DOCSLIB.ORG

A Conversation with Edith Head September 2009

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Conversation with Edith Head September 2009 FROM: SUSAN L. SCHULMAN/Publicity (212) 921-4344 [email protected] www.schulmanpublicity.com For immediate release, please… SUSAN CLAASSEN STARS IN by Paddy Calistro and Susan Claassen SUSAN CLAASSEN, who stars as legendary Hollywood designer Edith Head in “A CONVERSATION WITH EDITH HEAD”, will be appearing (NAME OF ORGANIZATION). Her US tour also included appearances in Tucson at the Invisible Theatre, at Arizona’s Tubac Center of the Arts, at the 35th Annual Symposium of the Costume Society of America in Tempe and Phoenix, AZ and most recently, San Diego and Coronado, where she, once again, received rave reviews. “A CONVERSATION WITH EDITH HEAD”, based on EDITH HEAD’S HOLLYWOOD by Edith Head & Paddy Calistro, is a feast of delicious behind-the-scenes stories about Hollywood’s greatest stars that provide an intimate portrait of Hollywood’s legendary costume designer. In her six decades of costume design, Edith Head worked on over eleven hundred films; dressed the greatest stars of Hollywood; received 35 Academy Award® nominations, and won an unprecedented eight Oscars®. Edith Head’s story is as fascinating as the history of the film industry itself, filled with humor, frustration and, above all, glamour. This diva of design helped to define glamour in the most glamorous place in the world -Hollywood! Edith Head was a Hollywood costume designer for more than 60 years. 44 of those years were spent at Paramount Studios, where she worked with the most famous actors of the time, from Mae West and Clara Bow to Grace Kelly, Audrey Hepburn and Bette Davis. When Paramount failed to renew her contract in 1967, Alfred Hitchcock stepped in and Ms. Head was invited to join Universal Studios. At Universal she costumed Robert Redford and Paul Newman in “The Sting” and won the first-ever Oscar® for a film without a female lead. Her eight Academy Awards® celebrated her artistry in “The Heiress” (her first Oscar®), “Samson & Delilah”, “All About Eve”, “A Place in the Sun”, “Roman Holiday”, “Sabrina”, “The Facts of Life” and “The Sting”. Edith Head died in October 1981, still under contract to Universal Studios, having just completed the Steve Martin film, “Dead Men Don't Wear Plaid”. (1) Susan Claassen was inspired to write and star in “A CONVERSATION WITH EDITH HEAD” while watching a TV biography of Ms. Head. Susan Claassen said: “Not only do I bear a striking resemblance to Edith, but we share the same love for clothes and fashion. Edith survived the boy’s club of Hollywood to enjoy a 60-year career, during which she worked on 1,131 films, earned 35 Oscar nominations and won eight. She stitched Dorothy Lamour into her sarong; put Bob Hope and Bing Crosby in kilts in “The Road to Bali”; created Bette Davis’ glamorous Margo Channing; made teenage girls swoon over Elizabeth Taylor’s white ball gown in “A Place in the Sun”; dressed Ingrid Bergman in “Notorious”, Grace Kelly in “To Catch A Thief”, Kim Novak in “Vertigo”, Gloria Swanson in “Sunset Boulevard” and Sean Connery in “The Man Who Would Be King”. There are many myths about her but she was a discreet, tenacious personality. She knew whose hips needed clever disguising and made sure those legendary stars always looked the part. Our show gives the inside scoop on Edith and the Golden Age of Hollywood.” “A CONVERSATION WITH EDITH HEAD” premiered at The Invisible Theatre in Tucson, Arizona in January, 2002 and was subsequently presented in Chicago; Key West, FLA; at the American Film Institute in Silver Spring, MD; Hartford, CT; San Francisco, CA; Nantucket, MA, San Diego, CA , Houston, TX , AUSTIN, TXand Scottsdale,AZ, as well as in Tbilisi in the Republic of Georgia , London’s West End and a ‘sold out’ engagement at the 2007 Edinburgh Festival Fringe. (Out of the 2,000 shows at the Edinburgh Festival Fringe only 200 were officially designated ‘Sold Out’ engagements.) Susan Claassen as Edith Head Photo by Tim Fuller Susan Claassen: As an actress, some of Susan’s most memorable roles have been Bella in “LOST IN YONKERS” Alice B. Toklas in “GERTRUDE STEIN AND A COMPANION” Hannah in “CROSSING DELANCEY”, Shirley in “SHIRLEY VALENTINE” and Trudy in “THE SEARCH FOR SIGNS OF INTELLIGENT LIFE IN THE UNIVERSE”. In addition to her work with The Invisible Theatre she has been a consultant and director for The Waterfront Playhouse