the more consistent income he got from being a steady winch man. Although he quietly joined an effort a year later to revive the ILA, he somehow kept the bosses from blacklisting him again. After work, Bridges hung out at Paddy Hurley’s, a bootleg joint near the docks in a district filled with bookmaking joints and poolrooms. In what could be considered another way of abusing longshoremen, they were paid in brass vouchers stamped with a number and

bootlegged action videos from Asia and the U.S. on a TV that ran on a car battery. Th e Vietnam War, corrupted martial arts competitions, and POW camps featured prominently, as did the directors’ backyards. Looking back on it now, I realize that these fi lms were suff used with themes of restric- tion, escape, and success achieved, fi nally, against impossible odds, and this was no doubt part of their appeal. But I remember being annoyed by the noise, and by the Taita youth, in whom I confess to having had very little interest. I preferred talking with older men

produce approximately twenty copies of a mixtape; these “masters” would then be bootlegged and distributed informally around the archipelago.15 According to rapero Master Joe, it was this lack of formal dis- tribution networks that gave the genre its moniker; he notes, “We would record onto a cassette player then we would duplicate and duplicate and that is how we started to spread our music. That’s why we called it underground because it was an underground market where we were the actual distributors, the same ones that would produce it.”16 Without radio airplay

written to Darrow explaining, in a rather confusing way, that he had been approached by Albert Rogell (1901–88), a fi lm director in Los Angeles, who wanted Sinclair and another person to “write a de- bate”—with Sinclair advocating Prohibition and the other person (Darrow) arguing against it. This written debate would then be incorporated into a script for a movie to be produced by Rogell, with the characters using lines from the debate. The storyline for the movie, according to Sinclair, was to involve “a boy who is lured by . . . bootleggers and becomes a murderer

209 prologue. naked ladies and ice cream bars 1. I am not the first (nor will I be the last) home video scholar to foreground my own memory and, at times, nostalgia. See Lucas Hilderbrand, Inherent Vice: Bootleg Histories of Videotape and Copyright (Durham, NC: Duke University Press, 2009), xiii–xvi; Caetlin Benson-Allott, Killer Tapes and Shattered Screens: Video Spectatorship from VHS to File Sharing (Berkeley: University of California Press, 2013), 23–24; and Daniel Herbert, Videoland: Movie Culture at the American Video Store (Berkeley: University of