DOCSLIB.ORG

PTFF 2006 Were Shot Digitally and Edited in a Living Room Somewhere

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

22 00 00 00 PP TT TT FF ~~ 22 00 00 66 22 00 00 11 22 00 00 66 PP oo r r t t TT oo ww nn ss ee nn dd FF i i l l mm FF ee ss t t i i vv aa l l - - SS ee pp t t ee mmbb ee r r 11 55 - - 11 77 , , 22 00 00 66 22 00 00 22 GGrreeeettiinnggss ffrroomm tthhee DDiirreeccttoorr 22 00 00 33 It is only human to want to improve, so each year the Port Townsend Film Festival continues to tweak its programming. In what 22 00 00 44 sometimes feels like a compulsive drive to create the perfect Festival, we add things one place, subtract in another, but mostly we 22 00 00 55 just add. Since our first year in 2000, we have added to our programming, in roughly chronological order: films of topical 22 00 00 66 interest, the extension of Taylor Street Outdoor Movies to Sunday 22 00 00 77 night, Almost Midnight movies, street musicians, Formative Films, the San Francisco-based National Public Radio program West Coast 22 00 00 88 Live!, the First Features sidebar, the continuous-run Drop-In Theatre, the Kids Film Camp, and A Moveable Fest, taking four Festival films 22 00 00 99 to the Historic Lynwood Theatre on Bainbridge Island. For 2006, we're adding two more innovations 22 00 11 00 advanced tickets sales, and 22 00 11 11 the Festival's own trailer. 22 00 11 22 The Festival has often been criticized for relying on passes and last minute "rush" tickets for box 22 00 11 33 office sales, so this year the Festival is selling a limited number of advance tickets for screenings at our largest venue, the Broughton Theatre at the high school. If successful, advance ticket sales will likely be extended to all venues in future years. FFeeaattuurreedd GGuueesstt:: Jane Powell Moviegoers who attend other Festivals will know that most larger Festivals introduce each movie with a trailer to celebrate both the event and its sponsors. Some are clever, some are boring, almost SSppeecciiaall GGuueessttss all become tiresome by the end of the Festival. But we have a treat for Port Townsend Festival- Dickie Moore; Eric Webber, goers. Inspired by Richard Miller's poster photograph, Festival founder, board member and "Second Best"; Michael Shoob, filmmaker Jim Ewing pioneered the effort and, along with board member and filmmaker Ian Hinkle, "Bush's Brain"; Mimi Gan, "With is directing and producing a set of 52 unique trailers for screening before each film at the indoor Honors Denied"; Todd venues. Pottinger, "Big City Dick" with musician Richard Peterson; Like all filmmaking, the trailers are a true collaboration. We are especially grateful to Peter Lack, a Kevin Purrone; author Tom gifted musician and a fine composer, for writing and recording four original soundtracks that bring Robbins; Robert Horton. an essential drive to the work, moving it from special to extraordinary. And the photographs incorporated into the trailer come from the body of work created by our team of photographers FF oo uu nn dd ee rr ss from 2005: Elizabeth Becker, Luke Bogues, David Conklin, and Harvindar Singh. This is entirely a Jim Ewing volunteer effort for which the Festival is most grateful. Rocky Friedman Jim Westall It's our way of saying thank you to our year-round sponsors, the venue sponsors, and film sponsors. Linda Yakush Of course there are many more sponsors who we thank in other ways. We hope you will enjoy each trailer you see and that they will prompt you to say thanks to these essential benefactors with a EExxeeccuuttiivvee DDiirreeccttoorr:: round of applause somewhere along the way. Peter Simpson Peter Simpson PPrrooggrraammmmiinngg DDiirreeccttoorr Executive Director Linda Marie Yakush PPoosstteerr AArrttiisstt -- RRIICCHHAARRDD MMIILLLLEERR OOppeerraattiioonnss DDiirreeccttoorr Nancy Sendler Each year, the Port Townsend Film Festival selects a local artist to provide the image for that year's poster. Richard Miller is the artist for FFeessttiivvaall BBooaarrdd the 7th annual event, joining Marii Lockwood (2001), John Craig (2002), John Considine Steven Z. Kennel (2003), two-timer Max Grover (2000, 2004), and Linda Jim Ewing Okazaki (2005) in the pantheon of Festival artists. Jim Grabicki Glenda Hultman Geerlofs Photography was a male right of passage in Richard Miller's family. Both Karen Gates Hildt his grandfather and his father were serious amateur photographers. He President spent many hours as a child watching prints emerge from the Toby Jordan, Vice President developer in his grandfather's bathroom/darkroom or sorting through Jim Marshall his father's glass slides of Yosemite and Death Valley, holding them up Cynthia Sears to the window to see. As a teenager, he inherited his brother's Peter Simpson basement darkroom and