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Die Beach-Party-Filme (1963-1968) Zusammengestellt Von Katja Bruns Und James Zu Hüningen
Kieler Beiträge zur Filmmusikforschung, 5.4, 2011 // 623 Die Beach-Party-Filme (1963-1968) Zusammengestellt von Katja Bruns und James zu Hüningen Inhalt: Alphabetisches Verzeichnis der Filme Chronologisches Verzeichnis der Filme Literatur Als Beach Party Movies bezeichnet man ein kleines Genre von Filmen, das sich um die Produktionen der American International Pictures (AIP) versammelt. Zwar gab es eine Reihe von Vorläufern – zuallererst ist die Columbia-Produktion GIDGET aus dem Jahre 1959 zu nennen (nach einem Erfolgsroman von Frederick Kohner), in dem Sandra Dee als Surferin aufgetreten war –, doch beginnt die kurze Erfolgsgeschichte des Genres erst mit BEACH PARTY (1963), einer AIP-Produktion, die einen ebenso unerwarteten wie großen Kassenerfolg hatte. AIP hatte das Grundmuster der Gidget-Filme kopiert, die Geschichte um diverse Musiknummern angereichert, die oft auch als performances seinerzeit populärer Bands im Film selbst szenisch ausgeführt wurden, und die Darstellerinnen in zahlreichen Bikini-Szenen ausgestellt (exponierte männliche Körper traten erst in den Surfer-Szenen etwas später hinzu). Das AIP-Konzept spekulierte auf einen primär jugendlichen Kreis von Zuschauern, weshalb – anders, als noch in der GIDGET-Geschichte – die Rollen der Eltern und anderer Erziehungsberechtigter deutlich zurückgenommen wurden. Allerdings spielen die Auseinandersetzungen mit Eltern, vor allem das Erlernen eines selbstbestimmten Umgangs mit der eigenen Sexualität in allen Filmen eine zentrale dramatische Rolle. Dass die Jugendlichen meist in peer groups auftreten und dass es dabei zu Rang- oder Machtkämpfen kommt, tritt dagegen ganz zurück. Es handelte sich ausschließlich um minimal budgetierte Filme, die on location vor allem an den Stränden Kaliforniens (meist am Paradise Cove) aufgenommen wurden; später kamen auch Aufnahmen auf Hawaii und an anderen berühmten Surfer-Stränden zustande. -
Issues of Gender in Muscle Beach Party (1964) Joan Ormrod, Manchester Metropolitan University, UK
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by E-space: Manchester Metropolitan University's Research Repository Issues of Gender in Muscle Beach Party (1964) Joan Ormrod, Manchester Metropolitan University, UK Muscle Beach Party (1964) is the second in a series of seven films made by American International Pictures (AIP) based around a similar set of characters and set (by and large) on the beach. The Beach Party series, as it came to be known, rode on a wave of surfing fever amongst teenagers in the early 1960s. The films depicted the carefree and affluent lifestyle of a group of middle class, white Californian teenagers on vacation and are described by Granat as, "…California's beautiful people in a setting that attracted moviegoers. The films did not 'hold a mirror up to nature', yet they mirrored the glorification of California taking place in American culture." (Granat, 1999:191) The films were critically condemned. The New York Times critic, for instance, noted, "…almost the entire cast emerges as the dullest bunch of meatballs ever, with the old folks even sillier than the kids..." (McGee, 1984: 150) Despite their dismissal as mere froth, the Beach Party series may enable an identification of issues of concern in the wider American society of the early sixties. The Beach Party films are sequential, beginning with Beach Party (1963) advertised as a "musical comedy of summer, surfing and romance" (Beach Party Press Pack). Beach Party was so successful that AIP wasted no time in producing six further films; Muscle Beach Party (1964), Pajama Party (1964) Bikini Beach (1964), Beach Blanket Bingo (1965) How to Stuff a Wild Bikini (1965) and The Ghost in the Invisible Bikini (1966). -
