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JIM MOL Editor www.jimcurtismol.com BLIND • Michael Mailer Films • 2016 • Director: Michael Mailer • Producer: Michael Mailer, Diane Fisher, Jennifer Gelfer, Pamela Thur Cast: Alec Baldwin, Dylan Mcdermot JACK OF THE RED HEARTS • Sundial Pictures • 2014 • Director: Janet Grillo • Producers: Stefan Nowicki, Sirad Balducci Cast: Annasophia Robb, Famke Janssen, Scott Cohen, Israel Broussard, Taylor Richardson *Jury Award - Best Film - Bentonville Film Festival SCOUT • Brownbag Pictures & Decipher Entertainment • 2013 • Dir: Laurie Weltz • Prod: Beverly Gordon, Nicolas Emiliani, Dwujan Fox Cast: Danny Glover, Jane Seymour, Ellen Burstyn, Nikki Reed, India Ennenga, James Frenchville, Onata Aprile ALL THE BEAUTIFUL THINGS • Riff Raff Films • 2012 • Director: John Harkrider • Producer: Justin Lundstrom Cast: John Harkrider, Barron Claiborne, Jorge Luna *Official Competition Selection of Sundance Film Festival 2014 HE’S WAY MORE FAMOUS THAN YOU • Logolite Entertainment • 2011 • Director: Michael Urie • Producer: Geoffrey Soffer Cast: Jessie Eisenberg, Kieran Culkin, Halley Feiffer, Ralph Macio, Ben Stiller DARKROOM • Darkroom Films, LLC • 2011 • Director: Britt Napier • Producers: Britt Napier, Ron Stein Cast: Kaylee DeFer, Elisabeth Röhm, Christian Campbell, Britne Oldford, Natalie Knepp TEENAGE PAPARAZZO • HBO Documentary Films • Reckless Productions • 2009 • Director: Adrian Grenier • Producer: Robin C. Garvik Cast: Matt Damon, Michelle Rodriguez, Lindsay Lohan, Alec Baldwin *Official Selection of Sundance Film Festival 2010 LE CIRQUE: A TABLE IN HEAVEN • HBO Documentary Films • 2007 • Dir: Andrew Rossi • Prod: Gregory P. Heymen, Charles Marquardt Cast: Tony Bennett, Michael Bloomberg, Bill Cosby THE HEART IS DECEITFUL ABOVE ALL THINGS • Above All Things Inc. • Director: Asia Argento • Producer: Larry Davis Cast: Asia Argento, Jeremy Renner, Peter Fonda *Director’s Fortnight – Cannes Film Festival SHOT IN THE DARK • HBO Documentary Films • Reckless Productions • Director: Adrian Grenier • Producer: Jonathan Davidson Cast: Carl Dunbar, Debbie Dunbar, Evan Ferrante *Official Selection of Tribeca Film Festival NEW ROSE HOTEL • Edward R. Pressman Film • Director: Abel Ferrara • Producer: Edward R. Pressman Cast: Christopher Walken, Willem Dafoe, Gretchen Mol, Asia Argento THE BLACKOUT • MDP Worldwide • Director: Abel Ferrara • Producer: Edward R. Pressman Cast: Matthew Modine, Dennis Hopper, Claudia Schiffer THE FUNERAL • October Films • Director: Abel Ferrara • Producer: Mary Kane Cast: Christopher Walken, Chris Penn, Isabella Rossellini, Vincent Gallo, Benicio Del Toro TELEVISION SPIKE TV LAUNCH CAMPAIGN Spike TV FRANKENFOOD LAUNCH PROMOS Spike TV CELEBRITY CLOSE CALLS Bio Channel MAGNIFICENT OBSESSIONS Voom HD Channel CHASING HISTORY HOME Voom HD Channel 9465 Wilshire Blvd, 6th Floor 41 Madison Ave. 33rd Floor Beverly Hills, CA 90212 New York, NY 10010 main 310.274.6611 main 212.997.1818 .

