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Summary
Summary
Reeling Through Life- How I Learned to Live, Love, and Die at the Movies looks at how film shapes identity. Through ten cleverly constructed essays, Ison explores how a lifetime of movie-watching has, for better or worse, taught her how to navigate the world and how to grapple with issues of career, family, faith, illness, sex, and love.
Cinema is a universal cultural experience, one that floods our senses with images and sounds, a powerful force that influences our perspective on the world around us. Ison discusses the universal aspects of film as she makes them personal, looking at how certain films across time shaped and molded who she has become. Drawing on a wide ranging catalog of films, both cult and classic, popular and art-house, Reeling Through Life examines how cinema shapes our views on how to make love, how to deal with mental illness, how to be Jewish, how to be a woman, how to be a drunk, and how to die with style.
Rather than being a means of escape or object of mere entertainment, Ison posits that cinema is a more engaging form of art, a way to slip into other identities and inhabit other realities. A way to orient oneself into the world. Reeling Though Life is a compelling look at one popular art form and how it has influenced our identities in provocative and important ways.
Reviews (1)
Booklist Review
Ison, self-proclaimed child of the movies, was exposed to film at an early age, her young, impressionable mind absorbing the rich imagery, the larger-than-life stories, the bold characters, and the subtle (and sometimes not-so-subtle) messages of the big screen. For Ison, going to the movies was an education, a primer on life's big events. Films like One Flew Over the Cuckoo's Nest taught her about mental illness and, for better or worse, that film was a point of reference for her own bouts with depression. Watching Taxi Driver and Pretty Baby at the cusp of adolescence shaped her notions of sexuality and empowerment, while The Graduate, Harold and Maude, and The Last Picture Show informed her perspective when, before turning 50, a much younger man initiated a relationship with her. Ison is keenly aware of how cinema's massive power molds us, teaches how to love, to drink, and to die. We look to Hollywood for cues as to how to behave, for role models, she points out, but sometimes it comes up short what films demonstrate how to be determinedly and happily independent? Confessional, honest, and humorous, Reeling through Life is an engrossing memoir and a guide to essential film, albeit one with plenty of spoilers.--Segedin, Ben Copyright 2014 Booklist
Table of Contents
| Introduction | p. 1 |
| How to Go Crazy | p. 7 |
| One Flew Over the Cuckoo's Nest | |
| Frances | |
| Suddenly, Last Summer | |
| The Snake Pit | |
| An Angel at My Table | |
| Planet of the Apes | |
| Girl, Interrupted | |
| A Beautiful Mind | |
| How to Be Lolita | p. 39 |
| The Prime of Miss Jean Brodie | |
| Taxi Driver Bugsy Malone | |
| Pretty Baby | |
| Lolita | |
| Manhattan | |
| How to Be a Jew | p. 59 |
| Fiddler on the Roof: The Ten Commandments | |
| Jesus Christ, Superstar | |
| The Odessa File | |
| The Chosen | |
| How to Lose Your Virginity | p. 115 |
| Romeo and Juliet | |
| Little Darlings: Fast Times at Ridgemont High | |
| The Other Side of Midnight: Coming Home: Don't Look Now-, Looking for Mr. Goodban All That Jazz | |
| Body Heat: Last Tango in Paris | |
| How to Be a Drunk | p. 131 |
| Sarah T.-Portrait of a Teenage Alcoholic | |
| The Lost Weekend | |
| Arthur | |
| Days of Wine and Roses | |
| When a Man Loves a Woman | |
| Who's Afraid of Virginia Woolf | |
| Valley of the Dolls | |
| The Morning After | |
| The Lonely Passion of Judith Hearne | |
| Opening Night | |
| Bridget Jones's Diary | |
| Breakfast at Tiffany's | |
| Raiders of the Lost Ark | |
| Leaving Las Vegas | |
| Flight | |
| How to be a Slut | p. 187 |
| Doctor Zhivago | |
| Jerry Maguire | |
| Annie Hall | |
| Erin Brockovich | |
| Norma Rae | |
| Slikwood | |
| Mahogany | |
| Bridget Jones's Diary | |
| Bridget Jones-. The Edge of Reason | |
| Bridesmaids | |
| Fata! Attraction | |
| The Devil Wears Prada | |
| Working Girt | |
| Up in the Air. Thelma S Louise | |
| Looking for Mr. Goodbor | |
| Dressed to Kill | |
| An Unmarried Woman | |
| Private Benjamin | |
| How to Die with Style | p. 203 |
| Love Story | |
| Dark Victory | |
| Harold and Maude, Soylent Green | |
| All That Jazz | |
| Anne of the Thousand Days | |
| I Want to Live! | |
| in Cold Blood | |
| Dead Man Walking | |
| The Green Mile | |
| Butch Cassidy and the Sundance Kid | |
| Thelma & Louise | |
| Gallipoli | |
| Glory | |
| Saving Private Ryan | |
| Terms of Endearment | |
| Million Dollar Baby | |
| The English Patient | |
| How to be Mrs. Robinson | p. 245 |
| The Graduate | |
| Class | |
| Notes on a Scandal | |
| The Reader | |
| Summer of '42 | |
| My Tutor, The Roman Spring of Mrs. Stone: The Last Picture Show | |
| 40 Carats | |
| White Palace | |
| Something's Gotta Give | |
| How Stella Got Her Groove Back | |
| Don Jon | |
| Harold and Maude: Texasville | |
| How to be a Writer | p. 267 |
| Julia | |
| The Shining | |
| Rich and Famous-, Reds,- Doctor Zhivago | |
| Sophie's Choice | |
| The World According to Garp | |
| Sunset Boulevard | |
| The Big Picture | |
| Barton Fink | |
| Sullivan's Travels | |
| Wonder Boys | |
| Acknowledgments | p. 307 |