The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968. -
Die Beach-Party-Filme (1963-1968)
Katja Bruns / James zu Hüningen: Die Beach-Party-Filme (1963-1968) Eine erste Fassung dieses Artikels erschien in: Kieler Beiträge zur Filmmusikforschung 5,4, 2011, S. 623-651. URL der Online-Fassung: http://www.derwulff.de/4-23. Inhalt: BEACH BLANKET BINGO, 1965; HOW TO STUFF A WILD Alphabetisches Verzeichnis der Filme BIKINI, 1965; THE GHOST IN THE INVISIBLE BIKINI, 1966) Chronologisches Verzeichnis der Filme angesehen, um die sich aber schnell Produktionen Literatur anderer Firmen gruppierten, zu denen aber auch wei- tere AIP-Filme (SKI PARTY, 1965, als Variante der Als Beach Party Movies bezeichnet man ein kleines „Ski-Party-Filme“, SERGEANT DEAD HEAD, 1965, und Genre von Filmen, das sich um die Produktionen der DR. GOLDFOOT AND THE BIKINI MACHINE, 1965, als gro- American International Pictures (AIP) versammelt. teske Science-Fiction-Varianten, FIREBALL 500, 1966, Zwar gab es eine Reihe von Vorläufern – zuallererst der eine Autonarren- und Rennfahrergeschichte er- ist die Columbia-Produktion GIDGET aus dem Jahre zählt) gesellten. Alle diese Ableger der Kerngruppe 1959 zu nennen (nach einem Erfolgsroman von Fre- von Filmen (einschließlich einer Horror-Variante) derick Kohner), in dem Sandra Dee als Surferin auf- wurden schon bald auch von anderen Produktionsfir- getreten war –, doch beginnt die kurze Erfolgsge- men fortgeführt. Das Genre erreichte 1965 seinen schichte des Genres erst mit BEACH PARTY (1963), ei- Höhepunkt; selbst Elvis Presley steuerte mit GIRL ner AIP-Produktion, die einen ebenso unerwarteten HAPPY einen für das Genre -
Frankie Avalon Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
Frankie Avalon 电影 串行 (大全) Back to the Beach https://zh.listvote.com/lists/film/movies/back-to-the-beach-4839480/actors Drums of Africa https://zh.listvote.com/lists/film/movies/drums-of-africa-5309292/actors The Castilian https://zh.listvote.com/lists/film/movies/the-castilian-5352322/actors Jamboree https://zh.listvote.com/lists/film/movies/jamboree-6127827/actors How to Stuff a Wild Bikini https://zh.listvote.com/lists/film/movies/how-to-stuff-a-wild-bikini-5918770/actors The Stoned Age https://zh.listvote.com/lists/film/movies/the-stoned-age-1072199/actors Sail a Crooked Ship https://zh.listvote.com/lists/film/movies/sail-a-crooked-ship-7400150/actors Fireball 500 https://zh.listvote.com/lists/film/movies/fireball-500-2255133/actors The Million Eyes of Sumuru https://zh.listvote.com/lists/film/movies/the-million-eyes-of-sumuru-423182/actors Panic in Year Zero! https://zh.listvote.com/lists/film/movies/panic-in-year-zero%21-851626/actors Ski Party https://zh.listvote.com/lists/film/movies/ski-party-7534888/actors Guns of the Timberland https://zh.listvote.com/lists/film/movies/guns-of-the-timberland-5619383/actors Pee-wee's Playhouse https://zh.listvote.com/lists/film/movies/pee-wee%27s-playhouse-christmas-special-51458899/actors Christmas Special Operation Bikini https://zh.listvote.com/lists/film/movies/operation-bikini-7096812/actors I'll Take Sweden https://zh.listvote.com/lists/film/movies/i%27ll-take-sweden-12124980/actors Bikini Beach https://zh.listvote.com/lists/film/movies/bikini-beach-604860/actors Blood Song https://zh.listvote.com/lists/film/movies/blood-song-4927709/actors -
Surfing Became a Sign of Exoticism with Its Associations with The
