U.S. Moves in on Citadel to Eliminate Red Stronghold
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"THE GRADUATE" Screenplay by Buck Henry Property Of: Lawrence
"THE GRADUATE" Screenplay by Buck Henry Property of: Prod. No. 20055 Lawrence Turman, Inc. FINAL DRAFT Mike Nichols 5451 Marathon St. March 29, 1967 HOLLYWOOD, CALIFORNIA FADE IN: 1 EXT. AMPHITHEATRE - DAY 1 2 SHOT - HELICOPTER'S POV - 2 Moving through clouds. The clouds separate and, far below, we can see a giant outdoor amphitheatre. There is no SOUND but the WIND. As we move closer to the amphitheatre, we can hear SNATCHES OF WORDS and PHRASES as though from a public address system. 3 EXT. AMPHITHEATRE - PODIUM - DAY - SHOT OF BEN 3 in cap and gown, standing in front of a microphone. The WIND is BLOWING. He has to hold on to the papers from which he is reading. 4 EXT. AMPHITHEATRE - SHOT OF AUDIENCE - DAY 4 Thousands of expressionless STUDENTS are sitting there. 5 EXT. AMPHITHEATRE - SHOT OF PODIUM - DAY 5 BEN - and today it is right that we should ask ourselves the one most important question: What is the purpose of these years, the purpose for all this demanding work, the purpose for the sacrifices made those who love us? Were there NOT a purpose, then all of these past years of struggle, of fierce competition and of uncompromising ambition would be meaningless. But, of course, there is a purpose and I must tell it to you. I ask you to remember this purpose always and I pledge that I shall endeavor to carry it with me forever. 6 SHOT - AMPHITHEATRE AUDIENCE - DAY 6 staring at him impassively. INTERCUT BETWEEN SHOTS of impassive students, seated, watching; of Ben standing alone on the huge amphitheatre stage; of CLOSEUPS of Ben speaking; of loudspeakers; of wind-blown papers on the podium. -
From Real Time to Reel Time: the Films of John Schlesinger
From Real Time to Reel Time: The Films of John Schlesinger A study of the change from objective realism to subjective reality in British cinema in the 1960s By Desmond Michael Fleming Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy November 2011 School of Culture and Communication Faculty of Arts The University of Melbourne Produced on Archival Quality Paper Declaration This is to certify that: (i) the thesis comprises only my original work towards the PhD, (ii) due acknowledgement has been made in the text to all other material used, (iii) the thesis is fewer than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. Abstract The 1960s was a period of change for the British cinema, as it was for so much else. The six feature films directed by John Schlesinger in that decade stand as an exemplar of what those changes were. They also demonstrate a fundamental change in the narrative form used by mainstream cinema. Through a close analysis of these films, A Kind of Loving, Billy Liar, Darling, Far From the Madding Crowd, Midnight Cowboy and Sunday Bloody Sunday, this thesis examines the changes as they took hold in mainstream cinema. In effect, the thesis establishes that the principal mode of narrative moved from one based on objective realism in the tradition of the documentary movement to one which took a subjective mode of narrative wherein the image on the screen, and the sounds attached, were not necessarily a record of the external world. The world of memory, the subjective world of the mind, became an integral part of the narrative. -
Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß. -
"THE GRADUATE" Screenplay by Buck Henry Prod. No. 20055 FINAL DRAFT March 29, 1967 Property Of: Lawrence Turman, Inc
"THE GRADUATE" Screenplay by Buck Henry Prod. No. 20055 FINAL DRAFT March 29, 1967 Property of: Lawrence Turman, Inc. Mike Nichols 5451 Marathon St. Hollywood, California ------------------------------------------------------------------------------------ 1 EXT. AMPHITHEATRE - DAY SHOT - HELICOPTER'S POV - Moving through clouds. The clouds separate and, far below, we can see a giant outdoor amphitheatre. There is no SOUND but the WIND. As we move closer to the amphitheatre, we can hear SNATCHES OF WORDS and PHRASES as though from a public address system. 2 EXT. AMPHITHEATRE - PODIUM - DAY - SHOT OF BEN in cap and gown, standing in front of a microphone. The WIND is BLOWING. He has to hold on to the papers from which he is reading. 3 EXT. AMPHITHEATRE - SHOT OF AUDIENCE - DAY Thousands of expressionless STUDENTS are sitting there. 