The Hard Sell Of Paradise

The Hard Sell of Paradise examines how mid-twentieth-century Hollywood, negotiating the rhetoric of the tourism industry, offered a complex and contradictory vision of "Hawai'i" for its audiences. From the classic studio system and elite tourism of the 1930s to a postwar era of mass travel, TV, and new leisure markets, the book explores how an eclectic group of populist media reflected the language of tourism not only through its narratives of leisure, but also through its complex engagement with larger cultural and historical questions, such as colonialism, world war, and statehood. Drawing on rare archival research, The Hard Sell of Paradise also explores the valuable role that tourism partners such as United Airlines, Matson Cruise Lines, and the Hawaii Tourist Bureau played in directly and indirectly influencing such films and television shows as Waikiki Wedding, Diamond Head, Blue Hawaii, The Endless Summer, and Hawaii Five-O.

Market pitchers routinely transform a patch of bare ground into a sea of eager purchasers using little more than their 'gift of the gab' and some homespun 'psychology' to convince passers-by to stop and buy their goods. Employing some of the world's most successful selling techniques, in one of the oldest and most difficult of all marketing situations, their rhetoric and social skills have to equal that employed by the most accomplished salespersons, politicians and professional persuaders. Between 1984 and 1994 sociologists Clark and Pinch recorded over 75 pitching routines on street markets and other sales sites throughout the UK, mainland Europe and the United States. Using examples of pitchers attracting a crowd, describing and demonstrating their goods, building bargains, cajoling the unconvinced to make a purchase and coping with problem customers, the authors reveal, for the very first time, the reasons for these traders' extraordinary success-both on and away from the markets. Comparing their findings with more orthodox sales situations-direct response TV home shopping and infomercials, as well as other forms of grass-roots selling (fly pitching, the mock auction sales con, street entertaining and urban 'hustling')-the authors highlight many important lessons that have relevance for everyone involved in all types of marketing, advertising and persuasion.In this revised, updated and extended edition the authors also reveal why, today, pitching on markets appears to have become a dying art. Original, authoritative and highly readable, The Hard Sell is an essential and often hilarious guide for anyone who wants to understand how real-life selling really works.

A lively examination of the classic 1960s American crime show.

Why does America consistently receive such low ratings in opinion polls around the world? The answer, as Pilon explains, lies not just in America's overtly forceful actions but in the construction and presentation of its self-image. Scholars and policymakers alike will find Why America Is Such a Hard Sell both a penetrating analysis of America's current efforts in public diplomacy and a prescription for delivering a more appealing self-portrait to the world.

The Franco-Japanese coproduction Hiroshima mon amour (1959) is one of the most important films for global art cinema and for the French New Wave. In Through a Nuclear Lens, Hannah Holtzman examines this film and the transnational cycle it has inspired, as well as its legacy after the 2011 nuclear disaster at Fukushima Daiichi. In a study that includes formal and theoretical analysis, archival research, and interviews, Holtzman shows the emergence of a new kind of nuclear film, one that attends to the everyday effects of nuclear disaster and its impact on our experience of space and time. The focus on Franco-Japanese exchange in cinema since the postwar period reveals a reorientation of the primarily aesthetic preoccupations in the tradition of Japonisme to center around technological and environmental concerns. The book demonstrates how French filmmakers, ever since Hiroshima mon amour, have looked to Japan in part to better understand nuclear uncertainty in France.

The Cinematographer's Voice is a unique exploration of contemporary filmmaking and cinematography. The distillation of more than one-hundred interviews with cinematographers from around the world, and the product of a decade's worth of scholarship, the book is not only a collection of interviews with some of the world's leading cinematographers, but also a panoramic sweep of what image-making means in the era of digital cinema. Frequently, cinematography may seem intimidating as a discipline, the preserve solely of practitioners who have learned, through years of exposure to photographic technology, both the required jargon and background knowledge to comfortably engage with an often-technical field. In our present era of film studies, this is no longer the case. The interviews collected here are informative not only on matters of technique, but also on the ways in which practitioners formulate their methodologies, work with directors, and engage with the many logistical hurdles of visual storytelling. The result is an oral history of the past forty years of filmmaking and the cinematography it has produced.

White Cottage, White House examines how Classical Hollywood cinema developed and deployed Irish American masculinities to negotiate, consolidate, and reinforce hegemonic whiteness in midcentury America. Largely confined to discriminatory stereotypes during the silent era, Irish American male characters emerge as a favored identity with the introduction of sound, positioned in a variety of roles as mediators between the marginal and mainstream. The book argues that such characters function to express hegemonic whiteness as ethnicity, a socio-racial framing that kept immigrant origins and normative American values in productive tension. It traces key Irish American male types—the gangster, the priest, the cop, the sports hero, and the returning immigrant—who navigated these tensions in maintenance of an ethnic whiteness that was nonetheless "at home" in America, transforming from James Cagney's "public enemy" to John Wayne's "quiet man" in the process. Whether as figures of Depression-era social disruption, avatars of presidential patriarchy and national manhood, or allegories of postwar white flight and the nuclear family, Irish American masculinities occupied a distinctive and unrivaled visibility and role in popular American film.

Is Harpo Free? is a lively appreciation of film and television's ability to artistically explore concepts typical of philosophical metaphysics, such as free will, causality, and personal identity. Rather than using films and television programs as vehicles for philosophical arguments, the book instead celebrates the artistic ways in which they give life to various metaphysical concepts and how the artistic expression of these concepts and ideas helps us understand ourselves, the world, and our place within it. Through close analysis of a varied selection of works and their use of narrative, form, and style, Is Harpo Free? exemplifies a novel approach to appreciating the philosophical substance of films and television programs. Films and television programs discussed include A Night at the Opera; Run, Lola, Run; Shane; Harvey; Three Colours: Blue; The Americans; Dark; and Fargo.