DOCSLIB.ORG

Petr Fischer on Film and Czech Television

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Petr Fischer on Film and Czech Television FRESH NEWS 03 6TH FRESH FILM FEST | FRIDAY AUGUST 14TH, 2009 | KARLOVY VARY | ENGLISH VERSION Actualities Petr Fischer on Film Afro, Sex and Funky. and Czech Television Fresh Shop In Other Words: Blaxploitation In the fresh festival shop at the festival centre right next to the ticket counter, besides FFF T-shirts, bags and badges you can also buy books about Petr Lébl, art magazines, and especially products of young Czech designers, for friendly festival prices. Just a few meters further, more creative visitors can make their own T-shirts, bags, or underwear, using original iron-on patches. Video Mapping From 10.00pm the liveliness of the Thermal hotel will extend even to the outside, with the “new visual art style”, video mapping. A 3D light projection will be screened on the front side of the hotel, and will add another, completely new dimension to it. Peťo Tázok, a visitor from a parallel universe. Attention please, attention please, tonight at 11.00pm Slovakian rapper Peťo Tázok will teleport himself from the town of VP84 into Karlovy Vary. PETR FISCHER TRUCK TURNER If you don't know who we’re talking about, perhaps his aliases, Bene One of the three jurors for the Fresh Generation competition section is journalist Petr Fischer, who has In the early 70’s, the US film industry was in a crisis again. In earlier times, and Modré hory will tell you more. Peťo Tázok has been on the rap worked for different periodicals and in the editorial office of the Czech BBC. Fresh news is that soon he the industry saved itself by introducing new technological innovations scene since 2006, with his album will move to Czech television, where he will be directing the editorial office for art and culture. We asked (colour, wide-screen, 3D projection). But this time, salvation was found in debut called VP84, with such hits him several questions about his job as a juror and about his plans within Czech television. targeting a new demographic: the African-American urban audience. In as Dočasná záležitost (Temporary the period of 1971-1978 in American cinema, cheap movies that featured Matter). Last year, he released an African-American stars had a leading role in the film industry. These films album called “Album”, together Why did you accept the role of a juror at FFF and what do you expect from the young directors’ films? with producer Karaoke Tundra, For me the interesting thing is making up some rules that I can use when looking at films. In my work as in different ways met the definition of the term “exploitation”. These were who is arriving tonight as well. You a film critic I’m trying to find and create these measures every day. It’s very interesting when I have the B-movies that were sensational, scandalous or had controversial elements can recognize Peťo Tázok by his old opportunity to compare them with other jurors. Films within this section are debuts or second films, which is (sex, violence, drugs), which were deliberately highlighted. But there helmet, leopard’s coat and funny were also films which attracted the audiences because of topics of racial high-pitched voice, with which he's even more interesting as young directors in their beginnings are trying to break the stereotypes. In this sense declaring his lyrics, which will take it is probably the most “fresh” stuff that you can see here. emancipation or because of featuring African-American movie stars. These you aback. In the annotation to movies were produced by big Hollywood production companies such as the album, it says that city VP84 And so what are the criteria that you set for evaluating the films you see here at FFF? MGM, Warner Brothers, Paramount or United Artists. These companies also is located in a parallel universe. They aren’t set in advance. That’s why working as a juror is so interesting for me. We have to find these provided distribution of movies made in smaller production companies, of So thanks God for Teleport, which makes travelling so much easier... criteria again and discuss them, which is exactly the work I enjoy. Discovering the criteria is always the most which American International Pictures dominated the blaxploitation field. interesting part. It is new all the time, not based on a set criteria or set form. But evaluating according to set Black Hole into Space criteria has unfortunately been quite common in Czech film journalism. Cotton Comes to Harlem, a detective comedy presented by United Artists in 1970, is often considered one of the key films to trigger the blaxploitation No experienced space traveller wishes to fall