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Sterben Und Überleben Vor Lachen Und Weinen : Manhattan Murder Mistery Von Woody Allen
Sterben und Überleben vor Lachen und Weinen : Manhattan Murder Mistery von Woody Allen Autor(en): Lachat, Pierre Objekttyp: Article Zeitschrift: Filmbulletin : Zeitschrift für Film und Kino Band (Jahr): 36 (1994) Heft 192 PDF erstellt am: 27.09.2021 Persistenter Link: http://doi.org/10.5169/seals-867054 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Sterben und Überleben vor Lachen und Weinen MANHATTAN MURDER MISTERY von Woody Allen Woody Allen und Diane Keaton in MANHATTAN MURDER MISTERY Was Woody Allen einzigartig macht, mag Das Schreckliche und das Lächerliche eine überflüssige Frage sein, doch die Egal, ob am einen Pol des Kontinuums oder selbstverständliche Antwort darauf klingt seltsam paradox. -
Manhattan Murder Mystery There Are Some Film Fans Who Felt Woodie
Manhattan Murder Mystery There are some film fans who felt Woodie Allen lost his true comic essence somewhere in the late 1970’s--after Annie Hall and Manhattan--before he got wrapped up in more somber and philosophic moods. For these folks, his latest opus, Manhattan Murder Mystery, should fondly recall his “Pre-Mia” period. Besides the endearing dippiness of old sidekick Diane Keaton, this film features familiar Woodie one-liners, his patented kvetching, and a performance best described as the Return of the Nebbish. As one who has been an earnest, if not uncritical, devotee of Woodie Allen for 20 years and over just as many films, I would place Manhattan Murder Mystery in the middling range, the quality and count of the jokes not up to his best comedies of the 1970’s and the richness of character and incident not matching his best dramas from the 1980’s. Still, the landscape and the language of Allentown should be familiar and pleasurable to people who know the address. The novelty of this Allen effort may be the plot: there is one and rather elaborate one at that. This may be because, also for the first time in more than a decade, Allen has a co-screenwriter, the veteran Marshall Brickman. Instead of the usual fandango of “relationships” and the parrying of wary couples, Allen almost immediately introduces the first thread of the murder plot--an abrupt death--and develops it through the ever- more ornate imaginings of Keaton’s character. Book editor Larry Lipton (Allen) and his wife Carol (Keaton) have just met a middle-aged couple in their uptown apartment building, when they learn that the wife of the couple has died suddenly of a heart attack the very next day. -
False Authenticity in the Films of Woody Allen
False Authenticity in the Films of Woody Allen by Nicholas Vick November, 2012 Director of Thesis: Amanda Klein Major Department: English Woody Allen is an auteur who is deeply concerned with the visual presentation of his cityscapes. However, each city that Allen films is presented in such a glamorous light that the depiction of the cities is falsely authentic. That is, Allen's cityscapes are actually unrealistic recreations based on his nostalgia or stilted view of the city's culture. Allen's treatment of each city is similar to each other in that he strives to create a cinematic postcard for the viewer. However, differing themes and characteristics emerge to define Allen's optimistic visual approach. Allen's hometown of Manhattan is a place where artists, intellectuals, and writers can thrive. Paris denotes a sense of nostalgia and questions the power behind it. Allen's London is primarily concerned with class and the social imperative. Finally, Barcelona is a haven for physicality, bravado, and sex but also uncertainty for American travelers. Despite being in these picturesque and dynamic locations, happiness is rarely achieved for Allen's characters. So, regardless of Allen's dreamy and romanticized visual treatment of cityscapes and culture, Allen is a director who operates in a continuous state of contradiction because of the emotional unrest his characters suffer. False Authenticity in the Films of Woody Allen A Thesis Presented To the Faculty of the Department of English East Carolina University In Partial Fulfillment of the Requirements for the Degree MA English by Nicholas Vick November, 2012 © Nicholas Vick, 2012 False Authenticity in the Films of Woody Allen by Nicholas Vick APPROVED BY: DIRECTOR OF DISSERTATION/THESIS: _______________________________________________________ Dr. -
ROBERT GREENHUT Producer
