DOCSLIB.ORG

Programme Notes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Programme Notes Programme Notes Monday 30th August 7.30pm Now, Voyager (U) A welcome re-release for this terrific emotional drama, first released in 1942. In one of the greatest performances of her career, Bette Davis stars as Charlotte Vale, a troubled young woman who defies her domineering mother to discover love, heartbreak and, eventually, contentment. The film’s depiction of mental health issues and the treatments available is remarkably enlightened for its time. After years of emotional abuse from a domineering family, Charlotte is close to a breakdown when she is introduced to psychiatrist Dr Jaquith, and spends time in his sanatorium. With enlightened guidance and therapy, Charlotte gets better, gains confidence and independence and blossoms into an elegant and beautiful woman. On a cruise, she meets a handsome fellow-passenger, architect Jerry Durrance, and they fall in love. Although he is unhappily married, they both know that his honour and decency means they have no future together. This is a lush, intense, romantic drama that has it all. Bette Davis showcases all her talent and charisma in portraying Charlotte’s fairytale transformation from vulnerable, anxious spinster to glamorous, sophisticated and independent woman. Paul Henreid as Jerry and Claude Rains as Dr Jaquith provide fine support. Wonderfully scripted and directed, it radiates desire and yearning, yet it was chaste enough to pass the censor in the days of the Hays code. Max Steiner’s lush Oscar-winning orchestral score beautifully reflects the emotional development of the narrative. Despite being dismissed by some in the 1950s as a “woman’s picture”, Now, Voyager stands up today as a fine psychological drama and an inspiring tale of female physical and spiritual transformation. With a crisp new 2K digital restoration by Warner Brothers, and re- released by BFI, this is the perfect opportunity to wallow in an undisputed classic of Hollywood’s golden age. REVIEWS Bette Davis gives a consummate performance as the lifelong spinster emerging from her confining chrysalis into the arms of Paul Henreid in this lush, beautifully acted movie. One of the all-time great weepies, it has gone down in the annals of cinema history for Henreid's lighting of two cigarettes scene and a tear-jerking speech from Davis, at her best in front of a moonlit sky. Irving Rapper's direction is suitably grand and cinematographer Sol Polito lights everything with an almost magical touch. This is a movie in which all the elements come together in perfect harmony to give an essentially hackneyed theme the imprint of greatness. Sue Heal, Radio Times It was released during wartime, and though there is nothing in it about the war ... the war makes relevant its themes of self-sacrifice and transcending one’s own emotional unhappiness. At the same time, it is almost ecstatically driven by unhappiness: emotional rocket fuel. Davis’s performance is at once spiky and angular and yet also soft, sensual and vulnerable. The excellent Henreid is perfectly cast. This film is exquisitely crafted and passionately acted. Peter Bradshaw, Guardian A remarkably forward-thinking motion picture, it tackles mental health and well-being with a frankness and compassion uncommon for the time of its production. Though it must be said that some extraneous elements of the plot are rather over the top and frankly a little ridiculous in places, the treatment of its core issues, and an enlightened examination of non-traditional family dynamics and motherhood, remain pertinent and affecting eighty years hence … Without ever being overly saccharine, this restraint, a subversion of convention, and the introduction in the film’s latter stages of a character who unites Charlotte and Jerry, brings this classic melodrama to its harmonious, albeit unexpected, much-quoted conclusion. Matthew Anderson, CineVue Cast Crew Bette Davis Charlotte Vale Director Irving Rapper Paul Henreid Jerry Durrance Writers Casey Robinson (screenplay), Olive Claude Rains Dr Jaquith Higgins Prouty (novel) Gladys Cooper Mrs Vale Producer Hal B Wallis Bonita Granville June Vale Cinematography Sol Polito John Loder Elliot Livingston Editing Warren Low Ilka Chase Lisa Vale Music Max Steiner Lee Patrick Deb McIntyre Film Facts Both Bette Davis and Gladys Cooper were nominated for Oscars (Best Actress and Best Supporting Actress respectively). However Now, Voyager won only one, Best Music for Max Steiner’s score. The title comes from the short Walt Whitman poem, “The Untold Want” from Songs of Parting. Charlotte reads the poem just before leaving Cascade: "The untold want, by life and land ne’er granted, Now, Voyager, sail thou forth, to seek and find.” The film had a shooting schedule of only 42 days, incredibly short by today’s standards. Filming went a few weeks over schedule, which caused some conflicts with Casablanca, which also starred Claude Rains and Paul Henreid. The movie’s famous line, “Oh, Jerry, don't let's ask for the moon. We have the stars.” was voted number 46 in the top 100 movie quotes of all time by the American Film Institute. The initial casting choices for Charlotte were Irene Dunne, Norma Shearer and Ginger Rogers. When Bette Davis learned about the project, she campaigned for and won the role. More than any other of her previous films, Davis became absorbed in the role, not only reading the original novel, but also becoming involved in details such as choosing her wardrobe personally. Sign up for our email list at https://saffronscreen.com/mailinglist/ You can specifically request that these Monday night programme notes are emailed to you in advance. Follow us on Facebook, Twitter, LinkedIn and Instagram for regular updates. .
