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A Sheffield Hallam University Thesis
Taboo : why are real-life British serial killers rarely represented on film? EARNSHAW, Antony Robert Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20984/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to 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 http://shura.shu.ac.uk/20984/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Taboo: Why are Real-Life British Serial Killers Rarely Represented on Film? Antony Robert Earnshaw Sheffield Hallam University MA English by Research September 2017 1 Abstract This thesis assesses changing British attitudes to the dramatisation of crimes committed by domestic serial killers and highlights the dearth of films made in this country on this subject. It discusses the notion of taboos and, using empirical and historical research, illustrates how filmmakers’ attempts to initiate productions have been vetoed by social, cultural and political sensitivities. Comparisons are drawn between the prevalence of such product in the United States and its uncommonness in Britain, emphasising the issues around the importing of similar foreign material for exhibition on British cinema screens and the importance of geographic distance to notions of appropriateness. The influence of the British Board of Film Classification (BBFC) is evaluated. This includes a focus on how a central BBFC policy – the so- called 30-year rule of refusing to classify dramatisations of ‘recent’ cases of factual crime – was scrapped and replaced with a case-by-case consideration that allowed for the accommodation of a specific film championing a message of tolerance. -
Teaching Social Issues with Film
Teaching Social Issues with Film Teaching Social Issues with Film William Benedict Russell III University of Central Florida INFORMATION AGE PUBLISHING, INC. Charlotte, NC • www.infoagepub.com Library of Congress Cataloging-in-Publication Data Russell, William B. Teaching social issues with film / William Benedict Russell. p. cm. Includes bibliographical references and index. ISBN 978-1-60752-116-7 (pbk.) -- ISBN 978-1-60752-117-4 (hardcover) 1. Social sciences--Study and teaching (Secondary)--Audio-visual aids. 2. Social sciences--Study and teaching (Secondary)--Research. 3. Motion pictures in education. I. Title. H62.2.R86 2009 361.0071’2--dc22 2009024393 Copyright © 2009 Information Age Publishing Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher. Printed in the United States of America Contents Preface and Overview .......................................................................xiii Acknowledgments ............................................................................. xvii 1 Teaching with Film ................................................................................ 1 The Russell Model for Using Film ..................................................... 2 2 Legal Issues ............................................................................................ 7 3 Teaching Social Issues with Film -
It's a Conspiracy
IT’S A CONSPIRACY! As a Cautionary Remembrance of the JFK Assassination—A Survey of Films With A Paranoid Edge Dan Akira Nishimura with Don Malcolm The only culture to enlist the imagination and change the charac- der. As it snows, he walks the streets of the town that will be forever ter of Americans was the one we had been given by the movies… changed. The banker Mr. Potter (Lionel Barrymore), a scrooge-like No movie star had the mind, courage or force to be national character, practically owns Bedford Falls. As he prepares to reshape leader… So the President nominated himself. He would fill the it in his own image, Potter doesn’t act alone. There’s also a board void. He would be the movie star come to life as President. of directors with identities shielded from the public (think MPAA). Who are these people? And what’s so wonderful about them? —Norman Mailer 3. Ace in the Hole (1951) resident John F. Kennedy was a movie fan. Ironically, one A former big city reporter of his favorites was The Manchurian Candidate (1962), lands a job for an Albu- directed by John Frankenheimer. With the president’s per- querque daily. Chuck Tatum mission, Frankenheimer was able to shoot scenes from (Kirk Douglas) is looking for Seven Days in May (1964) at the White House. Due to a ticket back to “the Apple.” Pthe events of November 1963, both films seem prescient. He thinks he’s found it when Was Lee Harvey Oswald a sleeper agent, a “Manchurian candidate?” Leo Mimosa (Richard Bene- Or was it a military coup as in the latter film? Or both? dict) is trapped in a cave Over the years, many films have dealt with political conspira- collapse. -
