June 2018 June Full Calendar of All Films and Events Bfi.Org.Uk Box Office 020 7928 3232

Total Page:16

File Type:pdf, Size:1020Kb

June 2018 June Full Calendar of All Films and Events Bfi.Org.Uk Box Office 020 7928 3232 The Caretaker The Image: Image: bfi.org.uk/join Ekow EshunEkow DISCOUNTS a big hit at BFI Flare this year this Flare BFI at hit big a was adaptation Forster EM 1987 This sumptuous restoration of the the of restoration sumptuous This TICKET AND Maurice BOOKING BOOKING FOR PRIORITY PRIORITY FOR Betrayal and Caretaker The , , Party Birthday The including BFI THE will bring you Pinter’s best work, work, best Pinter’s you bring will Our two-part season of film and TV TV and film of season two-part Our Harold Pinter Harold Victory March Victory JOIN of Woman with a Movie Camera Movie a with Woman of moves to the country screens as part part as screens country the to moves charged dramas and short films short and dramas charged director with a season of his politically politically his of season a with director who six-year-old orphaned an of tale We toast the daring Italian writer- Italian daring the toast We part-autobiographical touching, This Marco Bellocchio Marco 1993 Summer @BFI July 2018 at BFI Southbank BFI at 2018 July COMING SOON COMING VISITOR INFORMATION TICKET PRICES BFI SOUTHBANK London SE1 8XT MEMBER (CONCS) NON-MEMBER (CONCS) UNDER 16s OPENING TIMES Mediatheque BFI Reuben Library TICKETS Mon – Sun 9:45-23:00 Tue – Sun 10:30-21:00 Tue – Sat 10:30-19:00 EVENING/WEEKEND £9.50 (£7.20) £11.50 (£9.20) £6 Box Office BFI Shop SHOWS Mon – Sun: Mon – Sat 11:00-20:30 Phone 11:30-20:30 Sun 12:00-20:00 WEEKDAY MATINEES £6 £8 £6 In person 11:00-20:30 BIG SCREEN CLASSICS £8 (£7.20) £8 £6 PROGRAMME & VENUES TEAM GIFT AID TICKETS Stuart Brown Justin Johnson Martin Laws Gift Aid tickets include an optional 10% donation which Head of Programme Lead Programmer Head of Commercial and supports the charitable work we do, and if you are a UK tax payer, and Acquisitions Anna Bogutskaya Customer Development also enables us to claim Gift Aid on the full value of your ticket. Gaylene Gould Events Programmer Sian Harris Thank you for supporting film forever. Head of Cinema and Events Geoff Andrew Venue Manager Julie Pearce Programmer-at-large Dominic Simmons Head of Distribution and Head of Technical Services BOOKING FEES STANDBY TICKETS Programme Operations £1 per ticket for telephone and online A limited number of seats are available bookings (max fee is £3). BFI Members pay for sale 30min before each performance. FORMATS no booking fees. Tickets may be limited to two per visitor. We’re proud to be screening on film where possible, listed as 16mm, 35mm or 70mm. FAMILY TICKETS 25 AND UNDER Other formats are listed as such: Digital: 2K DCP (or 4K if stated), HDcam SR, HDcam or Video: Digibeta, BetaSP, Blu-ray Under 16s are just £4 for BFI Families £3 tickets to all films available screenings. Members £6, Non-members £8. 