Gender Roles and the Dismantling Ofthe Motion Picture Production Code
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Boards, Committees and Chapters
BOARDS, COMMITTEES AND CHAPTERS BOARD OF Brenda Gaines** Anna Eleanor Roosevelt NATIONAL TRUSTEE Mark Selcow Carol J. Evans Stanley R. Brewer BOARD OF Jeffrey Feiner TRUSTEES Chicago, Ill. Director of Community OFFICERS COMMITTEES AND Committee Vice Chair President ADVISORS AND Retired Managing Director and Education Relations LIASONS Marc Guild S. Brewer & Company REPRESENTATIVES and Senior Broadline Valerie B. Ackerman Marc Guild+ Boeing World Headquarters Gary D. Forsee‡ Ronald Kirk, Esq. Salt Lake City, Utah Retailing Analyst President President, Marketing The Boeing Company Chairman of the Board Executive Committee Committee Vice Chair Greg Gumbel Advisors Lehman Brothers WNBA Division and Chicago, Ill. Mary K. Bush New York, N.Y. Gary D. Forsee Holly Becker New York, N.Y. Director Interep National James E. Sproull, Jr., Esq. Val Ackerman Judith A. Nolte Bush International, Inc. Committee Chair New York, N.Y. Radio Sales, Inc Thomas A. Russo, Esq. Vice Chairman of the Board‡ Chevy Chase, Md. Martin Feinstein Francis M. Austin, Jr.* New York, N.Y. Vice Chairman and Chairman of the Board++ Elizabeth Crow Patricia O’Neill Ware Chairman and CEO Thomas A. Russo, Esq. Les Baledge** New York, N.Y. Chief Legal Officer Leigh-Wai Doo Farmers Group, Inc. Vice Chair of the Board Springdale, Ark. Greg Gumbel Lehman Brothers, Inc. Thomas A. Russo Carol J. Evans Public Affairs Committee Honolulu, Hawaii Los Angeles, Calif. Les R. Baledge* Sports Broadcaster New York, N.Y. Vice Chairman of the Board James E. Sproull, Jr., Esq. David J. Bronczek Executive Vice President CBS, Inc. Greg Gumbel Anna Eleanor Roosevelt John Henry Felix, PhD Gary D. -
The Rise of Controversial Content in Film
The Climb of Controversial Film Content by Ashley Haygood Submitted to the Department of Communication Studies in partial fulfillment of the requirements for the degree of Masters of Arts in Communication at Liberty University May 2007 Film Content ii Abstract This study looks at the change in controversial content in films during the 20th century. Original films made prior to 1968 and their remakes produced after were compared in the content areas of profanity, nudity, sexual content, alcohol and drug use, and violence. The advent of television, post-war effects and a proposed “Hollywood elite” are discussed as possible causes for the increase in controversial content. Commentary from industry professionals on the change in content is presented, along with an overview of American culture and the history of the film industry. Key words: film content, controversial content, film history, Hollywood, film industry, film remakes i. Film Content iii Acknowledgements I would like to thank my family for their unwavering support during the last three years. Without their help and encouragement, I would not have made it through this program. I would also like to thank the professors of the Communications Department from whom I have learned skills and information that I will take with me into a life-long career in communications. Lastly, I would like to thank my wonderful Thesis committee, especially Dr. Kelly who has shown me great patience during this process. I have only grown as a scholar from this experience. ii. Film Content iv Table of Contents ii. Abstract iii. Acknowledgements I. Introduction ……………………………………………………………………1 II. Review of the Literature……………………………………………………….8 a. -
The Popular Culture Studies Journal