Endless Summer (1964) – Consuming Waves and Surfing the Frontier The Endless Summer defined our sport. For the first time the rest of the world would have a clear look at the surfing lifestyle.’ Matt Warshaw, Surfer’s Journal History of Surfing Films) …Brown cobbled together $50,000 and set out with two California surfers, Mike Hynson and Robert August, to produce a true documentary on real surfers. Not beach bums or playboys who sang to their girlfriends, surfers were athletes who enjoyed the adventure of scanning the globe in search of the perfect wave.’ (‘The Sick Six: Six of the Most Important Surf Movies Ever Made, from the Fifties to Now’, http.yerbabuenaarts.org/himvideo/sicksix_pn.htm, accessed 1.08.00) After World War II America and the West experienced a consumer boom resulting from greater disposable incomes, advances in technology and commodity production. Part of consumer culture at this time involved the pleasure derived from acquiring goods which came to symbolise lifestyles or identities (Featherstone 1991). The baby boom generation that followed the War became teenagers numbered ten to fifteen million in the 1950s with a potential spending power of nine billion dollars (Gilbert 1957: 21). It is therefore unsurprising that this market became the target of advertising and mass media exploitation (Osgerby 2001). Teenagers, newly identified as potential markets for advertisers, were identified with enjoyment, freedom and came to symbolise the plenitude and benefits of modern capitalist culture (Gilbert 1986). Part of the consumer boom for young people was in the growth of leisure activities; going to the movies, driving and sport. -
Steel Settlement Reached Avoiding Crippling Strike
HIGH TIDE lOW TIDE 9-4-65 9-4-65 3.1 AT 1341 2 4 AT 0153 2 6 AT 1855 VOL ,6 NO 2096 KWAJAlEIN, MARSHAll iSLANDS FRIDAY 3 SEPTEMBER 1965 SEATTLE, SEPT 3 (UPI)--NAMU, SEAT TLE PUBLIC AQUARIUM's CAPTIVE KILLER STEEL SETTLEMENT REACHED WHALE, HAD COMPANY IN HIS SWIMMING TANK THURSDAY -- TED GRIFFIN, NAMU'S AVOIDING CRIPPLING STRIKE OWNER ~A~H!NGT~~, SEPT 3 \UP')--PRES'DENT JOHNSON ANNOUNCED TONIGHT THAT STEEL MA GRIFFIN SPENT ABOUT 20 MINUTES WiTH NAGEM[~T AND LABOq~AC REACHED "ESSENT'AL A~REEMENT" ON THEIR CONTRACT DISPUTE THE FOUR-TON MA~MAL IN PIS FIRS7 IN AND TMAT T~(RE WILL 6E NO ST ~ THE-WATER ENCOUNTER WITH THE WHALE THE PRESlDENT, FLANKED BY , " "HIEF l~OTIATORS FOR THE STEEL COMPANIES AND ASKED IF HE WAS AFRAID, GR F< ~ ~AID THE UN,Tle ~-Ell~CRKERb UNION weNT ON NATIONWIDE TELEVISION TO REPORT THE "No, I WOUL~N'T GO IN IF I WERE' ThREAT OF A STR ~ KE l HAS 6EEN MET AND oveRCOME " SHORTLY AFTER ENTERING THE TANK, Gru "THE REPRESEN-ITIVES O~ LABOR AND MANAGEMENT IN THE STEEL INDUSTRY HAVE REA rrlN OFFERED THE WHALE A SALMON WHICH CHED ESSENTIAL AGREEMENT, THE PREsuOENT SAID NAMU TOOK IMMEDIATELY. "AFTER DETAILS ARE WORKED OUT, INCLUD'NG SOME NON-ECONOMIC ISSUES, AND ONCE GRIFrlN ALSO PETTED NAMu'S HEAD WITH THE AGREEMtNT M"S BEE~ RATIFIED BV TNE UNION WAGE POLICY BOARD AND THE COMPANY BARE HANDS~. ________________ PRES!DENTS. THE DANrfR OF A STEEL ST"IKE WlcL BE GONE "WE CAN NOW SAY WITH CONFIDENCE THAT THE GRIM THREAT OF THOUSANDS OF MEN OUT BRITISH AUTHORITIES REPORT OF WORK, OF IDLE PLANTS, Or DECLINING CHINA PUSHING BOMB PROJECT -
Die Beach-Party-Filme (1963-1968) 2011
Repositorium für die Medienwissenschaft Katja Bruns; James zu Hüningen Die Beach-Party-Filme (1963-1968) 2011 https://doi.org/10.25969/mediarep/12745 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Bruns, Katja; Hüningen, James zu: Die Beach-Party-Filme (1963-1968). Hamburg: Universität Hamburg, Institut für Germanistik 2011 (Medienwissenschaft: Berichte und Papiere 115). DOI: https://doi.org/10.25969/mediarep/12745. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0115_11.