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The New York Post has been criticized for publishing the photograph of 58-year-old… (Newseum )On Tuesday, New Yorkers awoke to a gruesome New York Post cover photo.
DAILY NEWS New York News Politics Sports Entertainment Opinion Living Autos Search U.S. The program started out as usual, with Cronkite introducing the big news of the day - a report on President Reagana€™s press conference.
Meanwhile, work crews were preparing to put finishing cosmetic touches to the famed studio.
On Monday, the first day when Cronkite will be free to have dinner at 7 with the rest of the country, he will take off for Washington for business and pleasure.
The restored Kaufman Astoria Studios show the rebirth of New York as a production center, an effect of and a cause for increased use as a location.
Bonnie and Clyde marked the arrival of the New Hollywood Era, ushering in a director-driven economic model.
Irene Cara sang the hit theme song from Fame to the benefit of the film, while the film also benefitted from the popular music hit.
The Byrds album, The Ballad of Easy Rider, derived from and enhanced the success of the film. RCA introduces television at the 1939 NY World's Fair, signaling a new era in broadcasting and the role of New York City in that world. Howard Beale broadcasts to the masses, telling them the news and, later, his views on the news.
Tony Manero flaunts his dancing moves in Saturday Night Fever, revealing his local celebrity, but merely local. Joe Gideon displays the ravages of success in All That Jazz, giving all he has for success in the theater and film.
Network: The UBS network welcomes black radicals to its New York headquarters in hopes of developing a show based on their exploits. The Gentrified South Street dock area shows the new New York City, a city where tourism is commerce.
This essay treats a group of films shot primarily in New York City from 1976 to 1980 that focus substantially on the entertainment industry. The productions I consider include Network (1976), Saturday Night Fever (1977), New York, New York (1977), All that Jazz (1979), and Fame (1980). In considering such spatial relations, I am particularly interested in the way these films articulate a historically-situated depiction of relative space.
More salient is film’s ability to preserve, a quality consonant with the nature of film technology and visible at its inception in the late nineteenth century.
Furthermore, since space can be understood as a plastic concept, its representation would of course be sensitive to historical currents. New York’s prominence in these films did not just come about because of a shift in world commerce. Prior to Lindsay’s initiative, location shoots in New York City for major Hollywood productions were bureaucratically forbidding. This boom in production also resulted in the refurbishing of the old Astoria studio, which reopened in 1975. Technological developments in the 1960s that made cameras and processing equipment lighter and more mobile also encouraged location shoots. As the films assert a necessary increase in the scale of marketing and distribution of media products, such a view can be seen in terms of a longer historical perspective. This tendency towards an increasingly global vision of product distribution can also be seen in the shift of the U.S. Key in this approach was Hollywood’s eye towards films that could be pre-sold to international markets. These films tell of the necessity of one’s disembodied presence in the center of an international grid of communications. New York also has a significant history as a center of the early film industry, which did not take up residence in California until after 1910. These films provide an encyclopedic view of the entertainment industry, as they reference any number of popular forms and suggest the further trajectory of each—in New York and in the world beyond. Such a bifurcation has the effect of shrinking the city-of-success and defining it as largely unavailable to those outside of its upper classes. The definition of the entertainment business we find in these films emphasizes New York’s role in a national and international grid of communications that enables a geometric increase in potential markets.
Such capacity, along with the demise of the industrial sector, meant that New York’s economy had overwhelmingly become tied to information industries. We do see, however, that the educational system remains a powerful lure to those who seek to insulate themselves from the uncertainty of the Post-Fordist moment. Thus, industrial production could take place in any number of places and employ any number of organizational forms, from women sewing in small Indonesian factories and sending their product ultimately to be finished in China, to workers in a store front in Los Angeles making micro-processors for computers made in Taiwan. With the resulting decline of the need for productive enterprise in the outer boroughs, these Post-Fordist films not only define places like Brooklyn and the Bronx as peripheral, they also powerfully delineate sections of Manhattan as central and connoting an emerging way of life. She describes the restructuring of urban locales that were formerly the sites of productive industry into places of performance, rehearsal halls, and studio space. Zukin explores the role of historic preservation in creating a kind of ambiance in the gentrifying city.
