Word: fictionalizes
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Dates: during 2000-2009
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...Kojima himself translated the works of William Saroyan and J.D. Salinger during a teaching career that began in the late 1940s. Embracing Family is the only one of his 30-plus volumes of fiction and criticism to be published in English. With his focus on family and changing times, Kojima quickly became a star of the "third generation" of Japanese novelists. Along with Shusaku Endo, Shotaro Yasuoka and others, he absorbed the staid realism of the prewar generations and added new energy and introspection. Now 91, Kojima lives quietly in Tokyo...
...1960s at UC Berkeley. Unwilling at that point to attend graduate school for filmmaking, Moss instead spent five years traveling and working. During that time, he came to realize how genuinely interested he was in film, and ended up studying film at MIT. He began working in non-fiction film, finding that “documentary filmmaking is a way to explore the world, a tool to think about the world.” Moss came to Harvard nearly 20 years ago to teach. Rather than curtail or diminish his personal filmmaking career, Moss says that being at the University...
...Hollywood’s big-budget film studios. Blockbusters like “Spiderman,” “X-Men,” and the “Fantastic Four” have merged Hollywood’s A-list with the action-saturated plotlines of childhood fiction...
...Lucas? contemporary Steven Spielberg. The majority of these pictures made their money slowly, playing first runs, then gradually reaching the smaller towns and theaters; the theatrical life of one of these crowd-pleasers might be a full year. There were genre movies, of course, but not many science-fiction films. Those were kids? stuff; movies of the 70s were for adults. Besides, special effects weren?t sophisticated enough to open viewers? eyes to the fantasy worlds its makers might be dreaming. Even Jaws, which broke a few rules by opening in a thousand or so theaters, and by reviving...
...willing to purchase. Even if this is true, it is important to note that many hip-hop devotees like the genre simply for its entertainment value and not because they support the rappers’ activities. The lyrics become lethal when the listeners fail to see a difference between fiction and reality. When this occurs, it is the hip-hop artists, and not the fans, who should be held responsible. Simply put, the artists are accountable because they are the ones who actively glorify breaking the law in their lyrics and then promote such criminality with their actual behavior...