He Museum of Modern Art No

Total Page：16

File Type：pdf, Size：1020Kb

/^ he Museum of Modern Art No. 911 west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart Monday, July 7, 19^9 FOR IMMEDIATE RELEASE "EASY RIDER" TO HAVE SPECIAL PRSVIEVJ AT THE MUSEUM OF MODERN ART "Easy Rider/' the Araerican entry at the I969 Cannes Film Festival, will be previevjed at The Museum of Modern Art at 8:00 p.m., Thursday, July 10, before its New York opening July lU. "Easy Rider" is the first feature-lenfjth film to be directed by Dennis Hopper. It was written by Hopper; Peter Fonda, the producer; and the American satirist, Terry Southern; and it stars Hopper, Fonda and Jack Nicholson. The film is being shown at the Museum through the courtesy of Columbia Pictures. "Easy Rider" is described as the odyssey of two young men who set out with a motorcycle and a cache of marijuana to cross America from Los Angeles to New Orleans. Using contemporary popular music to highlight the various episodes of the boys' trip, the film describes the encounters of the young voyagers. Jack Nicholson will be present to answer questions from the audience after the Museum screening. The actor, who also collaborated on the script of Roger Corman's "The Trip" starring Fonda nnd Hopper, produced two Westerns. "The Shooting" and "Ride the Whirlwind." He has a major role in Pnramount's forth coming "On a Clear Dny Y'U Can See Forever" nnd has just received his first directorial assignment -- an adaptation of Jeremy Larner's novel, "Drive, He Said." Additional information available from Elizabeth Shaw, Director, and Lillian Gerard, Film Coordinator, Department of Public Information, The Museum of Modern Art, 11 V/est 53 Street, New York, N.Y. IOOI9. 956-75OI, 7296. .

Copy Link

Recommended publications

Film Analysis Easy Rider - Focus on American Dream, Hippie Life Style and Soundtrack
Film Analysis Easy Rider - Focus on American Dream, Hippie Life Style and Soundtrack - Universität Augsburg Philologisch-Historische Fakultät Lehrstuhl für Amerikanistik PS: The 60s in Retrospect – A Magical History Tour Dozent: Udo Legner Sommersemester 2013 Referenten: Lisa Öxler, Marietta Braun, Tobias Berber Datum: 10.06.2013 Easy Rider – General Information ● Is a 1969 American road movie ● Written by Peter Fonda, Dennis Hopper, and Terry Southern ● Produced by Fonda and directed by Hopper ● Tells the story of two bikers (played by Fonda and Hopper) who travel through the American Southwest and South Easy Rider – General Information ● Success of Easy Rider helped spark the New Hollywood phase of filmmaking during the early 1970s ● Film was added to the Library of Congress National Registry in 1998 ● A landmark counterculture film, and a ”touchstone for a generation“ that ”captured the national imagination“ Easy Rider – General Information ● Easy Rider explores the societal landscape, issues, and tensions in the United States during the 1960s, such as the rise and fall of the hippie movement, drug use, and communal lifestyle ● Easy Rider is famous for its use of real drugs in its portrayal of marijuana and other substances Easy Rider - Plot ● Protagonists are two hippies in the USA of the 1970s: – Wyatt (Fonda), nicknamed "Captain America" dressed in American flag- adorned leather – Billy (Hopper) dressed in Native American-style buckskin pants and shirts and a bushman hat Easy Rider - Plot ● Character's names refer to Wyatt Earp and Billy the Kid ● The former is appreciative of help and of others, while the latter is often hostile and leery of outsiders.
[Show full text]
Imperialism and Exploration in the American Road Movie Andy Wright Pitzer College
Claremont Colleges Scholarship @ Claremont Pitzer Senior Theses Pitzer Student Scholarship 2016 Off The Road: Imperialism And Exploration in the American Road Movie Andy Wright Pitzer College Recommended Citation Wright, Andy, "Off The Road: Imperialism And Exploration in the American Road Movie" (2016). Pitzer Senior Theses. Paper 75. http://scholarship.claremont.edu/pitzer_theses/75 This Open Access Senior Thesis is brought to you for free and open access by the Pitzer Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pitzer Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Wright 1 OFF THE ROAD Imperialism And Exploration In The American Road Movie “Road movies are too cool to address serious socio-political issues. Instead, they express the fury and suffering at the extremities of a civilized life, and give their restless protagonists the false hope of a one-way ticket to nowhere.” –Michael Atkinson, quoted in “The Road Movie Book” (1). “‘Imperialism’ means the practice, the theory, and the attitudes of a dominating metropolitan center ruling a distant territory; ‘colonialism’, which is almost always a consequence of imperialism, is the implanting of settlements on distant territory” –Edward Said, Culture and Imperialism (9) “I am still a little bit scared of flying, but I am definitely far more scared of all the disgusting trash in between places” -Cy Amundson, This Is Not Happening “This is gonna be exactly like Eurotrip, except it’s not gonna suck” -Kumar Patel, Harold and Kumar Escape From Guantanamo Bay Wright 2 Off The Road Abstract: This essay explores the imperialist nature of the American road movie as it is defined by the film’s era of release, specifically through the lens of how road movies abuse the lands that are travelled through.
