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12Th Irish Screen Studies Seminar Dublin City University, 11 May 2016
12th Irish Screen Studies Seminar Dublin City University, 11 May 2016 A Report by Loretta Goff, University College Cork Since its inauguration in 2003, the annual Irish Screen Studies Seminar has acted as a platform for researchers in the area of film and screen cultures to share their work. The seminar is specifically aimed at postgraduate and postdoctoral scholars working out of Irish universities and colleges or with Irish topics, but covers screen culture in the broadest sense, ranging from the audio to the visual, film, television and digital media to transmedia and gaming. This diversity of topic was reflected at the 12th Irish Screen Studies Seminar, which was a one-day event featuring four panels and a keynote address by Catherine Grant (Sussex). The day began with the “Screen: Migration, Policy, and Practice” panel, including papers addressing each of the panel’s subheadings, with a particular theme of transmediality running throughout them. Cormac Mc Garry (NUI Galway) addressed the topic of media migration with his paper titled “Comic Books in the Digital Age: The Great Screen Migration?”, where he explained transmedia approaches to comics in association with the horizontal integration of media conglomerates. The “big two” comics producers, Marvel and DC, are subsidiaries of Disney and Time Warner respectively, who have slated comic film release dates as far in advance as 2020, and who simultaneously produce games, TV shows and even motion and Guided View comics across their various subsidiaries to reinforce viewer commitments across channels. Maria O’Brien (Dublin City University) then shed some light on tax incentive policies (or lack thereof) for video game production, as compared to film, in her paper “Video Games in the 2013 Cinema Communication Negotiations: A Political Economic Perspective”. -
American Road Movies of the 1960S, 1970S, and 1990S
Identity and Marginality on the Road: American Road Movies of the 1960s, 1970s, and 1990s Alan Hui-Bon-Hoa Art History and Communication Studies McGill University, Montreal March 2012 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts in Communication Studies. © Alan Hui-Bon-Hoa 2012 Table of Contents Abstract ………………………………………………………………………………………….. 3 Abrégé …………………………………………………………………………………………… 4 Acknowledgements …..………………………………………………………………………….. 5 Introduction ……………………………………………………………………………………… 6 Chapter One: The Founding of the Contemporary Road Rebel …...………………………...… 23 Chapter Two: Cynicism on the Road …………………………………………………………... 41 Chapter Three: The Minority Road Movie …………………………………………………….. 62 Chapter Four: New Directions …………………………………………………………………. 84 Works Cited …………………………………………………………………………………..... 90 Filmography ……………………………………………………………………………………. 93 2 Abstract This thesis examines two key periods in the American road movie genre with a particular emphasis on formations of identity as they are articulated through themes of marginality, freedom, and rebellion. The first period, what I term the "founding" period of the road movie genre, includes six films of the 1960s and 1970s: Arthur Penn's Bonnie and Clyde (1967), Dennis Hopper's Easy Rider (1969), Francis Ford Coppola's The Rain People (1969), Monte Hellman's Two-Lane Blacktop (1971), Richard Sarafian's Vanishing Point (1971), and Joseph Strick's Road Movie (1974). The second period of the genre, what I identify as that -
Diciembreenlace Externo, Se Abre En
F I L M O T E C A E S P A Ñ O L A Sede: Cine Doré C/ Magdalena nº 10 c/ Santa Isabel, 3 28012 Madrid 28012 Madrid Telf.: 91 4672600 Telf.: 91 3691125 Fax: 91 4672611 (taquilla) [email protected] 91 369 2118 http://www.mcu.es/cine/MC/FE/index.html (gerencia) Fax: 91 3691250 MINISTERIO DE CULTURA Precio: Normal: 2,50€ por sesión y sala 20,00€ abono de 10 PROGRAMACIÓN sesiones. Estudiante: 2,00€ por sesión y sala diciembre 15,00€ abono de 10 sesiones. 2009 Horario de taquilla: 16.15 h. hasta 15 minutos después del comienzo de la última sesión. Venta anticipada: 21.00 h. hasta cierre de la taquilla para las sesiones del día siguiente hasta un tercio del aforo. Horario de cafetería: 16.45 - 00.00 h. Tel.: 91 369 49 23 Horario de librería: 17.00 - 22.00 h. Tel.: 91 369 46 73 Lunes cerrado (*) Subtitulaje electrónico DICIEMBRE 2009 Monte Hellman Dario Argento Cine para todos - Especial Navidad Charles Chaplin (I) El nuevo documental iberoamericano 2000-2008 (I) La comedia cinematográfica española (II) Premios Goya (y V) El Goethe-Institut Madrid presenta: Ulrike Ottinger Buzón de sugerencias Muestra de cortometrajes de la PNR Las sesiones anunciadas pueden sufrir cambios debido a la diversidad de la procedencia de las películas programadas. Las copias que se exhiben son las de mejor calidad disponibles. Las duraciones que figuran en el programa son aproximadas. Los títulos originales de las películas y los de su distribución en España figuran en negrita. -
Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing -
RAY ZIMMERMAN Producer
