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Female Director Takes Hollywood by Storm: Is She a Beauty Or a Visionary?
Western Oregon University Digital Commons@WOU Honors Senior Theses/Projects Student Scholarship 6-1-2016 Female Director Takes Hollywood by Storm: Is She a Beauty or a Visionary? Courtney Richardson Western Oregon University Follow this and additional works at: https://digitalcommons.wou.edu/honors_theses Part of the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Richardson, Courtney, "Female Director Takes Hollywood by Storm: Is She a Beauty or a Visionary?" (2016). Honors Senior Theses/Projects. 107. https://digitalcommons.wou.edu/honors_theses/107 This Undergraduate Honors Thesis/Project is brought to you for free and open access by the Student Scholarship at Digital Commons@WOU. It has been accepted for inclusion in Honors Senior Theses/Projects by an authorized administrator of Digital Commons@WOU. For more information, please contact [email protected], [email protected], [email protected]. Female Director Takes Hollywood by Storm: Is She a Beauty or a Visionary? By Courtney Richardson An Honors Thesis Submitted in Partial Fulfillment of the Requirements for Graduation from the Western Oregon University Honors Program Dr. Shaun Huston, Thesis Advisor Dr. Gavin Keulks, Honors Program Director Western Oregon University June 2016 2 Acknowledgements First I would like to say a big thank you to my advisor Dr. Shaun Huston. He agreed to step in when my original advisor backed out suddenly and without telling me and really saved the day. Honestly, that was the most stressful part of the entire process and knowing that he was available if I needed his help was a great relief. Second, a thank you to my Honors advisor Dr. -
Roger Ebert's
The College of Media at Illinois presents Roger19thAnnual Ebert’s Film Festival2017 April 19-23, 2017 The Virginia Theatre Chaz Ebert: Co-Founder and Producer 203 W. Park, Champaign, IL Nate Kohn: Festival Director 2017 Roger Ebert’s Film Festival The University of Illinois at Urbana–Champaign The College of Media at Illinois Presents... Roger Ebert’s Film Festival 2017 April 19–23, 2017 Chaz Ebert, Co-Founder, Producer, and Host Nate Kohn, Festival Director Casey Ludwig, Assistant Director More information about the festival can be found at www.ebertfest.com Mission Founded by the late Roger Ebert, University of Illinois Journalism graduate and a Pulitzer Prize- winning film critic, Roger Ebert’s Film Festival takes place in Urbana-Champaign each April for a week, hosted by Chaz Ebert. The festival presents 12 films representing a cross-section of important cinematic works overlooked by audiences, critics and distributors. The films are screened in the 1,500-seat Virginia Theatre, a restored movie palace built in the 1920s. A portion of the festival’s income goes toward on-going renovations at the theatre. The festival brings together the films’ producers, writers, actors and directors to help showcase their work. A film- maker or scholar introduces each film, and each screening is followed by a substantive on-stage Q&A discussion among filmmakers, critics and the audience. In addition to the screenings, the festival hosts a number of academic panel discussions featuring filmmaker guests, scholars and students. The mission of Roger Ebert’s Film Festival is to praise films, genres and formats that have been overlooked. -
Herzog by Ebert Other Books by an Illini Century Roger Ebert a Kiss Is Still a Kiss Two Weeks in the Midday Sun: a Cannes Notebook (Orig
Herzog by Ebert other books by An Illini Century roger ebert A Kiss Is Still a Kiss Two Weeks in the Midday Sun: A Cannes Notebook (orig. publ. 1987; university of chicago press ed. 2016) Behind the Phantom’s Mask Roger Ebert’s Little Movie Glossary Roger Ebert’s Movie Home Companion annually 1986–199 3 Roger Ebert’s Video Companion annually 1994–1998 Roger Ebert’s Movie Yearbook annually 1999–2013 Questions for the Movie Answer Man Roger Ebert’s Book of Film: An Anthology Ebert’s Bigger Little Movie Glossary I Hated, Hated, Hated This Movie The Great Movies The Great Movies II Awake in the Dark: The Best of Roger Ebert (orig. publ. 2006; 2nd ed. 2017) Your Movie Sucks Roger Ebert’s Four- Star