Cassavetes, John Carney
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Free Indirect Affect in Cassavetes' Opening Night and Faces Homay King Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 2004 Free Indirect Affect in Cassavetes' Opening Night and Faces Homay King Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Part of the Film and Media Studies Commons Custom Citation King, Homay. "Free Indirect Affect in Cassavetes' Opening Night and Faces." Camera Obscura 19, no. 2/56 (2004): 105-139, doi: 10.1215/02705346-19-2_56-105. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/40 For more information, please contact [email protected]. 1 Homay King, “Free Indirect Affect in Cassavetes’ Opening Night and Faces,” Camera Obscura 56, v. 19, n. 2 (Summer 2004): 104-135. Free Indirect Affect in Cassavetes’ Opening Night and Faces Homay King How to make the affect echo? — Roland Barthes, Roland Barthes by Roland Barthes1 1. In the Middle of Things: Opening Night John Cassavetes’ Opening Night (1977) begins not with the curtain going up, but backstage. In the first image we see, Myrtle Gordon (Gena Rowlands) has just exited stage left into the wings during a performance of the play The Second Woman. In this play, Myrtle acts the starring role of Virginia, a woman in her early sixties who is trapped in a stagnant second marriage to a photographer. Both Myrtle and Virginia are grappling with age and attempting to come to terms with the choices they have made throughout their lives. -
John Cassavetes: at the Limits Of
JOHN CASSAVETES: AT THE LIMITS OF PERFORMANCE A thesis submitted in fulfilment of the requirements for the Degree of Master of Arts in Cinema Studies in the University of Canterbury by Luke Towart University of Canterbury 2014 Table of Contents Acknowledgements…………………………………………………………………………....1 Abstract………………………………………………………………………………………..2 Introduction……………………………………………………………………………………3 Chapter One: Performative Opposition: A Woman Under the Influence…………………….20 Chapter Two: A New Kind of Acting: Shadows……………………………………………..52 Chapter Three: Documentaries of Performance: Faces……………………………………...90 Conclusion…………………………………………………………………………………..122 Bibliography………………………………………………………………………………...134 Filmography………………………………………………………………………………...141 1 Acknowledgements Thank you to Alan Wright, my primary supervisor, and Mary Wiles, my secondary supervisor, for their guidance whilst writing this thesis. 2 Abstract This thesis examines the central role of performance in three of the films of John Cassavetes. I identify Cassavetes’ unique approach to performance and analyze its development in A Woman Under the Influence (1974), Shadows (1959) and Faces (1968). In order to contextualize and define Cassavetes’ methodology, I compare and contrast each of these films in relation to two other relevant film movements. Cassavetes’ approach was dedicated to creating alternative forms of performative expression in film, yet his films are not solely independent from filmic history and can be read as being a reaction against established filmic structures. His films revolve around autonomous performances that often defy and deconstruct traditional concepts of genre, narrative structure and character. Cassavetes’ films are deeply concerned with their characters’ isolation and inability to communicate with one another, yet refrain from traditional or even abstract constructions of meaning in favour of a focus on spontaneous, unstructured performance of character. Cassavetes was devoted to exploring the details of personal relationships, identity and social interaction. -
Series 28: 7) John Cassavetes, KILLING of a CHINESE BOOKIE (1976, 135 Minutes)
