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Film scholar William K. Everson is profiled is with a focus on the program notes he wrote for a movie series he presented at the New School for Social Research in New York City on Friday nights between 1967 and 1995. Everson was British but lived most of his life in New York City. He never considered New York City his home and nurtured an interest in the cinema culture of his home country. His movie series did not specifically focus on British cinema, but he did screen many British films that otherwise received relatively little or no attention in the United States. His notes are thus a valuable resource for the study of British cinema.

The New York premiere of City Girl was magic - a 1 96Os equivalent of the opening of King Tut's tomb. Whenever Bill's biography will be written (it ought to; but I can't figure out who might take the challenge), the details and circumstances of his approach to film preservation might reveal the inherent complexity of the issues laying behind the well-known catchphrase, 'nitrate won't wait'. Thousands over the years attended screening of his films at the Huff Society, the New School, the Museum of Modern Art or even in the privacy of his home. [...]we contacted the major American archives - including Bill - in search of prints.

Judge [William Everson] has made the comments today during the sentencing of Mary Claire Bell, from Aurukun, north of Cairns. Bell pleaded guilty to seriously assaulting two police officers in Cairns, causing a public nuisance and possessing a drug utensil.

From the Beat poets' incarnation of the \"white Negro\" through Iron John and the Men's Movement to the paranoid masculinity of Timothy McVeigh, white men in this country have increasingly imagined themselves as victims. InTaking It Like a Man, David Savran explores the social and sexual tensions that have helped to produce this phenomenon. Beginning with the 1940s, when many white, middle-class men moved into a rule-bound, corporate culture, Savran sifts through literary, cinematic, and journalistic examples that construct the white man as victimized, feminized, internally divided, and self-destructive. Savran considers how this widely perceived loss of male power has played itself out on both psychoanalytical and political levels as he draws upon various concepts of masochism--the most counterintuitive of the so-called perversions and the one most insistently associated with femininity. Savran begins with the writings and self-mythologization of Beat writers William Burroughs, Allen Ginsberg, and Jack Kerouac. Although their independent, law-defying lifestyles seemed distinctively and ruggedly masculine, their literary art and personal relations with other men in fact allowed them to take up social and psychic positions associated with women and racial minorities. Arguing that this dissident masculinity has become increasingly central to U.S. culture, Savran analyzes the success of Sam Shepard as both writer and star, as well as the emergence of a new kind of action hero in movies likeRamboandTwister. He contends that with the limited success of the civil rights and women's movements, white masculinity has been reconfigured to reflect the fantasy that the white male has become the victim of the scant progress made by African Americans and women. Taking It Like a Manprovocatively applies psychoanalysis to history. The willingness to inflict pain upon the self, for example, serves as a measure of men's attempts to take control of their situations and their ambiguous relationship to women. Discussing S/M and sexual liberation in their historical contexts enables Savran to consider not only the psychological function of masochism but also the broader issues of political and social power as experienced by both men and women.