DOCSLIB.ORG

ESTTA497520 10/01/2012 in the UNITED STATES PATENT and TRADEMARK OFFICE BEFORE the TRADEMARK TRIAL and APPEAL BOARD Proceeding 8

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ESTTA497520 10/01/2012 in the UNITED STATES PATENT and TRADEMARK OFFICE BEFORE the TRADEMARK TRIAL and APPEAL BOARD Proceeding 8 Trademark Trial and Appeal Board Electronic Filing System. http://estta.uspto.gov ESTTA Tracking number: ESTTA497520 Filing date: 10/01/2012 IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD Proceeding 85260850 Applicant RYW Enterprises, LLC Applied for Mark CRAB RANGOON Correspondence ADAM J. BRUNO Address BAY STATE IP, LLC 101 ARCH ST FL 19 BOSTON, MA 02110-1130 UNITED STATES [email protected] Submission Appeal Brief Attachments Appeal Brief - Crab Rangoon.pdf ( 10 pages )(61973 bytes ) Exhibit 1 for Response to OA for CRAB RANGOON.pdf ( 3 pages )(137770 bytes ) Exhibit 2 for Response to OA for CRAB RANGOON.pdf ( 2 pages )(165738 bytes ) Filer's Name Adam J. Bruno Filer's e-mail [email protected] Signature /Adam J. Bruno/ Date 10/01/2012 IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD APPEAL BRIEF Applicant: RYW Enterprises, LLC Serial No.: 85/260,850 Filed: 3/08/2011 Mark: CRAB RANGOON Docket No.: 1001.108.RYW Sir/Ma'am: Please Find Enclosed Applicant's Main Brief. 1 INDEX OF CASES H. Marvin Ginn Corp. v. International Ass’n of Fire Chiefs, Inc. 228 U.S.P.Q. 528, 530 (Fed. Cir. 1986) In re Atavio Inc., 25 U.S.P.Q.2d 1361, 1362 (TTAB 1992) In re Gourmet Bakers, Inc. 173 U.S.P.Q. 565, 565 (TTAB 1972) In re Gyulay, 3U.S.P.Q.2d 1009, 109 (Fed. Cir. 1987) In re Johanna Farms Inc., 8 U.S.P.Q. 1408, 1412 (TTAB 1988) In re Nett Designs, Inc., 236 F. 3d 1339, 1342 (Fed. Cir. 2001) In re Pennzoil Prods. Co., 20 U.S.P.Q.2d 1753, 178 (TTAB 1986) In re Recorded Books, Inc. 42 U.S.P.Q.2d 1275, 1277 (TTAB 1997) In re Societe Generale, 3 U.S.P.Q.2d 1450, 1452 (Fed. Cir. 1987) In re TBG, Inc., 229 U.S.P.Q. 759 (TTAB 1986) In re Waverly Inc., 27 U.S.P.Q.2d 1620, 1624 (TTAB 1993) Magic Wand Inc. v. RDB Inc., 19 U.S.P.Q.2d 1551, 1554 (Fed. Cir. 1991) The Hoover Co. v. Royal Appliance Mfg. Co., 57 U.S.P.Q.2d 1720 (Fed. Cir. 2001) 2 I INTRODUCTION Applicant RYW Enterprises, LLC submitted a trademark application for the mark "CRAB RANGOON" on March 8, 2011. On January 31, 2012, the Examining Attorney issued a final refusal to registration of the above-referenced mark on the Principal Register pursuant to 15 U.S.C. Section 1052(e)(1), holding that the above-referenced mark, when used on or in connection with its identified services, merely describes a feature of applicant’s goods. Applicant respectfully appeals this decision, arguing that applicant’s applied-for mark does not merely describe a feature of applicant’s goods. II. ARGUMENT As the Office Action issued a refusal for merely descriptiveness, including a generic advisory, applicant responds to the merely descriptive refusal and generic advisory as follows: In the Office Action, registration on the Principal Register has been refused as the Office Action states the above-referenced mark, when used on or in connection with its identified services, merely describes the goods/services of the product CRAB RANGOON, that being food. Applicant herein asserts, in conjunction with submitting supportive argumentative matter, that due to the dissimilar nature of the terms contained within the mark, in conjunction with the perception to be drawn by the relevant consumer public, the mark is neither merely descriptive, nor generic, but is, at worst, merely suggestive to the relevant consumer, the average United States purchaser. Thus, applicant respectfully requests that the refusal be removed. If a mark is descriptive, it cannot be registered on the Principal Register without proof of secondary meaning. If, however, a mark is suggestive, no such proof is necessary and the mark is registrable without more, since it is technically stronger. In re Gyulay, 3U.S.P.Q.2d 1009, 109 3 (Fed. Cir. 1987). In order for the applicant to overcome a prima facie showing of descriptiveness, the applicant must show that the mark is incongruous, indefinite or susceptible to multiple connotations, or requires imagination, cogitation, or gathering of further information in order for the relevant public to perceive any significance of the term as it relates to a significant aspect of applicant’s product or services. T.M.E.P.