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The New Hollywood Films
The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d. -
Transcript Sidney Lumet
TRANSCRIPT A PINEWOOD DIALOGUE WITH SIDNEY LUMET Sidney Lumet’s critically acclaimed 2007 film Before the Devil Knows You’re Dead, a dark family comedy and crime drama, was the latest triumph in a remarkable career as a film director that began 50 years earlier with 12 Angry Men and includes such classics as Serpico, Dog Day Afternoon, and Network. This tribute evening included remarks by the three stars of Before the Devil Knows Your Dead, Ethan Hawke, Marissa Tomei, and Philip Seymour Hoffman, and a lively conversation with Lumet about his many collaborations with great actors and his approach to filmmaking. A Pinewood Dialogue with Sidney Lumet shooting, “I feel that there’s another film crew on moderated by Chief Curator David Schwartz the other side of town with the same script and a (October 25, 2007): different cast, and we’re trying to beat them.” (Laughter) “You know, trying to wrap the movie DAVID SCHWARTZ: (Applause) Thank you, and ahead of them. It’s like a race.” I remember welcome, everybody. Sidney Lumet, as I think all saying that “you know if this movie works, then of you know, has received a number of salutes I’m going to have to rethink my whole idea of and awards over the years that could be process, because I can not imagine that this will considered lifetime achievement awards—which work!” (Laughter) I’ve never seen such a might sometimes imply that they’re at the end of deliberate—I’m going to steal your words, Phil, their career. But that’s certainly far from the case, but—a focus of energy, and use of energy. -
HH Available Entries.Pages
Greetings! If Hollywood Heroines: The Most Influential Women in Film History sounds like a project you would like be involved with, whether on a small or large-scale level, I would love to have you on-board! Please look at the list of names below and send your top 3 choices in descending order to [email protected]. If you’re interested in writing more than one entry, please send me your top 5 choices. You’ll notice there are several women who will have a “D," “P," “W,” and/or “A" following their name which signals that they rightfully belong to more than one category. Due to the organization of the book, names have been placed in categories for which they have been most formally recognized, however, all their roles should be addressed in their individual entry. Each entry is brief, 1000 words (approximately 4 double-spaced pages) unless otherwise noted with an asterisk. Contributors receive full credit for any entry they write. Deadlines will be assigned throughout November and early December 2017. Please let me know if you have any questions and I’m excited to begin working with you! Sincerely, Laura Bauer Laura L. S. Bauer l 310.600.3610 Film Studies Editor, Women's Studies: An Interdisciplinary Journal Ph.D. Program l English Department l Claremont Graduate University Cross-reference Key ENTRIES STILL AVAILABLE Screenwriter - W Director - D as of 9/8/17 Producer - P Actor - A DIRECTORS Lois Weber (P, W, A) *1500 Major early Hollywood female director-screenwriter Penny Marshall (P, A) Big, A League of Their Own, Renaissance Man Martha -
Film, Politics, and Ideology: Reflections on Hollywood Film in the Age of Reagan* Douglas Kellner (