4 EXT. AMPHITHEATRE - SHOT OF PODIUM - DAY BEN - and today it is right that we should ask ourselves the one most important question: What is the purpose of these years, the purpose for all this demanding work, the purpose for the sacrifices made those who love us? Were there NOT a purpose, then all of these past years of struggle, of fierce competition and of uncom- promising ambition would be mean- ingless. But, of course, there is a purpose and I must tell it to you. I ask you to remember this purpose always and I pledge that I shall endeavor to carry it with me forever. 5 SHOT - AMPHITHEATRE AUDIENCE - DAY staring at him impassively. 6 INTERCUT BETWEEN SHOTS of impassive students, seated, watching; of Ben standing alone on the huge amphitheatre stage; of CLOSEUPS of Ben speaking; of loudspeakers; of wind-blown papers on the podium. -
Jews and Hollywood
From Shtetl to Stardom: Jews and Hollywood The Jewish Role in American Life An Annual Review of the Casden Institute for the Study of the Jewish Role in American Life From Shtetl to Stardom: Jews and Hollywood The Jewish Role in American Life An Annual Review of the Casden Institute for the Study of the Jewish Role in American Life Volume 14 Steven J. Ross, Editor Michael Renov and Vincent Brook, Guest Editors Lisa Ansell, Associate Editor Published by the Purdue University Press for the USC Casden Institute for the Study of the Jewish Role in American Life © 2017 University of Southern California Casden Institute for the Study of the Jewish Role in American Life. All rights reserved. Production Editor, Marilyn Lundberg Cover photo supplied by Thomas Wolf, www.foto.tw.de, as found on Wikimedia Commons. Front cover vector art supplied by aarows/iStock/Thinkstock. Cloth ISBN: 978-1-55753-763-8 ePDF ISBN: 978-1-61249-478-4 ePUB ISBN: 978-1-61249-479-1 KU ISBN: 978-1-55753-788-1 Published by Purdue University Press West Lafayette, Indiana www.thepress.purdue.edu [email protected] Printed in the United States of America. For subscription information, call 1-800-247-6553 Contents FOREWORD vii EDITORIAL INTRODUCTION ix Michael Renov and Vincent Brook, Guest Editors PART 1: HISTORIES CHAPTER 1 3 Vincent Brook Still an Empire of Their Own: How Jews Remain Atop a Reinvented Hollywood CHAPTER 2 23 Lawrence Baron and Joel Rosenberg, with a Coda by Vincent Brook The Ben Urwand Controversy: Exploring the Hollywood-Hitler Relationship PART 2: CASE STUDIES CHAPTER 3 49 Shaina Hammerman Dirty Jews: Amy Schumer and Other Vulgar Jewesses CHAPTER 4 73 Joshua Louis Moss “The Woman Thing and the Jew Thing”: Transsexuality, Transcomedy, and the Legacy of Subversive Jewishness in Transparent CHAPTER 5 99 Howard A. -
The Making of the Graduate
2/12/2018 The Making of "The Graduate" | Vanity Fair F R O M T H E M A G A Z I N E Here’s to You, Mr. Nichols: The Making of The Graduate Almost from the start, Mike Nichols knew that Anne Bancroft should play the seductive Mrs. Robinson. But the young film director surprised himself, as well as everyone else, with his choice for The Graduate’s misfit hero, Benjamin Braddock: not Robert Redford, who’d wanted the role, but a little-known Jewish stage actor, Dustin Hoffman. From producer Lawrence Turman’s $1,000 option of a minor novel in 1964 to the movie’s out-of-left- field triumph three years later, Sam Kashner recalls a breakout film that literally changed the face of Hollywood. by S A M K A S H N E R M A R C H 2 0 0 8 https://www.vanityfair.com/news/2008/03/graduate200803 1/23 2/12/2018 The Making of "The Graduate" | Vanity Fair Dustin Hoffman and Anne Bancroft in a publicity still for The Graduate. Photographs by Bob Willoughby. Any good movie is filled with secrets. —Mike Nichols magine a movie called The Graduate. It stars Robert Redford as Benjamin Braddock, the blond and bronzed, newly minted college graduate adrift in his parents’ opulent home in Beverly Hills. And Candice Bergen as his girlfriend, the overprotected Elaine Robinson. Ava Gardner plays the predatory Mrs. Robinson, the desperate housewife and mother who ensnares Benjamin. Gene Hackman is her cuckolded husband. It Inearly happened that way. -
The Queer Cinema of Jacques Demy
