DOCSLIB.ORG

October 6, 2009 (XIX:6) Richard Brooks ELMER GANTRY (1960, 146 Min)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
October 6, 2009 (XIX:6) Richard Brooks ELMER GANTRY (1960, 146 Min) October 6, 2009 (XIX:6) Richard Brooks ELMER GANTRY (1960, 146 min) Directed by Richard Brooks Written by Richard Brooks Based on the novel by Sinclair Lewis Produced by Bernard Smith Original Music by André Previn Cinematography by John Alton Burt Lancaster... Elmer Gantry Jean Simmons... Sister Sharon Falconer, née Katie Jones Arthur Kennedy... Jim Lefferts Dean Jagger... William L. Morgan Shirley Jones... Lulu Bains Patti Page... Sister Rachel Edward Andrews... George F. Babbitt John McIntire... Rev. John Pengilly Hugh Marlowe... Rev. Philip Garrison Joe Maross... Pete Philip Ober... Rev. Planck Barry Kelley... Police Capt. Holt Wendell Holmes... Rev. Ulrich Dayton Lummis... Mr. Eddington, newspaper publisher Saw Paris (1954), Battle Circus (1953), Deadline - U.S.A. (1952), Rex Ingram... Preacher of black congregation Crisis (1950). Won Oscar: Best Writing, Screenplay Based on Material from Another Medium- Elmer Gantry (1961); Nominated Academy Awards for: Burt Lancaster, Best Actor in a Leading Oscar: Best Writing, Screenplay- Blackboard Jungle (1956); Role; Shirley Jones, Best Actress in a Supporting Role; Richard Nominated Oscar: Best Writing, Screenplay Based on Material Brooks, Best Writing, Screenplay Based on Material from Another from Another Medium- Cat on a Hot Tin Roof (1959); Nominated Medium. Nominated for Best Music, Best Picture. Oscar: Best Director- Cat on a Hot Tin Roof (1959); Nominated Oscar: Best Writing, Screenplay Based on Material from Another RICHARD BROOKS (18 May 1912, Philadelphia, Pennsylvania, Medium- The Professionals (1967); Nominated Oscar: Best USA—11 March 1992, Beverly Hills, California, USA, congestive Director- The Professionals (1967); Nominated Oscar: Best heart failure) Looking for Mr. Goodbar (1977), Bite the Bullet Writing, Screenplay Based on Material from Another Medium- In (1975), $/The Heist (1971), In Cold Blood (1967), The Cold Blood (1968); Nominated Oscar: Best Director- In Cold Professionals (1966), Lord Jim (1965), Sweet Bird of Youth Blood (1968). (1962), Elmer Gantry (1960), Cat on a Hot Tin Roof (1958), The Brothers Karamazov (1958), Something of Value (1957), BURT LANCASTER (2 November 1913, New York City, New Blackboard Jungle (1955), The Last Time I Saw Paris (1954), York, USA—20 October 1994, Century City, California, USA, Battle Circus (1953), Deadline - U.S.A. (1952), Any Number Can heart attack) Separate But Equal (1991), Voyage of Terror: The Play (1949), Key Largo (1948), Crossfire (1947), Brute Force Achille Lauro Affair (1990), "I promessi sposi"/“The Betrothed” (1947) (directed) Fever Pitch (1985), Looking for Mr. Goodbar (1989), Field of Dreams (1989), The Osterman Weekend (1983), (1977), Bite the Bullet (1975), $ (1971), In Cold Blood (1967), The Local Hero (1983), Cattle Annie and Little Britches (1981), Professionals (1966), Lord Jim (1965), Sweet Bird of Youth Atlantic City (1980), Zulu Dawn (1979), Go Tell the Spartans (1962), Elmer Gantry (1960), Cat on a Hot Tin Roof (1958), The (1978), The Island of Dr. Moreau (1977), Twilight's Last Gleaming Brothers Karamazov (1958), Something