Film, Politics, and Ideology: Reflections on Hollywood Film in the Age of Reagan* Douglas Kellner (http://www.gseis.ucla.edu/faculty/kellner/) In our book Camera Politica: Politics and Ideology in Contemporary Hollywood Film (1988), Michael Ryan and I argue that Hollywood film from the 1960s to the present was closely connected with the political movements and struggles of the epoch. Our narrative maps the rise and decline of 60s radicalism; the failure of liberalism and rise of the New Right in the 1970s; and the triumph and hegemony of the Right in the 1980s. In our interpretation, many 1960s films transcoded the discourses of the anti-war, New Left student movements, as well as the feminist, black power, sexual liberationist, and countercultural movements, producing a new type of socially critical Hollywood film. Films, on this reading, transcode, that is to say, translate, representations, discourses, and myths of everyday life into specifically cinematic terms, as when Easy Rider translates and organizes the images, practices, and discourses of the 1960s counterculture into a cinematic text. Popular films intervene in the political struggles of the day, as when 1960s films advanced the agenda of the New Left and the counterculture. Films of the "New Hollywood," however, such as Bonnie and Clyde, Medium Cool, Easy Rider, etc., were contested by a resurgence of rightwing films during the same era (e.g. Dirty Harry, The French Connection, and any number of John Wayne films), leading us to conclude that Hollywood film, like U.S. society, should be seen as a contested terrain and that films can be interpreted as a struggle of representation over how to construct a social world and everyday life. -
New Hollywood As Political Discourse
CAPTURING TURMOIL: NEW HOLLYWOOD AS POLITICAL DISCOURSE by DANA ALSTON A THESIS Presented to the Department of Cinema Studies and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2018 An Abstract of the Thesis of Dana Alston for the degree of Bachelor of Arts in the Department of Cinema Studies to be taken June 2018 Title: Capturing Turmoil: New Hollywood as Political Discourse Approved: _______________________________________ Dr. Erin Hanna This thesis is an argumentative close analysis of themes, aesthetics, and political meanings within three New Hollywood films. It emerged out of an interest in the films of the 1960s and 70s and the changes within that era’s film industry. Those changes granted young, educated filmmaker opportunities to helm studio-driven projects, weaving material into their narratives that would have been impossible in a system ruled by the Hollywood Production Code. The era also included significant social and political unrest, and the films therein reflect that reality. In this project, I perform content analyses for three films within the New Hollywood movement — Bonnie and Clyde (1967), Dog Day Afternoon (1975), and Nashville (1975) — in order to understand how films in the movement used themes of celebrity, violence, and oppression to act as a form of discourse. All three films employ on-screen violence to complicate the audience’s initial assumptions of characters, and each film critiques the social and political issues of its time through this violence. For each analysis, I discuss several sequences’ mise-en-scène — the arrangement of elements within the entire frame — and connect them to broad socio-political ideas. -
Films Shown by Series
Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films, -
National Film Registry Titles Listed by Release Date
National Film Registry Titles 1989-2017: Listed by Year of Release Year Year Title Released Inducted Newark Athlete 1891 2010 Blacksmith Scene 1893 1995 Dickson Experimental Sound Film 1894-1895 2003 Edison Kinetoscopic Record of a Sneeze 1894 2015 The Kiss 1896 1999 Rip Van Winkle 1896 1995 Corbett-Fitzsimmons Title Fight 1897 2012 Demolishing and Building Up the Star Theatre 1901 2002 President McKinley Inauguration Footage 1901 2000 The Great Train Robbery 1903 1990 Life of an American Fireman 1903 2016 Westinghouse Works 1904 1904 1998 Interior New York Subway, 14th Street to 42nd Street 1905 2017 Dream of a Rarebit Fiend 1906 2015 San Francisco Earthquake and Fire, April 18, 1906 1906 2005 A Trip Down Market Street 1906 2010 A Corner in Wheat 1909 1994 Lady Helen’s Escapade 1909 2004 Princess Nicotine; or, The Smoke Fairy 1909 2003 Jeffries-Johnson