FILM GUIDEFEATURE FILMS 2040 April 16-17
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ARTICLE American Movie Audiences of the 1930S1
ARTICLE American Movie Audiences of the 1930s1 Richard Butsch Rider University Abstract The Depression and movies with sound changed movie audiences of the 1930s from those of the 1920s and earlier. Sound silenced audiences, discouraging the sociabili- ty that had marked working-class audiences before. The Depression led movie com- panies to change marketing strategies and construction plans. They stopped selling luxury and building movie palaces. Instead, they expanded their operation of neigh- borhood theaters, displacing independents that had been more worker friendly, and instituted centrally controlled show bills and policies. Audiences also appear to have become more heterogeneous. All this, too, discouraged the voluble behavior of working-class people. Ironically, in this era of labor activism, workers and their fam- ilies seem to have become quieter in movie theaters, satisfied with the convenience of chain-operated movie houses. The 1930s were an exciting decade for labor activism in the United States and a high point for the growth of unions. Workers in steel, automobile, and other heavy industries organized industrial unions. The Committee on Industrial Or- ganization (later Congress of Industrial Organizations or CIO) was formed with a membership of more than a million workers. Factory workers initiated new tactics in struggles with employers, such as sit-down strikes. In politics, they ad- vanced legislation and programs in the New Deal to help employed and unem- ployed workers. Ironically, at the same time that workers’ collective action and class con- sciousness were at a high point, movie audiences became quiet. They did not act collectively to control their experience in the theater. -
Interdepartmental Program in Film Studies
U N IVE R S I T Y O F MA SSA CHUS E T T S A MHE R S T Interdepartmental Program in Film Studies 26th annual massachusetts multicultural film festival Track wednesday 20 march PATERNAL RITES (2018, Jules Rosskam, USA, 82 min, in English) A highly personal, rst-person essay lm about trauma and memory and the secret underbelly of a contemporary family grappling with the aereects of abuse. Retracing the route of a road trip taken by Rosskam’s parents in 1974, the lm wednesday 20 february wednesday 10 april WITHIN OUR GATES THE MEMORY OF WATER (1920, Oscar Micheaux, USA, 79 min, silent with recorded musical accompaniment by DJ Spooky, (La memoria del agua) intertitles in English) (2015, Matías Bize, Chile, 88 min, in Spanish w/English subtitles) Production began 100 years ago on what is now the oldest known surviving feature lm made by In Santiago, Amanda and Javier nd it impossible an African-American lmmaker. A powerful and to cope with the drowning death of their ambitious account of race in America, told transports its audience into this family history four-year-old son. As time passes, their grief only through the experiences of Sylvia Landry, a young through audio recordings, family photos, Super 8 worsens until Amanda can barely look at her black woman visiting the North, it stands as an footage, and colorful animation to explore queer, husband anymore, and they begin to dri apart. important tribute to the power of appropriating transgender, and Jewish subjectivities and engage is delicately lmed exploration of the wayward (what was then) new media to contest popular the power of lm and lmmaking in the process paths to recovery and survival aer shattering loss culture representations of African American life of healing. -
Film Collector Gerald Herman Funds Indiecollect's Queer Cinema Index
FOR RELEASE OCTOBER 16, 2017 Sandra Schulberg, President, IndieCollect, [email protected], 917 667 6077 Robert Hawk, Queer Cinema Index Project Director, [email protected], 646 234 5633 Film Collector Gerald Herman Funds IndieCollect’s Queer Cinema Index Robert Hawk to Serve as ProJect Director October 16, 2017 – New York City. IndieCollect, the non-Profit organization whose mission is to collect, document, restore, and make accessible American indePendent films, announces its Queer Cinema Index -- the first attemPt to create a comPrehensive online compendium of LGBTQ films, television series and webisodes made in the U.S. and around the world. It is being launched with $40,000 in funding from film collector and curator Gerald Herman and other Private donors. The database has been designed by IndieCollect’s chief technology officer Israel Ehrisman, who also designed the IndieCollect Index. Famed film curator and Producer Robert Hawk – Profiled in the documentary Film Hawk -- is to serve as Project director. IndieWire founder Eugene Hernandez calls Mr. Hawk “a walking index of Queer Cinema.” Mr. Hawk and Mr. Herman are two of the producers of Vincent Gagliostro’s After Louie, starring Alan Cumming, which will have its New York City Premiere at NewFest on October 22. The QCI team aims to index the first 8,000 motion Pictures and TV ePisodes in six months, by apProximately mid-March 2018. Caroline Oliveira and Adam Andre – from NYU’s Moving Image & Archive Preservation Program (MIAP) – have already vetted more than 1,000 titles and readied them for inclusion. Mr. Hawk is concentrating on the films that are more obscure and difficult to find. -
