DOCSLIB.ORG

Let Us Now Praise Jack Nicholson Jul)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Let Us Now Praise Jack Nicholson Jul) % 10 <£utlfcorbian jFeaturrS September 30,1994 Let Us Now Praise Jack Nicholson (The Kitson Broadbelt Sometimes he rages quietly all my press?" tal "M"who other men admire and Mission) and sometimes loudly Yes, and Wolf look up to yet who is stilltrue and Features Editor (Taxi Driver). Robert Redford is is no exception. unmitigated enough to cry out the tortured, haunted, golden boy. Perhaps the first when he's hurt and run when he's NICHOLSON IS A A 1 Pacino is (with the single ex- movie in which scared. BEAUTIFUL MAN. He is ception of The Godfather) mad and Jack gets to be- And above all, through each ac- JACKan indeed more beautiful screaming about it. John come Jack, Wolf tion he makes on or offcamera man than Tom Cruise, Brad Pitt, Malkovich is mysteriously wicked is also the first of there is the feeling that it's natu- John Malkovich, Warren Beatty, and Marlon Brando is, well, the actor's mov- ral. Too many of those our age Marlon Brando, Robert DeNiro, Marlon Brando. ies to take a stab strike out in impotent and con- Daniel Day-Lewis, Robert Jack, on the other hand...Jack is at explicating trivedways, trying desperately not Redford, and even A 1 Pacino. He a way of life, a living, breathing what being Jack to be domesticated, not to be con- is more beautiful than these men attitude. means. Adver- trolled, but only proving the point not forwhat he is as an individual Last year, in preparation for tised as the story more. Jack moves and Jack is. He but rather for what he has created Wolf Jack was asked to do a typi- ofa man's trans- willnot rip his clothes to oppose as a character. Jack Nicholson is cal promotional interview formation from convention or dreadlock his hair a beautiful man because he has for Vanity Fair magazine. The wimpy book edi- to establish his individual persona. given us what we have come to eventual interview and accompa- tor to badass man Can you imagine anything more ri- know today as Jack Nicholson. nying article were not exactly typi- beast, wolf is diculous? Jack exists in a far more With his most recent film, Wolf, cal. "There are only two people also about the eternal plane than those who swim now being shown at the nearby in this world you should have to freedom of Jack in culture and those who counter Quaker Cinema I thought now as lie to," Jack evenly told the maga- everyone in the world seems to go (or what the movie calls "Wolf'). it Jack is forever. apt a time as ever to tribute this zine, "one is the cops the other is out of their way to be quiet, to be The movie itself provides the And beyond this he is an amaz- great personage and speak briefly your girlfriend." Such a statement unobtrusive, to be unassuming, best definition: "Love without ingly gifted actor, a superlative on what he has contributed to the by such a prominent individual doesn't it seem important to at least doubt, power without guilt It feels artist, for how else could his mes- collective consciousness of wouldusually be quickly followed remember Jack. good to be a wolf, no?" sage be so clear and so accessible? America and, to a lesser degree, in the media by downcast looks, Remember him asking for an Still,being a Wolf is not being a Jack Nicholson is a lesson well- the world. condemnations and general ill-will order oftoast even though it wasn't god. Although Jack does in many learned. Jack is distinguished from the towards the author. on the menu: "Allright, then I'd ways have his similarities to espe- Ithought of Jack the other day, likes of Pacino and Redford be- But this was Jack talking and like a chicken salad sandwich, hold cially the Greek god Dionysius, he sitting in my comfortable bed on a cause Jack is no longer an actor, there is one fundamental under- the lettuce hold the mayo. And one is human?very human. There are lazy Sunday afternoon. The fire Jack is a sociological phenom- standing that most people have more thing, hold the chicken." dozens ofbooks articles commen- alarm went off, blaring its obnox- enon. Perhaps this observation is about the man which overrides al- "You want me to hold the taries, what-have-you, that will ious message: "there's no fire, I'm not as accurate for our generation most any such reformatory back- chicken?" "No, Iwant you to hold describe in detail the people that justpathetic and need attention so as for our parents's but, damnit, it lash: Jack is honest And really, in it between your kneeeeees." Jack has hurt in his life: the