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Quentin Tarantino Retro
ISSUE 59 AFI SILVER THEATRE AND CULTURAL CENTER FEBRUARY 1– APRIL 18, 2013 ISSUE 60 Reel Estate: The American Home on Film Loretta Young Centennial Environmental Film Festival in the Nation's Capital New African Films Festival Korean Film Festival DC Mr. & Mrs. Hitchcock Screen Valentines: Great Movie Romances Howard Hawks, Part 1 QUENTIN TARANTINO RETRO The Roots of Django AFI.com/Silver Contents Howard Hawks, Part 1 Howard Hawks, Part 1 ..............................2 February 1—April 18 Screen Valentines: Great Movie Romances ...5 Howard Hawks was one of Hollywood’s most consistently entertaining directors, and one of Quentin Tarantino Retro .............................6 the most versatile, directing exemplary comedies, melodramas, war pictures, gangster films, The Roots of Django ...................................7 films noir, Westerns, sci-fi thrillers and musicals, with several being landmark films in their genre. Reel Estate: The American Home on Film .....8 Korean Film Festival DC ............................9 Hawks never won an Oscar—in fact, he was nominated only once, as Best Director for 1941’s SERGEANT YORK (both he and Orson Welles lost to John Ford that year)—but his Mr. and Mrs. Hitchcock ..........................10 critical stature grew over the 1960s and '70s, even as his career was winding down, and in 1975 the Academy awarded him an honorary Oscar, declaring Hawks “a giant of the Environmental Film Festival ....................11 American cinema whose pictures, taken as a whole, represent one of the most consistent, Loretta Young Centennial .......................12 vivid and varied bodies of work in world cinema.” Howard Hawks, Part 2 continues in April. Special Engagements ....................13, 14 Courtesy of Everett Collection Calendar ...............................................15 “I consider Howard Hawks to be the greatest American director. -
The Museum of Modern Art Celebrates Vienna's Rich
THE MUSEUM OF MODERN ART CELEBRATES VIENNA’S RICH CINEMATIC HISTORY WITH MAJOR COLLABORATIVE EXHIBITION Vienna Unveiled: A City in Cinema Is Held in Conjunction with Carnegie Hall’s Citywide Festival Vienna: City of Dreams, and Features Guest Appearances by VALIE EXPORT and Jem Cohen Vienna Unveiled: A City in Cinema February 27–April 20, 2014 The Roy and Niuta Titus Theaters NEW YORK, January 29, 2014—In honor of the 50th anniversary of the Austrian Film Museum, Vienna, The Museum of Modern Art presents a major collaborative exhibition exploring Vienna as a city both real and mythic throughout the history of cinema. With additional contributions from the Filmarchiv Austria, the exhibition focuses on Austrian and German Jewish émigrés—including Max Ophuls, Erich von Stroheim, and Billy Wilder—as they look back on the city they left behind, as well as an international array of contemporary filmmakers and artists, such as Jem Cohen, VALIE EXPORT, Michael Haneke, Kurt Kren, Stanley Kubrick, Richard Linklater, Nicholas Roeg, and Ulrich Seidl, whose visions of Vienna reveal the powerful hold the city continues to exert over our collective unconscious. Vienna Unveiled: A City in Cinema is organized by Alexander Horwath, Director, Austrian Film Museum, Vienna, and Joshua Siegel, Associate Curator, Department of Film, MoMA, with special thanks to the Österreichische Galerie Belvedere. The exhibition is also held in conjunction with Vienna: City of Dreams, a citywide festival organized by Carnegie Hall. Spanning the late 19th to the early 21st centuries, from historical and romanticized images of the Austro-Hungarian empire to noir-tinged Cold War narratives, and from a breeding ground of anti- Semitism and European Fascism to a present-day center of artistic experimentation and socioeconomic stability, the exhibition features some 70 films. -
Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C
DOCUMENT RESUME ED 301 906 C3 506 492 AUTHOR Newsom, Iris, Ed. TITLE Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C. REPORT NO ISBN-0-8444-0570-1; ISBN-0887-8234 PUB DATE 87 NOTE 189p. AVAILABLE FROMSuperintendent of Documents, U.S. Government Printing Office, Washington, DC 20402 (Ztock No. 030-001-00120-2, $21.00). PUB TYPE Collected Works - General (020) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Cultural Activities; *Dance; *Film Industry; *Films; Music; *Television; *Theater Arts IDENTIFIERS *Library of Congress; *Screenwriters ABSTRACT Liberally illustrated with photographs and drawings, this book is comprised of articles on the history of the performing arts at the Library of Congress. The articles, listed with their authors, are (1) "Stranger in Paradise: The Writer in Hollywood" (Virginia M. Clark); (2) "Live Television Is Alive and Well at the Library of Congress" (Robert Saudek); (3) "Color and Music and Movement: The Federal Theatre Project Lives on in the Pages of Its Production Bulletins" (Ruth B. Kerns);(4) "A Gift of Love through Music: The Legacy of Elizabeth Sprague Coolidge" (Elise K. Kirk); (5) "Ballet for Martha: The Commissioning of 'Appalachian Spring" (Wayne D. Shirley); (6) "With Villa North of the Border--On Location" (Aurelio de los Reyes); and (7) "All the Presidents' Movies" (Karen Jaehne). Performances at the library during the 1986-87season, research facilities, and performing arts publications of the library are also covered. (MS) * Reproductions supplied by EDRS are the best that can be made * from the original document. 1 U $ DEPARTMENT OP EDUCATION Office of Educational Research and Improvement 411.111.... -