§1209.01(a) The more that the relevant consumer perception of the mark relies on the consumer’s imagination, the more likely the mark is suggestive rather than descriptive. In re Atavio Inc., 25 U.S.P.Q.2d 1361, 1362 (TTAB 1992) (One which is only suggestive requires some imagination, thought or perception to determine its meaning in relation to the goods.) A mark is merely descriptive if the mark “immediately conveys” the ingredients, qualities, or characteristics of the goods or services with which it is used. The Hoover Co. v. Royal Appliance Mfg. Co., 57 U.S.P.Q.2d 1720 (Fed. Cir. 2001). While it is desirable to create a strong showing that the mark is suggestive, it is enough to make it an open question since the examining attorney bears the burden of establishing that the mark is merely descriptive. In re Pennzoil Prods. Co., 20 U.S.P.Q.2d 1753, 178 (TTAB 1986) When the issue of whether a mark is merely descriptive or suggestive is not clear, the question is to be resolved in favor of the applicant. In re Gourmet Bakers, Inc. 173 U.S.P.Q. 565, 565 (TTAB 1972) Thus, taking the imagination and cognitive nature of the mark as a whole, particularly considering that the focal point of the mark, “rangoon”, is a non-English term with no connection to the goods of applicant’s mark, in conjunction with the standard that cuts in favor of the applicant when it is not clear if the mark is merely descriptive or suggestive, the refusal should be removed. 4 Taking the terms “crab” and “rangoon” on their face, wherein the descriptive nature of the term “crab” is undeniable when crab meat is incorporated within applicants goods, the suggestive nature of the term “rangoon” is as equally undeniable, particularly as the term is a derivation of a city in a far distant country, and in fact a country not regularly accorded recognition for these kinds of goods. As shown below, although numerous foreign terms have become synonymous with particular food terms within the United States (wonton, mai tai, fajita, quesadilla, to name a few), the dearth of United States registered trademarks utilizing the term “rangoon” clearly illustrates the descriptive or generic nature of the applicant’s mark. In light of the composite nature of applicant’s mark, wherein the individual terms, crab (English term for a kind of Seafood) and rangoon (a Myanmar city and no affiliation with food), are not terms normally seen together in common United States usage prior to applicant’s employment thereof, the mark should qualify as non-descriptive and non-generic. Furthermore, as illustrated above, the term Rangoon does not and did not possess any significant meaning in relation to applicant’s goods or any significant meaning in the food industry. Applicant’s assertions herein are bolstered by the fact that the term “rangoon” has been used by applicant since 1981 and still, a Google search revealed many more results for the city of Yangon in Myanmar. Thus, in line with the applicable standard, applicant’s term “rangoon” does not immediately convey anything regarding the ingredients, qualities, or characteristics of any food, as it is known as a city. Therefore, taking into account the imagination and cognitive nature of the mark, the focal point of the mark, and that it is unclear if the mark is merely descriptive or suggestive; the question is to be resolved in favor of the applicant. Addressing the entirety of the mark in the sense of generic quality, the combination of languages or origins of the differing terms utilized in the mark illustrates the non-generic nature 5 of the mark as a whole. According to Trademark Act Section 2(e)(1), 15 U.S.C. §1052(e)(1), “A mark is merely descriptive if it describes an ingredient, quality, characteristic, function, feature, purpose or use of the relevant goods and/or services.” However, "a composite mark having two or more admittedly descriptive elements is, in fact not necessarily merely descriptive. When joined in a single mark, the descriptive terms may create a distinct commercial impression which is not merely descriptive." In re TBG, Inc., 229 U.S.P.Q. 759 (TTAB 1986) (emphasis added). The test for genericness is simple and consists of only two questions: 1. What is the class of goods or services at issue? 2. Does the relevant public understand the designation primarily to refer to that class of goods or services? H. Marvin Ginn Corp. v. International Ass’n of Fire Chiefs, Inc. 228 U.S.P.Q. 528, 530 (Fed. Cir. 1986) (“The critical issue in genericness cases is whether members of the relevant public primarily use or understand the term sought to be protected to refer the genus of goods or services in question.”) The burden is on the U.S. Trademark Office to show by clear and convincing evidence that a term is unregistrable as a generic name. In re Recorded Books, Inc. 42 U.S.P.Q.2d 1275, 1277 (TTAB 1997) (“with respect to genericness, the Office has the burden of proving genericness by clear and convincing evidence’ thereof”).