THE POPULAR CULTURE STUDIES JOURNAL VOLUME 6 NUMBER 1 2018 Editor NORMA JONES Liquid Flicks Media, Inc./IXMachine Managing Editor JULIA LARGENT McPherson College Assistant Editor GARRET L. CASTLEBERRY Mid-America Christian University Copy Editor Kevin Calcamp Queens University of Charlotte Reviews Editor MALYNNDA JOHNSON Indiana State University Assistant Reviews Editor JESSICA BENHAM University of Pittsburgh Please visit the PCSJ at: http://mpcaaca.org/the-popular-culture- studies-journal/ The Popular Culture Studies Journal is the official journal of the Midwest Popular and American Culture Association. Copyright © 2018 Midwest Popular and American Culture Association. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 Cover credit: Cover Artwork: “Wrestling” by Brent Jones © 2018 Courtesy of https://openclipart.org EDITORIAL ADVISORY BOARD ANTHONY ADAH FALON DEIMLER Minnesota State University, Moorhead University of Wisconsin-Madison JESSICA AUSTIN HANNAH DODD Anglia Ruskin University The Ohio State University AARON BARLOW ASHLEY M. DONNELLY New York City College of Technology (CUNY) Ball State University Faculty Editor, Academe, the magazine of the AAUP JOSEF BENSON LEIGH H. EDWARDS University of Wisconsin Parkside Florida State University PAUL BOOTH VICTOR EVANS DePaul University Seattle University GARY BURNS JUSTIN GARCIA Northern Illinois University Millersville University KELLI S. BURNS ALEXANDRA GARNER University of South Florida Bowling Green State University ANNE M. CANAVAN MATTHEW HALE Salt Lake Community College Indiana University, Bloomington ERIN MAE CLARK NICOLE HAMMOND Saint Mary’s University of Minnesota University of California, Santa Cruz BRIAN COGAN ART HERBIG Molloy College Indiana University - Purdue University, Fort Wayne JARED JOHNSON ANDREW F. HERRMANN Thiel College East Tennessee State University JESSE KAVADLO MATTHEW NICOSIA Maryville University of St. -
CPY Document
DEPARTMENT OF CITY PLANNING CiTY OF Los ANGELES EXECUTIVE OFFICES OFf-ICE Of- HISTORIC: RESOl.RUS CALIFORNIA S, CAlL COLDBeRC, AIO' 20D N. SPRI,,C SIRfrT, ROUM 620 DIRECTOR Los Ai'ULfS, LA ')0012-4801 (213) 97/J-127: i2131971l-1200 leVA YUAi'-McDi\NIH CULTURAl HERITAGE COMMISSION OfPLTYDIRfOOR (113:978-1173 MARY KI.ALS-MAR i IN PRf,IIDf¡"T FAX: (213: 978-1275 RICH/\RLJ Bi\RROi' VICE PRlSIOFNI ,ALM.'\,'v, C\RLiSU ANTONIO R. VILLARAIGOSA I"JFORMA i ION ci FN C. DAKE MAYOR I:!U)9781no MI/\U:HRFR www_lacity,org/rLI'J COMMISSION ol-rlCE (2i:) 978-1:00 DATE: SEP 2 i 2007 Los Angeles City Council Room 395, City Hall 200 North Spring Street Los Angeles, California 90012 ATTENTION: Barbara Greaves, Legislative Assistant Planning and Land Use Management Committee CASE NUMBER CHC-2007-2577 -HCM CASTERA RESIDENCE 651 NORTH SIENA WAY At the Cultural Heritage Commission meeting of August 16, 2007, the Commission moved to include the above property in the list of Historic-Cultural Monuments, subject to adoption by the City CounciL. As required under the provisions of Section 22.126 of the Los Angeles Administrative Code, the Commission has solicited opinions and information from the office of the Council District in which the site is located and from any Department or Bureau of the city whose operations may be affected by the designation of such site as a Historic- Cultural Monument. Such designation in and of itself has no fiscal impact. Future applications for permits may cause minimal administrative costs. The City Council, according to the guidelines set forth in Section 22.125.1 of the Los Angeles Administrative Code, shall act on the proposed inclusion to the list within 90 days of the Councilor Commission action, whichever first occurs. -
Screen Plays: from Broadway to Hollywood, 1920-1966
The Museum of Modern Art For Immediate Release June 1995 SCREEN PLAYS: FROM BROADWAY TO HOLLYWOOD, 1920 - 1966 June 30 - October 3, 1995 A major retrospective of Hollywood films adapted from the Broadway stage opens at The Museum of Modern Art on June 30, 1995. SCREEN PLAYS: FROM BROADWAY TO HOLLYWOOD, 1920 - 1966 presents more than 100 films that drew their commercially and critically successful plots and characters, and their talented actors, writers, and directors from Broadway. The series, which continues through October 3, features such Broadway actors as George Arliss, the Barrymores, Shirley Booth, Marlon Brando, Ina Claire, John Garfield, Julie Harris, Helen Hayes, Judy Holliday, the Lunts, Fredric March, Sidney Poitier, Otis Skinner, Laurette Taylor, and Mae West re-creating on film the roles that made them stage legends. While the relationship between