Cast of the Verdict with Paul Newman
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Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
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. -
The Eddie Awards Issue
THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE EDDIE AWARDS ISSUE IN THIS ISSUE Golden Eddie Honoree GUILLERMO DEL TORO Career Achievement Honorees JERROLD L. LUDWIG, ACE and CRAIG MCKAY, ACE PLUS ALL THE WINNERS... FEATURING DUMBO HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD AND MUCH MORE! US $8.95 / Canada $8.95 QTR 1 / 2019 / VOL 69 Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. All other trademarks are the property of their respective owners. Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. -
Once Upon a Time in Hollywood
THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE SUMMER MOVIE ISSUE IN THIS ISSUE Once Upon a Time in Hollywood PLUS John Wick: Chapter 3 – Parabellum Rocketman Toy Story 4 AND MUCH MORE! US $8.95 / Canada $8.95 QTR 2 / 2019 / VOL 69 FOR YOUR EMMY ® CONSIDERATION OUTSTANDING SINGLE-CAMERA PICTURE EDITING FOR A DRAMA SERIES - STEVE SINGLETON FYC.NETFLIX.COM CINEMA EDITOR MAGAZINE COVER 2 ISSUE: SUMMER BLOCKBUSTERS EMMY NOMINATION ISSUE NETFLIX: BODYGUARD PUB DATE: 06/03/19 TRIM: 8.5” X 11” BLEED: 8.75” X 11.25” PETITION FOR EDITORS RECOGNITION he American Cinema Editors Board of Directors • Sundance Film Festival T has been actively pursuing film festivals and • Shanghai International Film Festival, China awards presentations, domestic and international, • San Sebastian Film Festival, Spain that do not currently recognize the category of Film • Byron Bay International Film Festival, Australia Editing. The Motion Picture Editors Guild has joined • New York Film Critics Circle with ACE in an unprecedented alliance to reach out • New York Film Critics Online to editors and industry people around the world. • National Society of Film Critics The organizations listed on the petition already We would like to thank the organizations that have recognize cinematography and/or production design recently added the Film Editing category to their Annual Awards: in their annual awards presentations. Given the essential role film editors play in the creative process • Durban International Film Festival, South Africa of making a film, acknowledging them is long • New Orleans Film Festival overdue. We would like to send that message in • Tribeca Film Festival solidarity. -
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. -
The Dramatic Denzel Washington
• COVER STORY Continued from COVER father Malcolm X.ltis interesting to note that in the numerous discourses on Malcolm, his Caribbean heritage and its influence on his life has not been a main issue, if indeed noted at all. His mother, Louise Norton, who died in 1990,was a native Grenadian. For her children, she always stressed the importance of self-awareness and the development of one's character. "It's that sense of self and that con- fidence that enabled him to speak out for everybody;' says Malikah, who intends to visit Grenada to fill in some of the gaps in her family tree. "I think that my lather's backbone came from my grandmother." She emphasizes that though her father was very proud of the various facets of his heritage, he did not sep- arate them. He would define himself as an "African in America" since, despite the differences in the roots from which we came and the routes we all took to get here, we are ultimately all from one place-Africa. Very much her father's daughter, in appearance aswell as insight, Malikah observes, "Wecan't separate ourselves because that separation allows the problems that exist to continue:' MALCOLM THE REEL DEAL Photo: Peterson Grosvenor Malcolm X's daughter, Malikah Shabazz, pic- tured with CLASS publisher's daughter, Katurah Elizabeth John-Sandy twas 27 years ago that Malcolm X was assassinated, yet his legacy is causing as much furor and con- troversy as he did when he was alive. During his lifetime, an eventI-filled 39 years, Malcolm Little underwent several transformations. -
Menelik Shabazz • Havana, Rotterdain Filin Festivals L.A