bro- Ipulled this fire alarm to make you should be. There is a lesson in such an age of political correct- Remember him describing the ken relationships, the failed mar- get up for no reason at all." So Jack, one Ibelieve many ofus have ness, prepared statements and spe- fairer sex after being scorned: riages, the BMWs whose windows there Iwas, trying out of training missed. cialized speech what could be "Women: a mistake? Or did He were smashed by Jack and Jack's to ignore it, ignore the noise and Each actor seems to have a char- more rare and valuable than hon- do it to us on purpose?" golf clubs. pretend it wasn't there?shut it acter, a collected individual who esty. Or even remember him philoso- But the original image persists. out..shut it in. And then 1 heard is the assimilation of all their pre- Sure, this is an outlook not phizing on the sheer injustice of the Aman unfettered by the socializa- his voice...whispering softly to vious parts. Robert DeNiro, for prescribable for everyone. We world: "Will somebody tell me tion of the gentleman. Acreature me... and my eyes began to search example, has made himself the can't possibly have everyone run- what kind ofworld do we live in who seems to move by instinct and the room for my five-iron. image of a forever raging bull. ning about doing Jack. But when when a man dressed as a bat steals intuition alone. AMan withacapi- Claude VanDamme's new artis- ticcreation Tune Cop. Brassfield's be," said one student "I mean, There has been much furor over marquee was also sporting the that's just a rumor, right?" Right- The Guilfordian's last week's psychological thriller The Little o, smartguy. front-page photo of Wade Tomlin- Rascals and Terrace's marquee Suprise of all suprises, the for- son, and close friend Susan Allen stillblazed the times for the übiq- ever planned, forever debated, for- dancing. Eventual blame fell on uitous Forrest Gump. Fortunately, ever delayed Sesquentennial the shoulders ofGuilfordian Fea- the organization which has been Garden finally got the official go tures Section editor Kitson sponsoring the Carolina Classic ahead from the Board of Trust- Broadbelt, whose idea it was filmseries willbe presenting are- ees this week. Apparently the ac- originallyto run the picture. Mr. AGONIES stored version of A Streetcar tual work won't begin until No- Broadbelt was unavailable for T^JTTD Named Desire on October 11 at vember at the earliest but that comment but those close to the 7:30 PM. Tickets are $4 and can didn't deter the Board who fore- editor say he understands that such be purchased at the door the night sees the project to be completed behavior has no place in an orga- 'nnnm of the show. The theatre is located around the year 2015. With the nization as efficient, businesslike, 0 policy that only random people professional Hfin downtown at 310 South Greene and as The Guilfor- Street. from the street be used as work- dian. "He's really sorry," said a The Guilford College Football ers there will undoubtedly be a close friend. "He swears itwon't team extended their record to 3-0 problem with gaps in finished ever ever happen again." this week beating a favored work. "There's a big risk ofmud And finally, as proof that the Jul)... puddles," said Hampden-Sydney at Hampden Dan Poteet. With pen is indeed mightier than some- such mounting obstacles, students j-irch(r Sydney. The Ham-Syd defense things, the infamous showers of had held its two previous oppo- have at begun to show a dis- Binford which first-year studejnt Senior Those who have oftenclaimed turned away as such Triad area nents to a whopping 90 yards on interest in the project. and writer extrordinaire Alison Scott up Greensboro to be a cultural theatres as Brassfield, Litchfield, the ground before Guilford forgot Shaffer summed the Amis described in these pages last vacuum had more evidence for Janus, and Terrace all left the criti- that stat few everyone rushing for feelings ofmany: "Isay they just week have been repaired. From pave campus over." Scott will their case this week. Anxious cally-acclaimed motion picture over26o yards. With this the third die allreports, water now runs freely movie-goers hopeful and ready to out of their weekly lineups. victory, word is beginning to cir- evidently be replacing the late through the drains. "I'mjust...so as Guilford's re- see Robert Redford's highly- Strangely, all of these theatres culate intocampus of the Football Melissa Hoopes happy..." was all Alison could gent Enviormental watchdog. touted film Quiz Show were managed to find room for Jean- teams's existence.
