Hollywood Costume: 60 Films/60 Days November 29, 2013 – January 31, 2014

Total Page:16

File Type:pdf, Size:1020Kb

Hollywood Costume: 60 Films/60 Days November 29, 2013 – January 31, 2014 COMMUNICATIONS & MARKETING VIRGINIA MUSEUM OF FINE ARTS 200 N. Boulevard I Richmond, Virginia 23220-4007 www.vmfa.museum/pressroom I T 804.204.2704 Hollywood Costume: 60 Films/60 Days November 29, 2013 – January 31, 2014 60 Films/60 Days will showcase 60 movie titles selected from the exhibition throughout 60 days. Mondays – Thursdays: 1 p.m.; Fridays: 6:30 p.m. and Saturdays at 1:30 & Sundays: 1 p.m. Tickets are available at: https://reservations.vmfa.museum/state/Info.aspx?EventID=51 Friday Screenings November 29: The Dark Knight Rises (2012) Christian Bale takes it up another notch in the latest of the iconic and visually stunning Batman series. December 13: The Matrix (1999) The movie that has defined a generation featuring computer hackers, mysterious rebels, virtual reality, and the controllers. December 20: The Blues Brothers (1980) Rollicking flick with rousing R&B/Soul/Rock music, Belushi and Aykroyd, and the car chase to end all car chases. December 27: Raiders of the Lost Ark (1981) The first and fleetest of the wildly successful Spielberg series featuring archeologist and adventurer Indiana Jones. January 3: Valley of the Dolls (1968) A campy, cult relic about three actresses’ rise and fall in the cruel world of prescription drugs, sex, love, and show business. January 10: The Twilight Saga: New Moon (2009) They’re young; they’re hip; they’re vampires (and werewolves) in paranormal relationships. January 17: Dreamgirls (2006) Based on the hit Broadway musical, a Supremes-like trio of female soul singers conquer the pop charts in the 1960s. One word: Beyoncé January 24: Vertigo (1958) Alfred Hitchcock’s most ethereal, surrealistic, and mysterious with Jimmy Stewart and Kim Novak playing mind games. January 31: Taxi Driver (1976) Quintessential Martin Scorsese with Robert De Niro in the sleazy and decadent New York City underworld. Featured Films October Family Day: Oct 26: Superman IV (1987) November 9: The Birds (1963) (Special Event) November 29: The Dark Knight Rises (2012) November 30: 102 Dalmatians (2000) December 1: Dangerous Liaisons (1988) December 2: Out of Africa (1985) December 3: Morocco (1930) December 4: Funny Girl (1968) December 5: Braveheart (1995) December 7: Lemony Snicket’s A Series of Unfortunate Events(2004) December 8: Cleopatra (1934) December 9: Shakespeare in Love (1998) December 10: Some Like It Hot (1959) December 11: The Artist (2012) December 12: Camelot (1967) December 13: The Matrix (1999) December 14: Bourne Ultimatum (2007) December 15: Mamma Mia (2006) December 16: The Birds (1963) December 17: Anna Karenina (2012) December 18: Die Hard (1988) December 19: Dick Tracy (1990) December 20: The Blues Brothers (1980) December 21: Harry Potter and the Half Blood Prince (2009) December 22: Elizabeth: The Golden Age (2007) December 23: Austin Powers: International Man of Mystery (1997) December 24: Sherlock Holmes 2 (2009) December 25: Moulin Rouge (2001) December 26: My Fair Lady (1964) December 27: Raiders of the Lost Ark (1981) December 28: The Seven Year Itch (1955) December 29: Chicago (2002) December 30: Adventures of Don Juan, The (1948) December 31: French Lieutenant’s Woman(1981) January 1: Casino Royale (2008) January 2: Titanic (1997) January 3: Valley of the Dolls (1967) January 4: Superman IV (1987) January 5: Atonement (2007) January 6: Marie Antoinette (2006) January 7: Mary Shelley’s Frankenstein (1994) January 8: Gladiator (2000) January 9: Broadway Melody (1929) January 10: Twilight Saga: New Moon (2009) January 11: Spiderman (2002) January 12: The Iron Lady (2011) January 13: Sweeney Todd: The Demon Barber of Fleet Street (2007) January 14: The Queen (2006) January 15: The Last Emperor (1987) January 16: Ben-Hur (1959) January 17: Dreamgirls (2006) January 18: Addams Family Values (1993) January 19: Terminator 3: The Rise of the Machines (2003) January 20: Brokeback Mountain (2007) January 21: Bugsy (1991) January 22: Fight Club (1999) January 23: Barry Lyndon (1975) January 24: Vertigo (1958) January 25: Rocky IV(1985) January 26: Grit (2010) January 27: Gangs of New York (2001) January 28: Raging Bull (1980) January 29: The King of Comedy (1982) January 30: Casino (1995) January 31: Double Feature: The Searchers (1956) and Taxi Driver (1976) ### .
