DOCSLIB.ORG

Winter 2019 Supported by the Brigham Young

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Winter 2019 Supported by the Brigham Young INTERNATIONAL CINEMAWINTER 2019 JANUARY 11-12 ENCORE WEEKEND THE GUILTY WON’T YOU BE MY NEIGHBOR? In this taut thriller, a police dispatch- This touching documentary exam- SHOWTIMES: IC.BYU.EDU er answers a call from a kidnapped ines the life, career, and enduring woman, but when the call is legacy of Fred Rogers, the beloved suddenly disconnected, the search host of children’s TV show Mr. Rog- 250 KMBL for the woman and her kidnapper er’s Neighborhood. begins. Möller masterfully weaves FREE OF CHARGE together narrative strands with inno- vative minimalist techniques. Danish. 85 min. Gustav Möller. 2018.* English. 94 min. Morgan Neville. 2018. DOCUMENTARY SERIES JANUARY 16-19 ROUTES & ROOTS LION RAMEN SHOP YOMEDDINE KING IN THE WILDERNESS This Oscar-nominated biographical A ramen chef from Tokyo travels to Egypt’s submission for best for- This documentary explores the diffi- drama tells of the true experiences Singapore to discover his culinary eign-language Oscar film tells of cult final years of Martin Luther King of Saroo Brierley, who was adopted heritage and reconnect with long- a middle-aged leper and a young Jr.’s life as the civil rights movement by an Australian couple after being lost family members. Unabashedly orphan who travel across the stood at a crucial crossroads and separated from this family in India. sentimental, the film shows how sun-bleached Egyptian desert to stared down opposition from both Years later, Brierley sets off to locate the joy of food transcends cultural reconnect with their families in Cairo sides of the political spectrum. his hometown and what remains of boundaries and historical traumas while experiencing life as outcastes his family. that divide contemporary Asia. in contemporary Egypt. English. 118 min. Garth Davis. 2016.* Japanese, English. 90 min. Eric Khoo. 2018. Arabic. 97 min. Abu Bakr Shawky. 2018. English. 111 min. Peter Kunhardt. 2018.* JANUARY 23-26 NOTORIOUS FIRST REFORMED MOTHER IMPULSO Hitchcock summoned darker Paul Schrader’s move toward inde- This engrossing psychological Spanish dancer and choreographer shades of suspense and passion pendent cinema is a gripping thriller thriller by acclaimed director Rocío Molina is the new shining star by casting two of Hollywood’s most about a crisis of faith that is at once Joon-ho Bong blends a satirical of flamenco and modern dance, beloved stars (Ingrid Bergman and personal, political, and planetary. A appropriation of Korean melodrama using public improvisations called Cary Grant) starkly against type. troubled pastor of a small church with a shocking examination of the impulsos to create choreographies. The film represents a pinnacle of struggles after a soul-shaking en- violent effects of blind devotion and Belmonte captures Molina at work as both its director’s legendary career counter with a radical environmen- the repression of past traumas. she prepares for one of her biggest and classic Hollywood cinema. talist and his pregnant wife. shows yet. English. 102 min. Alfred Hitchcock. 1946. English. 113 min. Paul Schrader. 2017.* Korean. 129 min. Joon-ho Bong. 2009.* Spanish. 87 min. Emilio Belmonte. 2018. JAN. 30-FEB. 2 MAN AGAINST THE MACHINE ARABY OLD STONE ARRHYTHMIA EATING ANIMALS This Brazilian political road movie In this lean thriller, director Johnny Focusing on the struggle of health- How much do you know about the begins when a teenager living in an Ma examines the Kafkaesque care professionals dealing with food that’s on your plate?Eating industrial neighborhood finds the bureaucracy of the Chinese health demanding jobs in contemporary Animals is an urgent, eye-opening handwritten journal of a local facto- care system and the maddening Russia, Khlebnikov combines look at the environmental, economic, ry worker, whose life as a wandering futility of doing the right thing in human drama with a naturalistic and public health consequences of laborer was filled with both hardship a bureaucratic society. The film’s examination of the frenetic nature factory farming and common sense and insight, accompanied by local neo-realist style of gritty storytelling of emergency medicine and the de- solutions to a growing crisis. songs and American blues. has earned acclaim from critics. humanizing effects of the industry. Portuguese. 