March 11, 2014 (Series 28: 7) John Cassavetes, KILLING OF A CHINESE BOOKIE (1976, 135 minutes) Directed by John Cassavetes Cinematography by Mitch Breit Ben Gazzara ... Cosmo Vittelli Timothy Carey ... Flo Al Ruban ... Marty Reitz JOHN CASSAVETES (director) (b. John Nicholas Cassavetes, December 9, 1929 in New York City, New York—d. February 3, 1989 (age 59) in Los Angeles, California) directed 16 films and TV shows, which are 1986 Big Trouble, 1984 Love Streams, 1980 Gloria, 1977 Opening Night, 1976 The Killing of a Chinese Bookie, 1974 A Woman Under the Influence, 1972 “Columbo” (TV Series), 1971 Minnie and Moskowitz, 1970 Husbands, 1968 Faces, 1966 “Bob Hope Presents the Chrysler Theatre” (TV Series), 1962-1963 “The Lloyd Bridges Show” (TV Series), 1963 A Child Is Waiting, 1961 Too Late Blues, 1959-1960 “Johnny Staccato” (TV Series), and 1959 Shadows. He also wrote 14 films and TV shows—2010 Antes del estreno (original story), MITCH BREIT (cinematography) has been cinematographer for 1999 Gloria (1980 screenplay), 1997 She's So Lovely, 1984 Love 2 films: 1976 The Killing of a Chinese Bookie and 1974 A Streams, 1980 Gloria, 1977 Opening Night, 1976 The Killing of Woman Under the Influence. a Chinese Bookie, 1974 A Woman Under the Influence, 1971 Minnie and Moskowitz, 1970 Husbands, 1968 Faces, 1966 “Bob BEN GAZZARA ... Cosmo Vittelli (b. Biagio Anthony Gazzara, Hope Presents the Chrysler Theatre” (TV Series), 1961 Too Late August 28, 1930 in New York City, New York—d. February 3, Blues, and 1959 Shadows—and edited 2—1968 Faces and 1959 2012 (age 81) in New York City, New York) appeared in 133 Shadows. -
GENA ROWLANDS on Aurait Dû Dormir
MURIELLE JOUDET GENA ROWLANDS On aurait dû dormir Bienvenue à Levittown 10 Espèces d'espaces 18 L'AMOUR COÛTE CHER (THE HIGH COST OF LOVING) José Ferrer, 1958 Elle et lui, l'un sans l'autre 32 SHADOWS John Cassavetes, 1959 SEULS SONT LES INDOMPTÉS (LONELY ARE THE BRAVE) David Miller, 1962 L'HOMME DE BORNÉO (THE SPIRAL ROAD) Robert Mulligan, 1962 « Je veux travailler et je veux apprendre » 52 TOO LATE BLUES John Cassavetes, 1961 UN ENFANT ATTEND (A CHILD IS WAITING) John Cassavetes, 1963 La peau 72 FAC E S John Cassavetes, 1968 Maris, et femmes 102 HUSBANDS John Cassavetes, 1970 À la poursuite du bonheur 116 MINNIE ET MOSKOWITZ (MINNIE AND MOSKOWITZ) John Cassavetes, 1971 Les femmes contre les robots 140 LES FEMMES DE STEPFORD (THE STEPFORD WIVES) Bryan Forbes, 1975 ROSEMARY'S BABY Roman Polanski, 1968 Ses grands espaces 154 UNE FEMME SOUS INFLUENCE (A WOMAN UNDER THE INFLUENCE) John Cassavetes, 1974 Une reine effondrée 186 OPENING NIGHT John Cassavetes, 1977 Un enfant revient 228 GLORIA John Cassavetes, 1980 Ricky Nelson, star du rock 252 THE ADVENTURES OF OZZIE AND HARRIET 1952-1966 Retour à Levittown 260 LIGHT OF DAY Paul Schrader, 1987 DÉCROCHE LES ÉTOILES (UNHOOK THE STARS) Nick Cassavetes, 1996 A QUESTION OF LOVE Jerry Thorpe, 1978 UN PRINTEMPS DE GLACE (AN EARLY FROST) John Erman, 1984 LA COULEUR DE L’AMOUR (THE COLOR OF LOVE: JACEY'S STORY) Sheldon Larry, 2000 DEBBY MILLER, UNE FILLE DU NEW JERSEY (HYSTERICAL BLINDNESS) Mira Nair, 2002 L'odyssée de l'espace 280 TEMPÊTE (TEMPEST) Paul Mazursky, 1982 LOVE STREAMS John Cassavetes, 1984 La locataire 322 UNE AUTRE FEMME (ANOTHER WOMAN) Woody Allen, 1988 UNE REINE EFFONDRÉE Je crois que Nancy existe mais seulement dans mon esprit. -
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 -
John Cassavetes
