Bykids School Guide: FAITH's WORLD
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American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
SMOOTH TALK Winner, Grand Jury Prize, Sundance Film Festival, 1986
www.janusfilms.comm SMOOTH TALK Winner, Grand Jury Prize, Sundance Film Festival, 1986 Suspended between carefree youth and the harsh realities of the adult world, a teenage girl experiences an unsettling awakening in this haunting vision of innocence lost. Based on Joyce Carol Oates’s celebrated short story “Where Are You Going, Where Have You Been?” and produced for PBS’s American Playhouse, the narrative debut from director Joyce Chopra features a revelatory breakout performance from Laura Dern as Connie, the fifteen-year-old black sheep of her family whose summertime idyll of beach trips, mall hangouts, and innocent flirtations is shattered by an encounter with a mysterious stranger (a memorably menacing Treat Williams). Winner of the Grand Jury Prize at Sundance, Smooth Talk captures the thrill and terror of adolescent sexual exploration as it transforms the ingredients of a standard coming-of-age portrait into something altogether more troubling and profound. This new 4K restoration was undertaken by the Criterion Collection. United States • 1985 • 92 minutes • Color • Stereo • 1.85:1 aspect ratio • Screening format: DCP Booking Inquiries: Janus Films Press Contact: Courtney Ott [email protected] • 212-756-8761 [email protected] • 646-230-6847 FROM “DEATH AND THE MAIDEN” TO SMOOTH TALK By Joyce Carol Oates Excerpted from “When Characters from the deal of filling in, expanding, inventing. Have You Been?” deliberately betrays Page Are Made Flesh on the Screen: When Connie’s story becomes lavishly, and itself as allegorical in its conclusion: Death Fiction Becomes Film” (in the New York lovingly, textured; she is not an allegorical and Death’s chariot (a funky, souped-up Times, March 23, 1986), from The Lost figure so much as a “typical” teenage convertible) have come for the Maiden. -
Strong Performances Save'lemon Sisters'
m mmm VMi*^Mwmmaammawm*mvwmmmmimJwm**MM>mii<ui~ fTjntertainment 13 Strong performances save'Lemon Sisters' NEW YORK (CNS) - The shaky economy of Atlantic City provides the backdrop for the similarly shaky futures of three lifelong girlfriends in "The Lemon Sisters" (Miramax). With the closing of the local nightclub where the friends sing as The Lemon Sisters, the trio have to adjust to a changed life. Franki (Carol Kane) tries to keep her singing career afloat despite her whispery voice and tiny stature. The eccentric Eloise (Diane Keaton) prefers collecting statuary and avoiding the emotional commitment her beau C.W. (Ruben Blades) seeks. Nola (Kathryn Grody), meanwhile, has her hands full with three little daughters and a husband (Elliott Gould) who imag ines their taffy shop will succeed with his inspired "taffits" — salt water taffy rabbits. Their dreams are dashed — Franki flops at her solo auditions, Eloise loses the treasured tiny museum that was her livelihood and Nola's shop goes bust. But their friendship is zestier than ever and from it they overcome these setbacks to better appreciate the men in their lives and make a fresh start. Director Joyce Chopra's lightweight comedy has a strong cast who turn in endearing performances. Keaton is sym pathetic whether she is dancing with her favorite nude statue or dissuading potential home-buyers with stories of mass murders and unfound heads when Nola's house goes Diane Keaton (left), Kathryn Grody (center) and Carol on the market. Kane is airily amusing as the ditzy guage, the U.S. Catholic Conference blonde who can't sing but unwittingly classification is A-n — adults and ado makes the audience laugh. -
Executive Producer) – Emmy® Award Winner Robert Halmi Jr
‘THE LAST COWBOY’ Production Crew Bios ROBERT HALMI JR. (Executive Producer) – Emmy® Award winner Robert Halmi Jr. currently serves as President of RHI Entertainment, LLC (formerly Hallmark Entertainment, LLC). His career as a film producer began in 1980 with “Wilson's Reward,” which garnered numerous awards, including a gold medal at the Houston Film Festival. He has produced more than 100 movies and miniseries for television, including “Dreamkeeper,” “Dinotopia,” “Arabian Nights,” “The 10th Kingdom,” “Cleopatra,” “Alice in Wonderland,” “The Baby Dance” and “Lonesome Dove,” which earned seven Emmy® Awards and a Golden Globe for Best Miniseries. Recent Halmi, Jr. “event” productions include “Earthsea,” “Mitch Albom’s The Five People You Meet in Heaven,” “King Solomon’s Mines,” “La Femme Musketeer,” “Frankenstein,” “Frederick Forsyth’s Icon,” “Supernova,” “Mysterious Island” and “The Poseidon Adventure.” In 1984, at age 26, Halmi Jr. became President of RHI Entertainment Inc. (RHI) a