97 min. Affonso Uchoa, João Dumans. 2017.* Mandarin. 80 min. Johnny Ma. 2016.* Russian. 112 min. Boris Khlebnikov. 2017.* English. 95 min. Christopher Dillon Quinn. 2017.* FEBRUARY 6-9 BERTOLT BRECHT IN FILM HANGMEN ALSO DIE THE THREEPENNY OPERA RIFIFI THREE IDENTICAL STRANGERS Directed by the legendary Fritz The sly melodies of composer Kurt Rififiis the ultimate heist movie, a In 1980s New York, three identical Lang, this noir war film is Brecht’s Weill and the daring of dramatist mélange of suspense, brutality, and triplets who had been separated at only screen credit for a Hollywood Bertolt Brecht come together dark humor that was an interna- birth and then adopted by three dif- production. A resistance fighter on-screen under the direction of tional hit, earning Dassin the best ferent families finally meet each oth- kills the dreaded “Hangman of Eu- German auteur G. W. Pabst in this director prize at the Cannes Film er. Their incredible reunion becomes rope” in war-occupied Prague, but classic adaptation of the Festival. The film has proven wildly a huge sensation but also unearths it will take steely resolve from oth- Weimar-era theatrical sensation. influential on decades of heist the unimaginable secret behind their ers to defuse the Nazis’ revenge. thrillers following in its wake. separation. English. 135 min. Fritz Lang. 1943. German. 110 min. G.W. Pabst. 1931. French. 118 min. Jules Dassin. 1955. English. 96 min. Tim Wardle. 2018. FEBRUARY 13-16 THE AWFUL TRUTH THE DESERT BRIDE THE FIGURINE CITY OF THE SUN In this classic screwball comedy, a This humanistic road film tells of IC’s first ever Nollywood film is This film captures the mountainous couple (Cary Grant and Irene Dunne) the experiences of a middle-aged a supernatural, suspense thriller landscape and industrial wasteland doubt each other’s fidelity. After Argentinian woman who finds probing the boundary between the of the Georgian city Chiatura—once filing for divorce, they both rush into romance after years of serving traditional and the modern. Friends a thriving mining town—and the lives new relationships but soon realize as a maid in Buenos Aires. This take a figurine from an abandoned and ambitions of the few inhabitants that their love has never died as unsentimental tale of unexpected shrine. After seven years of good who continue to live there. they scramble to ruin each other’s love is told against a visually poetic fortune, their luck changes. Is it the newfound romances. Argentine landscape. curse of Araromire? English. 91 min. Leo McCarey. 1937. Spanish. 80 min. Valeria Pivato, Cecilia Atán. 2017.* English, Yoruba. 122 min. Kunle Afolayan. 2009.* Georgian. 104 min. Rati Oneli. 2017. FEBRUARY 20-23 LOS REYES MEXICANOS DE HOLLYWOOD THE SHAPE OF WATER BIUTIFUL CHILDREN OF MEN HALE COUNTY THIS MORNING, THIS EVENING In Del Toro’s nostalgic paean to Biutiful relates the journey of a The year is 2027, and two decades Composed of intimate moments Hollywood monster films, a lonely conflicted man (Javier Bardem), who of human infertility have left society in a rural community, this unique janitor forms a unique relationship struggles to reconcile fatherhood, on the brink of collapse. This ac- documentary provides an affective with an amphibious creature held crime, guilt, and mortality amidst the claimed dystopian thriller, directed impression of black lives in today’s in captivity at a top-secret research dangerous underworld of modern by Alfonso Cuarón, explores the South, trumpeting the beauty of life facility. This acclaimed film took Barcelona. Bardem received the first challenge of maintaining hope and and consequences of the social home the 2017 Oscars for Best Best Actor Oscar nomination ever for faith in the face of overwhelming construction of race, while simulta- Director and Best Picture. a Spanish-language performance. futility, violence, and despair. neously a testament to dreaming. English. 123 min. Guillermo del Toro. 2017.* Spanish. 148 min. Alejandro González Iñárritu. 2010.* English. 109 min. Alfonso Cuarón. 2006.* English. 