Dana Polan

Laura U. Marks

DIVUses Deleuze to explore new ways of looking at intercultural and experimental cinema./div

Intercultural Cinema, Embodiment, and the Senses

The Skin of the Film

Introduction -- Engineering The great escape : from book to film (and in-between) -- Tunneling in : The great escape : style, theme, and structure -- After-lives -- Appendix : "It really happened".

"The Great Escape" in American Film and Culture

Dreams of Flight

Dana Polan considers what made Julia Childs TV show, The French Chef, so popular during its original broadcast and such enduring influences on American cooking, American television, and American culture since then.

Julia Child's The French Chef

"Polan's book offers the first pedagogical history of the emergence of film studies courses within the American university system prior to World War II, based on an amazing wealth of little known or even unknown material. It also offers an equally valuable intellectual history in which early film studies courses clarify the theoretical frameworks governing the humanities and social sciences in higher education. And the writing is sophisticated yet accessible and engaging."—Richard Abel, author of Americanizing the Movies and "Movie-Mad" Audiences, 1910-1914

The Beginnings of the U.S. Study of Film

Scenes of Instruction

The first full-length study of the iconic 1960s film The Great Escape and its place in Hollywood and American history. Escaped POW Virgil Hilts (Steve McQueen) on a stolen motorcycle jumps an imposing barbed wire fence—caught on film, the act and its aftermath have become an unforgettable symbol of triumph as well as defeat for 1960s America. Combining production and reception history with close reading, Dreams of Flight offers the first full-length study of The Great Escape, the classic film based on a true story of Allied prisoners who hatched an audacious plan to divert and thwart the Wehrmacht and escape into the nearby countryside. Through breezy prose and pithy analysis, Dana Polan centers The Great Escape within American cultural and intellectual history, drawing a vivid picture of the country in the 1960s. We see a nation grappling with its own military history, a society undergoing significant shifts in its culture and identity, and a film industry in transition from Old Hollywood's big-budget runaway studio films to the slow interior cinema of New Hollywood. Dreams of Flight combines this context with fan anecdotes and a close study of filmic style to bring readers into the film and trace its wide-reaching influence. Polan examines the production history, including prior adaptations in radio and television of celebrated author Paul Brickhill's original nonfiction book about the escape, and he compares the cinematic fiction to the real events of the escape in 1944. Dreams of Flight also traces the afterlife of The Great Escape in the many subsequent movies, TV commercials, and cartoons that reference it, whether reverentially or with humor.

“In its original run on HBO, The Sopranos mattered, and it matters still,” Dana Polan asserts early in this analysis of the hit show, in which he sets out to clarify the impact and importance of the series in both its cultural and media-industry contexts. A renowned film and TV scholar, Polan combines a close and extended reading of the show itself—and of select episodes and scenes—with broader attention to the social landscape with which it is in dialogue. For Polan, The Sopranos is a work of playful irony that complicates simplistic attempts to grasp its meanings and values. The show seductively beckons the viewer into an amoral universe, hinting at ways to make sense of its ethically complicated situations, only to challenge the viewer’s complacent grasp of things. It deftly exploits the interplay between art culture and popular culture by mixing elements of art cinema—meandering plots, narrative breaks, and an uncertain progression—with the allure of a soap opera, delving into its characters’ sex lives, mob rivalries, and parent–child conflicts. A show about corrupt figures who parasitically try to squeeze illicit profit from the system, The Sopranos itself seems a target of attempts to glom on to its fame as a successful TV series: attempts by media executives, marketers, critics and writers, and even presidential candidates. “Everyone wants a piece of Sopranos action,” says Polan, and he traces the marketing of the series across both official and unauthorized media platforms, including cookbooks, games, DVDs, and the kitschy Sopranos bus tour. Critiquing previous books on The Sopranos, Polan suggests that in their quest to find deep meaning, many of the authors missed the show’s ironic and comedic side.