Load more

Recommended publications
  • Burma – Myanmar
    BURMA COUNTRY READER TABLE OF CONTENTS Jerome Holloway 1947-1949 Vice Consul, Rangoon Edwin Webb Martin 1950-1051 Consular Officer, Rangoon Joseph A. Mendenhall 1955-1957 Economic Officer, Office of Southeast Asian Affairs, Washington DC William C. Hamilton 1957-1959 Political Officer, Rangoon Arthur W. Hummel, Jr. 1957-1961 Public Affairs Officer, USIS, Rangoon Kenneth A. Guenther 1958-1959 Rangoon University, Rangoon Cliff Forster 1958-1960 Information Officer, USIS, Rangoon Morton Smith 1958-1963 Public Affairs Officer, USIS, Rangoon Morton I. Abramowitz 1959 Temporary Duty, Economic Officer, Rangoon Jack Shellenberger 1959-1962 Branch Public Affairs Officer, USIS, Moulmein John R. O’Brien 1960-1962 Public Affairs Officer, USIS, Rangoon Robert Mark Ward 1961 Assistant Desk Officer, USAID, Washington, DC George M. Barbis 1961-1963 Analyst for Thailand and Burma, Bureau of Intelligence and Research, Washington DC Robert S. Steven 1962-1964 Economic Officer, Rangoon Ralph J. Katrosh 1962-1965 Political Officer, Rangoon Ruth McLendon 1962-1966 Political/Consular Officer, Rangoon Henry Byroade 1963-1969 Ambassador, Burma 1 John A. Lacey 1965-1966 Burma-Cambodia Desk Officer, Washington DC Cliff Southard 1966-1969 Public Affairs Officer, USIS, Rangoon Edward C. Ingraham 1967-1970 Political Counselor, Rangoon Arthur W. Hummel Jr. 1968-1971 Ambassador, Burma Robert J. Martens 1969-1970 Political – Economic Officer, Rangoon G. Eugene Martin 1969-1971 Consular Officer, Rangoon 1971-1973 Burma Desk Officer, Washington DC Edwin Webb Martin 1971-1973 Ambassador, Burma John A. Lacey 1972-1975 Deputy Chief of Mission, Rangoon James A. Klemstine 1973-1976 Thailand-Burma Desk Officer, Washington DC Frank P. Coward 1973-1978 Cultural Affairs Officer, USIS, Rangoon Richard M.