A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/107760 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications The Queer Cinema of Jacques Demy Georgia Mulligan A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Film and Television Studies Department of Film and Television Studies University of Warwick September 2017 1 Table of contents Acknowledgements 5 Abstract 6 List of illustrations 7 Note about references 14 Introduction 15 Chapter 1: New critical approaches to the Demy problem 26 Authorship 28 Genre 32 Stardom 34 Emotion and style 37 Queer and feminist methodologies 40 Feminism against the canon 40 Queer studies 45 Chapter 2: Demy and the New Wave 52 What is the New Wave? 55 Demy disappears from the New Wave canon 59 Is Demy New Wave? 63 La Luxure 65 Lola 69 Emotional realism and subjective time 71 The wrong kind of cinephilia 75 Queering the New Wave gaze and the New Wave man 81 La Baie des Anges 86 2 Paratext and publicity 87 The heterosexual couple 90 Denauralising Jeanne Moreau 96 Conclusion 101 Chapter 3: Demy’s failed films 103 Model Shop 108 New Hollywood and queer -
Transcript a Pinewood Dialogue with Buck Henry
TRANSCRIPT A PINEWOOD DIALOGUE WITH BUCK HENRY In the mid-1970s, every young hipster knew Buck Henry—dressed in big glasses, chinos, and baseball cap—from his appearances on Saturday Night Live . Henry had already defined the 1960s by writing the screenplay for Mike Nichols's landmark film The Graduate . He also adapted Catch-22 for Nichols and wrote the brilliant screwball comedy What’s Up, Doc? for Peter Bogdanovich. In 1989, he helped define the satire of yet another generation with his screenplay for Gus Van Sant’s film To Die For . This talk, following a screening of The Graduate , captures Henry’s cool wit and his incisive approach to satire. A Pinewood Dialogue following a screening of HENRY: (Laughter) There are two sides to this story. The Graduate , moderated by Chief Curator One is what one expects from early reactions. David Schwartz (June 22, 1996): Usually after a film is finished, the filmmaker, the director, has a screening for his friends, his or her SCHWARTZ: Please welcome Buck Henry. friends. The “friends’ screening,” as we like to think (Applause) of it, usually with a shudder. It’s traditional to let your pals see it before anybody else. In this case, First thing I want to ask is what it was like for you to because it was Mike’s friends, each of them was see The Graduate again. What was this screening more famous than anyone you know. And so about, like? oh, 100 or 150 people were assembled at Paramount to see this, to have people see it for the HENRY: It was really interesting because I haven’t first time. -
Joseph E. Levine: Showmanship, Reputation and Industrial Practice 1945 - 1977
Joseph E. Levine: Showmanship, Reputation and Industrial Practice 1945 - 1977 A.T. McKenna PhD Thesis submitted to the University of Nottingham School of American & Canadian Studies March 2008 Acknowledgements I would first like to thank my PhD supervisor, Julian Stringer, for his tireless support of this project since its inception. Julian has provided me with extremely valuable advice and guidance as well as allowing me access to his extraordinarily detailed knowledge of film history and scholarship. He also allowed me a great deal of latitude in my approach to researching what turned out to be a very complex project. I would also like to thank all those I have interviewed for this project: Larry Turman, Albert Maysles, Ray Galton and Alan Simpson. My thanks also go to the staff of the various libraries and archives I have visited: the staff of the Hallward Library at The University of Nottingham, the staff of the BFI Library in London, the staff of the Howard Gottleib Research Center in Boston and the staff of the Margaret Herrick Library in Beverly Hills – especially Jenny Romero. Thanks also to all those at the Department of American and Canadian Studies at The University of Nottingham, particularly Peter Urquhart, Roberta Pearson, Sharon Monteith and Ann McQueen for their help, advice and input. Joseph E. Levine: Showmanship, Reputation and Industrial Practice 1945-1977 Contents Abstract i Introduction 1 Section I: The Emergence of a Showman 1945-1959 Chapter One: An Unfettered Hustler: Cultural Boundaries and Industrial Reputation 19 Chapter Two: Sniggering at the Past: Context, Re-Creation and Legitimate 66 Appropriation in Gaslight Follies . -
Lem Dobbs Interview by Dan Schneider