45min before the advertised start time, AUDIO DESCRIPTION AND CAPTIONS for customers aged 25 and under. In all four screens we’re now able to provide audio description (if available, via infra-red headsets) for those who are sight-impaired. Please collect and return your headset to the box office. PLEASE NOTE We’re also able to show, whenever the necessary files are available, on-screen captions for customers who are deaf or hard of hearing. Latecomers may be admitted up to 10min after the screening has started but may be asked to take alternative seats. Standing is not permitted in any of the screens. Photography, audio and CERTIFICATION film recording are not permitted. For your own safety we may carry out bag searches. (p50) BFI SOUTHBANK BFI Certificates are supplied for UK certificated films. Where there is no certificate, JUNE 2018 films are for over 16s unless where age guidance is provided with this symbol: BOOK YOUR TICKET NOW bfi.org.uk | 020 7928 3232 FULL CALENDAR OF ALL FILMS AND EVENTS BFI.ORG.UK HOW ARE WE DOING? If you have any feedback please email or write to Venue Manager [email protected], or fill in a comment card on your next visit A Wrinkle in Time in Wrinkle A BOX OFFICE 020 7928 3232 JUNE 2018 REPEAT SCREENINGS: NEW AND RE-RELEASE FILMS OPEN ON FRIDAYS AND REPEAT SCREENINGS OF THE MOST POPULAR TITLES WILL BE ANNOUNCED A WEEK AHEAD. SIGN UP TO RECEIVE WEEKLY BFI SOUTHBANK EMAILS AT BFI.ORG.UK/MYACCOUNT OR VISIT BFI.ORG.UK/WHATSON MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY 13:00 Mothers of Men + intro p48 14:30 Pandora’s Box p12 15:30 They Drive By Night p33 15:00 Pandora’s Box p12 28 29 30 31 17:40 RE-RELEASE 1 17:40 Pandora’s Box p12 2 17:40 Pandora’s Box p12 3 20:25 OPENS TODAY 20:30 Pandora’s Box p12 20:25 Pandora’s Box p12 14:30 The Adventures of Prince Achmed p40, 50 15:15 Pandora’s Box p12 16:20 Bombshell p43 18:20 The View from the Café Bar: 18:15 Siren of the Tropics p42 18:20 Never Fear (aka The Young Lovers) p35 Remembering Alison De Vere + intro p39 20:15 This is the Life p22 20:20 High Sierra p34 20:40 Piccadilly p42 12:00 The Many Faces of Agnès Varda (talk) p29 16:20 La Pointe Courte p29 16:10 Le Bonheur p30 18:15 Cabaret p45 18:20 Cléo from 5 to 7 p29 18:10 Lions Love (... and Lies) p30 20:50 The Gay Desperado p33 20:40 Outrage p35 20:30 I Will Follow p22 12:00 Course: African Odysseys New Wave p54 15:20 Zama p10 15:20 Zama p10 18:10 Zama p10 18:10 Zama p10 17:50 Zama p10 20:35 NEW RELEASE CONTINUES 20:35 Zama p10 20:15 Zama p10 14:00 Seniors’ Free Matinee: Small Island 14:30 Gilda p43 + intro p21 4 17:40 Pandora’s Box p12 5 18:10 Pandora’s Box p12 6 7 18:00 Cabaret p45 8 9 16:50 Pandora’s Box p12 10 18:00 Pandora’s Box p12 20:30 Pandora’s Box p12 20:50 Le Bonheur p30 19:30 Preview: McQueen + Q&A p6 20:30 Pandora’s Box p12 19:40 Pandora’s Box p12 20:45 Cléo from 5 to 7 p29 14:30 Pandora’s Box p12 14:30 Pandora’s Box p12 14:30 Pandora’s Box p12 14:50 Pandora’s Box p12 18:20 Piccadilly p42 18:20 Zama p10 18:15 Siren of the Tropics + intro p42 17:45 Pandora’s Box p12 17:50 Pandora’s Box p12 17:20 Pandora’s Box p12 18:20 I Will Follow p22 20:40 Bonjour Tristesse p44 20:40 Bombshell p43 20:20 Pandora’s Box p12 20:30 Pandora’s Box p12 20:35 Selma p23 20:10 Pandora’s Box p12 20:20 This is the Life p22 11:00 Seniors’ Free Talk: 13:00 A Wrinkle in Time p50 12:00 Shoulder to Shoulder + Q&A p18 Windrush Women p21 14:30 The Breadwinner p10 15:30 High Sierra p34 18:15 The Gay Desperado p33 18:10 Season intro + Outrage p35 18:20 Behind the Scenes p15 NEW RELEASE OPENS TODAY 18:10 Bus Stop p43 20:15 Pandora’s Box p12 20:50 Never Fear (aka The Young Lovers) p35 20:40 They Drive By Night p33 20:35 Zama p10 20:20 Mur Murs p31 Library 14:40 The Breadwinner p10 18:30 14:30 Pandora’s Box p12 14:40 The Breadwinner p10 