of Value (1957), The (1977), The Cassandra Crossing (1976), Victory at Entebbe Catered Affair (1956), Blackboard Jungle (1955), The Last Time I (1976), Novecento/1900 (1976), Buffalo Bill and the Indians, or Brooks—ELMER GANTRY—2 Sitting Bull's History Lesson (1976), Executive Action (1973), Peyton Place (1957), The Naked Dawn (1955), The Desperate Ulzana's Raid (1972), Valdez Is Coming (1971), Airport (1970), Hours (1955), The Man from Laramie (1955), The Lusty Men The Gypsy Moths (1969), Castle Keep (1969), The Swimmer (1952), Rancho Notorious (1952), Bend of the River (1952), The (1968), The Professionals (1966), The Train (1964), Seven Days in Glass Menagerie (1950), Champion (1949), Cheyenne (1947), May (1964), The List of Adrian Messenger (1963), Il Boomerang! (1947), Air Force (1943), Desperate Journey (1942), gattopardo/The Leopard (1963), Birdman of Alcatraz (1962), They Died with Their Boots On (1941), Bad Men of Missouri Judgment at Nuremberg (1961), Elmer Gantry (1960), The (1941), High Sierra (1941). Nominated Oscar: Best Actor in a Unforgiven (1960), Separate Tables (1958), Run Silent Run Deep Supporting Role- Champion (1950); Nominated Oscar: Best Actor (1958), Sweet Smell of Success (1957), Gunfight at the O.K. Corral in a Leading Role- Bright Victory (1952); Nominated Oscar: Best (1957), The Rainmaker (1956), Trapeze (1956), The Rose Tattoo Actor in a Supporting Role- Trial (1956); Nominated Oscar: Best (1955), Apache (1954), From Here to Eternity (1953), Come Back, Actor in a Supporting Role- Peyton Place (1958); Nominated Little Sheba (1952), Jim Thorpe -- All-American (1951), Criss Oscar: Best Actor in a Supporting Role- Some Came Running Cross (1949), Sorry, Wrong Number (1948), All My Sons (1948), (1959). Brute Force (1947), The Killers (1946) Won Oscar: Best Actor in a Leading Role- Elmer Gantry (1961); DEAN JAGGER (7 November 1903, Columbus Grove, Ohio, Nominated Oscar: Best Actor in a Leading Role- From Here to USA— 5 February 1991, Santa Monica, California, USA, heart Eternity (1954); Nominated Oscar: Best Actor in a Leading Role- disease) Evil Town (1987), "St. Elsewhere" (1 episode, 1985), "The Birdman of Alcatraz (1963); Nominated Oscar: Best Actor in a Waltons" (1 episode, 1979), "Hunter" (2 episodes, 1977), "Shaft" Leading Role- Atlantic City (1982). (1 episode, 1973), "Alias Smith and Jones" (1 episode, 1973), "Kung Fu" (1 episode, 1972), "Columbo" (1 episode, 1972), "The JEAN SIMMONS (31 January Partridge Family" (1 episode, 1971), "Bonanza" (1 episode, 1971), 1929, Crouch Hill, London, The Kremlin Letter (1970), "The Fugitive" (1 episode, 1966), "The England, UK—) Shadows in the F.B.I." (1 episode, 1966), "The Alfred Hitchcock Hour" (1 episode, Sun (2009), Thru the Moebius 1963), Parrish (1961), "The Twilight Zone" (1 episode, 1961), Strip (2005), How to Make an Elmer Gantry (1960), King Creole (1958), Forty Guns (1957), American Quilt (1995), "Dark Three Brave Men (1956), Bad Day at Black Rock (1955), White Shadows" (12 episodes, 1991), Christmas (1954), Executive Suite (1954), The Robe (1953), My "Murder, She Wrote" (2 Son John (1952), Rawhide (1951), Sierra (1950), Twelve O'Clock episodes, 1989), "Hawaii Five- High (1949), "The Philco Television Playhouse" (1 episode, 1948), O" (1 episode, 1977), Rough "Studio One" (1 