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Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
Oh Bondage up Yours
Oh bondage up yours Continue Some people think little girls should be seen and not heard. Iconic vocalist Paulie Styrene certainly isn't, as screeching is the call to arms that opens her band X-Ray Spex debut single Oh Bondage! Up on yours! defiantly testified. For the group so strongly rooted in its era, and it was together so fleeting (they formed in 1976, and disintegrated three years later); For all the simplicity of rapid fire and punk vitriol, not to mention Paulie's vocals (described by one journalist as a sizzling dissonance) - X-Ray Spex feel relevant and important today, forty years later, more than ever. A new book, Dayglo: Paulie Styrene's story tells the story of a woman 'real name Marie Elliott' who has managed to bring a playfully joyful, satirical female voice to a man dominated by nihilism punk. Co-authored with Paulie's daughter Celeste Bell with writer, musician and artist zoe howe, and designed by Laura Findlay, the comprehensive volume combines a series of interviews with Paulie's friends, family and fans with a wealth of gorgeous archival photographs, hand-scrawled lyrical sheets and works of art, flyers and more to create an oral portrait of a woman's history with more than a few stories. Paulie died of breast cancer in 2011 at the age of just fifty-three, so it's left for those who knew her (and those who knew her music) to tell her tales. These contributors make up a formidable list, including Vivienne Westwood, Tessa Politt, John Savage and Thurston Moore (formerly Sonic Youth). -
Text Pages Layout MCBEAN.Indd
Introduction The great photographer Angus McBean has stage performers of this era an enduring power been celebrated over the past fifty years chiefly that carried far beyond the confines of their for his romantic portraiture and playful use of playhouses. surrealism. There is some reason. He iconised Certainly, in a single session with a Yankee Vivien Leigh fully three years before she became Cleopatra in 1945, he transformed the image of Scarlett O’Hara and his most breathtaking image Stratford overnight, conjuring from the Prospero’s was adapted for her first appearance in Gone cell of his small Covent Garden studio the dazzle with the Wind. He lit the touchpaper for Audrey of the West End into the West Midlands. (It is Hepburn’s career when he picked her out of a significant that the then Shakespeare Memorial chorus line and half-buried her in a fake desert Theatre began transferring its productions to advertise sun-lotion. Moreover he so pleased to London shortly afterwards.) In succeeding The Beatles when they came to his studio that seasons, acknowledged since as the Stratford he went on to immortalise them on their first stage’s ‘renaissance’, his black-and-white magic LP cover as four mop-top gods smiling down continued to endow this rebirth with a glamour from a glass Olympus that was actually just a that was crucial in its further rise to not just stairwell in Soho. national but international pre-eminence. However, McBean (the name is pronounced Even as his photographs were created, to rhyme with thane) also revolutionised British McBean’s Shakespeare became ubiquitous. -
Dissertation
DISSERTATION Titel der Dissertation “We’re Punk as Fuck and Fuck like Punks:”* Queer-Feminist Counter-Cultures, Punk Music and the Anti-Social Turn in Queer Theory Verfasserin Mag.a Phil. Maria Katharina Wiedlack angestrebter akademischer Grad Doktorin der Philosophie (Dr. Phil.) Wien, Jänner 2013 Studienkennzahl lt. Studienblatt: A 092 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuerin / Betreuer: Univ. Prof.in Dr.in Astrid Fellner Earlier versions and parts of chapters One, Two, Three and Six have been published in the peer-reviewed online journal Transposition: the journal 3 (Musique et théorie queer) (2013), as well as in the anthologies Queering Paradigms III ed. by Liz Morrish and Kathleen O’Mara (2013); and Queering Paradigms II ed. by Mathew Ball and Burkard Scherer (2012); * The title “We’re punk as fuck and fuck like punks” is a line from the song Burn your Rainbow by the Canadian queer-feminist punk band the Skinjobs on their 2003 album with the same name (released by Agitprop Records). Content 1. Introduction .......................................................................................................... 