enlarger when his brother went away to college. Richard's first cameras were his grandfather's World War II era Zeiss Ikon and his father's Rollei from the 50s. SS pp oo nn ss oo r r ss Port Townsend Paper Corp. "Growing up near Yosemite in the1960s and '70s, I idolized Ansel Adams, read his books, hiked in Rose Theatre his mountains and imitated his style," Miller recalls. The Leader Skookum He inherited his love of photography from his father. Denotes Film in PTFF "Ironically, I also inherited a genetic atrophy of the optic nerve that has left me legally blind for most Library of my life," he says. "Not wanting to challenge my obvious physical limitations, I pursued academics." He received a BA in History with an emphasis on American cultural history from the University of California at Santa Cruz in 1979. Check out up to three videos or DVDs from our exclusive At age 30, throwing logic aside, he returned to school to study advertising photography at Rochester festival collection and keep Institute of Technology. them for up to three business days. About his inspiration for the Film Festival poster image, Miller says "that on the ordinary level I wanted to express that wonderful feeling of watching a classic movie under the stars on Taylor Street while sitting on a straw bale." "At a deeper level I wanted to explore how the process of projection, whether in the human mind or in the cinema, allows our fantasies to emerge out of light and become real." After watching 15 films in 48 hours, the line between reality and projected reality can blur, and "for me that can be a lot of fun." "Just watch out for the gorillas," he added. Richard Miller's work can be viewed at Gallery 9 at 1012 Water St. Awards TThhrreeee--DDaayy PPrrooggrraamm SScchheedduullee PDF DD oo ww nn l l oo a a dd (100 KB) The complete 7th annual Port Townsend Film Festival program is announced August 30. Check back here for periodic updates or sign up for our newsletter to receive up-to the minute programming and guest announcements Special Programs A Very Special Evening with Malcolm McDowell - IF... Formative Films with Robert Osborne - Laura Opening Night Film - LOL Closing Night Film - The Whales of August Almost Midnight Movies! - A Clockwork Orange and Brazil Silent Movie - Hell's Heroes Silent Movie - Show People Film 2880 - 2006 AA VV EE RR YY SS PP EE CC II AA LL EE VV EE NN II NN GG WWII TT HH MMAA LL CC OO LL MM MMCC DD OO WWEE LL LL hhoosstteedd bbyy RRoobbeerrtt KK.. HHoorrttoonn IIFF...... Using the culture of hazing and persecutions among students and teachers in the British public school system as its metaphor, IF... is a study of revolution against an autocracy that denies individual freedom, a revolution symbolized by Mike Travis (Malcolm McDowell) demanding, "When do we live?" Subject to ever escalating punishments, the students are beaten one by one with a cane after which they are expected to "thank" their tormenter. Ultimately, a group of students headed by Travis discovers a cache of automatic weapons, which they put to use in bloody counter-attack. UU KK , , 11 99 77 11 , , 11 11 11 mmi i nn . Director: Lindsay Anderson; Producer: Lindsay Anderson, Michael Medwin; Screenwriter: David Sherwin, John Howlett; Cinematographer: Miroslave Ondricek; Cast: Malcolm McDowell, David Wood, Richard Warwick, Christine Noonan, Mona Washburn; Print Source: Paramount SS PP OO NN SS OO RR : : Puget Sound Energy FF OORR MMAA TT I I VV EE FF I I LL MMSS wwiitthh TTuurrnneerr CCllaassssiicc MMoovviieess hhoosstt RRoobbeerrtt OOssbboorrnnee All movie-lovers have favorite films, movies that have touched them in some way, creating a response that remains with them since first viewing. This year's Formative Film curator is Robert Osborne, who as a film historian is so associated with classic movies he might as well have coined the term. After struggling to be a film actor with little success, at the suggestion of his mentor Lucille Ball, he turned to his second love: writing about movies. In 1965 he wrote the first of several official histories of the Oscar® at the request of the Academy of Motion Picture Arts & Sciences. He maintains a weekly column in the Hollywood Reporter, but he is best known as the prime-time host of Turner Classic Movies where he delivers his vast and intimate knowledge in introductions before almost every film. Robert has been a long-time friend of the Rose Theatre and the Port Townsend Film Festival, returning this year for the fourth time. Robert was a teenager when he saw what became one of his favorite films, Laura. LL AA UU RR AA Laura, a 1944 film noir, tells the story of a police detective who falls in love with the portrait of a woman who has been murdered.
Recommended publications
  • August 26, 2014 (Series 29: 1) D.W

