Charles Burnett: to SLEEP with ANGER (1990, 102M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
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Crazy Narrative in Film. Analysing Alejandro González Iñárritu's Film
Case study – media image CRAZY NARRATIVE IN FILM. ANALYSING ALEJANDRO GONZÁLEZ IÑÁRRITU’S FILM NARRATIVE TECHNIQUE Antoaneta MIHOC1 1. M.A., independent researcher, Germany. Corresponding author: [email protected] Abstract Regarding films, many critics have expressed their dissatisfaction with narrative and its Non-linear film narrative breaks the mainstream linearity. While the linear film narrative limits conventions of narrative structure and deceives the audience’s expectations. Alejandro González Iñárritu is the viewer’s participation in the film as the one of the directors that have adopted the fragmentary narrative gives no control to the public, the narration for his films, as a means of experimentation, postmodernist one breaks the mainstream con- creating a narrative puzzle that has to be reassembled by the spectators. His films could be included in the category ventions of narrative structure and destroys the of what has been called ‘hyperlink cinema.’ In hyperlink audience’s expectations in order to create a work cinema the action resides in separate stories, but a in which a less-recognizable internal logic forms connection or influence between those disparate stories is the film’s means of expression. gradually revealed to the audience. This paper will analyse the non-linear narrative technique used by the In the Story of the Lost Reflection, Paul Coates Mexican film director Alejandro González Iñárritu in his states that, trilogy: Amores perros1 , 21 Grams2 and Babel3 . Film emerges from the Trojan horse of Keywords: Non-linear Film Narrative, Hyperlink Cinema, Postmodernism. melodrama and reveals its true identity as the art form of a post-individual society. -
Martin Scorsese and American Film Genre by Marc Raymond, B.A
Martin Scorsese and American Film Genre by Marc Raymond, B.A. English, Dalhousie University A thesis submitted to the Faculty of Graduate Studies and Research in partial fultillment of the requirements for the degree of Master of Arts in Film Studies Carleton University Ottawa, Ontario March 20,2000 O 2000, Marc Raymond National Ubrary BibIiot~uenationak du Cana a uisitiis and Acquisitions et "IBib iogmphk Senrices services bibliographiques The author has granted a non- L'auteur a accorde une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of this thesis in microfonn, vendre des copies de cette thése sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copy~@t in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts kom it Ni la thèse N des extraits substantiels may be printed or ohenvise de celle-ci ne doivent être imprimes reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract This study examines the films of American director Martin Scorsese in their generic context. Although most of Scorsese's feature-length films are referred to, three are focused on individually in each of the three main chapters following the Introduction: Mean Streets (1 973), nie King of Cornedy (1983), and GoodFellas (1990). This structure allows for the discussion of three different periods in the Amencan cinema. -
The Inventory of the Richard Roud Collection #1117
The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills. -
Film Essay for "Mccabe & Mrs. Miller"
McCabe & Mrs. Miller By Chelsea Wessels In a 1971 interview, Robert Altman describes the story of “McCabe & Mrs. Miller” as “the most ordinary common western that’s ever been told. It’s eve- ry event, every character, every west- ern you’ve ever seen.”1 And yet, the resulting film is no ordinary western: from its Pacific Northwest setting to characters like “Pudgy” McCabe (played by Warren Beatty), the gun- fighter and gambler turned business- man who isn’t particularly skilled at any of his occupations. In “McCabe & Mrs. Miller,” Altman’s impressionistic style revises western events and char- acters in such a way that the film re- flects on history, industry, and genre from an entirely new perspective. Mrs. Miller (Julie Christie) and saloon owner McCabe (Warren Beatty) swap ideas for striking it rich. Courtesy Library of Congress Collection. The opening of the film sets the tone for this revision: Leonard Cohen sings mournfully as the when a mining company offers to buy him out and camera tracks across a wooded landscape to a lone Mrs. Miller is ultimately a captive to his choices, una- rider, hunched against the misty rain. As the unidenti- ble (and perhaps unwilling) to save McCabe from his fied rider arrives at the settlement of Presbyterian own insecurities and herself from her opium addic- Church (not much more than a few shacks and an tion. The nuances of these characters, and the per- unfinished church), the trees practically suffocate the formances by Beatty and Julie Christie, build greater frame and close off the landscape. -