Load more

Recommended publications
  • 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.
    [Show full text]
  • The New School, Everybody Comes to Rick's
    Narrative Section of a Successful Application The attached document contains the grant narrative and selected portions of a previously funded grant application. It is not intended to serve as a model or to indicate particular areas that are of interest to the Endowment, but to give you a sense of how a successful application may be crafted. Every successful application is different, and each applicant is urged to prepare a proposal that reflects his or her unique project and aspirations. Prospective applicants should consult the Research Programs application guidelines at https://www.neh.gov/grants/research/public- scholar-program for instructions. Formatting requirements, including page limits, may have changed since this application was submitted. Applicants are also strongly encouraged to consult with the NEH Division of Research Programs staff well before a grant deadline. Note: The attachment only contains the grant narrative and selected portions, not the entire funded application. In addition, certain portions may have been redacted to protect the privacy interests of an individual and/or to protect confidential commercial and financial information and/or to protect copyrighted materials. Project Title: Everybody Comes to Rick’s: How “Casablanca” Taught Us to Love Movies Institution: The New School Project Director: Noah Isenberg Grant Program: Public Scholar Program 400 Seventh Street, S.W., Washington, D.C. 20506 P 202.606.8200 F 202.606.8204 E [email protected] www.neh.gov Everybody Comes to Rick’s: How Casablanca Taught Us to Love Movies On Thanksgiving Day 1942, the lucky ticket holders who filled the vast, opulent 1,600-seat auditorium at Warner Brothers’ Hollywood Theatre in midtown Manhattan—where today the Times Square Church stands—were treated to the world premiere of Casablanca, the studio’s highly anticipated wartime drama.
    [Show full text]
  • Boxoffice Barometer (March 6, 1961)
    MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph.
    [Show full text]
  • Casablanca by Jay Carr the a List: the National Society of Film Critics’ 100 Essential Films, 2002
    Casablanca By Jay Carr The A List: The National Society of Film Critics’ 100 Essential Films, 2002 It’s still the same old story. Maybe more so. “Casablanca” was never a great film, never a profound film. It’s merely the most beloved movie of all time. In its fifty-year history, it has resisted the transmogrifica- tion of its rich, reverberant icons into camp. It’s not about the demimondaines washing through Rick’s Café Americain – at the edge of the world, at the edge of hope – in 1941. Ultimately, it’s not even about Bogey and Ingrid Bergman sacrificing love for nobility. It’s about the hold movies have on us. That’s what makes it so powerful, so enduring. It is film’s analogue to Noel Coward’s famous line about the amazing potency of cheap music. Like few films before or since, it sums up Hollywood’s genius for recasting archetypes in big, bold, universally accessible strokes, for turning myth into pop culture. Courtesy Library of Congress Motion Picture, Broadcast and Recorded It’s not deep, but it sinks roots into America’s Sound Division collective consciousness. As a love story, it’s flawed. We than a little let down by her genuflection to idealism. don’t feel a rush of uplift when trenchcoated Bogey, You feel passion is being subordinated to an abstraction. masking idealism with cynicism, lets Bergman, the love You want her to second-guess Rick and not go. of his life, fly off to Lisbon and wartime sanctuary with “Casablanca” leaves the heart feeling cheated.