ROBERT GREENHUT Producer TRUST - Millennium - David Schwimmer, director PICASSO & BRAQUE GO TO THE MOVIES - Independent - Arne Glimcher, director BROOKLYN’S FINEST - Warner Bros. - Antoine Fuqua, director AUGUST RUSH - Warner Bros. - Kirsten Sheridan, director FIND ME GUILTY - Yari Film Group - Sidney Lumet, director STATESIDE - First Look Films - Reverge Anselmo, director THE BLACK KNIGHT - 20th Century Fox - Gil Junger, director WHITE RIVER KID - Independent - Arne Glimcher, director WITH FRIENDS LIKE THESE - Independent - Phillip Frank Messina, director THE PREACHER’S WIFE - Buena Vista - Penny Marshall, director EVERYONE SAYS I LOVE YOU - Miramax - Woody Allen, director MIGHTY APHRODITE - Miramax - Woody Allen, director BULLETS OVER BROADWAY - Miramax - Woody Allen, director RENAISSANCE MAN - Buena Vista - Penny Marshall, director WOLF (Executive) - Columbia - Mike Nichols, director MANHATTAN MURDER MYSTERY - TriStar - Woody Allen, director HUSBANDS AND WIVES - TriStar - Woody Allen, director SHADOWS AND FOG - Orion - Woody Allen, director A LEAGUE OF THEIR OWN - Columbia - Penny Marshall, director REGARDING HENRY (Executive) - Paramount - Mike Nichols, director ALICE - Orion - Woody Allen, director QUICK CHANGE - Warner Bros. - Howard Franklin, Bill Murray, directors POSTCARDS FROM THE EDGE (Executive) - Columbia - Mike Nichols, director CRIMES AND MISDEMEANORS - Orion - Woody Allen, director NEW YORK STORIES - Touchstone - Woody Allen, director WORKING GIRL - 20th Century Fox - Mike Nichols, director BIG - 20th Century Fox - Penny -
The Experiences and Perceptions of Students
THE EXPERIENCES AND PERCEPTIONS OF STUDENTS EXPOSED TO POPULAR FILM AS A PEDAGOGIC TOOL IN COUNSELOR EDUCATION: AN EXPLORATORY STUDY A dissertation presented to the faculty of the College of Education of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Charles Vance Lindsey June 2005 © 2005 Charles Vance Lindsey All Rights Reserved This dissertation entitled THE EXPERIENCES AND PERCEPTIONS OF STUDENTS EXPOSED TO POPULAR FILM AS A PEDAGOGIC TOOL IN COUNSELOR EDUCATION: AN EXPLORATORY STUDY BY CHARLES V. LINDSEY has been approved for the Department of Counseling and Higher Education and the College of Education by Thomas E. Davis Professor and Chair of Counseling and Higher Education James L. Heap Dean, College of Education LINDSEY, CHARLES V. Ph.D. June 2005. Counselor Education The Experiences and Perceptions of Students Exposed to Popular Film as a Pedagogic Tool in Counselor Education: An Exploratory Study (322pp.) Director of Dissertation: Thomas E. Davis This constructivist grounded theory research study explored Master’s level counselor education students’ perceptions and experiences of being exposed to popular film clips for pedagogic purposes in the classroom. Over an eight month period, students in seven different counselor education courses were exposed to pedagogic film clip experiences in their classrooms. From this group of students drawn from two Midwestern universities, three rounds of face-to-face individual interviews and a focus group were conducted and forty participants described their classroom film experiences. Transcriptions of the interviews and focus group were used to gather data and to develop a constructivist grounded theory. Participants’ descriptions of their experiences and perceptions indicated that students engage in a complex experiential meaning-making process as a result of exposure to and discussion of their film experiences. -
The Development of Loop-Based Cinematic Techniques in Twentieth Century Motion Pictures and Their Application in Early Digital C
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2008 The Development Of Loop-based Cinematic Techniques In Twentieth Century Motion Pictures And Their Application In Early Digital C David Scoma University of Central Florida Part of the Film Production Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Scoma, David, "The Development Of Loop-based Cinematic Techniques In Twentieth Century Motion Pictures And Their Application In Early Digital C" (2008). Electronic Theses and Dissertations, 2004-2019. 3803. https://stars.library.ucf.edu/etd/3803 THE DEVELOPMENT OF LOOP-BASED CINEMATIC TECHNIQUES IN TWENTIETH CENTURY MOTION PICTURES AND THEIR APPLICATION IN EARLY DIGITAL CINEMA DAVID SCOMA B.S. Loyola University New Orleans 1990 M.A. State University of New York at Buffalo 1994 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Fall Term 2008 Major Professor: Blake Scott Copyright 2008 David Scoma ii ABSTRACT For centuries, repetition in one form or another has been seen as a significant element in the artistic palette. In numerous formats of expression, duplication and looping became a significant tool utilized by artisans in a multitude of creative formats. -
Religion, God and the Meaninglessness of It All in Woody Allen’S Thought and Films
