Word: mainstreaming
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Dates: during 2000-2009
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...important as the profits were to the Mafia boys, and to FBI sleuths tracking their loot, Deep Throat did more. Long before home video, it took the recently legalized porn films out of the gutter and into the mainstream. It was the Citizen Kane of porn. Because of Deep Throat, the hardcore movie became a must-see item for the glamorati, a topic for serious debate in newspapers and magazines (including TIME; see the 1973 article "Wonder Woman") and a fun date for ordinary couples who'd never seen a sex movie...
...weekend. James S. Hoyte ’65, professor of environmental science and public policy and assistant to University President Drew G. Faust, traced the history of environmental justice in a lecture last Saturday for a group of PBHA alumni and students. Hoyte said it was essential for the mainstream environmental movement, which traditionally focused on conservation in rural and suburban areas, to connect with low-income, minority, and urban communities, which are often the most affected by environmental issues such as pollution, fuel costs, and hazardous waste disposal. “If you’re going to have...
...What advice would you give to aspiring Asian-American filmmakers who may feel ostracized from the mainstream? Jennifer Chun, Wellesley, Mass. I wouldn't try to deal with feeling ostracized. Just ask yourself, Why do you want to make films? If there's a story you really want to tell, then there are ways you can make that film...
...believes that Republicans convinced many Southerners that Democrats don't share their values because of hot-button culture issues like guns--he doesn't mention race--but he has an A rating from the NRA, and he considers himself the essence of Mississippi values. "I'm a mainstream Democrat, a rural Democrat, a middle-of-the-road Democrat," he says...
...creative peak (1959 to 1967). More to the point, “Contempt,” released in 1963, stands apart from a good portion of his other work from the period if for no other reason than it simply feels more palatable to today’s mainstream film audience. The soundtrack, scored by Georges Delerue, builds and sweeps with an epic romanticism that self-consciously apes the conventions of contemporary dramatic film. The cinematography, overseen by perennial Godard collaborator Raoul Coutard, had rarely looked more breathtaking—not only is the camera finally still (his earlier films...