PROF. HELLERMAN's LIST of MUST-SEE OLD MOVIES * = Personal Favorite BOLD = Absolutely Essential
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The Films of Raoul Walsh, Part 1
Contents Screen Valentines: Great Movie Romances Screen Valentines: Great Movie Romances .......... 2 February 7–March 20 Vivien Leigh 100th ......................................... 4 30th Anniversary! 60th Anniversary! Burt Lancaster, Part 1 ...................................... 5 In time for Valentine's Day, and continuing into March, 70mm Print! JOURNEY TO ITALY [Viaggio In Italia] Play Ball! Hollywood and the AFI Silver offers a selection of great movie romances from STARMAN Fri, Feb 21, 7:15; Sat, Feb 22, 1:00; Wed, Feb 26, 9:15 across the decades, from 1930s screwball comedy to Fri, Mar 7, 9:45; Wed, Mar 12, 9:15 British couple Ingrid Bergman and George Sanders see their American Pastime ........................................... 8 the quirky rom-coms of today. This year’s lineup is bigger Jeff Bridges earned a Best Actor Oscar nomination for his portrayal of an Courtesy of RKO Pictures strained marriage come undone on a trip to Naples to dispose Action! The Films of Raoul Walsh, Part 1 .......... 10 than ever, including a trio of screwball comedies from alien from outer space who adopts the human form of Karen Allen’s recently of Sanders’ deceased uncle’s estate. But after threatening each Courtesy of Hollywood Pictures the magical movie year of 1939, celebrating their 75th Raoul Peck Retrospective ............................... 12 deceased husband in this beguiling, romantic sci-fi from genre innovator John other with divorce and separating for most of the trip, the two anniversaries this year. Carpenter. His starship shot down by U.S. air defenses over Wisconsin, are surprised to find their union rekindled and their spirits moved Festival of New Spanish Cinema .................... -
Stanley Kubrick's 18Th Century
Stanley Kubrick’s 18th Century: Painting in Motion and Barry Lyndon as an Enlightenment Gallery Alysse Peery Abstract The only period piece by famed Stanley Kubrick, Barry Lyndon, was a 1975 box office flop, as well as the director’s magnum opus. Perhaps one of the most sumptuous and exquisite examples of cinematography to date, this picaresque film effectively recreates the Age of the Enlightenment not merely through facts or events, but in visual aesthetics. Like exploring the past in a museum exhibit, the film has a painterly quality harkening back to the old masters. The major artistic movements that reigned throughout the setting of the story dominate the manner in which Barry Lyndon tells its tale with Kubrick’s legendary eye for detail. Through visual understanding, the once obscure novel by William Makepeace Thackeray becomes a captivating window into the past in a manner similar to the paintings it emulates. In 1975, the famed and monumental director Stanley Kubrick released his one and only box-office flop. A film described as a “coffee table film”, it was his only period piece, based on an obscure novel by William Makepeace Thackeray (Patterson). Ironically, his most forgotten work is now considered his magnum opus by critics, and a complete masterwork of cinematography (BFI, “Art”). A remarkable example of the historical costume drama, it enchants the viewer in a meticulously crafted vision of the Georgian Era. Stanley Kubrick’s film Barry Lyndon encapsulates the painting, aesthetics, and overall feel of the 18th century in such a manner to transform the film into a sort of gallery of period art and society. -
Introduction to Screenwriting 1: the 5 Elements
