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Ross Lipman Urban Ruins, Found Moments
Ross Lipman Urban Ruins, Found Moments Los Angeles premieres Tues Mar 30 | 8:30 pm $9 [students $7, CalArts $5] Jack H. Skirball Series Known as one of the world’s leading restorationists of experimental and independent cinema, Ross Lipman is also an accomplished filmmaker, writer and performer whose oeuvre has taken on urban decay as a marker of modern consciousness. He visits REDCAT with a program of his own lyrical and speculative works, including the films 10-17-88 (1989, 11 min.) and Rhythm 06 (1994/2008, 9 min.), selections from the video cycle The Perfect Heart of Flux, and the performance essay The Cropping of the Spectacle. “Everything that’s built crumbles in time: buildings, cultures, fortunes, and lives,” says Lipman. “The detritus of civilization tells us no less about our current epoch than an archeological dig speaks to history. The urban ruin is particularly compelling because it speaks of the recent past, and reminds us that our own lives and creations will also soon pass into dust. These film, video, and performance works explore decay in a myriad of forms—architectural, cultural, and personal.” In person: Ross Lipman “Lipman’s films are wonderful…. strong and delicate at the same time… unique. The rhythm and colors are so subtle, deep and soft.” – Nicole Brenez, Cinémathèque Française Program Self-Portrait in Mausoleum DigiBeta, 1 min., 2009 (Los Angeles) Refractions and reflections shot in the Hollywood Forever Cemetery: the half-life of death’s advance. Stained glass invokes the sublime in its filtering of light energy, a pre-cinematic cipher announcing a crack between worlds. -
Free Indirect Affect in Cassavetes' Opening Night and Faces Homay King Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 2004 Free Indirect Affect in Cassavetes' Opening Night and Faces Homay King Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Part of the Film and Media Studies Commons Custom Citation King, Homay. "Free Indirect Affect in Cassavetes' Opening Night and Faces." Camera Obscura 19, no. 2/56 (2004): 105-139, doi: 10.1215/02705346-19-2_56-105. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/40 For more information, please contact [email protected]. 1 Homay King, “Free Indirect Affect in Cassavetes’ Opening Night and Faces,” Camera Obscura 56, v. 19, n. 2 (Summer 2004): 104-135. Free Indirect Affect in Cassavetes’ Opening Night and Faces Homay King How to make the affect echo? — Roland Barthes, Roland Barthes by Roland Barthes1 1. In the Middle of Things: Opening Night John Cassavetes’ Opening Night (1977) begins not with the curtain going up, but backstage. In the first image we see, Myrtle Gordon (Gena Rowlands) has just exited stage left into the wings during a performance of the play The Second Woman. In this play, Myrtle acts the starring role of Virginia, a woman in her early sixties who is trapped in a stagnant second marriage to a photographer. Both Myrtle and Virginia are grappling with age and attempting to come to terms with the choices they have made throughout their lives. -
Changing Hearts and Minds to Value Education Dear Parents, Guardians
THE NEWARK PUBLIC SCHOOLS Central High School 246-250 18th Avenue Newark, New Jersey 07108 Phone: 973-733-6897 Fax: 973-733-8212 Christopher Cerf Kimberley Harrington (Acting) State District Superintendent Commissioner of Education Sharnee Brown Principal Dear Parents, Guardians, and Students, At Central High School, student success is our greatest priority. To that end, your child is required to read a novel during the summer. Reading builds not only literacy skills needed for the PARCC and other exams, but it also builds vocabulary, writing, speaking, listening, comprehension, interpretation, and analysis skills that will benefit them in all aspects of their goals. Reading helps develop foundations in other academic subjects as authors often reference history, mathematics, science, and other topics within the greater purpose for their literary works. Current research on summer reading