My Own Private Idaho Shakespeare (And Welles) Meet New Queer Cinema My Own Private Idaho: Production

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My Own Private Idaho Shakespeare (and Welles) Meet New Queer Cinema My Own Private Idaho: Production . Early 1980s: Van Sant begins writing screenplay, inspired by Shakespeare’s Henry IV, Eliott’s Silas Marner, Fellini’s The Satyricon, and various Dickens novels . Melds two completed scripts—one an adaptation of Henry IV—and one short story . Offered high-budget studio films after success of Drugstore Cowboy (1989), but van Sant not wanting to make this type of film . Finananced/distributed in US by Fine Line Features/New Line Cinema . Improvisational nature of shoot, with actors allowed to develop lines/actions for director approval and van Sant determining shot composition while shooting (vs. storyboarding) . Van Sant’s Portland street buddies tutoring young male actors in how to recognize and solicit johns . Budget: $2.5 million; US domestic box office gross: $6.4 million Shakespeare and Welles Shakespeare Welles . “Unless hours were cups of sack and minutes . Chimes at Midnight (1965): capons and clocks the tongues of Film about Hal/Falstaff bawds and dials the signs of leaping-houses and the relationship blessed sun himself a fair hot wench in flame-coloured taffeta . .” (Henry IV, Part 1. 1.2). “Unless hours were lines of coke, dials looked like the signs of gay bars, or time itself were a fair hustler in black leather . .” (My Own Private Idaho). Screening Cues . Visualization of Mike’s point-of-view—techniques to evoke his consciousness . Jump cuts . Theme of family and home . Color . “Road” movie . Scott’s movement from homosocial/homosexual world of street to heterosexual world of upper class corporate world .

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Gus Van Sant Regis Dialogue Formatted
Gus Van Sant Regis Dialogue with Scott Macaulay, 2003 Scott Macaulay: We're here at the Walker Art Center for Regis dialogue with American filmmaker Gus Van Sant. He'll be discussing the unique artistic vision that runs through his entire body of work. Gus was first recognized for a trilogy of films that dealt with street hustlers, Mala Noche, Drugstore Cowboy, My Own Private Idaho. He then went on to experiment with forum and a number of other films including To Die For, Psycho and even Cowgirls Get the Blues. Gus is perhaps best known for his films, Goodwill Hunting and Finding Forrester, but all of his work including his latest film, Gerry, has his own unique touch. We'll be discussing Gus' films today during this Regis dialogue. I'm Scott Macaulay, producer and editor of Filmmaker Magazine. I'll be your guide through Gus' work today in this Regis dialogue. Thanks. Gus Van Sant: Thank you. Scott Macaulay: It's a real pleasure to be here with Gus Van Sant on this retrospective ... Which is called on the road again. I guess there are a lot of different illusions in that title, a lot of very obvious ones because a lot of Gus' movies deal with travel and change and people going different places, both locations within America but also in their lives. But another interesting implication of the title is that this retrospective is occurring on the eve of the release here and also nationwide of Gerry, which is really one of Gus' best and most moving films but it's also yet sort of another new direction for Gus as a filmmaker.
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Another Look at the Cultural Politics of My Own Private Idaho
Journal X Volume 7 Number 1 Autumn 2002 Article 3 2020 Toward a Postmodern Pastoral: Another Look at the Cultural Politics of My Own Private Idaho Sharon O'Dair University of Alabama Follow this and additional works at: https://egrove.olemiss.edu/jx Part of the American Film Studies Commons Recommended Citation O'Dair, Sharon (2020) "Toward a Postmodern Pastoral: Another Look at the Cultural Politics of My Own Private Idaho," Journal X: Vol. 7 : No. 1 , Article 3. Available at: https://egrove.olemiss.edu/jx/vol7/iss1/3 This Article is brought to you for free and open access by the English at eGrove. It has been accepted for inclusion in Journal X by an authorized editor of eGrove. For more information, please contact [email protected]. O'Dair: Toward a Postmodern Pastoral: Another Look at the Cultural Politi Toward a Postmodern Pastoral: Another Look at the Cultural Politics of My Own Private Idaho Sharon O'Dair Sharon O'Dair is Gus Van Sant's My Own Private Idaho (1991) is a professor of English film that rewrites Shakespeare's Henriad1 by fol at the University of lowing the adventures in the Pacific Northwest Alabama, where she of two male prostitutes, Scott Favor (played by teaches in the Hub- Keanu Reeves) and Mike Waters (played by son Strode Program in Renaissanc Stud River Phoenix). The film is a spicy conceit, but ies. She is the author in the criticism produced so far on it, cultural of Class, Critics, critique is bland and predictable, a register less and Shakespeare: of the film's politics than the critics'.