    [Show full text]
  • Read Ebook {PDF EPUB} Money Into Light the Emerald Forest a Diary by John Boorman Money Into Light: the Emerald Forest a Diary by John Boorman
    Read Ebook {PDF EPUB} Money into light The Emerald Forest a diary by John Boorman Money into light: The Emerald Forest a diary by John Boorman. Director, Producer, Actor. John Boorman was born in Shepperton, Middlesex on 18 January 1933. After the Blitzed childhood he evoked in Hope and Glory (1997), national service and a spell in dry-cleaning, he progressed from journalism into television, eventually becoming the head of the BBC 's Bristol- based Documentary Unit in 1962. His first feature, Catch Us If You Can (1965), an attempt to repeat the success of A Hard Day's Night (d. Richard Lester, 1964), is handicapped by the fact that the Dave Clark Five are infinitely less interesting, musically and as screen personalities, than The Beatles . However, within the format of the UK pop musical, the film shows traces of a distinct directorial personality. As the group make their way West, Boorman catches glimpses of interesting, unusual English landscapes: considering that he would specialise in alien or alienating worlds, it is intriguing that even at this early stage, he was casting his eye around for the fantastical among the greenery. Boorman was drawn to for the opportunity to make larger-scale cinema and in Point Blank (1967), a potent distillation of a Richard Stark novel, brought a stranger's vision to the decaying fortress of Alcatraz and the proto-hippy world of San Francisco. After Point Blank , Boorman re-teamed with Lee Marvin (partnered with Toshiro Mifune ) for the robinsonade of Hell in the Pacific (US, 1968), a war movie with a slightly too fable-like gimmick: the relationship of nations encapsulated by two representative soldiers stranded together on an island and forced to put aside war to survive.
    [Show full text]
  • Burma Watching: a Retrospective
    Griffith Asia Institute Regional Outlook Burma Watching: A Retrospective Andrew Selth About the Griffith Asia Institute The Griffith Asia Institute produces innovative, interdisciplinary research on key developments in the politics, economics, societies and cultures of Asia and the South Pacific. By promoting knowledge of Australia’s changing region and its importance to our future, the Griffith Asia Institute seeks to inform and foster academic scholarship, public awareness and considered and responsive policy making. The Institute’s work builds on a 41 year Griffith University tradition of providing cutting- edge research on issues of contemporary significance in the region. Griffith was the first University in the country to offer Asian Studies to undergraduate students and remains a pioneer in this field. This strong history means that today’s Institute can draw on the expertise of some 50 Asia–Pacific focused academics from many disciplines across the university. The Griffith Asia Institute’s ‘Regional Outlook’ papers publish the institute’s cutting edge, policy-relevant research on Australia and its regional environment. They are intended as working papers only. The texts of published papers and the titles of upcoming publications can be found on the Institute’s website: www.griffith.edu.au/asiainstitute ‘Burma Watching: A Retrospective’, Regional Outlook Paper No. 39, 2012. About the Author Andrew Selth Andrew Selth is an Adjunct Research Fellow at the Griffith Asia Institute. He has been studying international security issues and Asian affairs for 40 years, as a diplomat, strategic intelligence analyst and research scholar. He has published four books and more than 50 other peer-reviewed works, most of them about Burma and related subjects.
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • John Boorman
    13/15 John Boorman BFI Southbank to honour the director with a BFI Fellowship on 25 March followed by a career retrospective throughout April On 25 March John Boorman will be presented a BFI Fellowship – the highest accolade that the nation’s leading organisation for film can award. To mark the occasion he will be interviewed by Michel Ciment, on-stage at BFI Southbank, to launch a major retrospective of his work and to celebrate his recent 80th birthday. There will also be an Extended Run and nationwide release of Point Blank (1967) and an exhibition of artefacts from Boorman’s personal archive, on display in the Mezzanine – including a dress worn by Helen Mirren in Excalibur (1981). To complement this season there will be an exclusive run of Me and Me Dad (2011), an intimate insight of life in the Boorman family, directed by John’s daughter Katrine Boorman (who will appear in conversation on 27 March, following a preview of her film). According to Philip French, John Boorman is ‘one of the greatest filmmakers this country has produced’. He began his career as a documentary director for the BBC with Citizen 63 (BBC, 1963) and The Newcomers (BBC, 1964), and this season will feature these early works and follow his varied filmmaking career to date. His first feature film, Catch Us If You Can (1965), was a showcase for the Dave Clark Five and caught the attention and support of Pauline Kael. It was followed by The Quarry: Portrait of a Man as a Parylsed Artist (BBC, 1966), inspired by Fellini’s 8½ and events in Boorman’s own life.