18:10 Zama p10 Hitchcock and 18:30 Course: A Beginner’s Guide to Film pt2 18:20 Zama p10 18:30 Bonjour Tristesse p44 18:40 The Breadwinner p10 18:40 The Breadwinner p10 18:10 The Breadwinner p10 20:35 Zama p10 the Spy Film 20:45 Zama p10 20:45 Zama p10 20:45 The Breadwinner p10 20:40 The Breadwinner p10 20:10 The Breadwinner p10 p58 12:00 Preview: Incredibles 2 + Q&A p7 14:30 The Piano p13 15:00 The Piano p13 15:10 Breakfast at Tiffany’s p44 18:00 Breakfast at Tiffany’s p44 11 18:20 The Hitch-Hiker p36 12 17:40 Pandora’s Box p12 13 17:50 Pandora’s Box p12 14 18:10 RE-RELEASE 15 18:00 The Guilty Feminist Live! p54 16 17:40 The Piano p13 17 20:30 Pandora’s Box p12 20:25 Pandora’s Box p12 20:30 Preview: The Bookshop p7 20:35 Cabaret p45 20:40 OPENS TODAY 20:10 Woman with a Movie Camera: Working Girl p19 20:10 The Piano p13 15:20 The Piano p13 18:10 Pandora’s Box p12 18:00 Pandora’s Box p12 18:20 It + intro p42 18:30 The Hitch-Hiker p36 18:20 Hard, Fast and Beautiful p36 17:50 The Piano p13 18:00 Through Our Eyes + Q&A p24 20:50 The Sea Wolf p34 20:45 Bus Stop p43 20:20 Hard, Fast and Beautiful + intro p36 20:15 Pandora’s Box p12 20:20 Barefoot in the Park p44 20:30 The Piano p13 20:15 Lions Love (... and Lies) p30 14:30 The Breadwinner p10 12:30 Future Film Labs p51 15:30 The Sea Wolf p34 18:15 TV Preview: Women’s Monologues + Q&A p8 18:10 Nina’s Heavenly Delights + Q&A p46 18:00 Lek and the Dogs + Q&A p52 18:20 The Foreigner’s Home + discussion p24 18:00 Newsreel + Q&A p52 18:10 Jane B.
Recommended publications
  • September 8, 2009 (XIX:2) Raoul Walsh HIGH SIERRA (1941, 100 Min)
    September 8, 2009 (XIX:2) Raoul Walsh HIGH SIERRA (1941, 100 min) Directed by Raoul Walsh Screenplay by John Huston and W.R. Burnett Cinematography by Tony Gaudio Ida Lupino...Marie Humphrey Bogart...Roy Earle Alan Curtis...'Babe' Arthur Kennedy...'Red' Joan Leslie...Velma Henry Hull...'Doc' Banton Henry Travers...Pa Jerome Cowan...Healy Minna Gombell...Mrs. Baughmam Barton MacLane...Jake Kranmer Elisabeth Risdon...Ma Cornel Wilde...Louis Mendoza George Meeker...Pfiffer Zero the Dog...Pard RAOUL WALSH (11 March 1887, NYC—31 December 1980, Simi Valley, CA), directed 136 films, the last of which was A Distant Trumpet (1964). Some of the others were The Naked and the Dead (1958), Band of Angels (1957), The King and Four Queens (1956), officials they kept it under lock and key for 25 years because they Battle Cry (1955), Blackbeard, the Pirate (1952), Along the Great were convinced that if the American public saw Huston’s scenes of Divide (1951), Captain Horatio Hornblower R.N.(1951), White American soldiers crying and suffering what in those days was Heat (1949), Cheyenne (1947), The Horn Blows at Midnight called “shellshock” and “battle fatigue” they would have an even (1945), They Died with Their Boots On (1941), High Sierra more difficult time getting Americans to go off and get themselves (1941), They Drive by Night (1940), The Roaring Twenties (1939), killed in future wars. One military official accused Huston of being Sadie Thompson (1928), What Price Glory (1926), Thief of “anti-war,” to which he replied, “If I ever make a pro-war film I Baghdad (1924), Evangeline (1919), Blue Blood and Red (1916), hope they take me out and shoot me.” During his long career he The Fatal Black Bean (1915), Who Shot Bud Walton? (1914) and made a number of real dogs e.g.