into a black hole, Those six films in the Fresh Generation section are quite “genre” typed films, how are you going to trend. The following year, two more pictures were released which, with their for sure. But “Black Hole” bar, that evaluate them? impertinence and peremptoriness, set the form of this American films genre is something different! It's at the Each genre film works with a certain code, and this code is partly being confirmed and at the same time partly (blaxploitation). Sweet Sweetback's Baadasssss Song, an underground same place where the Rec Bar movie which was very avant-garde and hence supposedly less attractive was last year, so it's easy to find. overcome. My favourite thesis is of Karel Thein's, a philosopher and a film critic. He says that filming is nothing For those who haven't been to more that filling some genre categories, but that in Czech cinematography, since the time of the new wave, to audiences, showed with its successful sales that nonconformist films the Rec Bar, it's simply on the we have seen it differently. Czech filmmakers made a step aside, they started doing social-critique, instead of with radical messages do not necessarily have to be non-commercial. On groundfloor of the Thermal hotel, doing film. But Thein states that the genre reveals what kind of a filmmaker one is, and that it's not only about the basis of Sweet Sweetback's success, the screenplay of Shaft was opposite the parking lot. There is rewritten in the very last minute. The self-confidant hero of this film, who also a sunny terrace, from which confirming the particular genre, but also about stepping out of it, and redefining it. you can watch projections on the gains the respect of his white colleagues for his professionalism, became a river while drinking coffee, beer And do you think that Czech filmmakers can work within genre categories? model for the heroes of blaxpoitation films. or shots, and eating healthy I think they can't that they're still avoiding it, trying to say something about society instead. Actually, the only homemade meals – e.g. Hummus genre that Czech directors are trying to perfect is that of the “warm-hearted comedy”, a special genre that has During the following years, this category grew in the diversity of its genres. or potato soup. been “defined” by the Czechs. It offered horror films, comedies or action movies with martial arts, Push Those Peddles! featuring African-American actors. Nevertheless, most of the new genres So now about your new work for Czech television. What interesting things are you expecting from that? could not compete in quality with the skillfully made films in the detective Or would you rather not? Try genre, which became the spine of the blaxploitation group of films. Films a ride on an electric bicycle, with I don't expect anything at all from Czech television. The only thing I expect is that it will give us space so that an electric engine, where you can we can do our work differently from how it used to be done there. And I was given such a promise. We can say starring Pam Gier, the most famous female African-American actress, peddle only when you really feel like that until now, there has never existed a real editorial office for art and culture, that it was only about simple brought a message to audiences about not only the African-American it. You can fly up to 25km/h and announcing of events. There was no critical opinion, no endeavour to put things into a broader context, which consciousness, but also about gender equality. However, by 1978 the fame no driving license is obliged. You will of the blaxpoitation era was already gone and this whole group of films have a chance to rent these is what I hope to change. We want to open up and broaden art and culture on TV, we want to have longer on Friday and Saturday in front programmes, thematic blocks, on ČT24 we should be twice a week in the main news. Our aim is to present art was fading out. Despite its relatively short duration, this period changed of the Thermal hotel. and culture as a part of society, something that we're living, not only watching and consuming. US cinematography in a crucial way. Above all it changed the amount of MP opportunities for African-American actors, who began to be among the best-paid actors in the industry. JF 6FFF KARLOVY VARY FRESH NEWS 03 FRIDAY AUGUST 14TH, 2009 ENG Magical Petr Lébl Fresh Ambient JUROR LARRY SIDER SJÓN SIGURDSSON AND AIDA ABBASOVÁ PETR LÉBL, PHOTO: BOHDAN HOLOMÍČEK When he tapped on my shoulder, and on my life, in1992, it did not take him long to persuade me to cooperate with him and some others on a project called Kroměříž Studio (I think the director Potužil was there with him, too).
