The Awful Truthtruth””””

Total Page：16

File Type：pdf, Size：1020Kb

“““THE“THE AWFUL TRUTHTRUTH”””” © www.carygrant.net Across Down 2. Ralph Bellamy also played the part of Bruce 1. Jerry brings home a basket of these when Baldwin in this 1940 Cary Grant movie he returns from his "trip to Florida" (three words) 3. Tammy Wynette sings a song by this name; 4. Armand is Lucy's _____ coach. the action or an instance of legally 5. The Awful Truth was nominated for six dissolving a marriage Academy awards, including ____________ , but 6. Asta's real name lost to The Life of Emile Zola. (two words) 8. An electric lamp designed to emit radiation 7. Mr. Smith plays this game with Armand's of wavelengths from ultraviolet to infrared hat (three words) that that changes a person's skin to a 10. Jerry Warriner tells his wife, Lucy, that he has healthier looking shade spent two weeks in this state when he really 9. After the Warriner's separation, Lucy meets hasn't. and becomes engaged to an oilman from 11. This person wins custody of Mr. Smith this state; an Oscar winning 1955 musical 15. Leo McCarey also directed this 1942 Cary 12. Jerry Warriner: "And if you get bored in Grant film (four words) Oklahoma City, you can always go over to 17. The Warriner's dog's name is Mr. _____ . _____ for the weekend!" 18. At Jerry's fiancee's home, Lucy pretends to 13. The name of the athletic club where Jerry be his sister from ______ . gets his tan 19. Mr. Smith was this breed of dog (three words) 14. Irene Dunne was also Cary's leading lady in 20. Lucy and her fiancee, Daniel, sing this song this 1941 film (two words) together at the piano (four words) 16. Dan reads this poem to Lucy: "For you, my little prairie flower / I'm thinking of you every hour / It would make my life divine / if you would change your name to ____ ." ©www.carygrant.net .

Copy Link

Recommended publications

Screwball Syll
Webster University FLST 3160: Topics in Film Studies: Screwball Comedy Instructor: Dr. Diane Carson, Ph.D. Email: [email protected] COURSE DESCRIPTION: This course focuses on classic screwball comedies from the 1930s and 40s. Films studied include It Happened One Night, Bringing Up Baby, The Awful Truth, and The Lady Eve. Thematic as well as technical elements will be analyzed. Actors include Katharine Hepburn, Cary Grant, Clark Gable, and Barbara Stanwyck. Class involves lectures, discussions, written analysis, and in-class screenings. COURSE OBJECTIVES: The purpose of this course is to analyze and inform students about the screwball comedy genre. By the end of the semester, students should have: 1. An understanding of the basic elements of screwball comedies including important elements expressed cinematically in illustrative selections from noteworthy screwball comedy directors. 2. An ability to analyze music and sound, editing (montage), performance, camera movement and angle, composition (mise-en-scene), screenwriting and directing and to understand how these technical elements contribute to the screwball comedy film under scrutiny. 3. An ability to apply various approaches to comic film analysis, including consideration of aesthetic elements, sociocultural critiques, and psychoanalytic methodology. 4. An understanding of diverse directorial styles and the effect upon the viewer. 5. An ability to analyze different kinds of screwball comedies from the earliest example in 1934 through the genre’s development into the early 40s. 6. Acquaintance with several classic screwball comedies and what makes them unique. 7. An ability to think critically about responses to the screwball comedy genre and to have insight into the films under scrutiny.
[Show full text]
COM 221: Introduction to Film Dr. Neuendorf Sample Final Exam #1 PRINT NAME: SS
1 COM 221: Introduction to Film Dr. Neuendorf Sample Final Exam #1 PRINT NAME:_____________________________ SS#:______________________________________ CSU ID#:__________________________________ Multiple Choice/T-F--Indicate one letter on your opscan/scantron answer sheet: 1. The annual Cleveland Film Festival features American films not produced by major commercial studios, as well as films made in such countries as Poland, New Zealand, and Zimbabwe. Most of the Festival films, then, could be considered: a. Bollywood films b. Second City Cinema c. indies and Third Cinema d. New Wave Cinema and Race Movies 2. Our ability to use the auteur theory, as well as to analyze genre and conduct formalistic analyses of the mise-en- scene, is largely due to the work of six young men writing in a film journal in the 1950's. They all studied films of all types at their local cinematheque before trying to make films themselves. When they finally did make films, the works were heralded as being inventive and eclectic. These men have been called: a. the German Expressionists b. the French Dadaists c. the Italian Neorealists d. the French New Wave 3. In films such as Contact, What Dreams May Come, and Mighty Joe Young, some of the special visual effects include images that have been created electronically, without hand drawings, and without models constructed. That would indicate what type of animation? a. computer animation b. stop-motion animation c. cel animation d. multiplane animation 4. The 1994 film The Crow (D: Alex Proyas), starring the late Brandon Lee, a young rock musician rises from the grave and seeks vengeance with the aid of a spectral crow.