Religion, God and the Meaninglessness of it all in Woody Allen’s Thought and Films “I just wanted to illustrate, in an entertaining way, that there is no God.” (Woody Allen on Crimes and Misdemeanors)1 Johanna Petsche In his films dating from 1975 to 1989 Woody Allen rigorously explores themes of religion, God, morality and death as he compulsively examines and questions his atheistic outlook. At the core of these films lies Allen’s existential dilemma in which his intellectual tendency towards atheism conflicts with his emotional need for meaning, objective moral values and justice, all of which he strongly associates with the existence of God. There will be an analysis of Allen’s treatment of religious and existential themes in Hannah and Her Sisters (1986) and Crimes and Misdemeanors (1989), with a focus on the various ways that he portrays his existential dilemma. Allen absorbs and integrates into his films an assortment of philosophical ideas and biblical themes. References will be made to Camus, Kierkegaard, Wittgenstein and Kant, and to passages from Genesis, the Book of Job, Ecclesiastes and the Book of Jeremiah. First however it is necessary to consider Allen’s Jewish background as, despite his protestations to the contrary, it clearly plays a significant role in his life and films. Born Allan Stewart Konigsberg in 1935, Allen was raised in a middle-class Jewish community in Flatbush, Brooklyn. For at least part of his childhood his family spoke Yiddish, “a convenient secret language, rich in terms of irony and scepticism, and as such central to Jewish humour”.2 Allen’s parents are of European Jewish descent and although they were born and raised on the Lower East Side of Manhattan, their lives were always dominated by the shtetl their parents fled but whose ways they continued to embrace.3 Allen attended both synagogue and Hebrew school until he was bar mitzvahed at the age of thirteen, but by twenty had anglicised his name and completely disengaged from the Jewish faith. -
4 Bullets Over Broadway
Episode 4 - BULLETS OVER BROADWAY (1994) MUSIC: Toot Toot Tootsie - Al Jolson Introduction BULLETS OVER BROADWAY is the 23rd film written and directed by Woody Allen, first released in 1994. JOHN CUSACK stars as David Shayne, a struggling playwright who agrees to take some mob money to put on his latest play. The catch - he has to cast a mobster’s girl, and face off with her bodyguard - in more ways than one. BULLETS OVER BROADWAY is one of Woody Allen’s very best films, and it mixes so many elements that makes Allen great. The jazz era setting, the excellent costumes, the memorable characters, the big statement on the nature of art and so much more. It swept the awards season and audiences loved it too. Welcome to the Woody Allen Pages podcast, from me, the creator of the Woody Allen Pages website. This week, episode four, we look at 1994’s BULLETS OVER BROADWAY. As usual we look at how the film was made, the good and the bad, and lots of fun facts. Of course, spoilers are everywhere. Conception and story BULLETS OVER BROADWAY is the first and only writing collaboration between Woody Allen and DOUGLAS MCGRATH. McGrath was a friend and writer, and Allen has said that every so often he liked to collaborate with someone and not have the process be so lonely. He wrote with MICKEY ROSE in the 60s and 70s. He wrote with MARSHALL BRICKMAN in the 70s and on 1993’s MANHATTAN MURDER MYSTERY, the Woody Allen film that preceded this one. -
Inmedia, 3 | 2013 Woody Allen’S French Marketing: Everyone Says Je L’Aime, Or Do They? 2
InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Electronic version URL: http://journals.openedition.org/inmedia/618 DOI: 10.4000/inmedia.618 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference Frédérique Brisset, « Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? », InMedia [Online], 3 | 2013, Online since 22 April 2013, connection on 08 September 2020. URL : http:// journals.openedition.org/inmedia/618 ; DOI : https://doi.org/10.4000/inmedia.618 This text was automatically generated on 8 September 2020. © InMedia Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? 1 Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset 1 Woody Allen does not belong to the Hollywood studio system, and his success relies much more on European than American markets. This involves a great deal of attention focused on strategies that facilitate positive reception of his films by foreign audiences, among them the French, and choosing his titles for export has become a major step in the process. Among his latest films, Cassandra's Dream (2007) made less than $1m in the US, but more than $21m abroad, including $3.5m in France.1 For a mere $5m in the US, Whatever Works (2009) grossed almost $30m overseas, $7m of which in France. And the domestic-international ratio for You Will Meet a Tall Dark Stranger (2010) stands at one to ten –$3m in the US, $31m abroad, with $7.4 m in France. -
WOODY ALLEN at BFI Southbank