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Gus Van Sant Retrospective Carte B
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Finding Forrester Forrester – Gefunden! a La Rencontre De Forrester
Wettbewerb/IFB 2001 FINDING FORRESTER FORRESTER – GEFUNDEN! A LA RENCONTRE DE FORRESTER Regie: Gus Van Sant USA 2000 Darsteller William Forrester Sean Connery Länge 136 Min. Jamal Wallace Rob Brown Format 35 mm, Prof.Crawford F.Murray Abraham Cinemascope Claire Spence Anna Paquin Farbe Terrell Busta Rhymes Ms.Joyce April Grace Stabliste Coleridge Michael Pitt Buch Mike Rich Dr.Spence Michael Nouri Kamera Harris Savides Matthews Richad Easton Kameraführung Craig Haagensen Massie Glenn Fitzgerald Kameraassistenz Eric C.Swanek Damon Zane R.Copeland Jr. Michael Cambria Janice Stephanie Berry Caesar S.Carnevale Fly Fly Williams III Schnitt Valdis Oskarsdottir Kenzo Damany Mathis Schnittassistenz Helen Hand Clay Damien Lee Tonschnitt Kelley Baker Trainer Garrick Tom Kearns Tonassistenz Paul Koronkiewicz Hartwell Matthew Noah Word Alfredo Viteri Dr.Simon Charles Bernstein Mischung Brian Miksis Bradley Matt Malloy Musik Bill Brown Sean Connery, Rob Brown Foto:G.Kraychyk Sanderson Matt Damon Production Design Jane Musky Ausstattung Darrell K.Keister Kostüm Ann Roth FORRESTER – GEFUNDEN! Maske Michael Bigger Ein abbruchreifes Backsteinhaus in der South-Bronx. Zwischen den vielen Regieassistenz David Webb schmucklos in die Höhe gezogenen Mietskasernen ist dieser übrig geblie- Produktionsltg. Michele Giordano bene Bau ein Fremdkörper in der Gegend. Auf die schwarzen Kids, die auf Aufnahmeleitung Trish Adlesic dem Platz davor Basketball spielen, macht es einen geheimnisvollen Ein- Produzenten Laurence Mark Sean Connery druck – auch wegen des silberhaarigen alten Mannes, der das Haus nie zu Rhonda Tellefson verlassen scheint und immer hinter den blank geputzten Fenstern in der Executive Producers Dany Wolf dritten Etage zu sehen ist. Jamal, Basketball-Ass, Leseratte und überdurch- Jonathan King schnittlich intelligenter Bursche, der sein Licht im Kreise seiner Kumpels allerdings unter den Scheffel stellt, wird von den anderen dazu angesta- Produktion Fountainbridge Films chelt, in die ominöse Wohnung einzusteigen und sich dort mal umzu- c/o Columbia Tristar schauen.
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And the Winner Is
And the Winner Is . • • Nation's Film Critics Find Few Hits, a Lot of Misses in '91 1 01 9 1 By Pat McGilligan and Mark Rowland Special in The Wa3hington Post ever mind that Hollywood had a bad year, finan- cially speaking. What kind of movie year was 1991, artistically speaking? NIt sucked," Owen Gleiberman, film critic for Entertainment Weekly, put it succinctly. "The worst movie year 1 can remember," echoed Tony Lucia of the Reading (Pa.) Eagle. "I had trouble putting together a Top 10." "Grim," agreed David Ansen of Newsweek. "The big studio product, with few exceptions, was timid, unimagi- native and dumb. And Hollywood is encouraging the au- dience to have the same attributes." No wonder audiences stayed away in droves. If there was any unanimity among the nation's film critics, it was that 1991 produced one of the all-time worst crops of movies. But the critics concur on little else. The Los Angeles Film Critics Association hailed the sweeping gangster saga "Bugsy" as Best Film of 1991. The New York Film Critics Circle tilted toward the chill- ing "The Silence of the Lambs." The National Society of Film Critics, also New York-based, gave its nod to "Life Is Sweet," a funny, oddball look at a British working-class family by director Mike Leigh. - To seek a more democratic consensus, we went out- side the big-city organizations and conducted a poll of 81 newspaper, magazine and television film critics—a sam- pling from across the country. Critics were asked to vote the best film achievements of 1991—in effect, "Critics' Oscars." The results showed some surprising winners— and the most splintered voting in the 12-year history of this poll.