Reviews 1967–2007 Scorsese by Ebert The Great Movies III The Pot and How to Use It: The Mystery and Romance of the Rice Cooker Life Itself: A Memoir A Horrible Experience of Unbearable Length The Great Movies IV With Daniel Curley The Perfect London Walk With Gene Siskel The Future of the Movies: Interviews with Martin Scorsese, Steven Spielberg, and George Lucas DVD Commentary Tracks Beyond the Valley of the Dolls Casablanca Citizen Kane Crumb Dark City Floating Weeds Roger Ebert Herzog by Ebert foreword by Werner Herzog the university of chicago press Chicago and London The University of Chicago Press, Chicago 60637 “‘Images at the Horizon’: A Workshop with Wer- The University of Chicago Press, Ltd., London ner Herzog, Conducted by Roger Ebert at the © 2017 by The Ebert Company, Ltd. -
Scorses by Ebert
Scorsese by Ebert other books by An Illini Century roger ebert A Kiss Is Still a Kiss Two Weeks in the Midday Sun: A Cannes Notebook Behind the Phantom’s Mask Roger Ebert’s Little Movie Glossary Roger Ebert’s Movie Home Companion annually 1986–1993 Roger Ebert’s Video Companion annually 1994–1998 Roger Ebert’s Movie Yearbook annually 1999– Questions for the Movie Answer Man Roger Ebert’s Book of Film: An Anthology Ebert’s Bigger Little Movie Glossary I Hated, Hated, Hated This Movie The Great Movies The Great Movies II Awake in the Dark: The Best of Roger Ebert Your Movie Sucks Roger Ebert’s Four-Star Reviews 1967–2007 With Daniel Curley The Perfect London Walk With Gene Siskel The Future of the Movies: Interviews with Martin Scorsese, Steven Spielberg, and George Lucas DVD Commentary Tracks Beyond the Valley of the Dolls Casablanca Citizen Kane Crumb Dark City Floating Weeds Roger Ebert Scorsese by Ebert foreword by Martin Scorsese the university of chicago press Chicago and London Roger Ebert is the Pulitzer The University of Chicago Press, Chicago 60637 Prize–winning film critic of the Chicago The University of Chicago Press, Ltd., London Sun-Times. Starting in 1975, he cohosted © 2008 by The Ebert Company, Ltd. a long-running weekly movie-review Foreword © 2008 by The University of Chicago Press program on television, first with Gene All rights reserved. Published 2008 Siskel and then with Richard Roeper. He Printed in the United States of America is the author of numerous books on film, including The Great Movies, The Great 17 16 15 14 13 12 11 10 09 08 1 2 3 4 5 Movies II, and Awake in the Dark: The Best of Roger Ebert, the last published by the ISBN-13: 978-0-226-18202-5 (cloth) University of Chicago Press. -
Imperialism and Exploration in the American Road Movie Andy Wright Pitzer College
Claremont Colleges Scholarship @ Claremont Pitzer Senior Theses Pitzer Student Scholarship 2016 Off The Road: Imperialism And Exploration in the American Road Movie Andy Wright Pitzer College Recommended Citation Wright, Andy, "Off The Road: Imperialism And Exploration in the American Road Movie" (2016). Pitzer Senior Theses. Paper 75. http://scholarship.claremont.edu/pitzer_theses/75 This Open Access Senior Thesis is brought to you for free and open access by the Pitzer Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pitzer Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Wright 1 OFF THE ROAD Imperialism And Exploration In The American Road Movie “Road movies are too cool to address serious socio-political issues. Instead, they express the fury and suffering at the extremities of a civilized life, and give their restless protagonists the false hope of a one-way ticket to nowhere.” –Michael Atkinson, quoted in “The Road Movie Book” (1). “‘Imperialism’ means the practice, the theory, and the attitudes of a dominating metropolitan center ruling a distant territory; ‘colonialism’, which is almost always a consequence of imperialism, is the implanting of settlements on distant territory” –Edward Said, Culture and Imperialism (9) “I am still a little bit scared of flying, but I am definitely far more scared of all the disgusting trash in between places” -Cy Amundson, This Is Not Happening “This is gonna be exactly like Eurotrip, except it’s not gonna suck” -Kumar Patel, Harold and Kumar Escape From Guantanamo Bay Wright 2 Off The Road Abstract: This essay explores the imperialist nature of the American road movie as it is defined by the film’s era of release, specifically through the lens of how road movies abuse the lands that are travelled through. -