Load more

Recommended publications
  • Original Article Being John Malkovich and the Deal with the Devil in If I Were
    Identificação projetiva excessiva – Rosa Artigo original Quero ser John Malkovich e o pacto com o diabo de Se eu fosse você: destinos da identificação projetiva excessiva Antonio Marques da Rosa* Um fantoche mira-se em um espelho e não A produção artística sempre proporcionou gosta do que vê. Inicia, então, uma agitada boas oportunidades para ilustrar conceitos da dança, na qual quebra todos os objetos do psicanálise. Freud, apreciador da psicanálise cenário. Após desferir murros e pontapés de aplicada, exercitou-a magistralmente em forma descontrolada, faz algumas piruetas diversos momentos, como em 1910, com as acrobáticas, dá alguns saltos mortais de costas telas de Leonardo. Mais adiante, em 1957, e deixa-se repousar no chão, abandonado, Racker, na área da filmografia, ofereceu um amolecido, desmembrado. brilhante estudo da cena primária baseado em Assim começa a história de Craig Schwartz A janela indiscreta, de Hitchcock. Em 1994, por (John Cusack), um titereiro que se expressa ocasião de um evento científico em Gramado, através de seus bonecos. Ele é o que, na Kernberg sustentou que o cinema, na sociedade americana, convencionou-se atualidade, é o setor das artes que mais chamar de loser: alguém que não consegue ricamente expressa os conflitos humanos. progredir na carreira e vive “dando errado”. Penso que, como qualquer criação, um filme Apesar de seu inegável talento, não é está impregnado de fantasias inconscientes, reconhecido e não alcança sucesso no mundo só que não de um único criador, como uma das marionetes. Não sem razão, a cena inicial tela, mas de vários: do autor da obra original, da marionete foi batizada por ele de a “Dança do roteirista, do diretor e dos atores que nos do Desespero e da Desilusão”.
    [Show full text]
  • 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]
  • Marlon Brando Material on ONE-EYED JACKS
    http://oac.cdlib.org/findaid/ark:/13030/c8w0999r No online items Marlon Brando material on ONE-EYED JACKS Special Collections Margaret Herrick Library© 2015 Marlon Brando material on 1074 1 ONE-EYED JACKS Descriptive Summary Title: Marlon Brando material on ONE-EYED JACKS Date (inclusive): 1957-1961 Collection number: 1074 Creator: Brando, Marlon Extent: 1.3 linear feet of papers. Repository: Margaret Herrick Library. Academy of Motion Picture Arts and Sciences. Languages: English Access Available by appointment only. Publication rights Property rights to the physical object belong to the Margaret Herrick Library. Researchers are responsible for obtaining all necessary rights, licenses, or permissions from the appropriate companies or individuals before quoting from or publishing materials obtained from the library. Preferred Citation Marlon Brando material on ONE-EYED JACKS, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. Acquisition Information Anomymous gift, 2005 Biography Marlon Brando was an American actor active in film from 1950 to 2001. ONE-EYED JACKS is an American feature film directed by Brando and released by Paramount Pictures in 1961. It represents Brando's sole directorial effort. Brando's eight Academy Award nominations in the acting category include a statuette for best actor for ON THE WATERFRONT (1954). Collection Scope and Content Summary The Marlon Brando material on ONE-EYED JACKS spans the years 1957-1961 and encompasses 1.3 linear feet. The collection consists of script material; production material, including production-related correspondence; and handwritten notes. Of interest are numerous handwritten notes by Brando on the script, editing, and other areas of production. The material was the personal property of Marlon Brando.
    [Show full text]
  • Harrison Ford 5 Film Collection
    Page 1 HARRISON FORD 5 FILM COLLECTION TM Available on DVD & Blu­ray ​ from 2nd November ​ Includes: Firewall, 42, Presumed Innocent, Frantic and The Fugitive On November 2nd 2015, Warner Bros. Home Entertainment (WBHE) will release the Harrison Ford 5 ​ Film Collection, three of which are brand new to Blu­ray. ​ ABOUT THE FILMS 42 (2013) Written and directed by Brian Helgeland (Legend, LA Confidential) this is the inspiring true story of ​ ​ the man who broke the Major League baseball colour barrier, Jackie Robinson, with Ford starring as the man who signed him, Branch Rickey. Firewall (2006) Ford proved he still had what it takes in the action man genre in this dazzling techno­thriller, starring as a security specialist forced to rob a bank after his family is taken hostage by the dastardly Paul Bettany. Frantic (1988) Directed by Roman Polanski, this superb thriller, a forerunner to the Liam Neeson Taken films, ​ ​ sees Harrison Ford as a doctor whose wife disappears from their hotel room during a trip to Paris. What follows is a nightmarish journey into the underbelly of the city as Ford attempts to find out Page 2 what has happened to her. Presumed Innocent (1990) A sensational nail­biting whodunnit right up to the final scene, this box office smash was based on the bestselling Scott Turow novel, and directed by the great Alan J Pakula (Klute). Ford is a DA ​ ​ who is put in charge of the investigation of his lover’s murder – and finds himself in the frame for the killing. When the film was released it became the ‘don’t reveal the ending’ hit of the year.