Such a vision of land use and commerce necessarily glamorizes the deindustrialized urban landscape. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License. The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. Throughout the duration of the exhibition Warhol: Headlines, many objects from the museum's extensive archives will be on display. In parallel, the Warhol museum will transmit the headlines from these archival pieces across its social media presences on Facebook and Twitter. This exhibition has been made possible through the generous support of and The Horace W. OFFICIALS have cancelled a New Year’s Eve celebration in New York at the last minute after the FBI foiled an alleged ISIS plot to carry out an attack in a restaurant. The charge carries a maximum penalty of 20 years in prison and a $250,000 fine.Assistant Attorney General for National Security John P. FORMER Love Island babe Hannah Elizabeth has taken to Instagram to show off her killer body.


Adam Johnson has been snapped in one of the last images he'll share with his one-year-old daughter before an inevitable prison sentence. A MAN sleeping with someone else's wife thought he got away with it when he escaped from a neighbour's balcony. The former college player of the year from BYU appeared in two games for the Knicks after being signed Feb.
The photo, which fills most of the page, depicts a man trapped on the New York City subway tracks, awaiting an oncoming train that would eventually take his life.a€?Pushed on the subway track, this man is about to die,a€? the headline says.
But viewers had to wait until the final minute or so of the broadcast to hear Cronkitea€™s farewell message. 57th St., where the program originates, were Cronkitea€™s wife, Betsy, and their three children, Nancy and Kathy, both actresses, and Walter Leland 3d, better known as Chip, and independent filmmaker.
The backdrop will be repainted over the weekend from beige (which flattered Cronkite) to blue-gray, which is better for Rather, who is known as the a€?Six-Million-Dollar-Mana€? because of his reported salary of that figure over the next five years. It will be elevated slightly for Rather, who is about the same height as Cronkite (six feet) but smaller framed. The White House already had given him a champagne toast earlier this week after he finished his TV chat with the President. While I am not proposing a naïvely realist reading strategy, I am making a case for the historicity of these visual texts. Given the status of films as works that are explicitly of the period they depict, they tend to act to preserve their moment of conception and production, even as they appear, from the vantage point of the 2000s, to restore a moment now in the historical past. To take the time and locale I am considering here, New York City in the 1970s was very much a locale in flux as its relative connections to proximate and far-flung locales shifted. After 1966, and particularly after 1969, New York City served as a major site of film production. Producers were run through a maze of offices in search of multiple permits, and then faced high policing costs, further expenditure in bribes, and various other types of corruption.
Film production provided a clean industry to a city that was in the process of losing all types of productive enterprise. Indeed, a more mobile visual style distinguished many of these films from those on-location productions that had preceded them.[10] In the 1960s technological changes allowed for smaller tape recorders and cameras. Specifically, the film narratives focus on the entertainment industry and more broadly the domain of mass communications and New York City’s relative place in it. Now success must extend beyond the immediate and local: to simply perform before live audiences is not sufficient.
Seeking to globally increase marketing and distribution had its basis in early twentieth century film distribution, but it was enhanced significantly by the United States’ central role in the post-World War II international economy. Such a strategy also involved the cross marketing of films and popular music, a phenomenon we can see at work in at least three of these films—Fame and New York, New York, and most successfully in Saturday Night Fever. But this enhancement builds on New York City’s historical status as a center of entertainment, dating back to its nineteenth century emergence as a center of population and commerce. Even when Hollywood became synonymous with commercial film production and distribution after 1920, New York remained an important cog in the industry’s business structure throughout. Network depicts the world of television news and entertainment, showing in its satirical form how news becomes entertainment and how freakish spectacle attracts audiences who have ceased to be curious about the world.