Load more

Recommended publications
  • Spectacle, Masculinity, and Music in Blaxploitation Cinema
    Spectacle, Masculinity, and Music in Blaxploitation Cinema Author Howell, Amanda Published 2005 Journal Title Screening the Past Copyright Statement © The Author(s) 2005. The attached file is posted here with permission of the copyright owner for your personal use only. No further distribution permitted. Please refer to the journal's website for access to the definitive, published version. Downloaded from http://hdl.handle.net/10072/4130 Link to published version http://www.latrobe.edu.au/screeningthepast/ Griffith Research Online https://research-repository.griffith.edu.au Spectacle, masculinity, and music in blaxploitation cinema Spectacle, masculinity, and music in blaxploitation cinema Amanda Howell "Blaxploitation" was a brief cycle of action films made specifically for black audiences in both the mainstream and independent sectors of the U.S. film industry during the early 1970s. Offering overblown fantasies of black power and heroism filmed on the sites of race rebellions of the late 1960s, blaxploitation films were objects of fierce debate among social leaders and commentators for the image of blackness they projected, in both its aesthetic character and its social and political utility. After some time spent as the "bad object" of African-American cinema history,[1] critical and theoretical interest in blaxploitation resurfaced in the 1990s, in part due to the way that its images-- and sounds--recirculated in contemporary film and music cultures. Since the early 1990s, a new generation of African-American filmmakers has focused
    [Show full text]
  • Race on the Road: from the Periphery to the Centre in Jonathan Kaplan's Love Field
    RACE ON THE ROAD: FROM THE PERIPHERY TO THE CENTRE IN JONATHAN KAPLAN’S LOVE FIELD Carmen Indurain Eraso Universidad Pública de Navarra Following a general cinematic trend, the road movie genre in its beginnings relegated the representation of non-whites to the periphery. After analysing the general state of affairs of racial representation in the genre, we witness in the 1990s a timid but remarkable trend to produce “racial” road movies which vindicate the rights of central representation of racial minorities. This paper analyses a representative racial road film, Jonathan Kaplan’s Love Field (1992), in an attempt to show that the road movie’s generic conventions and traditional liberal pedigree may provide a context where the depiction of racial minorities and race relations may finally reach a central status. In the road movie we have an ideogram of human desire and the last ditch search for self, and who is more plagued for hunger and lostness than the socially disenfranchised? (Atkinson 1994:14). 1. RACE ON THE ROAD: A PERIPHERAL PRESENCE While it reminds us of the inner search, a basic trait of the road movie genre, this quotation by Michael Atkinson also makes the significant point that the socially marginalised are liable to experience an even greater need for this personal quest. As members of this underprivileged group together with women, non-whites can feel more intensely the “call to adventure”, to flee from an emotionally retarded society which has failed to integrate them satisfactorily. Thus, given their unfavourable condition in society which has traditionally allotted them a peripheral position as mere accessories to the white male, African Americans, Hispanics or Native ES 27 (2006-7): 75-94 76 CARMEN INDURAIN ERASO American Indians have started to find a central space of cinematic representation in the road genre.
    [Show full text]
  • Vigilantes, Incorporated: an Ideological Economy of the Superhero Blockbuster
    VIGILANTES, INCORPORATED: AN IDEOLOGICAL ECONOMY OF THE SUPERHERO BLOCKBUSTER BY EZRA CLAVERIE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English with a minor in Cinema Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor José B. Capino, Chair Associate Professor Jim Hansen Associate Professor Lilya Kaganovsky Associate Professor Robert A. Rushing Professor Frank Grady,Department of English, University of Missouri, Saint Louis ii ABSTRACT Since 2000, the comic-book superhero blockbuster has become Hollywood’s most salient genre. “Heroes, Incorporated: A Political Economy of the Superhero Blockbuster” examines these seemingly reactionary fantasies of American power, analyzing their role in transmedia storytelling for a conglomerated and world-spanning entertainment industry. This dissertation argues that for all their apparent investment in the status quo and the hegemony of white men, superhero blockbusters actually reveal the disruptive and inhuman logic of capital, which drives both technological and cultural change. Although focused on the superhero film from 2000 to 2015, this project also considers the print and electronic media across which conglomerates extend their franchises. It thereby contributes to the materialist study of popular culture and transmedia adaptation, showing how 21st century Hollywood adapts old media for new platforms, technologies, and audiences. The first chapter traces the ideology of these films to their commercial roots, arguing that screen superheroes function as allegories of intellectual property. The hero’s “brand” identity signifies stability, even as the character’s corporate owners continually revise him (rarely her).
