Gabler

Note 25: Quoted in Gabler, Empire of Their Own, 5. back

Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood 2007

If Neal Gabler is right and "movies can no longer be the art of the middle," then all the more reason not to single-mindedly pursue the mass audience with more gaudy refinements of "plot."

Film and Literature 2007

That said, I think Neal Gabler is right to characterize Walt Disney's life as a triumph, and a quintessentially American one at that.

GreenCine Daily: Weekend books. 2006

And while Gabler is wrong to say that Schickel excoriated his subject and portrayed him as mercenary and mendacious — Schickel in fact stressed Disney’s sincerity and lack of cynicism — the sometimes jarringly intemperate Disney Version was clearly written by an iconoclastic young man in the late 1960s, although one with a remarkably nuanced critical mind.) « Previous Page

Walt's World 2006

And while Gabler is wrong to say that Schickel excoriated his subject and portrayed him as mercenary and mendacious — Schickel in fact stressed Disney’s sincerity and lack of cynicism — the sometimes jarringly intemperate Disney Version was clearly written by an iconoclastic young man in the late 1960s, although one with a remarkably nuanced critical mind.) « Previous Page

Walt's World 2006

And while Gabler is wrong to say that Schickel excoriated his subject and portrayed him as mercenary and mendacious — Schickel in fact stressed Disney’s sincerity and lack of cynicism — the sometimes jarringly intemperate Disney Version was clearly written by an iconoclastic young man in the late 1960s, although one with a remarkably nuanced critical mind.) « Previous Page

Walt's World 2006

And while Gabler is wrong to say that Schickel excoriated his subject and portrayed him as mercenary and mendacious — Schickel in fact stressed Disney’s sincerity and lack of cynicism — the sometimes jarringly intemperate Disney Version was clearly written by an iconoclastic young man in the late 1960s, although one with a remarkably nuanced critical mind.)

Walt's World 2006

Less than a year following the much publicized appearance of Gabler's Ulysses, John Kidd called Gabler's editorial procedures into question.

The New 'Ulysses': The Hidden Controversy Rossman, Charles 1988

For the discredited 1937 changes adopted by Gabler (such as Gabler's tway for Joyce's twey), Professor Futura cites Kidd's well-known paper (read April 26, 1985, society for Textual scholarship, New York) arguing that most of the changes were caused not by Joyce's intervention but by proofreading against the 1932 Hamburg setting (e.g., 1932 "15 june," 1936 "15 June," but 1937 "15 june").

'The Scandal of Ulysses': An Exchange Adams, Robert M. 1988

Film historian Neal Gabler, author of An Empire of Their Own: How the Jews Invented Hollywood, has described the anti-Semitism of Hollywood Jews in the 1930s in terms of a cultural holocaust: “Above all things, they wanted to be regarded as Americans, not Jews; they wanted to reinvent themselves here as new men.”

A Renegade History of the United States Thaddeus Russell 2010