Word: kopkind
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Dates: during 1970-1979
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...Andrew Kopkins, Real Paper film critic "Collectivist behavior is a political act," he says, and it's hard to sustain a collective in a hostile, uncollective environment. People who try to do so, as Real Paper staffers did, feel "very isolated" --and they are soon torn between conflicting needs. Kopkind gave voice to this argument last spring, in an article in the Cambridge based. "Working Papers" magazine. His piece was a study of "alternative media" in Boston, titled "Hip Deep, in Capitalism." For the "alternative" paper or radio station, Kopkind wrote...
Clearly, the Real Paper, with a circulation of 100,000 (some of it distributed free) makes frequent bows to popular business practices in order to survive. In that sense it is part of, but estranged from, the capitalist business community that it must look to for support. Kopkind doesn't think collectively-owned newspapers are doomed, but he thinks their chances are better if they receive encouragement from the community...
Still, the Real Paper, unlike similar publications in other cities, is more often solid than not. It has the prolific Andrew kopkind, a considerable resource; Ronn Campisi, a clever graphicist; Peter Southwick, whose photography is consistently original. On longhaul local stories like the Edelin trial, the Real Paper often gives more complete and crisp coverage than even the daily Globe...
...origin. John Cassavetes's Woman was made on a relative shoestring and without big studio backing--it might not make it to Youngstown. Ohio or Kallapol, either--although It's at the Cheri here. If you missed Chuck Stephen's review of it in yesterday's Crimson, or Andy Kopkind's fine piece about it in The Real Paper last week (with a great title--"Mabie's Mad Againe"), you ought to know that It's about a working class woman gone insane in the L.A. suburbs. Cassavetes, who made Husbands Faces, and Shadows, concentrates not on the origins...
...Stone saw that theatrical caper break the 'choreographed' confrontations of Committeemen and Communists that punctuated his own haunted Fifties," Kopkind writes. "By refusing to dance the part of fearful, trembling witness, Rubin and his troupe helped destroy an all-too-hallowed set piece...