    [Show full text]
  • TFH Catalog 2017 03062017.Pdf
    TFH # Trailer Guru Runtime Genre Release Year TFH-0001 The T.A.M.I. Show John Landis 4:05 Musical 1964 TFH-0002 House on Haunted Hill Mick Garris 2:53 Horror 1959 TFH-0003 The Terror Joe Dante 2:56 Drama 1959 TFH-0004 The Unearthly Joe Dante 2:36 Horror 1957 TFH-0005 The Incredible Petrified World Joe Dante 2:02 Science Fiction 1957 TFH-0006 Danger Diabolik Edgar Wright 2:39 Action 1968 TFH-0007 The Fiendish Ghouls Joe Dante 2:55 Horror 1965 TFH-0008 X - The Man with the X-Ray Eyes Mick Garris 2:34 Science Fiction 1963 TFH-0009 The Fall of the Roman Empire John Landis 4:34 Drama 1964 TFH-0010 The Vampire Lovers Mick Garris 2:33 Horror 1970 TFH-0011 Journey to the Lost City Sam Hamm 2:15 Western 1954 TFH-0012 Colossus: The Forbin Project John Landis 3:27 Science Fiction 1970 TFH-0013 Monster From Mars A.K.A. Robot Monster Joe Dante 2:00 Science Fiction 1953 TFH-0014 House of Usher Mary Lambert 2:49 Horror 1960 TFH-0015 Spartacus Larry Cohen 3:04 Adventure 1960 TFH-0016 These Are The Damned Joe Dante 4:14 Science Fiction 1962 TFH-0017 Attack of the 50 Foot Woman Joe Dante 2:33 Science Fiction 1958 TFH-0018 God Told Me To A.K.A. Demon Mick Garris 1:30 Horror 1976 TFH-0019 Kronos Sam Hamm 2:25 Science Fiction 1957 TFH-0020 Village of the Damned Mary Lambert 2:23 Science Fiction 1960 TFH-0021 Invaders From Mars Larry Cohen 2:40 Science Fiction 1953 TFH-0022 The Pit and the Pendulum Mary Lambert 2:43 Horror 1961 TFH-0023 The Cyclops Joe Dante 2:23 Science Fiction 1957 TFH-0024 She Demons Joe Dante 2:07 Horror 1958 TFH-0025 13 Ghosts Sam Hamm 2:49 Fantasy 1960 TFH-0026 Black Sunday AKA-Mask of the Demon Larry Cohen 2:15 Horror 1961 TFH-0027 Dr.
    [Show full text]
  • Crime Wave for Clara CRIME WAVE
    Crime Wave For Clara CRIME WAVE The Filmgoers’ Guide to the Great Crime Movies HOWARD HUGHES Disclaimer: Some images in the original version of this book are not available for inclusion in the eBook. Published in 2006 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com In the United States and Canada distributed by Palgrave Macmillan, a division of St. Martin’s Press, 175 Fifth Avenue, New York NY 10010 Copyright © Howard Hughes, 2006 The right of Howard Hughes to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. The TCM logo and trademark and all related elements are trademarks of and © Turner Entertainment Networks International Limited. A Time Warner Company. All rights reserved. © and TM 2006 Turner Entertainment Networks International Limited. ISBN 10: 1 84511 219 9 EAN 13: 978 1 84511 219 6 A full CIP record for this book is available from the British Library A full CIP record for this book is available from the Library of Congress Library of Congress catalog card: available Typeset in Ehrhardt by Dexter Haven Associates Ltd, London Printed and bound in Great Britain by TJ International,
    [Show full text]
  • Rock Album Discography Last Up-Date: September 27Th, 2021
    Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least.
    [Show full text]
  • Rock”N”Roll Cinema
    Rock’n’Roll Cinema Adam Trainer Bachelor of Arts With First Class Honours in Media Studies This thesis is submitted for the degree of Doctor of Philosophy School of Media, Communication and Culture Murdoch University 2005 I declare that this thesis is my own account of my research and contains, as its main content, work which has not previously been submitted for a degree at any tertiary educational institution. Adam Trainer Refereed Publications Adam Trainer. ‘“Well I Wouldn’t Buy the Merchandise”: David Bowie as Post -Auteur’ in Senses of Cinema 28. September/October, 2003. http://www.sensesofcinema.com/contents/03/28/bowie_postmodern_auteur.html This journal article was derived from Chapter Five Adam Trainer. ‘The Business of Living: Secrets & Lies’ in Australian Screen Education 36. September, 2004. pp. 127-129. This journal article was written in association with research on cinematic realism, as featured in Chapter Four. Adam Trainer. ‘“They Made Me Do It”: The Mad World of Donnie Darko’ in Australian Screen Education 37. January, 2005. pp. 138-142. This journal article was derived from Chapter Three. Adam Trainer. ‘“It’s Not My Fault You Hate My Band”: Perth Art Rock’ in Liverpool of the South Seas: Perth and Its Popular Music. Tara Brabazon ed. Crawley: University of Western Australia Press, 2005. pp. 127-135. This chapter was written in association with research on experimental music, as presented in Chapter Six. Adam Trainer. ‘A Crooked Crooked Reign’ in Liverpool of the South Seas: Perth and Its Popular Music. Tara Brabazon ed. Crawley: University of Western Australia Press, 2005. pp.