Menelik Shabazz • Havana, RotterdaIn FilIn Festivals L.A. FilInInakers • Latin-African Cooperation $2.25 o 0 0 0 0 0 0 0 a 00000000000000 DOD 0 000 000 000 0 0 000 BL_- K LM BII IIlW o 0000000000000 000 0000000000000000000 000 0 0 Vol. 2 No.2 Published Quarterly Spring 1986 POSITIVE PRODU TIONSJ I -s BY OFFERING THREE SEPERATE OPPORTUNITIES TO SEE NEW FILMS BY AFRICAN AND AFRICAN AMERICAN FI~KERSJ TAKE WORKSHOPS IN DIRECTING AND SCRIPTWRITING AND HEARING PANEL DISCUSSIONS ON AFRICAN AND AFRICAN AMERICAN FIUMMAKING EVENTS AFRlCAN·FtLM.M1NI SERIES FoURTH ANNUAL BENEFIT FILM BIOGRAPH HEATRE FESTIVAL MARCH 3-6 SLM1ER OF 1986 "BRIDGES -A RETROSPECTIVE OF AFRICAN AND AFRICAN PMERICAN CINEMA" - FALL 1986 PMER lCAN FI I..M INST IlUTE FOR MORE INFORMATION CALL 529-0220 African and African American MYPHED UHF ILM 8 1 INC. filmmakers are struggling to make their points of view known o African-American families are struggling to find media relevent to their own experiences s We are working to bring thes~ two groups togethero We distribute films nationally and internationally (members of the Committee of African Cineaste: For the Defense of African Filmmakers)o Our newest arrivals include thirteen new titles made by African film makers o For brochures contact: MYPHEDUH FILMS, INC o 48 Q Street NGE o Washington DoC. 20002 (202)529-0220 p_ln.TIlE DlSlRJCJ Of COL1JIB1I 3 BLACK FILM. REVIEW 110 SSt. NW washington, DC 20001 Editor and Publisher Contents David Nicholson Goings On Consulting Editor Independent films at the Rotterdam Festival; actors' unions meet on Tony Gittens (Black Film Insti employment issues. -
Red and White on the Silver Screen: the Shifting Meaning and Use of American Indians in Hollywood Films from the 1930S to the 1970S
RED AND WHITE ON THE SILVER SCREEN: THE SHIFTING MEANING AND USE OF AMERICAN INDIANS IN HOLLYWOOD FILMS FROM THE 1930s TO THE 1970s a dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Bryan W. Kvet May, 2016 (c) Copyright All rights reserved Except for previously published materials Dissertation Written by Bryan W. Kvet B.A., Grove City College, 1994 M.A., Kent State University, 1998 Ph.D., Kent State University, 2015 Approved by ___Kenneth Bindas_______________, Chair, Doctoral Dissertation Committee Dr. Kenneth Bindas ___Clarence Wunderlin ___________, Members, Doctoral Dissertation Committee Dr. Clarence Wunderlin ___James Seelye_________________, Dr. James Seelye ___Bob Batchelor________________, Dr. Bob Batchelor ___Paul Haridakis________________, Dr. Paul Haridakis Accepted by ___Kenneth Bindas_______________, Chair, Department of History Dr. Kenneth Bindas ___James L. Blank________________, Dean, College of Arts and Sciences Dr. James L. Blank TABLE OF CONTENTS…………………………………………………………………iv LIST OF FIGURES………………………………………………………………………v ACKNOWLEDGEMENTS……………………………………………………………...vii CHAPTERS Introduction………………………………………………………………………1 Part I: 1930 - 1945 1. "You Haven't Seen Any Indians Yet:" Hollywood's Bloodthirsty Savages……………………………………….26 2. "Don't You Realize this Is a New Empire?" Hollywood's Noble Savages……………………………………………...72 Epilogue for Part I………………………………………………………………..121 Part II: 1945 - 1960 3. "Small Warrior Should Have Father:" The Cold War Family in American Indian Films………………………...136 4. "In a Hundred Years it Might've Worked:" American Indian Films and Civil Rights………………………………....185 Epilogue for Part II……………………………………………………………….244 Part III, 1960 - 1970 5. "If Things Keep Trying to Live, the White Man Will Rub Them Out:" The American Indian Film and the Counterculture………………………260 6. -
On the Meaning of a Cut : Towards a Theory of Editing
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output On the meaning of a cut : towards a theory of editing https://eprints.bbk.ac.uk/id/eprint/40391/ Version: Full Version Citation: Dziadosz, Bartłomiej (2019) On the meaning of a cut : towards a theory of editing. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email ON THE MEANING OF A CUT: TOWARDS A THEORY OF EDITING Bartłomiej Dziadosz A dissertation submitted to the Department of English and Humanities in candidacy for the degree of Doctor of Philosophy Birkbeck, University of London October 2018 Abstract I confirm that the work presented in this thesis is my own and the work of other persons is appropriately acknowledged. This thesis looks at a variety of discourses about film editing in order to explore the possibility, on the one hand, of drawing connections between them, and on the other, of addressing some of their problematic aspects. Some forms of fragmentation existed from the very beginnings of the history of the moving image, and the thesis argues that forms of editorial control were executed by early exhibitors, film pioneers, writers, and directors, as well as by a fully- fledged film editor. This historical reconstruction of how the profession of editor evolved sheds light on the specific aspects of their work. Following on from that, it is proposed that models of editing fall under two broad paradigms: of montage and continuity. -
ST. JAMES THEATER (Originally Erlanger Theater), 246-256 West 44Th Street