PRESS RELEASE: November 2011 11/78 Wise Cracks: The Comedies Of WOODY ALLEN at BFI Southbank BFI Southbank launches the New Year with an offering of thrills and laughter from Woody Allen, a most prolific filmmaker whose career has spanned just over six decades and more than 40 feature films, with a new film made almost every year. A celebration of his classic comedies will screen throughout January, including Extended Runs of both Zelig (1983) and the multi-Oscar-winning Hannah and Her Sisters (1986). This retrospective of films presents a timely reminder of his brilliant and exceptional career as a writer-director of comedy films, plus the importance of the comedy genre, as BFI Southbank presents the first London Comedy Film Festival at the end of the month. Allen’s career began by writing jokes for a local newspaper before progressing to stand-up comedy, then to writing gags and scripts for television and eventually screenwriting and appearing in films, until it was clear, to him, that he needed to direct films himself. This BFI season starts with Bananas (1971) and the sci-fi Sleeper (1973), where Allen’s trademark characteristics of a nervous, somewhat pessimistic New York Jew, with a sharp and self- deprecating banter were first established. Sleeper was the first partnering of Allen and Diane Keaton, who would go on to star in the period piece Love and Death (1975) and the Allen classics Annie Hall (1977), for which he won Academy Awards for Best Director and Best Original Screenplay, and Manhattan (1979) – the latter an unforgettable tribute to New York. -
Redalyc.Artistic Talent and Sensibility: the Dramatic Uses Of
Arte, Individuo y Sociedad ISSN: 1131-5598 [email protected] Universidad Complutense de Madrid España Echart, Pablo Artistic Talent and Sensibility: The Dramatic Uses of Art in Woody Allen’s Creation of Characters Arte, Individuo y Sociedad, vol. 29, núm. 1, 2017, pp. 57-70 Universidad Complutense de Madrid Madrid, España Available in: http://www.redalyc.org/articulo.oa?id=513554411004 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative ARTÍCULOS Arte, Individuo y Sociedad ISSN: 1131-5598 http://dx.doi.org/10.5209/ARIS.49201 Artistic Talent and Sensibility: The Dramatic Uses of Art in Woody Allen’s Creation of Characters Pablo Echart1 Recibido: 22 de mayo de 2015 / Aceptado: 15 de noviembre de 2016 Abstract. Art plays a key role in the lives of Woody Allen’s film characters. Many of them are writers, filmmakers or musicians; others, although not artists themselves, display a keen sensibility to appreciate art. The purpose of this article is to explore how this characterization trait significantly determines the nature of the characters, the ways in which they interact with each other, and even the fate they deserve within the plot. Art, in its many different manifestations, helps these characters infuse their lives with a boundless vitality, at the same time that it becomes a source of beauty and refuge. Furthermore, art plays a vital role in shaping romantic relationships as well as in enabling characters to achieve self- knowledge, both of which come close to the idea of happiness in Woody Allen’s poetic universe. -
Bullets Over Broadway
FILM Misfire ed as "The superior intellect creates his own moral uni- verse." Using his familiar tech- nique, he dissects his own ego and assigns the fragments to dif- ferent characters. The aspiring playwright Daniel Shayne {John Cusaek) and Cheech (Chazz Palmenteri). a hit man for the mob. represent two sides of Woody Alien. Shayne wants to become another Chekhov and talks to his Greenwich Village friends about artistic integrity, but he discovers compromise as the primrose path to production. To get mob money for the work, he accepts moll-doll Olive Neal (Jennifer Tilly) to play the part of a psychiatrist. Helen Sinclair (Dianne Wiest) has long ago drowned her career in bathtub gin, but she Diane Wiest and John Cusack in Woody Allen's "Bullets Over Broadway." does have name recognition, and by threat or seduction she THEN EUROPEAN DIREC- the 196O's who praised the Americans for can easily persuade Dan to rewrite scenes TORS were still making interest- their ability to stamp a commonly used film for her. With Cheech's muscular support, Wing films, some misguided critics genre, like the Western or the musical, with Olive, too, insists on a few "adjustments" explained that Americans only recycled old originality and even genius. What to enhance her part. From the first films, while across the Atlantic film makers Americans called imitation, the French moment artists talk to producers, who are embraced literature, theater and painting, were calling self-reflection: the genre little more than gangsters. Allen con- Of course, they concluded, the foreign reflects upon itself as it develops.