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Why Call Them "Cult Movies"? American Independent Filmmaking and the Counterculture in the 1960S Mark Shiel, University of Leicester, UK
Why Call them "Cult Movies"? American Independent Filmmaking and the Counterculture in the 1960s Mark Shiel, University of Leicester, UK Preface In response to the recent increased prominence of studies of "cult movies" in academic circles, this essay aims to question the critical usefulness of that term, indeed the very notion of "cult" as a way of talking about cultural practice in general. My intention is to inject a note of caution into that current discourse in Film Studies which valorizes and celebrates "cult movies" in particular, and "cult" in general, by arguing that "cult" is a negative symptom of, rather than a positive response to, the social, cultural, and cinematic conditions in which we live today. The essay consists of two parts: firstly, a general critique of recent "cult movies" criticism; and, secondly, a specific critique of the term "cult movies" as it is sometimes applied to 1960s American independent biker movies -- particularly films by Roger Corman such as The Wild Angels (1966) and The Trip (1967), by Richard Rush such as Hell's Angels on Wheels (1967), The Savage Seven, and Psych-Out (both 1968), and, most famously, Easy Rider (1969) directed by Dennis Hopper. Of course, no-one would want to suggest that it is not acceptable to be a "fan" of movies which have attracted the label "cult". But this essay begins from a position which assumes that the business of Film Studies should be to view films of all types as profoundly and positively "political", in the sense in which Fredric Jameson uses that adjective in his argument that all culture and every cultural object is most fruitfully and meaningfully understood as an articulation of the "political unconscious" of the social and historical context in which it originates, an understanding achieved through "the unmasking of cultural artifacts as socially symbolic acts" (Jameson, 1989: 20).
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Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre.
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Tally Sheet for 90Th Academy Awards
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Abel Ferrara
A FILM BY Abel Ferrara Ray Ruby's Paradise, a classy go go cabaret in downtown Manhattan, is a dream palace run by charismatic impresario Ray Ruby, with expert assistance from a bunch of long-time cronies, sidekicks and colourful hangers on, and featuring the most beautiful and talented girls imaginable. But all is not well in Paradise. Ray's facing imminent foreclosure. His dancers are threatening a strip-strike. Even his brother and financier wants to pull the plug. But the dreamer in Ray will never give in. He's bought a foolproof system to win the Lottery. One magic night he hits the jackpot. And loses the ticket... A classic screwball comedy in the madcap tradition of Frank Capra, Billy Wilder and Preston Sturges, from maverick auteur Ferrara. DIRECTOR’S NOTE “A long time ago, when 9 and 11 were just 2 odd numbers, I lived above a fire house on 18th and Broadway. Between the yin and yang of the great Barnes and Noble book store and the ultimate sports emporium, Paragon, around the corner from Warhol’s last studio, 3 floors above, overlooking Union Square. Our local bar was a gothic church made over into a rock and roll nightmare called The Limelite. The club was run by a gang of modern day pirates with Nicky D its patron saint. For whatever reason, the neighborhood became a haven for topless clubs. The names changed with the seasons but the core crews didn't. Decked out in tuxes and razor haircuts, they manned the velvet ropes that separated the outside from the in, 100%.
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2010 Palm Beach International Film Festival April 22-26, 2010 Winner of Platinum Clubs of America 5 Star Award
Palm Beach International Designed by:Designed Kevin Manger Cobb Theatres are proud sponsors of the Palm Beach International Film Festival Cobb Theatres: K Art & Independent Films K Metropolitan Opera Live Events K Fathom Special Events K 3-D Capability K Online Ticketing Available K All Stadium Seating K Digital Projection and Sound Downtown at Jupiter the Gardens 16 Stadium 18 www.CobbTheatres.com Downtown at the Gardens 16 | 11701 Lake Victoria Gardens Ave. | Palm Beach Gardens, Florida | 561.253.1444 Jupiter Stadium 18 | 201 North US Highway 1 | Jupiter, Florida | 561.747.7333 The City of Boca Raton is proud to support the 2010 Palm Beach International Film Festival April 22-26, 2010 Winner of Platinum Clubs of America 5 Star Award Boca West...Still the Best • For Quality of Membership • A Sense of Tradition #1 Country Club in the State of Florida • First Class Amenities #1 Residential Country Club in the United States • Quality of Management & Staff 20588 Boca West Drive, Boca Raton, FL 33434 561.488.6990 www.bocawestcc.org Live The Life...We Can Make It Happen! Travel Services ® Representative LET OUR CENTURY OF EXPERIENCE AND HIGHLY PERSONALIZED SERVICE BE YOUR PASSPORT For The Best Times In Your Life www.fugazytravel.com 6006 SW 18th Street, Suite B-3, Boca Raton, FL 33433 561.447.7555 800.852.7613 M-F 9:00am – 5:30pm PALM BEACH INTERNATIONAL FILM FESTIVALWelcomeWELCOME DEAR FRIENDS, Welcome to the 15th Anniversary of the Palm Beach International Film Festival. It is truly a privilege for me to celebrate this momentous accomplishment! I have been honored to have led this prestigious organization over the past six years and been involved since the beginning.