the Broadway musical and the Hollywood musical is well-established, this exhibition spotlights the relationship between the Broadway play and the Hollywood film. Since the beginning of the studio system, Hollywood has sought plays that could be adapted into so-called prestige films, adding a patina of class and sophistication. The retrospective places particular emphasis on films made from plays produced by the Theatre Guild, the Group Theatre, and the Playwrights' Company, since many members of these companies made lasting contributions both on Broadway and in Hollywood. Highlights of the series include Alfred Lunt and Lynn Fontanne in the only film they made together, The Guardsman (Sidney Franklin, 1931; play by Ferenc Molnar); Anna Magnani in the film version of The Rose Tattoo (Daniel - more - 11 West 53 Street, New York, NY. -
Filmography 1963 Through 2018 Greg Macgillivray (Right) with His Friend and Filmmaking Partner of Eleven Years, Jim Freeman in 1976
MacGillivray Freeman Films Filmography 1963 through 2018 Greg MacGillivray (right) with his friend and filmmaking partner of eleven years, Jim Freeman in 1976. The two made their first IMAX Theatre film together, the seminal To Fly!, which premiered at the Smithsonian National Air and Space Museum on July 1, 1976, one day after Jim’s untimely death in a helicopter crash. “Jim and I cared only that a film be beautiful and expressive, not that it make a lot of money. But in the end the films did make a profit because they were unique, which expanded the audience by a factor of five.” —Greg MacGillivray 2 MacGillivray Freeman Films Filmography Greg MacGillivray: Cinema’s First Billion Dollar Box Office Documentarian he billion dollar box office benchmark was never on Greg MacGillivray’s bucket list, in fact he describes being “a little embarrassed about it,” but even the entertainment industry’s trade journal TDaily Variety found the achievement worth a six-page spread late last summer. As the first documentary filmmaker to earn $1 billion in worldwide ticket sales, giant-screen film producer/director Greg MacGillivray joined an elite club—approximately 100 filmmakers—who have attained this level of success. Daily Variety’s Iain Blair writes, “The film business is full of showy sprinters: filmmakers and movies that flash by as they ring up impressive box office numbers, only to leave little of substance in their wake. Then there are the dedicated long-distance specialists, like Greg MacGillivray, whose thought-provoking documentaries —including EVEREST, TO THE ARCTIC, TO FLY! and THE LIVING Sea—play for years, even decades at a time. -
The Department of Justice and the Limits of the New Deal State, 1933-1945
THE DEPARTMENT OF JUSTICE AND THE LIMITS OF THE NEW DEAL STATE, 1933-1945 A DISSERTATION SUBMITTED TO THE DEPARTMENT OF HISTORY AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Maria Ponomarenko December 2010 © 2011 by Maria Ponomarenko. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/ms252by4094 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. David Kennedy, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Richard White, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Mariano-Florentino Cuellar Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format. An original signed hard copy of the signature page is on file in University Archives. iii Acknowledgements My principal thanks go to my adviser, David M. -
Mean Streets: Death and Disfiguration in Hawks's Scarface