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • Moma Ida Lupino Mother Directs Press Release
    MOMA CELEBRATES PIONEERING FILMMAKER IDA LUPINO AS ACTRESS AND DIRECTOR, WITH AN EXHIBITION OF FILMS SPANNING 1949 TO 1966 Ida Lupino: Mother Directs August 26-September 20, 2010 The Roy and Niuta Titus Theaters New York, August 4, 2010 – Ida Lupino: Mother Directs, a comprehensive selection of films by actress and filmmaker Ida Lupino (American, b. Great Britain, 1918–1995) runs August 26 through September 20, 2010, at The Museum of Modern Art, presenting select films from 1949 to 1966, including her directorial debut Never Fear (1950). The series highlights the filmmaker’s brilliantly balanced career both in front of the camera, acting in over 100 productions for film and television, and behind the camera as a pioneering director who pushed the limits of social taboos and become the second woman to be admitted to the Director’s Guild. The 14 film exhibition is organized by Anne Morra, Associate Curator, Department of Film, The Museum of Modern Art. Ida Lupino was branded the ―English Jean Harlow‖ when she arrived in Hollywood in 1932, but as part of a distinguished British theatrical dynasty, she aspired to be more than just an ingénue or femme fatale. A box-office-proven actress with a lucrative contract at Warner Bros., Lupino starred in such films as High Sierra (1941) and Woman in Hiding (1949). She conscientiously studied the work of the directors for whom she acted, and before long found her way behind the camera. Her career as a feature film director (albeit an uncredited one) began in 1949, when she stepped in for the ailing Elmer Clifton on the set of Not Wanted.
    [Show full text]
  • Ida Lupino (1918-1995): “The Only Female Director of Consequence Between Dorothy Arzner and Joan Micklin Silver”
    Ida Lupino (1918-1995): “The only female director of consequence between Dorothy Arzner and Joan Micklin Silver” Acting Founded The Filmakers with Collier Young in 1949 Director, screenwriter, producer Not Wanted (1949) Never Fear (1949) Outrage (1950) Hard, Fast and Beautiful (1951) The Hitch-Hiker (1953) The Bigamist (1953) Television The Hitch-Hiker (Lupino 1953) Nicholas Musuraca-Cinematography (1892–1975) Cinematographer for two of the film noir seminar films and one from six-week series Stranger on the Third Floor (Boris Ingster 1940) Cat People (Jacques Tourneur 1942) Out of the Past (Jacques Tourneur 1947) I Remember Mama (George Stevens 1948) The Blue Gardenia (Fritz Lang 1953) “I learned a lot from the late George Barnes, a marvelous cameraman.” Hitchcock’s Rebecca (1940) & Spellbound (1945) and Meet John Doe (Capra 1941) the difference maker Stylized Shadow opens and closes film Stylized Shadow opens and closes film Hitch-Hiker’s face obscured in shadow Hitch-Hiker’s face obscured in shadow Low Angle perhaps indicates Roy Collins’ (Edmond O’Brien) potential power tableau- from tableau vivant (French for “living picture”), at first a stage term for actors frozen and wordless on stage posed for a kind of painterly contemplation by the audience which later becomes a stylistic signature of former storyboard artist Alfred Hitchcock and former stage director Orson Welles. isolating internal framing Location Shooting Visual motif of watching and being watched The Ending Shots Jim Morrison’s song “Riders of the Storm” from The Doors1971 album L. A. Woman based on or as least alludes to Billy Cook’s story.