    [Show full text]
  • Refugees from Burma Acknowledgments
    Culture Profile No. 21 June 2007 Their Backgrounds and Refugee Experiences Writers: Sandy Barron, John Okell, Saw Myat Yin, Kenneth VanBik, Arthur Swain, Emma Larkin, Anna J. Allott, and Kirsten Ewers RefugeesEditors: Donald A. Ranard and Sandy Barron From Burma Published by the Center for Applied Linguistics Cultural Orientation Resource Center Center for Applied Linguistics 4646 40th Street, NW Washington, DC 20016-1859 Tel. (202) 362-0700 Fax (202) 363-7204 http://www.culturalorientation.net http://www.cal.org The contents of this profile were developed with funding from the Bureau of Population, Refugees, and Migration, United States Department of State, but do not necessarily rep- resent the policy of that agency and the reader should not assume endorsement by the federal government. This profile was published by the Center for Applied Linguistics (CAL), but the opinions expressed herein do not necessarily reflect positions or policies of CAL. Production supervision: Sanja Bebic Editing: Donald A. Ranard Copyediting: Jeannie Rennie Cover: Burmese Pagoda. Oil painting. Private collection, Bangkok. Design, illustration, production: SAGARTdesign, 2007 ©2007 by the Center for Applied Linguistics The U.S. Department of State reserves a royalty-free, nonexclusive, and irrevocable right to reproduce, publish, or otherwise use, and to authorize others to use, the work for Government purposes. All other rights reserved. No part of this book may be reproduced, in any form or by any means, without permission in writing from the publisher. All inquiries should be addressed to the Cultural Orientation Resource Center, Center for Applied Linguistics, 4646 40th Street, N.W., Washington, D.C. 20016.
    [Show full text]
  • Myanmar (Burma)
    BURMA COUNTRY READER TABLE OF CONTENTS Jerome Holloway 1947-1949 Vice Consul, Rangoon Edwin Webb Martin 1950-1051 Consular Officer, Rangoon Joseph A. Mendenhall 1955-1957 Economic Officer, Office of Southeast Asian Affairs, Washington DC Arthur W. Hummel, Jr. 1957-1961 Public Affairs Officer, USIS, Rangoon Kenneth A. Guenther 1958-1959 Rangoon University, Rangoon Cliff Forster 1958-1960 Information Officer, USIS, Rangoon Morton Smith 1958-1963 Public Affairs Officer, USIS, Rangoon Morton I. Abramowitz 1959 Temporary Duty, Economic Officer, Rangoon Jack Shellenberger 1959-1962 Branch Public Affairs Officer, USIS, Moulmein John R. O’Brien 1960-1962 Public Affairs Officer, USIS, Rangoon Robert Mark Ward 1961 Assistant Desk Officer, USAID, Washington, DC George M. Barbis 1961-1963 Analyst for Thailand and Burma, Bureau of Intelligence and Research, Washington DC Robert S. Steven 1962-1964 Economic Officer, Rangoon Ralph J. Katrosh 1962-1965 Political Officer, Rangoon Ruth McLendon 1962-1966 Political/Consular Officer, Rangoon Henry Byroade 1963-1969 Ambassador, Burma John A. Lacey 1965-1966 Burma-Cambodia Desk Officer, Washington DC 1 Cliff Southard 1966-1969 Public Affairs Officer, USIS, Rangoon Edward C. Ingraham 1967-1970 Political Counselor, Rangoon Arthur W. Hummel Jr. 1968-1971 Ambassador, Burma Robert J. Martens 1969-1970 Political – Economic Officer, Rangoon G. Eugene Martin 1969-1971 Consular Officer, Rangoon 1971-1973 Burma Desk Officer, Washington DC Edwin Webb Martin 1971-1973 Ambassador, Burma John A. Lacey 1972-1975 Deputy Chief of Mission, Rangoon James A. Klemstine 1973-1976 Thailand-Burma Desk Officer, Washington DC Frank P. Coward 1973-1978 Cultural Affairs Officer, USIS, Rangoon Richard M. Gibson 1974-1975 Vice Consul, Rangoon 1975-1977 Thailand-Burma Desk Officer, Washington DC David L.
