DOCSLIB.ORG

1 Religion and Film Rs F346e (84740) Ams F321 (80006

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 Religion and Film Rs F346e (84740) Ams F321 (80006 RELIGION AND FILM RS F346E (84740) AMS F321 (80006) Instructor: Chad Seales Course Description: This course surveys representations of religious beliefs, practices, persons, and institutions in popular film. Focusing on the media consumption of box office movies in the United States, we will examine how religion is imagined in film and how that religious imagination relates to social constructions of national, ethnic, racial, gender, and sexual identities. Although we will briefly address some of the technical aspects of film production, our primary concern will be to interpret the ways in which films portray religion against the backdrop of American history. We will use the vehicle of the silver screen to reflect on how a shared religious imagination has shaped the way we understand ourselves as Americans. To note, this class has a writing flag, which means you will be required to submit three types of written work for instructor evaluation and peer comment. With the goal of improving writing skills and critical thinking, you will keep a reading response journal which you will use for the basis of class discussion, you will submit two short essays for instructor comments, and you will revise those essays based on those comments. Course Goal: By the end of this course, students should be able to think, discuss, and write critically about film from a religious studies perspective. Students should be able to identify a range of religious traditions as depicted in film, compare and contrast those depictions, and situate them within a larger narrative of American religious history. Prerequisites: None. This course assumes no prior knowledge of the subject. Texts: Readings are posted on Canvas. Films are on reserve in the Fine Arts Library. We will discuss the readings and films in class. You will be responsible for reading materials and viewing films before the class meeting that they are discussed. For weeks when we will discuss more than one film, you will pick one of the films to watch ahead of time. Canvas: Course information, handouts, assignments, review sheets, etc. will be posted on the class website on Canvas. To find the Canvas site, and go to http://canvas.utexas.edu/ and log in with your EID and password. 1 Grading and Course Requirements: Your grade for the course will be based on the total cumulative points from the following assignments: 1. Participation (20%) - Over the course of the semester, you will have the opportunity to participate in various class discussion exercises. Each exercise will count 2 points and will be graded pass/fail. You will need to successfully complete 10 class exercises for full credit on this assignment. Any additional participation exercises completed beyond the cumulative 20 points are counted as extra credit at up to 0.2 points per journal entry. 2. Reading Journal (24%) – For each assigned reading, you will be given the option of writing a journal entry. Journal entries should briefly answer the reading guide questions posted on Canvas. This assignment requires you to keep a record of your responses to the readings, and helps you sharpen critical thinking and writing skills. Each entry counts up to 3 points. Reading journals should be submitted on Canvas by 10am the day of the given class in which they are assigned. Journal entries must directly answer the questions in your own words. You can quote from the assigned reading, but you must explain or use the quote to demonstrate your own analysis. You can submit as many journals as needed to receive full credit. However, you cannot submit journal entries after the class in which they are assigned. Any additional entries completed beyond the cumulative 24 points are counted as extra credit at up to 0.2 points per journal entry. 3. Film Reaction Journal (24%) This assignment is designed to help you keep a record of your reactions to the films and help you participate in class discussion. In two double- spaced pages or less, you will describe a scene that engendered a strong reaction in you as a viewer. You should (a) briefly describe the scene (b) record your emotional reaction to it, and (c) explain why it seemed more powerful than other scenes in the movie. Each film journal entry counts up to 3 points. To get full credit for this component, you will need to successfully complete at least 8 journals. Film journals should be submitted on Canvas by the posted deadline, which typically is within 24 hours after the film screening. 4. In-Class Essay Peer Review (12%) – on Wednesday July 5th, you will bring to class an essay draft, with title, introductory paragraph with thesis statement, outline with list of examples, and conclusion (3 to 4 pages). The essay will answer an assigned question that will be distributed a week ahead of time. During class you will offer peer review comments, which you will use to write a revised essay in the following class meeting. The instructor will also offer comments on your draft. 5. In-class final Essay (20%) – This assignment is designed to help you develop critical thinking and writing skills. On Thursday July 6th, you will submit an essay that answers the assigned question, and addresses the peer review and instructor comments on your earlier essay draft. 2 University of Texas Honor Code and Academic Integrity The core values of The University of Texas at Austin are learning, discovery, freedom, leadership, individual opportunity, and responsibility. Each member of the university is expected to uphold these values through integrity, honesty, trust, fairness, and respect toward peers and community. If you are uncertain about what constitutes plagiarism, or other violations, please feel free to ask me. Students who violate the University rules on scholastic dishonesty are subject to disciplinary penalties, including the possible failure in the course and/or dismissal from the University. The policies on scholastic dishonesty will be strictly enforced. For more information, you can talk with me or visit the Student Judicial Services Web site: http://deanofstudents.utexas.edu/sis. Use of E-Mail for Official Correspondence to Students Email is recognized as an official mode of university correspondence; therefore, you are responsible for reading your email for university and course-related information and announcements. You are responsible to keep the university informed about changes to your e-mail address. You should check your e-mail regularly and frequently to stay current with university-related communications, some of which may be time-critical. You can find UT Austin’s policies and instructions for updating your e-mail address at http://www.utexas.edu/its/policies/emailnotify.php. Accommodations: Documented Disability Statement If you require special accommodations, you must obtain a letter that documents your disability from the Services for Students with Disabilities area of the Division of Diversity and Community Engagement (471-6259 voice or 471-4641 TTY for users who are deaf or hard of hearing). Present the letter to me at the beginning of the semester so we can discuss the accommodations you need. No later than five business days before an exam, you should remind me of any testing accommodations you will need. For more information, visit http://www.utexas.edu/diversity/ddce/ssd/. Religious Holidays By UT Austin policy, you must notify me of your pending absence at least fourteen days prior to the date of observance of a religious holy day. If you must miss a class, an examination, a work assignment, or a project in order to observe a religious holy day, I will give you an opportunity to complete the missed work within a reasonable time after the absence. Behavior Concerns Advice Line (BCAL) If you are worried about someone who is acting differently, you may use the Behavior Concerns Advice Line to discuss by phone your concerns about another individual’s behavior. This service is provided through a partnership among the Office of the Dean of Students, the Counseling and Mental Health Center (CMHC), the Employee Assistance Program (EAP), and The University of Texas Police Department (UTPD). Call 512-232- 5050 or visit http://www.utexas.edu/safety/bcal. 3 Course Schedule: Spiritual Travel and Religious Experience R June 1 - Course overview In-class film screening The Darjeeling Limited (Wes Anderson, 2007) (part 1) F June 2 Readings: • The Reality of the Sacred,” in Pals, Nine Theories of Religion, 227-262. In-class film screening The Darjeeling Limited (Wes Anderson, 2007) (part 2) M June 5 In-class film screening The Darjeeling Limited (Wes Anderson, 2007) (part 3) T June 6 Readings: • Mircea Eliade, “The Sacred and the Profane,” in Olson, 161-168. Cosmic Myth and Religious Origins W June 7 In-class film screening The Tree of Life (Terrence Malick, 2011) (part 1) R June 8 In-class film screening The Tree of Life (Terrence Malick, 2011) (part 2) F June 9 In-class film screening The Tree of Life (Terrence Malick, 2011) (part 3) Readings: • S. Brent Plate, “Visualizing the Cosmos: Terrence Malick’s Tree of Life and Other Visions of Life in the Universe,” Journal of the American Academy of Religion 80 (June 2012): 527-536. Racial Myth and White Nationalism M June 12 Readings: • John Lyden, “To Commend or To Critique?: The Question of Religion and Film Studies,” Journal of Religion and Film Vol. 1 (No. 2) (October 1997). In-class film screening Rebirth of a Nation (DJ Spooky 2008) (part 1) T June 13 Readings: • Richard C. Salter, “The Birth of a Nation as American Myth,” The Journal of Religion and Film Vol. 8 (No. 2) (2004). In-class film screening Rebirth of a Nation (DJ Spooky 2008) (part 2) 4 W June 14 Readings: • Melvyn Stokes, “Transforming the American Movie Audience,” in D.
Load more

Recommended publications
  • Kvarterakademisk
    kvarter Volume 18. Spring 2019 • on the web akademiskacademic quarter From Wander to Wonder Walking – and “Walking-With” – in Terrence Malick’s Contemplative Cinema Martin P. Rossouw has recently been appointed as Head of the Department Art History and Image Studies – University of the Free State, South Africa – where he lectures in the Programme in Film and Visual Media. His latest publications appear in Short Film Studies, Image & Text, and New Review of Film and Television Studies. Abstract This essay considers the prominent role of acts and gestures of walking – a persistent, though critically neglected motif – in Terrence Malick’s cinema. In recognition of many intimate connections between walking and contemplation, I argue that Malick’s particular staging of walking characters, always in harmony with the camera’s own “walks”, comprises a key source for the “contemplative” effects that especially philo- sophical commentators like to attribute to his style. Achieving such effects, however, requires that viewers be sufficiently- en gaged by the walking presented on-screen. Accordingly, Mal- ick’s films do not fixate on single, extended episodes of walk- ing, as one would find in Slow Cinema. They instead strive to enact an experience of walking that induces in viewers a par- ticular sense of “walking-with”. In this regard, I examine Mal- ick’s continual reliance on two strategies: (a) Steadicam fol- lowing-shots of wandering figures, which involve viewers in their motion of walking; and (b) a strict avoidance of long takes in favor of cadenced montage, which invites viewers into a reflective rhythm of walking. Volume 18 41 From Wander to Wonder kvarter Martin P.
    [Show full text]
  • Melodrama, Sickness, and Paranoia: Todd Haynes and the Womanâ•Žs
    University of Texas Rio Grande Valley ScholarWorks @ UTRGV Literatures and Cultural Studies Faculty Publications and Presentations College of Liberal Arts Winter 2016 Melodrama, Sickness, and Paranoia: Todd Haynes and the Woman’s Film Linda Belau The University of Texas Rio Grande Valley Ed Cameron The University of Texas Rio Grande Valley Follow this and additional works at: https://scholarworks.utrgv.edu/lcs_fac Part of the Film and Media Studies Commons, and the Modern Literature Commons Recommended Citation Belau, L., & Cameron, E. (2016). Melodrama, Sickness, and Paranoia: Todd Haynes and the Woman’s Film. Film & History: An Interdisciplinary Journal 46(2), 35-45. https://www.muse.jhu.edu/article/643290. This Article is brought to you for free and open access by the College of Liberal Arts at ScholarWorks @ UTRGV. It has been accepted for inclusion in Literatures and Cultural Studies Faculty Publications and Presentations by an authorized administrator of ScholarWorks @ UTRGV. For more information, please contact [email protected], [email protected]. Film & History 46.2 (Winter 2016) MELODRAMA, SICKNESS, AND PARANOIA: has so much appeal precisely for its liberation from yesterday’s film culture? TODD HAYNES AND THE WOMAN’S FILM According to Mary Ann Doane, the classical woman’s film is beset culturally by Linda Belau the problem of a woman’s desire (a subject University of Texas – Pan American famously explored by writers like Simone de Beauvoir, Julia Kristeva, Helene Cixous, and Ed Cameron Laura Mulvey). What can a woman want? University of Texas – Pan American Doane explains that filmic conventions of the period, not least the Hays Code restrictions, prevented “such an exploration,” leaving repressed material to ilmmaker Todd Haynes has claimed emerge only indirectly, in “stress points” that his films do not create cultural and “perturbations” within the film’s mise artifacts so much as appropriate and F en scène (Doane 1987, 13).
    [Show full text]
  • Sight & Sound Films of 2007
    Sight & Sound Films of 2007 Each year we ask a selection of our contributors - reviewers and critics from around the world - for their five films of the year. It's a very loosely policed subjective selection, based on films the writer has seen and enjoyed that year, and we don't deny them the choice of films that haven't yet reached the UK. And we don't give them much time to ponder, either - just about a week. So below you'll find the familiar and the obscure, the new and the old. From this we put together the top ten you see here. What distinguishes this particular list is that it's been drawn up from one of the best years for all-round quality I can remember. 2007 has seen some extraordinary films. So all of the films in the ten are must-sees and so are many more. Enjoy. - Nick James, Editor. 1 4 Months, 3 Weeks and 2 Days (Cristian Mungiu) 2 Inland Empire (David Lynch) 3 Zodiac (David Fincher) = 4 I’m Not There (Todd Haynes) The Lives of Others (Florian Henckel von Donnersmarck) 6 Silent Light (Carlos Reygadas) = 7 The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik) Syndromes and a Century (Apichatpong Weerasethakul) No Country for Old Men (Ethan and Joel Coen) Eastern Promises (David Cronenberg) 1 Table of Contents – alphabetical by critic Gilbert Adair (Critic and author, UK)............................................................................................4 Kaleem Aftab (Critic, The Independent, UK)...............................................................................4 Geoff Andrew (Critic
    [Show full text]
  • Post-Postmodern Cinema at the Turn of the Millennium: Paul Thomas Anderson’S Magnolia
    Revista de Estudios Norteamericanos, vol. 24, 2020. Seville, Spain, ISSN 1133-309-X, pp. 1-21. DOI: http://dx.doi.org/10.12795/REN.2020.i24.01 POST-POSTMODERN CINEMA AT THE TURN OF THE MILLENNIUM: PAUL THOMAS ANDERSON’S MAGNOLIA JESÚS BOLAÑO QUINTERO Universidad de Cádiz [email protected] Received: 20 May 2020 Accepted: 26 July 2020 KEYWORDS Magnolia; Paul Thomas Anderson; post-postmodern cinema; New Sincerity; French New Wave; Jean-Luc Godard; Vivre sa Vie PALABRAS CLAVE Magnolia; Paul Thomas Anderson; cine post-postmoderno; Nueva Sinceridad; Nouvelle Vague; Jean-Luc Godard; Vivir su vida ABSTRACT Starting with an analysis of the significance of the French New Wave for postmodern cinema, this essay sets out to make a study of Paul Thomas Anderson’s Magnolia (1999) as the film that marks the beginning of what could be considered a paradigm shift in American cinema at the end of the 20th century. Building from the much- debated passing of postmodernism, this study focuses on several key postmodern aspects that take a different slant in this movie. The film points out the value of aspects that had lost their meaning within the fiction typical of postmodernism—such as the absence of causality; sincere honesty as opposed to destructive irony; or the loss of faith in Lyotardian meta-narratives. We shall look at the nature of the paradigm shift to link it to the desire to overcome postmodern values through a recovery of Romantic ideas. RESUMEN Partiendo de un análisis del significado de la Nouvelle Vague para el cine postmoderno, este trabajo presenta un estudio de Magnolia (1999), de Paul Thomas Anderson, como obra sobre la que pivota lo que se podría tratar como un cambio de paradigma en el cine estadounidense de finales del siglo XX.
    [Show full text]
  • Anthropocenema: Cinema in the Age of Mass Extinctions 2016
    Repositorium für die Medienwissenschaft Selmin Kara Anthropocenema: Cinema in the Age of Mass Extinctions 2016 https://doi.org/10.25969/mediarep/13476 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Kara, Selmin: Anthropocenema: Cinema in the Age of Mass Extinctions. In: Shane Denson, Julia Leyda (Hg.): Post-Cinema. Theorizing 21st-Century Film. Falmer: REFRAME Books 2016, S. 750– 784. DOI: https://doi.org/10.25969/mediarep/13476. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ 6.2 Anthropocenema: Cinema in the Age of Mass Extinctions BY SELMIN KARA Alfonso Cuarón’s sci-fi thriller Gravity (2013) introduced to the big screen a quintessentially 21st-century villain: space debris. The spectacle of high- velocity 3D detritus raging past terror-struck, puny-looking astronauts stranded in space turned the Earth’s orbit into not only a site of horror but also a wasteland of hyperobjects,[1] with discarded electronics and satellite parts threatening everything that lies in the path of their ballistic whirl (see Figure 1). While the film made no environmental commentary on the long-term effect of space debris on communication systems or the broader ecological problem of long-lasting waste materials, it nevertheless projected a harrowing vision of technological breakdown, which found a thrilling articulation in the projectile aesthetics of stereoscopic cinema.
    [Show full text]
  • ALISON ROSA UPM PGA & DGA Member
    ALISON ROSA UPM PGA & DGA Member FEATURES (UPM Credits) WITHOUT REMORSE Paramount Prod: Josh Applebaum, Andre Nemec, Dir: Stefano Sollima (UPM – DC/Virginia Unit) Michael B. Jordan, Akiva Goldsman Denis Stewart WIDOWS (AUPM/UPM) 20th Century Fox Prod: Ian Canning, Bergen Swanson Dir: Steve McQueen F.E.L.T. (UPM, 1st AD - DC Unit) Mandalay Prod: Marc Butan, Anthony Katagas Dir: Peter Landesman BELIEVE (UPM) Power of 3 Prod: Nelson Diaz, Ben Holmes, Dir: Billy Dickson Jacob Patrick, Kevin Sizemore LEE DANIELS’ THE BUTLER Weinstein Co. Prod: Adam Merins Dir: Lee Daniels (UPM – 1st AD, DC Unit) TELEVISION (UPM Credits) COVERT AFFAIRS (UPM, 1st AD) USA Prod: Stephen Kay Dir: Stephen Kay LIMITLESS (Season 1) (Asst. UPM) CBS Prod: Kati Johnston Dir: Various THE WIRE (AUPM) HBO Prod: Nina Kostroff-Noble Dir: Various FEATURES (AD Credits) DARK WATERS (Key 2nd AD) Focus/Participant Media Prod: Pamela Koffler, Jeff Skoll, Dir: Todd Haynes Christine Vachon GLASS (Key 2nd AD) Universal Prod: Marc Bienstock, Jason Blum, Dir: M. Night Shyamalan Ashwin Rajan, M. Night Shyamalan KILL THE MESSENGER (Key 2nd AD) Focus Prod: Naomi Despres, Jeremy Renner Dir: Michael Cuesta PHILOMENA (Key 2nd AD) Weinstein Co. Prod: Steve Coogan, Jeff Pope Dir: Stephen Frears ARGO (1st AD – 2nd Unit, DC Unit) Warner Bros. Prod: Ben Affleck, Grant Heslov Dir: Ben Affleck WHITE HOUSE DOWN (2nd AD – VFX, DC Unit) Columbia Prod: Roland Emmerich, Dir: Roland Emmerich Bradley J. Fischer, Larry Franco J. EDGAR (2nd AD – DC Unit) Warner Bros. Prod: Clint Eastwood, Brian Grazer, Dir: Clint Eastwood Robert Lorenz UNANSWERED PRAYERS Lifetime Movie Network Prod: James Spies Dir: Steven Schachter (1st AD – 2nd Unit, Key 2nd AD) SYRIANA (Key 2nd AD) Warner Bros.
    [Show full text]
  • Uk Screening Schedule
    UK SCREENING SCHEDULE CANNES 2015 weareukfilm.com @weareukfilm UK FILM CENTRE, PAVILION 117 VILLAGE INTERNATIONAL - RIVERA, CANNES UK FILMS SCREENING – BY TITLE TITLE/DIRECTOR/CATEGORY DATE TIME VENUE COMPANY/CONTACT May-13 12:00 Star 2 American Hero Protagonist Pictures May-15 20:30 Star 2 Nick Love - Marché +33 4 93 39 30 70 May-18 15:30 Olympia 6 May-16 23:30 Lumiere Amy Cornerstone Films May-17 16:15 Salle du 60ème Asif Kapadia - Out of Competition +44 7580 337 581 May-22 17:15 Palais I Banjo May-14 16:00 Gray 5 Cincest Films Liam Regan - Marché May-16 20:00 Gray 5 +44 7481 816 108 Bill Independent May-17 15:30 Olympia 9 Richard Bracewell - Marché +33 4 93 38 29 10 Blood Orange May-14 12:00 Gray 3 Carnaby Int'l Toby Tobias - Marché May-18 14:00 Gray 3 +44 7557 515 707 Brand: A Second Coming May-14 15:30 Olympia 7 Myriad Pictures Ondi Timoner - Marché May-15 17:30 Olympia 7 +1 310 691 0233 Breaking The Bank May-14 17:30 Palais F The Exchange Vadim Jean - Marché May-18 16:00 Palais C +1 310 804 3298 May-17 12:00 Lumiere Carol May-17 19:00 Lumiere Hanway Films Todd Haynes - Competition May-18 14:00 Salle du 60ème +33 4 93 99 36 26 May-21 09:30 Olympia 1 May-18 11:00 Debussy May-18 16:30 Debussy Cemetery Of Splendour May-19 09:45 Olympia 5 The Match Factory Apichatpong Weerasethakul May-19 15:30 Bazin +33 4 93 99 13 36 Un Certain Regard May-20 09:45 Arcades 2 May-22 12:15 Palais K A Christmas Star Cinemagic May-16 10:30 Olympia 2 Richard Elson - Marché +44 781 510 7893 The Daniel Connection California Pictures May-15 16:00 Palais E Stewart
    [Show full text]
  • Gus Van Sant Retrospective Carte B
    30.06 — 26.08.2018 English Exhibition An exhibition produced by Gus Van Sant 22.06 — 16.09.2018 Galleries A CONVERSATION LA TERRAZA D and E WITH GUS VAN SANT MAGNÉTICA CARTE BLANCHE PREVIEW OF For Gus Van Sant GUS VAN SANT’S LATEST FILM In the months of July and August, the Terrace of La Casa Encendida will once again transform into La Terraza Magnética. This year the programme will have an early start on Saturday, 30 June, with a double session to kick off the film cycle Carte Blanche for Gus Van Sant, a survey of the films that have most influenced the American director’s creative output, selected by Van Sant himself filmoteca espaÑola: for the exhibition. With this Carte Blanche, the director plunges us into his pecu- GUS VAN SANT liar world through his cinematographic and musical influences. The drowsy, sometimes melancholy, experimental and psychedelic atmospheres of his films will inspire an eclectic soundtrack RETROSPECTIVE that will fill with sound the sunsets at La Terraza Magnética. La Casa Encendida Opening hours facebook.com/lacasaencendida Ronda de Valencia, 2 Tuesday to Sunday twitter.com/lacasaencendida 28012 Madrid from 10 am to 10 pm. instagram.com/lacasaencendida T 902 430 322 The exhibition spaces youtube.com/lacasaencendida close at 9:45 pm vimeo.com/lacasaencendida blog.lacasaencendida.es lacasaencendida.es With the collaboration of Cervezas Alhambra “When I shoot my films, the tension between the story and abstraction is essential. Because I learned cinema through films made by painters. Through their way of reworking cinema and not sticking to the traditional rules that govern it.
    [Show full text]
  • Production Designer Jack Fisk to Be the Focus of a Fifteen-Film ‘See It Big!’ Retrospective
    FOR IMMEDIATE RELEASE PRODUCTION DESIGNER JACK FISK TO BE THE FOCUS OF A FIFTEEN-FILM ‘SEE IT BIG!’ RETROSPECTIVE Series will include Fisk’s collaborations with Terrence Malick, Brian De Palma, Paul Thomas Anderson, and more March 11–April 1, 2016 at Museum of the Moving Image Astoria, Queens, New York, March 1, 2016—Since the early 1970s, Jack Fisk has been a secret weapon for some of America’s most celebrated auteurs, having served as production designer (and earlier, as art director) on all of Terrence Malick’s films, and with memorable collaborations with David Lynch, Paul Thomas Anderson, and Brian De Palma. Nominated for a second Academy Award for The Revenant, and with the release of Malick’s new film Knight of Cups, Museum of the Moving Image will celebrate the artistry of Jack Fisk, master of the immersive 360-degree set, with a fifteen-film retrospective. The screening series See It Big! Jack Fisk runs March 11 through April 1, 2016, and includes all of Fisk’s films with the directors mentioned above: all of Malick’s features, Lynch’s Mulholland Drive and The Straight Story, De Palma’s Carrie and Phantom of the Paradise, and Anderson’s There Will Be Blood. The Museum will also show early B- movie fantasias Messiah of Evil and Darktown Strutters, Stanley Donen’s arch- affectionate retro musical Movie Movie, and Fisk’s directorial debut, Raggedy Man (starring Sissy Spacek, Fisk’s partner since they met on the set of Badlands in 1973). Most titles will be shown in 35mm. See below for schedule and descriptions.
    [Show full text]
  • Quentin Tarantino Retro
    ISSUE 59 AFI SILVER THEATRE AND CULTURAL CENTER FEBRUARY 1– APRIL 18, 2013 ISSUE 60 Reel Estate: The American Home on Film Loretta Young Centennial Environmental Film Festival in the Nation's Capital New African Films Festival Korean Film Festival DC Mr. & Mrs. Hitchcock Screen Valentines: Great Movie Romances Howard Hawks, Part 1 QUENTIN TARANTINO RETRO The Roots of Django AFI.com/Silver Contents Howard Hawks, Part 1 Howard Hawks, Part 1 ..............................2 February 1—April 18 Screen Valentines: Great Movie Romances ...5 Howard Hawks was one of Hollywood’s most consistently entertaining directors, and one of Quentin Tarantino Retro .............................6 the most versatile, directing exemplary comedies, melodramas, war pictures, gangster films, The Roots of Django ...................................7 films noir, Westerns, sci-fi thrillers and musicals, with several being landmark films in their genre. Reel Estate: The American Home on Film .....8 Korean Film Festival DC ............................9 Hawks never won an Oscar—in fact, he was nominated only once, as Best Director for 1941’s SERGEANT YORK (both he and Orson Welles lost to John Ford that year)—but his Mr. and Mrs. Hitchcock ..........................10 critical stature grew over the 1960s and '70s, even as his career was winding down, and in 1975 the Academy awarded him an honorary Oscar, declaring Hawks “a giant of the Environmental Film Festival ....................11 American cinema whose pictures, taken as a whole, represent one of the most consistent, Loretta Young Centennial .......................12 vivid and varied bodies of work in world cinema.” Howard Hawks, Part 2 continues in April. Special Engagements ....................13, 14 Courtesy of Everett Collection Calendar ...............................................15 “I consider Howard Hawks to be the greatest American director.
    [Show full text]
  • Lecture 2 1970S Hollywood.Pdf
    FILM IN THE 1970s THE FILM SCHOOL GENERATION AND THE BIRTH OF THE NEW HOLLYWOOD ROGER CORMAN - Born in 1926 - Known as “King of the Bs” – his best-known film is The Little Shop of Horrors (1962) - Made many low-budget exploitation films, and used the profits to finance and distribute prestigious films – many of them directed by his protégés, who went on to become some of the most influential directors of the 1970s and beyond - Honorary Academy Award in 2009 “for his rich engendering of films and filmmakers” PETER BOGDANOVICH - Born in 1939 - Film programmer at MoMA, wrote about film for Esquire; worked with Orson Welles, John Ford, and other classic Hollywood directors - 1971 – directed The Last Picture Show – followed up with successes What’s Up, Doc?, Paper Moon - Later films didn’t fulfill his early promise, but he continues to be an influential voice on the subject of film history FRANCIS - Born in 1939 FORD - MFA from UCLA (1966) – first major COPPOLA director to graduate from a prominent university film program - Screenwriter – Patton – won first Oscar - 1969 – established American Zoetrope with his protégé George Lucas - 1972 – The Godfather - 1974 – The Godfather Part 2 and The Conversation MARTIN SCORSESE - Born in 1942 - B.S. (1964) and M.A. (1968) from NYU - Worked with Corman; and, as his student project, edited Woodstock (1970) - Rose to fame in 1973 – Mean Streets – not a commercial hit, but had a dynamic style, and set a template for character types and themes and settings he would return to throughout his career GEORGE LUCAS - Born in 1944 - USC graduate – won 1965 National Student Film Festival with THX-1138 - Apprenticed with Coppola, and later collaborated with him - First major success – American Graffiti (1973) - Invested those profits into Lucasfilm, Ltd.
    [Show full text]
  • Art & the Good Life
    Art & the Good Life Honors Forum Spring 2021 Friday, January 22 Jon Reimer – Interview: Faith Seeking Understanding All Cohorts Zoom Friday, January 29 Kendall Cox – Art & the Good Life Juniors, Seniors McInnis Friday, February 5 Claire Holley (singer/songwriter) – Concert Freshmen, Sophomores Zoom Friday, February 12 Chris Yates – What’s at Work in the Work of Art? Juniors, Seniors Zoom Friday, February 19 Greg Thompson – Voices Underground: Public Art and Sophomores, Juniors McInnis Racial Justice Friday, February 26 Film: The Coen Brothers’ O Brother, Where Art Thou? Freshmen, Seniors McInnis Friday, March 5 Film: Jonathan Sobol’s The Art of the Steal Sophomores, Juniors McInnis **“Beauty & the Arts” Students Friday, March 12 Caren Lambert – Beauty in Flannery O’Connor Freshmen, Sophomores McInnis Film: Wim Wenders’ Wings of Desire @ 8:00pm All Welcome McInnis **“Beauty & the Arts” Students Friday, March 19 Euhri Jones – Nature, the Mural, and the Public Freshmen, Juniors McInnis Friday, March 26 Bruce Herman – An Artist’s Odyssey Sophomores, Seniors Zoom Friday, April 2 Film: Gabriel Axel’s Babette’s Feast @ 8:00pm All Welcome McInnis Friday, April 9 Suzanne Wolfe – Readings and Reflections from The Freshmen, Seniors Zoom Confession of X Saturday, April 10 Film: Terrence Malick’s The Thin Red Line @ 8:00pm All Welcome McInnis Friday, April 16 Chris Yates – How Films Philosophize Freshmen, Sophomores McInnis Friday, April 23 Lois Abdelmalek – Arts in Action Juniors & Seniors McInnis Friday, April 30 TBD All Welcome McInnis Nota Bene: The listed cohorts are mandatory attendees whether in McInnis or via Zoom. Cohorts that are not listed for a certain forum are strongly encouraged to attend via Zoom.
    [Show full text]