[Show full text]
National Film Registry Titles Listed by Release Date
National Film Registry Titles 1989-2017: Listed by Year of Release Year Year Title Released Inducted Newark Athlete 1891 2010 Blacksmith Scene 1893 1995 Dickson Experimental Sound Film 1894-1895 2003 Edison Kinetoscopic Record of a Sneeze 1894 2015 The Kiss 1896 1999 Rip Van Winkle 1896 1995 Corbett-Fitzsimmons Title Fight 1897 2012 Demolishing and Building Up the Star Theatre 1901 2002 President McKinley Inauguration Footage 1901 2000 The Great Train Robbery 1903 1990 Life of an American Fireman 1903 2016 Westinghouse Works 1904 1904 1998 Interior New York Subway, 14th Street to 42nd Street 1905 2017 Dream of a Rarebit Fiend 1906 2015 San Francisco Earthquake and Fire, April 18, 1906 1906 2005 A Trip Down Market Street 1906 2010 A Corner in Wheat 1909 1994 Lady Helen’s Escapade 1909 2004 Princess Nicotine; or, The Smoke Fairy 1909 2003 Jeffries-Johnson World’s Championship Boxing Contest 1910 2005 White Fawn’s Devotion 1910 2008 Little Nemo 1911 2009 The Cry of the Children 1912 2011 A Cure for Pokeritis 1912 2011 From the Manger to the Cross 1912 1998 The Land Beyond the Sunset 1912 2000 Musketeers of Pig Alley 1912 2016 Bert Williams Lime Kiln Club Field Day 1913 2014 The Evidence of the Film 1913 2001 Matrimony’s Speed Limit 1913 2003 Preservation of the Sign Language 1913 2010 Traffic in Souls 1913 2006 The Bargain 1914 2010 The Exploits of Elaine 1914 1994 Gertie The Dinosaur 1914 1991 In the Land of the Head Hunters 1914 1999 Mabel’s Blunder 1914 2009 1 National Film Registry Titles 1989-2017: Listed by Year of Release Year Year
[Show full text]
EASY RIDER Stars and Stripes Teardrop Tank, Fifty Years After the ‘Pullquote, Gleaming in the Californian Sun, I Was Austin on My Imaginary “Chopper” with Him
6 *** Sunday 24 November 2019 The Sunday Telegraph USA ‘Along the Loop Road, I felt the pure joy of biking’ EASY RIDER stars and stripes teardrop tank, Fifty years after the ‘Pullquote, gleaming in the Californian sun, I was Austin on my imaginary “chopper” with him. release of the classic Technically, the movie starts in Los deck light Angeles, as our banditos head for Mardi Gras in New Orleans, 2,000 film,Chris Coplans 16pt on miles (3,200km) away. However, the 16pt. movie kick-starts 300 miles (480km) jumps on to a Harley further east in Needles, California Pullquote, where the credits roll to the driving and hits Route 66 beat of Steppenwolf ’s classic Born To Austin Be Wild. I headed to Needles on my didn’t do no drug deal, modern Harley Davidson Sportster smoke weed or drop deck light from Las Vegas, a much shorter and acid. Nor did I visit a 16pt on easier ride than from LA. Those brothel. But I did ride a pulsating opening credits were filmed Harley Davidson from 16pt’ along Route 66 between Needles and the Californian desert to Flagstaff, a rip-roaring 200-mile the bayous of southern (320km) ride to the east. I gunned my I Louisiana. When Easy Harley into action and with a twist of Rider burst onto our screens 50 years the throttle and a rumble of the 1200cc ALLSTAR/COLUMBIA ago, the super cool “Captain V-twin engine, followed in their America” Peter Fonda (Wyatt) and counterculture tyre tracks. the crazed Denis Hopper (Billy) did Route 66 climbs, winds and snakes THE BIKES all of the above and, according to its way through canyons and valleys, legend, much more.