Rio Bravo by Michael Schlesinger
Rio Bravo By Michael Schlesinger There’s a little-known micro-genre I’ve dubbed “testament films.” They’re made late in a director’s career, when he gathers up all his favorite character types, plot threads, themes and person- al tics and melds them into one big cin- ematic Greatest Hits album. Often they’re made because the filmmaker feels he’s losing touch and wants to re- treat to safe ground, especially if he’s had one or more flops. Or perhaps he believes the end of his career is nigh and wants to make one really big final splash. But whatever the rationale, they often turn out to be some of their finest works; e.g., Hitchcock’s “North By Northwest,” DeMille’s “The Ten Ricky Nelson’s guitar playing doesn’t seem to impress John Wayne. Courtesy Commandments,” Welles’ “Chimes At Library of Congress Collection. Midnight” and Wilder’s “One Two Three.” John Ford managed two: “The Man Who Shot Liberty Valance” and “Cheyenne Autumn.” In 1955, Hawks was running for the tall grass. He’d tried something different—the Biblical epic “Land of And of course Howard Hawks’ “Rio Bravo.” From the Pharoahs”—and laid a goose egg. (He later said Variety’s infamously patronizing “one of the better that he didn’t know how a Pharoah talked—death in- class oaters of the year” to Robin Wood’s stunning deed for a director whose films are renowned for their “the one film that justifies the existence of Holly- witty dialogue.) Approaching 60 and not accustomed wood,” this low-key, amiable western has been de- to failure, he took years off to wander the desert lighting and confounding people in equal measure (actually France) and figure out what to do next. -
Keaton Chronicle Vol
The Keaton Chronicle VOL. 23, ISSUE 2 / SPRING 2015 Sybil Seely Buster’s Most Charming Leading Lady By Lea Stans If you ask Buster Keaton fans to name their favorite The Leading Lady leading lady, chances are they’ll respond right away with “Sybil Seely.” Charming, natural and gracefully spirited, the brunette ingénue appeared in only five shorts with Buster but has been leaving a fresh Project impression on viewers ever since. Even with all the praise, little has been known about Sybil. Who was this young woman who just happened to enhance some of the greatest short comedies of all time? She was a California girl, born Sybil Travilla on January 2, 1900, only a couple of days into the start of the 20th century. Her parents were Harry Richard Travilla and his wife Lucie Travilla, of French, English and Scottish descent. Sybil was the second youngest of seven children: Edith, Guy, Jack, Ford, Elaine and Connie. The Travillas lived in the Los Angeles area, mostly in San Bernardino. They also lived briefly on Catalina Island, a small island off the coast which was later considered a playground for Hollywood’s elite. Pennsylvania-born Harry Travilla was a businessman, described by one local paper as “one of the most gentlemanly men it has been our good fortune to meet for some time.” He was at various times a hotel- keeper, the owner of a saloon called The Office and a tire dealer. Sybil had an athletic family. All three of her broth- ers were champion swimmers who had participated in numerous competitions in Catalina. -
Other Roads, Other Tracks1
DOCUMENTS · Cinema Comparat/ive Cinema · Vol. II · No. 4. · 2014 · 52-67 Other Roads, Other Tracks1 Robert Polito Criticism is very important, and difficult. I can’t think of a better thing for a person to do. Manny Farber ‘One of the most important facts about criticism generation. Provocative traces of Farber’s style is obvious,’ Manny Farber once advanced in an can be registered in contemporary figures as interview. ‘It’s based on language and words. The various and persuasive as Greil Marcus, Luc desire is always to pursue: what does the word mean, Sante, Geoffrey O’Brien, J. Hoberman, Jonathan or the sentence, or the paragraph, and where does it Rosenbaum, Paul Schrader, Jonathan Crary, lead? As you follow language out, it becomes more Ronnie Scheib, A. O. Scott, Meredith Brody, and more webbed, complex. The desire is always to Jean‑Pierre Gorin, Kent Jones, and Howard find the end. In any thought you put down, what Hampton. As far back as 1963 Susan Sontag, in you’re seeking is truth: what is the most believable her essay Against Interpretation, called for ‘acts of fact and where is the end?’ criticism which would supply a really accurate, sharp, loving description of the appearance of a ‘It’s the idea of writing about the film as work of art. This seems even harder to do than commensurate with the way the filmmaker’s formal analysis. Some of Manny Farber’s film mind is,’ Farber continued. ‘The work’s qualities criticism […] are among the rare examples of should influence the structure of the piece. -
Howard Hughes and the Cold War Aviation Film Jet Pilot (1957)