    [Show full text]
  • Les Bad Boys De L'ouest : Brando, Nicholson Et Le Western
    Document generated on 10/01/2021 5:32 p.m. 24 images Les Bad Boys de l’Ouest Brando, Nicholson et le Western Bruno Dequen Western – Histoires parallèles Number 186, March 2018 URI: https://id.erudit.org/iderudit/87969ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this article Dequen, B. (2018). Les Bad Boys de l’Ouest : Brando, Nicholson et le Western. 24 images, (186), 18–19. Tous droits réservés © 24/30 I/S, 2018 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ DOSSIER — WESTERN – Histoires parallèles LES BAD BOYS DE L’OUEST BRANDO, NICHOLSON ET LE WESTERN par Bruno Dequen Le Western n’est pas le premier genre qui vient en tête à la mention des noms de Marlon Brando et Jack Nicholson. Pourtant, ils en ont tous deux réalisé un, et The Missouri Breaks demeure le seul film dans lequel ils ont partagé l’affiche. Critiquées ou ignorées à l’époque de leurs sorties, les incursions des deux monstres sacrés au Far West font partie des propositions les plus originales du genre et mettent en valeur la relation complexe qu’entretenaient les deux légendes d’Hollywood avec leur art.
    [Show full text]
  • Seeing John Malkovich: the Neural Substrates of Person Categorization
    www.elsevier.com/locate/ynimg NeuroImage 24 (2005) 1147–1153 Seeing John Malkovich: the neural substrates of person categorization David J. Turk,a,* Amy C. Rosenblum,a Michael S. Gazzaniga,a and C. Neil Macraeb aDepartment of Psychological and Brain Sciences, Center for Cognitive Neuroscience, Dartmouth College, 6162 Moore Hall, Hanover, NH 03755, USA bSchool of Psychology, University of Aberdeen, Aberdeen AB24 2UB, UK Received 25 May 2004; revised 25 October 2004; accepted 28 October 2004 Available online 8 December 2004 Neuroimaging data have implicated regions of the ventral temporal the basis of findings such as these, it has been suggested that it is cortex (e.g., fusiform gyrus) as functionally important in face not stimulus type that modulates activity in visual association recognition. Recent evidence, however, suggests that these regions are cortex, but rather the level of categorical specificity at which not face-specific, but rather reflect subordinate-level categorical objects are identified (see Haxby et al., 2000; Tarr and Gauthier, processing underpinned by perceptual expertise. Moreover, when 2000). people possess expertise for a particular class of stimuli (e.g., faces), Any object, including a person, can be identified at multiple subordinate-level identification is thought to be an automatic process. To investigate the neural substrates of person construal, we used levels of abstraction (e.g., bird vs. canary; male vs. Al Pacino—see functional magnetic resonance imaging (fMRI) to contrast brain Rosch et al., 1976). It is generally assumed, however, that objects activity while participants judged faces at different levels of semantic are first identified at what is termed the entry level of categorical specificity (i.e., identity vs.