[Show full text]
Films from the THIRTIES: PART II 1935-39
t% The Museum of Modern Art 1] West 53 Street, New York, N.Y. 10019 Tel. 245-3200 Cable: Modernart No. 83 FOR RELEASE: Friday, August 25, I968 Films from THE THIRTIES: PART II 1935-39 The Museum of Modern Art, will present a retrospective of films from the thirties beginning August 23, and running through October 6. The Thirties, according to Willard Van Dyke, Director of the Department of Film, will consist of 39 pictures, representing some of the richest creative talent in American cinema at a time that has been called "the dear, dead days not beyond recall." Two years ago the Museum presented The Thirties, U.S.A., Part I, covering the first half of the decade. The films being shown now as Part II were made from 1935 ^^ 193 '• Among the pictures to be shown are: Frank Capra's "Lost Horizon"; Paul Muni in "The Life of Emile Zola," the Story of a Northern Jew's lynching in the South; the great thriller "Night Must Fall," an adaptation of the Emlyn Williams play starring Robert Montgomery; and "The Good Earth," a spectacle film in black and white, from Pearl Buck's popular novel, for which Luise Rainer won her second Academy Award, with Paul Muni in the starring role. The latter part of the thirties was characterized by further achievements in the musical film, largely due to the talents of Fred Astaire, who with Ginger Rogers starred in "Top Hat," and "Shall We Dance," both of which are in the retrospective. The most important contributions to the annals of films made in the thirties was the series of "snowball" comedies Hollywood turned out at a time of grim, economic hardships.
[Show full text]
Black Feminist Thought
Praise for the first edition of Black Feminist Thought “The book argues convincingly that black feminists be given, in the words immor- talized by Aretha Franklin, a little more R-E-S-P-E-C-T....Those with an appetite for scholarese will find the book delicious.” —Black Enterprise “With the publication of Black Feminist Thought, black feminism has moved to a new level. Collins’ work sets a standard for the discussion of black women’s lives, experiences, and thought that demands rigorous attention to the complexity of these experiences and an exploration of a multiplicity of responses.” —Women’s Review of Books “Patricia Hill Collins’ new work [is] a marvelous and engaging account of the social construction of black feminist thought. Historically grounded, making excellent use of oral history, interviews, music, poetry, fiction, and scholarly literature, Hill pro- poses to illuminate black women’s standpoint. .Those already familiar with black women’s history and literature will find this book a rich and satisfying analysis. Those who are not well acquainted with this body of work will find Collins’ book an accessible and absorbing first encounter with excerpts from many works, inviting fuller engagement. As an overview, this book would make an excellent text in women’s studies, ethnic studies, and African-American studies courses, especially at the upper-division and graduate levels. As a meditation on the deeper implications of feminist epistemology and sociological practice, Patricia Hill Collins has given us a particular gift.” —Signs “Patricia Hill Collins has done the impossible. She has written a book on black feminist thought that combines the theory with the most immediate in feminist practice.