Success becomes its own arbiter and a means to wealth and centrality in a particular industry.
In effect, we are provided a before and after vision of time—social mobility is a thing of the past and aspiration both perpetual and futile. Commensurate with this vision, the city’s more general turn-around largely stemmed from its relative advantage in telecommunications technology.
And those industries, unlike the city’s pre-World War II manufacturing economy, provided relatively fewer overall jobs and relatively fewer opportunities for those without significant intellectual capital. Post-Fordism is an epoch that responds to the crisis of over-accumulation that marked the 1960s. The ramifications of this shift in productive system had all types of effects, impacting class, perceptions of space at all scales, and relative economic mobility.
Subsequently, as a result of the after-glow of their involvement with the valorized world of art, and the sanitizing of these districts by both their artist residents and the city’s officials, many of these spaces soon served as expensive housing for those in the financial sector and those who provided skilled services to those in that sector.
This vision of preservation reminds us, as Philip Rosen notes, that such an activity has as its object a sense of the past that provides for apparent continuity. The result is a city that derives some aspects of its cultural prestige from its exclusiveness and its ability to preserve its formerly useful structures as iconic. In particular, the hundreds of newspaper clippings contained in Warhola€™s Time Capsule 170 will rotate week-to-week to limit their exposure to light. Also in newsroom were Bill Leonard, president of CBS News, and Rather, Cronkitea€™s successor, who starts work Monday.
In historical retrospect, the films seem prescient in their definition of that city as a global center. The reasons for this came about because of a way that film history intersected with urban history. James Sanders tells us that in 1965 only two features were shot in New York in their entirety. In the early 1970s the introduction of the decidedly more mobile cameras marked a large leap forward. All the scripts project outward to a media market defined by reduced definitions of art and expanded visions of commerce. By the time the films I am considering were released, Hollywood had largely recovered from the economic slump of the late 1960 and early the 1970s.
After World War II, as television became a dominant form of entertainment, TV’s production and business functions were initially centered in New York.
In New York, New York and Fame the looming seduction of Hollywood influences all represented artistic endeavors.
New York in its central Manhattan contours is defined by its influence in distant space, which is a matter of its means of electronic dissemination and a function of its access to capital. Its extensive network capacity allowed for communication with financial centers all over the world. She goes on to note that the AMP also depresses the value of labor, as aspiring participants in this world agree to under-employment or unemployment as they try to penetrate this arena of cultural chic, and that under-employment becomes a broader low-wage model for other sectors of the economy. The emphasis on the architecture of the past, the aesthetization of structures dating from the Fordist era, allows for a theme park-like effect in certain areas.
Thus, these films about entertainment powerfully participate in this emerging geographic and economic rearticulation of space, culture, and class.


They also anticipate its further depiction in film and television, whether in the Sex and the City franchise (television 1998-2004, films in 2008 and 2010), the very popular Mad Men (television 2007-), Bright Lights, Big City (1988), even Spike Lee’s under-rated Bamboozled (2000). Indeed, the way these films articulate discrete and related spaces provides a conceptual map of connections between New York and a range of proximate and far-flung locales. However, relative degrees of mediation exist between represented objects and the thing itself. New York City had declined as a manufacturing center in the 1950s and 1960s and also experienced a related flight of the middle class. In the later 1970s, the Steadicam effectively could capture movement and express that movement in less scripted ways than had been possible just ten years before. Network (1976) falls somewhere in the middle, with a number of studio shots complemented by a number of discernible New York City locations.
By the 1960s, ABC-International was part owner of 54 Latin American and other Third World television stations in 24 countries” (37). Its economic recovery then allowed for the rise of the New Hollywood era of film production, in which independent producers and young directors had newly gained power to develop and shape their film projects. Plays, concerts, and lectures were performed by individuals in proximity to a crowd and then publicized both through word of mouth and the emerging popular press. This was largely a matter of executives viewing this new mass medium as an heir to radio, so they often employed the same theaters that had been the points of origin for radio shows. But there is great distance between Tony, that film’s protagonist, and the polished executives of the recording industry in Manhattan. And while broader international success is certainly connected with Hollywood, both films emphasize the cost of such aspiration. But for those outside of this charmed circle, possibility is restricted to a far more modest set of circumstances. In keeping with the restructuring of New York, and to a degree the national employment market, the films largely articulate a bifurcated system.