Vision, Desire and Economies of Transgression in the Films of Jess Franco
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 Journeys into Perversion: Vision, Desire and Economies of Transgression in the Films of Jess Franco Glenn Ward Doctor of Philosophy University of Sussex May 2011 2 I hereby declare that this thesis has not been, and will not be, submitted whole or in part to another University for the award of any other degree. Signature:……………………………………… 3 Summary Due to their characteristic themes (such as „perverse‟ desire and monstrosity) and form (incoherence and excess), exploitation films are often celebrated as inherently subversive or transgressive. I critically assess such claims through a close reading of the films of the Spanish „sex and horror‟ specialist Jess Franco. My textual and contextual analysis shows that Franco‟s films are shaped by inter-relationships between authorship, international genre codes and the economic and ideological conditions of exploitation cinema. Within these conditions, Franco‟s treatment of „aberrant‟ and gothic desiring subjectivities appears contradictory. Contestation and critique can, for example, be found in Franco‟s portrayal of emasculated male characters, and his female vampires may offer opportunities for resistant appropriation. -
Retro Gamer Speed Pretty Quickly, Shifting to a Contents Will Remain the Same
Untitled-1 1 1/9/06 12:55:47 RETRO12 Intro/Hello:RETRO12 Intro/Hello 14/9/06 15:56 Page 3 hel <EDITORIAL> >10 PRINT "hello" Editor = >20 GOTO 10 Martyn Carroll >RUN ([email protected]) Staff Writer = Shaun Bebbington ([email protected]) Art Editor = Mat Mabe Additonal Design = Mr Beast + Wendy Morgan Sub Editors = Rachel White + Katie Hallam Contributors = Alicia Ashby + Aaron Birch Richard Burton + Keith Campbell David Crookes + Jonti Davies Paul Drury + Andrew Fisher Andy Krouwel + Peter Latimer Craig Vaughan + Gareth Warde Thomas Wilde <PUBLISHING & ADVERTISING> Operations Manager = Debbie Whitham Group Sales & Marketing Manager = Tony Allen hello Advertising Sales = elcome Retro Gamer speed pretty quickly, shifting to a contents will remain the same. Linda Henry readers old and new to monthly frequency, and we’ve We’ve taken onboard an enormous Accounts Manager = issue 12. By all even been able to publish a ‘best amount of reader feedback, so the Karen Battrick W Circulation Manager = accounts, we should be of’ in the shape of our Retro changes are a direct response to Steve Hobbs celebrating the magazine’s first Gamer Anthology. My feet have what you’ve told us. And of Marketing Manager = birthday, but seeing as the yet to touch the ground. course, we want to hear your Iain "Chopper" Anderson Editorial Director = frequency of the first two or three Remember when magazines thoughts on the changes, so we Wayne Williams issues was a little erratic, it’s a used to be published in 12-issue can continually make the Publisher = little over a year old now. -
STILL ALICE Directed by Richard Glatzer and Wash Westmoreland
STILL ALICE Directed by Richard Glatzer and Wash Westmoreland USA – 2014 – 99 minutes Distribution Press Métropole Films Distribution Bonnie Smith 5360 St-Laurent Boulevard Star PR Montreal, QC H2T 1S1 t: 416.488.4436 t : 514.223.5511 f: 416.488.8438 f : 514.223.6111 e: [email protected] e : [email protected] SYNOPSIS Alice Howland, happily married with three grown children, is a renowned linguistics professor who starts to forget words. When she receives a diagnosis of Early-Onset Alzheimer's Disease, Alice and her family find their bonds thoroughly tested. Her struggle to stay connected to who she once was is frightening, heartbreaking, and inspiring. 2 CREDITS CAST Alice JULIANNE MOORE Lydia KRISTEN STEWART Anna KATE BOSWORTH John ALEC BALDWIN Tom HUNTER PARRISH FILMMAKERS Directed by Richard Glatzer and Wash Westmoreland Screenplay by Richard Glatzer and Wash Westmoreland Based on the book Still Alice by Lisa Genova Executive Producers Marie Savare, Christine Vachon, Maria Shriver, Emilie Georges, Nicholas Shumaker, Celine Rattray, Trudie Styler Producers Lex Lutzus, James Brown, Pamela Koffler Cinematographer Denis Lenoir Editor Nicolas Chaudeurge Production Designer Tommaso Ortino Music Ilan Eshkeri 3 Director’s Statement Richard and I received a phone call in December 2011 from the Brit-Australian producing duo, Lex Lutzus and James Brown, asking us to take a look at a novel for adaptation. It was one of those out-of-the-blue opportunities that filmmakers live for, but when we heard the subject of the book, it gave us pause. The outline they pitched -- a brilliant woman in the prime of life receives a diagnosis of early onset Alzheimer’s Disease -- suggested a film about illness and sadness and loss. -
This Is a Great Time to Be a Producer!