[Show full text]
Movie in Search of America: the Rhetoric of Myth in Easy Rider
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2005 Movie in search of America: The rhetoric of myth in Easy Rider Hayley Susan Raynes Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the American Film Studies Commons, and the Rhetoric Commons Recommended Citation Raynes, Hayley Susan, "Movie in search of America: The rhetoric of myth in Easy Rider" (2005). Theses Digitization Project. 2804. https://scholarworks.lib.csusb.edu/etd-project/2804 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. MOVIE IN SEARCH OF AMERICA: THE RHETORIC OF MYTH IN EASY RIDER A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition by Hayley Susan Raynes March 2005 MOVIE IN SEARCH OF AMERICA: THE RHETORIC OF MYTH IN EASY RIDER A Thesis Presented to the Faculty of California State University, San Bernardino' by Hayley Susan Raynes March 2005 © 2005 Hayley Susan Raynes ABSTRACT Chronicling the cross-country journey of two hippies on motorcycles, Easy Rider is an historical fiction embodying the ideals, naivete, politics and hypocrisies of 1960's America. This thesis is a rhetorical analysis of Easy Rider exploring how auteurs Peter Fonda, Dennis Hopper and Terry Southern's use of road, regional and cowboy mythology creates a text that simultaneously exposes and is dominated by the ironies inherent in American culture while breathing new life into the cowboy myth and reaffirming his place as one of America's most enduring cultural icons.
[Show full text]
Preproduction (1967) Production (Feb- April 1968) Post-Production
Easy Rider: Circumstances of Production The Berra chapter assigned for 4/7 describes in detail the production of Easy Rider, noting that some elements of the filmmaking process remain ambiguous due to competing stories from director Dennis Hopper, star Peter Fonda, and writer Terry Southern. Nevertheless, I wanted to offer an outline of the film’s circumstances of production and list stylistic features to watch for as you screen Easy Rider. You should also review the questions for Thursday’s electronic response before you view the film. Production Timeline Preproduction Post-Production (1967) (1968-1969) • Hopper produces •Peter Fonda Production (Feb- develops idea for various long edits Easy Rider after April 1968) of film (2.75-5 hrs) viewing MPAA exhibit • Mardi Gras scenes • Executive (and filmed prior to producer Bert drinking/smoking rest, with 16 mm Schneider forces pot) in Toronto while Hopper on promoting The Trip camera and on location in New vacation, then has •Fonda contacts editor Donn friend Dennis Hopper Orleans with and pair decides to actors Fonda, Cambern recut collaborate, with Hopper, Black and film to marketable Fonda as producer Basil length and Hopper as • Shoot unorganized • Raybert makes director and drug-fueled, distribution deal •Writer Terry with problems with Columbia Southern and developing • Easy Rider collaborates with between Hopper premieres 14 July Fonda on story and Fonda 1969 in New York treatment (later lawsuits between • Crew returns to City and earns Hopper and LA, where other $19,000,000 Southern)
[Show full text]
Nobody Had Ever Seen Themselves Portrayed in a Movie
1 “Nobody had ever seen themselves portrayed in a movie. At every love-in across the country people were smoking grass and dropping LSD, while audiences were still watching Doris Day and Rock Hudson!” -Dennis Hopper1 “So the doobs and the Heinie kicked right in and I fell into the photograph and thought, that’s it! I know what to do for my next sex, motorcycle and drugs movie!” -Peter Fonda2 Three major events in the summer of 1969 changed America; the Woodstock music festival, the Manson family murders, and Easy Rider. Woodstock captured the feeling of free love, drugs and music the youth culture espoused at the time. The Manson murders were a stark reminder of the dangerous level societal tensions had reached, and what could happen when they boil over. Easy Rider is the generation's expression of these two disparate realities colliding. The movie creates a dichotomy of freedom and violence and rides the jagged line between them. As Pauline Kael put it, the viewer of “Easy Rider may still be caught by something edgy and ominous in it – the acceptance of the constant danger of sudden violence.”3 Motorcycle movies had become popular and ‘cool’ in the mid 1950s with The Wild One and remained so for a few years before petering out. The genre had resurfaced in 1966 with The Wild Angels, also starring Peter Fonda and Hells Angels on Wheels, starring Jack Nicholson. Fonda and Dennis Hopper were in the party scene of young Hollywood and were growing tired of the formulaic ‘motorcycle pictures’ that were being rehashed.