Reading in the Dark: Using Film As a Tool in the English Classroom. INSTITUTION National Council of Teachers of English, Urbana, IL
DOCUMENT RESUME ED 456 446 CS 217 685 AUTHOR Golden, John TITLE Reading in the Dark: Using Film as a Tool in the English Classroom. INSTITUTION National Council of Teachers of English, Urbana, IL. ISBN ISBN-0-8141-3872-1 PUB DATE 2001-00-00 NOTE 199p. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 38721-1659: $19.95, members; $26.95, nonmembers). Tel: 800-369-6283 (Toll Free); Web site http://www.ncte.org. PUB TYPE Books (010) Guides Non-Classroom (055) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Classroom Techniques; *Critical Viewing; *English Instruction; *Film Study; *Films; High Schools; Instructional Effectiveness; Language Arts; *Reading Strategies; Units of Study IDENTIFIERS *Film Viewing; *Textual Analysis ABSTRACT To believe that students are not using reading and analytical skills when they watch or "read" a movie is to miss the power and complexities of film--and of students' viewing processes. This book encourages teachers to harness students' interest in film to help them engage critically with a range of media, including visual and printed texts. Toward this end, the book provides a practical guide to enabling teachers to ,feel comfortable and confident about using film in new and different ways. It addresses film as a compelling medium in itself by using examples from more than 30 films to explain key terminology and cinematic effects. And it then makes direct links between film and literary study by addressing "reading strategies" (e.g., predicting, responding, questioning, and storyboarding) and key aspects of "textual analysis" (e.g., characterization, point of view, irony, and connections between directorial and authorial choices) .The book concludes with classroom-tested suggestions for putting it all together in teaching units on 11 films ranging from "Elizabeth" to "Crooklyn" to "Smoke Signals." Some other films examined are "E.T.," "Life Is Beautiful," "Rocky," "The Lion King," and "Frankenstein." (Contains 35 figures. -
Holocaust Education in America: Eichmann Trial to Schindler's List
Madeline Waskowiak Holocaust Education in America: Eichmann Trial to Schindler’s List In the decades following World War Two, the Holocaust was not taught in American schools. Textbooks during the late 1940s and the 1950s scarcely included the atrocities committed against the Jews if there was any mention. The Holocaust, a term that was not yet used, came into American culture following the trial of Nazi war criminal Adolf Eichmann in 1960. Following his kidnapping, televised trial, and later execution, American media brought the German atrocities to life. As more Americans learned about the Holocaust through survivor testimonies, popular culture, and scholarly research, education curriculum on the Holocaust developed. Holocaust education entered American schools as a response to growing public interest in the genocide of Europe’s Jews in correlation with the Eichmann trial, an increase in popular media and scholarly debate, and changing political relations with Israel. The Holocaust has been covered in-depth by historians and psychologists alike. The history of the Holocaust in America follows two main arguments; the first being why there was not more talk from Holocaust survivors after 1945, and what brought the Holocaust into American culture? The former is split between Holocaust victims suffering from extreme shock due to the atrocities they experienced and thus refused to talk about said experiences and the more popular argument among historians, that instead Holocaust survivors were quickly turned away. When this occurred has to do with Adolf Eichmann’s trial, the televised trial brought considerable public attention to the Holocaust. Hannah Arendt’s book Adolf Eichmann: Banality of Evil written on the trial spurred widespread scholarly debate and criticism which launched scholarly research by American historians. -
Picture As Pdf
