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Heist
Caper movies aren’t like others involving criminals: there’s an aesthetic to a caper that’s as important to the thieves as it is to the viewers. Heist is David Mamet’s 2001 caper film that stands as his Singin’ in the Rain—an apt comparison, since “caper” meant “to dance” long before it took on its criminal meaning. Join us for an appreciation of one of Gene Hackman’s best yet least-discussed performances and of Mamet’s highly unrealistic dialogue. (Yes, you read that correctly–and we love David Mamet.) David Mamet’s short book On Directing Film is a great companion to Heist. Incredible bumper music by John Deley. Please subscribe to the show and consider leaving us a rating or review. You can find our over three hundred episodes wherever you get your podcasts. Follow the show on X and on Letterboxd–and email us at [email protected] with requests and recommendations. Also check out Dan Moran’s substack, Pages and Frames, where he writes about books and movies, as well as the many film-related interviews on The New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
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22:43
Claire Knight, "Stalin's Final Films: Cinema, Socialist Realism, and Soviet Postwar Reality, 1945-1953" (Cornell UP, 2024)
Stalin's Final Films: Cinema, Socialist Realism, and Soviet Postwar Reality, 1945-1953 (Cornell UP, 2024) explores a neglected period in the history of Soviet cinema, breathing new life into a body of films long considered moribund as the pinnacle of Stalinism. While film censorship reached its apogee in this period and fewer films were made, film attendance also peaked as Soviet audiences voted with their seats and distinguished a clearly popular postwar cinema. Claire Knight examines the tensions between official ideology and audience engagement, and between education and entertainment, inherent in these popular films, as well as the financial considerations that shaped and constrained them. She explores how the Soviet regime used films to address the major challenges faced by the USSR after the Great Patriotic War (World War II), showing how war dramas, spy thrillers, Stalin epics, and rural comedies alike were mobilized to consolidate an official narrative of the war, reestablish Stalinist orthodoxy, and dramatize the rebuilding of socialist society. Yet, Knight also highlights how these same films were used by filmmakers more experimentally, exploring a diverse range of responses to the ideological crisis that lay at the heart of Soviet postwar culture, as a victorious people were denied the fruits of their sacrificial labor. After the war, new heroes were demanded by both the regime and Soviet audiences, and filmmakers sought to provide them, with at times surprising results. Stalin's Final Films mines Soviet cinema as an invaluable resource for understanding the unique character of postwar Stalinism and the cinema of the most repressive era in Soviet history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
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1:26:23
Lori Jo Marso, "Feminism and the Cinema of Experience" (Duke UP, 2024)
Political theorist Lori Marso has been intrigued by filmmaker Chantal Ackerman for many years and has integrated Ackerman’s work into her courses at Union College and into her writings and scholarship as well. So it is no surprise that Feminism and the Cinema of Experience (Duke UP, 2024) is both an academic and a personal journey into Ackerman’s work but also the ways in which Ackerman’s work and similar kinds of artistry have made their way into our imaginations and our cinematic spaces. In Feminism and the Cinema of Experience Marso uses both Ackerman’s cinematic work and the written work of Simone de Beauvoir to frame a variety of approaches to thinking about feminism and contemporary film. As Marso explains, Ackerman’s work attends to and notices women’s experiences, often with the kinds of cinematography that are used to explore these experiences in ways that make audiences a bit uncomfortable. Part of the thrust of Marso’s analysis is interrogating what it means to “feel like a feminist.” This is an important component to the discussion in Feminism and the Cinema of Experience since this feeling may be a space where we are puzzled by what we actually do feel and we need to accept that we are alright sitting with that discomfort and with that inconclusive affect. Feminism and the Cinema of Experience explores the ways that cinema and film shift our senses, through what we see, hear, and the focus of our thinking. Film is also a profoundly emotional experience, especially if we are in a theater with others or viewing it in a community. The discussions that we have with others about what we have seen and experienced are political—this is a form of political engagement and a kind of democratic engagement. Marso provides the reader with different genres and categories that help us think about films within the broader framework at hand. And within these sections, many more contemporary films are put into conversation with Ackerman’s work. Finally, Marso wrote an epilogue of a kind that brings Greta Gerwig’s Barbie movie into the discussion as well. This is an important and thoughtful examination of contemporary cinema—but it is also a valuable analysis of feminism and feminist thought as we see it all around us, but particularly in narrative form on the silver screen. Feminism and the Cinema of Experience is fascinating, engaging, and opens doors to new and different ways of thinking and seeing and experiencing. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-host of the New Books in Political Science channel at the New Books Network. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). She can be reached @gorenlj.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
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50:11
Kevin Smokler, "Break the Frame: Conversations with Women Filmmakers" (Oxford UP, 2025)
In the twenty-first century alone, women filmmakers have succeeded at directing every size, genre, and style of motion picture. Their movies have won Oscars (Free Solo), made actors into household names (Jennifer Lawrence in Winter's Bone), received induction into the Library of Congress's National Film Registry (Real Women Have Curves), and become worldwide box office phenomena (Captain Marvel, Deep Impact). Nevertheless in 2023, the year of Barbie, women directed only 12% of the top 250 movies in America. demonstrating how far moviemaking remains from gender parity. When women filmmakers succeed, they do so against these odds. Break the Frame (Oxford UP, 2025) is a collection of 24 career-spanning interviews with America's celebrated, reigning, and rising women filmmakers. Each conversation considers the director's complete filmography as a map of their evolving artistry and evidence of their unassailable contributions to a historically misogynist industry. Author Kevin Smokler listens as women filmmakers speak to the struggle and triumphs of developing and directing movies that are shaping how the film business sees women in the director's chair, and how their audiences see themselves and each other. This book is both an opportunity and invitation to devote one's time, admiration and enthusiasm to movies directed by women. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
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51:39
Christopher Hanscom, "Impossible Speech: The Politics of Representation in Contemporary Korean Literature and Film" (Columbia UP, 2024)
How does art engage with its social context? What does 'the politics of art' even mean? In his new book Impossible Speech: The Politics of Representation in Contemporary Korean Literature and Film (Columbia University Press, 2023), Christopher P. Hanscom takes on these questions in the context of contemporary Korean literature. Moving away from realist texts and realism, Impossible Speech instead focuses on four key figures: the migrant laborer, the witness of state violence, the refugee, and the socially excluded. Through each, the book probes the boundaries of what we think of as 'nonpolitical' art, showing how by calling on characters to address events and experiences that cannot be spoken about — in other words, by asking characters to speak impossibly — even art that might be considered nonsensical or absurd demands to be read as politically engaged. Although this book uses examples drawn from modern Korean literature and film, Hanscom's contention that the politics of art lies in its ability to confront and challenge the boundaries of what is sayable is deeply relevant to art beyond East Asian Studies. Impossible Speech should, therefore, be of interest to those in Korean literature as well as those interested in literary theory, film studies, and speech studies more broadly. Listeners with a keen interest in Korean literature should also check out Hanscom's earlier appearance on the New Books Network to talk about his first book,The Real Modern: Literary Modernism and the Crisis of Representation in Colonial Korea (Harvard University Asia Center, 2013). You can listen to that interview here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
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1:11:14