1 2. “To Sir With Hate:” A Liminal History of Queer-Feminist Punk Rock ….………………………..…… 21 3. “We’re punk as fuck and fuck like punks:” Punk Rock, Queerness, and the Death Drive ………………………….………….. 69 4. “Challenge the System and Challenge Yourself:” Queer-Feminist Punk Rock’s Intersectional Politics and Anarchism……...……… 119 5. “There’s a Dyke in the Pit:” The Feminist Politics of Queer-Feminist Punk Rock……………..…………….. 157 6. “A Race Riot Did Happen!:” Queer Punks of Color Raising Their Voices ..……………..………… ………….. 207 7. “WE R LA FUCKEN RAZA SO DON’T EVEN FUCKEN DARE:” Anger, and the Politics of Jouissance ……….………………………….…………. -
February 2018 at BFI Southbank Events
BFI SOUTHBANK EVENTS LISTINGS FOR FEBRUARY 2018 PREVIEWS Catch the latest film and TV alongside Q&As and special events Preview: The Shape of Water USA 2017. Dir Guillermo del Toro. With Sally Hawkins, Michael Shannon, Doug Jones, Octavia Spencer. Digital. 123min. Courtesy of Twentieth Century Fox Sally Hawkins shines as Elisa, a curious woman rendered mute in a childhood accident, who is now working as a janitor in a research center in early 1960s Baltimore. Her comfortable, albeit lonely, routine is thrown when a newly-discovered humanoid sea creature is brought into the facility. Del Toro’s fascination with the creature features of the 50s is beautifully translated here into a supernatural romance with dark fairy tale flourishes. Tickets £15, concs £12 (Members pay £2 less) WED 7 FEB 20:30 NFT1 Preview: Dark River UK 2017. Dir Clio Barnard. With Ruth Wilson, Mark Stanley, Sean Bean. Digital. 89min. Courtesy of Arrow Films After the death of her father, Alice (Wilson) returns to her family farm for the first time in 15 years, with the intention to take over the failing business. Her alcoholic older brother Joe (Stanley) has other ideas though, and Alice’s return conjures up the family’s dark and dysfunctional past. Writer-director Clio Barnard’s new film, which premiered at the BFI London Film Festival, incorporates gothic landscapes and stunning performances. Tickets £15, concs £12 (Members pay £2 less) MON 12 FEB 20:30 NFT1 Preview: You Were Never Really Here + extended intro by director Lynne Ramsay UK 2017. Dir Lynne Ramsay. With Joaquin Phoenix, Ekaterina Samsonov, Alessandro Nivola. -
* Hc Omslag Film Architecture 22-05-2007 17:10 Pagina 1
* hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns. Tim Bergfelder is Professor of Film at the University of Southampton. He is the author of International Adventures (2005), and co- editor of The German Cinema Book (2002) and The Titanic in Myth and Memory (2004). Sarah Street is Professor of Film at the Uni- versity of Bristol. She is the author of British Cinema in Documents (2000), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcis- sus (2004). Sue Harris is Reader in French cinema at Queen Mary, University of London. She is the author of Bertrand Blier (2001) and co-editor of France in Focus: Film -
Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß. -
MGM 70 YEARS: REDISCOVERIES and CLASSICS June 24 - September 30, 1994