[Show full text]
1 COM 320, History of Film the U.S. Hollywood Studio System (1920'S-1950'S) Key Sources: Gabler, N. (1988). an Empire of Their
1 COM 320, History of Film The U.S. Hollywood Studio System (1920's-1950's) Key sources: Gabler, N. (1988). An empire of their own: How the Jews invented Hollywood. New York: Crown Publishers, Inc. Mordden, E. (1988). The Hollywood studios: House style in the golden age of the movies. New York: Simon & Schuster. Schatz, T. (1996). The genius of the system: Hollywood filmmaking in the studio era. New York: Henry Holt. What distinguished the Hollywood Studio System? 1. Oligopoly: A relatively limited list of active studios--only 11 total, including five Majors, three Minors (the “Little Three”), and the Independents (e.g., Disney, Goldwyn, & Selznick) 2. The 5 Majors all were distinguished by Vertical Integration, that is, ownership of Production- Distribution-Exhibition (dissolved after the Paramount Case ruling of 1948) 3. Moguls: The importance of a handful of quite similar men in formulating the studio system (i.e., With one exception (Darryl Zanuck of 20th Century-Fox), the moguls were Jewish, of recent Eastern European or Russian extraction, from families who had suffered great prejudice and hardship, most having already amassed small fortunes in other businesses back east. For more info, see the book and/or PBS documentary “An Empire of Their Own”.) 4. Large physical plants * soundstages * backlots * other facilities that ensured the independence of the studio (e.g., fire station, medical center, bungalows, school, restaurants) 5. A “stable” of contract players and crew (e.g., Wallace Ford) 6. The star system * the "grooming" of stars under contract * star vehicles 7. Studios as family or "protectorates" * studio head as patriarch (e.g., Louis B.
[Show full text]
Theater Playbills and Programs Collection, 1875-1972
Guide to the Brooklyn Theater Playbills and Programs Collection, 1875-1972 Brooklyn Public Library Grand Army Plaza Brooklyn, NY 11238 Contact: Brooklyn Collection Phone: 718.230.2762 Fax: 718.857.2245 Email: [email protected] www.brooklynpubliclibrary.org Processed by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier. Finding aid created in 2006. Revised and expanded in 2008. Copyright © 2006-2008 Brooklyn Public Library. All rights reserved. Descriptive Summary Creator: Various Title: Brooklyn Theater Playbills and Programs Collection Date Span: 1875-1972 Abstract: The Brooklyn Theater Playbills and Programs Collection consists of 800 playbills and programs for motion pictures, musical concerts, high school commencement exercises, lectures, photoplays, vaudeville, and burlesque, as well as the more traditional offerings such as plays and operas, all from Brooklyn theaters. Quantity: 2.25 linear feet Location: Brooklyn Collection Map Room, cabinet 11 Repository: Brooklyn Public Library – Brooklyn Collection Reference Code: BC0071 Scope and Content Note The 800 items in the Brooklyn Theater Playbills and Programs Collection, which occupies 2.25 cubic feet, easily refute the stereotypes of Brooklyn as provincial and insular. From the late 1880s until the 1940s, the period covered by the bulk of these materials, the performing arts thrived in Brooklyn and were available to residents right at their doorsteps. At one point, there were over 200 theaters in Brooklyn. Frequented by the rich, the middle class and the working poor, they enjoyed mass popularity. With materials from 115 different theaters, the collection spans almost a century, from 1875 to 1972. The highest concentration is in the years 1890 to 1909, with approximately 450 items.
[Show full text]
During 1920'S Warner Bros. Invests Money Into Sound Tech Don
During 1920’s Warner Bros. Invests money into sound tech Don Juan released 1926 – orchestral accompaniment and sound effects on disc. W/vaudeville shorts with singing and talking Jazz Singer- 1927- Part talkie/w music At this point (After MPCC) no fierce competion- Sound of Film becomes (Movietone-Fox) standard not SOUND ON DISC (Vitafone-WB) 1929- Wings first film to win best picture. COLOR IN FILM One of the first examples-hand tinting Annabells Butterfly Dance (Red and Green) first produced. - TOLL OF THE SEA, STAGE STRUCK, THE BLACK PIRATE (1925, 26) FIRST FILM in 3 color technicolor was Disney's FLOWER AND TREES (1932) in Silly Symphonies. FIRST EVER COLOR FILM- GOOFY GOAT ANTICs by Ted Eschbaugh (1931) Three Little Pigs (1933) FIRST full color, live action short LA CUCHRACHA (1934) First Full length 3 color BECKY SHARP (1935) 1939- The Wizard of Oz , Gone with the Wind Hattie McDaniel first african american to win academy award MGM dominance in 30's- Star system. Warner Brothers Gangster films.--Little Ceasar 1930, The Public Enemy 193, Scarface 1931 Universal 1930 All is Quiet on the Western Front- banned controversial, wins oscar best pic. Universal Horror pics... Tod Browning Dracula 1931, Frankenstein 1931, Fruends The Mummy 1932 Freaks 1932 All studios suffer during depression except MGM Attendance drops...lowest is 60-75 million a week. Charlie Chaplin... City Lights 1931, Modern Times 36 last great silent film. 1930's Screwball Comedies.- battle of sex, quickwitted, imaganitive. madcap farces... Howard Hawks.- Twentieth Century 1934, Bringing up Baby 1938, His Girl Friday, 1940 others.