The forms of the past are reified into a nostalgic gloss with no regard for the problems created and expressed by the altered function of that built environment. Ia€™ll be away on assignment and Dan Rather will be sitting in here for the next few years. As a consequence, the prospect of meeting the city’s considerable financial obligations appeared particularly daunting for successive New York City mayors. And the two films that employ the fewest actual shots of the city are also the most personal projects of this list. It was a time when New York’s place in a broad international system of trade was being enhanced as a result of its extensive and burgeoning means of communication.
It is no accident that this film was perfect for the largest age segment of the film audience, 12 to 22.[17] Saturday Night Fever was a major hit, while the other two were solid successes, with grosses around $20 million dollars.
Gradually these New York entertainments were marketed and transported to regions beyond, with the relative New York success of performers serving as an imprint of the show’s desirability. Television was also a medium for live drama, as New York provided access to stage actors and its sound stages and theaters provided venues for performance. This recurring assertion accounts for a number of elements that are fairly constant in the five films, including the relative valorizing of electronically-disseminated performances. This depiction of the remoteness of success from failure, even as the two poles exist in relatively proximate physical space, results in a surprising emphasis on education as a means of mobility.
For example, the redesigned South Street Seaport ceased to be a working port at all, but it now has become the site of restaurants, hotels, and stores where goods made elsewhere could be readily purchased. Film cannot restore the remnants of the past and make them a vital, if ersatz, testimony to the qualities of that object and era.
In the later decade, studios produced relatively fewer films but sought to maximize profit from each.
Fame also benefited from its soundtrack, with the title song receiving an academy award for Best Original Song, as it rose to number 4 on the Billboard charts. These elements were further enhanced by the emergence of a New York-centered advertising industry around the turn of the century, and an industry that burgeoned with the rise of radio after the 1920s.
But as the network era developed in the mid 1950s and economies of scale became the industry standard, the model for production moved from live performance to film and videotape. This perception also asserts a New York that reserves its place in entertainment as an incubator for talent, a center for creativity, and a center for business. That New York is the site and topic of many films during the 1970s reveals the fact that the city remained a vital entity in both the global and national entertainment sector in the mid- and late-century. Fame is explicitly about a secondary school for young performers, dwelling on the means by which they are disciplined both by their exacting teachers and by the strictures of peer culture. As a result, television increasingly took advantage of the production facilities available in California. But despite that relative boom, these efforts in the realm of cinema were proportionately minuscule in comparison to those productions shot on the West Coast.
Similarly, Saturday Night Fever places post-secondary education as crucial in its broad depiction of the drama of class mobility, defining it as a key element of aspiration and hope. NBC preceded its rival; it was spawned by RCA as a means of creating a market for its invention. And though New York remained an important city in show business, by the 1970s that centrality was at least in doubt and perhaps in eclipse. As a result New York becomes a cog within a larger system, in effect, two distinct cities—that of performance and entertainment, and that of the entertainment business.
Further, by the 1980s many location shoots, even of films ostensibly set in New York, had moved on to lower-priced non-union locations, such as Toronto, Cincinnati, Indianapolis, and other locales.
But the question of whether a formal credential can either enable success in the entertainment industry or provide a clear path to a viable alternative remains unanswered in these films.
I am appalled,a€? Joseph Monte wrote in a comment on the Posta€™s website.Han attempted to get back onto the platform, the Post reported, but was crushed between the side of the platform and the train, which could not stop in time. On Tuesday, the Poynter InstituteA published a post that provided a roundup of comments from journalists.a€?Sickening rubber-necking front page from the New York Post.



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