shows that a several-month break in reading activities can hinder academic growth. Our efforts were focused on providing students with engaging texts that will prepare them for success in the curriculum during the upcoming school year. The intention of this summer reading program is to support continued use of the reading strategies we have learned throughout the school year while providing our students with the opportunity to pass the summer months with both enjoyment and mental exercise. The summer reading program is mandatory, with the connected assignment due for an assessment grade during Week 1 (September 5-8, 2017) of the upcoming school year. Please see the list on the next pages, which contain the novel students in each grade level are expected to read, as well as the associated assignment. -
Film Essay for "Mccabe & Mrs. Miller"
McCabe & Mrs. Miller By Chelsea Wessels In a 1971 interview, Robert Altman describes the story of “McCabe & Mrs. Miller” as “the most ordinary common western that’s ever been told. It’s eve- ry event, every character, every west- ern you’ve ever seen.”1 And yet, the resulting film is no ordinary western: from its Pacific Northwest setting to characters like “Pudgy” McCabe (played by Warren Beatty), the gun- fighter and gambler turned business- man who isn’t particularly skilled at any of his occupations. In “McCabe & Mrs. Miller,” Altman’s impressionistic style revises western events and char- acters in such a way that the film re- flects on history, industry, and genre from an entirely new perspective. Mrs. Miller (Julie Christie) and saloon owner McCabe (Warren Beatty) swap ideas for striking it rich. Courtesy Library of Congress Collection. The opening of the film sets the tone for this revision: Leonard Cohen sings mournfully as the when a mining company offers to buy him out and camera tracks across a wooded landscape to a lone Mrs. Miller is ultimately a captive to his choices, una- rider, hunched against the misty rain. As the unidenti- ble (and perhaps unwilling) to save McCabe from his fied rider arrives at the settlement of Presbyterian own insecurities and herself from her opium addic- Church (not much more than a few shacks and an tion. The nuances of these characters, and the per- unfinished church), the trees practically suffocate the formances by Beatty and Julie Christie, build greater frame and close off the landscape. -
(For an Exceptional Debut Novel, Set in the South) Names Final Four
FOR RELEASE NOVEMBER 20 FIRST ANNUAL CROOK’S CORNER BOOK PRIZE (FOR AN EXCEPTIONAL DEBUT NOVEL, SET IN THE SOUTH) NAMES FINAL FOUR The linkages between good writing and good food and drink are clear and persistent. I can’t imagine a better means of celebrating their entwining than this innovative award. — John T. Edge CHAPEL HILL, NC – The Crook’s Corner Book Prize announced four finalists for the first annual Crook’s Corner Book Prize, to be awarded for an exceptional debut novel set in the American South. The winner will be announced January 6th. The four finalists are LEAVING TUSCALOOSA, by Walter Bennett (Fuze Publishing); CODE OF THE FOREST, by Jon Buchan (Joggling Board Press); A LAND MORE KIND THAN HOME, by Wiley Cash (William Morrow); and THE ENCHANTED LIFE OF ADAM HOPE, by Rhonda Riley (Ecco). “It was exciting to find so many great books—several of them from independent publishers (even micro-publishers)—emerging from our reading,” said Anna Hayes, founder and president of the Crook’s Corner Book Prize Foundation. “This grassroots effort to discover and champion books in general, Southern Literature in particular, is amazing and refreshing,” said Jamie Fiocco, owner of Flyleaf Books and president of the Southern Independent Booksellers Alliance. “The Crook’s Corner Book Prize is a great example of what independent booksellers have been doing for years: finding top- quality reading experiences, regardless of the book’s origin—small or large publisher. Readers trust the rich literary history of the South to deliver a sense of place and great characters; now this Prize lets readers learn about the cream of the crop of new storytellers.” Intended to encourage emerging writers in a publishing environment that seems to change daily, the Prize is equally open to self-published authors and traditionally published authors. -