Howard Hughes And The Cold War Aviation Film Jet Pilot (1957) Richard Andrew Voeltz, [email protected] Volume 5.2 (2016) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2016.133 | http://cinej.pitt.edu Abstract Some historians argue that the heaps of weaponry along with stealth and deception, the absolute emblems of the Cold War, kept the peace for forty-five years. Such spectacles of diplomacy and military power invaded everyday life and action. A cluster of Hollywood Cold War movies made in the 1950s turn on the moral necessity of deceit for the sake of virtue, on lying for truth, and transferred these easy inversions, to the still tender taboos of sex, so that sexual intimacy was invaded by politics and the perfect safety of American domesticity politicized. The paper will analyze how the peculiar Cold War romance Jet Pilot (1957), funded by Howard Hughes, produced and written by Jules Furthman, directed by Josef von Sternberg (The Blue Angel) and starring John Wayne and Janet Leigh, reflects these themes as well as other elements in the Cold War popular culture of 1950s, making it the paradigmatic Cold War film. Keywords: History, Cold War, 1950s, American Popular Culture New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press. Howard Hughes and The Cold War Aviation Film Jet Pilot (1957) Richard Andrew Voeltz The film Jet Pilot (1957), easily subtitled as the “the Cold War gives way to Eros”1, remains an underappreciated gem of high camp from the era of the 1950s that offers unique insights into the eccentricities of Howard Hughes, as well as the nature of American Cold War cultural politics and society. -
Faulkner, Chandler and the Big Sleep
RSA Journal 8-9 35 HOMAGE TO FAULKNER (1897-1997) GREGORY DOWLING "Can't you talk without pointing that thing?" Faulkner, Chandler and The Big Sleep. His stature - only just over five feet - was often a problem for him and a certain fondness for heroic stances was perhaps the compensatory result; to some extent this explains his youthful decision to join the British armed forces in the First World War. His literary experiments after the war included poetry in a late-Romantic, pre-Raphaelite vein. However, widespread fame came to him with the publication of a best-selling novel about sex and violence in a world of gangsters and their victims. It is interesting to note that a personal obsession with physical cleanliness corresponded to a literary fascination with environments of dirt and squalor. Despite this pessimistic vision of corruption and decay, however, a chivalric code remained a kind of reference point for him - a code that was clearly anachronistic and even absurd in a world of rapidly changing values. Many of his novels were the result of a complicated process of tying together several earlier short stories, a practice which sometimes explains the convolutions of the plot. Financial security came with the call of Hollywood; several of his novels were filmed and he himself became a highly-paid screenplay writer, whose credits include some of the finest films of the period. However, his relations with Hollywood were never easy and were often aggravated by his drinking problem, It is possible that his mastery of a colloquial style helped him to succeed in the film-world; in his fiction this colloquial language was often wrought or forged into a prose of deliberate ornateness; one of the central paradoxes of his style is this curious marriage between ultra-realism and flamboyant artifice. -
Reflections of Gendered Expectations – Representation of Women in American Film
Reflections of Gendered Expectations 【Article】 Reflections of Gendered Expectations – Representation of Women in American Film Kirk C. Hyde Précis This paper describes the evolving representations of women in American movies to discover how they are reflections of gendered expectations that exist in the lived culture of the United States. It elucidates definitions of sex and gender as well as the ways in which two sexes and two genders are differentiated in the public imagination, first. Following that the sexes and genders are considered further, as represented on film, primarily, but also in other visual and aural media. The paper focuses on notions of participation and non-participation, access, the nature of gendered prescriptions, and normativity, as well as on the enforcement of gender conformity. It also takes up the origins of female representation in American motion picture production, as well as themes, tropes, film forms and formal elements of movies that inform these representations. It considers societal change, audience participation and academic approaches to understanding such representations ― including issues of narcissism, identification, projection, voyeurism, power and control and scopophilia. It also creates a broader context of the issues of identification as a background to the understanding of the particular issue of female representation. Finally, the paper presents feature film examples of gender resistance, while speculating on the possible future course of Hollywood’s representation of women, based on the evidence presented here. 1.Introduction and Definitions. To begin our discussion of film representations of women, we need to clarify the use of the words sex and gender. When we speak of men and women(or boys and girls) we frequently use the two terms, sex and gender ― in expressions like the opposite sex, unisex eyewear, the fairer sex, gender specific, gender rôles, or gendered meanings. -