    [Show full text]
  • Film: the Case of Being John Malkovich Martin Barker, University of Aberystwyth, UK
    The Pleasures of Watching an "Off-beat" Film: the Case of Being John Malkovich Martin Barker, University of Aberystwyth, UK It's a real thinking film. And you sort of ponder on a lot of things, you think ooh I wonder if that is possible, and what would you do -- 'cos it starts off as such a peculiar film with that 7½th floor and you think this is going to be really funny all the way through and it's not, it's extremely dark. And an awful lot of undercurrents to it, and quite sinister and … it's actually quite depressing if you stop and think about it. [Emma, Interview 15] M: Last question of all. Try to put into words the kind of pleasure the film gave you overall, both at the time you were watching and now when you sit and think about it. J: Erm. I felt free somehow and very "oof"! [sound of sharp intake of breath] and um, it felt like you know those wheels, you know in a funfair, something like that when I left, very "woah-oah" [wobbling and physical instability]. [Javita, Interview 9] Hollywood in the 1990s was a complicated place, and source of films. As well as the tent- pole summer and Christmas blockbusters, and the array of genre or mixed-genre films, through its finance houses and distribution channels also came an important sequence of "independent" films -- films often characterised by twisted narratives of various kinds. Building in different ways on the achievements of Tarantino's Reservoir Dogs (1992) and Pulp Fiction (1994), all the following (although not all might count as "independents") were significant success stories: The Usual Suspects (1995), The Sixth Sense (1999), American Beauty (1999), Magnolia (1999), The Blair Witch Project (1999), Memento (2000), Vanilla Sky (2001), Adaptation (2002), and Eternal Sunshine of the Spotless Mind (2004).
    [Show full text]
  • CENTURION Magazine
    TROPICAL TIDINGS: BRANDO’S TAHITIAN IDYLL, CARIBBEAN HIDEAWAYS AND BORNEO'S JUNGLE PARADISE FRENCH FANCIES: BORDEAUX’S NEW WAVE, PARIS’S EMERGING QUARTIER AND A MAJESTIC REBIRTH Plus: The Biennale Report – art and jewels take centre stage WINTER 2014 01_Q414_CEN_UK_00_COVER.indd 1 13.10.14 15:55 CONTENTS WINTER 124 PARTY ON Pomellato Divine jewellery for morganite, sapphire and cocktail hour and beyond diamond Pom Styled by Shannon Adducci Pom ring Photography Marcus Nilsson ISSUE 4, 2014 FEATURES 110 130 142 WELL SUITED PARADISE FOUND BORDEAUX BOUNCE Formal or relaxed - this Marlon Brando’s vision of an Avant-garde winemakers season’s ensemble for the eco-resort on his Tahitian are turning the region style-conscious gentleman hideaway has come to fruition upside down Styled by Brian Coats By Ned Zeman By Jeffrey T Iverson Photography Kalle Gustafsson Photography Roberto Frankenberg Illustrations Valero Doval 118 138 148 THE ART OF TIME SÃO PAULO RISES MUST BE MUSTIQUE Lovingly crafted métiers d’art After a successful biennial, Private properties, now watches are causing a stir in Brazil’s largest city is truly available to rent, make the the world of horology elevating its cultural acumen island ever more alluring NILSSON MARCUS By Laurie Kahle By Claire Rigby By Laurie Kahle PHOTO 14 CENTURION-MAGAZINE.COM 14_16_Q414_CEN_UK_01_CONTENTS.indd 14 13.10.14 17:51 WINTER ISSUE 4, 2014 CONTENTS 21 26 FROM THE EDITOR Regulars CONTRIBUTORS 66 CHECKING IN China’s ever-growing high-end hostelry scene; London openings; Etihad’s sublime suite in
    [Show full text]
  • Hollywood Stars and Their Army Service from the Spanish American
    James E. Wise, Paul W. Wilderson. Stars in Khaki: Movie Actors in the Army and Air Services. Annapolis: Naval Institute Press, 2000. xi + 244 pp. $24.95, cloth, ISBN 978-1-55750-958-1. Reviewed by Charles C. Kolb Published on H-PCAACA (November, 2000) Hollywood Stars and their Army Service from In Stars in Blue we learned about Wayne the Spanish American War to Vietnam Morris, Douglas Fairbanks, Jr., Henry Fonda, This splendid book is the third and fnal vol‐ Humphrey Bogart, Paul Newman, Aldo Ray, ume in historian-biographer Wise's trilogy and it Ernest Borgnine, Robert Montgomery, Cesar makes a ftting companion to its two illustrious Romero, and dozens of other flm stars. With the predecessors. In 1997 Wise and his co-author Ann sequel, Stars in the Corps , we discovered the con‐ Rehill wrote Stars in Blue: Movie Actors in Ameri‐ tributions made by more than 30 motion picture ca's Sea Services in which flm actors who served stars including Sterling Hayden, Tyrone Power, in the U.S. Navy, Naval Reserve, Coast Guard, or Steve McQueen, Lee Marvin, Gene Hackman, Coast Guard Reserve from 1920 through the Kore‐ George C. Scott, Harvey Keitel, Brian Dennehy, an War are profiled. Wise and Rehill also au‐ Hugh O'Brien, Ed McMahon, and Dale Dye. As in thored Stars in the Corps: Movie Actors in the these two volumes, the emphasis in Stars in Khaki United States Marines (1999) which covers the is on World War II. Many of the men who served same period but emphasizes Marines in the Pacif‐ in the U.S.