Introduction to screenwriting 1: The 5 elements by Allen Palmer Session 1 Introduction www.crackingyarns.com.au 1 Can we find a movie we all love? •Avatar? •Lord of the Rings? •Star Wars? •Groundhog Day? •Raiders of the Lost Ark? •When Harry Met Sally? 2 Why do people love movies? •Entertained •Escape •Educated •Provoked •Affirmed •Transported •Inspired •Moved - laugh, cry 3 Why did Aristotle think people loved movies? •Catharsis •Emotional cleansing or purging •What delivers catharsis? •Seeing hero undertake journey that transforms 4 5 “I think that what we’re seeking is an experience of being alive ... ... so that we can actually feel the rapture being alive.” Joseph Campbell “The Power of Myth” 6 What are audiences looking for? • Expand emotional bandwidth • Reminder of higher self • Universal connection • In summary ... • Cracking yarns 7 8 Me 9 You (in 1 min or less) •Name •Day job •Done any courses? Read any books? Written any screenplays? •Have a concept? •Which film would you like to have written? 10 What’s the hardest part of writing a cracking screenplay? •Concept? •Characters? •Story? •Scenes? •Dialogue? 11 Typical script report Excellent Good Fair Poor Concept X Character X Dialogue X Structure X Emotional Engagement X 12 Story without emotional engagement isn’t story. It’s just plot. 13 Plot isn’t the end. It’s just the means. 14 Stories don’t happen in the head. They grab us by the heart. 15 What is structure? •The craft of storytelling •How we engage emotions •How we generate catharsis •How we deliver what audiences crave 16 -
The Use of Music in the Cinematic Experience
Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Spring 2019 The seU of Music in the Cinematic Experience Sarah Schulte Western Kentucky University, [email protected] Follow this and additional works at: https://digitalcommons.wku.edu/stu_hon_theses Part of the Film and Media Studies Commons, Music Commons, and the Psychology Commons Recommended Citation Schulte, Sarah, "The sU e of Music in the Cinematic Experience" (2019). Honors College Capstone Experience/Thesis Projects. Paper 780. https://digitalcommons.wku.edu/stu_hon_theses/780 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. SOUND AND EMOTION: THE USE OF MUSIC IN THE CINEMATIC EXPERIENCE A Capstone Project Presented in Partial Fulfillment of the Requirements for the Degree Bachelor of Arts with Honors College Graduate Distinction at Western Kentucky Univeristy By Sarah M. Schulte May 2019 ***** CE/T Committee: Professor Matthew Herman, Advisor Professor Ted Hovet Ms. Siera Bramschreiber Copyright by Sarah M. Schulte 2019 Dedicated to my family and friends ACKNOWLEDGEMENTS This project would not have been possible without the help and support of so many people. I am incredibly grateful to my faculty advisor, Dr. Matthew Herman. Without your wisdom on the intricacies of composition and your constant encouragement, this project would not have been possible. To Dr. Ted Hovet, thank you for believing in this project from the start. I could not have done it without your reassurance and guidance. -
SWEET SMELL of SUCCESS" Introducing SUSAN HARRISON a Norma-Curtle1gh Productions Picture Released Through United Artists
CAST AND CREDITS HECHT, HILL and LANCASTER Present BURT LANCASTER and TONY CURTIS In "SWEET SMELL OF SUCCESS" Introducing SUSAN HARRISON A Norma-Curtle1gh Productions Picture Released through United Artists J. J. Hunsecker ••••••••••••..••••••• Burt LancaBter Sidney Falco••••••••••··•••·•••·•··· Tony Curtis Susan Hunsecker ····•·••···•••••••••• Susan Harrison Steve Dallas •••••••••••••••••••••••• Marty Milner Frank D'Angelo ••·••••••••••••••••··• Sam Levene Rita •••.•••••••••••••••••••••••••••• Barbara Nichols Sally . Jeff Dc>.nne11 Robard •••••••••••••••••••••••••••••• Joseph Leon Mary .••...••.•..•.••...••.••••••••.• Edith Atwater Harry Kello ••••••••••••••.•••••••••• Emile Meyer Herbie Temple•·••••••••·•••••••••••• Joe Frisco Otis Elwell •••••••••••.••••••••••••• David White Leo Bartha•••••••••••···•·•········· Lawrence Dobkin Mrs. Bartha • • • • • • • • • • • . • • • • • • • • • • • • • Lurene Tuttle Mildred Tam ••••••••••••••••••••••••. Queenie Smith Linda • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Autumn Russell Manny Davis······•····•••······••••• Jay Adler Al Evans • • • . • • . • • • • . • • • • • • • . • • • • • • • . Lewis Charles Produced by James Hill Directed by Alexander Mackendrick Screenplay by Clifford Odets and Ernest Lehman From the Novelette by Ernest Lehman Photography by James Wong Howe, A.s.c. Art Direction by Ed.ward Carrere Music Scored and Conducted by Elmer Bernstein S01 . .;s by Chico Hamilton and Fred Katz Running time: 103 minutee 11/6/ 56 l. Workin~ Script Por TIE S':iEET SNELL OF SUCCZSS FAD;: IN: 1 EXT. INT. GLOBE 1-fE':!SPAPER BUILDING - DUSK - N. Y. A r ow of newspaper delivery trucks is lined up aga1-nst the lo~~ loading bay, waiting for the edition. In the foreground a lai"ge clock establishe~ the time as 8! 