publicly traded entertainment company founded by his father. In 1994, RHI was sold to Hallmark Cards Inc. and Halmi Jr. became President and CEO of Hallmark Entertainment, the successor to RHI. For over the past decade, Hallmark Entertainment has remained the largest supplier of movies and miniseries in the television industry, garnering more Emmy nominations for television movies than any other production company in the history of television. Under Halmi Jr’s guidance, Hallmark Entertainment produced over 2,000 hours of television programming. These shows received 448 Emmy® nominations and garnered 103 Emmy® Awards. From 1994-2005, Hallmark Entertainment provided four of the top five highest rated US miniseries and movies made for television, including 2004’s highest rated original movie, “Mitch Albom’s The Five People You Meet in Heaven.” Hallmark Entertainment productions have also topped the ratings charts of the major basic cable networks, “Earthsea” for SciFi Channel (their highest rated miniseries in 2005), “Single Santa Seeks Mrs. -
In Cars Udtñ (Soys: ^^Considering Smootd L^Ac^
in Cars udtñ (Soys: ^^considering Smootd l^aC^ Originally published in 1969 and frequently an- thologized in contemporary short story collections Where Are You Going, aimed at high school and university students Joyce Where Have You Beert? Carol Oates's "NXTiere Are You Going, Where Have J«Ci Car« OIIH You Been?" continues to attract significant criti- cal interest from literan- scholars. Most of these scholars are intent on reading past the author's evocatively realistic portrait of a self-absorbed teenager, Connie, who is lured to almost certain sexual \nolation and death by the at once seductive and menacing Arnold Friend, in order to unpack, among other things, the story's fairy-tale herme- neutics, its allegorical allusions, or its intertextual references.' Not so Joyce Chopra's film adaptation of the story, Smooth Talky which garnered wide- spread acclaim upon its premiere at the Sundance Film Festival in 1986 (it won the Grand Jury Prize and generated significant buzz for Laura Dern in the role of Connie), only to run afoul, in subsequent years, of feminist film critics who critiqued Chopra for ignoring the story's symbolic register in favor of depicting an admonitory and mor- alistic "coming-of-age story" that serves as a "didactic pronouncement about the perils of promiscuity" (Sumner 96).^ I am sympa- thetic, to a degree, with such an analysis, as 1 believe that Chopra, in translating Oates's story to film, is unable to convey fliUy the stor)''s literal and figurative "doubleness," particularly in terms of a conclusion that the author herself has declared "impos- sible to transfigure into film" (Oates, [Woman] Writer 321). -
Copyright by Morgan Genevieve Blue 2007 Asking for It: Girls’ Sexual Subjectivity in Contemporary U.S
Copyright by Morgan Genevieve Blue 2007 Asking For It: Girls’ Sexual Subjectivity in Contemporary U.S. Cinema by Morgan Genevieve Blue Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2007 Asking For It: Girls’ Sexual Subjectivity in Contemporary U.S. Cinema Approved by Supervising Committee: Dedication I dedicate my work to girls and women who struggle to express their desires. Acknowledgements I would like to extend my deepest gratitude to family and friends who encouraged me to enter graduate school and supported me throughout this process. Thanks especially to Shanda and Bob Easterday, Courtney Blue, Liz Mazucci, and Liz Peters. For her generosity in sharing research materials, including her interviews with Sarah Jacobson and copies of Jacobson’s films, without which my project would be lacking, I thank Andrea Richards. Many thanks also to Janet Staiger for proofreading drafts of my thesis and offering helpful advice. Finally, I am so pleased with this project only as a result of the insightful commentary, enlightening instruction, and dedicated involvement of Mary Celeste Kearney. For her shared knowledge and support, I am most grateful. May 4, 2007 v Abstract Asking For It: Girls’ Sexual Subjectivity in Contemporary U.S. Cinema Morgan Genevieve Blue, M.A. The University of Texas at Austin, 2007 Supervisor: Mary Celeste Kearney How might American narrative cinema shift from oppressive objectification to positive, healthy female sexual subjectivities in films addressing and depicting adolescent girls? As more women make films both within the Hollywood system and independently, the potential increases for greater creative energy to be devoted to re-imagining and legitimizing girls’ sexuality on film. -
English 1101: Argument and Interpretation Assignments and Readings
English 1101: Argument and Interpretation Keep this packet in your class folder and bring it to class every day Assignments and Readings Table of Contents Syllabus and Assignments: Grading Standards 2 Essay 1: Fiction Summary 3 Essay 2: Creative Non-fiction Interpretation 4 Essay 3: Compare and Contrast 5 Essay 4: Film Review 6 Essay 5: Narrative 7 Supplementary Readings: Film Terminology 8 Bob Dylan: “It’s All Over Now, Baby Blue” 10 Joyce Carol Oates: “Short Story into Film” 11 Joyce Carol Oates: “Where Are You Going, Where Have You Been?” 14 Stephen Glass Essays from the New Republic 21 1 Grading Standards: The A paper is rare (90-100 points). It is of outstanding quality in all, or almost all, respects. The paper is free of grammatical errors. It presents a clear, organized, and well-supported thesis. The essay is well focused, and all paragraphs clearly work toward furthering the main point. Examples and ideas are well elaborated and rooted in concrete detail without being redundant. The body of the piece is well organized with smooth transitions. The paragraphs build on each other such that thoughts are developed from the beginning of the essay to the end. The prose is clear, mature and engaging; sentences evince by precise word choice, syntax, and grammar. With few exceptions, there is substantial revision from beginning to end. The B paper (80-89 points) is a successful representation of the writer’s thoughts. This essay shows readers that the writer knows how to construct an argument (including an introduction, topic sentences that reflect the main idea of the paragraph, and a conclusion). -
And Smooth Talk: Short Story Into Film
"Where Are You Going, Where Have You Been?" and Smooth Talk: Short Story Into Film By Joyce Carol Oates Originally published in the New York Times, March 23, 1986 Some years ago in the American Southwest there surfaced a tabloid psychopath known as "The Pied Piper of Tucson." I have forgotten his name, but his specialty was the seduction and occasional murder of teen-aged girls. He may or may not have had actual accomplices, but his bizarre activities were known among a circle of teenagers in the Tucson area, for some reason they kept his secret, deliberately did not inform parents or police. It was this fact, not the fact of the mass murderer himself, that struck me at the time. And this was a pre-Manson time, early or mid-1960s. The Pied Piper mimicked teenagers in talk, dress, and behavior, but he was not a teenager—he was a man in his early thirties. Rather short, he stuffed rags in his leather boots to give himself height. (And sometimes walked unsteadily as a consequence: did none among his admiring constituency notice?) He charmed his victims as charismatic psychopaths have always charmed their victims, to the bewilderment of others who fancy themselves free of all lunatic attractions. The Pied Piper of Tucson: a trashy dream, a tabloid archetype, sheer artifice, comedy, cartoon—surrounded, however improbably, and finally tragically, by real people. You think that, if you look twice, he won't be there. But there he is. I don't remember any longer where I first read about this Pied Piper—very likely in Life Magazine. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Working Girls: The History of Women Directors in 1970s Hollywood Permalink https://escholarship.org/uc/item/8ck097nj Author Smukler, Maya Montanez Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Working Girls: The History of Women Directors in 1970s Hollywood A dissertation submitted in partial satisfaction of the requirements of the degree Doctor of Philosophy in Film and Television by Maya Montanez Smukler 2014 ABSTRACT OF DISSERTATION Working Girls: The History of Women Directors in 1970s Hollywood by Maya Montanez Smukler Doctor of Philosophy in Film and Television University of California, Los Angeles, 2014 Professor Janet L. Bergstrom, Chair This dissertation examines the relationship between the feminist movement and Hollywood during the 1970s, specifically as it impacted the hiring practices and creative output of women directors working in the film industry. Due to the activism of the feminist movement, in particular the feminist reform efforts of the Women’s Committees of Hollywood’s professional guilds—the Directors Guild, the Screen Actors Guild, and the Writers Guild—the number of women directors in 1970s Hollywood began to increase compared to previous decades. From the mid-1930s till the mid-1960s, only two women filmmakers had careers as directors in Hollywood: Dorothy Arzner and Ida Lupino. This research reveals that between 1966 and 1980 there were at least fifteen women making movies in the commercial film industry: Karen Arthur, Anne Bancroft, Joan Darling, Lee Grant, Barbara Loden, Elaine May, Barbara Peeters, Joan Rivers, ii Stephanie Rothman, Beverly Sebastian, Joan Micklin Silver, Joan Tewkesbury, Jane Wagner, Nancy Walker, and Claudia Weill.