76 min. RaMell Ross. 2018. SUPPORTED BY THE BRIGHAM YOUNG UNIVERSITY COLLEGE OF HUMANITIES FEB. 27-MAR. 2 BORG VS. MCENROE TRUMAN CLÉO FROM 5 TO 7 WHAT IS DEMOCRACY? In 1980, Björn Borg was the top- Famed actors Ricardo Darín and Agnès Varda eloquently captures Director Astra Taylor takes us on a ranked tennis player in the world. Javier Cámara portray friends Paris in the sixties with this real-time philosophical journey from ancient One obstacle stood between him reunited just as one of them has portrait of a singer set adrift in the Athens’ experiments in self-gov- and a record-breaking fifth Wimble- decided to forgo treatment for city as she awaits test results of a ernment to the roots of capitalism don title: the highly talented but fe- terminal cancer. Together they set biopsy. A chronicle of the minutes in medieval Italy to socio-economic rociously abrasive young American, out to make final arrangements in of one woman’s life,Cléo from 5 to crises of modernity in a film that John McEnroe. Fire vs. ice in one of this heartfelt and surprisingly 7 is a spirited mix of vivid vérité and provokes and inspires as it questions the greatest matches of all time. humorous film. melodrama.
Load more

Recommended publications
  • Pass the Gravy by Steve Massa
    Pass the Gravy By Steve Massa Max Davidson had appeared in movies since the early teens – act- ing at Biograph, supporting Fay Tincher in her Komic Comedy and Fine Arts comedy, and briefly headlining in his own Izzy Come- dies” – usually portraying stereo- typical Jewish tailors and mer- chants. After scoring a notable success co-starring with Jackie Coogan in the features “The Rag Man” and “Old Clothes” (both 1925) he was hired by producer Hal Roach to be part of his stable of supporting comedians. Proving himself in the service of Roach star comics Cuckoos” (1927) introductory description of “Love’s such as Stan Laurel, Charley Chase, and Mabel Greatest Mistake.” Screen freckles usually denote Normand in the shorts “Get ‘Em Young,” “Long Fliv fresh and fun-loving characters, but Spec’s spots the King” (both 1926), and “Anything Once” (1927), came with an icy heart, a malevolent grin, and Max was bumped up to the leading role in his own beady eyes that loved to see his screen father series and given the opportunity to flesh out his squirm. standard screen persona. The first entries were di- rected by Leo McCarey, then director-general of the In contrast to his sons like Spec, Max’s screen Roach Studio, who laid the ground work with shorts daughters are always his pride and joy, but still such as “Why Girls Say No,” “Jewish Prudence,” cause him a lot of aggravation, particularly when “Don’t Tell Everything,” and “Should Second they take up with boys he doesn’t approve of or as- Husbands Come First?” (all 1927).
    [Show full text]
  • Fall 2011 FSCP 81000 – Film History II
    Fall 2011 FSCP 81000 – Film History II, Professor Paula Massood, Wednesday, 2:00-6:00pm, Room C-419, 3 credits [15907] Cross listed with THEA 71600/ART 79500/MALS 76300 This course is devoted to intensive analysis of the international development of cinema as a medium and art form from the early sound years (1930 onward) to the present. We will concentrate on major film tendencies and aesthetic and political developments through a close examination of individual film texts. Subjects covered will include Hollywood filmmaking during the Depression years, French Poetic Realism, Italian Neorealism, melodrama and other postwar Hollywood genres, the rise of global "new waves" (including French, Latin American, and German filmmaking movements from the late-1950s through the 1970s) and modernist tendencies in international cinema. We will also examine the rise of American independent filmmaking, recent global cinema trends, and the effects of new digital technologies on visual and narrative aesthetics. Emphasis will be placed on the major historical currents of each period and on changes in aesthetic, political and industrial context. Required Texts: Required: David A. Cook. A History of Narrative Film. 3rd ed. New York: Norton, 1996. Available through the GC Virtual Bookshop. Scheduled films and supplemental readings ® are on reserve in the library. Recommended books and additional films are listed in the syllabus, available in the Certificate Programs office (Room 5110). Please note: Students are not required to purchase recommended texts or view all the suggested films. Course Requirements: Writing Assignments: 1) 8pp. essay on prearranged topic. (40%) 2) 15pp. final essay on topic of choice.