Cassavetes on Cassavetes Ray Carney is Professor of Film and American Studies and Director of the undergraduate and graduate Film Studies programs at Boston Uni- versity. He is the author or editor of more than ten books, including the critically acclaimed John Cassavetes: The Adventure of Insecurity; The Films of Mike Leigh: Embracing the World; The Films of John Cas- savetes: Pragmatism, Modernism, and the Movies; American Vision: The Films of Frank Capra; Speaking the Language of Desire: The Films of Carl Dreyer; American Dreaming; and the BFI monograph on Cas- savetes’ Shadows. He is an acknowledged expert on William James and pragmatic philosophy, having contributed major essays on pragmatist aesthetics to Morris Dickstein’s The Revival of Pragmatism: New Essays on Social Thought, Law, and Culture and Townsend Ludington’s A Modern Mosaic: Art and Modernism in the United States. He co- curated the Beat Culture and the New America show for the Whitney Museum of American Art in New York, is General Editor of the Cam- bridge Film Classics series, and is a frequent speaker at film festivals around the world. He is regarded as one of the world’s leading authori- ties on independent film and American art and culture, and has a web site with more information at www.Cassavetes.com. in the same series woody allen on woody allen edited by Stig Björkman almodóvar on almodóvar edited by Frédéric Strauss burton on burton edited by Mark Salisbury cronenberg on cronenberg edited by Chris Rodley de toth on de toth edited by Anthony Slide fellini on -
John Cassavetes and the Making of Love Streams by Michael Ventura Kamera Books, 2007
from CASSAVETES DIRECTS – John Cassavetes and the Making of Love Streams by Michael Ventura Kamera Books, 2007 THURSDAY, MARCH 17, 1983 - Trying to get it It’s after 10 at night, the phone rings, I pick up, and the caller announces, “Michael! This is John!” Then he launches into a monologue I can barely follow, while I’m trying to figure who “John” might be. I don’t know any Johns very well. It takes a few moments to realize that this is Cassavetes speaking. Surprised -- no, stunned -- I wish I’d listened harder to his initial barrage of sentences. The man is very enthusiastic about something. I’m trying to get my bearings while he’s praising me for an interview we’d done six months before, the last time we‘d spoken. During the interview he’d stopped suddenly and said, “This isn’t going well,” and I said, “Trust me, I see your words as printed sentences as you’re saying them, and this is going very well.” Now it seems he agrees, and that I know my business is something he respects. Of course this pleases me very much, but still his rap tonight doesn’t compute -- my impression of the man is that it’s not like him to make conversation, and, at the moment, that’s what he’s doing. The thought occurs: maybe he’s drunk. In his circles, as in mine, people often are. Now he’s saying that he’s gotten a deal to direct Love Streams. Do I remember the play? Yes, but more vaguely than I admit. -
John Cassavetes
JOHN CASSAVETES John Cassavetes era hijo de inmigrantes griegos; su padre, Nicholas, llegó en 1908 y se casó en 1926, con una griega quince años más joven. Eran muy humildes, pero el padre se dedicó a ayudar a los inmigrantes de su país. John creció en Long Island, y estudió en el instituto en Nueva Jersey antes de ingresar a la Academia de Artes Dramáticas (American Academy of Dramatic Arts), que eligió antes de hacer cualquier otro trabajo. Tras su graduación en 1950, actuó en el teatro, en papeles secundarios en películas y en varias series de televisión. En 1954, Cassavetes se casó con la actriz Gena Rowlands, nacida en 1930, con la que trabajaría toda su vida, a poco de conocerla. Como señala su gran biógrafo, R. Carney, eran dos personas de carácter y de orígenes sociales muy diferentes (ella procedía de familia adinerada); ambos eran conflictivos y de valía; parte de sus vidas se reflejará en los filmes de John. Hacia 1956, comenzó a enseñar el "método" en talleres en Nueva York. Un ejercicio de improvisación le dio la idea para lanzarse a su primer largometraje, Shadows (1959). Cassavetes obtuvo los fondos de su familia y de sus amigos, así como del programa de radio Night People. Cassavetes fue incapaz de conseguir que ninguna distribuidora norteamericana lanzase Shadows, así que probó fortuna en Europa, donde consiguió el premio de la crítica en el Festival de Venecia. Los distribuidores europeos llevaron posteriormente la película a los Estados Unidos como si se tratara de una importación. A pesar de que su distribución en los Estados Unidos no fue muy amplia, consiguió llamar la atención de los estudios de Hollywood. -