episode, 1948), Pursued (1947), Sister Kenny Night in Jericho (1967), Divorce (1946), Alaska (1944), The North Star/Armored Attack (1943), American Style (1967), Mister Western Union (1941), Brigham Young (1940), Woman in Distress Buddwing (1966), All the Way (1937), Revolt of the Zombies (1936), It's a Great Life (1935), Home (1963), The Grass Is People Will Talk (1935), Behold My Wife (1934), Handcuffed Greener (1960), Spartacus (1929), The Woman from Hell (1929). Won Oscar: Best Actor in a (1960), Elmer Gantry (1960), Supporting Role- Twelve O'Clock High (1950). The Big Country (1958), Guys and Dolls (1955/I), Desirée (1954), The Egyptian (1954), The Robe (1953), Androcles and the Lion SHIRLEY JONES (31 March 1934, Charleroi, Pennsylvania, USA— (1952), The Blue Lagoon (1949), Hamlet (1948), Black Narcissus ) "The Cleaner" (1 episode, 2009), "Days of Our Lives" (6 (1947), Great Expectations (1946), Caesar and Cleopatra (1945). episodes, 2008), "Monarch Cove" (14 episodes, 2006), "Sesame Nominated Oscar: Best Actress in a Supporting Role- Hamlet Street" (1 episode, 2006), "Law & Order: Special Victims Unit" (1 (1949); Nominated Oscar: Best Actress in a Leading Role- Happy episode, 2003), Manna from Heaven (2002), Gideon (1999), Ending (1970). "Burke's Law" (2 episodes, 1994-1995), "Murder, She Wrote" (2 episodes, 1988-1990), "The Love Boat" (2 episodes, 1983), ARTHUR KENNEDY (17 February 1914, Worcester, Massachusetts, Beyond the Poseidon Adventure (1979), "McMillan & Wife" (1 USA—5 January 1990, Branford, Connecticut, USA, brain tumor) episode, 1977), "The Partridge Family" (96 episodes, 1970-1974), Grandpa (1990), Cyclone (1978), Bermude: la fossa maledetta/ The Cheyenne Social Club (1970), The Music Man (1962), Elmer Bermuda: Cave of the Sharks (1978), The Sentinel (1977), Ab Gantry (1960), Never Steal Anything Small (1959), "The United morgen sind wir reich und ehrlich/As of Tomorrow (1976), Roma a States Steel Hour" (1 episode, 1957), "Playhouse 90" (1 episode, mano armata/Assault with a Deadly Weapon/Brutal Justice/Rome 1956), Carousel (1956), Oklahoma! (1955), "Fireside Theatre" (1 Armed to the Teeth/Tough Ones (1976), Non si deve profanare il episode, 1950). Won Oscar: Best Actress in a Supporting Role- sonno dei morti/Don’t Open the Window/Let Sleeping Corpses Elmer Gantry (1961). Lie/The Living Dead at Manchester Morgue (1974), L'anticristo/Blasphemy (1974), The Man from Independence JOHN ALTON (5 October 1901, Sopron, Austria-Hungary—2 June (1974), The President's Plane Is Missing (1973), Fantastic Voyage 1996, Santa Monica, California, USA) "Mission: Impossible" (1 (1966), Nevada Smith (1966), Cheyenne Autumn (1964), "Kraft episode, 1966), Elmer Gantry (1960), The Brothers Karamazov Suspense Theatre" (1 episode, 1964), Lawrence of Arabia (1962), (1958), Lonelyhearts (1958), Designing Woman (1957), The Hemingway's Adventures of a Young Man (1962), Teahouse of the August Moon (1956), Tea and Sympathy (1956), Barabba/Barabbas (1961), Murder She Said (1961), Elmer Gantry The Catered Affair (1956), Cattle Queen of Montana (1954), Duffy (1960), "General Electric Theater" (1 episode, 1960), A Summer of San Quentin
Load more

Recommended publications
  • Cial Climber. Hunter, As the Professor Responsible for Wagner's Eventual Downfall, Was Believably Bland but Wasted. How Much