    [Show full text]
  • Listado Películas De Temas Religiosos Amén [Recurso Electrónico
    Listado películas de temas religiosos Amén [Recurso electrónico] / dirigida por Constantin Costa- Gavras. Ángeles y demonios [Recurso electrónico] / dirigida por Ron Howard. El baño del Papa [Recurso electrónico] / dirigida por César Charlone y Enrique Fernández. Ben-Hur [Recurso electrónico] / dirigida por William Wyler. Ben-Hur [Recurso electrónico] / dirigida por William Wyler. Narciso negro [Recurso electrónico] / [guión y dirección] Michael Powell y Emeric Pressburger. El cuerpo [Recurso electrónico] / dirigida por Jonas McCord. El crimen del Padre Amaro [Recurso electrónico] / una película de Carlos Carrera. El código Da Vinci [Recurso electrónico] / dirigida por Ron Howard. Daens [Recurso electrónico] / dirigida por Stijn Coninx. La duda [Recurso electrónico] / dirigida por John Patrick Shanley. ¿Y ahora adónde vamos? / película de Nadine Labaki. El exorcista [Recurso electrónico] / dirigida por William Friedkin. La gran prueba [Recurso electrónico] / producida y dirigida por William Wyler. Siguiendo mi camino [Recurso electrónico] / dirigida por Leo McCarey. Un hombre para la eternidad [Recurso electrónico] / dirigida por Fred Zinnemann. Ida [Recurso electrónico] / director, Pawel Pawlikowski En busca de la tumba de Cristo [Recurso electrónico] / dirigida por Giulio Base. Los jueves, milagro [Recurso electrónico] / director Luis García Berlanga. Rey de reyes [Recurso electrónico] / dirigida por Nicholas Ray. La última tentación de Cristo [Recurso electrónico] / una película de Martin Scorsese. La vida de Brian [Recurso electrónico] / dirigida por Terry Jones. El fuego y la palabra [Recurso electrónico] / guión y dirección Richard Brooks. Lutero [Recurso electrónico] / Eric Till, dir. La mala educación [Recurso electrónico] / guión y dirección de Pedro Almodóvar. Las manos [Recurso electrónico] / director Alejandro Doria. Marcelino, pan y vino [Recurso electrónico] / director Ladislao Vajda.
    [Show full text]
  • Jack Oakie & Victoria Horne-Oakie Films
    JACK OAKIE & VICTORIA HORNE-OAKIE FILMS AVAILABLE FOR RESEARCH VIEWING To arrange onsite research viewing access, please visit the Archive Research & Study Center (ARSC) in Powell Library (room 46) or e-mail us at [email protected]. Jack Oakie Films Close Harmony (1929). Directors, John Cromwell, A. Edward Sutherland. Writers, Percy Heath, John V. A. Weaver, Elsie Janis, Gene Markey. Cast, Charles "Buddy" Rogers, Nancy Carroll, Harry Green, Jack Oakie. Marjorie, a song-and-dance girl in the stage show of a palatial movie theater, becomes interested in Al West, a warehouse clerk who has put together an unusual jazz band, and uses her influence to get him a place on one of the programs. Study Copy: DVD3375 M The Wild Party (1929). Director, Dorothy Arzner. Writers, Samuel Hopkins Adams, E. Lloyd Sheldon. Cast, Clara Bow, Fredric March, Marceline Day, Jack Oakie. Wild girls at a college pay more attention to parties than their classes. But when one party girl, Stella Ames, goes too far at a local bar and gets in trouble, her professor has to rescue her. Study Copy: VA11193 M Street Girl (1929). Director, Wesley Ruggles. Writer, Jane Murfin. Cast, Betty Compson, John Harron, Ned Sparks, Jack Oakie. A homeless and destitute violinist joins a combo to bring it success, but has problems with her love life. Study Copy: VA8220 M Let’s Go Native (1930). Director, Leo McCarey. Writers, George Marion Jr., Percy Heath. Cast, Jack Oakie, Jeanette MacDonald, Richard “Skeets” Gallagher. In this comical island musical, assorted passengers (most from a performing troupe bound for Buenos Aires) from a sunken cruise ship end up marooned on an island inhabited by a hoofer and his dancing natives.