and The Red Barn Theatre in Key West, Florida, and directed Steve Ross in “I WON’T DANCE” at New York’s famed Rainbow and Stars Cabaret and St. Paul's prestigious Ordway Theatre. As Managing Artistic Director of The Invisible Theatre in Tucson, Arizona, Susan has produced more than 350 productions and directed more than 50. She is the recipient of the 1993 Humanitarian Torch Award for her efforts on behalf of people living with AIDS, and a 1996 Distinguished Service Award from the State Federation for Exceptional Children for her commitment to arts education for special populations. Susan was the 1999 City of Hope’s “Spirit of Life” recipient (as was Edith Head in 1976), and performs as a clown in the Macy’s Thanksgiving Day Parade. She was recently selected as one of Tucson Lifestyle’s 10 Most Admired Women and was honored by The Jewish Federation in 2009 as one of Tucson’s 13 extraordinary women. She is featured in the book HOW TO BE A WORKING ACTOR by Mari Henry & Lynne Rogers . Susan is a member of the League of Professional Theatre Women, Costume Society of America and has been a member of Actors’ Equity Association since 1969. (2) Much of the dialogue in “A CONVERSATION WITH EDITH HEAD” comes directly from the famed designer. When she was asked to write the authorized posthumous autobiography, EDITH HEAD’S HOLLYWOOD, Paddy Calistro acquired more than 13 hours of recollections recorded by Edith Head – including her own snippy “Edithisms” as Ms. Head referred to her own sayings, such as: "I hate modesty, don't you?" and "Good clothes are not a matter of good luck." The show also features insights from Hollywood insiders who knew Ms. Head best: costume designer Bob Mackie, who once worked as Ms. Head's sketch artist; her dear friend Edie Wasserman, wife of the late Universal Studio head Lew Wasserman, and Art Linkletter, award-winning host of TV’s “House Party”, who brought Edith Head into the homes of America. Edith would stroll through the studio audience with Linkletter, offering brutally critical fashion, diet and grooming advice - all this half a century before the current mania for on-screen makeovers. "Go on a diet!" she would instruct an overweight woman, while instantly making her look ten pounds slimmer by pulling her shirt out of her trousers, whipping a belt around her middle and swapping her cheap gold jewelry for her own signature pearls. Young fans of Pixar’s “The Incredibles” will recognized the superhero outfitter Edna Mode as an affectionate tribute to the legendary Hollywood costume designer. Co-author Paddy Calistro is one of the leading authorities on the life and work of Edith Head and is the co- author of Edith Head's posthumous autobiography, EDITH HEAD’S HOLLYWOOD. She was selected as Ms. Head’s official biographer based on her experience as a fashion journalist. A former fashion and beauty writer for the Los Angeles Times, Paddy wrote the weekly “Looks” column in the LA Times Magazine for four years. She was the West Coast reporter for Allure and has written for Glamour, Mademoiselle, House Beautiful, Elle, Four Seasons Magazine, Fitness and Los Angeles Magazine. For more than a decade Paddy was the lead interior design writer for LA Magazine, and was also the editor of American Style, a bilingual fashion magazine sold in Mexico and South America. The co-founder of Angel City Press, an independent book publishing company based in Santa Monica, she currently serves as its Publisher and Editor-in-chief. The 25th anniversary edition of EDITH HEAD’S HOLLYWOOD has recently been reissued and will be available for purchase at all performances of “A CONVERSATION WITH EDITH HEAD”. (3) “There’s nothing like a row of Oscars® for putting the fear of God into an actress who thinks she knows everything about dress designing.” -Edith Head THE HEIRESS, 1949 SAMSON AND DELILAH, 1950 ALL ABOUT EVE, 1950 A PLACE IN THE SUN, 1951 ROMAN HOLIDAY, 1953 SABRINA, 1954 THE FACTS OF LIFE, 1960 THE STING, 1973 For additional information about “A CONVERSATION WITH EDITH HEAD” www.edithhead.biz. (ADD ORGANIZATIONAL INFORMATION) (4) Critics & Audiences are “Head” Over Heels for “A CONVERSATION WITH EDITH HEAD!” “Edith Head comes to life in a way thatʼs so perfectly accurate...” - The New York Times “You can just tell from Claassen's high quality of acting, she is capturing Head's essence with her every crafted move. She actually becomes her. A great evening of old-school glamour and wonderful