The Museum of Modern Art For Immediate Release May 1994 MGM 70 YEARS: REDISCOVERIES AND CLASSICS June 24 - September 30, 1994 A retrospective celebrating the seventieth anniversary of Metro-Goldwyn- Mayer, the legendary Hollywood studio that defined screen glamour and elegance for the world, opens at The Museum of Modern Art on June 24, 1994. MGM 70 YEARS: REDISCOVERIES AND CLASSICS comprises 112 feature films produced by MGM from the 1920s to the present, including musicals, thrillers, comedies, and melodramas. On view through September 30, the exhibition highlights a number of classics, as well as lesser-known films by directors who deserve wider recognition. MGM's films are distinguished by a high artistic level, with a consistent polish and technical virtuosity unseen anywhere, and by a roster of the most famous stars in the world -- Joan Crawford, Clark Gable, Judy Garland, Greta Garbo, and Spencer Tracy. MGM also had under contract some of Hollywood's most talented directors, including Clarence Brown, George Cukor, Vincente Minnelli, and King Vidor, as well as outstanding cinematographers, production designers, costume designers, and editors. Exhibition highlights include Erich von Stroheim's Greed (1925), Victor Fleming's Gone Hith the Hind and The Wizard of Oz (both 1939), Stanley Kubrick's 2001: A Space Odyssey (1968), and Ridley Scott's Thelma & Louise (1991). Less familiar titles are Monta Bell's Pretty Ladies and Lights of Old Broadway (both 1925), Rex Ingram's The Garden of Allah (1927) and The Prisoner - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 of Zenda (1929), Fred Zinnemann's Eyes in the Night (1942) and Act of Violence (1949), and Anthony Mann's Border Incident (1949) and The Naked Spur (1953). -
Here We Are on the 200Th Anniversary of His Classic Story, Celebrating His Legacy of Artistic Inspiration and Achievement at the Nexus of the Tale Itself
WELCOME 1ST ANNUAL SLEEPY HOLLOW INTERNATIONAL FILM FESTIVAL Could Washington Irving have predicted the enduring impact “The Legend of Sleepy Hollow” would have on the world when it was published in 1819? Perhaps not. And yet here we are on the 200th anniversary of his classic story, celebrating his legacy of artistic inspiration and achievement at the nexus of the tale itself. The Sleepy Hollow International Film Festival is a celebration of cinematic and literary-themed wonders—a one-of-a-kind combination of film premieres, exclusive screenings, live events, scripts in competition as well as special guests, panels and much more, all taking place in the historic Hudson Valley during its magical, and wildly popular, Halloween season. All of us with SHIFF are thrilled to welcome you to be part of history with this first-ever large-scale genre film festival in Westchester County, NY, in one of the most famous locations in the entire world. We extend a special thanks to the fine folk, governments and associations of Sleepy Hollow and Tarrytown, the wondrous Tarrytown Music Hall and Warner Library, who proudly keep the spirit of Irving alive each and every day. So, for the next four days, revel in the inception of a new legend here in the Hollow. Enjoy, and let the bewitching begin! —The SHIFF Team Co-Founder/Director, Business Affairs DAVE NORRIS Advisory Board Lead Programmer DAN McKEON CHRIS POGGIALI FREDERICK K. KELLER TAYLOR WHITE Screenplay Board CHRIS TOWNSEND HARRY MANFREDINI Co-Founder/Director, DON LAMOREAUX Tech/Prints STEVE MITCHELL Programmer STEVE MITCHELL ZACH TOW CYRUS VORIS MATT VERBOYS CYRUS VORIS Official Photographer LARRY COHEN (In Memoriam. -
A New Design for Our Website
THIS MONTH AT THE Mechanics’ Institute www.milibrary.org VOL. 3, NO. 10 OCTOBER 2013 AUTHORS, LECTURES, & MORE HIGHLIGHT LIBRARY NEWS Tuesday, October 1, 6:00 pm A New Design for Calcutta: Two Years in the City (Knopf) Our Website BY AMIT CHAUDHURI JEREMY SNELL, In his first non-fiction book, Chaudhuri masterfully merges the WEB LIBRARIAN genres of memoir, reportage and history as a way to describe the transformations of this ancient city and modern India. n September 30, the Mechanics’ Members Free; Public $15 Institute will launch the next generation of its website at Continued on page 2 O milibrary.org. We unveiled the current version of our website 3 years ago, so many of you may wonder why we’re changing to a new design so soon. CHESS The redesigned