    [Show full text]
  • Me and Me Dad a Portrait of John Boorman Directed by His Daughter Katrine Boorman
    Me and me Dad A portrait of John Boorman directed by his daughter Katrine Boorman Now approaching his 80th year the brilliant and inspiring director John Boorman is one of the last great mavericks, having directed over 17 films including Point Blank, Excalibur and Deliverance, made numerous documentaries and written several books. ‘Me and me Dad’ is a revealing study of this difficult, charismatic and elusive man by one who should know him best: his daughter Katrine. Katrine, who previously had never held a camera, follows and films her father over a period of four years. Throughout, John attempts to control the entire process. He offers up a crash course masterclass in directing films. With her father as her teacher Katrine creates an intimate and surprising journey. Vulnerable, cross, funny, nostalgic, wild and wise, Boorman chronicles his adventures in Hollywood but he also talks with great honesty about his childhood, his marriages, his passion for nature, his need for danger and why film is the only thing he ever truly loved. What begins as a study of Boorman becomes the story of the Boorman family. A vivid narrative of a perfectly imperfect family emerges and we see the chaos and difficulties his chosen path imposed on those closest to him. A funny and honest history is told by one of film’s true Screening: survivors, ‘Me and me Dad’ is a portrait of one of the most 8pm 21st May influential British filmmakers of the last 40 years. But most of Palais des Festivals, all it is a story of a father and daughter finding their way back Salle Buñuel to each other through the language of film.
    [Show full text]
  • A Return to War: Militarized Conflicts in Northern Shan State
    A Return to War: Militarized Conflicts in Northern Shan State ASIA PAPER July 2018 EUROPEAN UNION A Return to War: Militarized Conflicts in Northern Shan State © Institute for Security and Development Policy V. Finnbodavägen 2, Stockholm-Nacka, Sweden www.isdp.eu “A Return to War: Militarized Conflicts in Northern Shan State” is an Asia Paper published by the published by the Institute for Security and Development Policy. The Asia Paper Series is the Occasional Paper series of the Institute’s Asia Program, and addresses topical and timely subjects. The Institute is based in Stockholm, Sweden, and cooperates closely with research centers worldwide. The Institute serves a large and diverse community of analysts, scholars, policy-watchers, business leaders, and journalists. It is at the forefront of research on issues of conflict, security, and development. Through its applied research, publications, research cooperation, public lectures, and seminars, it functions as a focal point for academic, policy, and public discussion. This publication has been produced with funding by the European Union. The content of this publication does not reflect the official opinion of the European Union. Responsibility for the information and views expressed in the paper lies entirely with the authors. No third-party textual or artistic material is included in the publication without the copyright holder’s prior consent to further dissemination by other third parties. Reproduction is authorised provided the source is acknowledged. © European Union and ISDP, 2018 Printed in Lithuania ISBN: 978-91-88551-11-5 Cover photo: Patrick Brown patrickbrownphoto.com Distributed in Europe by: Institute for Security and Development Policy Västra Finnbodavägen 2, 131 30 Stockholm-Nacka, Sweden Tel.
    [Show full text]
  • LES FILMS La Forêt D’Émeraude
    26 JOHN BOORMAN JOHN BOORMAN JOHN RÉTROSPECTIVE 1ER – 25 JUIN PROGRAMMATION Délivrance 27 UN ROMANTIQUE SCEPTIQUE Venu de l’école anglaise du documentaire, John Boorman a rompu avec cette tradition pour s’attaquer à tous les genres cinématographiques, qu’il a l’ambi- tion de renouveler de fond en comble. Mais chez lui, le désir d’aventure et d’un ailleurs idyllique peut se révéler illusoire. Né en 1933 à Chepperton, près des célèbres studios de la banlieue londonienne, John Boorman est issu d’une famille protestante d’origine écossaise et néerlandaise et fut néanmoins élevé chez les jésuites pendant la guerre. Fréquentant les cinémas populaires puis le National Film Theatre (la cinémathèque anglaise), il se passionne très jeune pour le septième art et s’exerce comme critique de cinéma pour la radio et un journal féminin. Après son service militaire, il entre en 1955 comme assistant monteur à la télévision qui allait devenir florissante dans les années 60 permettant à de nombreux cinéastes britanniques de faire leur début. Il acquiert une première notoriété en 1963, à Bristol, où il dirige trois épisodes sur six de la série « Citizen 63 », portraits d’un homme d’affaires, d’une lycéenne et d’un savant. L’année suivante, c’est encore dans le documentaire qu’il s’illustre avec The Newcomers – qui suit un couple de Bristol, la naissance de leurs jumeaux et leur vie quotidienne en six épisodes de trente minutes. Il devient vite conscient des limites du genre documentaire et des risques qu’il fait courir aux personnes qu’il filme.