    cial climber. Hunter, as the professor what proves to be a sordid suburbia, responsible for Wagner's eventual are Mitchell/Woodward, Hingle/Rush, downfall, was believably bland but and Randall/North. Hunter's wife is wasted. How much better this film attacked by Mitchell; Hunter himself might have been had Hunter and Wag- is cruelly beaten when he tries to ner exchanged roles! avenge her; villain Mitchell goes to 20. GUN FOR A COWARD. (Universal- his death under an auto; his wife Jo- International, 1957.) Directed by Ab- anne Woodward goes off in a taxi; and ner Biberman. Cast: Fred MacMurray, the remaining couples demonstrate Jeffrey Hunter, Janice Rule, Chill their new maturity by going to church. Wills, Dean Stockwell, Josephine Hut- A distasteful mess. chinson, Betty Lynn. In this Western, Hunter appeared When Hunter reported to Universal- as the overprotected second of three International for Appointment with a sons. "Coward" Hunter eventually Shadow (released in 1958), he worked proved to be anything but in a rousing but one day, as an alcoholic ex- climax. Not a great film, but a good reporter on the trail of a supposedly one. slain gangster. Having become ill 21. THE TRUE STORY OF JESSE with hepatitis, he was replaced by JAMES. (20th Century-Fox, 1957.) Di- George Nader. Subsequently, Hunter rected by Nicholas Ray. Cast: Robert told reporters that only the faithful Wagner, Jeffrey Hunter, Hope Lange, Agnes Moorehead, Alan Hale, Alan nursing by his wife, Dusty Bartlett, Baxter, John Carradine. whom he had married in July, 1957, This was not even good.
    [Show full text]
  • 1151960002.Pdf
    .....a::-. ----- -- - . -. ._.- 1-- ." - .,.... ----- ,-- ~._ ,..... ~ .• _,_,.,_.__..... _ ••• J •• .,:- ... --' MONDAY APRIL 26 :=J 4:~o I 5~~G I 7i~io I 9~~s 111 KSTW I13:g:a 122KTZZ 128~~TC 12vancouve MORNING ~ Good Today This Mornng Bamev DuckTales Stunt Dawgs JEN Morning J£~ c-UJ .-rV:-C ~ Morning " " Lamb Chop Tom &Jerry Melodies Work n News ,. ~ America " Shining Tme DuckTales Tom &Jerry Paid Sesame ,. ~:.& Jv" _ C<'cbt_ .+c 8:30 " " Rogers Camp Candy Flintstones Programming Street ~ Re~s & Days 01 Our Simon & Sesame Uttle House Family Feud The 700 Club Srt &Be Fit Earth .. cC. ~,l \\..l L1Dl'l'-LcQ\L / 9:30 Kathie Lee LNes Simon Street on Prairie " Wild America Peasant ~ Home Jerry Springer The Price Is Instructional Golden Girls Vicki! Paid Painting Fred Penner t~-.L ~ e J{L;\-v1<,_Q.t.) 10:30 " Riaht TV Designing " Programming Inspiration Mr Dressup ,. 11:00 Family Feud Fam. Secrets Young and People Court Ba1anza: The Sandiego Sesame 11:30 Loving Concentration Restless People Court Savage " Reading Street ~ All My News News In the Heat Matlock The Infatuation Sesame All My ., ,12:30 Children Evening Mag. of the Night Fisherman The Judge Street Children ., One We to Another As the World t.\(Me: Movie: Perry Mason Ghostwriter One Life to ~ ., World Turns Holel 'Big Shots' Newton Live 1:30 LNe 'The ----- " Jeannie Heron Cove Midday ,----=..:....:..2·00 General Scrabble GUiding Ugh1 Garden New 2:30 Hospital Scatteraories " Sesame Hampshire' " Bewitched " ~ Northwest Maury Povich Sally Jessy ~! Gadget Chip 'N Dale Heathcliff Art of Sewing Coronation ,. Dennis Tale Spin Art!Alexander Taxi 3:30 AfternOOfl Raphael Readina ~-- ,.