site provides numerous improvements that will make it easier Wednesday Night Lessons (After 6 – Chess for Adults) to use and give us more avenues for October 2, 9, 16, 23, 6:00 – 7:30 pm expanding our services online in the TAUGHT BY EWELINA KRUBNIK future. Did you learn how to move the chess pieces as a child? Would you like to learn more? This class is for you! Join a small group of MI members in a relaxed setting Going mobile. More than 10% of to improve your chess skills. In four Wednesday evenings you will dramatically our visitors are using their phone or improve your game, learning: Major Openings, Check Mate Patterns, and tablet to browse our website, and this Endgame Strategies. percentage continues to grow a little Full listing on page 6 every month. -
Films with 2 Or More Persons Nominated in the Same Acting Category
FILMS WITH 2 OR MORE PERSONS NOMINATED IN THE SAME ACTING CATEGORY * Denotes winner [Updated thru 88th Awards (2/16)] 3 NOMINATIONS in same acting category 1935 (8th) ACTOR -- Clark Gable, Charles Laughton, Franchot Tone; Mutiny on the Bounty 1954 (27th) SUP. ACTOR -- Lee J. Cobb, Karl Malden, Rod Steiger; On the Waterfront 1963 (36th) SUP. ACTRESS -- Diane Cilento, Dame Edith Evans, Joyce Redman; Tom Jones 1972 (45th) SUP. ACTOR -- James Caan, Robert Duvall, Al Pacino; The Godfather 1974 (47th) SUP. ACTOR -- *Robert De Niro, Michael V. Gazzo, Lee Strasberg; The Godfather Part II 2 NOMINATIONS in same acting category 1939 (12th) SUP. ACTOR -- Harry Carey, Claude Rains; Mr. Smith Goes to Washington SUP. ACTRESS -- Olivia de Havilland, *Hattie McDaniel; Gone with the Wind 1941 (14th) SUP. ACTRESS -- Patricia Collinge, Teresa Wright; The Little Foxes 1942 (15th) SUP. ACTRESS -- Dame May Whitty, *Teresa Wright; Mrs. Miniver 1943 (16th) SUP. ACTRESS -- Gladys Cooper, Anne Revere; The Song of Bernadette 1944 (17th) ACTOR -- *Bing Crosby, Barry Fitzgerald; Going My Way 1945 (18th) SUP. ACTRESS -- Eve Arden, Ann Blyth; Mildred Pierce 1947 (20th) SUP. ACTRESS -- *Celeste Holm, Anne Revere; Gentleman's Agreement 1948 (21st) SUP. ACTRESS -- Barbara Bel Geddes, Ellen Corby; I Remember Mama 1949 (22nd) SUP. ACTRESS -- Ethel Barrymore, Ethel Waters; Pinky SUP. ACTRESS -- Celeste Holm, Elsa Lanchester; Come to the Stable 1950 (23rd) ACTRESS -- Anne Baxter, Bette Davis; All about Eve SUP. ACTRESS -- Celeste Holm, Thelma Ritter; All about Eve 1951 (24th) SUP. ACTOR -- Leo Genn, Peter Ustinov; Quo Vadis 1953 (26th) ACTOR -- Montgomery Clift, Burt Lancaster; From Here to Eternity SUP. -
Punk, Love and Marxism
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 7-11-2016 12:00 AM Bodies: Punk, Love and Marxism Kathryn Grant The University of Western Ontario Supervisor Dr. Christopher Keep The University of Western Ontario Graduate Program in Theory and Criticism A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Kathryn Grant 2016 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Continental Philosophy Commons, Other Music Commons, and the Theory and Criticism Commons Recommended Citation Grant, Kathryn, "Bodies: Punk, Love and Marxism" (2016). Electronic Thesis and Dissertation Repository. 3935. https://ir.lib.uwo.ca/etd/3935 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract: This thesis returns love to the purview of Marxism and punk, which had attempted to ban the interpersonal in respective critiques of abstractions. Love-as-sense—as it is figured by Marx— will be distinguished from the love-of-love-songs, and from commodity fetishism and alienation, which relate to this recuperated love qua perception or experience. As its musical output exhibited residue of free love’s failure, and cited sixties pop which characterized love as mutual ownership, American and British punk from 1976-80 will be analyzed for its interrogation of commodified love. An introductory chapter will define love as an aesthetic activity and organize theoretical and musical sources according to the prominence of the body.