    [Show full text]
  • Built with Empty Fists: the Rise and Circulation of Black Power Martial Artistry During the Cold War
    Built with Empty Fists: The Rise and Circulation of Black Power Martial Artistry during the Cold War by Maryam K. Aziz A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (American Culture) in the University of Michigan 2020 Doctoral Committee: Associate Professor Matthew J. Countryman, Chair Associate Professor Victor Román Mendoza Associate Professor Sherie M. Randolph, Georgia Tech University Associate Professor Stephen Ward Maryam K. Aziz [email protected] ORCID iD: 0000-0002-2006-4285 © Maryam K. Aziz 2020 DEDICATION To my Nana, Dr. Winfred Barbee, who passed away just as I finished prelims and defended my prospectus. Thank you for helping to raise me, for all the years of laughter, rigor, and Black culture, and for being the first person to see me submit this dissertation, perched from your hallowed place atop my desk. To Aura Rain Rosser, who lost her life shortly after I arrived in Ann Arbor. If not for state violence, you may very well have become the doctor instead of me, but you certainly would have grown old. And to all the Black women, cis, trans, and non-binary, who have lost their lives but now fly over us. You are the real warriors. #SayHerName ii ACKNOWLEDGEMENTS I could not have written this project without the figures included in its pages. They told their own stories and created their own archives. I picked up a story already told and, like my favorite detectives, listened to those who lived it. I thank everyone that showed me that martial arts, movement arts, and healing movements are woven into the fabric of human cultures.
    [Show full text]
  • Grinding out the Grindhouse
    Grinding out the Grindhouse: Exploitation, myth and memory Introduction Grindhouses once existed, but grindhouse cinema and grindhouse films, as they are imagined today, never did. To put it less starkly, the term grindhouse has been used in the United States at least since the 1930s, but its transnational cultist aura is of fresher vintage, and for that we may have to thank or blame Quentin Tarantino, the most prominent propagator of grindhouse mystique. The cultification of grindhouse took a while. In the 1980s, the foundational texts of exploitation film fandom in the United States conferred no special value on the label. Michael Weldon’s foreword to his Psychotronic Encyclopedia of Film noted that the cinemas of New York’s 42nd Street specialised in exploitation films1, but the term grindhouse was practically absent from the book. One of the key early sites for popularising mainly North American exploitation films as cult treasures was the 1986 volume Incredibly Strange Films, a compendium of interviews and subgenre overviews edited by Jim Morton. The term ‘grindhouse’ is a scarce signifier in Morton’s book: the filmmaker Frank Henenlotter, for example, reminisces about the drive-in cinemas and “sleaze theaters” 2 of the 1960s and 1970s, but of grindhouses he makes no mention. Even as the ‘paracinema’ cult solidified in the 1990s, the grindhouse myth was barely nascent. The 1995 catalogue for Something Weird Video – a key company in the shaping of current definitions of cult American exploitation film - advertised myriad low-budget movies on tape across a variety of genres, but it only labelled striptease and burlesque films specifically as grindhouse, as part of a series of compilations titled Grindhouse Follies.
    [Show full text]
  • Euro = US$ X 1.2961 Pound = US$ X 1.9657 US$ = Euro X .7716 US$ = Pound X .5087 for More Info, See Tutorial
    TITLE YEAR NAT SIZE DESCRIPTION COND PRICE $* PRICE €* PRICE £* DLR T BIRD GANG 1959 US 14x36 BRINKLEY EXC $40 PW TABARIN R FRE 47x63 LOPEZ, ZIEMANN A € 60 INT TABARIN 1957 GER 23x33 LOPEZ, ZIEMANN F € 70 KA TABARIN 1957 IT 13x28 LOPEZ, ZIEMANN A € 50 INT TABLE FOR FIVE 1983 US 14x36 JON VOIGHT VG $12 TCT TABLE FOR FIVE 1983 US 27x41 JON VOIGHT EXC $25 BPM TABLE FOR FIVE 1983 UK 30x40 JON VOIGHT VAR £20 QB TABLE FOR FIVE 1983 UK 30x40 JON VOIGHT A £25 OP TABLE TOURNANTE 1988 FRE 16x23 DESSIN, AIMEE A € 30 INT TABOO AMERICAN 1985 US 27x41 STYLE 3; NINA SAYS… F $6 BH TABOO AMERICAN 1985 US 27x41 STYLE 4; SHE BECOMES… F $7 BH TABOO AMERICAN 1985 US 27x41 STYLE 1; THE RUTHLESS… F $10 BH TABOO AMERICAN 1985 US 27x41 STYLE 2; THE STORY .. F $11 BH TABOOS OF THE WORLD 1963 IT 13x28 NISTRI ART; F € 50 KA TACONES LEJANOS 1991 