recollections.” - Emma Barnett -The Stage – London " One honestly does feel they have met the truly inspirational woman that was Edith Head and what a privilege it is." The British Theatre Guide “Spot-on perfection ... and Edith was my friend” - Anthony Powell, Oscar®-winning, internationally acclaimed costume designer “Head and shoulders above the rest! Hollywood costume designer Edith Head lives!” - The Chicago Sun Times “ Itʼs a winning production! Susan Claassenʼs portrayal of Edith Head is a tour de force ... “ Celebrate-Key West, Florida “Susan Claassenʼs Edith Head play shines ... captures designerʼs magic touch!” - The Tucson Citizen “A perfect fit!” -Preview Connecticut “Susan Claassen gives a fascinating and spellbinding performance ... this is a must see!” - one4review “It’s a moving, seamless, beautifully played portrayal.” The List - Edinburgh THE TWO DIVAS OF THE RED CARPET RE-UNITED! Joan Rivers attends a performance in London's West End and says, “You are absolutely amazing! The cherry on my London cake!” (5) (6).
Load more

Recommended publications
  • Puvunestekn 2
    1/23/19 Costume designers and Illustrations 1920-1940 Howard Greer (16 April 1896 –April 1974, Los Angeles w as a H ollywood fashion designer and a costume designer in the Golden Age of Amer ic an cinema. Costume design drawing for Marcella Daly by Howard Greer Mitc hell Leis en (October 6, 1898 – October 28, 1972) was an American director, art director, and costume designer. Travis Banton (August 18, 1894 – February 2, 1958) was the chief designer at Paramount Pictures. He is considered one of the most important Hollywood costume designers of the 1930s. Travis Banton may be best r emembered for He held a crucial role in the evolution of the Marlene Dietrich image, designing her costumes in a true for ging the s tyle of s uc h H ollyw ood icons creative collaboration with the actress. as Carole Lombard, Marlene Dietrich, and Mae Wes t. Costume design drawing for The Thief of Bagdad by Mitchell Leisen 1 1/23/19 Travis Banton, Travis Banton, Claudette Colbert, Cleopatra, 1934. Walter Plunkett (June 5, 1902 in Oakland, California – March 8, 1982) was a prolific costume designer who worked on more than 150 projects throughout his career in the Hollywood film industry. Plunk ett's bes t-known work is featured in two films, Gone with the Wind and Singin' in the R ain, in which he lampooned his initial style of the Roaring Twenties. In 1951, Plunk ett s hared an Osc ar with Orr y-Kelly and Ir ene for An Amer ic an in Paris . Adr ian Adolph Greenberg ( 1903 —19 59 ), w i de l y known Edith H ead ( October 28, 1897 – October 24, as Adrian, was an American costume designer whose 1981) was an American costume designer mos t famous costumes were for The Wiz ard of Oz and who won eight Academy Awards, starting with other Metro-Goldwyn-Mayer films of the 1930s and The Heiress (1949) and ending with The Sting 1940s.
    [Show full text]
  • Final J.Min |O.Phi |T.Cun |Editor |Copy
    Style SPeCIAl What is shown in Paris today is a dead duck tomorrow.” — Costume designer EDITH HEAD, whose 57-year career owed “ much of its longevity to avoiding trends. C Edith Head’s LEgacy In her day, the famed costume designer ruled at Paramount, dressing everyone from Grace Kelly to Elizabeth Taylor — all the while savvily getting her way By Sam Wasson Kim Novak’s wardrobe for Vertigo, including this white coat with black scarf, was designed to look mysterious. “This girl must look as if she’s just drifted out of the San Francisco fog,” said Head. FINAL J.MIN |O.PHI |T.CUN |EDITOR |COPY Costume designer edith head — whose most unforgettable designs included Grace Kelly’s airy chiffon skirt in Hitchcock’s To Catch a Thief, Gloria Swanson’s darkly elegant dresses in Sunset Boulevard, Dorothy Lamour’s sarongs, and Elizabeth Taylor’s white satin gown in A Place in the Sun — sur- vived 40 years of changing Hollywood styles by skillfully eschewing fads of the moment and, for the most part, gran- Cdeur and ornamentation, too. Boldness, she believed, was a vice. Thirty years after her death, Head is getting a new dose of attention. A gor- geous coffee table book,Edith Head: The Fifty-Year Career of Hollywood’s Greatest Costume Designer, was recently published. And in late March, an A to Z adapta- tion of Head’s seminal 1959 book, The Dress Doctor, is being released as well. ! The sTyle setter of The screen The breezy volume spotlights her trade- Clockwise from above: 1.
