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eastwood

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Journal Article
South Atlantic Quarterly (2002) 101 (3): 589–607.
Published: 01 July 2002
... of bullets.When this genre returns, like yesterday’s news, in Clint Eastwood’s Unforgiven it repeats certain aspects that may have slipped our attention the first time around. The myth of the American West, the promised land, has found one of its pioneering mediatic representations in the Western, a movie...
Journal Article
South Atlantic Quarterly (1991) 90 (4): 939–941.
Published: 01 October 1991
... and Cultural Studies Program at Carnegie Mellon University. He is author of Pound Revised and Discerning the Subject, and editor with Alice Jardine of Men in Femi­ nism. He has written on a variety of topics in cultural theory and is at work on a book about Clint Eastwood. ...
Journal Article
South Atlantic Quarterly (1917) 16 (2): 144–148.
Published: 01 April 1917
... of the poem; but he cannot help wondering wherein it possesses any further merit. Let me quote one more bit of vers libre: Rocks, by Mary Eastwood Knevels. This piece also appeared in Poetry. Through the pasture lie the rocks, gray as the sea in a fog As the sea in a mist. (O breath of my yearning, O sea...
Journal Article
South Atlantic Quarterly (2002) 101 (3): 441–448.
Published: 01 July 2002
... the treatment of violence and weather, offer access to what is made forgotten in the unforgiving medium of film. His reading of a Clint Eastwood movie throws into relief the disturbances of cultural memory between fiction, or a past that never was, and the instant replay of ‘‘breaking news or an immediate...
Journal Article
South Atlantic Quarterly (1987) 86 (4): 357–377.
Published: 01 October 1987
... of Christian dogma, the genre does embrace matter, physical facts and physical force, espe­ cially deadly force, as the ultimate truth of human existence. As late as 1976, in the opening scene of The Outlaw Josey Wales, the West­ ern film is still carrying on the fight against Christianity. When Clint Eastwood...
Journal Article
South Atlantic Quarterly (1999) 98 (3): 593–622.
Published: 01 July 1999
... tress, then tries to conceal this crime from "the American people, who find their unex­ pected spokesperson in a jewel thief (Clint Eastwood). (Incidentally, the thief-hero calls the president-villain a "heartless whore, recalling the "heartless Millwood of Merchant.) However, the Eastwood character...
Journal Article
South Atlantic Quarterly (1991) 90 (4): 855–870.
Published: 01 October 1991
... like a cowboy movie. To us, it was like Clint Eastwood. We could talk about those things because they weren t that close to home. This inside look at the street, though, was enough to impress an unprecedented, widespread white audience when combined with Run and D.M.C. s rapid-fire, dynamic delivery...
Journal Article
South Atlantic Quarterly (1989) 88 (2): 461–486.
Published: 01 April 1989
... involving Cary Grant, Cher Bono, and Clint Eastwood, not to mention Bela Lugosi, we have an inkling of what Deleuze means when he says that it is the face that is the vampire.52 Since the ideology of private property (the assumption that everything in the world is privately owned by someone) diverts us from...
Journal Article
South Atlantic Quarterly (1999) 98 (4): 633–654.
Published: 01 October 1999
... Between the Classical and the Balkan 639 Films, too, have made bridges a central motif. Of recent examples, Clint Eastwood s Bridges of Madison County (1995) received the widest acclaim. But to my mind, no film has captured the bridge s power to evoke important themes in our day as presciently as Theo...
Journal Article
South Atlantic Quarterly (2006) 105 (1): 241–263.
Published: 01 January 2006
... of Thomas Frank’s strongest points. See also Barbara Ehrenreich, Fear of Falling: The Inner Life of the Middle Class (New York: Pantheon, 1989), and, for a current example of the syndrome, the Clint Eastwood film Million Dollar Baby, where the protagonist pursues her dreams in Los Angeles...
Journal Article
South Atlantic Quarterly (1992) 91 (2): 427–458.
Published: 01 April 1992
... sentence: A fish out of water. But you know, high-concept pictures have been around for a long time under dif­ ferent guises. In some cases they were very beautifully made vehicle films for certain kinds of stars. Bette Davis. Clint Eastwood. If you went to see a person, you knew what kind of film you...