Wes Anderson Film Festival June 1

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THE ROYAL BOTTLE ROCKET RUSHMORE TANEMBAUMS WES ANDERSON FILM FESTIVAL THE LIFE THE DARJEELING THE FANTASTIC AQUATIC LIMITED MR. FOX JUNE 1 - AUGUST 7 Free outdoor movie screenings of all 9 of the Texas film maker’s feature films at various venues throughout the summer. VENUE PARTNERS MOONRISE THE GRAND ISLE KINGDOM BUDAPEST HOTEL OF DOGS wesandersonfilmfestival.com WES FILM FEST SPONSORSHIP Presenter** Platinum* Gold Silver Bronze We’ve been building community through free outdoor movie ABOUT US: screenings in San Antonio, TX since 2004. We show more $20,000 $2,000 $1,000 $500 $250 than 100 free outdoor movies yearly. Venues and sponsorships include Cities of San Antonio,Ala- Web site: **Your Company presents mo Heights, Somerset, Bulverde, Balcones Heights; Mission individual event “Slab Cinema’s Wes Anderson Film Festival” Marquee Plaza, Hemisfair Park, The Alamo, Travis Park, page (9 pages) *Individual screening Woodlawn Lake Park, Brackenridge, Dignowity Hill, San sponsored by Your Company Antonio Botanical Garden, Pearl Brewery, SA Museum of 10’x10’ Exhibition Art, The McNay, San Antonio Zoo, Sunken Gardens Theater, Space 9 1 Northwest Vista College, TAMU, UTSA, SAC, Sunset Station, Company Alamo Brewery, The Friendly Spot and Alameda Theater. AWARDS: commercial before screening 9 1 • SA Magazine Best of the City slabcinema.com 210.212.9373 [email protected] ‘17: Free Family Fun social media: FB • SA Current: The 20 Most Individual Captivating People in 9 1 San Antonio This Year event page • King William Fair Parade ‘17: Best Kids Entry Press release: • KW Fair Parade ‘16: recognition Best in Show • KW Fair Parade ‘15: Logo in Slide Show Best from the ‘Hood before movie • #35: SA Current 100 Things To (9 events) Do In SA Before You Die • SA Current Best of ‘17: Logo Placement on Outdoor Place to Watch a Movie event promo Staff Pick (Hemisfair) & Reader’s postcard Choice (Mission Marquee) • SA Current Best of ‘14: Outdoor Logo Placement on Place to Watch a Movie (SAMA) event brochure PRESS: Logo/link Slab Event Emails • Interviewed on KENS 5 Great Day SA • Featured presenters at social media: FB PechaKucha San Antonio Vol. IX @slabcinema, • Slab Cinema Talks to TPR’s Jack @wesfilmfest Morgan about Outdoor Movie on the Riverwalk social media: • Rivard Report: Southtown Twitter, Instagram Cinema Brings Film Back to Hemisfair Park @slabcinema • Rivard Report: Slab Cinema Celebrates Battle Anniversary at Web site: the Alamo logo sponsor page If Wes Anderson is not the right fit, there are numerous sponsorship opportunities available with our venue partners either as Film Series or Independent Screenings. Themes include: Sci-fi , West- ens, Date Night, 80’s, Musicals, Texas movies, Noir, Foreign cinema, the possibilities are endless..

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Greenberg (2011)
Greenberg (2011) “You like me so much more than you think you do.” Major Credits: Director: Noah Baumbach Screenplay: Noah Baumbach, from a story by Baumbach and Jennifer Jason Leigh Cinematography: Harris Savides Music: James Murphy Principal Cast: Ben Stiller (Roger Greenberg), Greta Gerwig (Florence), Rhys Ifans (Ivan), Jennifer Jason Leigh (Beth) Production Background: Baumbach, the son of two prominent New York writers whose divorce he chronicled in his earlier feature The Squid and the Whale (2005), co-wrote the screenplay with his then-wife, Jennifer Jason Leigh, who plays the role of Greenberg’s former girlfriend. His friend and sometime collaborator (they wrote The Life Aquatic with Steve Zissou together), Wes Anderson, co-produced Greenberg with Leigh. Most of Baumbach’s films to date deal with characters who are disappointed in their lives, which do not conform to their ideal conceptions of themselves. At whatever age—a father in his 40s, his pretentious teenage son (The Squid and the Whale), a college graduate in her late twenties (Frances Ha, 2012)—they struggle to act like grownups. The casting of Greta Gerwig developed into an enduring romantic and creative partnership: Gerwig co-wrote and starred in his next two films, Frances Ha and Mistress America (2015). You can read about Baumbach and Gerwig in Ian Parker’s fine article published in New Yorker, April 29, 2013. Cinematic Qualities: 1. Screenplay: Like the work of one of his favorite filmmakers, Woody Allen, Baumbach’s dramedy combines literate observation (“All the men dress up as children and the children dress as superheroes”) and bitter commentary (“Life is wasted on… people”) with poignant confession (“It’s huge to finally embrace the life you never planned on”).