FRE 16x23 ABRIL, PAREDES A € 25 INT TACONES LEJANOS 1991 FRE 47x63 ABRIL, PAREDES A € 45 INT TACONES LEJANOS 1991 SPA 27x41 ABRIL, PAREDES A € 70 INT TADPOLE 2002 US 27x40 WEAVER EXC $25 BPM TADPOLE 2002 FRE 16x23 WEAVER A € 8 INT TAEGUKGI HWINALRIMYEO 2004 FRE 16x23 JANG, WON A € 8 INT TAFFIN 1988 US 27x41 PIERCE BROSNAN E $20 TCT TAGEDIEBE 1985 GER 24x33 FOLD EXC $48 MAS TAGGART 1964 FRE 23x31 YOUNG, DURYEA A € 40 INT TAIFUN UBER NAGASAKI 1957 GER 24x33 EXC $200 MAS TAILOR OF PANAMA 2001 US 27x40 PIERCE BROSNAN E $15 TCT TAILOR OF PANAMA 2001 US 27x40 R; BROSNAN EXC $25 BPM TAILOR OF PANAMA 2001 US 27x40 DS; BROSNAN EXC $32 MAS TAILOR OF PANAMA 2001 FRE 17x22 PIERCE BROSNAN M $20 FMP TAI-PAN 1986 US 27x41 F; EXC $32 MAS
    [Show full text]
  • American Independent Cinema
    AMERICAN INDEPENDENT CINEMA AMERICAN INDEPENDENT Films, filmmakers and film companies AMERICAN INDEPENDENT CINEMA examined include: • Cagney Productions and Johnny Come Yannis Tzioumakis Lately, Blood on the Sun and The Time of Your Life • The Charlie Chan series ‘A substantial and insightful examination of the infrastructure • Lomitas Productions, Stanley Kramer and of independent American cinema. This is a true advance on The Defiant Ones, On the Beach and Inherit previous studies and deepens the reader’s understanding of the Wind • Sam Katzman and Rock Around the Clock how independent films get made and distributed. For this • Roger Corman and The Wild Angels reason the book will be an invaluable addition to the literature • John Cassavetes and Shadows on Independent American Cinema.’ • Dennis Hopper and The Last Movie Professor Warren Buckland, Editor of The New Review of Film • American International Pictures and Foxy and Television Studies Brown • John Sayles and Return of the Secaucus Seven This introduction to American independent cinema offers • Filmhaus Productions, David Mamet and both a comprehensive industrial and economic history of the House of Games sector from the early twentieth century to the present and a • Steven Soderbergh and sex, lies, and study of key individual films, filmmakers and film companies. videotape Readers will develop an understanding of the complex • Kevin Smith and Clerks • Monogram, Republic Pictures and dynamic relations between independent and mainstream Producers Releasing Corporation American cinema. • William Castle Productions, Embassy Pictures, New World Pictures, Dimension The main argument revolves around the idea that independent and Crown International American cinema has developed alongside mainstream • Orion Pictures Hollywood cinema with institutional, industrial and economic • The Sundance Film Institute changes in the latter shaping and informing the former.
    [Show full text]
  • By Connie Tadros "Columbia Pictures and International Ci- Nemedia Center, Ltd
    by Connie Tadros "Columbia Pictures and International Ci- nemedia Center, Ltd. have entered into an exclusive multiple-picture agreement... Un­ der his new agreement with Columbia, John Kemeny will develop and produce an open- end slate of diversified projects, to be film­ ed in both the U.S. and Canada, with em­ phasis on a number of properties utilizing Canadian story themes and locales." It it true that to be important in Canada one must make it in the States? Or is this the start of a new brain drain? Kemeny, riding high,on the success of his American film White Line Fever, thinks for the mo­ ment that the grass is greener... Variety says, in varieteeze! "Good actioner about They sent three scripts and I chose this one (White a trucker fighting corruption. Exploitable in general Line Fever). They turned over the projet to me and situations." That's good, coming from Variety. An ad I became the producer, responsable for the project. in a later issue states that White Line Fever has The experience was extremely good; there was no already grossed $1,027,342 in its first 12 days in San interference at all. I had complete, absolute freedom. Francisco and first 10 days in Dallas. On the first of The people at Columbia honored the position of the August, the film opened in 39 theatres in Ontario, and producer. " grossed $300,000 in its first week. Kemeny had already produced educational films Kemeny spoke about his new film White Line Fever for Learning Corporation of America, a large educa- just a few weeks before it was scheduled to open in tional distribution company owned by Columbia.
    [Show full text]