    [Show full text]
  • 75 Years Since the Release of Hollywood Classic Casablanca “And What If You Track Down These Men and Kill Them?
    World Socialist Web Site wsws.org 75 years since the release of Hollywood classic Casablanca “And what if you track down these men and kill them? ... Even Nazis can’t kill that fast” By Joanne Laurier 22 November 2017 As part of the celebration of 75 years since the premiere of Michael and Helmut Dantine, who had actually spent time in a concentration camp Curtiz’s classic and beloved melodrama, Casablanca, in New York City in Austria, is a casino patron. on November 26, 1942, the film was recently shown in select cinemas in Tellingly, only three of the credited cast members were born in the US. the US. This was made possible by Turner Classic Movies, Warner Bros. The themes of sacrifice, nobility and love in the face of tyranny Entertainment and TCM Big Screen Classics Fathom Events. continue to inspire and move audiences. The extraordinary artistic Still enormously popular to this day, the movie is an elegant, textured traditions and level of skill embodied in the director, crew (more about tale of World War II political intrigue, featuring an iconic love triangle. that below), writers and almost miraculous cast, coupled with their depth Starring Humphrey Bogart, Ingrid Bergman, Paul Henreid and Claude of feeling about Hitlerism, helped create one of the 20th century’s most Rains, Casablanca was nominated for eight Academy Awards. remarkable works of popular culture. The final script for Curtiz’s work, labored on by numerous individuals Casablanca begins in 1942 with credits displayed over a map of Africa. (including Julius Epstein, Philip Epstein, Howard E.
    [Show full text]
  • THE DARK PAGES the Newsletter for Film Noir Lovers Vol
    THE DARK PAGES The Newsletter for Film Noir Lovers Vol. 6, Number 1 SPECIAL SUPER-SIZED ISSUE!! January/February 2010 From Sheet to Celluloid: The Maltese Falcon by Karen Burroughs Hannsberry s I read The Maltese Falcon, by Dashiell Hammett, I decide on who will be the “fall guy” for the murders of Thursby Aactually found myself flipping more than once to check and Archer. As in the book, the film depicts Gutman giving Spade the copyright, certain that the book couldn’t have preceded the an envelope containing 10 one-thousand dollar bills as a payment 1941 film, so closely did the screenplay follow the words I was for the black bird, and Spade hands it over to Brigid for safe reading. But, to be sure, the Hammett novel was written in 1930, keeping. But when Brigid heads for the kitchen to make coffee and the 1941 film was the third of three features based on the and Gutman suggests that she leave the cash-filled envelope, he book. (The first, released in 1931, starred Ricardo Cortez and announces that it now only contains $900. Spade immediately Bebe Daniels, and the second, the 1936 film, Satan Met a Lady, deduces that Gutman palmed one of the bills and threatens to was a light comedy with Warren William and Bette Davis.) “frisk” him until the fat man admits that Spade is correct. But For my money, and for most noirists, the 94 version is the a far different scene played out in the book where, when the definitive adaptation. missing bill is announced, Spade ushers Brigid The 1941 film starred Humphrey Bogart into the bathroom and orders her to strip naked as private detective Sam Spade, along with to prove her innocence.