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Post-Postmodern Cinema at the Turn of the Millennium: Paul Thomas Anderson’S Magnolia
Revista de Estudios Norteamericanos, vol. 24, 2020. Seville, Spain, ISSN 1133-309-X, pp. 1-21. DOI: http://dx.doi.org/10.12795/REN.2020.i24.01 POST-POSTMODERN CINEMA AT THE TURN OF THE MILLENNIUM: PAUL THOMAS ANDERSON’S MAGNOLIA JESÚS BOLAÑO QUINTERO Universidad de Cádiz [email protected] Received: 20 May 2020 Accepted: 26 July 2020 KEYWORDS Magnolia; Paul Thomas Anderson; post-postmodern cinema; New Sincerity; French New Wave; Jean-Luc Godard; Vivre sa Vie PALABRAS CLAVE Magnolia; Paul Thomas Anderson; cine post-postmoderno; Nueva Sinceridad; Nouvelle Vague; Jean-Luc Godard; Vivir su vida ABSTRACT Starting with an analysis of the significance of the French New Wave for postmodern cinema, this essay sets out to make a study of Paul Thomas Anderson’s Magnolia (1999) as the film that marks the beginning of what could be considered a paradigm shift in American cinema at the end of the 20th century. Building from the much- debated passing of postmodernism, this study focuses on several key postmodern aspects that take a different slant in this movie. The film points out the value of aspects that had lost their meaning within the fiction typical of postmodernism—such as the absence of causality; sincere honesty as opposed to destructive irony; or the loss of faith in Lyotardian meta-narratives. We shall look at the nature of the paradigm shift to link it to the desire to overcome postmodern values through a recovery of Romantic ideas. RESUMEN Partiendo de un análisis del significado de la Nouvelle Vague para el cine postmoderno, este trabajo presenta un estudio de Magnolia (1999), de Paul Thomas Anderson, como obra sobre la que pivota lo que se podría tratar como un cambio de paradigma en el cine estadounidense de finales del siglo XX.
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Cinematic Representations of the City
UC Center French Language and Culture Program Courses – Summer 2014 PCC 105. Paris Scenes: Cinematic Representations of the City Prof. Carole Viers-Andronico Lecture contact: [email protected] Wednesday 15h00-17h00 Visits (or Lecture) Office Hours Thursday 15h00-17h00 By appointment COURSE DESCRIPTION The city of Paris has long served as muse to foreign and domestic filmmakers. Cinematic representations have framed and reframed not only how we see and understand many of the ville lumière’s most famous monuments and districts but also how we comprehend aspects of French history and culture. This course, therefore, will take an interdisciplinary approach to cinematic representation by relying on methodologies from comparative literature, philosophies of aesthetics, film studies, history, and urban studies. Throughout the course, students will study the ways in which cinematic representations attribute meaning to monuments and districts. They will analyze how these representations constitute scenes of re-presentation; that is, how they provide interpretations of cultural, historical, and socio-political events. Through a combination of viewings, related readings, and site visits to scene locations, students will engage in discussions about how the meanings of such sites become manifold depending on how they are framed and thus seen/scened. The course will be organized around case studies of both well-known and lesser-known sites, such as the Eiffel Tower, the Montmartre district, and the Latin Quarter district. 4.0 UC quarter units. Suggested subject areas for this course: Film / Comparative Literature / Urban Studies Goals The overriding goal of this course is to provide students with the tools to reflect critically on cinematic representations of Paris as a city in history.