Literature Review Form to Kill a Mockingbird
Southwest Licking School District Literature Selection Review Teacher: Paula Ball School: Watkins Memorial High School Book Title: To Kill a Mockingbird Genre: Fiction Author: Harper Lee Publisher: Warner Brothers Book Summary and summary citation: Set in the small Southern town of Maycomb, Alabama, during the Depression, To Kill a Mockingbird follows three years in the life of 8-year-old Scout Finch, her brother, Jem, and their father, Atticus--three years punctuated by the arrest and eventual trial of a young black man accused of raping a white woman. Though her story explores big themes, Harper Lee chooses to tell it through the eyes of a child. The result is a tough and tender novel of race, class, justice, and the pain of growing up. Instructional Rationale/Objectives: Read increasingly challenging texts, comparing these texts to previously read texts Identify, analyze, and evaluate persuasive techniques used in literature Review #1 Amazon.com Review Like the slow-moving occupants of her fictional town, Lee takes her time getting to the heart of Her tale; we first meet the Finches the summer before Scout's first year at school. She, her brother, and Dill Harris, a boy who spends the summers with his aunt in Maycomb, while away the hours reenacting scenes from Dracula and plotting ways to get a peek at the town bogeyman, Boo Radley. At first the circumstances surrounding the alleged rape of Mayella Ewell, the daughter of a drunk and violent white farmer, barely penetrate the children's consciousness. Then Atticus is called on to defend the accused, Tom Robinson, and soon Scout and Jem find themselves caught up in events beyond their understanding. -
Length in Mina. Length in Nins. METRO-GOLDWYN-MAYER. (R
Length Length In Mina. In Nins. HOTEL 124 HOW TO MAKE A MONSTER 75 WARNER BROS. (R) March, 1967. Rod Taylor, Catherine AMERICAN INTERNATIONAL. (R) July, 1968. Robert Spaak. Color. Harris, Paul Brinegar. HOTEL PARADISO (P) 100 HOW TO MURDER A RICH UNCLE 80 METRO-GOLDWYN-MAYER. (R) November, 1966. Alec Guin- COLUMBIA. (R) January, 1958. Charles Coburn, Migel Patrick ness, Gina Lollobrigida. Color. HOW TO MURDER YOUR WIFE 118 HOUND OF THE BASKERVILLES 64 UNITED ARTISTS. (R) February, 1965. Jack Lemmon, Virna UNITED ARTISTS. (R) June, 1959. Peter Cushing. Lisi. Color. HOUND DOG MAN (Cs) 87 HOW TO SAVE A MARRIAGE -AND RUIN YOUR LIFE (P) 108 TWENTIETH CENTURY-FOX. (R) November, 1959. Fabian, COLUMBIA. (R) March, 1968. Dean Martin, Stella Stevens. Carol Lynley. Color. Color. HOUR OF DECISION (Belt.) 74 HOW TO SEDUCE A WOMAN 106 ASTOR. (R) January, 1957. Jeff Morrow, Hazel Court. CINERAMA. (R) January, 1974. Angus Duncan, Angel Tompkins. HOUR OF THE GUN (R) 100 UNITED ARTISTS. (R) October, 1967. James Garner, Jason HOW TO STEAL A MILLION (P) 127 Robards. Color. 20th CENTURY -FOX. (R) August, 1966. Audrey Hepburn, Peter O'Toole. Color. HOUR THE WOLF (Swed.) 88 OF HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING (P) . 119 LOPERT. (R) April, 1968. Liv Ullmann, Max von Sydow. UNITED ARTISTS. (R) March, 1967. Robert Morse, Michele HOURS OF LOVE, THE (Md. English Titles) 89 Lee. Color. CINEMA V. (R) September, 1965. Vgo Tognazzi, Emmanuela HOW TO STUFF A WILD BIKINI 90 Riva. AMERICAN INTERNATIONAL. (R) July, 1965. Annette HOUSE IS NOT A HOME, A 90 Funicello, Dwayne Hickman. -
John Cassavetes: at the Limits Of