    [Show full text]
  • Point Blank–Catch Us If You Can (1965)
    JOHN BOORMAN (18 January 1933, London, England) directed only one film before Point Blank–Catch Us if You Can (1965). Before that, he directed the television series "The Newcomers." His most recent film is Country of My Skull (2004). Some of the others are The Tailor of Panama (2001), The General (1998), Beyond Rangoon (1995), Hope and Glory (1987), The Emerald Forest (1985), Excalibur (1981), Exorcist II: The Heretic (1977), Zardoz (1974), Deliverance (1972), and Hell in the Pacific (1968). In 1998 he did a tv bio, "Lee Marvin: A Personal Portrait." LEE MARVIN (19 February 1924, New York, New York—29 August 1987, Tucson, Arizona, heart attack) acted in 43 films and numerous TV programs. His last film was The Delta Force (1986). Some of the others were Gorky Park (1983), The Big Red One (1980), Great Scout and Cathouse Thursday (1976), The Klansman (1974), The Iceman Cometh (1973), Emperor of the North Pole (1973), Prime Cut (1972), Monte Walsh (1970), Paint Your Wagon (1969), Hell in the Pacific (1968), Sergeant Ryker (1968), The Dirty Dozen (1967), The Professionals (1966), Ship of Fools (1965), The Killers (1964), The Man Who Shot Liberty Valance (1962), 14 FEBRUARY 2006, XII:7 and The Caine Mutiny (1954). He appeared in nearly all the major television JOHN BOORMAN: Point Blank 1967. 92 min. dramatic series in the 1950s and 1960s. He won an Oscar for his portrayal of Lee Marvin...Walker twin brothers, one a falling-down drunk, the other a dapper gunslinger with a Angie Dickinson...Chris silver nose, in Cat Ballou (1965).
    [Show full text]
  • Burma and the Movies
    Andrew Selth Populism, Politics and Propaganda: Burma and the Movies Working Paper Series No. 100 June 2008 The Southeast Asia Research Centre (SEARC) of the City University of Hong Kong publishes SEARC Working Papers Series electronically ©Copyright is held by the author or authors each Working Paper. SEARC Working Papers cannot be republished, reprinted, or reproduced in any format without the permission of the papers author or authors. Note: The views expressed in each paper are those of the author or authors of the paper. They do not represent the views of the Southeast Asia Research Centre, its Management Committee, or the City University of Hong Kong. Southeast Asia Research Centre Management Committee Professor William Case, Director Dr Vivienne Wee, Associate Director Dr Catherine Chiu Dr James Lee Southeast Asia Research Centre The City University of Hong Kong 83 Tat Chee Avenue Kowloon Tong, Hong Kong SAR Tel: (852 3442 6106 Fax: (852) 3442 0103 http://www.cityu.edu.hk/searc Populism, Politics and Propaganda: Burma and the Movies Dr Andrew Selth Griffith Asia Institute Griffith University Brisbane, Australia [email protected] Abstract For almost a century, movies set in or about Burma, particularly those made by the major American studios, have had a number of elements in common. While emphasizing its more colourful and exotic characteristics, they have either greatly romanticized the country or depicted it as a savage and untamed wilderness. Also, Burma has usually served as a backdrop for dramatic Occidental adventures, in which the local inhabitants played little role. More recent movies pay the Burmese people greater attention, but they are still secondary to the main plot, even when the movies consciously draw attention to the current military regime’s human rights abuses.
    [Show full text]