Landmarks Preservation Commission December 15, 1987; Designation List 198 LP-1374 ST. JAMES THEATER (originally Erlanger Theater), 246-256 West 44th Street. Built 1926-27; architects, Warren & Wetmore. Landmark Site: Borough of Manhattan Tax Map Block 1015, Lot 54. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the St. James Theater (originally Erlanger Theater) and the proposed designation of the related Landmark Site (Item No. 70). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty witnesses spoke or had statements read into the record in favor of designation. One witness spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The St. James (built as the Erlanger) Theater survives today as one of the historic playhouses that symbolize American theater for both New York and the nation. Built in 1926-27, the St. James was designed by the prominent firm of Warren & Wetmore as the last Broadway theater erected for Abraham Erlanger. Abraham Erlanger had been a principal in the infamous Klaw & Erlanger Theatrical Syndicate, which had dominated the American theater industry for several decades on either side of the turn of the century. After the break-up of the Syndicate, Klaw and Erlanger went their separate ways, and each built theaters named for themselves. -
Film and Politics Winter 2018
Political Science 410 Film and Politics Winter 2018 Professor Richard Davis 754 SWKT x2-7503 [email protected] Office Hours: Tuesdays 9-10: 45 am or by appointment Course Description This course explores the use of a mass medium - film - as a vehicle for communicating messages about political institutions and processes and the elites (primarily politicians) who are associated with them. Film is a new medium in the history of the world. One hundred years ago, film was a newly created vehicle for communicating with the mass audience. Today, mass market films reach hundreds of millions of people worldwide. This class is designed to analyze how directors use film to affect or reinforce political views or how they intentionally or unconsciously reflect certain ideas about politics in their films. We will address film’s portrayal of politicians, political institutions, political organizations, and political processes. The films we will survey primarily are feature films designed for a mass market. All have been released for theatre viewing. The questions we will answer over the semester center on the political motives of the film's director and then the ways these motives are transmitted through plot line, dialogue, music, visual images, camera angles, and various other cinematic techniques. Some questions we will continually ask throughout the semester include: What are the unstated assumptions of the film? What is the purpose of the film? From whose perspective is the story told? What other perspectives are not shown? Who is the hero (heroes) of the film? What political points does the director make? What is the historical and political context shaping the film? To what extent did the film affect the larger political environment? Course Objectives Students will be able to discern the existence of political messages of film, both intentional and unintentional. -
The 2018 Festival Program (PDF)
Co-sponsors Special Thanks to our Partner, NPRIllinois, Sponsor of Popcorn & the Audience Favorite Award Table of Contents Friday Evening ........................ 3 About the Festival ................. 6 Saturday Morning and Director’s Welcome ............. 6 Afternoon .................................... 4 Film List with Bios ....... 8-32 Saturday Evening .................. 5 Credits & Thanks ................ 34 Route 66 Film Festival Schedule Films are listed By session, alphabetically; final screening order may be different. For film synopsis and director biography, see the page number after the film title. FRIDAY, NOVEMBER 2 — Session 1, 7 PM Welcome by Festival Director Siobhan Johnson, 7 PM Complementary hors d’oeuvres available throughout the session — or order from the full menu at the Capital City Bar & Grill. Father K (p. 10) 34:00; Directed by Judd Ehrlich; USA; Documentary, Democracy It Followed Me Here (p. 13) 15:00; Directed by Matthew Godbey; USA; Drama,, Thriller Lone Rider (p. 17) 4:15; Directed by Luca Cipolla; USA; Student Showcase Marie’s Crisis (p. 18) 12:05; Directed by Michael Vecchio; USA; Documentary, Debut Film Occam’s Razor (p. 21) 18:28; Directed by Makan Talayeh; USA; Experimental The Perception (p. 24) 1:25:00; Directed by Jensen Noen; USA; Drama Step One (p. 29) 6:27; Directed by Sean Patrick Leonard; USA; Drama, Made in Illinois After Party until 1 AM 3 SATURDAY, NOVEMBER 3 — Session 2, 11 AM 93 Miles (p. 8) 16:58; Directed by Noah Canavan; USA; Drama, Foreign Language Between Us (p. 8) 11:00; Directed by Hyojin Park; USA; Drama, Debut Film Dillon (p. 10) 15:00; Directed by Michael Camp; USA; Drama A Landscape for Life (p.