    [Show full text]
  • 'Perfect Fit': Industrial Strategies, Textual Negotiations and Celebrity
    ‘Perfect Fit’: Industrial Strategies, Textual Negotiations and Celebrity Culture in Fashion Television Helen Warner Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Film and Television Studies Submitted July 2010 ©This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author's prior, written consent. Helen Warner P a g e | 2 ABSTRACT According to the head of the American Costume Designers‟ Guild, Deborah Nadoolman Landis, fashion is emphatically „not costume‟. However, if this is the case, how do we approach costume in a television show like Sex and the City (1998-2004), which we know (via press articles and various other extra-textual materials) to be comprised of designer clothes? Once onscreen, are the clothes in Sex and the City to be interpreted as „costume‟, rather than „fashion‟? To be sure, it is important to tease out precise definitions of key terms, but to position fashion as the antithesis of costume is reductive. Landis‟ claim is based on the assumption that the purpose of costume is to tell a story. She thereby neglects to acknowledge that the audience may read certain costumes as fashion - which exists in a framework of discourses that can be located beyond the text. This is particularly relevant with regard to contemporary US television which, according to press reports, has witnessed an emergence of „fashion programming‟ - fictional programming with a narrative focus on fashion.
    [Show full text]
  • English and French-Speaking Legislation Intended to Diminish the Rights Requiring Workers Contribute to Their Own Television Channels Throughout Canada
    Join The Stand Up, Fight Back Campaign! IATSE Political Action Committee Voucher for Credit/Debit Card Deductions I hereby authorize the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States Political Action Committee, hereinafter called the IATSE-PAC to initiate a deduction from my credit card. This authorization is to remain in full force and effect until the IATSE-PAC has received written notification from me of its termination in such time and in such manner as to afford the parties a reasonable opportunity to act on it. Check one: President’s Club ($40.00/month) Leader’s Club ($20.00/month) Activist’s Club ($10.00/month) Choose one: Or authorize a monthly contribution of $________ Mastercard Discover Authorize a one-time contribution of $________($10.00 minimum) VISA American Express Card #: _____________________________________ Expiration Date (MM/YY): ____/____ Card Security Code: ______ Employee Signature_______________________________ Date________________ Last 4 Digits of SSN___________ Local Number_____________ ET Print Name_____________________________________Email______________________________________ Phone Number________________________ Home Address_______________________________________ City ____________________________ State/Zip Code _____________________________ Billing Address_________________________ City_________________ State/Zip Code______________ Occupation/Employer_____________________ This Authorization is voluntarily made based on my specific
    [Show full text]
  • During the 1930-60'S, Hollywood Directors Were Told to "Put the Light Where the Money Is" and This Often Meant Spectacular Costumes
    During the 1930-60's, Hollywood directors were told to "put the light where the money is" and this often meant spectacular costumes. Stuidos hired the biggest designers and fashion icons to bring to life the glitz and the glamour that moviegoers expected. Edith Head, Adrian, Walter Plunkett, Irene and Helen Rose were just a few that became household names because of their designs. In many cases, their creations were just as important as the plot of the movie itself. Few costumes from the "Golden Era" of Hollywood remain except for a small number tha have been meticulously preserved by a handful of collectors. Greg Schreiner is one of the most well-known. His wonderful Hollywood fiolm costume collection houses over 175 such masterpieces. Greg shares his collection in the show Hollywoood Revisited. Filled with music, memories and fun, the revue allows the audience to genuinely feel as if they were revisiting the days that made Hollywood a dream factory. The wardrobes of Marilyn Monroe, Elizabeth Taylor, Julie Andrews, Robert Taylor, Bette Davis, Ann-Margret, Susan Hayward, Bob Hope and Judy Garland are just a few from the vast collection that dazzle the audience. Hollywood Revisited is much more than a visual treat. Acclaimed vocalists sing movie-related music while modeling the costumes. Schreiner, a professional musician, provides all the musical sccompaniment and anecdotes about the designer, the movie and scene for each costume. The show has won critical praise from movie buffs, film historians, and city-wide newspapers. Presentation at the legendary Pickfair, The State Theatre for The Los Angeles Conservancy and The Santa Barbara Biltmore Hotel met with huge success.
