Black Sunday Cast
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Black Sunday
From the genius of Thomas Harris, the #1 New York Times bestselling author who introduced the world to Hannibal Lecter, comes the terrifying and prophetic novel that set the standard for international suspense and heralded one of the most arresting voices in contemporary fiction. It’s the event of the year. Eighty thousand fans have converged in New Orleans for Super Bowl Sunday. Among them is a young man named Michael Lander. But he has not come to watch the game. A tool for a radical terrorist group, he’s has come to play one. To enact revenge. To feed the rage of others. And the whole world will be watching. Unless someone stops him. But first, they have to find him.
The Espionage Filmography
From Sean Connery to Roy Rogers, from comedy to political satire, films that include espionage as a plot device run the gamut of actors and styles. More than just "spy movies," espionage films have evolved over the history of cinema and American culture, from stereotypical foreign spy themes, to patriotic star features, to the Cold War plotlines of the sixties, and most recently to the sexy, slick films of the nineties. This filmography comprehensively catalogs movies involving elements of espionage. Each entry includes release date, running time, alternate titles, cast and crew, a brief synopsis, and commentary. An introduction analyzes the development of these films and their reflection of the changing culture that spawned them.
Reimagining the Promised Land
Author: Rodney Wallis
language: en
Publisher: Bloomsbury Publishing USA
Release Date: 2020-09-17
While Israel has seemingly been a minor presence in Hollywood cinema, Reimagining the Promised Land argues that there is a long history of Hollywood deploying images of Israel as a means of articulating an idealized notion of American national identity. This argument is developed through readings of The Ten Commandments (Cecil B. DeMille, 1956), Ben-Hur: A Tale of the Christ (William Wyler, 1959), Exodus (Otto Preminger, 1960), Cast a Giant Shadow (Melville Shavelson, 1966), Black Sunday (John Frankenheimer, 1977), The Delta Force (Menahem Golan, 1986), and Munich (Steven Spielberg, 2005). The mobilization of Israel that pervades this eclectic group of films effectively demonstrates one of the more surreptitious ways in which Hollywood has historically constructed and circulated dominant notions of American national identity. Moreover, in examining the most notable Hollywood representations of the Jewish state, the book offers an informed historical overview of the cultural forces that have contributed to popular understandings within the United States of the state of Israel, Israel's Arab neighbours, and also the Arab-Israeli conflict.