    [Show full text]
  • FLM201 Film Genre: Understanding Types of Film (Study Guide)
    Course Development Team Head of Programme : Khoo Sim Eng Course Developer(s) : Khoo Sim Eng Technical Writer : Maybel Heng, ETP © 2021 Singapore University of Social Sciences. All rights reserved. No part of this material may be reproduced in any form or by any means without permission in writing from the Educational Technology & Production, Singapore University of Social Sciences. ISBN 978-981-47-6093-5 Educational Technology & Production Singapore University of Social Sciences 463 Clementi Road Singapore 599494 How to cite this Study Guide (MLA): Khoo, Sim Eng. FLM201 Film Genre: Understanding Types of Film (Study Guide). Singapore University of Social Sciences, 2021. Release V1.8 Build S1.0.5, T1.5.21 Table of Contents Table of Contents Course Guide 1. Welcome.................................................................................................................. CG-2 2. Course Description and Aims............................................................................ CG-3 3. Learning Outcomes.............................................................................................. CG-6 4. Learning Material................................................................................................. CG-7 5. Assessment Overview.......................................................................................... CG-8 6. Course Schedule.................................................................................................. CG-10 7. Learning Mode...................................................................................................
    [Show full text]
  • Johnny Stecchino with Roberto Benigni and Nicoletta Braschi Selected Filmography
    Johnny Stecchino with Roberto Benigni and Nicoletta Braschi Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Film Works Discussed During the Event Life Is Beautiful (La vita è bella). Dir. Roberto Benigni, 1997, Italy. 116 mins. Production Co.: Cecchi Cori Group Tiger Cinematografica / Melampo Cinematografica. The Monster (Il mostro). Dir. Roberto Benigni, 1994, Italy, France. 112 mins. Production Co.: Canal Plus / IRIS Films / La Sept Cinéma / Melampo Cinematografica / Union Générale Cinématographique. Johnny Stecchino. Dir. Roberto Benigni, 1991, Italy. 102 mins. Production Co.: Cecchi Cori Group Tiger Cinematografica / Penta Film / Silvio Berlusconi Communications. The Little Devil (Il piccolo diavolo). Dir. Roberto Benigni, 1988, Italy. 101 mins. Production Co.: Yarno Cinematografica / Cecchi Gori Group Tiger Cinematografica / Reteitalia. The Great Dictator. Dir. Charles Chaplin, 1940, U.S.A. 125 mins. Production Co.: Charles Chaplin Productions. The Kid. Dir. Charles Chaplin, 1921, U.S.A. 68 mins. Production Co.: Charles Chaplin Productions. Roberto Benigni Filmography To Rome with Love. Dir. Woody Allen, 2012, U.S.A, Italy, Spain. 112 mins. Production Co.: Medusa Film / Gravier Productions / Perdido Productions / Mediapro. Amos Poe’s Divine Comedy (La commedia di Amos Poe).