Mean Streets: Death and Disfiguration in Hawks's Scarface ASBJØRN GRØNSTAD Consider this paradox: in Howard Hawks' Scarface, The Shame of the Nation, violence is virtually all-encompassing, yet it is a film from an era before American movies really got violent. There are no graphic close-ups of bullet wounds or slow-motion dissection of agonized faces and bodies, only a series of abrupt, almost perfunctory liquidations seemingly devoid of the heat and passion that characterize the deaths of the spastic Lyle Gotch in The Wild Bunch or the anguished Mr. Orange, slowly bleeding to death, in Reservoir Dogs. Nonetheless, as Bernie Cook correctly points out, Scarface is the most violent of all the gangster films of the eatly 1930s cycle (1999: 545).' Hawks's camera desists from examining the anatomy of the punctured flesh and the extended convulsions of corporeality in transition. The film's approach, conforming to the period style of ptc-Bonnie and Clyde depictions of violence, is understated, euphemistic, in its attention to the particulars of what Mark Ledbetter sees as "narrative scarring" (1996: x). It would not be illegitimate to describe the form of violence in Scarface as discreet, were it not for the fact that appraisals of the aesthetics of violence are primarily a question of kinds, and not degrees. In Hawks's film, as we shall see, violence orchestrates the deep structure of the narrative logic, yielding an hysterical form of plotting that hovers between the impulse toward self- effacement and the desire to advance an ethics of emasculation. Scarface is a film in which violence completely takes over the narrative, becoming both its vehicle and its determination. -
Films Winning 4 Or More Awards Without Winning Best Picture
FILMS WINNING 4 OR MORE AWARDS WITHOUT WINNING BEST PICTURE Best Picture winner indicated by brackets Highlighted film titles were not nominated in the Best Picture category [Updated thru 88th Awards (2/16)] 8 AWARDS Cabaret, Allied Artists, 1972. [The Godfather] 7 AWARDS Gravity, Warner Bros., 2013. [12 Years a Slave] 6 AWARDS A Place in the Sun, Paramount, 1951. [An American in Paris] Star Wars, 20th Century-Fox, 1977 (plus 1 Special Achievement Award). [Annie Hall] Mad Max: Fury Road, Warner Bros., 2015 [Spotlight] 5 AWARDS Wilson, 20th Century-Fox, 1944. [Going My Way] The Bad and the Beautiful, Metro-Goldwyn-Mayer, 1952. [The Greatest Show on Earth] The King and I, 20th Century-Fox, 1956. [Around the World in 80 Days] Mary Poppins, Buena Vista Distribution Company, 1964. [My Fair Lady] Doctor Zhivago, Metro-Goldwyn-Mayer, 1965. [The Sound of Music] Who's Afraid of Virginia Woolf?, Warner Bros., 1966. [A Man for All Seasons] Saving Private Ryan, DreamWorks, 1998. [Shakespeare in Love] The Aviator, Miramax, Initial Entertainment Group and Warner Bros., 2004. [Million Dollar Baby] Hugo, Paramount, 2011. [The Artist] 4 AWARDS The Informer, RKO Radio, 1935. [Mutiny on the Bounty] Anthony Adverse, Warner Bros., 1936. [The Great Ziegfeld] The Song of Bernadette, 20th Century-Fox, 1943. [Casablanca] The Heiress, Paramount, 1949. [All the King’s Men] A Streetcar Named Desire, Warner Bros., 1951. [An American in Paris] High Noon, United Artists, 1952. [The Greatest Show on Earth] Sayonara, Warner Bros., 1957. [The Bridge on the River Kwai] Spartacus, Universal-International, 1960. [The Apartment] Cleopatra, 20th Century-Fox, 1963. -
Mary Murillo
Mary Murillo Also Known As: Mary O’Connor, Mary Velle Lived: January 22, 1888 - February 4, 1944 Worked as: adapter, film company managing director, scenario writer, screenwriter, theatre actress Worked In: France, United Kingdom: England, United States by Christina Petersen In March 1918, Moving Picture World heralded British screenwriter Mary Murillo as a “remarkable example” of “the meteoric flights to fame and fortune which have marked the careers of many present day leaders in the motion picture profession” (1525). This was more than just promotional hyperbole, since, in just four years, Murillo had penned over thirty features, including a highly successful adaptation of East Lynne (1916) starring Theda Bara and the original story for Cheating the Public (1918), “which proved a sensation” at its New York debut according to Moving Picture World (1525). Murillo wrote or adapted over fifty films from 1913 to 1934 in the United States, England, and France, including slapstick comedies, melodramas, fairy tale adaptations, and vehicles for female stars such as Bara, Ethel Barrymore, Clara Kimball Young, Olga Petrova, and Norma Talmadge. As a scenarist, her range included several films focused on contemporary issues—gender equality, women’s suffrage, economic progressivism, and labor reform—while others, such as the child-oriented adaptation of Jack and the Beanstalk (1917), seem to have been meant to appeal as pure escapism. In the latter half of her career, Murillo left the United States for England where she joined several ventures, but never equaled her American output. Born in January 1888 and educated at the Sacred Heart Convent in Roehampton, England, Murillo immigrated to the United States in 1908 at the age of nineteen (“Mary Murillo, Script Writer” 1525; McKernan 2015, 80). -
