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Dangerous Knowledge : The JFK Assassination in Art and Film

By: Simon, Art.
Material type: TextTextSeries: eBooks on Demand.Publisher: Philadelphia : Temple University Press, 2012Description: 1 online resource (298 p.).ISBN: 9781439910450.Subject(s): Arts, American | Arts, Modern -- 20th century -- United States | Kennedy, John F. (John Fitzgerald), 1917-1963 -- AssassinationGenre/Form: Electronic books.Additional physical formats: Print version:: Dangerous Knowledge : The JFK Assassination in Art and FilmDDC classification: 700.4556 | 700/.4556 LOC classification: NX652NX652 .K45 S56 2012NX652.K45S56 2012Online resources: Click here to view this ebook.
Contents:
Contents; Preface to the New Paperback Edition; Acknowledgments; Introduction: The Assassination Debates; Part One; Chapter 1. The Zapruder Film; Chapter 2. The Body; Chapter 3. Images of Oswald; Part Two; Chapter 4. The Warhol Silkscreens; Chapter 5. The Pop Camp; Chapter 6. Bruce Conner; Chapter 7. Assassination Video; Part Three; Chapter 8. Executive Action; Chapter 9. The Parallax View/Winter Kills/Blow Out; Chapter 10. JFK; Epilogue; Notes; Index
Summary: Fifty years ago, the assassination of John F. Kennedy shocked the world and focused attention to the 8mm footage shot by Abraham Zapruder. The event fueled conspiracy theories and repeated viewings of Zapruder's film as seemingly everyone in the world searched for motive and conclusive proof of a single gunman. In his new Preface to this edition of Dangerous Knowledge, Art Simon discusses public fascination with celebrity deaths and recent assassination-related media-from documentaries to scholarly books to the scandalous video game JFK Reloaded-to show that the assassination continues to inspire writers, artists, and filmmakers.Dangerous Knowledge examines the seminal works of art associated with the assassination, including Andy Warhol's silk screens, the underground films of Bruce Conner, and provocative Hollywood films like The Parallax View and JFK.  Simon's investigation places assassination art and images within a historical context-one that helps us understand what the assassination has meant to American culture.
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Contents; Preface to the New Paperback Edition; Acknowledgments; Introduction: The Assassination Debates; Part One; Chapter 1. The Zapruder Film; Chapter 2. The Body; Chapter 3. Images of Oswald; Part Two; Chapter 4. The Warhol Silkscreens; Chapter 5. The Pop Camp; Chapter 6. Bruce Conner; Chapter 7. Assassination Video; Part Three; Chapter 8. Executive Action; Chapter 9. The Parallax View/Winter Kills/Blow Out; Chapter 10. JFK; Epilogue; Notes; Index

Fifty years ago, the assassination of John F. Kennedy shocked the world and focused attention to the 8mm footage shot by Abraham Zapruder. The event fueled conspiracy theories and repeated viewings of Zapruder's film as seemingly everyone in the world searched for motive and conclusive proof of a single gunman. In his new Preface to this edition of Dangerous Knowledge, Art Simon discusses public fascination with celebrity deaths and recent assassination-related media-from documentaries to scholarly books to the scandalous video game JFK Reloaded-to show that the assassination continues to inspire writers, artists, and filmmakers.Dangerous Knowledge examines the seminal works of art associated with the assassination, including Andy Warhol's silk screens, the underground films of Bruce Conner, and provocative Hollywood films like The Parallax View and JFK.  Simon's investigation places assassination art and images within a historical context-one that helps us understand what the assassination has meant to American culture.

Description based upon print version of record.

Reviews provided by Syndetics

Library Journal Review

Beginning with a description of a poster for a punk band and ending with a critique of the movie JFK (the exemplary "Hollywood narrative discourse"), this work marshals an impressive array of cultural information in attempting to provide an overall history of the genre. Simon (Montclair State Univ.) closely examines images and films, relating them to the continuing struggle over the authoring and interpretation of the story of Kennedy's death. Sections are devoted to the journalistic evidence, including the Zapruder film; the works of avant-garde artists Andy Warhol, Bruce Connor, the Ant Farm, and what Simon calls the "Pop Camp"; and, finally, a group of Hollywood films. The author handles the films with flair, providing a chapter on the underappreciated Connor's Report, which we learn in the epilog actually inspired the entire effort. Simon's stated aim of providing a context-a history-is not clearly fulfilled, but this critical examination will no doubt interest all who continue to be fascinated by this controversy.-Jane E. Sloan, Rutgers Univ. Libs., New Brunswick, N.J. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

CHOICE Review

This study gives the initial impression of an exploration. Simon (Montclair State Univ.) indicates that he will examine the numerous images connected with the JFK assassination from three separate but interacting sites: images that informed the government's investigations and the reportage of the media (e.g., the Zapruder film); American avant-garde films and sixties pop art (e.g., Warhol's silkscreens); and commercial films that shaped--and were shaped by--the cyclical assassination debates (Executive Action, JFK, and others). The author promises both a chronological discourse and a comparison of the images by their production modes and their formal characteristics. This study will appeal to assassination buffs and others with considerable formal background in aesthetics, depth psychology and structuralist criticism of society, culture, art, and especially film/video, but this limited audience will find some serious flaws in this work. The editing is quite uneven, surprising in the distinguished "Culture and the Moving Image" series. There are misspellings and ambiguous grammatical constructions, and labored vocabulary favors the abstruse. Often the reader is confronted by terms that demand knowledge of a particular figure/theory of film criticism, but the author provides no endnotes to help the beginning or intermediate reader. Classic texts are assumed to be in the purview of the reader, and there are references to items that the reader has not seen or viewed. Olsen provides seven plates that deal with works discussed, but fails to give further visual references, a keenly felt absence in a study that makes much of the interpretation of images. Olsen's attempts to chart the interaction of art and politics, to study a line of inquiry across decades, to evaluate the "image as truth" issue to compare and contrast the same issue treated in different forms and styles, and to provoke a response to both the outrageous and overly simplistic attitudes toward the JFK assassination are all worthwhile scholarly endeavors. This reviewer wishes the undertaking had been done more thoroughly, carefully, and clearly so a wider audience could have participated. R. E. Sutton emeritus, American University

Author notes provided by Syndetics

Art Simon is Associate Professor of Film Studies in the English Department at Montclair State University and is co-editor (with Cynthia Lucia and Roy Grundmann) of The Wiley-Blackwell History of American Film .<br>

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