IF YOU’RE ADAPTABLE, FLEXIBLE, AND ABLE TO WITHSTAND ANYTHING – THIS IS A GREAT TIME TO BE A PRODUCER! Variety Cinema Militans Lecture – Christine Vachon 25th September 2010 by Binger Reporter Matthew Curlewis Christine Vachon, flown in by Binger to spend twenty-four hours in Amsterdam with the Dutch Producers of Company!, had an additional commitment – the annual Variety lecture at the Holland Film Meeting in Utrecht. With upwards of 60 films to her credit made during the past 16 years within her company Killer Films, Vachon has a few hard-earned lessons to share with anyone interested in film industry success over the long haul. “I think you always have to maintain optimism to be a producer,” she tells Variety interviewer Leo Barraclough during the lecture. “Every time you think you’ve finally learned how the financing and distribution system works, it gets taken away. Adaptability is key, and you have to be willing to see that as a positive.” Additionally, television has improved in leaps and bounds. “Kids now grow up watching shows using the language of cinema; stories with challenging structures, or anti-heroes in lead roles, or a story where the hero dies in the end. I grew up watching The Brady Bunch!” Vachon believes that no matter the medium, there will always be a market for storytellers with authentic, singular visions. “Boardwalk Empire, Martin Scorsese’s tv series just premiered on HBO. And with director Todd Haynes we’re making Mildred Pierce – a 5.5 hour HBO movie that will show in one hour segments. -
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter -
Film Calendar
FILM CALENDAR JULY 26 - OCTOBER 3, 2019 ONCE UPON A TIME… IN HOLLYWOOD *ON 70MM* OPENS JULY 26 JENNIFER KENT’S THE NIGHTINGALE OPENS AUGUST 16 NOIR CITY CHICAGO SEPTEMBER 6-12 GIVE ME LIBERTY A MUSIC BOX FILMS RELEASE OPENS SEPTEMBER 13 DORIS DAY WEEKEND MATINEES SEPTEMBER 15-29 Music Box Theatre 90th Anniversary Celebration August 22 - 29 Welcome TO THE MUSIC BOX THEATRE! FEATURE FILMS 5 ONCE UPON A TIME… IN HOLLYWOOD OPENS JULY 26 7 LUZ OPENS AUGUST 2 7 HONEYLAND OPENS AUGUST 9 8 THE NIGHTINGALE OPENS AUGUST 16 CHICAGO 9 AQUARELA OPENS AUGUST 30 ONSCREEN 9 GIVE ME LIBERTY OPENS SEPTEMBER 13 12 MONOS OPENS SEPTEMBER 20 A traveling exhibition of MUSIC BOX 90TH ANNIVERSARY Chicago-made film 16 INNOCENTS OF PARIS AUGUST 22 17 THE FUGITIVE AUGUST 23 18 WORLD CITY IN ITS TEENS AUGUST 24 18 DOLLY PARTON 9 TO 5ER AUGUST 24 19 MARY POPPINS SING-A-LONG AUGUST 25 19 INDIE HORROR: SOCIETY AUGUST 25 20 MUSIC BOX FILMS DOUBLE FEATURE AUGUST 27 21 AUDIENCE CHOICE DOUBLE FEATURE AUGUST 28 22 70MM: BACK TO THE FUTURE II AUGUST 29 24 THE HISTORY OF THE MUSIC BOX SERIES 28 BETTE DAVIS MATINEES 30 DORIS DAY MATINEES 30 SILENT CINEMA 08.26-08.28 32 CHICAGO FILM SOCIETY NEIGHBORHOOD 34 MIDNIGHTS SHOWCASE SCREENINGS Dunbar Park | Grant Park | Horner Park SPECIAL EVENTS Jackson Park | Margate Park | Mckinley Park 6 GALLAGHER WAY MOVIE SERIES MAY - SEPTEMBER Steelworkers Park | Wicker Park 6 DISCOVER THE HORROR JULY 27 8 RUSH: CINEMA STRANGIATO AUGUST 21 08.29-08.31 10 NOIR CITY SEPTEMBER 6-12 CHICAGO ONSCREEN FESTIVAL 11 SAY AMEN, SOMEBODY SEPTEMBER 14 & 15 Humboldt Park | Three days of local films from filmmakers 11 REELING FILM FESTIVAL OPENING SEPTEMBER 19 and film organizations from all over the city in a multi-screen 12 48 HOUR FILM PROJECT SEPTEMBER 22-25 festival celebration of movies by and about Chicago. -
Day Two,San Diego Comic-Con 2013 – Day One
Scene and Heard Mary Loss of Soul There is no accurate description of the whirling dervish I met recently on the set of her soon-to-be- released film, Mary Loss of Soul. It was the last day of shooting, and the energy level and passion of this female director was boundless – and infectious! The woman I speak of is Jennifer B. White. She is a writer, director and producer – but she’ll tell you she is first and foremost a storyteller. “I was ten years old. I’d never heard the term “folktale” – a narrated story to entertain a group of listeners. But, that’s exactly how I began my creative dream – as a storyteller