[Show full text]
PALERMO SHOOTING a WIM WENDERS Film Starring CAMPINO GIOVANNA MEZZOGIORNO and DENNIS HOPPER
HanWay Films presents PALERMO SHOOTING A WIM WENDERS film Starring CAMPINO GIOVANNA MEZZOGIORNO and DENNIS HOPPER A Neue Road Movies production in coproduction with P.O.R. Sicilia – REGIONE SICILIANA, AAPIT - Provincia Regionale di Palermo ARTE France Cinéma, ZDF/ARTE in association with Pictorion Pictures, Rectangle, Reverse Angle and Deutscher Filmförderfonds, German Federal Film Board, Filmstiftung Nordrhein-Westfalen, Medienboard Berlin-Brandenburg, MEDIA Program Cast Finn Campino Flavia Giovanna Mezzogiorno Frank Dennis Hopper (in order of apperance) Carla Inga Busch Student Jana Pallaske Hans Axel Sichrovsky Gerhard Gerhard Gutberlet Manager Sebastian Blomberg Erwin Wolfgang Michael Lou Reed lui-même Banker Udo Samel Giovanni Sollima Giovanni Sollima Doctor Alessandro Dieli Crew Written, directed and Wim Wenders produced by Producer Gian-Piero Ringel Executive Producers Jeremy Thomas Peter Schwartzkopff Line Producers Marco Mehlitz Gianfranco Barbagallo Director of Photography Franz Lustig Production Designer Sebastian Soukup Editors Peter Przygodda Oli Weiss Costume Designer Sabina Maglia Original Filmscore by Irmin Schmidt Music Supervisors Milena Fessmann & Beckmann Screenplay co-written by Norman Ohler PALERMO SHOOTING is Wim Wenders most personal film for a long time. Intimate, adventurous and full of surprises. A road movie starring Campino, Giovanna Mezzogiorno and Dennis Hopper. A roman- tic thriller dealing with life and death and the ultimate salvation through love. After 12 years in which Wim Wenders made all his feature
[Show full text]
Exploring Postcolonial Themes in the American Road Movie Andy Wright Pitzer College
Claremont Colleges Scholarship @ Claremont Pitzer Senior Theses Pitzer Student Scholarship 2016 Off the Road: Exploring Postcolonial Themes in the American Road Movie Andy Wright Pitzer College Recommended Citation Wright, Andy, "Off the Road: Exploring Postcolonial Themes in the American Road Movie" (2016). Pitzer Senior Theses. Paper 67. http://scholarship.claremont.edu/pitzer_theses/67 This Open Access Senior Thesis is brought to you for free and open access by the Pitzer Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pitzer Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Wright 1 OFF THE ROAD Exploring Postcolonial Themes in the American Road Movie “Road movies are too cool to address serious socio-political issues. Instead, they express the fury and suffering at the extremities of a civilized life, and give their restless protagonists the false hope of a one-way ticket to nowhere.” –Michael Atkinson, quoted in “The Road Movie Book” (1). “This is gonna be exactly like Eurotrip, except it’s not gonna suck.” –Kumar Patel, “Harold and Kumar Escape from Guantanamo Bay” Wright 2 Off the Road: Exploring Postcolonial Themes in the American Road Movie Abstract: This essay explores the colonial nature of the American road movie, specifically through the lens of how road movies treat the South according to Stuart Hall’s concepts of identity and Edward Said’s on Othering and the colonial gaze. To accomplish this, the essay analyzes the classic 1969 road movie, “Easy Rider”, and the more contemporary parody from 2008, “Harold and Kumar Escape from Guantanamo Bay.” The thrust of this paper becomes: if a progressive parody of road movies cannot escape the trappings of colonialism “Easy Rider” displays, perhaps the road movie itself is flawed.
[Show full text]
Films Are People Deeply Ingrained
FILM FILMAND MOVIESMOVIES AND MODERNMODERN AMERICAAMERICA BY RICHARD PELLS hat is a TITANIC AND THE MYTHS ABOUT “typical” AMERICAN POPULAR CULTURE American Nevertheless, the stereotypes movie? about Hollywood films are People deeply ingrained. In 1998, Wthroughout the world are while I was a visiting sure they know. A professor in Germany, I often characteristic American gave lectures at various film, they insist, has places in Europe on flamboyant special effects American movies. The and a sumptuous décor, reactions of my audiences each a reflection of were often the same. If, for America’s nearly mythic Gangs of New York director Martin Scorsese example, I spoke to (right) with actor Leonardo DiCaprio. affluence. Furthermore, secondary school teachers in American movies revel in fast-paced action and a Brussels, Berlin, or Barcelona, I would ask how many celebration of individual ingenuity embodied in the had seen Titanic. Half the teachers in the room would heroics of an impeccably dressed, permanently raise their hands, reluctantly. They would then look youthful Hollywood star. And they feature love stories around to see if others were joining them in this that lead, inevitably if often implausibly, to happy confessional. Their embarrassment at having endings. surrendered to yet another Hollywood seduction was Yet over the past 15 years, for every high-tech, palpable. stunt-filled Mission Impossible, there are serious and When I asked them why they saw the movie, they even disturbing films such as American Beauty and usually said that they wanted to understand better the The Hours. For every conventional Hollywood tastes, however vulgar, of their students or their own blockbuster apparently designed to appeal to the children.