JOHN CASSAVETES: AT THE LIMITS OF PERFORMANCE A thesis submitted in fulfilment of the requirements for the Degree of Master of Arts in Cinema Studies in the University of Canterbury by Luke Towart University of Canterbury 2014 Table of Contents Acknowledgements…………………………………………………………………………....1 Abstract………………………………………………………………………………………..2 Introduction……………………………………………………………………………………3 Chapter One: Performative Opposition: A Woman Under the Influence…………………….20 Chapter Two: A New Kind of Acting: Shadows……………………………………………..52 Chapter Three: Documentaries of Performance: Faces……………………………………...90 Conclusion…………………………………………………………………………………..122 Bibliography………………………………………………………………………………...134 Filmography………………………………………………………………………………...141 1 Acknowledgements Thank you to Alan Wright, my primary supervisor, and Mary Wiles, my secondary supervisor, for their guidance whilst writing this thesis. 2 Abstract This thesis examines the central role of performance in three of the films of John Cassavetes. I identify Cassavetes’ unique approach to performance and analyze its development in A Woman Under the Influence (1974), Shadows (1959) and Faces (1968). In order to contextualize and define Cassavetes’ methodology, I compare and contrast each of these films in relation to two other relevant film movements. Cassavetes’ approach was dedicated to creating alternative forms of performative expression in film, yet his films are not solely independent from filmic history and can be read as being a reaction against established filmic structures. His films revolve around autonomous performances that often defy and deconstruct traditional concepts of genre, narrative structure and character. Cassavetes’ films are deeply concerned with their characters’ isolation and inability to communicate with one another, yet refrain from traditional or even abstract constructions of meaning in favour of a focus on spontaneous, unstructured performance of character. Cassavetes was devoted to exploring the details of personal relationships, identity and social interaction. -
Empathy: a Learning Framework
BOOKS@WORK EMPATHY: A LEARNING FRAMEWORK Empathy: a curriculum for self-reflection What is Books@Work? In her classic novel, To Kill a Mockingbird, Harper Lee’s unforgettable Books@Work is a highly hero, Atticus Finch, cautions his daughter Scout not to rush to judgment of interactive program in others: “you never really understand a person until you consider things which college professors from his point of view...until you climb into his skin and walk around in it.” work with frontline While we casually accept that empathy requires putting ourselves in the employees to jointly place of another, what does it really mean to have empathy for others or explore and reflect upon to respect diverse perspectives in a just, meaningful and personally relevant broad themes in an way? enjoyable and engaging Working with narratives and texts from diverse cultures, disciplines and seminar. The sponsor of time periods, readers explore how empathy differs from sympathy. A Books@Work, That Can Be subtle difference, empathy requires an individual to feel what another feels Me, Inc., has developed a (e.g., “I feel your pain”), while sympathy generates an emotional response series of curricular learning to another’s feelings (e.g., “I feel sorry for your pain”) 1. frameworks focused on several popular themes, Authentic empathy requires a deep understanding of the self in relation to with the input and others. But where empathy requires us to go above and beyond, must one guidance of both protect the self from engaging too deeply with others? Where does the employers and professors. -
Bullitt, Blow-Up, & Other Dynamite Movie Posters of the 20Th Century
1632 MARKET STREET SAN FRANCISCO 94102 415 347 8366 TEL For immediate release Bullitt, Blow-Up, & Other Dynamite Movie Posters of the 20th Century Curated by Ralph DeLuca July 21 – September 24, 2016 FraenkelLAB 1632 Market Street FraenkelLAB is pleased to present Bullitt, Blow-Up, & Other Dynamite Movie Posters of the 20th Century, curated by Ralph DeLuca, from July 21 through September 24, 2016. Beginning with the earliest public screenings of films in the 1890s and throughout the 20th century, the design of eye-grabbing posters played a key role in attracting moviegoers. Bullitt, Blow-Up, & Other Dynamite Movie Posters at FraenkelLAB focuses on seldom-exhibited posters that incorporate photography to dramatize a variety of film genres, from Hollywood thrillers and musicals to influential and experimental films of the 1960s-1990s. Among the