Dead Zone Back to the Beach I Scored! the 250 Greatest
Volume 10, Number 4 Original Music Soundtracks for Movies and Television FAN MADE MONSTER! Elfman Goes Wonky Exclusive interview on Charlie and Corpse Bride, too! Dead Zone Klimek and Heil meet Romero Back to the Beach John Williams’ Jaws at 30 I Scored! Confessions of a fi rst-time fi lm composer The 250 Greatest AFI’s Film Score Nominees New Feature: Composer’s Corner PLUS: Dozens of CD & DVD Reviews $7.95 U.S. • $8.95 Canada �������������������������������������������� ����������������������� ���������������������� contents ���������������������� �������� ����� ��������� �������� ������ ���� ���������������������������� ������������������������� ��������������� �������������������������������������������������� ����� ��� ��������� ����������� ���� ������������ ������������������������������������������������� ����������������������������������������������� ��������������������� �������������������� ���������������������������������������������� ����������� ����������� ���������� �������� ������������������������������� ���������������������������������� ������������������������������������������ ������������������������������������� ����� ������������������������������������������ ��������������������������������������� ������������������������������� �������������������������� ���������� ���������������������������� ��������������������������������� �������������� ��������������������������������������������� ������������������������� �������������������������������������������� ������������������������������ �������������������������� -
Race, Housing and the Fight for Civil Rights in Los Angeles
RACE, HOUSING AND THE FIGHT FOR CIVIL RIGHTS IN LOS ANGELES Lesson Plan CONTENTS: 1. Overview 2. Central Historical Question 3. Extended Warm-Up 4. Historical Background 5. Map Activity 6. Historical Background 7. Map Activity 8. Discriminatory Housing Practices And School Segregation 9. Did They Get What They Wanted, But Lose What They Had? 10. Images 11. Maps 12. Citations 1. California Curriculum Content Standard, History/Social Science, 11th Grade: 11.10.2 — Examine and analyze the key events, policies, and court cases in the evolution of civil rights, including Dred Scott v. Sandford, Plessy v. Ferguson, Brown v. Board of Education, Regents of the University of California v. Bakke, and California Proposition 209. 11.10.4 — Examine the roles of civil rights advocates (e.g., A. Philip Randolph, Martin Luther King, Jr., Malcolm X, Thurgood Marshall, James Farmer, Rosa Parks), including the significance of Martin Luther King, Jr. ‘s “Letter from Birmingham Jail” and “I Have a Dream” speech. 3 2. CENTRAL HISTORICAL QUESTION: Considering issues of race, housing, and the struggle for civil rights in post-World War II Los Angeles, how valid is the statement from some in the African American community looking back: “We got what we wanted, but we lost what we had”? Before WWII: • 1940s and 1950s - Segregation in housing. • Shelley v. Kraemer, 1948 and Barrows vs. Jackson, 1953 – U.S. Supreme Court decisions abolish. • Map activities - Internet-based research on the geographic and demographic movements of the African American community in Los Angeles. • Locating homes of prominent African Americans. • Shift of African Americans away from central city to middle-class communities outside of the ghetto, resulting in a poorer and more segregated central city. -
The Race of Sound: Listening, Timbre, and Vocality in African American Music