Film and Television Works Directed by John Cassavetes 1
Gena Rowlands on Opening Night: Film and Television Works Directed by John Cassavetes *mentioned or discussed during the Q&A ^featuring a performance by Gena Rowlands Films Directed by John Cassavetes Big Trouble. Dir. John Cassavetes, 1986, U.S.A. 93 mins. Production Co.: Columbia Pictures Corporation / Delphi III Productions. ^Love Streams. Dir. John Cassavetes, 1984, U.S.A. 141 mins. Production Co.: Cannon Films. ^Gloria. Dir. John Cassavetes, 1980, U.S.A. 123 mins. Production Co.: Columbia Pictures Corporation. *^Opening Night. Dir. John Cassavetes, 1977, U.S.A. 144 mins. Production Co.: Faces Distribution. The Killing of a Chinese Bookie. Dir. John Cassavetes, 1976, U.S.A. 135 mins. Production Co.: Faces Distribution. *^A Woman Under the Influence. Dir. John Cassavetes, 1974, U.S.A. 155 mins. Production Co.: Faces. *^Minnie and Moskowitz. Dir. John Cassavetes, 1971, U.S.A. 114 mins. Production Co.: Universal Pictures. Husbands. Dir. John Cassavetes, 1970, U.S.A. 131 mins. Production Co.: Faces Music. ^Faces. Dir. John Cassavetes, 1968, U.S.A. 130 mins. Production Co.: Faces. ^A Child is Waiting. Dir. John Cassavetes, 1963, U.S.A. 102 mins. Production Co.: Stanley Kramer Productions. Too Late Blues. Dir. John Cassavetes, 1961, U.S.A. 103 mins. Production Co.: Paramount Pictures. ^Shadows. Dir. John Cassavetes, 1959, U.S.A. 81 mins. Production Co.: Lion International. Television Episodes Directed by John Cassavetes Columbo (1968-1978). 11 seasons, 69 episodes. Creators: Richard Levinson and William Link, U.S.A. Originally aired on NBC. Production Co.: NBC Universal Television. Episode: “Étude in Black” (season 2, episode 1, aired September 17, 1972) 1 Gena Rowlands on Opening Night: Film and Television Works Directed by John Cassavetes Bob Hope Presents the Chrysler Theatre (1963-1967). -
John Cassavetes' Shadows. the Destruction of the Imago in Cinematic Identification Gema Ortega Œœœœœœœœœœœœœœœ
© Aesthethika International journal on culture, subjectivity and aesthetics Journal Internacional sobre cultura, subjetividad y estética Vol. 1, (2), Spring/Primavera 2005 John Cassavetes’ Shadows. The Destruction of the Imago in Cinematic Identification Gema Ortega –––––––––––––––––––––––––––––––––––––––––––––––– Hollywood narrative cinema tends to create meaning through a careful organization of central signs that projects a unified but imaginary reality. This article focuses on John Cassavetes’ challenge and deconstruction of such conventionalism. Using Lacan’s “Mirror Stage” along with Heath, Mulvey, and Metz psychoanalytic analysis of the cinematic code, the author examines how Cassavetes destroys the process of cinematic identification in his first feature film, “Shadows.” Arguing for liberation from coherent reflections of reality, Cassavetes encourages both his characters and viewers to identify with multiples images that defile the structuring totality of the Imago. We have only to understand the mirror stage as an identification, in the full sense that analysis gives to the term: namely, the transformation that takes place in the subject when he assumes an image—whose predestination to this phase-effect is sufficiently indicated by the use, in analytic theory, of the ancient term imago.i Until 1959, John Cassavetes had been better known for his work as an actor than as a director. Due to his apparent “angry-young man” image, he was most often cast in juvenile roles full of anger and intensity such as the psychotic criminal in Andrew L. Stone’s The Night Holds Terror, or a punk in Crime in the Streets, as well as a troubled youngster in a T.V. series Winter Dreams. Crime and Punishment and Edge of the City brought Cassavetes his best recognition as an actor. -