    [Show full text]
  • Mary in Film
    PONT~CALFACULTYOFTHEOLOGY "MARIANUM" INTERNATIONAL MARIAN RESEARCH INSTITUTE (UNIVERSITY OF DAYTON) MARY IN FILM AN ANALYSIS OF CINEMATIC PRESENTATIONS OF THE VIRGIN MARY FROM 1897- 1999: A THEOLOGICAL APPRAISAL OF A SOCIO-CULTURAL REALITY A thesis submitted to The International Marian Research Institute In Partial Fulfillment of the Requirements for the degree Licentiate of Sacred Theology (with Specialization in Mariology) By: Michael P. Durley Director: Rev. Johann G. Roten, S.M. IMRI Dayton, Ohio (USA) 45469-1390 2000 Table of Contents I) Purpose and Method 4-7 ll) Review of Literature on 'Mary in Film'- Stlltus Quaestionis 8-25 lli) Catholic Teaching on the Instruments of Social Communication Overview 26-28 Vigilanti Cura (1936) 29-32 Miranda Prorsus (1957) 33-35 Inter Miri.fica (1963) 36-40 Communio et Progressio (1971) 41-48 Aetatis Novae (1992) 49-52 Summary 53-54 IV) General Review of Trends in Film History and Mary's Place Therein Introduction 55-56 Actuality Films (1895-1915) 57 Early 'Life of Christ' films (1898-1929) 58-61 Melodramas (1910-1930) 62-64 Fantasy Epics and the Golden Age ofHollywood (1930-1950) 65-67 Realistic Movements (1946-1959) 68-70 Various 'New Waves' (1959-1990) 71-75 Religious and Marian Revival (1985-Present) 76-78 V) Thematic Survey of Mary in Films Classification Criteria 79-84 Lectures 85-92 Filmographies of Marian Lectures Catechetical 93-94 Apparitions 95 Miscellaneous 96 Documentaries 97-106 Filmographies of Marian Documentaries Marian Art 107-108 Apparitions 109-112 Miscellaneous 113-115 Dramas
    [Show full text]
  • Korngold, Alfred Newman, Philip Sainton, Adolph Deutsch, Hans J
    570110-11bk Sea Hawk:570183bk Son of Kong 24/4/07 5:36 PM Page 24 John Morgan Widely regarded in film-music circles as a master colorist with a keen insight into orchestration and the power of music, Los Angeles-based composer John Morgan began his career working alongside such composers as Alex North and Fred Steiner before embarking on his own. Among other projects, he co-composed the richly dramatic score for the cult-documentary film Trinity and Beyond, described by one critic as “an atomic-age Fantasia, thanks to its spectacular nuclear explosions and powerhouse music.” In addition, Morgan has won acclaim for efforts to rescue, restore and re-record lost film scores from the past. Recently, Morgan composed the score for the acclaimed documentary, Cinerama Adventure. William Stromberg A native of Oceanside, California, who hails from a family of film-makers, William T. Stromberg balances his career as a composer of strikingly vivid film scores with that of a busy conductor in the original Marco Polo Classic Film Score Series. Besides conducting his own scores—including his music for the thriller Other Voices and the documentary Trinity and Beyond—Stromberg serves as a conductor for other film composers. He is especially noted for his passion in reconstructing and conducting film scores from Hollywood’s Golden Age, including several works recorded for RCA with the Brandenburg Philharmonic. For Marco Polo, he has conducted albums of music devoted to Max Steiner, Erich Wolfgang Korngold, Alfred Newman, Philip Sainton, Adolph Deutsch, Hans J. Salter, Victor Young, Franz Waxman, Bernard Hermann and Malcolm Arnold.