    August 26, 2014 (Series 29: 1) D.W

    August 26, 2014 (Series 29: 1) D.W. Griffith, BROKEN BLOSSOMS, OR THE YELLOW MAN AND THE GIRL (1919, 90 minutes) Directed, written and produced by D.W. Griffith Based on a story by Thomas Burke Cinematography by G.W. Bitzer Film Editing by James Smith Lillian Gish ... Lucy - The Girl Richard Barthelmess ... The Yellow Man Donald Crisp ... Battling Burrows D.W. Griffith (director) (b. David Llewelyn Wark Griffith, January 22, 1875 in LaGrange, Kentucky—d. July 23, 1948 (age 73) in Hollywood, Los Angeles, California) won an Honorary Academy Award in 1936. He has 520 director credits, the first of which was a short, The Adventures of Dollie, in 1908, and the last of which was The Struggle in 1931. Some of his other films are 1930 Abraham Lincoln, 1929 Lady of the Pavements, 1928 The Battle of the Sexes, 1928 Drums of Love, 1926 The Sorrows of Satan, 1925 That Royle Girl, 1925 Sally of the Sawdust, 1924 Darkened Vales (Short), 1911 The Squaw's Love (Short), 1911 Isn't Life Wonderful, 1924 America, 1923 The White Rose, 1921 Bobby, the Coward (Short), 1911 The Primal Call (Short), 1911 Orphans of the Storm, 1920 Way Down East, 1920 The Love Enoch Arden: Part II (Short), and 1911 Enoch Arden: Part I Flower, 1920 The Idol Dancer, 1919 The Greatest Question, (Short). 1919 Scarlet Days, 1919 The Mother and the Law, 1919 The Fall In 1908, his first year as a director, he did 49 films, of Babylon, 1919 Broken Blossoms or The Yellow Man and the some of which were 1908 The Feud and the Turkey (Short), 1908 Girl, 1918 The Greatest Thing in Life, 1918 Hearts of the World, A Woman's Way (Short), 1908 The Ingrate (Short), 1908 The 1916 Intolerance: Love's Struggle Throughout the Ages, 1915 Taming of the Shrew (Short), 1908 The Call of the Wild (Short), The Birth of a Nation, 1914 The Escape, 1914 Home, Sweet 1908 Romance of a Jewess (Short), 1908 The Planter's Wife Home, 1914 The Massacre (Short), 1913 The Mistake (Short), (Short), 1908 The Vaquero's Vow (Short), 1908 Ingomar, the and 1912 Grannie.
  • Boxoffice Records: Season 1937-1938 (1938)

    Boxoffice Records: Season 1937-1938 (1938)

    ' zm. v<W SELZNICK INTERNATIONAL JANET DOUGLAS PAULETTE GAYNOR FAIRBANKS, JR. GODDARD in "THE YOUNG IN HEART” with Roland Young ' Billie Burke and introducing Richard Carlson and Minnie Dupree Screen Play by Paul Osborn Adaptation by Charles Bennett Directed by Richard Wallace CAROLE LOMBARD and JAMES STEWART in "MADE FOR EACH OTHER ” Story and Screen Play by Jo Swerling Directed by John Cromwell IN PREPARATION: “GONE WITH THE WIND ” Screen Play by Sidney Howard Director, George Cukor Producer DAVID O. SELZNICK /x/HAT price personality? That question is everlastingly applied in the evaluation of the prime fac- tors in the making of motion pictures. It is applied to the star, the producer, the director, the writer and the other human ingredients that combine in the production of a motion picture. • And for all alike there is a common denominator—the boxoffice. • It has often been stated that each per- sonality is as good as his or her last picture. But it is unfair to make an evaluation on such a basis. The average for a season, based on intakes at the boxoffices throughout the land, is the more reliable measuring stick. • To render a service heretofore lacking, the publishers of BOXOFFICE have surveyed the field of the motion picture theatre and herein present BOXOFFICE RECORDS that tell their own important story. BEN SHLYEN, Publisher MAURICE KANN, Editor Records is published annually by Associated Publica- tions at Ninth and Van Brunt, Kansas City, Mo. PRICE TWO DOLLARS Hollywood Office: 6404 Hollywood Blvd., Ivan Spear, Manager. New York Office: 9 Rockefeller Plaza, J.