in the woods. Back in the day of knock-on-door neighborhoods in the suburbs of Massachusetts, I’d gather with a group of wide-eyed kids along with my side-kick little sister. I told stories – often about ghosts, witches and anything spooky – making them up as I went along. I started writing novels at the age of 12 on my mom’s old IBM Selectric. As the family keeper of all things old and nostalgic, I held on to those precious works of fiction like they were a buccaneer’s booty.” After college, Jennifer signed with her first literary agent, and went on to become a public relations professional heading up PR in Boston hotels and top agencies where she was published in hundreds of publications throughout the U.S. She continued writing novels throughout her career, and, through a series of fortunate encounters, began writing for Hollywood. -
1 "The Hardest, the Most Difficult Film:" Todd Haynes' Safe As Feminist
"The Hardest, The Most Difficult Film:" Todd Haynes’ Safe as Feminist Film Praxis Or: “What the fuck is this?” By Theresa L. Geller, Grinnell College While Todd Haynes has been celebrated as the poster child for New Queer Cinema for at least two decades now, he has in fact established himself as a director of a wide range of genres, including the biopic and the women’s film. Indeed, Haynes’ engagement with and commitment to films about women is constant—even his works nominally about men, such as his faux biopics like Velvet Goldmine and even Dottie Gets Spanked find women at their core, as Julia and Noah have shown so well today. With the success of his most recent work, notably a miniseries for HBO, we are positioned now to reconsider Haynes’ oeuvre in light of his most salient and persistent themes and concerns. This move from the art house cinema circuit to cable television, for example, invites one to consider the gendered implications of shifting exhibition venues from the movie theater to television, a form situated in the domesticated space of the home, and historically tied to women’s daily lives, as Lynn Spigel’s and others work on television has argued. We might also think of Andreas Huyssen’s now canonical work on the historical and critical perception of mass culture as feminine. I invoke these foundational works in the field because their impact on the study of gender and mass culture has less to do with the content of specific texts than the significance of placing such texts in social and cultural histories of exhibition and reception. -
2019–2020 Awards Season Ballot No Shorts
2019–2020 AWARDS SEASON BALLOT IMAGINE IF MORE WOMEN WERE RECOGNIZED THIS AWARDS SEASON... THE BALLOT COULD LOOK SOMETHING LIKE THIS BEST PICTURE ☐ Kristen Stewart, Seberg ☐ Little, Danielle Hollowell ☐ Hope Frozen, Pailin Wedel ☐ France, Portrait of a Lady on Fire, ☐ Judy, Kave Quinn ☐ 1917, Pippa Harris, Jayne-Ann ☐ Julia Stockler, Invisible Life ☐ Little Women, Jacqueline Durran ☐ The Hottest August, Brett Story Céline Sciamma ☐ The King, Fiona Crombie Tenggren ☐ Meryl Streep, The Laundromat ☐ Lucy in the Sky, Louise Frogley ☐ Immortal, Ksenia Okhapkina ☐ Germany, System Crasher, Nora ☐ Lucy in the Sky, Stephania Cella ☐ Ad Astra, Dede Gardner ☐ Charlize Theron, Bombshell ☐ Maleficent: Mistress of Evil, Ellen ☐ It's a Hard Truth Ain't It, Madeleine Fingscheidt ☐ Monos, Daniela Schneider ☐ A Beautiful Day in the ☐ Emma Thompson, Late Night Mirojnick Sackler ☐ Greece, When Tomatoes Met ☐ Motherless Brooklyn, Beth Mickle Neighborhood, Leah Holzer ☐ Jodie Turner-Smith, Queen & Slim ☐ Midsommar, Andrea Flesch ☐ Jawline, Liza Mandelup Wagner, Marianna Economou ☐ Once Upon a Time... In Hollywood, ☐ Atlantics, Judith Lou Lévy, Eve ☐ Michelle Williams, After the ☐ Monos, Johanna Buendia, Daniela ☐ The Kingmaker, Lauren Greenfield ☐ India, Gully Boy, Zoya Akhtar Barbara Ling Robin Wedding Schneider ☐ Knock Down the House, Robin ☐ Iran, Finding Farideh, Azadeh ☐ Queen & Slim, Karen Murphy ☐ Blinded by the Light, Jane Barclay, ☐ Alfre Woodward, Clemency ☐ Motherless Brooklyn, Amy Roth Blotnick Moussavi ☐ Skin, Mary Lena Colston Gurinder Chadha