(6/25/12) RAY ZIMMERMAN Producer From 1995 through 2005, Ray served as Sr. Vice President for Sony / Tristar / Columbia Pictures, supervising and managing all aspects of the physical production of approximately 100 films including: Jerry Maguire, My Best Friend’s Wedding, Starship Troopers, The Mask of Zorro, Godzilla, Memoirs of a Geisha, Charlie’s Angels: Full Throttle, Panic Room, Big Fish, Vertical Limit, Men in Black II, As Good As It Gets, Stepmom, Ali, Spiderman 2, Hitch, The Da Vinci Code, The Pursuit of Happyness, Hollow Man, Talladega Nights, Bad Boys 2 , and many more. During his tenure at Sony, Ray was responsible for the oversight of over $500 million per year in film productions with budgets ranging from $6 million to $250 million. He worked closely with the filmmakers to create the production plan, schedule, budget and approach, and legal/corporate/tax structure for each film. FILM & TELEVISION DIRECTOR COMPANY PRODUCERS “COWBOYS & ALIENS” Jon Favreau Universal Brian Grazer (Unit Production Manager) Dreamworks Ron Howard “THE CHRONICLES OF Andrew Adamson Disney Andrew Adamson NARNIA: PRINCE CASPIAN” Walden Media Mark Johnson (Production Executive) Philip Steuer “BOTTLE ROCKET” Wes Anderson Columbia Cynthia Hargrave (Co-producer) Gracie Films Polly Platt “TRUE CRIME” Pat Verducci Trimark Pictures Jonathan Furie (Co-producer) Andrew Hersh “HEATSEEKER” Albert Pyun Filmwerks Tom Karnowski (Co-producer) Trimark Pictures Gary Schmoeller “SPITFIRE” Albert Pyun Filmwerks Tom Karnowski (Co-producer) Trimark Pictures Gary Schmoeller “HONG KONG 97” Albert Pyun Filmwerks Tom Karnowski (Co-producer) Trimark Pictures Gary Schmoeller “LEPRECHAUN 2” Rodman Flender Planet Productions Donald P. Borchers (Production manager) “INCIDENT AT OGLALA” Michael Apted Spanish Fork Motion Arthur Chobanian (Production Supervisor) Picture “DESIRE AND HELL AT Alien Castle Planet Productions Donald P. -
AS YOU LIKE IT, the First Production of Our 50Th Anniversary Season, and the First Show in Our Shakespearean Act
Welcome It is my pleasure to welcome you to AS YOU LIKE IT, the first production of our 50th anniversary season, and the first show in our Shakespearean act. Shakespeare’s plays have been a cornerstone of our work at CSC, and his writing continues to reflect and refract our triumphs and trials as individuals and collectively as a society. We inevitability turn to Shakespeare to express our despair, bewilderment, and delight. So, what better place to start our anniversary year than with the contemplative search for self and belonging in As You Like It. At the heart of this beautiful play is a speech that so perfectly encapsulates our mortality. All the world’s a stage, and we go through so many changes as we make our exits and our entrances. You will have noticed many changes for CSC. We have a new look, new membership opportunities, and are programming in a new way with more productions and a season that splits into what we have called “acts.” Each act focuses either on a playwright or on an era of work. It seemed appropriate to inaugurate this with a mini-season of Shakespeare, which continues with Fiasco Theater's TWELFTH NIGHT. Then there is Act II: Americans dedicated to work by American playwrights Terrence McNally (FIRE AND AIR) and Tennessee Williams (SUMMER AND SMOKE); very little of our repertoire has focused on classics written by Americans. This act also premieres a new play by Terrence McNally, as I feel that the word classic can also encapsulate the “bigger idea” and need not always be the work of a writer from the past. -
Crossroads Film and Television Program List
Crossroads Film and Television Program List This resource list will help expand your programmatic options for the Crossroads exhibition. Work with your local library, schools, and daycare centers to introduce age-appropriate books that focus on themes featured in the exhibition. Help libraries and bookstores to host book clubs, discussion programs or other learning opportunities, or develop a display with books on the subject. This list is not exhaustive or even all encompassing – it will simply get you started. Rural themes appeared in feature-length films from the beginning of silent movies. The subject matter appealed to audiences, many of whom had relatives or direct experience with life in rural America. Historian Hal Barron explores rural melodrama in “Rural America on the Silent Screen,” Agricultural History 80 (Fall 2006), pp. 383-410. Over the decades, film and television series dramatized, romanticized, sensationalized, and even trivialized rural life, landscapes and experiences. Audiences remained loyal, tuning in to series syndicated on non-network channels. Rural themes still appear in films and series, and treatments of the subject matter range from realistic to sensational. FEATURE LENGTH FILMS The following films are listed alphabetically and by Crossroads exhibit theme. Each film can be a basis for discussions of topics relevant to your state or community. Selected films are those that critics found compelling and that remain accessible. Identity Bridges of Madison County (1995) In rural Iowa in 1965, Italian war-bride Francesca Johnson begins to question her future when National Geographic photographer Robert Kincaid pulls into her farm while her husband and children are away at the state fair, asking for directions to Roseman Bridge. -