1,000 Films to See Before You Die Published in the Guardian, June 2007
1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation. -
October 9, 2012 (XXV:6) David Miller, LONELY ARE the BRAVE (1962, 107 Min)
October 9, 2012 (XXV:6) David Miller, LONELY ARE THE BRAVE (1962, 107 min) Directed by David Miller Screenplay by Dalton Trumbo Based on the novel, The Brave Cowboy, by Edward Abbey Produced by Edward Lewis Original Music by Jerry Goldsmith Cinematography by Philip H. Lathrop Film Editing by Leon Barsha Art Direction by Alexander Golitzen and Robert Emmet Smith Set Decoration by George Milo Makeup by Larry Germain, Dave Grayson, and Bud Westmore Kirk Douglas…John W. "Jack" Burns Gena Rowlands…Jerry Bondi Walter Matthau…Sheriff Morey Johnson Michael Kane…Paul Bondi Carroll O'Connor…Hinton William Schallert…Harry George Kennedy…Deputy Sheriff Gutierrez Karl Swenson…Rev. Hoskins William Mims…First Deputy Arraigning Burns Martin Garralaga…Old Man Lalo Rios…Prisoner Bill Bixby…Airman in Helicopter Bill Raisch…One Arm Table Tennis, 1936 Let's Dance, 1935 A Sports Parade Subject: Crew DAVID MILLER (November 28, 1909, Paterson, New Jersey – April Racing, and 1935 Trained Hoofs. 14, 1992, Los Angeles, California) has 52 directing credits, among them 1981 “Goldie and the Boxer Go to Hollywood”, 1979 “Goldie DALTON TRUMBO (James Dalton Trumbo, December 9, 1905, and the Boxer”, 1979 “Love for Rent”, 1979 “The Best Place to Be”, Montrose, Colorado – September 10, 1976, Los Angeles, California) 1976 Bittersweet Love, 1973 Executive Action, 1969 Hail, Hero!, won best writing Oscars for The Brave One (1956) and Roman 1968 Hammerhead, 1963 Captain Newman, M.D., 1962 Lonely Are Holiday (1953). He was blacklisted for many years and, until Kirk the Brave, 1961 Back Street, 1960 Midnight Lace, 1959 Happy Douglas insisted he be given screen credit for Spartacus was often to Anniversary, 1957 The Story of Esther Costello, 1956 Diane, 1951 write under a pseudonym. -
Classic Film Series
Pay-as-you-wish Friday Nights! CLASSIC PAID Non-Profit U.S. Postage Permit #1782 FILM SERIES White Plains, NY Winter/Spring 2016 Pay-as-you-wish Friday Nights! Bernard and Irene Schwartz Classic Film Series Join us for the New-York Historical Society’s film series, featuring opening remarks by notable directors, writers, actors, and historians. Justice in Film Explore how film has tackled social conflict, morality, and the perennial struggles between right and wrong that are waged from the highest levels of government to the smallest local communities. Entrance to the film series is included with Museum Admission during New-York Historical’s Pay-as-you-wish Friday Nights (6–8 pm). No advanced reservations. Tickets are distributed on a first-come, first-served basis beginning at 6 pm. New-York Historical Society Members receive priority. For more information on our featured films and speakers, please visit nyhistory.org/programs or call (212) 485-9205. Dale Gregory Vice President for Public Programs | Alex Kassl Manager of Public Programs | Hannah Donoghue Assistant Manager of Public Programs | Kate Yurkovsky Public Programs Assistant Classic Film Series Film Classic 170 Central Park170 West at Richard Gilder (77th Way Street) NY 10024New York, Publication Team: NEW-YORK HISTORICAL SOCIETY MUSEUM LIBRARY Justice in Film Friday, February 12, 7 pm Don Pollard Don Pollard Don Doran Marissa Harold Shapiro Glory | 1989 | 122 min. Historians Edna Greene Medford and David W. Blight, in conversation with Harold Holzer, present this Civil War epic that follows the first all-black regiment as they fight for racial equality among their fellow Union Army officers as well as against the Confederates. -
Monday 25 July 2016, London. Ahead of Kirk Douglas' 100Th Birthday This