[Show full text]
The Awful Truth: on Metonymic Rationality in Hawks and Cavell - SRAZ LX, 99-115 (2015)
T. Jukić, The Awful Truth: On Metonymic Rationality in Hawks and Cavell - SRAZ LX, 99-115 (2015) UDC 791.44.072 Cavell, S.(049.3) Original scientific paper Received on 30 October 2015 Accepted for publication on 18 May 2016 The Awful Truth: On Metonymic Rationality in Hawks and Cavell Tatjana Jukić Faculty of Humanities and Social Sciences University of Zagreb [email protected] When Stanley Cavell analyzes Hollywood comedies of remarriage, he mobilizes their narratives as the platform from which to address America as a political and a philo- sophical project. This is also where Cavell acknowledges the affinity of the cinematic narrative and psychoanalysis, most notably perhaps in his sustained interest in the Hollywood woman as a spectacle of crisis and critique. With this in mind, I propose to discuss the Cavellian woman, of his cinema books, who dominates the “green world” of the Hollywood remarriage comedy: the bucolic story-space which Cavell associ- ates with the Emersonian vision of America and identifies as definitive to its critical character. I focus however on the comedy in which there seems to be no climactic green world – Howard Hawks’ His Girl Friday (1940) – and argue that Hawks’ woman mobilizes metropolitan courtrooms and the adjacent spaces in a similar fashion, as if to suggest that the Emersonian green world is not absent from Hawks’ film but rather metonymic to the positions America would assign to (pure) reason. Finally, I show how this Cavellian complex corresponds to Gilles Deleuze’s philosophical fascination with woman, film and America. Keywords: Stanley Cavell, Howard Hawks, American cinema, philosophy of film, metonymy 1.
[Show full text]
PHIL 444.01: Topics of Philosophy in Film
University of Montana ScholarWorks at University of Montana Syllabi Course Syllabi Fall 9-1-2007 PHIL 444.01: Topics of Philosophy in Film Paul Muench University of Montana - Missoula, [email protected] Follow this and additional works at: https://scholarworks.umt.edu/syllabi Let us know how access to this document benefits ou.y Recommended Citation Muench, Paul, "PHIL 444.01: Topics of Philosophy in Film" (2007). Syllabi. 11068. https://scholarworks.umt.edu/syllabi/11068 This Syllabus is brought to you for free and open access by the Course Syllabi at ScholarWorks at University of Montana. It has been accepted for inclusion in Syllabi by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Philosophy 444 University ofMontana Prof. Paul Muench (pronounced "Minch") Fa112007 office: LA 155 office hours: T, 1:10-2, W, 3:10-5, orbyappointment mailbox: LA 101 email: [email protected] office phone: 406.243.2351 Topics in Philosophy of Film Lectures: Tuesday/Thursday, 11:10 a.m.-12:30 p.m., Liberal Arts 106 Film Screenings: Wednesday, 6:10-8:40 p.m., Liberal Arts 106 In this course we will critically examine some of the philosopher Stanley Cavell's writings on film. In particular we will look at two genres ofHollywood film that Cavell discusses-the remarriage comedy and the melodrama ofthe unknown woman-and consider how he thinks these films bear on what he calls "moral perfectionism." Cavell claims that moral perfectionism "is not a competing moral
[Show full text]
The Sublime Wisdom of Not Understanding: the Role of Knowledge in Preston Sturges’ the Lady Eve
www.thecine-files.com FEATURED SCHOLARSHIP The Sublime Wisdom of Not Understanding: The Role of Knowledge in Preston Sturges’ The Lady Eve Jason Michelitch Preston Sturges' The Lady Eve (1941), as Stanley Cavell says, is a film that "knows itself to have been written and directed and photographed and edited."1 Indeed, this is a film that concerns itself with the question of knowledge. A transcendently strange film from a transcendently strange filmmaker, the story follows Jean (Barbara Stanwyck), a con artist on an ocean liner who sets out to ensnare bumbling billionaire Charles (Henry Fonda) in a web of lust, only to end up a prisoner of love herself after she falls for the mug. When he discovers her deceit and casts her aside, her broken heart fuels her with rage, and she sets out to con him again, this time infiltrating his family estate masquerading as the titular Lady Eve, seducing him once again, with an eye towards revenge. As always with Sturges, the convoluted plot meets with hyperactive dialogue and an idiosyncratic visual pattern, synthesizing into a rare confection of entertainment that feels so otherworldly that one hesitates to place it in any particular category, be it "romantic comedy" or even "Hollywood film." Nevertheless, while it may be more than the sum of its labels, it is a film that clearly fits within both traditions, and such placement is useful to us in exploring the deeper significance of this absurdist romp. The classical Hollywood formula is generally considered “conservative at best, reactionary at worst, attempting always to recuperate with ameliorative closure whatever problems and divisions it creates.”2 Scholars such as Robert B.