Recommended publications
  • FY14 Tappin' Study Guide
    Student Matinee Series Maurice Hines is Tappin’ Thru Life Study Guide Created by Miller Grove High School Drama Class of Joyce Scott As part of the Alliance Theatre Institute for Educators and Teaching Artists’ Dramaturgy by Students Under the guidance of Teaching Artist Barry Stewart Mann Maurice Hines is Tappin’ Thru Life was produced at the Arena Theatre in Washington, DC, from Nov. 15 to Dec. 29, 2013 The Alliance Theatre Production runs from April 2 to May 4, 2014 The production will travel to Beverly Hills, California from May 9-24, 2014, and to the Cleveland Playhouse from May 30 to June 29, 2014. Reviews Keith Loria, on theatermania.com, called the show “a tender glimpse into the Hineses’ rise to fame and a touching tribute to a brother.” Benjamin Tomchik wrote in Broadway World, that the show “seems determined not only to love the audience, but to entertain them, and it succeeds at doing just that! While Tappin' Thru Life does have some flaws, it's hard to find anyone who isn't won over by Hines showmanship, humor, timing and above all else, talent.” In The Washington Post, Nelson Pressley wrote, “’Tappin’ is basically a breezy, personable concert. The show doesn’t flinch from hard-core nostalgia; the heart-on-his-sleeve Hines is too sentimental for that. It’s frankly schmaltzy, and it’s barely written — it zips through selected moments of Hines’s life, creating a mood more than telling a story. it’s a pleasure to be in the company of a shameless, ebullient vaudeville heart.” Maurice Hines Is .
    [Show full text]
  • Valentine's Day Lacks Focus
    Valentine’s Day lacks focus Too many stars, not enough substance Photo copyright cleared Julia Fiztpatrick (Jennifer Garner) receives flowers from Reed Bennett (Ashton Kutcher)in the new film Valentine’s Day. James Butler Anne Hathaway (great in Get Smart and Contributor receiving an Oscar nomination for Rachel Most movies in Hollywood these days Getting Married) and even lesser ones like often have a major star attached to them Jennifer Garner are completely mailing it like George Clooney, Christian Bale, or in, it gets hard to really care about any of Jennifer Aniston, but it really is rare for the characters’ problems. a movie to have as many huge names as The screenplay itself is one of the Valentine’s Day. movie’s redeeming factors. Despite some Clearly catering to the mainstream cringe-worthy lines, it manages to have date movie audience, Valentine’s Day is points that were actually pretty funny. huge on star power, but very low on actual With a few too many story lines, substance. however, it stretches itself too thin, trying The biggest surprise about this movie to move the audience with characters was how they managed to get so many that were not given enough time or effort major stars into a motion picture and not throughout the film. get at least one memorable performance It also suffers from Crash syndrome, out of any of them. i.e., it bashes you over the head with The high profile cast includes Ashton its interconnected story lines and over- Kutcher, Jessica Alba, Julia Roberts, arching theme about the power of love.