LEM DOBBS Interviewed By Dan Schneider First Posted 1/25/2010 http://www.cosmoetica.com/DSI21.htm 1 Lem Dobbs Interview by Dan Schneider DS: This DSI is with a screenwriter who has participated in some of the best films to be released in the last couple of decades, Lem Dobbs. Thanks for agreeing to discuss your work, career, opinions, and views on life and especially film. For those readers to whom the name Lem Dobbs draws a blank stare, could you please provide a précis on who you are: what you do, what your aims in your career are, major achievements, and your general philosophy, etc.? LD: No one has ever equaled “My name is John Ford, I make Westerns.” I wish I could say the same -- which gives you some idea of my aims and general philosophy -- and how minor my major achievements have been. I suppose I became a screenwriter thinking I would write the kinds of movies that had always been made and join the great Hollywood machine that produced them, only to find my “career” coincident with the creative and economic decline of what we used to call the film industry. Now that the counter-whiners are on alert, primed to point out that there are exciting things happening in South Korea, and that the latest if not the last Manoel de Oliveira film is sublime, and any year that produces UP can’t be all bad ... we may proceed. Although interviews by their nature are backward- looking. Roger Ebert once interviewed an aging Tony Curtis, who said when he first came out to Hollywood he stayed at the Chateau Marmont on Sunset Boulevard -- a tradition I followed. -
The Inventory of the Charles Webb Collection #426
The Inventory of the Charles Webb Collection #426 Howard Gotlieb Archival Research Center WEBB, CHARLES Gift of 1969 RESTRICTED A) Manuscripts ,Mi f 1) LOVE, ROGER. Houghton Mifflin, 1969. (Formerly HARDT, ROGER). ,, II a) Typescript with holograph corrections and printer's marks, 228 pp. (#1). / I II b) Typescript with profuse holograph corrections and printer's marks, Ca. 250 pp. (#2). ,, ,, c) Xerox of typescript with holograph corrections and printer's marks, 230 pp. (1/3') • .&ix I-old) Miscellaneous xerox, typescript, carbon typescript pages with holograph corrections and printer's marks, ca. 800 pp. (//4A,4B,4C). /J/)K ~e) 2 sets of galleys. (One with printer's marks). (115). J!/JY S f) Publicity materials: 11 printed pieces, l Typescript, 1 Mimeograph, 5 Photographs of CW (116). ,, ,. g) Printed materials (#7). 1. Reviews (Some xeroxed). 58 pieces. 2. LOVE, ·ROGER. Condensed. Cosmoplitan, September 1969. 3. Miscellaneous (Some xeroxes). 15 pieces mentioning book. /1 1 I h) Legal agreem,ents ({/.8). 1. Houghton Mifflin Co~ Signed by CW, March 21, 1968 • .'.. Includes xerox TLS from Robert Lantz (his ag.eat). April 8,' 1964. 2. Andre Deutsch Ltd. Signed by CW. March 21, 1969. Xerox copy. 3. 6 Xerox contracts with Universal Pictures, signed by CW. Includes 2 TLS-, No,vember 1968. ;• i) 1 book jacket (118) • j) 5 printed and typescript miscellaneous pieces . ((/8). " t/ page 2 WEBB, CHARLES Gift of 1969 ~DX :> k) Correspondence: With publishers, agents and re: movie rights. With many CTL replies by CW. April 22,. 1967-September 11, 1969. (#9). 77 TLS 12 Xerox TLS 17 TL 59 CTL 7 Xerox CTL 5 ALS 2 Telegrams 1 Signed memo 4 Xerox ALS 2) THE LAUNDROMAT • .Eox 3 a) Typescript with profuse holograph corrections, ca. -
Michael Caine: a Class Act
AFI SILVER THEATRE AND CULTURAL CENTER APRIL 16 - JULY 1 AFI Honoree Retrospective Akira Kurosawa Centennial Michael Caine: A Class Act Korean & International Disability Film Festivals Documentary Festival June 22-27, 2010 JUNE 22-27 2010 Plus More: Orson Welles Federico Fellini Elia Kazan Photo Courtesy of Janus Films THRONE OF BLOOD MICHAEL CAINE: A CLASS ACT MAY 14 - JULY 1 THE IPCRESS FILE GET CARTER FRI, MAY 14, 9:15; SAT, MAY 15, 10:10; THU, MAY 20, 9:15 FRI, MAY 21, 9:30; SAT, MAY 22, 9:45; TUE, MAY 25, 7:00 Looking for a different spin on the spy genre, Harry Saltzman, “You’re a big man, but you’re in co-producer on the early James Bond fi lms (and LOOK BACK bad shape. With me it’s a full- IN ANGER, a huge infl uence on Caine’s generation), cast time job. Now behave yourself.” Caine as the bespectacled Harry Palmer, unimposing and Caine’s existential hard man Jack put-upon by his hardcase superiors. Palmer may be a working Carter is Gangster Number One stiff, but he’s a wised-up one, subtly sarcastic and wary of the in this hugely infl uential, neo-noir old-boy network that’s made a mess of MI6; just the man to classic from talented writer/ root out a traitor in the ranks, as he is called on to do. Director director Mike Hodges. Traveling Sidney J. Furie, famously disdainful of the script (he set at least up from London to Newcastle one copy on fi re) goes visually pyrotechnic with trick shots, after his brother’s mysterious tilted angles, color fi lters and a travelogue’s worth of London death, Carter begins kicking locations.