10 PM. A rumbling noise war-ns the rr.en to take their positions; a few seconds lat e::'.' t he b~les of newspapers come sliding the spiral chutes on~o t~e mo·..r1n~ belts from which they are manhandled onto the tru~ks. Much !1o1se a:1d s!:.ou t ing. -
The New Hollywood Films
The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d. -
Movie Store Collections- Includes Factory Download Service
Kaleidescape Movie Store Collections- Includes Factory Download Service. *Content Availability Subject to Change. Collection of 4K Ultra HD & 4K HDR Films Academy Award Winners- Best Picture Collection of Family Films Collection of Concerts Collection of Best Content from BBC Our Price $1,250* Our Price $1,450* Our Price $2,450* Our Price $625* Our Price $650* MSCOLL-UHD MSCOLL-BPW MSCOLL-FAM MSCOLL-CON MSCOLL-BBC 2001: A Space Odyssey 12 Years a Slave Abominable Adele: Live at the Royal Albert Hall Blue Planet II A Star Is Born A Beautiful Mind Aladdin Alicia Keys: VH1 Storytellers Doctor Who (Season 8) Alien A Man for All Seasons Alice in Wonderland Billy Joel: Live at Shea Stadium Doctor Who (Season 9) Apocalypse Now: Final Cut All About Eve April and the Extraordinary World Celine Dion: Taking Chances World Tour - The Concert Doctor Who (Season 10) Avengers: Endgame All Quiet on the Western Front Babe Eagles: Farewell 1 Tour — Live from Melbourne Doctor Who (Season 11) Avengers: Infinity War All the King's Men Back to the Future Elton John: The Million Dollar Piano Doctor Who Special 2012: The Snowmen Baby Driver Amadeus Back to the Future Part II Eric Clapton: Slowhand at 70 - Live at the Royal Albert Hall Doctor Who Special 2013: The Day of the Doctor Blade Runner 2049 American Beauty Back to the Future Part III Genesis: Three Sides Live Doctor Who Special 2013: The Time of the Doctor Blade Runner: The Final Cut An American in Paris Beauty and the Beast Hans Zimmer: Live in Prague Doctor Who Special 2014: Last Christmas Blue Planet II Annie Hall Cars INXS: Live Baby Live Doctor Who Special 2015: The Husbands of River Song Bohemian Rhapsody Argo Cars 2 Jackie Evancho: Dream with Me in Concert Doctor Who Special 2016: The Return of Doctor Mysterio Chinatown Around the World in 80 Days Cars 3 Jeff Beck: Performing This Week.. -
Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
HH Available Entries.Pages
Greetings! If Hollywood Heroines: The Most Influential Women in Film History sounds like a project you would like be involved with, whether on a small or large-scale level, I would love to have you on-board! Please look at the list of names below and send your top 3 choices in descending order to [email protected]. If you’re interested in writing more than one entry, please send me your top 5 choices. You’ll notice there are several women who will have a “D," “P," “W,” and/or “A" following their name which signals that they rightfully belong to more than one category. Due to the organization of the book, names have been placed in categories for which they have been most formally recognized, however, all their roles should be addressed in their individual entry. Each entry is brief, 1000 words (approximately 4 double-spaced pages) unless otherwise noted with an asterisk. Contributors receive full credit for any entry they write. Deadlines will be assigned throughout November and early December 2017. Please let me know if you have any questions and I’m excited to begin working with you! Sincerely, Laura Bauer Laura L. S. Bauer l 310.600.3610 Film Studies Editor, Women's Studies: An Interdisciplinary Journal Ph.D. Program l English Department l Claremont Graduate University Cross-reference Key ENTRIES STILL AVAILABLE Screenwriter - W Director - D as of 9/8/17 Producer - P Actor - A DIRECTORS Lois Weber (P, W, A) *1500 Major early Hollywood female director-screenwriter Penny Marshall (P, A) Big, A League of Their Own, Renaissance Man Martha -