    [Show full text]
  • Black Soldiers in Liberal Hollywood
    Katherine Kinney Cold Wars: Black Soldiers in Liberal Hollywood n 1982 Louis Gossett, Jr was awarded the Academy Award for Best Supporting Actor for his portrayal of Gunnery Sergeant Foley in An Officer and a Gentleman, becoming theI first African American actor to win an Oscar since Sidney Poitier. In 1989, Denzel Washington became the second to win, again in a supporting role, for Glory. It is perhaps more than coincidental that both award winning roles were soldiers. At once assimilationist and militant, the black soldier apparently escapes the Hollywood history Donald Bogle has named, “Coons, Toms, Bucks, and Mammies” or the more recent litany of cops and criminals. From the liberal consensus of WWII, to the ideological ruptures of Vietnam, and the reconstruction of the image of the military in the Reagan-Bush era, the black soldier has assumed an increasingly prominent role, ironically maintaining Hollywood’s liberal credentials and its preeminence in producing a national mythos. This largely static evolution can be traced from landmark films of WWII and post-War liberal Hollywood: Bataan (1943) and Home of the Brave (1949), through the career of actor James Edwards in the 1950’s, and to the more politically contested Vietnam War films of the 1980’s. Since WWII, the black soldier has held a crucial, but little noted, position in the battles over Hollywood representations of African American men.1 The soldier’s role is conspicuous in the way it places African American men explicitly within a nationalist and a nationaliz- ing context: U.S. history and Hollywood’s narrative of assimilation, the combat film.
    [Show full text]
  • 31 Days of Oscar® 2010 Schedule
    31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy
    [Show full text]
  • Nuovi Film in Biblioteca 2021
    Nuovi film in biblioteca aggiornato a gennaio 2021 120 battiti al minuto / regia di Robin Campillo; Francia, 2017; interpreti: Nahuel Pérez Biscyart, Adéle Haenel...[et al.]. N. inv. 74120 VIDEO.A 120BAM CAMPR DVD 8 / regia di Gus Van Sant … e altri, Francia, 2008; interpreti: Abderrahmane Sissako, Jan Kounen, Wim Wenders, Mira Nair, Jane Campion, Gael Garcia Bernal, Gaspar Noe. N. inv. 75033 VIDEO.A VAN SANT 8 DVD 2 A casa tutti bene / regia di Gabriele Muccino; Italia, 2018; interpreti: Stefano Accorsi, Carolina Crescentini, Pierfrancesco Favino, Claudia Gerini, Massimo Ghini, Sabrina Impacciatore, ... [et al.]. N. inv. 73835 VIDEO.A A CTB MUCCG DVD ACAB: All Cops Are Bastards / regia di Stefano Sollima; Italia/Francia 2011; interpreti: Pierfrancesco Favino, Filippo Nigro, Marco Giallini, Andrea Sartoretti, Domenico Diele. N. inv. 74907 VIDEO.A ACA SOLLS DVD American Beauty : ...guarda da vicino / regia di Sam Mendes; Stati Uniti, 1999; interpreti: Kevin Spacey, Annette Bening, Thora Birch, Allison Janney, Peter Gallagher, Mena Suvari, Wes Bentley, Chris Cooper. N. inv. 74900 VIDEO.A AMEB MENDS DVD VM 14anni L’ amore è più freddo della morte / regia di Rainer Werner Fassbinder; Germania, 1969; interpreti: Ulli Lommel, Hanna Schygulla, Rainer Werner Fassbinder, Hans Hirschmuller. N. inv. 74859 VIDEO.A FASSBINDER AMOEPF DVD Un amore su misura / regia di Renato Pozzetto; Italia, 2006; interpreti: Renato Pozzetto, Camilla Sjodberg, Anna Stante ... [et al.]. N. inv. 74248 VIDEO.A AMOSM POZZR DVD Amori che non sanno stare al mondo / regia di Francesca Comencini; Italia, 2017; interpreti: Lucia Mascino, Thomas Trabacchi, Carlotta Natoli, Camilla Semino Favro, Valentina Belle N. inv.
    [Show full text]
  • 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.