The World Or Nothing)
EL MUNDO O NADA (THE WORLD OR NOTHING) INGRID VENINGER A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS GRADUATE PROGRAM IN FILM YORK UNIVERSITY TORONTO, ONTARIO April 2019 © Ingrid Veninger, 2019 ABSTRACT This paper elaborates on the process of producing my thesis film, El Mundo o Nada (The World or Nothing), a documentary portrait of 29-year-old twin brothers, Rubert and Rubildo Donatien Dinza, beginning two-months after their migration from Cuba to Spain. For the brothers, The World means achieving one million friends on social media, making their parents proud, and gaining international recognition as performers, Nothing is not an option. Utilizing a diaristic approach, this paper engages with pioneers of the past, filmmakers of the present, and direct experience, in order to explore the challenges of making my first documentary. In contrast to my six previous fiction features, the intention with this project was to start filming without a preconceived outline, treatment or plan. By detailing the process of production in relation to cultivating conditions for discovery, this paper will explore a practice of “uncertainty” and what such a practice involves. Production took place in Barcelona over 11 days, May 21-31, 2018. Editing occurred in three stages over 33 days between July-November, 2018. Sound editing, mixing, and colour grading brought the film to completion in March 2019. ii TABLE OF CONTENTS Abstract .............................................................................................................................. -
Una Mujer Bajo La Influencia Ficha Técnica
Publicado en ARTIUM - Biblioteca y Centro de Documentación (https://catalogo.artium.eus) Inicio > En torno al cine » Películas > M > Una mujer bajo la influencia Una mujer bajo la influencia Ficha técnica TÍTULO ORIGINAL: A Woman under the Influence NACIONALIDAD: Estados Unidos AÑO: 1975 DIRECTOR: John Cassavetes GUIÓN: John Cassavetes MÚSICA: Bo Harwood FOTOGRAFÍA: Mitch Breit PRODUCTORA: Faces International INTÉRPRETES: Gena Rowlands, Peter Falk, Katherine Cassavetes, Fred Draper. GÉNERO: Drama | Cine independiente DURACIÓN: 155 minutos PREMIOS: 2 nominaciones al Oscar: Mejor actriz Gena Rowlands y mejor director John Cassavetes. Sinopsis Nik es un obrero de la construcción que está casado con Mabel, una ama de casa que padece inestabilidad emocional. Mabel y Nick deciden pasar una noche ellos dos sólos y para ello envían a sus hijos a casa de su abuela. Sin embargo, en el trabajo de Nick se produce un accidente y no podrá acudir a la cita. Nick llama preocupado a su mujer para explicarle que no podrá ir en toda la noche. Mabel enfurecida sale a la calle y entra en un local nocturno, donde conocerá a un hombre y pasarán la noche juntos. Una vez acabada la larga jornada de trabajo, Nick invita a todos sus compañeros a cenar a su casa. Allí son recibidos por la mujer de Nick que amablemente les prepara unos espaguetis. Sin embargo durante la cena sale a relucir el extraño compartamiento de Mabel. Al día siguiente Mabel celebra una fiesta infnatil en el jardín de su casa. La fiesta resulta un desastre y Mabel sufre un ataque de nervios. Mabel es ingresada en una clínica psiquiátrica para poder solucionar su problema mental.