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Dennis Hopper
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Tom Hanks Halle Berry Martin Sheen Brad Pitt Robert Deniro Jodie Foster Will Smith Jay Leno Jared Leto Eli Roth Tom Cruise Steven Spielberg
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67. Mostra Internazionale D'arte Cinematografica Venezia 1/11 Settembre 2010
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Photographs by Dennis Hopper
G A G O S I A N G A L L E R Y 9 September 2014 PRESS RELEASE GAGOSIAN GALLERY VIA FRANCESCO CRISPI 16 T. +39.06.4208.6498 00187 ROME F. +39.06.4201.4765 GALLERY HOURS: Tue–Sat: 10:30am–7:00pm and by appointment SCRATCHING THE SURFACE: Photographs by Dennis Hopper Tuesday, 23 September–Saturday, 8 November 2014 Opening reception: Tuesday, September 23rd, from 6:00 to 8:00pm This is a story of a man/child who chose to develop his five senses and live and experience rather than just read. —Dennis Hopper Gagosian Rome is pleased to announce an exhibition of the late Dennis Hopper’s photographs of the 1960s, together with the Drugstore Camera series of the early 1970s and continuous screenings of his films and interviews. This will be the first major exhibition of Hopper's work in Rome. Hopper established his reputation as a cult actor and director with Easy Rider (1969), and maintained this status with gritty performances in The American Friend (1977), Apocalypse Now (1979), Blue Velvet (1986), Hoosiers (1986), and as director of Colors (1988). During his rise to Hollywood stardom, he captured the establishment-busting spirit of the 1960s in photographs that travel from Los Angeles to Harlem to Tijuana, Mexico, and which portray iconic figures including Jane Fonda, Andy Warhol, and John Wayne. Spontaneous portraits of now-legendary artists, actors, and musicians are among a selection of nearly one hundred signed vintage prints. Claes Oldenburg appears at a wedding, standing among plaster cake slices that he created as party favors, plated and placed in uniform rows on the ground.
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American International Pictures Retrospective at the Museum of Modern Art
The Museum of Modern Art 50th Anniversary •JO NO. 47 FOR IMMEDIATE RELEASE AMERICAN INTERNATIONAL PICTURES RETROSPECTIVE AT THE MUSEUM OF MODERN ART The Department of Film of The Museum of Modern Art will present a retrospective exhibition of films from American International Pictures beginning July 26 and running through August 28, 1979. The 38 film retrospective, which coincides with the studio's 25th anniversary, was selected from the company's total production of more than 500 films, by Adrienne Mancia, Curator, and Larry Kardish, Associate Curator, of the Museum's Department of Film. The films, many in new 35mm prints, will be screened in the Museum's Roy and Niuta Titus Auditorium and, concurrent with the retro spective, a special installation of related film stills and posters will be on view in the adjacent Auditorium Gallery. "It's extraordinary to see how many filmmakers, writers and actors — now often referred to as 'the New Hollywood'—took their first creative steps at American International," commented Adrienne Mancia. "AIP was a good training ground; you had to work quickly and economically. Low budgets can force you to find fresh resources. There is a vitality and energy to these feisty films that capture a certain very American quality. I think these films are rich in information about our popular culture and we are delighted to have an opportunity to screen them." (more) II West 53 Street, New York, NY. 10019, 212-956-6100 Coble: Modernart NO. 47 Page 2 Represented in the retrospective are Martin Scorsese, Francis Ford Coppola, Woody Allen, Jack Nicholson, Annette Funicello, Peter Fonda, Richard Dreyfuss, Roger Corman, Ralph Bakshi, Brian De Palma, John Milius, Larry Cohen, Michael Schultz, Dennis Hopper, Michelle Phillips, Robert De Niro, Bruce Dern, Michael Landon, Charles Bronson, Mike Curb, Richard Rush, Tom Laughlin, Cher, Richard Pryor, and Christopher Jones.
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Bullet Time As Microgenre Author(S): Bob Rehak Source: Film Criticism, Vol
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Works The Migration of Forms: Bullet Time as Microgenre Author(s): Bob Rehak Source: Film Criticism, Vol. 32, No. 1, Special Issue on Digital Visual Effects and Popular Cinema (Fall, 2007), pp. 26-48 Published by: Allegheny College Stable URL: https://www.jstor.org/stable/24777382 Accessed: 08-05-2019 16:36 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Allegheny College is collaborating with JSTOR to digitize, preserve and extend access to Film Criticism This content downloaded from 130.58.107.157 on Wed, 08 May 2019 16:36:11 UTC All use subject to https://about.jstor.org/terms The Migration of Forms: Bullet Time as Microgenre Bob Rehak Only minutes into The Matrix (Lany and Andy Wachowski, 1999), the movie unveils its money shot, as though aware the audience is impatient for it. Trinity (Carrie-Anne Moss), clad in skintight black leather, punctuates a brief, violent hotel room fight by spreading her arms, rising into the air, and lashing out in a kick that sends one of her policeman attackers flying. She moves with an impossible fluid weightlessness, as does the camera, which revolves around her while the hapless cops remain frozen.
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