    [Show full text]
  • Overcoming Adversity
    LANGUAGE IN INDIA Strength for Today and Bright Hope for Tomorrow Volume 11 : 4 April 2011 ISSN 1930-2940 Managing Editor: M. S. Thirumalai, Ph.D. Editors: B. Mallikarjun, Ph.D. Sam Mohanlal, Ph.D. B. A. Sharada, Ph.D. A. R. Fatihi, Ph.D. Lakhan Gusain, Ph.D. Jennifer Marie Bayer, Ph.D. S. M. Ravichandran, Ph.D. G. Baskaran, Ph.D. L. Ramamoorthy, Ph.D. Overcoming Adversity David J. Bunce, M.S. ============================================== King George VI http://en.wikipedia.org/wiki/File:King_George_VI_of_England,_formal_photo_portrait,_ circa_1940-1946.jpg Language in India www.languageinindia.com 462 11 : 4 April 2011 David J. Bunce, M.S. Overcoming Adversity The King’s Speech – an Award Winning Movie Recently a British movie, “The King’s Speech,” overwhelmingly won the Oscar award for best picture. The movie received many other prestigious and highly coveted awards as well. The stories, scenes, characters, dramatic episodes, and the imagination that goes with movie-making have immense impact on the viewers. A King’s Adversity I find stories of people who have overcome adversity deeply moving, and inspiring. One story of overcoming a great impediment, one that seems insurmountable, is the story of King George the VI. I’d like to briefly summarize his story because I think you’ll find his struggle with stuttering and overcoming this handicap most interesting. The story also highlights how confidence-building measures, encouraging spouses and friends, and simple therapies help overcome adversity in life. Albert – King George VI King George VI was the last Emperor of British India, and his face occupied a prominent place in coins and currency notes of British India; and it continued to be so in the period immediately after the independence of India from the British rule.
    [Show full text]
  • Hollywood Chinese by Erica Marcus Published: April 10, 2008
    Hollywood Chinese By Erica Marcus Published: April 10, 2008 Hollywood Chinese: A Very Queer Story An Interview with Filmmaker Arthur Dong Filmmaker Arthur Dong, who created Coming Out Under Fire, Licensed to Kill, Family Fundamentals and other LGBT films, has finished a new film Hollywood Chinese, a vivid and entertaining journey tracking the experience of Chinese Americans in America’s film industry. The film opens in the Bay Area on April 11 at San Francisco’s Sundance Kabuki Cinemas and at Oakland’s Grand Lake Theater. A San Francisco native, Arthur Dong Whowould have thought that it would be a heterosexual Chinese recently spoke to Bay Times about the director (Ang Lee) to bring the a great gay love story (Brokeback film. Mountain) to the silver screen. (Bay Times) So, you’re going to be at the screening in San Francisco on Friday and in Oakland on Saturday. You’ve assembled one hell of a cast - Ang Lee, Wayne Wang, Joan Chen, David Henry Huang, B.D. Wong, Nancy Kwan, Amy Tan and Fu Man Chu. But I gotta ask - is it a queer film? (Arthur Dong) Am I queer? No, I mean is the film, Hollywood Chinese, queer? That’s the answer. Am I queer? Ah ha! So there. Okay, identity politics is so passé. You got me, but now I’m curious. Do you believe that a queer sensibility is embedded in one’s vision? I believe that my films are embedded with my vision and I happen to be a gay man. I’m not saying all gay people produce gay products, but I do.
    [Show full text]
  • The Impossible Object of Love: Shakespeare, Billy Wilder and Freud
    PROBLEMIThe INTERNATIONAL, Impossible Object ofvol. Love: 1 no. Shakespeare, 1, 2017 © Society Billy for Wilder Theoretical and Freud Psychoanalysis The Impossible Object of Love: Shakespeare, Billy Wilder and Freud Gregor Moder After killing the old, inept Polonius, the young prince hides the dead body somewhere inside the Elsinore palace. This is a great nuisance to King Claudius, who dispatches his two henchmen, Rosencrantz and Guildenstern, to retrieve the body of the late Lord Chamberlain. Upon being asked where the body was, prince Hamlet delivers a rather cryptic line: “The body is with the King, but the King is not with the body” (Hamlet, 4.2.26–27). It is a very well known line, but it is hard to say what exactly to make of it. It seems to be a reference to King Claudius himself more than it is a reference to Polonius. It seems to hint at the doctrine of King’s two bodies, the political theological notion of the separation of the King’s mortal natural body and the King’s immortal political body. Hamlet clearly doesn’t think much of Claudius as he continues: “The King is a thing […] of nothing” (Hamlet, 4.2.27–29). While there are many interpretations of these words readily available, we shall turn to one in particular, to Jacques Lacan’s, because it will lead us to a series of comic examples whose func- tioning is at the core of this essay. In Seminar VI on Desire and its Interpretation, Lacan quotes Hamlet’s words and presents a perhaps surprisingly simple explanation: “I would ask you simply to replace the word king by the word phallus in order to see that it precisely is what is in question, namely that the body is engaged in this affair of the phallus, and how, but that on the contrary, the phallus, itself, is not engaged in anything, and that it always slips between your fingers” (Lacan 2002, p.