  • Summer Classic Film Series, Now in Its 43Rd Year

    Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre.
  • February 4, 2020 (XL:2) Lloyd Bacon: 42ND STREET (1933, 89M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links

    February 4, 2020 (XL:2) Lloyd Bacon: 42ND STREET (1933, 89M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links

    February 4, 2020 (XL:2) Lloyd Bacon: 42ND STREET (1933, 89m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Lloyd Bacon WRITING Rian James and James Seymour wrote the screenplay with contributions from Whitney Bolton, based on a novel by Bradford Ropes. PRODUCER Darryl F. Zanuck CINEMATOGRAPHY Sol Polito EDITING Thomas Pratt and Frank Ware DANCE ENSEMBLE DESIGN Busby Berkeley The film was nominated for Best Picture and Best Sound at the 1934 Academy Awards. In 1998, the National Film Preservation Board entered the film into the National Film Registry. CAST Warner Baxter...Julian Marsh Bebe Daniels...Dorothy Brock George Brent...Pat Denning Knuckles (1927), She Couldn't Say No (1930), A Notorious Ruby Keeler...Peggy Sawyer Affair (1930), Moby Dick (1930), Gold Dust Gertie (1931), Guy Kibbee...Abner Dillon Manhattan Parade (1931), Fireman, Save My Child Una Merkel...Lorraine Fleming (1932), 42nd Street (1933), Mary Stevens, M.D. (1933), Ginger Rogers...Ann Lowell Footlight Parade (1933), Devil Dogs of the Air (1935), Ned Sparks...Thomas Barry Gold Diggers of 1937 (1936), San Quentin (1937), Dick Powell...Billy Lawler Espionage Agent (1939), Knute Rockne All American Allen Jenkins...Mac Elroy (1940), Action, the North Atlantic (1943), The Sullivans Edward J. Nugent...Terry (1944), You Were Meant for Me (1948), Give My Regards Robert McWade...Jones to Broadway (1948), It Happens Every Spring (1949), The George E.
  • From Free Cinema to British New Wave: a Story of Angry Young Men

    From Free Cinema to British New Wave: a Story of Angry Young Men

    SUPLEMENTO Ideas, I, 1 (2020) 51 From Free Cinema to British New Wave: A Story of Angry Young Men Diego Brodersen* Introduction In February 1956, a group of young film-makers premiered a programme of three documentary films at the National Film Theatre (now the BFI Southbank). Lorenza Mazzetti, Lindsay Anderson, Karel Reisz and Tony Richardson thought at the time that “no film can be too personal”, and vehemently said so in their brief but potent manifesto about Free Cinema. Their documentaries were not only personal, but aimed to show the real working class people in Britain, blending the realistic with the poetic. Three of them would establish themselves as some of the most inventive and irreverent British filmmakers of the 60s, creating iconoclastic works –both in subject matter and in form– such as Saturday Day and Sunday Morning, The Loneliness of the Long Distance Runner and If… Those were the first significant steps of a New British Cinema. They were the Big Screen’s angry young men. What is British cinema? In my opinion, it means many different things. National cinemas are much more than only one idea. I would like to begin this presentation with this question because there have been different genres and types of films in British cinema since the beginning. So, for example, there was a kind of cinema that was very successful, not only in Britain but also in America: the films of the British Empire, the films about the Empire abroad, set in faraway places like India or Egypt. Such films celebrated the glory of the British Empire when the British Empire was almost ending.
  • Mervyn Leroy GOLD DIGGERS of 1933 (1933), 97 Min