1 Cultural Daily Independent Voices, New Perspectives Life Itself – Roger Ebert, In Memoriam: Two Thumbs Up Sophia Stein · Wednesday, July 2nd, 2014 Life Itself is such a poetic and fitting way to honor Pulitzer-Prize winning film critic Roger Ebert, a man whose life was the movies and who brought the pleasure and power of the movies to so many of us. The phenomenal documentary is directed by Steve James (Hoop Dreams), with executive producers Steve Zillian (Moneyball) and Martin Scorsese (The Departed) at the helm. With such an accomplished core creative team interpreting his memoir, life and death, Roger Ebert is in great hands. The film offers insights about the function of cinema, the symbiotic relationship between artists and critics, the cut-throat professional competitiveness, the transformative power of love at any age, and how to stare death in the eye and meet that final curtain call at the end of the “third act” with acceptance and grace. “The movies are like a machine that generates empathy,” Roger instructs. It is impossible to leave the cinema without feeling such deep empathy, respect and appreciation for this luminary. Roger’s passion for cinema was infectious, and thanks to him, we all caught the cinema bug. I felt privileged to have seen the film for the first time during its premiere at Sundance Film Festival earlier this year. I took the opportunity to watch it a second time, just before conversing by phone with Roger’s equally brilliant wife, Chaz Ebert. Chaz spoke of how much she is looking forward to seeing the film in a theatre with a regular audience finally! — this Friday, July 4. -
Mulholland Falls
Mulholland Falls THIS ISN’T AMERICA, cumb to its pleasures, and there are (for which he won the Oscar), and many THIS IS LOS ANGELES many. The performances are all wonder - others. Everyone has their favorite ful, the direction hits the right marks, and Grusin scores, and Mulholland Falls is Sometimes it’s just timing. Sometimes the story is compellingly told. mine. Not only does his music do every - it’s just the luck of the draw. In 1996, an thing that film music is supposed to do, LA film noir called Mulholland Falls was Roger Ebert really liked the film, saying, i.e. propel the film, establish its moods, released. Very much attempting to tap “This is the kind of movie where every define its characters, and illuminate its into the feel of the film Chinatown , it re - note is put in lovingly. It’s a 1950s crime story, but apart from the film it is a great ceived some good reviews and some movie, but with a modern, ironic edge.” listening experience – its themes are bad reviews; but not many people cared The Los Angeles Times ’ Kenneth Turan beautiful and memorable, exciting and to see a period LA film noir set in the also liked it, and said, “Mulholland Falls melancholy, mysterious and smoky and early 1950s in 1996, despite its excellent combines a vivid sense of place with a intoxicating. In fact, it’s one of the best cast, which included Nick Nolte, Chaz visceral directorial style that fuses con - noir scores ever written, and right up Palminteri, Jennifer Connelly, John trolled fury onto everything it touches.” there with other classics of the post- Malkovich, Melanie Griffith, Chris Penn, The New York Times’ Janet Maslin, de - 1970s noir scores, Chinatown (Jerry Michael Madsen, Andrew McCarthy, and spite her concerns about the story itself, Goldsmith), Farewell, My Lovely (David Treat Williams, as well as small roles lauded the film: “Mr. -
The Dysphoric Style in Contemporary American Independent Cinema David C
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 The Dysphoric Style in Contemporary American Independent Cinema David C. Simmons Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES THE DYSPHORIC STYLE IN CONTEMPORARY AMERICAN INDEPENDENT CINEMA By DAVID C. SIMMONS A Dissertation submitted to the Program in the Humanities in partial fulfillment of the requirements for the degree of Doctorate of Philosophy Degree Awarded: Spring Semester, 2005 Copyright (c) 2005 David C. Simmons All Rights Reserved The members of the Committee approve the dissertation of David C. Simmons defended on April 11, 2005. ____________________________________ Karen L. Laughlin Professor Co-Directing Dissertation ____________________________________ Mark Garrett Cooper Professor Co-Directing Dissertation ____________________________________ Valliere Richard Auzenne Outside Committee Member ____________________________________ William J. Cloonan Committee Member Approved: ___________________________________ David F. Johnson Director, Program in the Humanities The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGMENTS This dissertation would not have been possible without the assistance of Sandefur Schmidt and my mother, Rita Simmons. I gratefully acknowledge both of them for the immense kindness and help they’ve provided me. iii TABLE OF CONTENTS Abstract ................................................................... v INTRODUCTION: THE DYSPHORIC STYLE IN CONTEMPORARY AMERICAN INDEPENDENT CINEMA ................. 1 1. TRYING TO HOLD ONTO A PIECE OF PI: THE DYSPHORIC STYLE’S STRUCTURING OF CAUSAL RELATIONS ......... 7 2. FACT OR PULP FICTION: THE DYSPHORIC STYLE AND TEMPORAL RELATIONS .................... 26 3. “THE COOKIE STAND IS NOT PART OF THE FOOD COURT”: THE DYSPHORIC STYLE AND SPATIAL RELATIONS ...................... -
Humphrey Bogart & Gloria Graham
HUMPHREY BOGART & GLORIA GRAHAM This Photo by Unknown Author is licensed under CC BY-SA This Photo by Unknown Author is licensed under CC BY-SA • LOUISE BROOKS (MOVIE STAR, WRITER, FRIEND OF BOGART) WROTE THAT OF ALL THE ACTOR’S ROLES, THIS ONE MOST REMINDED HER OF THE BOGIE SHE KNEW. • From Peter Bogdanovich’s Who the Hell’s In It: Conversations with Hollywood’s Legendary Actors. • Film Noir is often known for its memorable dialogue, sometimes great one liners. • Here are some from IN A LONELY PLACE: • “It was his story against mine, but, of course, I told mine better.” • “Do you look down on all women? Or just the ones you know?” • “I said I liked it. I didn’t say I wanted to kiss it.” • And, most memorably, this line which the critic (Eddie Muller) has asserted is “the most heartbreaking in film noir…”: •“I was born when you kissed me. I died when you left me. I lived a few weeks while you loved me.” NOT EVERY CRITIC IS FOND OF THAT LAST LINE OF DIALOGUE. HERE’S ANOTHER CRITIC’S POINT OF VIEW: • Only an actor with Bogart's terminal irreverence could break through the banality [of these lines] to the other side of wild romanticism. • —Film historian Andrew Sarris in "You Ain't Heard Nothin' Yet.": The American Talking Film History & Memory, 1927-1949. ROGER EBERT: • "In a Lonely Place" has been described by the critic Kim Morgan as "one of the most heartbreaking love stories ever committed to film," and love is indeed what it's really about. -
Reviews 04/12/09 5:42 PM
Up :: rogerebert.com :: Reviews 04/12/09 5:42 PM reviews | answer man | great movies | movie glossary | people | scanners | store commentary | festivals | oscars | roger ebert's journal | one-minute reviews | letters | news | sports | business | entertainment | classifieds | columnists UP (PG) Ebert: Users: You: Rate this movie right now search Site Web Search powered by YAHOO! GO advanced » tips » register You are not logged in. Log in » Balloons, house, dog, boy, man: "Up." Subscribe to weekly Up newsletter » / / / May 27, 2009 answer man by Roger Ebert cast & credits 06/24/2009 » "Up" is a wonderful film, with characters 06/10/2009 » who are as believable as any characters 06/10/2009 » can be who spend much of their time With the voices of: floating above the rain forests of Venezuela. They have tempers, Carl Edward Asner times & tickets problems and obsessions. They are cute Russell Jordan Nagai and goofy, but they aren't cute in the Muntz Christopher Plummer Fandango treacly way of little cartoon animals. Dug Bob Peterson Search movie They're cute in the human way of the Beta Delroy Lindo showtimes and buy animation master Hayao Miyazaki. Two Gamma Jerome Raft tickets. of the three central characters are Tom John Ratzenberger cranky old men, which is a wonder in this youth-obsessed era. "Up" doesn't think about us all heroes must be young or sweet, Disney/Pixar presents a film although the third important character is directed by Pete Docter. Written About the site » a nervy kid. by Bob Peterson. Running time: 96 minutes. Rated PG (for some peril Site FAQs » This is another masterwork from Pixar, and action).