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Hamburg: Berichte und Papiere 115, 2010: Beach-Party-Filme. Redaktion und Copyright dieser Ausgabe: Katja Bruns, James zu Hüningen. ISSN 1613-7477. Eine Parallelausgabe der Filmographie erscheint in: Kieler Beiträge zur Filmmusikforschung 5,4, 2011, S. 623-651. URL: http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0115_11.html Letzte Änderung: 1.2.2011. Die Beach-Party-Filme (1963-1968) Zusammengestellt von Katja Bruns und James zu Hüningen Inhalt: Es handelte sich ausschließlich um minimal budge- Alphabetisches Verzeichnis der Filme tierte Filme, die on location vor allem an den Strän- Chronologisches Verzeichnis der Filme den Kaliforniens (meist am Paradise Cove) aufge- Literatur nommen wurden; später kamen auch Aufnahmen auf Hawaii und an anderen berühmten Surfer-Stränden Als Beach Party Movies bezeichnet man ein kleines zustande. -
Endless Summer (1964): Consuming Waves and Surfing the Frontier
(QGOHVV6XPPHU &RQVXPLQJ:DYHVDQG6XUILQJWKH)URQWLHU -RDQ2UPURG )LOP +LVWRU\$Q,QWHUGLVFLSOLQDU\-RXUQDORI)LOPDQG7HOHYLVLRQ6WXGLHV 9ROXPH )DOO SS $UWLFOH 3XEOLVKHGE\&HQWHUIRUWKH6WXG\RI)LOPDQG+LVWRU\ '2,IOP )RUDGGLWLRQDOLQIRUPDWLRQDERXWWKLVDUWLFOH KWWSVPXVHMKXHGXDUWLFOH Access provided by University of Florida Libraries (22 Aug 2016 16:08 GMT) Joan Ormrod | Special In-Depth Section Endless Summer (1964): Consuming Waves and Surfing the Frontier Joan Ormrod Manchester Metropolitan University “The Endless Summer defined our sport. For the first time the rest of the world would have a clear look at the surfing lifestyle.” Matt Warshaw, Surfer’s Journal History of Surfing Films “Brown cobbled together $50,000 and set out with two California surfers, Mike Hynson and Robert August, to produce a true documentary on real surfers. Not beach bums or playboys who sang to their girlfriends, surfers were athletes who enjoyed the adventure of scanning the globe in search of the perfect wave.” “The Sick Six: Six of the Most Important Surf Movies Ever Made, from the Fifties to Now” The early 1960s was a time in which youth was shame- Brown’s credentials as a surfer, a surf filmmaker and his associa- lessly exploited by the mass media. Surfing was identified as a tion with significant shapers such as Dale Velzy would assure the hot new sport with a youthful focus epitomising the ideal Califor- authenticity of surf culture to its audiences. “Pure” surf films nian lifestyle. This led to a surf craze in America and Australia. relied on the film producer distributing and exhibiting them around Surf music in the shape of The Beach Boys, Dick Dale and His a “four wall” circuit. -
Saturday Sunday Monday Tuesday Wednesday Thursday Friday
Sunday Monday Tuesday Wednesday Thursday Friday Saturday 1 2 3 10:30 B Exercise w/ Gail 10:30 B Exercise Video 1:00 B Board Games/ Cards 1:00 B Art w/ Timberlee 1:00 B Crafting w/ Gail 1:00 L Mahjong 2021 &/or B Games Herb Brownstein 7/6 3:00 H Campus Wide Norma Friedman 7/21 3:30 B Happy Hour Shabbat Service 6:30 B Movie: Beach Creekside at the Village and Birthday Party Blanket Bingo Shirley Rubinstein 7/29 RSVP w/ Concierge Independence Day! 4 5 6 Nat'l Strawberry Sundae Day! 7 8 9 10 10:30 B Exercise w/ Gail 10:30 B Exercise Video 10:30 O Yoga w/ Paul 10:30 B Yoga w/ Shelly 10:30 B Exercise w/ Gail 10:30 B Yoga w/ Shelly 1:00 B Board Games/ Cards 11:15 V CVS & Banks 11:30 B Modern Dog Breeds 11:15 V Walgreens Trip Main St. Only Lecture Series 1:00 P Music w/ Jack 1:00 B Storytelling w/ Jay RSVP w/ Concierge 1:00 B Yiddish Culture Club RSVP w/ Concierge The Basset Hound 1:00 L Mahjong Widner &/or B Games 1:30 B Bingo! 1:00 B Inneractive Arts w/ 2:00 B Men's Kaffeeklatsch 6:30 B Movie: Independence 6:30 B Movie: National 2:30 O Strawberry Sundaes Scott & Special Guest 6:30 B Movie: Fireball 500 Day Treasure 3:30 B Happy Hour on the Patio 4:00 B Shabbat Welcome 3:30 B Happy Hour w/ Rabbi Zinkow 11 12 13 14 15 16 17 10:30 B Exercise w/ Gail 10:30 B Exercise Video 10:30 O Yoga w/ Paul 10:30 B Yoga w/ Shelly 10:30 B Exercise w/ Gail 10:30 B Yoga w/ Shelly 1:00 B Board Games/ Cards 11:15 V Bus Tour: Scenic 11:30 B Modern Dog Breeds 12:00 B Lunch & Learn 11:30 B Current Events w/ Olentangy Heritage Lecture Series 3:30 P Music w/ Scott w/ -