The Transnational Sound of Harpo Marx
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 22 | 2021 Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx Marie Ventura Electronic version URL: http://journals.openedition.org/miranda/36228 DOI: 10.4000/miranda.36228 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Marie Ventura, “Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx”, Miranda [Online], 22 | 2021, Online since 02 March 2021, connection on 27 April 2021. URL: http:// journals.openedition.org/miranda/36228 ; DOI: https://doi.org/10.4000/miranda.36228 This text was automatically generated on 27 April 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx 1 Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx Marie Ventura Introduction: a Transnational Trickster 1 In early autumn, 1933, New York critic Alexander Woollcott telephoned his friend Harpo Marx with a singular proposal. Having just learned that President Franklin Roosevelt was about to carry out his campaign promise to have the United States recognize the Soviet Union, Woollcott—a great friend and supporter of the Roosevelts, and Eleanor Roosevelt in particular—had decided “that Harpo Marx should be the first American artist to perform in Moscow after the US and the USSR become friendly nations” (Marx and Barber 297). “They’ll adore you,” Woollcott told him. “With a name like yours, how can you miss? Can’t you see the three-sheets? ‘Presenting Marx—In person’!” (Marx and Barber 297) 2 Harpo’s response, quite naturally, was a rather vehement: you’re crazy! The forty-four- year-old performer had no intention of going to Russia.1 In 1933, he was working in Hollywood as one of a family comedy team of four Marx Brothers: Chico, Harpo, Groucho, and Zeppo. -
Federal Register/Vol. 68, No. 49/Thursday, March 13
11974 Federal Register / Vol. 68, No. 49 / Thursday, March 13, 2003 / Rules and Regulations a designee, and is a thorough review of DEPARTMENT OF TRANSPORTATION LIBRARY OF CONGRESS the case. The formal review determination shall be based on the Saint Lawrence Seaway Development 36 CFR Part 704 information, upon which the initial Corporation determination and/or reconsideration National Film Preservation Board; determination was based, and any 33 CFR Part 401 1994–2002 Films Selected for Inclusion additional information the appealing in the National Film Registry party may submit or OCHAMPUS may [Docket No. SLSDC 2002–13698] AGENCY: National Film Preservation obtain. Board, Library of Congress. (3) Timeliness of formal review RIN 2135–AA15 ACTION: Final rule. determination. The Chief, Office of SUMMARY: The Librarian of Congress is Appeals and Hearings, OCHAMPUS, or Seaway Regulations and Rules: publishing the following list of films a designee normally shall issue the Automatic Identification System formal review determination no later selected from 1994–2002 for inclusion in the National Film Registry in the than 90 days from the date of receipt of AGENCY: Saint Lawrence Seaway Library of Congress pursuant to section the request for formal review by the Development Corporation, DOT. OCHAMPUS. 103 of the National Film Preservation (4) Notice of formal review ACTION: Final rule; correction. Act of 1996. The films are published to determination. The Chief, Office of notify the public of the Librarian’s Appeals and Hearings, OCHAMPUS, or SUMMARY: In the Saint Lawrence Seaway selection of twenty-five films selected in a designee shall issue a written notice Development Corporation (SLSDC) final each of these years deemed to be of the formal review determination to rule amending the Seaway regulations ‘‘culturally, historically or aesthetically the appealing party at his or her last and rules (33 CFR part 401) published significant’’ in accordance with known address. -
University International
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.