[Show full text]
The Sins of Leo Mccarey
Journal of Religion & Film Volume 17 Article 38 Issue 1 April 2013 4-1-2013 The insS of Leo McCarey Richard A. Blake S.J. Boston College, [email protected] Recommended Citation Blake, Richard A. S.J. (2013) "The inS s of Leo McCarey," Journal of Religion & Film: Vol. 17 : Iss. 1 , Article 38. Available at: https://digitalcommons.unomaha.edu/jrf/vol17/iss1/38 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. The insS of Leo McCarey Abstract Leo McCarey has received little tta ention from film scholars. His sentimentalizing his Catholic background and his preoccupation with anti-Communism obscured the lasting value of much of his work. His concern with sin and forgiveness form a major motif of his works, from the early comedies to his later serious dramas. Keywords McCarey, Catholic, Sin Author Notes Richard A. Blake, S.J., is Professor of Fine Arts (film studies) at Boston College. He is a former film reviewer, for 35 years, at America magazine, and the author of Afterimage: The ndeI lible Catholic Imagination in Six American Film Makers and Street Smart on New York films. He is the Editor of Studies in the Spirituality of Jesuits. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol17/iss1/38 Blake: The Sins of Leo McCarey THE SINS OF LEO McCAREY I CATHOLICISM AND COMMUNISM Leo McCarey’s Catholic background undoubtedly colored his artistry, particularly his notions of sin and atonement, but few critics and historians have discussed this issue, or many of the other particular issues that arise from a close reading of his films in the context of his biography.
[Show full text]
Queen Latifah, Unruly Women, and the Bodies of Romantic Comedy Genders, December 2007
Queen Latifah, unruly women, and the bodies of romantic comedy Genders, December 2007 Bodies, stardom, narratives [1] The questions that compel this essay concern the relationship between bodies and narratives: the narratives available to certain bodies and the disruptive impact of those bodies on narratives. My focus is the embodiment of the spunky heroine of the romantic comedy film--the feisty screwball leading lady whose excessive speech, aspirations, and energy have endeared her to generations of cinema lovers and to feminist film theory as well, which has celebrated her as woman-on-top and fast-talking dame. Earlier versions of this film character were played by the likes of Rosalind Russell, Barbara Stanwyck, Carole Lombard, and Katherine Hepburn, the later versions by Meg Ryan, Julie Roberts, Drew Barrymore, and Jennifer Aniston. As this list suggests, the excessiveness of this heroine is proscribed by the cultural ideals of white femininity, which in turn is pictured through very select bodies. While feminist film scholarship has long acknowledged the power of the unruly woman in comedy, this scholarship has glossed over the ways in which race in particular enables the unruliness of this character and intersects with class ideals in the picturing of this heroine. Using the star persona of Queen Latifah as a case study, this essay centers on how the romantic comedy narrative handles the sexuality of the unruly woman who is black, or conversely, the narratives available for racial unruliness when it is female. [2] The traditional romantic comedy ends in the coupling of the unlikely couple, but the pleasure of the narrative--and its feminist appeal--is the lively, quarrelsome give-and-take of the courtship, fired by the struggle for egalitarianism between the unruly woman and the man who is her match.
[Show full text]