Book Vs. Film: LA CHIENNE Vs. SCARLET STREET
BOOK VS FILM Brian Light author’s commentary on the incestuous bed- counterpoint to the plotline. The book is fellows of art and commerce. frank in its depiction of the sordid relation- ew French writers in the first In his preface, de la Fouchardière calls ship between Lulu and Dédé and the pseudo half of the 20th century could attention to the theatrical staging used to romantic/financial arrangement between rival the output of Georges de set up the narrative structure of the story: Lulu and Legrand. la Fouchardière. He produced “I have chosen a technique borrowed from In 1931, Jean Renoir adapted the book 33 humorous novels and crime dramatic art…each of the characters who to the screen with the same title. An early Fthrillers, over a dozen of which were adapted participate in the story will in turn take the example of poetic realism, this was only for the screen in the 1920s and ’30s. He was a stage and tell in his own way about events Renoir’s second talking picture, and, to his prodigious journalist and devout pacifist who in which he has been implicated.” In chap- credit, he shot the entire film using actual covered WWI and WWII for two newspapers, ters titled “He,” “She,” and “The Other,” Parisian street locations. The preceding year La Vague and Paris-Soir, and he also wrote a we are provided with three distinct points of Alfred Knopf published an English transla- column for the weekly journal Paris-Sport. In view. “He” (Maurice Legrand) is the princi- tion of La Chienne, titled Poor Sap, which 1929, he published La Chienne (The Bitch), pal storyteller, and, as such, he is depicted enjoyed a second printing. -
A Cultural Analysis of a Physicist ''Trio'' Supporting the Backlash Against
ARTICLE IN PRESS Global Environmental Change 18 (2008) 204–219 www.elsevier.com/locate/gloenvcha Experiences of modernity in the greenhouse: A cultural analysis of a physicist ‘‘trio’’ supporting the backlash against global warming Myanna Lahsenà Center for Science and Technology Policy Research, University of Colorado and Instituto Nacional de Pesquisas Epaciais (INPE), Av. dos Astronautas, 1758, Sa˜o Jose´ dos Campos, SP 12227-010 Brazil Received 18 March 2007; received in revised form 5 October 2007; accepted 29 October 2007 Abstract This paper identifies cultural and historical dimensions that structure US climate science politics. It explores why a key subset of scientists—the physicist founders and leaders of the influential George C. Marshall Institute—chose to lend their scientific authority to this movement which continues to powerfully shape US climate policy. The paper suggests that these physicists joined the environmental backlash to stem changing tides in science and society, and to defend their preferred understandings of science, modernity, and of themselves as a physicist elite—understandings challenged by on-going transformations encapsulated by the widespread concern about human-induced climate change. r 2007 Elsevier Ltd. All rights reserved. Keywords: Anti-environmental movement; Human dimensions research; Climate change; Controversy; United States; George C. Marshall Institute 1. Introduction change itself, what he termed a ‘‘strong theory of culture.’’ Arguing that the essential role of science in our present age Human Dimensions Research in the area of global only can be fully understood through examination of environmental change tends to integrate a limited con- individuals’ relationships with each other and with ‘‘mean- ceptualization of culture.