    [Show full text]
  • True and False New Realities in the Films of Wes Anderson, Spike Jonze and Charlie Kaufman
    ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 3 (2010) 121–131 True and False New Realities in the Films of Wes Anderson, Spike Jonze and Charlie Kaufman André Crous University of Stellenbosch (South Africa) E-mail: [email protected] Abstract. The filmmakers of the French Nouvelle Vague, in the spirit of post- war modernism, wanted to get at the truth of everyday life, and braved oncoming traffic to capture people living real lives. Since the turn of the millennium, Wes Anderson, Spike Jonze and Charlie Kaufman have taken the opposite track, showing a remarkable tendency to undermine their own representations of reality – often humorously collapsing the boundaries between the actual and fictional worlds. The particular filmmakers never content themselves with simple exercises in mimesis, but instead openly acknowledge the elusive objective of faithfully representing reality: examples include the subversively deceptively Godardian cut-away of a film set in Anderson’s Life Aquatic with Steve Zissou (2004), the symbiotic relationship between the diegetic writing of two screenplays and the events unfolding around the characters in Jonze’s Adaptation (2002), and the multiple mise- en-abyme structure of Kaufman’s Synecdoche, New York (2008). In the course of their films, Anderson, Jonze and Kaufman playfully yet confidently turn our perception of diegetic reality on its head, placing emphasis on the idea of “performance” – as it relates to the characters as well as the films themselves. Introduction The late 1950s and the early 1960s saw a handful of French directors setting out to revitalize a film industry whose output, according to them, had become dull and conventional.
    [Show full text]
  • 2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
    2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter
    [Show full text]
  • What Is It Like to Be John Malkovich?: the Exploration of Subjectivity in Being John Malkovich Tom Mcclelland University of Suss
    Postgraduate Journal of Aesthetics, Vol. 7, No. 2, August 2010 Special issue on Aesthetics and Popular Culture WHAT IS IT LIKE TO BE JOHN MALKOVICH ?: THE EXPLORATION OF SUBJECTIVITY IN BEING JOHN MALKOVICH TOM MCCLELLAND UNIVERSITY OF SUSSEX I. INTRODUCTION “After decades in the shadows”, Murray Smith and Thomas Wartenberg proclaim, “the philosophy of film has arrived, borne on the currents of the wider revival of philosophical aesthetics.”1 Of specific interest in this growing discipline is the notion of film as philosophy. In a question: “To what extent can film - or individual films - act as a vehicle of or forum for philosophy itself?” 2 Many have responded that films can indeed do philosophy, in some significant sense. 3 Furthermore, it has been claimed that this virtue does not belong solely to ‘art’ films, but that popular cinema too can do philosophy. 4 A case in point is Spike Jonze’s 1999 film Being John Malkovich , the Oscar- winning screenplay of which was written by Charlie Kaufman. The outrageous premise of this comic fantasy is summarised by the film’s protagonist, Craig Schwartz: There’s a tiny door in my office Maxine. It’s a portal, and it takes you inside John Malkovich. You see the world through John Malkovich's eyes. And then, after about fifteen minutes, you're spit out into a ditch on the side of the New Jersey Turnpike. 1 Smith and Wartenberg (2006), p.1. 2 Ibid. 3 Notably Mulhall (2002). 4 Cavell (1979) and (1981). TOM MCCLELLAND , The philosophical issues that this scenario raises are manifold.
    [Show full text]