    [Show full text]
  • Abril - Mayo - Junio 2021
    CICLO IDA LUPINO | CICLO LA MEMORIA EN IMÁGENES | www.semanasaco.com OVIEDO + CINE ABRIL - MAYO - JUNIO 2021 Teatro 19:00h Filarmónica Jueves y domingos Teatro Filarmónica 19:00h Jueves y domingos 08/10 EL ESPÍA QUE SURGIÓ DEL FRÍO 01/04 LA CHICA DEL BRAZALETE 11/10 MOGAMBO 04/04 NOT WANTED 15/10 DOBLES VIDAS 08/04 SAINT FRANCES 18/10 FAMILIA SUMERGIDA 11/04 NEVER FEAR 22/10 UN MINUTO DE GLORIA 15/04 ¡AL ABORDAJE! 18/04 EL BÍGAMO 22/04 SIN OLVIDO 25/04 EL AUTOESTOPISTA 29/04 A LAND IMAGINED Se ruega la máxima puntualidad. No se permitirá el acceso una vez iniciada la sesión. Está prohibido cualquier tipo de filmación, grabación o realización de fotografías en el interior de la sala. 01/04 04/04 LA CHICA DEL TEATRO NOT WANTED TEATRO BRAZALETE FILARMÓNICA FILARMÓNICA 19:00 H Elmer Clifton, Ida Lupino 19:00 H LA FILLE AU EE. UU. | 1949 | Color | 91’ BRACELET Stéphane Demoustier Francia | 2019 | Color | 95’ Reparto: Sally Forrest, Keefe Brasselle, Leo Penn, Dorothy Adams, Reparto: Melissa Guers, Roschdy Rita Lupino, Wheaton Chambers, Zem, Anaïs Demoustier, Annie Audrey Farr, Carole Donne, Ruth Mercier, Pascal Garbarini, Chiara Clifford, Ruthelma Stevens, Virginia Mastroianni. Mullen, Roger Anderson. Guion: Stéphane Demoustier. Guion: Paul Jarrico, Ida Lupino. Fotografía: Sylvain Verdet. Fotografía: Henry Freulich (B/N). Montaje: Damien Maestraggi. Montaje: William H. Ziegler. Música: Carla Pallone. Música: George Greeley, Producción: Petit Film, France 3 Leith Stevens. Cinéma, Frakas Productions. Producción: Emerald Productions Inc. Versión original en francés con subtítulos en español. Versión original en inglés con subtítulos en castellano.
    [Show full text]
  • Cinema Comparat/Ive Cinema
    CINEMA COMPARAT/IVE CINEMA VOLUME IV · No.8 · 2016 Editors: Gonzalo de Lucas (Universitat Pompeu Fabra) and Albert Elduque (University of Reading). Associate Editors: Ana Aitana Fernández (Universitat Pompeu Fabra), Núria Bou (Universitat Pompeu Fabra), Xavier Pérez (Universitat Pompeu Fabra). Advisory Board: Dudley Andrew (Yale University, United States), Jordi Balló (Universitat Pompeu Fabra, Spain), Raymond Bellour (Université Sorbonne-Paris III, France), Francisco Javier Benavente (Universitat Pompeu Fabra), Nicole Brenez (Université Paris 1-Panthéon-Sorbonne, France), Maeve Connolly (Dun Laoghaire Institut of Art, Design and Technology, Irleland), Thomas Elsaesser (University of Amsterdam, Netherlands), Gino Frezza (Università de Salerno, Italy), Chris Fujiwara (Edinburgh International Film Festival, United Kingdom), Jane Gaines (Columbia University, United States), Haden Guest (Harvard University, United States), Tom Gunning (University of Chicago, United States), John MacKay (Yale University, United States), Adrian Martin (Monash University, Australia), Cezar Migliorin (Universidade Federal Fluminense, Brasil), Alejandro Montiel (Universitat de València), Meaghan Morris (University of Sidney, Australia and Lignan University, Hong Kong), Raffaelle Pinto (Universitat de Barcelona), Ivan Pintor (Universitat Pompeu Fabra), Àngel Quintana (Universitat de Girona, Spain), Joan Ramon Resina (Stanford University, United States), Eduardo A.Russo (Universidad Nacional de La Plata, Argentina), Glòria Salvadó (Universitat Pompeu Fabra), Yuri
    [Show full text]
  • C Ollec T Ion Res Ou Rc Es
    FOR FURTHER STUDY: DIRECTED BY IDA LUPINO COLLECTION RESOURCES Rumored to have been born underneath a dining room table during a Zeppelin raid over London in World War I, by 1933, at sixteen years old, Ida Lupino arrived in Hollywood appearing in films such as Search for Beauty (1934), Ready for Love (1934) and Anything Goes (1936). By the 1940s, Lupino became known for starring roles in notable films including They Drive by Night (1940), High Sierra (1941) and The Man I Love (1946). At the end of the decade, the actress founded her own independent production company where she would write, produce and direct several films – an uncommon accomplishment for any actor of her generation, especially as one of the only women directors in the industry during this period. As a feature film director, Lupino frequently captured a common theme of post-World World II domestic alienation, exploring ordinary citizens struggling amid Ida Lupino was one of the few women working behind social issues such as unwanted pregnancy (Not the camera in both film and television during the 1940s Wanted, 1949), polio (Never Fear, 1949) and rape – 1970s. In addition to her credits as a writer, director and producer, she continued to perform throughout her (Outrage, 1950). While active behind the camera, career. Lupino continued to star in films including On Dangerous Ground (1952), The Big Knife (1955) and While the City Sleeps (1956). In The Bigamist (1953), Lupino not only directed, but also joined actors Joan Fontaine and Edmond O’Brien on-screen. During the 1950s, Lupino crossed-over into television where she appeared in a wide range of series, including Mr.
    [Show full text]
  • The Program Lumière Festival from October 13 to October 19, 2014
    The program Lumière Festival From October 13 to October 19, 2014 Pedro Almodóvar, Lumière Award 2014 RETROSPECTIVES 1964 : A certain Bob Robertson... The Invention of the Italian Western Pedro Almodóvar: Lumière Award 2014 With A Fistful of Dollars, Sergio Leone (alias Bob The filmmaker Pedro Almodóvar will receive the Robertson) made the first Italian western and Lumière Award for his filmography, for his intense its success gave rise to a decade of continuous passion for the cinema that nourishes his work, waves of the genre by the likes of Corbucci and for his generosity, exuberance, and the audacious Sollima. Lumière will screen his most iconic films, vitality he brings to the cinema. populated by individuals who are violent and offbeat, but also generous and funny. Back for the first time in many years on the big screen in Cartes blanches restored prints. to Pedro Almodóvar The Program The director has chosen two A permanent history of women categories of films: the Spanish cinema filmmakers: Ida Lupino and works that have inspired his films. Actress, writer, producer and director of postwar America, Ida Lupino was a trailblazing figure of daring cinema, audacious both in her career choices and her films, which included intriguing The Era de Claude Sautet (1960-1995) titles like The Bigamist, Never Fear, The Hitch- César and Rosalie, The Things of Life... A Hiker, or Not Wanted. rediscovery of realistic and timeless films by a unique director, a sensitive analyst of human Splendors of Restoration 2014 relations (friends, or lovers) who has painted The finest restorations of the year, some to be an intimate portrait of France over several re-released in theaters in the coming months.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Working Girls: the History
    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. However, in spite of this increase, the overall numbers were bleak. Women directed only 0.19 percent of the 7,332 feature films made between 1949 and 1979.