The Sopranos

"The first full-length study of the iconic 1960s film The Great Escape and its place in Hollywood and American history. Caught on film, the iconic jump of escaped POW Virgil Hilts (Steve McQueen) over an imposing barbed wire fence on a stolen motorcycle has become an unforgettable symbol of a disaffected 1960s America. Dreams of Flight offers the first full-length study of The Great Escape, the classic film based on a true story of American and Allied prisoners of war who hatched an audacious plan to divert and thwart the Wehrmacht and escape into the nearby countryside. Through breezy prose and pithy analysis, Dana Polan centers The Great Escape within American cultural and intellectual history, drawing a vivid picture of the country in the 1960s. We see a nation grappling with its own military history; a society undergoing significant shifts in its culture and identity; a film industry in transition from Old Hollywood's big-budget runaway studio films to the slow interior cinema of New Hollywood. Dreams of Flight combines history with fan anecdotes and a close study of filmic style to bring readers into the film and its wide-reaching influence. Polan examines the production history, including prior adaptations in radio and television of celebrated author Paul Brickhill's original nonfiction book about the escape, and he compares the cinematic fiction to the real events of the escape in 1944. Dreams of Flight also traces the afterlife of The Great Escape in the many subsequent movies, TV commercials, and cartoons that reference it, whether reverentially or with humor"--

"the Great Escape" in American Film and Culture

What happens when we set out to understand LEGO not just as a physical object but as an idea, an icon of modernity, an image—maybe even a moving image? To what extent can the LEGO brick fit into the multimedia landscape of popular culture, especially film culture, today? Launching from these questions, Dana Polan traces LEGO from thing to film and asserts that The LEGO Movie is an exemplar of key directions in mainstream cinema, combining the visceral impact of effects and spectacle with ironic self-awareness and savvy critique of mass culture as it reaches for new heights of creativity. Incorporating insights from conversations with producer Dan Lin and writer-directors Phil Lord and Chris Miller, Polan examines the production and reception of The LEGO Movie and closely analyzes the film within popular culture at large and in relation to LEGO as a toy and commodity. He identifies the film’s particular stylistic and narrative qualities, its grasp of and response to the culture industry, and what makes it a distinctive work of animation within the seeming omnipresence of animation in Hollywood, and reveals why the blockbuster film, in all its silliness and seriousness, stands apart as a divergent cultural work.

The LEGO Movie

Memories that evoke the physical awareness of touch, smell, and bodily presence can be vital links to home for people living in diaspora from their culture of origin. How can filmmakers working between cultures use cinema, a visual medium, to transmit that physical sense of place and culture? In The Skin of the Film Laura U. Marks offers an answer, building on the theories of Gilles Deleuze and others to explain how and why intercultural cinema represents embodied experience in a postcolonial, transnational world. Much of intercultural cinema, Marks argues, has its origin in silence, in the gaps left by recorded history. Filmmakers seeking to represent their native cultures have had to develop new forms of cinematic expression. Marks offers a theory of “haptic visuality”—a visuality that functions like the sense of touch by triggering physical memories of smell, touch, and taste—to explain the newfound ways in which intercultural cinema engages the viewer bodily to convey cultural experience and memory. Using close to two hundred examples of intercultural film and video, she shows how the image allows viewers to experience cinema as a physical and multisensory embodiment of culture, not just as a visual representation of experience. Finally, this book offers a guide to many hard-to-find works of independent film and video made by Third World diasporic filmmakers now living in the United States, Great Britain, and Canada. The Skin of the Film draws on phenomenology, postcolonial and feminist theory, anthropology, and cognitive science. It will be essential reading for those interested in film theory, experimental cinema, the experience of diaspora, and the role of the sensuous in culture.

Dana Polan sets out to unlock the style and technique of 'Pulp Fiction'. He shows how broad Tarantino's points of reference are, and analyzes the narrative accomplishment and complexity. In addition, Polan argues that macho attitudes celebrated in film are much more complex than they seem.

Dana Polan

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