highlights of the exhibition are striking and inventive posters from the mid-20th century, including the classic films Gilda, Niagara, The Searchers, and All About Eve; Alfred Hitchcock’s Notorious, Rear Window, and Psycho; and B movies Cover Girl Killer, Captive Wild Woman, and Girl with an Itch. On view will be many significant posters from the 1960s, such as Russ Meyer’s cult exploitation film Faster Pussycat! Kill! Kill!; Michelangelo Antonioni’s Blow-Up; a 1968 poster for the first theatrical release of Un Chien Andalou (Dir. Luis Buñuel and Salvador Dalí, 1928); and a vintage Japanese poster for Buñuel’s Belle de Jour. The exhibition also features sensational posters for popular movies set in San Francisco: the 1947 film noir Dark Passage (starring Humphrey Bogart and Lauren Bacall); Steve McQueen as Bullitt (1968); and Clint Eastwood as Dirty Harry (1971). -
To Kill a Mockingbird Background Information Harper Lee Was An
To Kill a Mockingbird Background Information Harper Lee was an American writer, famous for her race relations novel TO KILL A MOCKINGBIRD, which was awarded the Pulitzer Prize in 1961. The book became an international bestseller and was adapted into screen in 1962. Lee was 34 when the work was published, and it has remained her only novel. "Mockingbirds don't do one thing but make music for us to enjoy. They don't eat up people's gardens, don't nest in corncribs, they don't do one thing but sing their hearts out for us. That's why it's a sin to kill a mockingbird." Harper Lee was born in Monroeville, Alabama. Her father was a former newspaper editor and proprietor, who had served as a state senator and practiced as a lawyer in Monroeville. Lee studied law at the University of Alabama from 1945 to 1949, and spent a year as an exchange student in Oxford University, Wellington Square. Six months before finishing her studies, she went to New York to pursue a literary career. During the 1950s, she worked as an airline reservation clerk with Eastern Air Lines and British Overseas Airways. In 1959 Lee accompanied Truman Capote to Holcombe, Kansas, as a research assistant for Capote's classic 'non-fiction' novel In Cold Blood (1966). To Kill a Mockingbird was Lee's first novel. The book is set in Maycomb, Alabama, in the 1930s. Atticus Finch, a lawyer and a father, defends a black man, Tom Robinson, who is accused of raping a poor white girl, Mayella Ewell. -
Vol. 12, No.2 / Spring 2006
THE JOURNAL OF THE ALABAMA WRITERS’ FORUM FIRST DRAFT• SPRING 2006 WAYNE GREENHAW 2006 HARPER LEE AWARD Recipient Capital City Hosts ALABAMA BOOK FESTIVAL A Young Writer to Watch NAOMI WOLF COASTAL WRITERS GO HOLLYWOOD FY 06 BOARD OF DIRECTORS BOARD MEMBER PAGE President LINDA HENRY DEAN Auburn Words have been my life. While other Vice-President ten-year-olds were swimming in the heat of PHILIP SHIRLEY Jackson, MS summer, I was reading Gone with the Wind on Secretary my screened-in porch. While my friends were JULIE FRIEDMAN giggling over Elvis, I was practicing the piano Fairhope and memorizing Italian musical terms and the Treasurer bios of each composer. I visited the local library DERRYN MOTEN Montgomery every week and brought home armloads of Writers’ Representative books. From English major in college to high JAMES A. BUFORD, JR. school English teacher in my early twenties, Auburn I struggled to teach the words of Shakespeare Writers’ Representative and Chaucer to inner-city kids who couldn’t LINDA C. SPALLA read. They learned to experience the word, even Huntsville Linda Spalla serves as Writers’ Repre- DARYL BROWN though they couldn’t read it. sentative on the AWF Executive Com- Florence Abruptly moving from English teacher to mittee. She is the author of Leading RUTH COOK a business career in broadcast television sales, Ladies and a frequent public speaker. Birmingham I thought perhaps my focus would be dif- JAMES DUPREE, JR. fused and words would lose their significance. Surprisingly, another world of words Montgomery appeared called journalism: responsibly chosen words which affected the lives of STUART FLYNN Birmingham thousands of viewers.