UCLA Recent Work Title The Race of Sound: Listening, Timbre, and Vocality in African American Music Permalink https://escholarship.org/uc/item/9sn4k8dr ISBN 9780822372646 Author Eidsheim, Nina Sun Publication Date 2018-01-11 License https://creativecommons.org/licenses/by-nc-nd/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Race of Sound Refiguring American Music A series edited by Ronald Radano, Josh Kun, and Nina Sun Eidsheim Charles McGovern, contributing editor The Race of Sound Listening, Timbre, and Vocality in African American Music Nina Sun Eidsheim Duke University Press Durham and London 2019 © 2019 Nina Sun Eidsheim All rights reserved Printed in the United States of America on acid-free paper ∞ Designed by Courtney Leigh Baker and typeset in Garamond Premier Pro by Copperline Book Services Library of Congress Cataloging-in-Publication Data Title: The race of sound : listening, timbre, and vocality in African American music / Nina Sun Eidsheim. Description: Durham : Duke University Press, 2018. | Series: Refiguring American music | Includes bibliographical references and index. Identifiers:lccn 2018022952 (print) | lccn 2018035119 (ebook) | isbn 9780822372646 (ebook) | isbn 9780822368564 (hardcover : alk. paper) | isbn 9780822368687 (pbk. : alk. paper) Subjects: lcsh: African Americans—Music—Social aspects. | Music and race—United States. | Voice culture—Social aspects— United States. | Tone color (Music)—Social aspects—United States. | Music—Social aspects—United States. | Singing—Social aspects— United States. | Anderson, Marian, 1897–1993. | Holiday, Billie, 1915–1959. | Scott, Jimmy, 1925–2014. | Vocaloid (Computer file) Classification:lcc ml3917.u6 (ebook) | lcc ml3917.u6 e35 2018 (print) | ddc 781.2/308996073—dc23 lc record available at https://lccn.loc.gov/2018022952 Cover art: Nick Cave, Soundsuit, 2017. -
Neo-Realism Meets the Blues in Charles Burnett's Killer
NEO-REALISM MEETS THE BLUES IN CHARLES BURNETT’S KILLER OF SHEEP Keith Mehlinger Morgan State University “…the very existence of the blues tradition is irrefutable evidence that those who evol- ved it respond to the vicissitudes of the human condition not with hysterics and desperation, but through the wisdom of poetry informed by pragmatic insight” (Murray, 1996: 208-209). Although little known outside of critics’ circles and dedicated cineastes, Charles Burnett’s Killer of Sheep (1977) “remains to this day a near mythic object, one of the first fifty films inducted into the Library of Congress’s National Film Registry” (Foundas, Independent Lens: Charles Burnett, in Kapsis (ed.) 2011:138). The film “tenderly recounts a few days in the life of a slaughterhouse worker, Stan (Henry G. Sanders), whose existence is as bounded by invisible threads of hopelessness as that of the sheep that he is forced to kill each day” (Hozic, The House I live In: An Interview with Charles Burnett, in Kapsis, 2011: 75). During its brief theatri- cal release in 1977, the New York Times critic Janet Maslin dismissed Killer of Sheep as “ama- teurish” and ‘boring’. Since then, the film has won awards at festivals and “acquired honorary protection by the National Film Registry accorded to a select few ‘masterpieces’ such as Citi- zen Kane, and aided its author in winning a prestigious John D. and Catherine T. MacArthur Fellowship”, popularly known as the “genius award” (Hozic, 2011: 75). In addition to being selected as one of America’s fifty most culturally significant films, the film was named one of the “100 Most Influential Films of All Time” by the National Society of Film and gained critical acclaim in Europe. -
Liquid Blackness Reflects on the Expansive Possibilities of the L.A
Georgia State University ScholarWorks @ Georgia State University Communication Faculty Publications Department of Communication 2015 Encountering the Rebellion: Liquid Blackness Reflects on the Expansive Possibilities of the L.A. Rebellion Films Alessandra Raengo Georgia State University, [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/communication_facpub Part of the Communication Commons Recommended Citation Alessandra Raengo. “Encountering the Rebellion: liquid blackness reflects on the expansive possibilities of the L.A. Rebellion films,” in L.A. Rebellion: Creating a New Black Cinema, ed. Allyson Nadia Field, Jan- Christopher Horak, Jacqueline Stewart, pp. 291-318. University of California Press, 2015. This Book Chapter is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Faculty Publications by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. L.A. Rebellion Creating a New Black Cinema E D IT E D BY Allyson Nadia Field, Jan-Christopher Horak, and Jacqueline Najuma Stewart 15 UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www .ucpress.edu. University of California Press Oakland, California © 2015 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data L.A. Rebellion : creating a new black cinema/edited by Allyson Nadia Field, Jan-Christopher Horak, and Jacqueline Najuma Stewart, pages cm Includes bibliographical references and index. -
Transcript Charles Burnett