    Mervyn Leroy GOLD DIGGERS of 1933 (1933), 97 Min

    January 30, 2018 (XXXVI:1) Mervyn LeRoy GOLD DIGGERS OF 1933 (1933), 97 min. (The online version of this handout has hot urls.) National Film Registry, 2003 Directed by Mervyn LeRoy Numbers created and directed by Busby Berkeley Writing by Erwin S. Gelsey & James Seymour, David Boehm & Ben Markson (dialogue), Avery Hopwood (based on a play by) Produced by Robert Lord, Jack L. Warner, Raymond Griffith (uncredited) Cinematography Sol Polito Film Editing George Amy Art Direction Anton Grot Costume Design Orry-Kelly Warren William…J. Lawrence Bradford him a major director. Some of the other 65 films he directed were Joan Blondell…Carol King Mary, Mary (1963), Gypsy (1962), The FBI Story (1959), No Aline MacMahon…Trixie Lorraine Time for Sergeants (1958), The Bad Seed (1956), Mister Roberts Ruby Keeler…Polly Parker (1955), Rose Marie (1954), Million Dollar Mermaid (1952), Quo Dick Powell…Brad Roberts Vadis? (1951), Any Number Can Play (1949), Little Women Guy Kibbee…Faneul H. Peabody (1949), The House I Live In (1945), Thirty Seconds Over Tokyo Ned Sparks…Barney Hopkins (1944), Madame Curie (1943), They Won't Forget (1937) [a Ginger Rogers…Fay Fortune great social issue film, also notable for the first sweatered film Billy Bart…The Baby appearance by his discovery Judy Turner, whose name he Etta Moten..soloist in “Remember My Forgotten Man” changed to Lana], I Am a Fugitive from a Chain Gang (1932), and Two Seconds (1931). He produced 28 films, one of which MERVYN LE ROY (b. October 15, 1900 in San Francisco, was The Wizard of Oz (1939) hence the inscription on his CA—d.
  • Lindsay Anderson: Sequence and the Rise of Auteurism in 1950S Britain Erik Hedling

    Lindsay Anderson: Sequence and the Rise of Auteurism in 1950S Britain Erik Hedling

    Lindsay Anderson: Sequence and the rise of auteurism in 1950s Britain erik hedling T an upheaval in European film history. The financial losses of the Europeans, as compared to the Americans on the popular market, caused drastic changes within the European film industries, leading up to the continental government-subsidised film indus- tries of the present. Even if the historical reasons for the changes in Euro- pean film policies were mainly socio-economic, they were at the time mostly discussed and dealt with in aesthetic terms, and we saw eventually the emer- gence of the European art cinema, a new kind of film, specifically aimed at the literate and professional middle classes. One of the most important European contributions to the film history of the 1950s was, thus, undoubtedly the sudden rise of the auteur, the film director extraordinaire and the notion of the authored art film. Sweden had Ingmar Bergman, Italy had, for instance, Fellini, Rossellini, Visconti, and Antonioni, France had the Cahiers du Cinéma generation, towards the end of decade represented by the breakthrough of the nouvelle vague, with Truffaut, Godard, Rohmer and Chabrol. Traditionally, Britain has been said to have missed out on the development of auteurism and art cinema in the 1950s, instead clinging to its traditional industrial policies of trying to (albeit unsuccessfully) compete with the Americans on the popular market. (Peter Wollen’s essay on 1980s British films as ‘The Last New Wave’ is a good illustration of this attitude.)1 Even if this was true for the film industry, it is not entirely so for film culture as a whole, since Britain was at least intel- lectually at the very core of the foundation of the European art cinema in the 1950s, even if the art films as such – in the Bordwellian sense of personal vision, loose narrative structure, ambiguity and various levels of heightened realism – were not really to emerge until the 1960s (perhaps with the exception I was born in the mid-1950s and had my first overwhelming experience of the cinema watching Lindsay Anderson’s If … in 1969.
  • Silhouettes of Stars, Players, and Directors of Warner Bros. Pictures

    Silhouettes of Stars, Players, and Directors of Warner Bros. Pictures

    library! THE MUSEUM 0F MODERN ART j Received: Scanned from the collection of The Museum of Modern Art Library Coordinated by the Media History Digital Library www.mediahistoryproject.org Funded by a donation from John McElwee Digitized by the Internet Archive in 2014 https://archive.org/details/silhouettesofstaOOunse I : SILHOUETTES Of Stars, Players, and Directors Of WARNER BROS. PICTURES, INC. LIBRARY THS MUSEUM OF MODERN ART Received: From in ?2 WARNER BROS. PICTURES, INC. jT* 321 West 44th Street New York City PRINTED IN U.S.A. FL >l 5-3 FOREWORD This unpretentious volume contains a wealth of material in bio- graphical form covering all important stars, players, and directors of Warner Bros. Pictures, Inc. It should be invaluable to the motion picture editor, or to anyone doing editorial work pertaining to motion pictures. This volume went to press in October, 1937. All data, therefore, is up-to-date, and most of it is accurate for several months to come. You will note that the end of each biography contains the list of pictures the player has been featured in. It is suggested that you — the editor — may keep each biography up to the minute as to performances by adding each new picture a star is cast in, as you receive a new announcement. TABLE OF CONTENTS How It All Began 1 Nagel, Anne 125 STARS AND PLAYERS O'Brien, Pat 127 O'Connell, Hugh 130 Acuff, Eddie 8 Oliver, Gordon 132 Aherne, Brian 9 O'Neill, Henry 134 Baker, Kenny 12 Perry, Linda 136 Blondell, Joan 16 Powell, Dick 138 Blondell, Gloria 20 Purcell, Dick 141 Bogart, Humphrey
  • Ruth Prawer Jhabvala's Adapted Screenplays