    [Show full text]
  • Films from the THIRTIES: PART II 1935-39
    t% The Museum of Modern Art 1] West 53 Street, New York, N.Y. 10019 Tel. 245-3200 Cable: Modernart No. 83 FOR RELEASE: Friday, August 25, I968 Films from THE THIRTIES: PART II 1935-39 The Museum of Modern Art, will present a retrospective of films from the thirties beginning August 23, and running through October 6. The Thirties, according to Willard Van Dyke, Director of the Department of Film, will consist of 39 pictures, representing some of the richest creative talent in American cinema at a time that has been called "the dear, dead days not beyond recall." Two years ago the Museum presented The Thirties, U.S.A., Part I, covering the first half of the decade. The films being shown now as Part II were made from 1935 ^^ 193 '• Among the pictures to be shown are: Frank Capra's "Lost Horizon"; Paul Muni in "The Life of Emile Zola," the Story of a Northern Jew's lynching in the South; the great thriller "Night Must Fall," an adaptation of the Emlyn Williams play starring Robert Montgomery; and "The Good Earth," a spectacle film in black and white, from Pearl Buck's popular novel, for which Luise Rainer won her second Academy Award, with Paul Muni in the starring role. The latter part of the thirties was characterized by further achievements in the musical film, largely due to the talents of Fred Astaire, who with Ginger Rogers starred in "Top Hat," and "Shall We Dance," both of which are in the retrospective. The most important contributions to the annals of films made in the thirties was the series of "snowball" comedies Hollywood turned out at a time of grim, economic hardships.
    [Show full text]
  • 101 Films for Filmmakers
    101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers.
    [Show full text]
  • A Supercut of Supercuts: Aesthetics, Histories, Databases
    A Supercut of Supercuts: Aesthetics, Histories, Databases PRACTICE RESEARCH MAX TOHLINE ABSTRACT CORRESPONDING AUTHOR: Max Tohline The genealogies of the supercut, which extend well past YouTube compilations, back Independent scholar, US to the 1920s and beyond, reveal it not as an aesthetic that trickled from avant-garde [email protected] experimentation into mass entertainment, but rather the material expression of a newly-ascendant mode of knowledge and power: the database episteme. KEYWORDS: editing; supercut; compilation; montage; archive; database TO CITE THIS ARTICLE: Tohline, M. 2021. A Supercut of Supercuts: Aesthetics, Histories, Databases. Open Screens, 4(1): 8, pp. 1–16. DOI: https://doi.org/10.16995/os.45 Tohline Open Screens DOI: 10.16995/os.45 2 Full Transcript: https://www.academia.edu/45172369/Tohline_A_Supercut_of_Supercuts_full_transcript. Tohline Open Screens DOI: 10.16995/os.45 3 RESEARCH STATEMENT strong patterning in supercuts focuses viewer attention toward that which repeats, stoking uncritical desire for This first inklings of this video essay came in the form that repetition, regardless of the content of the images. of a one-off blog post I wrote seven years ago (Tohline While critical analysis is certainly possible within the 2013) in response to Miklos Kiss’s work on the “narrative” form, the supercut, broadly speaking, naturally gravitates supercut (Kiss 2013). My thoughts then comprised little toward desire instead of analysis. more than a list; an attempt to add a few works to Armed with this conclusion, part two sets out to the prehistory of the supercut that I felt Kiss and other discover the various roots of the supercut with this supercut researchers or popularizers, like Tom McCormack desire-centered-ness, and other pragmatics, as a guide.
    [Show full text]
  • A Guild Is Born Dorothy Arzner
    80-YEAR ANNIVERSARY The Screen KING VIDOR 1938 >“Women’s dramatic sense is “Directors Guild DOROTHY invaluable to the motion picture was organized industry,” said Dorothy Arzner, solely by ARZNER whose contributions include and for the First Female 80 YEARS STRONG motion picture being the first female member Member 1933 >The formation of the Directors director…. We of the Directors Guild. In early A GUILD Guild had been percolating for a are not anti- Hollywood, Arzner was a typist, number of years. Amid nationwide anything: the screenwriter, editor, and ultimately, director. IS BORN labor unrest in the country, the Guild being She is believed to have developed the boom mic, studios had been squeezing directors formed for the enabling actors to move and speak more easily purpose of both financially and creatively. The first step toward in early talkies. At one time under contract to assisting and Paramount, Arzner is organizing a guild occurred in 1933 outside the Hol- improving the lywood Roosevelt Hotel, after a meeting in which best known for directing director’s work such strong personalities the studios announced a 50 percent across-the-board in the form of pay cut. After the meeting, King Vidor and a handful a collective as Clara Bow, Claudette of directors congregated on the sidewalk and knew body, rather Colbert, Katharine something had to be done. They understood, as Vidor than as an Hepburn, and Joan put it, “We must have a guild to speak [for us], and individual. Crawford in films such not the individual, who can be hurt by standing up as Honor Among Lovers “I worked on my for his rights.” That guild was born in late 1935 and ” (1931) and Christopher first project under Strong (1933).