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Portraits of America DEMOCRACY on FILM
The Film Foundation’s Story of Movies Presents With support from AFSCME A PROFESSIONAL DEVELOPMENT WORKSHOP ON FILM AND VISUAL LITERACY FOR CLASSROOM EDUCATORS ACROSS ALL DISCIPLINES, GRADES 5 – 12 Portraits of America DEMOCRACY ON FILM 2018 WORKSHOPS August 6 & 7 Breen Center for the Performing Arts, 2008 W 30th Street, Cleveland, OH 44113 August 14 & 15 Lightbox Film Center inside International House Philadelphia 3701 Chestnut Street Philadelphia, PA 19104 October 3 & 4 Detroit Institute of Arts, 5200 Woodward Ave., Detroit, MI 48202 WHO & WHAT This FREE two-day seminar introduces educators to an interdisciplinary curriculum that challenges students to think contextually about the role of film as an expression of American democracy. SCREENING AND DISCUSSION ACTIVITIES FOCUS ON STRATEGIES TO: N Increase civic engagement by developing students’ critical viewing and thinking skills. N Give students the tools to understand the persuasive and universal language of moving images, a significant component ofvisual literacy. N Explore the social issues and diverse points of view represented in films produced in different historical periods. MORNING AND AFTERNOON WORKSHOPS FOCUS ON LEARNING HOW TO READ A FILM, PRINCIPLES OF CINEMA LITERACY, AND INTERPRETING FILM IN HISTORICAL/CULTURAL CONTEXTS. N Handout materials include screening activities and primary source documents to support and enhance students’ critical thinking skills. N Evening screenings showcase award-winning films, deemed historically and culturally significant by the Library of Congress National Film Registry. N Lunch is provided for registered participants. HOW & WHEN TO REGISTER CLASSROOM CAPACITY IS LIMITED, SO EARLY REGISTRATION IS ENCOURAGED. Continuing Education Credits may be supported by local school districts for this program.
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True and False New Realities in the Films of Wes Anderson, Spike Jonze and Charlie Kaufman
ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 3 (2010) 121–131 True and False New Realities in the Films of Wes Anderson, Spike Jonze and Charlie Kaufman André Crous University of Stellenbosch (South Africa) E-mail: [email protected] Abstract. The filmmakers of the French Nouvelle Vague, in the spirit of post- war modernism, wanted to get at the truth of everyday life, and braved oncoming traffic to capture people living real lives. Since the turn of the millennium, Wes Anderson, Spike Jonze and Charlie Kaufman have taken the opposite track, showing a remarkable tendency to undermine their own representations of reality – often humorously collapsing the boundaries between the actual and fictional worlds. The particular filmmakers never content themselves with simple exercises in mimesis, but instead openly acknowledge the elusive objective of faithfully representing reality: examples include the subversively deceptively Godardian cut-away of a film set in Anderson’s Life Aquatic with Steve Zissou (2004), the symbiotic relationship between the diegetic writing of two screenplays and the events unfolding around the characters in Jonze’s Adaptation (2002), and the multiple mise- en-abyme structure of Kaufman’s Synecdoche, New York (2008). In the course of their films, Anderson, Jonze and Kaufman playfully yet confidently turn our perception of diegetic reality on its head, placing emphasis on the idea of “performance” – as it relates to the characters as well as the films themselves. Introduction The late 1950s and the early 1960s saw a handful of French directors setting out to revitalize a film industry whose output, according to them, had become dull and conventional.
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2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
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Portraits of America DEMOCRACY on FILM Thursday & Friday, May 16 & 17, 2019 8:30 A.M
The Film Foundation’s Story of Movies Presents With support from AFSCME In association with AFI Silver Theatre and Cultural Center A PROFESSIONAL DEVELOPMENT WORKSHOP ON FILM AND VISUAL LITERACY FOR CLASSROOM EDUCATORS ACROSS ALL DISCIPLINES, GRADES 6 – 12 Portraits of America DEMOCRACY ON FILM Thursday & Friday, May 16 & 17, 2019 8:30 a.m. – 3:30 p.m. AFI Silver Theatre and Cultural Center 8633 Colesville Road, Silver Spring, MD 20910 WHO & WHAT This FREE two-day seminar introduces educators to an interdisciplinary curriculum that challenges students to think contextually about the role of film as an expression of American democracy. SCREENING AND DISCUSSION ACTIVITIES FOCUS ON STRATEGIES TO: N Increase civic engagement by developing students’ critical viewing and thinking skills. N Give students the tools to understand the persuasive and universal language of moving images, a significant component ofvisual literacy. N Explore the social issues and diverse points of view represented in films produced in different historical periods. MORNING AND AFTERNOON WORKSHOPS FOCUS ON LEARNING HOW TO READ A FILM, PRINCIPLES OF CINEMA LITERACY, AND INTERPRETING FILM IN HISTORICAL/CULTURAL CONTEXTS. N Handout materials include screening activities and primary source documents to support and enhance students’ critical thinking skills. N Afternoon screenings showcase award-winning films, deemed historically and culturally significant by the Library of Congress National Film Registry. N Lunch is provided for registered participants. N Classroom capacity is limited, so early registration is encouraged. REGISTRATION NRegister with the AFI Silver Theater here: https://silver.afi.com/Ticketing/visShop.aspx NMore information available at storyofmovies.org/professional-development WHY TEACH FILM IN THE CLASSROOM? • A rich tapestry of literature, art and social history exists to enhance film study, making it an ideal subject for interdisciplinary learning.