Butch Between the Wars: a Pre-History of Butch Style in Twentieth-Century Literature, Music, and Film
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2017 Butch Between the Wars: A Pre-History of Butch Style in Twentieth-Century Literature, Music, and Film Karen Allison Hammer The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2184 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] BUTCH BETWEEN THE WARS: A PRE-HISTORY OF BUTCH STYLE IN TWENTIETH-CENTURY LITERATURE, MUSIC AND FILM by Karen Allison Hammer A dissertation submitted to the Graduate Faculty in the Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy The City University of New York 2017 © 2017 KAREN ALLISON HAMMER All Rights Reserved ii Butch Between the Wars: A Pre-History of Butch Style in Twentieth-Century Literature, Music, and Film By Karen Allison Hammer This manuscript has been read and accepted for the Graduate Faculty in the Department of English in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ____________________ _________________________________________ Date Wayne Koestenbaum Chair of the Examining Committee ____________________ _________________________________________ Date Mario DiGangi Executive Officer Supervisory Committee Nancy K. Miller Steven Kruger THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Butch Between the Wars: A Pre-History of Butch Style in Twentieth-Century Literature, Music, and Film By Karen Allison Hammer Advisor: Wayne Koestenbaum Butch Between the Wars is a pre-history of “butch,” a twentieth-century masculine style that became an identity category for lesbians in the 1940s and ’50s. -
From Novel to Film
HUDSON, MARTHA BENNETT. Prom Novel to Film: A Study of To Have and Have Not. Directed by: Dr. Charles E. Davis. Pp. 76T~ The purpose of this thesis is to analyze in depth the three versions of T£ Have and Have Not, the novel written by Ernest Hemingway, the screenplay written by Jules Purthman and William Faulkner and the film directed by Howard Hawks. It is not, however, a presentation of three separate studies focusing on the works alone. Instead, an attempt is made to deal with the three great creative personalities involved as contributors to a final art form which is the film. An attempt is made to bring to the study a general understanding of the other works of each, with consideration both of general philosophy and thematic content and more specific aspects of technique and style. With that general understanding as background, the film is analyzed and the attempt made to delineate elements within it especially characteristic of its three major contributors. Other artists, especially actor Humphrey Bogart, are also con- sidered. The studio system as it existed in Hollywood in 191+1+ which, because of its power, had a great influence on the making of the film, is also described. Out of the combined efforts of these artists, in spite of temporal limitations, evolves a film that is on the surface a romance disguised as an adventure story. Under- neath that surface, however, basic questions about the nature of man and the social systems in which he operates are dealt with. Out of the story evolves a definition of a composite hero, who, as an individual, embodies some basic moral truths that are finally a potpourri of Hawks, Heming- way and Faulkner. -
Bamcinématek Presents Blonde Venus: the Films of Dietrich & Von
BAMcinématek presents Blonde Venus: The Films of Dietrich & von Sternberg, a retrospective of the seven collaborations between the incomparable pair, Apr 4—10 “One of the most dazzling runs of creativity in the history of the movies.”—Dave Kehr, The New York Times All films in 35mm The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Brooklyn, NY/Mar XX, 2014—From Friday, April 4 through Thursday, April 10, BAMcinématek presents Blonde Venus: The Films of Dietrich & von Sternberg, a complete retrospective of their seven collaborations. An actor-director match made in Hollywood heaven, arch-stylist Josef von Sternberg found the perfect muse for his sumptuous experiments in lighting and mise-en- scène in the supremely glamorous screen siren Marlene Dietrich. Dietrich began her acting career with small parts in German films and on stage in Berlin and Vienna, but her breakout role came with von Sternberg’s The Blue Angel (1930—Apr 6), which quickly became an international star-making success. As cabaret singer Lola-Lola, the smoldering Dietrich seduces an unwitting professor (Emil Jannings) into a string of blunders that lead to his tragic downfall. The film introduced audiences to Dietrich’s signature song ―Falling in Love Again (Can’t Help It)‖—which has since been parodied by Danny Kaye in On the Double, Madeline Kahn in Blazing Saddles, Helmut Berger in Luchino Visconti’s The Damned, and countless others—and launched a partnership for the ages. BAMcinématek will screen the original German version (4, 6:30pm) as well as the long lost English-language version (8:45pm) for this series.