    [Show full text]
  • Twentieth Century Fox: 1935-1965
    The Museum of Modern Art For Immediate Release June 1990 Twentieth Century Fox: 1935-1965 July 1 - September 11, 1990 This summer, The Museum of Modern Art pays tribute to Twentieth Century Fox with a retrospective of over ninety films made between 1935 and 1965. Opening on July 1, 1990, TWENTIETH CENTURY FOX: 1935-1965 traces three key decades in the history of the studio, celebrating the talents of the artists on both sides of the cameras who shaped this period. The exhibition continues through September 11. Formed in 1915, the Fox Film Corporation merged in 1935 with the much younger Twentieth Century to launch a major new studio. Under the supervision of Darryl F. Zanuck, Twentieth Century Fox developed a new house style, emphasizing epic biographies such as John Ford's The Prisoner of Shark Island (1936) and Allan Dwan's Suez (1938) and snappy urban pictures such as Sidney Lanfield's Hake Up and Live (1937) and Roy Del Ruth's Thanks a Million (1935). The studio also featured such fresh screen personalities as Tyrone Power, Alice Faye, and Shirley Temple. From this time on, the studio masterfully anticipated and shaped the tastes of the movie-going public. During World War II, Twentieth Century Fox made its mark with a series of exuberant Technicolor musicals featuring such actresses as Betty Grable and Carmen Miranda. After the war, the studio shifted focus and began to highlight other genres including films noirs such as Edmund Goulding's Nightmare Alley (1947) and Otto Preminger's Where the Sidewalk Ends (1950), wry satirical films such as Joseph L.
    [Show full text]
  • Putney Swope
    THE FILM FOUNDATION 2019 ANNUAL REPORT OVERVIEW The Film Foundation supports the restoration of films from every genre, era, and region, and shares these treasures with audiences through hundreds of screenings every year at festivals, archives, repertory theatres, and other venues around the world. The foundation educates young people with The Story of Movies, its groundbreaking interdisciplinary curriculum that has taught visual literacy to over 10 million US students. In 2019, The Film Foundation welcomed Kathryn Bigelow, Sofia Coppola, Guillermo del Toro, Joanna Hogg, Barry Jenkins, Spike Lee, and Lynne Ramsay to its board of directors. Each has a deep understanding and knowledge of cinema and its history, and is a fierce advocate for its preservation and protection. Preservation and Restoration World Cinema Project Working in partnership with archives and studios, The Film Foundation’s World Cinema Project has The Film Foundation has helped save over 850 films restored 40 films from24 countries to date. to date. Completed projects in 2019 included: Completed projects in 2019 included: THE CLOUD– William Wyler’s beloved classic, DODSWORTH; CAPPED STAR (India, 1960, d. Ritwik Ghatak), EL Herbert Kline’s acclaimed documentary about FANTASMA DEL CONVENTO (Mexico, 1934, d. Czechoslovakia during the Nazi occupation, CRISIS: Fernando de Fuentes), LOS OLVIDADOS (Mexico, A FILM OF “THE NAZI WAY”; Arthur Ripley’s film 1950, d. Luis Buñuel), LA FEMME AU COUTEAU noir about a pianist suffering from amnesia, VOICE (Côte d’Ivoire, 1969, d. Timité Bassori), and MUNA IN THE WIND; and John Huston’s 3–strip Technicolor MOTO (Cameroon, 1975, d. Jean–Pierre Dikongué– biography of Toulouse–Lautrec, MOULIN ROUGE.
    [Show full text]