World’s Championship Boxing Contest 1910 2005 White Fawn’s Devotion 1910 2008 Little Nemo 1911 2009 The Cry of the Children 1912 2011 A Cure for Pokeritis 1912 2011 From the Manger to the Cross 1912 1998 The Land Beyond the Sunset 1912 2000 Musketeers of Pig Alley 1912 2016 Bert Williams Lime Kiln Club Field Day 1913 2014 The Evidence of the Film 1913 2001 Matrimony’s Speed Limit 1913 2003 Preservation of the Sign Language 1913 2010 Traffic in Souls 1913 2006 The Bargain 1914 2010 The Exploits of Elaine 1914 1994 Gertie The Dinosaur 1914 1991 In the Land of the Head Hunters 1914 1999 Mabel’s Blunder 1914 2009 1 National Film Registry Titles 1989-2017: Listed by Year of Release Year Year -
Dog Day Afternoonаа
th Dog Day Afternoon / 40 Anniversary – Page 1 “A tense classic!” ✮✮✮✮✮ Empire DOG DAY AFTERNOON TH TM 40 Anniversary on Bluray from 7th September Includes Director Commentary, Vintage Featurettes and more On September 7th 2015, Warner Bros. Home Entertainment (WBHE) will celebrate director Sidney th Lumet’s Dog Day Afternoon, the explosive drama starring Al Pacino, with a new 40 Anniversary edition Bluray available for the first time in the UK. This unique thriller, filled with sardonic comedy and based on a reallife incident, earned six Academy ® 1 Award nominations (including Best Picture) and won an Oscar® for Frank Pierson’s streetwise ® screenplay. John Cazale, Charles Durning (Golden Globe nominated for their roles) and James Broderick costar. Pacino and Lumet (collaborators on Serpico) reteam for the drama which currently has a 97% Fresh Rotten Tomatoes® Score. Pacino plays mastermind Sonny and John Cazale is his partner Sal two optimistic nobodies who set out to rob a bank, and unexpectedly create a media circus and a complete disaster. Cazale’s short sixyear acting career included only four other films besides Dog Day Afternoon – The Godfather, The Godfather: Part II, The Conversation and The Deer Hunter. In 1978, just after wrapping the latter, Cazale died tragically at age 42 and cinema was robbed of one of its brightest talents. 1 1975 (48th) ACTOR Al Pacino ACTOR IN A SUPPORTING ROLE Chris Sarandon DIRECTING Sidney Lumet FILM EDITING Dede Allen BEST PICTURE Martin Bregman and Martin Elfand, Producers *WRITING (Original Screenplay) Frank Pierson * indicates win th Dog Day Afternoon / 40 Anniversary – Page 2 ABOUT THE FILM On a hot Brooklyn afternoon, two optimistic nobodies set out to rob a bank. -
101 Films for Filmmakers
101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers. -
Brown 1 Dr Christopher R. Brown Homosexuality in Dog Day Afternoon
Brown 1 Dr Christopher R. Brown Homosexuality in Dog Day Afternoon (1975): televisual surfaces and a ‘natural’ man Introduction Dog Day Afternoon (1975), directed by Sidney Lumet and starring Al Pacino, has indisputable significance as ‘the first American commercial movie in which the star/identification figure turns out to be gay,’ as Robin Wood observed shortly after its release (33). Despite this, it remains neglected in academic scholarship, the exception being Fredric Jameson’s seminal 1977 article on the film (843-859), which does not discuss its representation of sexuality. This theme cannot be adequately accounted for, I will argue, without first investigating what Lumet referred to as the film’s ‘naturalistic’ aesthetic, which in visual terms is usefully defined in relation to the forms of television and documentary. But more broadly, what does ‘naturalistic’ mean, in this context, and why might this be significant as far as the representation of homosexuality in Dog Day Afternoon is concerned? The film was adapted from real-life events which had occurred on 22 August 1972, when John Wojtowicz and his accomplice Salvatore Naturile had held up a branch of the Chase Manhattan Bank in Brooklyn. The building was surrounded by more than one hundred police officers, and the eight employees of the bank consequently taken hostage at gunpoint, in a siege that would last over eight hours. Around three thousand local residents and curiosity seekers were drawn to the scene by radio and television accounts of the event. It emerged that Wojtowicz was demanding the release from hospital of Ernest Aaron, whom he had married in a drag wedding ceremony, and whose gender reassignment operation he was seeking to finance. -