Lecture 2 1970S Hollywood.Pdf
FILM IN THE 1970s THE FILM SCHOOL GENERATION AND THE BIRTH OF THE NEW HOLLYWOOD ROGER CORMAN - Born in 1926 - Known as “King of the Bs” – his best-known film is The Little Shop of Horrors (1962) - Made many low-budget exploitation films, and used the profits to finance and distribute prestigious films – many of them directed by his protégés, who went on to become some of the most influential directors of the 1970s and beyond - Honorary Academy Award in 2009 “for his rich engendering of films and filmmakers” PETER BOGDANOVICH - Born in 1939 - Film programmer at MoMA, wrote about film for Esquire; worked with Orson Welles, John Ford, and other classic Hollywood directors - 1971 – directed The Last Picture Show – followed up with successes What’s Up, Doc?, Paper Moon - Later films didn’t fulfill his early promise, but he continues to be an influential voice on the subject of film history FRANCIS - Born in 1939 FORD - MFA from UCLA (1966) – first major COPPOLA director to graduate from a prominent university film program - Screenwriter – Patton – won first Oscar - 1969 – established American Zoetrope with his protégé George Lucas - 1972 – The Godfather - 1974 – The Godfather Part 2 and The Conversation MARTIN SCORSESE - Born in 1942 - B.S. (1964) and M.A. (1968) from NYU - Worked with Corman; and, as his student project, edited Woodstock (1970) - Rose to fame in 1973 – Mean Streets – not a commercial hit, but had a dynamic style, and set a template for character types and themes and settings he would return to throughout his career GEORGE LUCAS - Born in 1944 - USC graduate – won 1965 National Student Film Festival with THX-1138 - Apprenticed with Coppola, and later collaborated with him - First major success – American Graffiti (1973) - Invested those profits into Lucasfilm, Ltd. -
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 -
30 MENTAL FLOSS • HOW ROGER CORMAN REVOLUTIONIZED Cl EMA by IAN LENDLER
30 MENTAL_FLOSS • HOW ROGER CORMAN REVOLUTIONIZED Cl EMA BY IAN LENDLER MENTALFLOSS.COM 31 the Golden Age of Hollywood, big-budget movies were classy affairs, full of artful scripts and classically trained actors. And boy, were they dull. Then came Roger Corman, the King of the B-Movies. With Corman behind the camera, motorcycle gangs and mutant sea creatures .filled the silver screen. And just like that, movies became a lot more fun. .,_ Escape from Detroit For someone who devoted his entire life to creating lurid films, you'd expect Roger Corman's biography to be the stuff of tab loid legend. But in reality, he was a straight-laced workaholic. Having produced more than 300 films and directed more than 50, Corman's mantra was simple: Make it fast and make it cheap. And certainly, his dizzying pace and eye for the bottom line paid off. Today, Corman is hailed as one of the world's most prolific and successful filmmakers. But Roger Corman didn't always want to be a director. Growing up in Detroit in the 1920s, he aspired to become an engineer like his father. Then, at age 14, his ambitions took a turn when his family moved to Los Angeles. Corman began attending Beverly Hills High, where Hollywood gossip was a natural part of the lunchroom chatter. Although the film world piqued his interest Corman stuck to his plan. He dutifully went to Stanford and earned a degree in engineering, which he didn't particularly want. Then he dutifully entered the Navy for three years, which he didn't particularly enjoy. -
March 28, 2001 (III:10) Notable Recent Job Has Been Playing Tony Soprano’S Psychiatrist’S Psychiatrist
PETER BOGDANOVICH (30 July 1939, Kingston, New York, USA ) most March 28, 2001 (III:10) notable recent job has been playing Tony Soprano’s psychiatrist’s psychiatrist. “Many French cineasts and film critics went on to become major filmmakers, but in America only one such scholar made that transition: Peter Bogdanovich. This lifelong film buff wrote dozens of articles, books, and program notes about Hollywood before settling there in the mid 1960s. He fell in with producer Roger Corman, becoming a jack-of-all-trades on The Wild Angels (1966) and reworking a Russian sci-fi epic into Voyage to the Planet of Prehistoric Women (1967). Bogd anov ich's first real film was the suspenseful Targets (1968), which he directed, produced, and cowrote with then-wife Polly Platt. After making a documentary, Directed by John Ford (1971), he directed the melancholy Larry McMurtry story The Last Picture Show (1971), which becam e a major critical and commercial hit…. “Celebrated as Hollywood's latest wunderkind, he made two more big hits: the screwball farce What's U p, Doc? (1972) and another period piece, Paper Moon (1973), which brought an Oscar to debuting Tatum O'Neal. Both films were very much dependent on references to earlier films and directors, but there was no denying his superb craftsmanship and assu red handling of actors. Bu t it was perceived that his relationship with Cybill Shepherd led to his undoing. Two Shepherd vehicles-Daisy Miller (1974) and At Long Last Love (1975)-were major stiffs, and the well-intentioned Nickelodeon (1976) was pronounced D.O.A. -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE