DOCSLIB.ORG

Special Collections Library

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Special Collections Library SPECIAL COLLECTIONS LIBRARY UNIVERSITY OF MICHIGAN ROBERT ALTMAN ARCHIVE: PERSONAL AND EARLY PROJECTS, 1945-2007 21 linear feet Call No.: Altman ACQUISITION: The archive was acquired from the Altman family, 2007-2008, ACCESS: The records are open for research. PHOTOGRAPHS: COPYRIGHT: Permission to publish material from this collection must be obtained from the University of Michigan Special Collections Library and the individual copyright holder. PROCESSED BY: Personal series: Heather Norris, Ray Barker, 2011; Early Projects: Sarah Hegge, 2010 Robert Altman Archive Abstract The Robert Altman Personal series (14 linear feet, 3 oversized boxes) ranges in date from 1945-2007. The series includes correspondence, legal, and medical documents, topical and award-related material, early work, interviews and clippings, as well as photographs. The Early Projects series contains assorted materials from early projects including movies, TV, commercials, and short films (1 linear foot and 1 oversized box). Scope and Content Note The Robert Altman Personal series (14 linear feet, 3 oversized boxes) is comprised of personal material ranging in date from 1945-2007. The material consists of correspondence, legal and medical documents, topical and award related material, early work, interviews and clippings, as well as photographs. The correspondence sub-series include letters and cards from friends, co-workers and acquaintances, as well as fan mail. Early work is comprised of music, poetry, scripts, and short stories ranging in date from 1945-1965. Documents such as marriage certificates, birth certificates and passports can be found in the legal and other documents sub-series while Robert Altman's wills are in the legal-Jerome Walsh sub-series. The family sub-series is comprised of material relating to Dana Altman and Signe Corriere, as well as an undated family tree. The medical sub-series contain medical records and bills. Name and topical is the largest sub-series and includes documents pertaining to the Directors Guild of America, letters of recommendation, and Robert Altman's honorary doctorate from the University of Michigan. This sub-series also includes material from people such as Tom Hanks, John Kerry, Richard Nixon, Martin Scorsese, and Tim Robbins. The awards, events and festivals sub-series contain material from Robert Altman's 2006 Academy of Motion Picture Arts and Sciences Lifetime Achievement Awards, the Lincoln Center Tribute Gala and the Cannes Film Festival. The interviews sub-series include documents from various magazines and newspapers including Cinema Journal and Time Out London. Clippings is a sub-series ranging in date from 1968-2006 and include various articles about Robert Altman. The photographs sub-series contains photographs from Robert Altman's early, middle and later years as well as family-related photographs, negatives, and slides. The Early Projects series contains assorted materials from early projects including movies, TV, commercials, and short films (1 linear foot and 1 oversized box). Bodyguard is a 1948 movie based on a story by Altman starring Lawrence Tierney as an insubordinate police officer who takes work protecting a woman played by Elisabeth Risdon. Altman wrote, directed, and produced a story about rebellious teens called The Delinquents (1957). Altman also directed a 1957 documentary, The James Dean Story. During this period Altman worked on several TV shows. In Whirlybirds criminals were pursued with the aid of helicopters. Bolt from the Blue was an episode of the popular TV show Maverick that Altman wrote and directed. He also directed the episode Access by Consent for the series Bus Stop and wrote and directed several episodes of The Roaring 20's, and Bonanza. Altman wrote and directed several episodes of the TV series Combat! before being fired from the show over creative differences involving the episode "Survival." A letter from composer Leonard Rosenman is included which may be in reference to a proposal to extend Survival into a full length feature. The collection includes the script for the episode Cat and Mouse. Two of Altman's TV efforts were made into full length films. Once Upon a Savage Night was originally an hour long piece made for Kraft Suspense Theater and was later expanded into a feature length picture for NBC Nightmare in Chicago. Savage Night is notable for being the first entertainment film to use Eastman high-speed color film type 5258 allowing for film to be shot at night in very low light. A two hour pilot for the show i Robert Altman Archive Nightwatch was aired as a movie after the show was not picked up. It was also known as Chicago, Chicago or A Walk in the Night. The Lili project and The Party were two short films meant to be shown on video jukeboxes. The Color-Sonics film jukebox was released in 1966 with films printed on 8 mm magnetic-sound film cartages. These were made by Official Films at Paramount Studios. Additionally an unknown number of these shorts were made into 16 mm prints for the Scopitone jukebox. The Party was set to a Herb Alpert & the Tijuana Brass song titled Bittersweet Samba and was also known as In Crowd. Altman made two of these films with the famous stripper Lili St. Cyr called Speak Low and Ebb Tide. The collection contains photographic materials from the set of Ebb Tide. Fashion Fair is a 30-minute fashion show the Altman worked on with Nellie Don, a large mid-priced Kansas City-based fashion company and a woman who started the company. This was part commercial and part TV show. The other two commercials have not been identified. ii Robert Altman Archive Box No. Description - Personal Correspondence Box 1 Undated (2 folders) Altman, Stephen, undated 1945 1981-1989 (7 folders) 1990-1993 (9 folders) 1994-1998 (8 folders) 2000-2006 (7 folders) Fan mail, 2005-2006 (2 folders) Early work Music Lyrics, ca. 1950 Sheet music, ca. 1950 (9 folders) Novella Untitled, undated (3 folders) Poetry "Answer to Ogden Nash's Question: 'How Does One Become A Capable Liar?'" "Illusion" "Shame of Immortal Man, The" Miscellaneous, undated Radio plays "Control" and "Fear" (co-authored by George W. George) (2 folders) A Dramatic Program without the Disadvantage of Plot (2 folders) "Trip to the Moon" Scripts "Equal by Day," "Equal by Law," and "Lesson for Tomorrow" outlines "Hey Sis!" The Kinsey Problem (co-authored by James Rickard) Monsieur Paree outline Production Procedure Proper Girl Untitled, undated (4 folders) Best Place to Hit by Richard Casper Sarafian Short stories "Agent, The" "Dark Conviction" (co-authored by James Rickard) "Encore" "Freddy's Masterpiece" Box 2 "Fractured" (2 folders) "Johnny Alias" "Red" "Siren, The" "Some Hands Are Different" "Throw-Off, The" "Woman without a Mouth" Untitled Fragments, notes, drafts and proposals, ca. 1955 (6 folders) 1 Robert Altman Archive Box No. Description - Television The Troubleshooters production plan proposal, 1958 "Rumors are Flying" (co-authored by James Rickard) (2 folders) Film industry workshop, Los Angeles, California, November 13, 1963 "My Speech," filmmaker's workshop, Kansas City, Missouri, February 9, 1965 Calvin Company Workshop notebook, 1955 and correspondence, 2003 Self-portrait illustration, 1943 "Miscellaneous material," 1945-1960 Legal and other documents Marriage certificates, 1945-1966 Decree of Divorce, 1952 Visa, France, 1986 Passports, 1985, 1995, 2005, 2006 (2 folders) Birth certificate, photocopies, 1985 Good conduct certificate, 1986 Photocopies of wallet contents, 1995, 1996, 1997, 1998, 2000, 2001, 2002, 2003, 2004, 2005 (7 folders) Lantana Center lease, 1998 Voter registration, 2000 Power of Attorney, 2000 Huntsman, et al. v. Soderbergh, et at. Litigation, 2003-2005 (2 folders) Warner Books publishing agreement, book outline and potential co- authors, 2006 (2 folders) Legal-Walsh, Jerome Altman, Robert, will 1993 1997 (2 folders) 2002 2003 Family Altman, Dana, 1994 (3 folders) Altman, Reed, undated Corriere, Signe, 1994-1995 (3 folders) Family tree, undated Medical Test results and diagnoses, 1984-1993 (6 folders) Claims and receipts, 1988-1989, 1993-1996 (5 folders) Box 3 Bills and receipts, 1993-1996 Records and notes, 1993-2004 (12 folders) Contacts, 1995-1998 American College of Cardiology, 2002-2003 (2 folders) Memorials and condolences 2007 (2 folders) Name and topical Academy of Motion Picture Arts and Sciences Correspondence, 1991 Voting materials, 1994 Consideration letters, 1998-1999 "Screeners" and Altman nominations, 2003 2 Robert Altman Archive Box No. Description - Allen, Woody, 1997 All Star Baby Proofing, 2000 American Program Bureau, 2003 Anthology Film Archives, 2002 Antonioni, Michelangelo, 1994 Appraisals: art and jewelry,1972-1991, 2003 (2 folders) Archive of Contemporary Music, 1989-1990 (2 folders) Arnaz, Lucie, 1992 Art of Doodle, The (includes Altman illustration), 2002-2003 Arthur, Wren, 1998-1999 (3 folders) Artists, 1983, 1989 Babbitt, Bruce and Harriet, 1988-1989 Basinger, Kim and Baldwin, Alec, 1995 Beaver, Frank, University of Michigan, 1983, 1992 Belafonte, Harry, 2003 Biographies and filmographies (4 folders) Biskind, Peter, 1997-1998 Box 16 (o.s.) Blueprints: Malibu Cove Colony house (1977); Sandcastle 5 office (Park Avenue, NYC, 1994); Sandcastle 5 office (Paris, plans by Stephen Altman, 1985) Box 17 (o.s.) Box Office, 1945-1950, 1962 Box 3 Boylan, Paul, University of Michigan, 1983-2006 Bragg, Charles, 1994 British Film Commission, 2002 Busby, Gerald, 2005 Camerlo, Humbert, 1991 Cartier, 2000 Box 17 (o.s.) Cartoons Five pen and ink, some with watercolor, by "Shaw," (1950's/1960's) Three watercolor, pencil and pen and ink, [artist unknown,] undated Ink on a napkin, by "Norland," September 26, 1992 Pen and ink, by J. Jensen Crayon on paper, by Jesse James, 1997 Box 3 Cassavetes, Alexandra, 2003 Cats, 1985 Committee for a Fair Deal, 2000 Connick, Jr., Harry, 2005 Construction, 2004 Contemporary Arts Center, undated Converse, Celia, 1993-1994 (5 folders) Crosby, Cathy Lee, 1998 Demme, Jonathan, 1994 Dern, Laura, 2003 Directors Guild of America D.W. Griffith Award, 1994 Director's retreat and correspondence, 1997 DGA Honors, 2003 3 Robert Altman Archive Box No.
Load more

Recommended publications
  • Extreme Leadership Leaders, Teams and Situations Outside the Norm
    JOBNAME: Giannantonio PAGE: 3 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 Extreme Leadership Leaders, Teams and Situations Outside the Norm Edited by Cristina M. Giannantonio Amy E. Hurley-Hanson Associate Professors of Management, George L. Argyros School of Business and Economics, Chapman University, USA NEW HORIZONS IN LEADERSHIP STUDIES Edward Elgar Cheltenham, UK + Northampton, MA, USA Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 1 / Date: 30/10 JOBNAME: Giannantonio PAGE: 4 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 © Cristina M. Giannantonio andAmy E. Hurley-Hanson 2013 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical or photocopying, recording, or otherwise without the prior permission of the publisher. Published by Edward Elgar Publishing Limited The Lypiatts 15 Lansdown Road Cheltenham Glos GL50 2JA UK Edward Elgar Publishing, Inc. William Pratt House 9 Dewey Court Northampton Massachusetts 01060 USA A catalogue record for this book is available from the British Library Library of Congress Control Number: 2013946802 This book is available electronically in the ElgarOnline.com Business Subject Collection, E-ISBN 978 1 78100 212 4 ISBN 978 1 78100 211 7 (cased) Typeset by Columns Design XML Ltd, Reading Printed and bound in Great Britain by T.J. International Ltd, Padstow Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 2 / Date: 30/10 JOBNAME: Giannantonio PAGE: 1 SESS: 5 OUTPUT: Wed Oct 30 14:57:46 2013 14. Extreme leadership as creative leadership: reflections on Francis Ford Coppola in The Godfather Charalampos Mainemelis and Olga Epitropaki INTRODUCTION How do extreme leadership situations arise? According to one view, they are triggered by environmental factors that have nothing or little to do with the leader.
    [Show full text]
  • Elementary State Fair Community Coll., Sedalia, Mo. Office of Education
    DOCUMENT RESUME ED 112 073 95 CE 004 836 TITLE Career Education: Learning with a Purpose; Elementary 3-4; Volumes 1and 2. INSTITUTION State Fair Community Coll., Sedalia, Mo. SEMIS AGENCY Office of Education (DHEW), Washington, D.C. PUB DATE 74 NOTE 182p. EDRS PRICE MF-$0.76 HC-$9.51 Plus Postage DESCRIPTORS Audiovisual Aids; *Career Education; Classroom Materials; *Curriculum Guides; Decision Making; Educational Attitudes; *Elementary Education; Field Trips; Grade 3; Grade 4; Integrated Curriculum; Interpersonal Competence; *Learning Activities; Occupational Information; Resource Guides; Self Actualization; Self Concept; Self Evaluation; Social Studies; Units of Study (Subject Fields) IDENTIFIERS Missouri ABSTRACT The guide to career education is designed to supplement an existing curriculum at the third and fourth grade level; it suggests and outlines a developmental program of learning activities and resource materials which may be integrated with the teaching of academic subject areas. The suggested activities and materials are designed to (1) promote the student's understanding of himself and others, (2) provide occupational information,(3) explore the world of work, and (4) prepare the student for personal decision-making. The program is intended to help the student recognize that educational experiences are a means of achieving life goals. The activities_in Volume 1 pertain to social studies, and include a Missouri unit with student worksheets and a collection of studentrdeveloped, career-related games and puzzles. The subject areas used to group the activities in Volume 2 are fine arts, language arts, math, and science. In addition to the suggested resource materials which are listed in conjunction with the learning activities, both volumes contain identical resource guides to audiovisual materials, sources of free career information, and a list of field trip sites in Missouri.
    [Show full text]
  • The Field Guide to Sponsored Films
    THE FIELD GUIDE TO SPONSORED FILMS by Rick Prelinger National Film Preservation Foundation San Francisco, California Rick Prelinger is the founder of the Prelinger Archives, a collection of 51,000 advertising, educational, industrial, and amateur films that was acquired by the Library of Congress in 2002. He has partnered with the Internet Archive (www.archive.org) to make 2,000 films from his collection available online and worked with the Voyager Company to produce 14 laser discs and CD-ROMs of films drawn from his collection, including Ephemeral Films, the series Our Secret Century, and Call It Home: The House That Private Enterprise Built. In 2004, Rick and Megan Shaw Prelinger established the Prelinger Library in San Francisco. National Film Preservation Foundation 870 Market Street, Suite 1113 San Francisco, CA 94102 © 2006 by the National Film Preservation Foundation Library of Congress Cataloging-in-Publication Data Prelinger, Rick, 1953– The field guide to sponsored films / Rick Prelinger. p. cm. Includes index. ISBN 0-9747099-3-X (alk. paper) 1. Industrial films—Catalogs. 2. Business—Film catalogs. 3. Motion pictures in adver- tising. 4. Business in motion pictures. I. Title. HF1007.P863 2006 011´.372—dc22 2006029038 CIP This publication was made possible through a grant from The Andrew W. Mellon Foundation. It may be downloaded as a PDF file from the National Film Preservation Foundation Web site: www.filmpreservation.org. Photo credits Cover and title page (from left): Admiral Cigarette (1897), courtesy of Library of Congress; Now You’re Talking (1927), courtesy of Library of Congress; Highlights and Shadows (1938), courtesy of George Eastman House.
    [Show full text]
  • The American Film Institute and TV Land Announce the Benefit Committee for AFI Life Achievement Award: a Tribute to Morgan Freeman
    The American Film Institute and TV Land Announce the Benefit Committee for AFI Life Achievement Award: A Tribute to Morgan Freeman Gala To Be Held On The Historic Sony Lot In Culver City On June 9, 2011 Show Premieres On TV Land On Sunday, June 26, 2011 At 8:00 p.m. ET/PT LOS ANGELES, April 26, 2011 /PRNewswire via COMTEX/ -- American film's finest have confirmed their participation on the American Film Institute (AFI) Gala Benefit Committee honoring 39th Life Achievement Award recipient, Morgan Freeman. Members of this year's benefit committee are Ben Affleck, Jim Carrey, Clint Eastwood, Tom Hanks, Ashley Judd, Helen Mirren, Mike Nichols, Jack Nicholson, Brad Pitt, Sidney Poitier, Robert Redford, Tim Robbins, Steven Spielberg, Hilary Swank, Denzel Washington and Alfre Woodard. AFI will present the 39th AFI Life Achievement Award - America's highest honor for a career in film - to Freeman on June 9th. "TV Land Presents: The AFI Life Achievement Award Honoring Morgan Freeman" will air on TV Land on Sunday, June 26, 2011 at 8:00 p.m. ET/PT. The black-tie event will take place on historic Stage 15 at Sony Pictures Studios, where "The Wizard of Oz," "Grand Hotel," "Spiderman" and other classic movies were filmed. The stage will be transformed into an elegant ballroom to honor the storied career of Morgan Freeman. Proceeds from the AFI Life Achievement Award Gala directly support the Institute's national educational programs and the preservation of American film history. "Morgan Freeman has embodied characters that range from prisoner to president, from gumshoe to God," said Bob Gazzale, AFI President and CEO.
    [Show full text]
  • CLAY GRIFFITH Production Designer Claygriffith.Com
    CLAY GRIFFITH Production Designer claygriffith.com PROJECTS DIRECTORS STUDIOS/PRODUCERS HARVEST MOON Mark Waters MIRAMAX FILMS Mark Waters, Paul Bettany NATIONAL CHAMPIONS Ric Roman Waugh THUNDER ROAD Jeffrey Stott, Basil Iwanyk, Brendon Boyea GREENLAND Ric Roman Waugh THUNDER ROAD Carsten Lorenz CITY OF LIES Brad Furman FILMNATION ENT. / SABAN FILMS Bruce Wayne Gillies DOLEMITE IS MY NAME Craig Brewer NETFLIX Michael Beugg, John Davis John Fox TRIAL BY FIRE Ed Zwick THE BEDFORD FALLS COMPANY Kate Dean, Allyn Stewart, Kipp Nelson ROADIES Cameron Crowe BAD ROBOT / WB / SHOWTIME Pilot & Series Iain Paterson, Peter Schindler JACK REACHER: NEVER GO BACK Edward Zwick SKYDANCE / PARAMOUNT Herb Gains, Don Granger ALOHA Cameron Crowe NEW REGENCY / SONY Ilona Herzberg WE BOUGHT A ZOO Cameron Crowe FOX Ilona Herzberg, Julie Yorn LUCKY YOU Curtis Hanson WARNER BROS. Mari Jo Winkler, Carol Fenelon ELIZABETHTOWN Cameron Crowe PARAMOUNT Don Lee, Paula Wagner RADIO Mike Tollin SONY REVOLUTION Herb Gains SWEET HOME ALABAMA Andy Tennant ORIGINAL FILMS / DISNEY Michael Fottrell DOMESTIC DISTURBANCE Harold Becker PARAMOUNT Jim Dyer, Donald De Line ALMOST FAMOUS Cameron Crowe DREAMWORKS Nomination, Best Production Design – Ian Bryce ADG Winner, Best Picture – AFI AS GOOD AS IT GETS James L. Brooks TRISTAR PICTURES / GRACIE FILMS Set Decorator JERRY MAGUIRE Cameron Crowe TRISTAR PICTURES Set Decorator James L. Brooks SEVEN David Fincher NEW LINE Set Decorator Dan Kolsrud, Arnold Kopelson JUNIOR Ivan Reitman UNIVERSAL PICTURES Set Decorator Joe Medjuck SLEEPLESS IN SEATTLE Nora Ephron TRISTAR PICTURES Set Decorator Gary Foster, Linda Obst SINGLES Cameron Crowe WARNER BROS. Set Decorator Art Linson In addition to Los Angeles, Mr.
    [Show full text]
  • Introduction
    Introduction Christopher B. Barnett and Clark J. Elliston That Martin Scorsese is one of finest directors in the history of cinema is certain. Indeed, one could reach this conclusion in any number of ways. Scors- ese has received eight Academy Award nominations for Best Director—top among living directors and tied for second (with Billy Wilder) among all direc- tors since the Academy of Motion Picture Arts and Sciences began presenting the award in 1929. Such accolades situate Scorsese at the head of the cinematic establishment, but he is equally venerated among the avant-garde. In 2007, the British periodical Total Film named Scorsese the second greatest director of all time (behind only Alfred Hitchcock),1 and the American Film Institute listed three of Scorsese’s films among the 100 best American films, including Rag- ing Bull (1980) in fourth place.2 Already in 1998, well before Scorsese released recent classics such as The Departed (2006) and The Wolf of Wall Street (2013), the celebrated critic Roger Ebert professed, “There is no greater American film- maker right now than Martin Scorsese, and hasn’t been for some time, perhaps since Welles and Hitchcock and Ford died.”3 Yet, despite all of Scorsese’s accomplishments, “surprisingly few books have been written on his work.”4 Revered by cinephiles, he has been less popular among academics. Moreover, when Scorsese has received scholarly attention, there has been an understandable if exaggerated accent on certain aspects of his background and interests, whether his upbringing in Manhattan’s Lit- tle Italy or his attraction to stories about organized crime.
    [Show full text]
  • The Last Show – a Prairie Home Companion»
    KirchenKino – 21. Mai 2007 in Bern Impulsreferat «The Last Show – A Prairie Home Companion» Charles Martig «The Last Show» (USA 2006) ist ein Film des Abschieds – ein wehmütiger Blick zurück auf eine Lebenswelt, die es nicht mehr gibt. Eingeführt werden wir durch eine Stimme aus dem Off: Es handelt sich um einen schwarz gekleideten, etwas dubiosen Privatde- tektiv mit dem sprechenden Namen «Guy noir». Diese Kunstfigur, die direkt dem Film noir entsprungen scheint, weiss, dass heute Abend die letzte Vorstellung der Live- Radio-Show statt findet. Er kommentiert dieses Faktum mit einem lakonischen Ton in der Stimme und mit einer seltsam überheblichen Distanziertheit. Mit dem Hausdetektiv betreten wir das Fitzgerald Theater in St. Paul, Minnesota und lungern mit ihm hinter den Kulissen herum. Der eitle Trottel vom Dienst steht eigentlich allen im Weg und be- wegt sich so ungeschickt durch das Set, dass wir bald Schmunzeln, bald Mitleid haben mit dieser Figur. Es handelt sich um eine umwerfende Satire des «Private Eye», der alles im Griff haben will und doch immer nur von den Ereignissen getrieben wird. Denn am Lauf der Dinge kann auch er nichts ändern. Es handelt sich um eine satirische Ü- berhöhung des Privatdetektivs, den Robert Altman bereits in den «The Long Goodbye» aufs Korn nahm. Mit «Guy Noir» sind wir bereits mitten in der Geschichte. Sie spielt sich vor allem hinter den Kulissen ab. Da befinden wir uns unverhofft in den Requisiten und Garderoben von «A Prairie Home Companion» – wörtlich beim Gefährten in der Prärie, der das eigentli- che Zuhause in den weiten des mittleren Westens ausmacht.
    [Show full text]
  • The American Film Institute: Institute: Film American The
    by October 16, 2017 16, October by x247 6800 777 718 [email protected] RSVP THE AMERICAN FILM INSTITUTE: CELEBRATING 50 YEARS An Afternoon with Jean Picker Firstenberg and special guests SATURDAY, OCTOBER 21, 2017 at 2:00 P.M. Museum of the Moving Image 36-01 35th Avenue, Astoria, NY 11106 Attendees at AFI’s Back to the Rose Garden gala in 1989. Photo: Joan Marcus / Courtesy of AFI Jean Picker Firstenberg, who was the president and CEO of the American Film Institute for more than half of its 50 years, has written (with James Hindman) the definitive story—an engaging and insightful memoir—BECOMING AFI: 50 Years Inside the American Film Institute. To celebrate the publication of the book by Santa Monica Press, this special program will feature a panel discussion with notable AFI alumni followed by a book signing and reception. Guests include: Marsha Mason, actress Barbara Schock, chair of the NYU Graduate Film program Fred Elmes, cinematographer Paul Warner, director Terry Lawler, executive director of New York Women in Film and James Hindman, co-writer, former AFI Television and former director of the co-director, COO, and provost. Directing Workshop for Women The discussion, moderated by Chief Curator David Schwartz, will include clips highlighting AFI’s remarkable history. Celebrating its 50th anniversary, the American Film Institute, born in 1967 at the dawn of the New Hollywood, has since established itself as one of the nation’s most respected cultural and educational entities, including a world-class graduate film school; publications; unique, state-of-the art programming; film festivals; and the Life Achievement Award.
    [Show full text]
  • "It's Aimed at Kids - the Kid in Everybody": George Lucas, Star Wars and Children's Entertainment by Peter Krämer, University of East Anglia, UK
    "It's aimed at kids - the kid in everybody": George Lucas, Star Wars and Children's Entertainment By Peter Krämer, University of East Anglia, UK When Star Wars was released in May 1977, Time magazine hailed it as "The Year's Best Movie" and characterised the special quality of the film with the statement: "It's aimed at kids - the kid in everybody" (Anon., 1977). Many film scholars, highly critical of the aesthetic and ideological preoccupations of Star Wars and of contemporary Hollywood cinema in general, have elaborated on the second part in Time magazine's formula. They have argued that Star Wars is indeed aimed at "the kid in everybody", that is it invites adult spectators to regress to an earlier phase in their social and psychic development and to indulge in infantile fantasies of omnipotence and oedipal strife as well as nostalgically returning to an earlier period in history (the 1950s) when they were kids and the world around them could be imagined as a better place. For these scholars, much of post-1977 Hollywood cinema is characterised by such infantilisation, regression and nostalgia (see, for example, Wood, 1985). I will return to this ideological critique at the end of this essay. For now, however, I want to address a different set of questions about production and marketing strategies as well as actual audiences: What about the first part of Time magazine's formula? Was Star Wars aimed at children? If it was, how did it try to appeal to them, and did it succeed? I am going to address these questions first of all by looking forward from 1977 to the status Star Wars has achieved in the popular culture of the late 1990s.
    [Show full text]
  • AFI PREVIEW Is Published by the Age 46
    ISSUE 72 AFI SILVER THEATRE AND CULTURAL CENTER AFI.com/Silver JULY 2–SEPTEMBER 16, 2015 ‘90s Cinema Now Best of the ‘80s Ingrid Bergman Centennial Tell It Like It Is: Black Independents in New York Tell It Like It Is: Contents Black Independents in New York, 1968–1986 Tell It Like It Is: Black Independents in New York, 1968–1986 ........................2 July 4–September 5 Keepin’ It Real: ‘90s Cinema Now ............4 In early 1968, William Greaves began shooting in Central Park, and the resulting film, SYMBIOPSYCHOTAXIPLASM: TAKE ONE, came to be considered one of the major works of American independent cinema. Later that year, following Ingrid Bergman Centennial .......................9 a staff strike, WNET’s newly created program BLACK JOURNAL (with Greaves as executive producer) was established “under black editorial control,” becoming the first nationally syndicated newsmagazine of its kind, and home base for a Best of Totally Awesome: new generation of filmmakers redefining documentary. 1968 also marked the production of the first Hollywood studio film Great Films of the 1980s .....................13 directed by an African American, Gordon Park’s THE LEARNING TREE. Shortly thereafter, actor/playwright/screenwriter/ novelist Bill Gunn directed the studio-backed STOP, which remains unreleased by Warner Bros. to this day. Gunn, rejected Bugs Bunny 75th Anniversary ...............14 by the industry that had courted him, then directed the independent classic GANJA AND HESS, ushering in a new type of horror film — which Ishmael Reed called “what might be the country’s most intellectual and sophisticated horror films.” Calendar ............................................15 This survey is comprised of key films produced between 1968 and 1986, when Spike Lee’s first feature, the independently Special Engagements ............12-14, 16 produced SHE’S GOTTA HAVE IT, was released theatrically — and followed by a new era of studio filmmaking by black directors.
    [Show full text]
  • KANSAS CITY GOES to the MOVIES from Watching Movies to Making Movies – Kansas City Has Done It All
    KANSAS CITY GOES TO THE MOVIES From watching movies to making movies – Kansas City has done it all KANSAS CITY GOES TO THE MOVIES From watching movies to making movies – Kansas City has done it all Kansas City has enjoyed a rich and rewarding relationship with the movies ever since motion pictures were introduced around the turn of the twentieth century. From the 1897 showing of three short films at the Coates Opera House1 to the megaplex theaters that dot the metropolis today, Kansas Citians have embraced the movies. The city and its history have been portrayed in films like Kansas Citian native Robert Altman’s Kansas City (1996) and Ang Lee’s Civil War historical drama, Ride With The Devil (1999). Today, filmmakers to come to the nation’s heartland to screen their movies to audiences before they open across the nation, while the Kansas City Film Commission strives to bring new business to the region by encouraging filmmakers to take advantage of local locations and talent by shooting their films here in the first place.2 Movies are glamour, hard work, compelling stories, and big business. And throughout the years, Kansas City has had its fair share of all of these. MOTION PICTURES – POPULAR ENTERTAINMENT AND CITY PROMOTION At the turn of the 19th century, live performances and vaudeville were big draws in theatres across the nation. That began to change with the advent of the motion picture. When the Coates Opera House showed “The Black Diamond Express,” and two other short films by the Lumieres Cinematography Co.
    [Show full text]
  • Carlos Montezuma Papers: Guide to Microfilm Collection
    GUIDE TO THE SCHOLARLY RESOURCES MICROFILM EDITION OF THE PAPERS OF CARLOS MONTEZUMA, M.D. including THE PAPERS OF MARIA KELLER MONTEZUMA MOORE and THE PAPERS OF JOSEPH W. LATIMER The Papers of Carlos Montezuma microfilm edition described and indexed in this guide was made possible through grants from the National Historical Publications and Records Commission. Also, the support of the American Historical Association, Klein Independent School District (Spring, Texas) and the University of Wisconsin-LaCrosse is gratefully acknowledged. Researchers citing materials in this edition of the Papers of Carlos Montezuma should use the following format: Papers of Carlos Montezuma, John William Larner, Jr., Editor, Scholarly Resources Inc. Quotations for publication or further reproduction of materials contained within the Scholarly Resources edition of the pa1ers of Carlos Montezuma, except for purposes of scholarly criticism or comment, require specific permission from owners of original documents and copyright holders. Each document's repository is indicated by an acronym target; acronyms are decoded in the section of the guide entitled “Acronyms Decoded”. ~ 1984 by Scholarly Resources Inc. All rights reserved First published 1984 Printed in the United States of America SCHOLARLY RESOURCES INC. 104 Greenhill Avenue Wilmington, Delaware 19805 GUIDE AND INDEX to the PAPERS OF CARLOS MONTEZUMA, M.D., 1871-1952 including the papers of MARIA KELLER MONTEZUMA MOORE, 1910-1952 and JOSEPH W. LATIMER, 1911-1934 Editor John William Larner, Jr. Assistant Editor Thomas C. Huppert Editorial Assistants Sammetta P. Banks Thelma M. Schwartz “It is that crawling, sneaking, squeezing, lapping, and sucking, devilish vampire of civilization.” Carlos Montezuma, Fragment State Historical Society of Wisconsin Box 10, Folder 4 PREFACE The Papers of Carlos Montezuma offer researchers an important collection of Native American history sources from the 1890s through the 1920s, most of the material created by Indians themselves.
    [Show full text]