    [Show full text]
  • Introduction
    THE NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS THE OLIVE WONG PROJECT PERFORMANCE COSTUME DESIGN RESEARCH GUIDE INTRODUCTION COSTUME DESIGN AND PERFORMANCE WRITTEN AND EDITED BY AILEEN ABERCROMBIE The New York Public Library for the Perform- newspapers, sketches, lithographs, poster art ing Arts, located in Lincoln Center Plaza, is and photo- graphs. In this introduction, I will nestled between four of the most infuential share with you some of Olive’s selections from performing arts buildings in New York City: the NYPL collection. Avery Fisher Hall, Te Metropolitan Opera, the Vivian Beaumont Teater (home to the Lincoln There are typically two ways to discuss cos- Center Teater), and David H. Koch Teater. tume design: “manner of dress” and “the history Te library matches its illustrious location with of costume design”. “Manner of dress” contextu- one of the largest collections of material per- alizes the way people dress in their time period taining to the performing arts in the world. due to environment, gender, position, economic constraints and attitude. Tis is essentially the The library catalogs the history of the perform- anthropological approach to costume design. ing arts through collections acquired by notable Others study “the history of costume design”, photographers, directors, designers, perform- examining the way costume designers interpret ers, composers, and patrons. Here in NYC the the manner of dress in their time period: where so many artists live and work we have the history of the profession and the profession- an opportunity, through the library, to hear als. Tis discussion also talks about costume sound recording of early flms, to see shows designers’ backstory, their process, their that closed on Broadway years ago, and get to relationships and their work.
    [Show full text]
  • THE HEIRESS / 1949 (A Herdeira)
    CINEMATECA PORTUGUESA-MUSEU DO CINEMA E A VIDA CONTINUA 25 de julho de 2020 THE HEIRESS / 1949 (A Herdeira) um filme de William Wyler Realização: William Wyler / Argumento: Ruth e Augustus Goetz, com base na peça que escreveram a partir de “Washington Square” de Henry James / Fotografia: Leo Tover / Montagem: William Hornbeck / Música: Aaron Copland / Direcção Artística: Harry Horner e John Meehan / Décors: Emil Kuri / Guarda-Roupa: Edith Head e Gile Steele / Interpretação: Olivia de Havilland (Catherine Sloper), Montgomery Clift (Morris Townsend), Ralph Richardson (Dr. Austin Sloper), Miriam Hopkins (Lavinia Penniman), Vanessa Brown (Maria), Mona Freeman (Marian Almond), Ray Collins (Jefferson Almond), Betty Lindley (Mrs Montgomery), Selena Royle (Elizabeth Almond), Paul Lees (Arthur Townsend), etc. Produção: William Wyler para a Paramount / Cópia: DCP, preto e branco, legendado em eletronicamente em português, 115 minutos / Estreia Mundial: Nova Iorque, Outubro de 1949, no Radio City Hall / Estreia em Portugal: Cinema Éden, a 24 de Março de 1951. ____________________________ Esta adaptação de um dos romances mais memoráveis (e legíveis...) de Henry James começou a sua carreira na Broadway, com Wendy Hiller, Peter Cookson e Ralph Richardson nos principais papéis. Segundo reza a história, foi a mulher de Lewis Milestone, grande amiga de Olivia de Havilland, quem sugeriu à estrela que fosse a correr ver a peça, dizendo que seria um veículo ideal para ela. De Havilland concordou e convenceu William Wyler a fazer o mesmo. A Paramount comprou os direitos e pediu aos autores para escreverem a versão cinematográfica. Hiller e Cookson foram despachados, mas Richardson foi escolhido para repetir o seu devastador desempenho na tela, na companhia de de Havilland e de um jovem actor que, até à data, tinha feito dois filmes: o mítico Red River de Howard Hawks e The Search de Fred Zinnemann.