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THE ROYAL TENENBAUMS” Ari Tenenbaum
Touchstone Pictures’ ADDITIONAL CAST “THE ROYAL TENENBAUMS” Ari Tenenbaum. GRANT ROSENMEYER Uzi Tenenbaum . JONAH MEYERSON CAST Young Chas Tenenbaum. ARAM ASLANIAN-PERSICO Young Margot Tenenbaum. IRENE GOROVAIA GENE HACKMAN Young Richie Tenenbaum . AMEDEO TURTURRO as Dudley Heinsbergen. STEPHEN LEA SHEPPARD Royal Tenenbaum Young Eli Cash. JAMES FITZGERALD Peter Bradley . LARRY PINE ANJELICA HUSTON Detective . DON MCKINNON as Hotel Manager. FRANK WOOD Etheline Tenenbaum Walter Sherman. AL THOMPSON Rachael Tenenbaum . JENNIFER WACHTELL BEN STILLER Hotel Clerk . DONAL WARD as Farmer Father/Tex Hayward. ANDREW WILSON Chas Tenenbaum Doctor . DIPAK PALLANA GWYNETH PALTROW Sanjay Gandhi. SANJAY MATHEW as Chas’ Secretary. MARY WIGMORE Margot Tenenbaum Sing-Sang . SONAM WANGMO Neville Smythe-Dorleac . PAWEL WDOWCZAK LUKE WILSON Yasuo Oshima . PETER LEUNG as Franklin Benedict . WILLIAM STURGIS Richie Tenenbaum Reporter in Blue Cardigan . LIAM CRAIG Eli’s Aunt . SHEELAGH TELLERDAY OWEN WILSON Cote d’Ivoire Attendant . MAX FAUGNO as Cote d’Ivoire Radio Operator . GUIDO VENITUCCI Eli Cash Frederick (Bellboy) . EBON MOSS-BACHRACH Elderly “Baumer” Fan #1 . BRIAN SMIAR BILL MURRAY Elderly “Baumer” Fan #2 . JAN V.E. AUSTELL as Raleigh St. Clair Cemetery Maintenance Man . RONY CLANTON Anwar . SALIM MALIK DANNY GLOVER Judge . TOM LACY as Royal’s Lawyer . KEITH CHARLES Henry Sherman Gypsy Cab Driver . GREG GOOSEN Nurse . SADIAH ARRIKA EKULONA SEYMOUR CASSEL Sanchez . VIC MATA as Irish Longshoreman . MICHAEL CONTI Dusty Parisian Girl . TATIANA ABBEY New Guinea Tribesman . KALANI QUEYPO KUMAR PALLANA Punk Rocker . MEL CANNON as Eli’s Egyptian Friends . LEO MANUELIAN Pagoda AMIR RAISSI ROGER SHAMAS Narrator Father Petersen. PHILIP DENNING ALEC BALDWIN Police Officer . GARY EVANS Mr. Levinson . REX ROBBINS Elaine Levinson .
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Auteur Music in the Films of Wes Anderson
Wayne State University Wayne State University Dissertations 1-1-2013 What Is This Music? Auteur Music In The iF lms Of Wes Anderson Lara Rose Hrycaj Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Recommended Citation Hrycaj, Lara Rose, "What Is This Music? Auteur Music In The iF lms Of Wes Anderson" (2013). Wayne State University Dissertations. Paper 662. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. WHAT IS THIS MUSIC? AUTEUR MUSIC IN THE FILMS OF WES ANDERSON by LARA HRYCAJ DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2013 MAJOR: COMMUNICATIONS Approved by: Advisor Date ! ! ! ! ! ! © COPYRIGHT BY LARA HRYCAJ 2013 All Rights Reserved DEDICATION I dedicate this to: Judy, Steve, and Nick Wes, Mark, and Randall and Mandy and the boys ii ACKNOWLEDGMENTS I would like to thank my advisor Jackie Byars. I am indebted to all the wisdom, hard work, and encouragement she has shared on my journey in earning my PhD. I would like to extend my gratitude to my committee. Hayg Oshagan and Juanita Anderson have been part of my entire dissertation process and have always kept me on my toes. I am grateful for Steven Shaviro and Pradeep Sopory for joining my committee late in the process. While Robert Burgoyne had to leave my committee, the genesis of this dissertation is due him sharing one of the earliest academic articles on Wes Anderson with me, and for this I am extremely grateful.