    [Show full text]
  • IDA LUPINO, FILMMAKER and ACTRESS February 1 - March 9, 1991
    The Museum of Modern Art For Immediate Release January 1991 HARD, FAST, AND BEAUTIFUL--IDA LUPINO, FILMMAKER AND ACTRESS February 1 - March 9, 1991 A retrospective of films tracing the achievements of Ida Lupino, one of the more distinctive actresses of the American screen during the 1940s and 1950s, opens at The Museum of Modern Art on February 1, 1991. Although primarily known as an actress, Ida Lupino has also had a singular career behind the cameras. At a time when filmmaking in Hollywood was not open to women, Lupino wrote, directed, and produced a series of low-budget films and later became a prolific television director. HARD, FAST, AND BEAUTIFUL — IDA LUPINO, FILMMAKER AND ACTRESS, continuing through March 9, presents twelve features in which Lupino starred, six films she directed, and a selection of her television work. This exhibition highlights some of Lupino's finest performances, with such memorable films as Raoul Walsh's psychological portrait of a gangster High Sierra (1941), and Jean Negulesco's melodrama Road House (1948). Also included are Vincent Sherman's The Hard Hay (1942), about a bitterly ambitious woman who pushes her sister to stardom, and Walsh's The Man I Love (1946), the story of a nightclub singer who is pursued by a mobster. Born in London in 1918 to a British theatrical family, Lupino began to play young sophisticates at age fourteen. After moving to Hollywood in the early 1930s, she matured into an actress of rare feeling and intensity during the 1940s. In 1948 Lupino and her then husband, Collier Young, founded Emerald Films, which was later known as The Filmakers.
    [Show full text]
  • Film Essay for "The Hitch-Hiker"
    The Hitch-Hiker By Wheeler Winston Dixon This essay includes brief excerpts from Dixon’s article on the career of Ida Lupino in the journal Senses of Cinema 50 (April, 2009) When Ida Lupino directed the low-budget suspense film “The Hitch-Hiker,” she was the only woman working as a director in Hollywood. Cinematic pioneer Dorothy Arzner had been directing since the 1920s, but in 1943, when she fell ill during the production of “First Comes Courage,” Crazed hitch-hiker William Talman holds a gun to Frank Lovejoy’s Arzner’s strikingly feminist tale of the head and forces Edmond O’Brien to drive the getaway car. Courtesy Norwegian resistance during World War II, Library of Congress Collection. she was summarily replaced and never made another feature film. Thus, when Arzner was interested in what was happening on the other side forced into retirement, there were no women direct- of the camera. ing in Hollywood. During her career as an actress at Warner Bros., As far as the major studios were concerned, women she began absorbing the technical details of her were supposedly not “reliable” enough to helm a fea- craft from such masters as Raoul Walsh and ture film. Never mind that the film industry had been Michael Curtiz, as well as cameraman George started largely by women, such as Alice Guy, Cleo Barnes. Lupino was feeling more and more limited Madison, Ida May Park, Ruth Stonehouse, Dorothy working solely as an actor. Since no studio would Davenport Reid, Lois Weber, and many others; by bankroll her as a director, she left Warner Bros.
    [Show full text]
  • Lecture 2: the BIGAMIST: 1953: 80M
    1 The Feminine Eye: lecture 2: THE BIGAMIST: 1953: 80m: April 11: Women Directors during the Hollywood Studio Era: week #2 Dorothy Arzner Ida Lupino Screening: THE BIGAMIST (Ida Lupino, 1953) flashlight? 2 Lois Weber & rise of studio system: Weber: made 4 more films re: birth control: including: 1917: THE HAND THAT ROCKS THE CRADLE June 1917: left Universal to start her own production company: shifted away from “heavy dinners”: socially progressive films: made “lighter” films: re: marriage & domesticity we don’t know: whether she grew tired of problems heavier films invited: or because industry itself changing: late 1910s: moving away from progressive activist filmmaking: in favor of entertainment “preachy” films: fell out of favor: newspapers: cinema: should be used for entertainment: not propaganda WHERE: model of cinema: rapidly disappearing: films made to inspire people to social activism after initial success: her production company folded: 1921: Weber: found it harder & harder to get work in Hollywood Weber’s career fell prey to circumstances in Hollywood in early 1920s: not place that welcomed independent production: especially companies run by women: who’d played big role in creating films instead: increasing consolidation of power: in small number of major film studios: who also increasingly controlled exhibition increasing cost of filmmaking increasing control of MPPA: these conditions: made it increasingly harder: for independent companies to operate coupled with cultural shift: made Weber’s progressive films out of step: with
    [Show full text]