    [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]
  • Cinematic Fashionability and Images Politics
    Journalism and Mass Communication, Mar.-Apr. 2021, Vol. 11, No. 2, 73-80 doi: 10.17265/2160-6579/2021.02.002 D DAVID PUBLISHING Cinematic Fashionability and Images Politics Chan Ka Lok Sobel Hong Kong Baptist University, Hong Kong SAR, China The marriage of cinema and fashion? When, where and how their interaction and origin is begun? There should be no glamor and red carpet when The Lumière brothers short films like Workers leaving the Lumière factory, The Gardener, Baby’s Breakfast on the birth of cinema in 1895. However, we notice that artificially costumes are tailor-made for A Trip to the Moon in Georges Méliès and D. W. Griffith’s Intolerance. Suddenly, it adds the aesthetical and modernist elements into the blood of cinema beside the raw-realism of how the daily life of the common people is represented on the silver screen. Some kinds of bourgeois ideology and middle class value is enhanced. It is so unbelievable that some ordinary actress like Mary Pickford transforming into a movie star after beautifully dressing up. Not only the audience feel the power of movie magic but also the fashion magic. This paper explores the different perspective of movie and fashion in terms of fashion and film costumes, movie stars icon, fashion trends influenced by movies, and how fashion designers changes the look of cinema as well, etc. Keywords: ideology, movie images, stardom, fashionability Introduction Cinema is somehow like a showcase of fashion. General audiences are fans of movie stars not just because of their personal charisma, but because of the fashion they wear.
    [Show full text]
  • American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
    For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE
    [Show full text]
  • John Cassavetes
    Cassavetes on Cassavetes Ray Carney is Professor of Film and American Studies and Director of the undergraduate and graduate Film Studies programs at Boston Uni- versity. He is the author or editor of more than ten books, including the critically acclaimed John Cassavetes: The Adventure of Insecurity; The Films of Mike Leigh: Embracing the World; The Films of John Cas- savetes: Pragmatism, Modernism, and the Movies; American Vision: The Films of Frank Capra; Speaking the Language of Desire: The Films of Carl Dreyer; American Dreaming; and the BFI monograph on Cas- savetes’ Shadows. He is an acknowledged expert on William James and pragmatic philosophy, having contributed major essays on pragmatist aesthetics to Morris Dickstein’s The Revival of Pragmatism: New Essays on Social Thought, Law, and Culture and Townsend Ludington’s A Modern Mosaic: Art and Modernism in the United States. He co- curated the Beat Culture and the New America show for the Whitney Museum of American Art in New York, is General Editor of the Cam- bridge Film Classics series, and is a frequent speaker at film festivals around the world. He is regarded as one of the world’s leading authori- ties on independent film and American art and culture, and has a web site with more information at www.Cassavetes.com. in the same series woody allen on woody allen edited by Stig Björkman almodóvar on almodóvar edited by Frédéric Strauss burton on burton edited by Mark Salisbury cronenberg on cronenberg edited by Chris Rodley de toth on de toth edited by Anthony Slide fellini on
    [Show full text]
  • Neoliberalism and Monopoly in the Motion Picture Industry
    Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 3-19-2020 Neoliberalism and Monopoly in the Motion Picture Industry Michael S. Wartenbe Florida International University, [email protected] Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the American Politics Commons, International Economics Commons, International Relations Commons, and the Political Economy Commons Recommended Citation Wartenbe, Michael S., "Neoliberalism and Monopoly in the Motion Picture Industry" (2020). FIU Electronic Theses and Dissertations. 4417. https://digitalcommons.fiu.edu/etd/4417 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida NEOLIBERALISM AND MONOPOLY IN THE MOTION PICTURE INDUSTRY A d issertati on s ubm. itt ed in par tia l fulf illm en t of the requireme nt s for the deg ree of DOCTOR OF PHILOSOPHY in INTERNATIONAL RELATIONS by Michael Wartenbe 2020 To: Dean John F. Stack, Jr. Steven J. Green School of International & Public Affairs This dissertation, written by Michael Wartenbe, and entitled Neoliberalism and Monopoly in the Motion Picture Industry, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this dissertation and recommend that it be approved. ________________________________________ Gail Hollander ________________________________________ Jin Zeng ________________________________________ Clement Fatovic ________________________________________ Ronald Cox, Major Professor Date of Defense: March 19, 2020 This dissertation of Michael Wartenbe is approved.
    [Show full text]