    [Show full text]
  • Richard Brooks: El Professional
    Richard Brooks: el professional Deadline-Usa Deadline-Usa 1952 nari col·lectiu va desaparèixer, en quina escletxa Battle circus Battle circula 1953 del mapa?, ¿qué ha significat realment el projecte Take the high ground! Take the high ground! 1953 d'aquest cineasta honest i discret? Potser unes no­ Elsa González Zorn Flame and the flesh Fame and the flesh 1954 tes sobre la seva persona i el seu temps donin una La última vez que vi París The last time I saw Paris 1954 altra llum sobre els films que recordam de Richard Semilla de maldad Blackboard jungle 1955 Brooks. The last hunt The last hunt 1956 The catered affair The catered affair 1956 Breu biografia Something of value Something of value 1957 Los hermanos Karamazov The brothers Karamazov] 958 Richard Brooks (Ruben Sax) va néixer a Filadèlfia La gata sobre el tejado de zinc Cat on a hot tin roof 1958 el 1912 de pares immigrants de Rússia. Eren jueus, El fuego y la palabra Elmer Gantry 1960 però no particularment religiosos, i tenien una for­ Dulce pájaro de juventud Sweet bird of youth 1962 mació intel·lectual que va impregnar l'educació del Lord Jim Lord Jim 1965 fill; varen aprendre anglès amb rapidesa, escolta­ Los profesionales The professionals 1966 ven la ràdio i visitaven exposicions. Es varen adap­ A sangre fría In cold blood 1967 tar a la societat americana sense massa nostàlgia, i Con los ojos cerrados The happy ending 1969 varen viure en barris amb altres immigrants d'Irlan­ Dólares Dolars 1971 da, Grècia i Alemanya, evitant aïllar-se en cercles Muerde la bala Bite the bullet 1975 religiosos.
    [Show full text]
  • Season 5 Article
    N.B. IT IS RECOMMENDED THAT THE READER USE 2-PAGE VIEW (BOOK FORMAT WITH SCROLLING ENABLED) IN ACROBAT READER OR BROWSER. “EVEN’ING IT OUT – A NEW PERSPECTIVE ON THE LAST TWO YEARS OF “THE TWILIGHT ZONE” Television Series (minus ‘THE’)” A Study in Three Parts by Andrew Ramage © 2019, The Twilight Zone Museum. All rights reserved. Preface With some hesitation at CBS, Cayuga Productions continued Twilight Zone for what would be its last season, with a thirty-six episode pipeline – a larger count than had been seen since its first year. Producer Bert Granet, who began producing in the previous season, was soon replaced by William Froug as he moved on to other projects. The fifth season has always been considered the weakest and, as one reviewer stated, “undisputably the worst.” Harsh criticism. The lopsidedness of Seasons 4 and 5 – with a smattering of episodes that egregiously deviated from the TZ mold, made for a series much-changed from the one everyone had come to know. A possible reason for this was an abundance of rather disdainful or at least less-likeable characters. Most were simply too hard to warm up to, or at the very least, identify with. But it wasn’t just TZ that was changing. Television was no longer as new a medium. “It was a period of great ferment,” said George Clayton Johnson. By 1963, the idyllic world of the 1950s was disappearing by the day. More grittily realistic and reality-based TV shows were imminent, as per the viewing audience’s demand and it was only a matter of time before the curtain came down on the kinds of shows everyone grew to love in the 50s.