TRANSCRIPT A PINEWOOD DIALOGUE WITH CHARLES BURNETT The pioneering African-American director Charles Burnett was a film student at UCLA when he made Killer of Sheep (1977), a powerful independent film that combines blues-inspired lyricism and neo-realism in its drama of an inner-city slaughterhouse worker and his family. Killer of Sheep, now regarded as a landmark in American independent cinema, was part of a small group of films that became known as “The L.A. Rebellion.” During a retrospective of his films at the Museum of the Moving Image, he introduced a screening of The Killer of Sheep and then participated in a wide-ranging discussion moderated by culture critic Greg Tate. Introduction to Killer of Sheep by Charles jumping around, but there’s this notion that if you Burnett (January 7, 1995): are an artist you speak for the black community. You find out right away that you don’t, sometimes CHARLES BURNETT: Thanks for coming out. in embarrassing ways. I was very much aware of Perhaps you’d like to ask some questions—I feel it and so I didn’t want to make a movie that was more comfortable doing that rather than just going to impose my values. I just wanted to make speaking. (Laughs) Well then, let me start. You’ll a movie that had all these incidents and have to excuse me, I have this flu; it’s not somehow reflected a narrative, told a story, came contagious. (Laughter) back on itself and gave you a sense of these people’s lives. -
African American History of Los Angeles
LOS ANGELES CITYWIDE HISTORIC CONTEXT STATEMENT Context: African American History of Los Angeles Prepared for: City of Los Angeles Department of City Planning Office of Historic Resources NOVEMBER 2017 SurveyLA Citywide Historic Context Statement Context: African American History of Los Angeles Certified Local Government Grant Disclaimers The activity that is the subJect of this historic context statement has been financed in part with Federal funds from the National Park Service, Department of Interior, through the California Office of Historic Preservation. However, the contents and opinions do not necessarily reflect the views or policies of the Department of the Interior or the California Office of Historic Preservation, nor does mention of trade names or commercial products constitute endorsement or recommendation by the Department of the Interior or the California Office of Historic Preservation. This program receives Federal financial assistance for identification and protection of historic properties. Under Title VI of the Civil Rights Act of 1964, Section 504 of the Rehabilitation Act of 1973, and the Age Discrimination Act of 1975 as amended, the Department of the Interior prohibits discrimination based on race, color, national origin, disability, or age in its federally assisted programs. If you believe you have been discriminated against in any program, activity, or facility as described above, or if you desire further information, please write to: Office of Equal Opportunity National Park Service 1849 C Street, N.W. Washington -
• Interview with Lorenzo Tucker. Remembering Dorothy Dandridge. • Vonetta Mcgee • the Blaxploitation Era • Paul Robeson •
• Interview with Lorenzo Tucker. Remembering Dorothy Dandridge. • Vonetta McGee • The Blaxploitation Era • Paul Robeson •. m Vol. 4, No.2 Spring 1988 ,$2.50 Co-produced with the Black Film Institute of the University of the District of Columbia .,.... ~. .# • ...-. .~ , .' \ r . t .• ~ . ·'t I !JJIII JlIf8€ LA~ ~N / Ul/ll /lOr&£ LAlE 1\6fJt1~ I WIL/, ,.,Dr 8~ tATE /lfVll" I h/ILl kif /J£ tlf1E M/tl# / wlU ~t11' BE 1II~ fr4lt11 I k/Ilt- /V6f Ie tJ]1f. 1t6/tlfV _ I WILL No~ ~'% .,~. "o~ ~/~-_/~ This is the Spring 1988 issue of der which we mail the magazine, the Black Fzlm Review. You're getting it U.S. Postal Service will not forward co- ~~~~~ some time in mid 1988, which means pies, even ifyou've told them your new',: - we're almost on schedule. - address. You need to tell us as well, be- \ Thank you for keeping faith with cause the Postal Service charges us to tell us. We're going to do our best not to us where you've gone. be late. Ever again. Third: Why not buy a Black Fzlm Without your support, Black Fzlm Review T-shirt? They're only $8. They Review could not have evolved from a come in black or dark blue, with the two-page photocopied newsletter into logo in white lettering. We've got lots the glossy magazine it is today. We need of them, in small, medium, large, and your continued support. extra-large sizes. First: You can tell ifyour subscrip And, finally, why not make a con tion is about to lapse by comparing the tribution to Sojourner Productions, Inc., last line of your mailing label with the the non-profit, tax-exempt corporation issue date on the front cover.