ABSTRACT CECI N'est PAS UN FILM: VISUAL PERCEPTION in MICHAEL HANEKE's CACHÉ by Kerry Polley the Purpose of This Thesis Is
ABSTRACT CECI N’EST PAS UN FILM: VISUAL PERCEPTION IN MICHAEL HANEKE’S CACHÉ by Kerry Polley The purpose of this thesis is to examine the ethical implications of voyeurism as a diegetic construct within cinema within the specific context of Michael Haneke’s 2005 film Caché. The first chapter uses works by René Descartes and Diego Velázquez to frame the question of the deceitful nature of the senses, which contextualize the way we look at film as an entity distinct from lived experience. The second chapter examines theories of montage in order to elaborate upon the difference between narrative and lived experience. The third chapter looks at films by and interviews with Alfred Hitchcock to elaborate upon the previous chapter’s discussion of montage and explain the ethics and the legal code of voyeurism as presented in Caché. CECI N’EST PAS UN FILM: VISUAL PERCEPTION IN MICHAEL HANEKE’S CACHÉ A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of French and Italian by Kerry Ann Polley Miami University Oxford, Ohio 2009 Advisor: _____________________________ Dr. Elisabeth Hodges Reader: ______________________________ Dr. Jonathan Strauss Reader: ______________________________ Dr. Claire Goldstein TABLE OF CONTENTS Page LIST OF FIGURES iii ACKNOWLEDGEMENTS iv INTRODUCTION 1 CHAPTER I. Unlocking Velázquez’s Door 2 II. Pidgin, Creole, Dialect 7 III. Funeral March of a Marionette: Michael Haneke Presents 13 CONCLUSION: “Separated from Us by Physics and Glass” 18 BIBLIOGRAPHY 20 ii LIST OF FIGURES Page Fig. 1. Trajectories of sight in Las Meninas 4 iii ACKNOWLEDGEMENTS The author wishes to express her appreciation to Dr. -
Best Movies in Every Genre
Best Movies in Every Genre WTOP Film Critic Jason Fraley Action 25. The Fast and the Furious (2001) - Rob Cohen 24. Drive (2011) - Nichols Winding Refn 23. Predator (1987) - John McTiernan 22. First Blood (1982) - Ted Kotcheff 21. Armageddon (1998) - Michael Bay 20. The Avengers (2012) - Joss Whedon 19. Spider-Man (2002) – Sam Raimi 18. Batman (1989) - Tim Burton 17. Enter the Dragon (1973) - Robert Clouse 16. Crouching Tiger, Hidden Dragon (2000) – Ang Lee 15. Inception (2010) - Christopher Nolan 14. Lethal Weapon (1987) – Richard Donner 13. Yojimbo (1961) - Akira Kurosawa 12. Superman (1978) - Richard Donner 11. Wonder Woman (2017) - Patty Jenkins 10. Black Panther (2018) - Ryan Coogler 9. Mad Max (1979-2014) - George Miller 8. Top Gun (1986) - Tony Scott 7. Mission: Impossible (1996) - Brian DePalma 6. The Bourne Trilogy (2002-2007) - Paul Greengrass 5. Goldfinger (1964) - Guy Hamilton 4. The Terminator (1984-1991) - James Cameron 3. The Dark Knight (2008) - Christopher Nolan 2. The Matrix (1999) - The Wachowskis 1. Die Hard (1988) - John McTiernan Adventure 25. The Goonies (1985) - Richard Donner 24. Gunga Din (1939) - George Stevens 23. Road to Morocco (1942) - David Butler 22. The Poseidon Adventure (1972) - Ronald Neame 21. Fitzcarraldo (1982) - Werner Herzog 20. Cast Away (2000) - Robert Zemeckis 19. Life of Pi (2012) - Ang Lee 18. The Revenant (2015) - Alejandro G. Inarritu 17. Aguirre, Wrath of God (1972) - Werner Herzog 16. Mutiny on the Bounty (1935) - Frank Lloyd 15. Pirates of the Caribbean (2003) - Gore Verbinski 14. The Adventures of Robin Hood (1938) - Michael Curtiz 13. The African Queen (1951) - John Huston 12. To Have and Have Not (1944) - Howard Hawks 11.