    [Show full text]
  • OBSCENE, INDECENT, IMMORAL, and OFFENSIVE 100+ Years Of
    ch00_5212.qxd 11/24/08 10:17 AM Page iii OBSCENE, INDECENT, IMMORAL, AND OFFENSIVE 100+ Years of Censored, Banned, and Controversial Films STEPHEN TROPIANO ELIG IM HT L E DITIONS LIMELIGHT EDITIONS An Imprint of Hal Leonard Corporation New York ch00_5212.qxd 11/24/08 10:17 AM Page iv Copyright © 2009 by Stephen Tropiano All rights reserved. No part of this book may be reproduced in any form, without written permission, except by a newspaper or magazine reviewer who wishes to quote brief passages in connection with a review. Published in 2009 by Limelight Editions An Imprint of Hal Leonard Corporation 7777 West Bluemound Road Milwaukee, WI 53213 Trade Book Division Editorial Offices 19 West 21st Street, New York, NY 10010 Printed in the United States of America Book design by Publishers’ Design and Production Services, Inc. Library of Congress Cataloging-in-Publication Data is available upon request. ISBN: 978-0-87910-359-0 www.limelighteditions.com ch04_5212.qxd 11/21/08 9:19 AM Page 143 CHAPTER 4 Guns, Gangs, and Random Acts of Ultra-Violence n the silent era, the cinematic treatment of crime and criminals was a major point of contention for those who believed there was a Idirect cause-and-effect link between the depiction of murder, rape, and violence and real crimes committed by real people in the real world. They were particularly concerned about the negative effects of screen violence on impressionable youth, who were supposedly prone to imitate the bad behavior they might witness in a dark movie theatre one sunny Saturday afternoon.
    [Show full text]
  • Volume 8, Number 1
    POPULAR CULTURE STUDIES JOURNAL VOLUME 8 NUMBER 1 2020 Editor Lead Copy Editor CARRIELYNN D. REINHARD AMY DREES Dominican University Northwest State Community College Managing Editor Associate Copy Editor JULIA LARGENT AMANDA KONKLE McPherson College Georgia Southern University Associate Editor Associate Copy Editor GARRET L. CASTLEBERRY PETER CULLEN BRYAN Mid-America Christian University The Pennsylvania State University Associate Editor Reviews Editor MALYNNDA JOHNSON CHRISTOPHER J. OLSON Indiana State University University of Wisconsin-Milwaukee Associate Editor Assistant Reviews Editor KATHLEEN TURNER LEDGERWOOD SARAH PAWLAK STANLEY Lincoln University Marquette University Associate Editor Graphics Editor RUTH ANN JONES ETHAN CHITTY Michigan State University Purdue University Please visit the PCSJ at: mpcaaca.org/the-popular-culture-studies-journal. Popular Culture Studies Journal is the official journal of the Midwest Popular Culture Association and American Culture Association (MPCA/ACA), ISSN 2691-8617. Copyright © 2020 MPCA. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 EDITORIAL BOARD CORTNEY BARKO KATIE WILSON PAUL BOOTH West Virginia University University of Louisville DePaul University AMANDA PICHE CARYN NEUMANN ALLISON R. LEVIN Ryerson University Miami University Webster University ZACHARY MATUSHESKI BRADY SIMENSON CARLOS MORRISON Ohio State University Northern Illinois University Alabama State University KATHLEEN KOLLMAN RAYMOND SCHUCK ROBIN HERSHKOWITZ Bowling Green State Bowling Green State
    [Show full text]
  • Rethinking the Intersection of Cinema, Genre, and Youth James Hay, University of Illinois at Urbana-Champaign, USA
    Rethinking the Intersection of Cinema, Genre, and Youth James Hay, University of Illinois at Urbana-Champaign, USA The "Teen Film," Genre Theory, and the Moral Universe ofPlanetariums In most accounts of the "teen film," particularly those accounts tracing its origins, films such as Blackboard Jungle (1955) and Rebel Without a Cause (1956) have served as crucial references, not only for assembling and defining a corpus of films as a genre but also for describing the genre's relation to a socio-historical formation/context. I begin this essay not with an elaborate reading of these films, nor with a deep commitment to reading films or charting homologies between them, nor with an abiding interest in defining teen films (though I do want to discuss how teen films and film genres have been defined), nor with a sense that these are adequate ways of understanding the relation of cinema or youth to social and cultural formation. There are in fact many good reasons to begin from other starting points than these films in order to discuss the relation of youth and cinema during the 1950s or thereafter. Because these films regularly have figured into accounts of the teen film, however, two particular scenes in these films offer a useful way to think about the objectives of film genre theory and criticism, particularly as they have informed accounts of the teen film, and to suggest an alternative way of thinking about genre, youth, and cinema. Both of these scenes occur at sites where the films' young characters become the subjects of screenings conducted by adult figures who explain to the students the significance of what they are viewing.
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]