    [Show full text]
  • Sample Pages
    About This Volume James Plath Critical Insights: Casablanca contains fourteen essays from pop FXOWXUHVFKRODUVDQG¿OPFULWLFVDORQJZLWKLQWURGXFWRU\HVVD\VRQ WKH ¿OP LWV GLUHFWRU DQG D UHVRXUFH VHFWLRQ FRQWDLQLQJ D JHQHUDO ELEOLRJUDSK\ GLUHFWRU¶V FKURQRORJ\¿OPRJUDSK\ FDVW OLVW DZDUGV and honors, and the volume’s contributors … to whom I am grateful. Casablanca has received both popular and critical acclaim over the years, and in that spirit Critical Insights: Casablanca is LQWHQGHGDVERWKDFRPSDQLRQIRUVHULRXV¿OPIDQVDQGDUHVRXUFH for students and scholars. No single volume on any movie can be FRPSOHWHEHFDXVHWKHEHVW¿OPV²WKHclassic¿OPV²DOZD\V\LHOG up things to say, year after year. Not surprisingly, much has been written already about CasablancaDVWKHELEOLRJUDSK\DWWHVWV7KH essays contained in this volume add to the critical “conversation” in, I hope, provocative ways. Some overlapping is unavoidable, but LQGLYLGXDOO\WKHVHHVVD\VDSSURDFKWKH¿OPIURPGLIIHUHQWDQJOHV collectively they help to explain why Casablanca is so highly UHJDUGHG²VWLOORUGHVSLWHLWVÀDZV²DQGZK\LWZLOOOLNHO\UHPDLQ so. Certain themes begin to resonate among the essays, as contributors consider whether Casablanca was, in fact, the “happiest of happy accidents” that critic Andrew Sarris posited and try to LGHQWLI\WKHUHDVRQVIRULWVVXFFHVV7KHLVVXHRIDXWHXULVPFRPHV up a number of times, with varying opinions over the amount of credit due director 0LFKDHO&XUWL]²WKRXJKQRQHRIWKHFRQWULEXWRUV GLVSXWHVWKH¿OP¶V²RU&XUWL]¶V²JUHDWQHVV ,Q KHU HVVD\ RQ ³7LSV RI WKH +DW 7KH &ULWLFDO 5HVSRQVH to Casablanca´ %UHQQDQ 0 7KRPDV QRWHV WKDW Casablanca SHUIRUPHGZHOODWWKHER[RI¿FHSDUWO\EHFDXVHRIIRUWXLWRXVWLPLQJ Early reviewers remarked that :DUQHU %URV ZDV HLWKHU OXFN\ RU SUHVFLHQWJLYHQWKDWWKH¿OP¶VSUHPLHUHFDPHOHVVWKDQWKUHHZHHNV after Casablanca, Morocco, was captured by Allied forces and the vii ¿OP¶VVXEVHTXHQWZRUOGZLGHUHOHDVHFRLQFLGHGZLWKWKH&KXUFKLOO Roosevelt meetings in Casablanca. But timing wasn’t everything.
    [Show full text]
  • Discussion Questions for Women in Film‐‐Cleveland Gathering, June 4, 2013
    1 Discussion Questions for Women in Film‐‐Cleveland Gathering, June 4, 2013: Focal Film: Now, Voyager (1942; U.S.; Screenplay by Casey Robinson, Based on the novel Now, Voyager by Olive Higgins Prouty (Stella Dallas); Directed by Irving Rapper) Now, Voyager is a classic Warner Brothers studio film, with important contract stars and bit players, music by Max Steiner (with an occasional assist from Tchaikovsky), and fine black‐and‐white photography by studio cinematographer Sol Polito. In Now, Voyager, the principal characters are: * Charlotte Vale, a neurotic and repressed “spinster” from a wealthy Boston family (played by Bette Davis) * Jeremiah (Jerry) Duvaux Durrance, an unhappily married man whom Charlotte meets on a cruise to South America (played by Paul Henreid) * Dr. Jaquith, a psychiatrist who treats Charlotte and helps her gain confidence (played by Claude Rains) * Mrs. Vale, Charlotte’s mother, a subtly sadistic matriarch (played by Gladys Cooper) The cast of characters also includes Charlotte’s sympathetic sister‐in‐law Lisa Vale (Ilka Chase), her niece June Vale (Bonita Granville), and nurse Dora Pickford (Mary Wickes). This film has been the focus of quite a bit of scholarly inquiry. It has been discussed and examined in a number of ways: * As top‐notch Studio Era genre output (Greven, 2011) * For its groundbreaking take on women’s roles (Glancy, 2010) * For its treatment of psychiatry and the emerging trend toward psychoanalysis (Zimmerman, 2003) * As a showcase for the considerable talents of its stars, especially Bette Davis (Glancy, 2010) The film Now, Voyager, as noted by scholar Patricia White (1999, p.