    Ruth Prawer Jhabvala's Adapted Screenplays

    Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone.
  • Glorious Technicolor: from George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 the G

    Glorious Technicolor: from George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 the G

    Glorious Technicolor: From George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 The Garden of Allah. 1936. USA. Directed by Richard Boleslawski. Screenplay by W.P. Lipscomb, Lynn Riggs, based on the novel by Robert Hichens. With Marlene Dietrich, Charles Boyer, Basil Rathbone, Joseph Schildkraut. 35mm restoration by The Museum of Modern Art, with support from the Celeste Bartos Fund for Film Preservation; courtesy The Walt Disney Studios. 75 min. La Cucaracha. 1934. Directed by Lloyd Corrigan. With Steffi Duna, Don Alvarado, Paul Porcasi, Eduardo Durant’s Rhumba Band. Courtesy George Eastman House (35mm dye-transfer print on June 5); and UCLA Film & Television Archive (restored 35mm print on July 21). 20 min. [John Barrymore Technicolor Test for Hamlet]. 1933. USA. Pioneer Pictures. 35mm print from The Museum of Modern Art. 5 min. 7:00 The Wizard of Oz. 1939. USA. Directed by Victor Fleming. Screenplay by Noel Langley, Florence Ryerson, Edgar Allan Woolf, based on the book by L. Frank Baum. Music by Harold Arlen, E.Y. Harburg. With Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Ray Bolger, Margaret Hamilton, Billie Burke. 35mm print from George Eastman House; courtesy Warner Bros. 102 min. Saturday, June 6 2:30 THE DAWN OF TECHNICOLOR: THE SILENT ERA *Special Guest Appearances: James Layton and David Pierce, authors of The Dawn of Technicolor, 1915-1935 (George Eastman House, 2015). James Layton and David Pierce illustrate Technicolor’s origins during the silent film era. Before Technicolor achieved success in the 1930s, the company had to overcome countless technical challenges and persuade cost-conscious producers that color was worth the extra effort and expense.
  • Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S

    Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S

    DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß.
  • Chicago Tribune

    Chicago Tribune

    Chicago Tribune: ARTICLES ABOUT LILLIAN GISH Lillian Gish Relents, Enjoys Comedic Role May 15, 1986|By Peter B. Flint, New York Times News Service. NEW YORK — Lillian Gish`s fame is rooted in drama and tragedy, but, for her 104th film, the legendary actress has chosen a comedy. In ``Sweet Liberty,`` Alan Alda`s genial spoof of movie making, she portrays, all too briefly, the hero`s cantankerous but beguiling mother, who has slept in her living room for 11 years ``because the devil is in the bedroom.`` The hero (Alda), asked how long his mother has been crazy, replies, ``All my life.`` Gish said she was at first reluctant to portray such a quirky character but agreed to do so during a talk with Alda because he is such ``a beautiful, charming man.`` Your face, she said, mirrors your soul. ``Sweet Liberty,`` which Alda also wrote and directed, centers on a professor who is plunged into a summer of madness when a film company comes to his campus to make a movie of his book about the American Revolution. The comedy, co-starring Michelle Pfeiffer, Michael Caine and Lise Hilboldt, opens in Chicago Friday. Gish, who is 86, said her uneasiness over making a comedy faded quickly because of Alda`s ``thoughtful, gracious direction.`` ``My scenes were all amusing, and I had great fun playing the off-center woman,`` she remarked. ``The film was easier to make than most because it was shot in beautiful summer weather and nearby, around Sag Harbor, Long Island.`` ``Making the movie reminded me of D.W.