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The Allusive Auteur: Wes Anderson and His Influences
The Allusive Auteur: Wes Anderson and His Influences By Timothy Penner A Thesis submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfilment of the requirements of the degree of MASTER OF ARTS Department of English, Film and Theatre University of Manitoba Winnipeg Copyright © 2011 by Timothy Penner i Abstract Writer, producer and director Wes Anderson‘s unusual and idiosyncratic films take place in world which seems to be entirely his own. Often anachronistic and highly stylized, the Andersonian universe looks like little else being shown in contemporary cinemas. Yet, Anderson is also one of the most allusive filmmakers working today. Littered throughout his oeuvre are endless allusions to films, directors, authors and books which have had significant influence on Anderson as an artist. In fact, Anderson‘s films can only be fully appreciated when viewed through the lens of his many sources, since his films emerge as he carefully collects, compiles and crafts his many influences into a sort of collage. In order to understand how this dichotomy operates in Anderson‘s work I examine the influence of several key directors, authors, and films. Through this study I show that one of the things that make Anderson unique is the very way in which he interacts with the sources to which he is alluding. It is his uncommon ability to weave homage and critique together which makes him a truly allusive auteur. ii Acknowledgements It is impossible to embark on any project of this sort without a great deal of guidance from those who have journeyed this road before.
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Salsa2bills 1..4
By:AADukes H.R.ANo.A699 RESOLUTION 1 WHEREAS, A state replete with diverse landscapes, iconic 2 American legends, and talented residents, Texas has long been a 3 favorite location for motion picture and television productions, 4 and that rich and ongoing tradition is being celebrated on Texas 5 Film Industry Day, which is taking place at the State Capitol on 6 March 6, 2007; and 7 WHEREAS, More than 1,500 films and television programs have 8 been made in Texas since 1910, and the first movie ever to win the 9 Academy Award for Best Picture, the silent World War I epic Wings, 10 was shot in and around San Antonio; and 11 WHEREAS, Audiences all over the world have discovered the 12 Lone Star State through films and television programs made here; 13 Giant, filmed near Marfa, tells the sprawling story of cattle and 14 oil in West Texas; no less than three films about the siege of the 15 Alamo have been made in Texas, including John Wayne 's 1960 epic The 16 Alamo; the film and television series Friday Night Lights tell the 17 distinctively Texan story of high school football; and week after 18 week Austin City Limits brings the best of American popular music to 19 the nation with a Texas flair; and 20 WHEREAS, Great filmmakers from all over the world have 21 journeyed to Texas to make their films; Steven Spielberg shot his 22 first feature, The Sugarland Express, here; Sam Peckinpah filmed 23 his classic thriller The Getaway in El Paso; Clint Eastwood has made 24 several films in Texas, including A Perfect World and Space 80R9767 JGH-D 1
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Exploring the Tone of the Life Aquatic with Steve Zissou
Balancing act: exploring the tone of The Life Aquatic with Steve Zissou Article Accepted Version Gibbs, J. (2012) Balancing act: exploring the tone of The Life Aquatic with Steve Zissou. New Review of Film and Television Studies, 10 (1). pp. 132-151. ISSN 1740-0309 doi: https://doi.org/10.1080/17400309.2011.635035 (special issue: Wes Anderson and Co.) Available at http://centaur.reading.ac.uk/26533/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1080/17400309.2011.635035 Publisher: Taylor & Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Balancing act: exploring the tone of The Life Aquatic with Steve Zissou (Wes Anderson, 2004) The Life Aquatic with Steve Zissou is in many ways preposterous. It is full of excesses, moments which trigger an intake of breath that those financing the film were prepared to spend so much money on something as fanciful as this story of a struggling Cousteau, who ‘hasn’t been at his best this past decade’, as he and the crew of the Belafonte pursue the Jaguar shark, and a whole array of other animated fauna. The film has a budget in the region of $50 million, a range of stunning locations and sets (including a full size cross-section of the Belafonte), two appearances by a killer whale, and a soundtrack in which one of the key musical elements are the songs of David Bowie sung in Brazilian Portuguese by a member of the ship’s crew.
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