Monday 25 July 2016, London. Ahead of Kirk Douglas’ 100th birthday this December, BFI Southbank pay tribute to this major Hollywood star with a season of 20 of his greatest films, running from 1 September – 4 October 2016. Over the course of his sixty year career, Douglas became known for playing iconic action heroes, and worked with the some of the greatest Hollywood directors of the 1940s and 1950s including Billy Wilder, Howard Hawks, Vincente Minnelli and Stanley Kubrick. Films being screened during the season will include musical drama Young Man with a Horn (Michael Curtiz, 1949) alongside Lauren Bacall and Doris Day, Stanley Kubrick’s epic Spartacus (1960), Champion (Mark Robson, 1949) for which he received the first of three Oscar® nominations for Best Actor, and the sci- fi family favourite 20,000 Leagues Under the Sea (Richard Fleischer, 1954). The season will kick off with a special discussion event Kirk Douglas: The Movies, The Muscles, The Dimple; this event will see a panel of film scholars examine Douglas’ performances and star persona, and explore his particular brand of Hollywood masculinity. Also included in the season will be a screening of Seven Days in May (John Frankenheimer, 1964) which Douglas starred in opposite Ava Gardner; the screening will be introduced by English Heritage who will unveil a new blue plaque in honour of Ava Gardner at her former Knightsbridge home later this year. Born Issur Danielovich into a poor immigrant family in New York State, Kirk Douglas began his path to acting success on a special scholarship at the American Academy of Dramatic Arts in New York City, where he met Betty Joan Perske (later to become better known as Lauren Bacall), who would play an important role in helping to launch his film career. -
The Inventory of the Michael Douglas Collection #1839
The Inventory of the Michael Douglas Collection #1839 Howard Gotlieb Archival Research Center Douglas, Michael #1839 3/31/16, 4/7/16 Preliminary Listing I. Wardrobe. A. Costumes. Box 1-2 1. “The American President.” Box 3-8 2. “Behind the Candelabra.” Box 9 3. “Disclosure.” 4. “A Perfect Murder.” 5. “Romancing The Stone.” Box 9-14 6. “The Game.” Box 15-20 7. “The In-Laws.” Box 21-25 8. “It Runs In The Family.” Box 26 9. “Jewel Of The Nile.” Box 27-32 10. “Traffic.” Box 33-37 11. “Wonder Boys.” Box 38 12. “Wall Street.” B. Hanging Costumes. Pkg. 1-2 1. “The American President.” Pkg. 3-35 2. “Behind the Candelabra.” Pkg. 36-57 3. “The Game.” Pkg. 58-78 4. “The In-Laws.” Pkg. 79-116 5. “It Runs In The Family.” Pkg. 117 6. “Wall Street.” Box 39-56 C. Personal. Pkg. 118-124 D. Hanging Personal. II. Printed Materials. A. Files. Box 57-88 1. Clippings (not on their spreadsheets). Box 88 2. General. B. Blueprints/Maps. C. Internet printouts. D. Postcards. Box 89-91 E. Magazines. Box 92-94 F. Programs. Box 95 G. Newspapers. Box 95-96 H. Reviews. Box 96 I. Clippings. J. Booklets. K. Pamphlets. L. Fliers. Box 97 M. Posters. Pkg. 125-141 N. Oversized posters. Douglas, Michael (3/31/16, 4/7/16) Page 1 of 46 III. Film and Video. Box 98-131 A. VHS. Box 131 B. 8 mm cassettes. C. Mini-DVs. Box 132 D. DV-Cams. Box 133 E. DVDs. Box 134 F. -
New Hollywood Violence and the 1960S True Crime Cycle Tim
1 Guilty Pleasures: New Hollywood Violence and the 1960s True Crime Cycle Tim Snelson Abstract: This article focuses on a cycle of late 1960s true crime films depicting topical mass/serial murders. It argues that the conjoined ethical and aesthetic approaches of these films were shaped within and by a complex climate of contestation as they moved from newspaper headlines to best-sellers lists to cinema screens. Whilst this cycle was central to critical debates about screen violence during this key moment of institutional, regulatory and aesthetic transition, they have been almost entirely neglected or, at best, misunderstood. Meeting at the intersection of, and therefore falling between the gaps of scholarship on the Gothic horror revival and New Hollywood’s violent revisionism, this cycle reversed the generational critical divisions that instigated a new era in filmmaking and criticism. Adopting a historical reception studies approach, this article challenges dominant understandings of the depiction and reception of violence and horror in this defining period. Keywords: reception studies; film cycles; New Hollywood; violence; true crime; 1960s In June 1968 Kine Weekly columnist Derek Todd identified a current cycle of true crime films based on topical mass/serial murder cases and, in most cases, recent bestselling books. He suggested that this Anglo-American production cycle had been triggered by the success of Bonnie and Clyde (1967) and Richard Brooks’ ‘equally horrifying’ adaptation of Truman Capote’s In Cold Blood (1967). Titled ‘should we be exploiting the harmonics of horror?’, Todd’s article pinpointed the recently released The Boston Strangler (1968) and in-production 10 Rillington Place (1971), both directed by Hollywood veteran Richard Fleischer, as evidence of the escalating number and morbidity of such films. -