    [Show full text]
  • The Filmic Narrative Mode of the Glass Menagerie
    Journal of the Short Story in English Les Cahiers de la nouvelle 59 | Autumn 2012 Special Issue: The Short Story and Cinema A Long Way for a Short Story: The Filmic Narrative Mode of The Glass Menagerie Alice Clark-Wehinger Electronic version URL: http://journals.openedition.org/jsse/1321 ISSN: 1969-6108 Publisher Presses universitaires de Rennes Printed version Date of publication: 1 September 2012 ISBN: 0294-0442 ISSN: 0294-04442 Electronic reference Alice Clark-Wehinger, « A Long Way for a Short Story: The Filmic Narrative Mode of The Glass Menagerie », Journal of the Short Story in English [Online], 59 | Autumn 2012, Online since 01 December 2014, connection on 03 December 2020. URL : http://journals.openedition.org/jsse/1321 This text was automatically generated on 3 December 2020. © All rights reserved A Long Way for a Short Story: The Filmic Narrative Mode of The Glass Menagerie 1 A Long Way for a Short Story: The Filmic Narrative Mode of The Glass Menagerie Alice Clark-Wehinger 1 The long genesis of The Glass Menagerie from short story to one-act play to film synopsis to Broadway play, testifies to Tennessee Williams’ predilection for reorganizing material: rewriting it obsessively until it finally evolved into what he considered a finished aesthetic piece. A close examination of the genesis of The Glass Menagerie brings to the fore its distinct affiliation with the short story and the filmic genre. This paper will explore the cinematic underpinnings of The Glass Menagerie as it evolved from a short story, “Portrait of a Girl in Glass,” written before 1943 and published in One Arm and Other Stories (1948) to a sixty-page-one-act play,1 which Williams reworked as a film synopsis, The Gentleman Caller (1943)2 to the play we all know today, The Glass Menagerie.
    [Show full text]
  • A Supercut of Supercuts: Aesthetics, Histories, Databases
    A Supercut of Supercuts: Aesthetics, Histories, Databases PRACTICE RESEARCH MAX TOHLINE ABSTRACT CORRESPONDING AUTHOR: Max Tohline The genealogies of the supercut, which extend well past YouTube compilations, back Independent scholar, US to the 1920s and beyond, reveal it not as an aesthetic that trickled from avant-garde [email protected] experimentation into mass entertainment, but rather the material expression of a newly-ascendant mode of knowledge and power: the database episteme. KEYWORDS: editing; supercut; compilation; montage; archive; database TO CITE THIS ARTICLE: Tohline, M. 2021. A Supercut of Supercuts: Aesthetics, Histories, Databases. Open Screens, 4(1): 8, pp. 1–16. DOI: https://doi.org/10.16995/os.45 Tohline Open Screens DOI: 10.16995/os.45 2 Full Transcript: https://www.academia.edu/45172369/Tohline_A_Supercut_of_Supercuts_full_transcript. Tohline Open Screens DOI: 10.16995/os.45 3 RESEARCH STATEMENT strong patterning in supercuts focuses viewer attention toward that which repeats, stoking uncritical desire for This first inklings of this video essay came in the form that repetition, regardless of the content of the images. of a one-off blog post I wrote seven years ago (Tohline While critical analysis is certainly possible within the 2013) in response to Miklos Kiss’s work on the “narrative” form, the supercut, broadly speaking, naturally gravitates supercut (Kiss 2013). My thoughts then comprised little toward desire instead of analysis. more than a list; an attempt to add a few works to Armed with this conclusion, part two sets out to the prehistory of the supercut that I felt Kiss and other discover the various roots of the supercut with this supercut researchers or popularizers, like Tom McCormack desire-centered-ness, and other pragmatics, as a guide.
    [Show full text]