[Show full text]
Bringing Bogie Ut of the Courtroom Closet: Law and Lawyers in Film Prof Rennard Strickland
4 Bringing Bogie ut of the Courtroom Closet: Law and Lawyers in Film Prof Rennard Strickland Casablanca (19421is a film of mystery and romance. Warner Brothers cultivated that aura of intrigue not only about the place Casablanca but also about the man Rick. His mysterious past is among the reasons Casablanca is ranked by general audi- ences as the most popular American film of all time. Questioning Rick's past seems almost subversive, somehow disloyal, unfair to the memory of Humphrey Bogart. And yet, there is no doubt about it: the mysterious Rick Blaine was a law- yer-a criminal attorney at that! Rick, surely the most famous cine- matic bar owner in history, was also admitted at the bar of justice. Before coming to Casablanca for the waters, Rick had been a practicing attorney first in New York City and then in Paris. The old Hollywood studio system was good at doing what it set out to do; in Casablanca it sought to obscure the past of the man Bogart immortalized on the screen. And Prof. Rennard Strickland the film did just that! It is absolutely impossible from the film itself to estab- lish Rick's legal credentials. Closeting Rick was a deliberate decision by the film's producers. senting themselves. Rick has also taken The proof that Rick was a lawyer has up running a bar and restaurant, the been buried for almost half a century in Law is a kaleidoscopic profession. lawyer's favorite way to personal bank- yellowing corporate files at Warner No doubt lawyers have a great ruptcy.
[Show full text]
FIVE EASY PIECES 96 Min (1970)
November 14, 2006 XIII: 11 FIVE EASY PIECES 96 min (1970) Produced and Directed by Bob Rafelson Story by Carole Eastman and Bob Rafelson Script by Carole Eastman (as Adrien Joyce) Cinematography by László Kovács Jack Nicholson...Robert Eroica Dupea Karen Black...Rayette Dipesto Billy Green Bush...Elton Fannie Flagg...Stoney Sally Struthers...Betty Marlena MacGuire...Twinky Richard Stahl...Recording Engineer Lois Smith...Partita Dupea Helena Kallianiotes...Palm Apodaca Toni Basil...Terry Grouse Lorna Thayer...Waitress Susan Anspach...Catherine Van Oost Ralph Waite...Carl Fidelio Dupea William Challee...Nicholas Dupea John P. Ryan...Spicer Irene Dailey...Samia Glavia Oscar nominations for best actor (Nicholson), best supporting acress (Black), best picture, best writing Selected by the National Film Preservation Board for the National Film Registry BOB RAFELSON (21 February 1933) has directed 11 theatrical and several made-for-tv films, among them The House on Turk Street (2002), Blood and Wine (1996), Wet (1995), Black Widow (1987), The Postman Always Rings Twice (1981), Modesty (1981), Stay Hungry (1976), The King of Marvin Gardens (1972), Five Easy Pieces (1970) and Head (1968). LÁSZLÓ KOVÁCS (14 May 1933, Budapest, Hungary) has shot 74 films, most recently Torn from the Flag (2006), which is currently in post-production. Some of the others are Two Weeks Notice (2002), Miss Congeniality (2000), My Best Friend's Wedding (1997), Shattered (1991), Legal Eagles (1986), Mask (1985), Ghost Busters (1984), The Toy (1982), The Legend of the Lone Ranger (1981), F.I.S.T (1978), Nickelodeon (1976), Harry and Walter Go to New York (1976), Shampoo (1975), Paper Moon (1973), Steelyard Blues (1973), The King of Marvin Gardens (1972), What's Up, Doc? (1972), The Last Movie (1971), Getting Straight (1970), Easy Rider (1969), Targets (1968), Hells Angels on Wheels (1967), The Notorious Daughter of Fanny Hill (1966), and Kiss Me Quick!/ Dr.
[Show full text]