    [Show full text]
  • The Hollywood Romantic Comedy
    the hollywood romantic comedy the hollywood the hollywood romantic comedy romantic hollywood the though rarely explored in analytical detail, the romantic comedy remains a stalwart romantic comedy contributor to hollywood entertainment. this book offers a comprehensive history of Leger grindon the hollywood romantic comedy film, from the coming of sound to the twenty-first century, examining the conventions of the genre and surveying the controversies arising from the critical responses to these films. hollywood’s romantic comedies can be seen as a series of productions whose form and meaning change in response to conditions in the film industry, courtship culture, and society at large. this book provides an essential overview of the continuities within the genre as well as its historical evolution. a full analysis is provided of the range of romantic comedy conventions, including dramatic conflicts, characters, plots, settings, and the function of humor. in doing so, leger grindon develops a survey of historical cycles and clusters and builds a canon of key films fromh ollywood’s classical era right up to the present day, which are analyzed in detail in the second part of the book. Films analyzed include Trouble in Paradise, His Girl Friday, The Miracle of Morgan’s Creek, Adam’s Rib, Some Like It Hot, The Graduate, Annie Hall, When Harry Met Sally, There’s Something About Mary, and Waitress. Leger Grindon is Professor of Film and Media Culture at Middlebury College, Usa. he has written widely on film and is ates i C so the author of Shadows on the Past: Studies in the Historical s a Fiction Film (1994) and Knockout: The Boxer and Boxing in sign e American Cinema (2011).
    [Show full text]
  • A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
    MOVIES A TO Z MARCH 2021 Ho u The 39 Steps (1935) 3/5 c Blondie of the Follies (1932) 3/2 Czechoslovakia on Parade (1938) 3/27 a ADVENTURE u 6,000 Enemies (1939) 3/5 u Blood Simple (1984) 3/19 z Bonnie and Clyde (1967) 3/30, 3/31 –––––––––––––––––––––– D ––––––––––––––––––––––– –––––––––––––––––––––– ––––––––––––––––––––––– c COMEDY A D Born to Love (1931) 3/16 m Dancing Lady (1933) 3/23 a Adventure (1945) 3/4 D Bottles (1936) 3/13 D Dancing Sweeties (1930) 3/24 z CRIME a The Adventures of Huckleberry Finn (1960) 3/23 P c The Bowery Boys Meet the Monsters (1954) 3/26 m The Daughter of Rosie O’Grady (1950) 3/17 a The Adventures of Robin Hood (1938) 3/9 c Boy Meets Girl (1938) 3/4 w The Dawn Patrol (1938) 3/1 o DOCUMENTARY R The Age of Consent (1932) 3/10 h Brainstorm (1983) 3/30 P D Death’s Fireworks (1935) 3/20 D All Fall Down (1962) 3/30 c Breakfast at Tiffany’s (1961) 3/18 m The Desert Song (1943) 3/3 D DRAMA D Anatomy of a Murder (1959) 3/20 e The Bridge on the River Kwai (1957) 3/27 R Devotion (1946) 3/9 m Anchors Aweigh (1945) 3/9 P R Brief Encounter (1945) 3/25 D Diary of a Country Priest (1951) 3/14 e EPIC D Andy Hardy Comes Home (1958) 3/3 P Hc Bring on the Girls (1937) 3/6 e Doctor Zhivago (1965) 3/18 c Andy Hardy Gets Spring Fever (1939) 3/20 m Broadway to Hollywood (1933) 3/24 D Doom’s Brink (1935) 3/6 HORROR/SCIENCE-FICTION R The Angel Wore Red (1960) 3/21 z Brute Force (1947) 3/5 D Downstairs (1932) 3/6 D Anna Christie (1930) 3/29 z Bugsy Malone (1976) 3/23 P u The Dragon Murder Case (1934) 3/13 m MUSICAL c April In Paris
    [Show full text]
  • 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.