Jack the Ripper in Film and Culture
Jack the Ripper in Film and Culture Top Hat, Gladstone Bag and Fog Clare Smith General Editor: Clive Bloom Crime Files Series Editor Clive Bloom Emeritus Professor of English and American Studies Middlesex University London Since its invention in the nineteenth century, detective fi ction has never been more popular. In novels, short stories, fi lms, radio, television and now in computer games, private detectives and psychopaths, poisoners and overworked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fi ction. Every aspect of crime writing, detective fi ction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. More information about this series at http://www.springer.com/series/[14927] Clare Smith Jack the Ripper in Film and Culture Top Hat, Gladstone Bag and Fog Clare Smith University of Wales: Trinity St. David United Kingdom Crime Files ISBN 978-1-137-59998-8 ISBN 978-1-137-59999-5 (eBook) DOI 10.1057/978-1-137-59999-5 Library of Congress Control Number: 2016938047 © The Editor(s) (if applicable) and The Author(s) 2016 The author has/have asserted their right to be identifi ed as the author of this work in accor- dance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. -
2018-2019 BIC Teaching Guide
Collin College DigitalCommons@Collin Book in Common Center for Scholarly and Civic Engagement 9-1-2018 2018-2019 BIC Teaching Guide Marta Moore Editor Follow this and additional works at: https://digitalcommons.collin.edu/bookincommon Recommended Citation Moore, Marta Editor, "2018-2019 BIC Teaching Guide" (2018). Book in Common. 10. https://digitalcommons.collin.edu/bookincommon/10 This Article is brought to you for free and open access by the Center for Scholarly and Civic Engagement at DigitalCommons@Collin. It has been accepted for inclusion in Book in Common by an authorized administrator of DigitalCommons@Collin. For more information, please contact [email protected]. BOOK-IN-COMMON TEACHING GUIDE 2018-2019 Collin College Book-in-Common Committee 2017-2018 BOOK-IN-COMMON CONTRIBUTORS Letha Clair Robertson Casey L. Carter Khimen Cooper Linda Sears Gary H. Wilson Lisa A. Kirby Dallie Clark Debra St. John Jules Sears Gloria Cockerell Kay Mizell Lubna Javeed Lisa Hull Forrester Melisa Blackmore William Brannon Ryan Fletcher Marta Moore Helen McCourt Stephanie James Joan Kennedy Gerald Sullivan Melissa Johnson EDITOR Marta Moore CONTACTS For more information about the Book-in-Common Program please see the website www.collin.edu/academics/bookincommon or contact one of our coordinators: Name Role e-mail Betty Bettacchi District Coordinators [email protected] Ryan Fletcher [email protected] Catie Brooks Central Park Campus [email protected] Coordinator Cheryl Wiltse Preston Ridge Campus [email protected] Coordinator Marta Moore -
The Train Train Paul L
TREASURES FROM THE YALE FILM ARCHIVE SUNDAY AN ONGOING SERIES OF CLASSIC AND CONTEMPORARY FILMS PRESENTED IN 35MM BY THE YALE FILM STUDY CENTER NOVEMBER 8, 2015 2:00PM • WHITNEY HUMANITIES CENTER PRESENTED WITH SUPPORT FROM THETHE TRAIN TRAIN PAUL L. JOSKOW ’70 M.PHIL., ’72 PH.D. All of the trains, crashes, and wrecks are real: the filmmakers did not take advantage of the technological illusions (miniatures, rear screen projection, matte shots) available in 1964. And Burt Lancaster, age 51, did all of his stunts, whether jumping on and off moving trains or climbing rooftops and steep hills. THE TRAIN is so authentic, so believable in every detail–and so exciting–that one can forgive its major departures from actuality. THE ACTUALITY: The Nazis had destroyed thousands of paintings (deemed “degenerate art”) seized from public and pri- vate collections in Germany and occupied countries, but allowed many to survive so that they could be sold to support the No. war effort. As the Allies approached Paris in August 1944, the Nazis loaded 148 crates of paintings onto a train bound for S E 32 Germany. Rose Valland, the curator who had risked her life to ensure the paintings’ survival during the Occupation, engaged A S O N the Resistance in stopping the train. Cooperative bureaucrats manipulated red tape, and the train never got beyond a few miles from Paris. The film completely transforms this event into an expansive adventure, with railway inspector Labiche (Lancaster) perform- ing a rescue operation that looks forward to the elaborate deceptions of MISSION: IMPOSSIBLE and to many action-suspense movies (e.g.