James Brown: Apprehending a Minor Temporality
James Brown: Apprehending a Minor Temporality John Scannell BA (Hons) University of New South Wales A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of Media, Film and Theatre University of New South Wales July 2006 ABSTRACT This thesis is concerned with popular music's working of time. It takes the experience of time as crucial to the negotiation of social, political or, more simply, existential, conditions. The key example analysed is the funk style “invented” by legendary musician James Brown. I argue that James Brown's funk might be understood as an “apprehension of a minor temporality” or the musical expression of a particular form of negotiation of time by a “minor” culture. Precursors to this idea are found in the literature of the “stream of consciousness” style and, more significantly for this thesis, in the work of philosopher Gilles Deleuze on the cinema in his books Cinema 1: The Movement-Image and Cinema 2: The Time-Image. These examples are all concerned with the indeterminate unfolding of lived time and where the reality of temporal indeterminacy will take precedence over the more linear conventions of traditional narrative. Deleuze’s Cinema books account for such a shift in emphasis from the narrative depiction of movement through time (the “movement-image”) to a more direct experience of the temporal (the “time-image”), and I will trace a similar shift in the history of popular music. For Deleuze, the change in the relation of images to time is catalysed by the intolerable events of World War II. -
Disney's Girl Next Door: Exploring the Star Image of Annette Funicello
DISNEY’S GIRL NEXT DOOR: EXPLORING THE STAR IMAGE OF ANNETTE FUNICELLO Claire Folkins A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2006 Committee: Becca Cragin, Advisor Marilyn Motz Angela Nelson ii ABSTRACT Becca Cragin, Advisor This thesis explores the cultural significance of actress and former Mouseketeer Annette Funicello and the public perception that she embodies the social values of morality and chastity. The catalyst of this study is the question of the source of Funicello’s popularity. Compared to other stars, her acting is average and her singing flat, but her looks, personality, and careful marketing positioned her as one of Walt Disney Studio’s biggest stars in the 1950s. This study contends that examining cultural connotations of Funicello’s celebrity is the key to understanding the root of Funicello’s popularity. Using Richard Dyer’s concept of the star image, this study deconstructs Funicello’s celebrity persona to uncover greater meaning in her cultural identity as a “girl next door.” An analysis of teen-oriented magazine coverage of Funicello reveals that of the three components of Dyer’s star image theory—success, ordinariness, and consumption—ordinariness is the most prominent in Funicello’s star image. Funicello’s depiction of the character Annette McCleod from the “Annette” serial stands as textual evidence of the calculated effort of Disney to commodify the girl-next-door persona. In the early 1960s Disney loaned Funicello to American International Pictures for a series of youth-oriented beach films in which Funicello played the only chaste girl on a beach of promiscuous college students.