    [Show full text]
  • Blues in the 21St Century
    Blues in the 21 st Century Myth, Self-Expression and Trans-Culturalism Edited by Douglas Mark Ponton University of Catania, Italy and Uwe Zagratzki University of Szczecin, Poland Series in Music Copyright © 2020 by the Authors. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series in Music Library of Congress Control Number: 2019951782 ISBN: 978-1-62273-634-8 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Cover design by Vernon Press. Cover image by Jean-Charles Khalifa. Cover font (main title): Free font by Tup Wanders. Table of contents List of Figures vii List of Tables ix Preface xi Acknowledgements xix Part One: Blues impressions: responding to the music 1 1.
    [Show full text]
  • Lightning in a Bottle
    LIGHTNING IN A BOTTLE A Sony Pictures Classics Release 106 minutes EAST COAST: WEST COAST: EXHIBITOR CONTACTS: FALCO INK BLOCK-KORENBROT SONY PICTURES CLASSICS STEVE BEEMAN LEE GINSBERG CARMELO PIRRONE 850 SEVENTH AVENUE, 8271 MELROSE AVENUE, ANGELA GRESHAM SUITE 1005 SUITE 200 550 MADISON AVENUE, NEW YORK, NY 10024 LOS ANGELES, CA 90046 8TH FLOOR PHONE: (212) 445-7100 PHONE: (323) 655-0593 NEW YORK, NY 10022 FAX: (212) 445-0623 FAX: (323) 655-7302 PHONE: (212) 833-8833 FAX: (212) 833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com 1 Volkswagen of America presents A Vulcan Production in Association with Cappa Productions & Jigsaw Productions Director of Photography – Lisa Rinzler Edited by – Bob Eisenhardt and Keith Salmon Musical Director – Steve Jordan Co-Producer - Richard Hutton Executive Producer - Martin Scorsese Executive Producers - Paul G. Allen and Jody Patton Producer- Jack Gulick Producer - Margaret Bodde Produced by Alex Gibney Directed by Antoine Fuqua Old or new, mainstream or underground, music is in our veins. Always has been, always will be. Whether it was a VW Bug on its way to Woodstock or a VW Bus road-tripping to one of the very first blues festivals. So here's to that spirit of nostalgia, and the soul of the blues. We're proud to sponsor of LIGHTNING IN A BOTTLE. Stay tuned. Drivers Wanted. A Presentation of Vulcan Productions The Blues Music Foundation Dolby Digital Columbia Records Legacy Recordings Soundtrack album available on Columbia Records/Legacy Recordings/Sony Music Soundtrax Copyright © 2004 Blues Music Foundation, All Rights Reserved.
    [Show full text]
  • Youngjoon Lee Course Number: GVPT282 Email: [email protected]
    Course Title: Politics and the Developing World Instructor: Youngjoon Lee Course Number: GVPT282 Email: [email protected] Term: Summer, 2021 Office Hours: By Appointment Credits: 3 Course Dates: From Jul 12, 2021–Aug 20, 2021 Course Times: Online/Asynchronous Course Description We study political science. Therefore, we need to ask important political science questions. These questions may include, but not limited to, “is the democratic model of economic development superior to the autocratic model?”, “have governments become more repressive in the Internet era than before?”, “why do authoritarian leaders sometimes adopt democratic institutions?”, as well as “why do former dictators’ sons and daughters garner public support?” Learning Outcomes After successfully completing this course, students should be able to: - Gain basic knowledge about the politics in Africa, Asia, Latin America, and the Middle East. - Understand the political economy in the developing world. - Understand research design required for undergraduate students majoring in political science. · Students are required to submit a research proposal which investigates a topic and/or a country. Required Resources Class materials will be uploaded in the ELMS by the Instructor by 6pm on Monday, Jul 5, 2021. Detailed lists are provided below. Class materials are listed in alphabetical order by the authors’ last names. Students are encouraged to read the assigned materials before attending the lectures. Course Videos GVPT282 is an online (asynchronous) course in summer session II (Jul 12–Aug 20: six weeks). Course videos will be uploaded in the ELMS by 6pm on Monday and Wednesday. Therefore, the total number of course videos will be twelve. Each course video will run for 110 minutes.
    [Show full text]
  • The Rolling Stones and Performance of Authenticity
    University of Kentucky UKnowledge Theses and Dissertations--Art & Visual Studies Art & Visual Studies 2017 FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY Mariia Spirina University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.135 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Spirina, Mariia, "FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY" (2017). Theses and Dissertations--Art & Visual Studies. 13. https://uknowledge.uky.edu/art_etds/13 This Master's Thesis is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Art & Visual Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]