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Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DCU Online Research Access Service Smart cinema as trans-generic mode: a study of industrial transgression and assimilation 1990-2005 Laura Canning B.A., M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. November 2013 School of Communications Supervisor: Dr. Pat Brereton 1 I hereby certify that that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_________________________________ (Candidate) ID No.: 58118276 Date: ________________ 2 Table of Contents Chapter One: Introduction p.6 Chapter Two: Literature Review p.27 Chapter Three: The industrial history of Smart cinema p.53 Chapter Four: Smart cinema, the auteur as commodity, and cult film p.82 Chapter Five: The Smart film, prestige, and ‘indie’ culture p.105 Chapter Six: Smart cinema and industrial categorisations p.137 Chapter Seven: ‘Double Coding’ and the Smart canon p.159 Chapter Eight: Smart inside and outside the system – two case studies p.210 Chapter Nine: Conclusions p.236 References and Bibliography p.259 3 Abstract Following from Sconce’s “Irony, nihilism, and the new American ‘smart’ film”, describing an American school of filmmaking that “survives (and at times thrives) at the symbolic and material intersection of ‘Hollywood’, the ‘indie’ scene and the vestiges of what cinephiles used to call ‘art films’” (Sconce, 2002, 351), I seek to link industrial and textual studies in order to explore Smart cinema as a transgeneric mode.
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James Newlin
The State(s) They‘re In: Intersections of the Henriad, Hustler Narratives, And Alternative Music in Gus Van Sant‘s My Own Private Idaho James Newlin The State(s) They‘re In: Intersections of the Henriad, Hustler Narratives, and Alternative Music in Gus Van Sant‘s My Own Private Idaho By James Newlin “An inheritance,‖ Derrida writes in Specters of Marx, ―is always the reaffirmation of a debt, but a critical, selective, and filtering reaffirmation…‖ (114). Gus Van Sant‘s highly allusive film My Own Private Idaho marks itself as an heir to various histories and genres— including the genre the History, demonstrated by the film‘s oft-noted reworking of Shakespeare‘s Henriad—and in this paper, I investigate a similar ―critical, selective, and filtering reaffirmation‖ in the film, in order to interrogate Idaho‘s collage-effect and structure. I contend that the way Van Sant juxtaposes Shakespeare‘s History with his other sources—Orson Welles‘s earlier filmed version of the Henry Plays, Chimes at Midnight, hustler narratives, and, punk, folk, popular, and ―alternative‖ music—must be read as a thoroughly personal vision, constructed out of engagements with historically situated genres and texts that force Idaho‘s viewers to resist their expectations about those genres and texts. By defying genre, Van Sant challenges our notions of what makes an ―authentic‖ Shakespeare adaptation, hustler narrative, or punk song; he produces something that goes beyond ―authentic,‖ and becomes something fantastical. Consider one blind spot found in some earlier analyses of My Own Private Idaho: i.e. the ―gritty, realistic‖ reading of the film.
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Outside-In-History.Pdf
By Anndee Hochman Cover design, book design and illustration by Melissa Delzio: meldel.com copyright August 2018 1132 SW 13th Avenue Portland, OR 97205 [email protected] CHAPTER 1: THE STRAIGHT AND THE STREET ...........................................................2 TABLE OF CONTENTS CHAPTER 2: RUNAWAYS AND THROWAWAYS .............................................................8 CHAPTER 3: OPINIONS AND NEEDLES ............................................................................16 CHAPTER 4: THE ART OF ADVOCACY .............................................................................22 CHAPTER 5: IN SICKNESS AND IN HEALTH ............................................................... 28 CHAPTER 6: CULTURE CLASH AND COLLABORATION ...........................................36 CHAPTER 7: MOVING IN, MOVING UP .............................................................................. 44 CHAPTER 8: GIFTS AND GROWING PAINS ....................................................................52 CHAPTER 9: HEROIN AND HARM REDUCTION ........................................................... 58 CHAPTER 10: LOST AND FOUND .......................................................................................... 64 CHAPTER 11: THE CHANGE-MAKER................................................................................... 70 CHAPTER 12: AFTER ALL THESE YEARS ........................................................................ 76 A YEAR IN THE LIFE: KATHY OLIVER’S OUTSIDE IN JOURNAL .................................................
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Shakespeare, Cinema, and Linguistic Discourse in Chimes at Midnight and My Own Private Idaho Cameron Butt
Shakespeare, Cinema, and Linguistic Discourse in Chimes at Midnight and My Own Private Idaho Cameron Butt By examining Orson Welles’s Chimes at Midnight (1965) and Gus Van Sant’s My Own Private Idaho (1991), this essay explores how adapt- ing Shakespeare’s language for a cinematic medium plays out a socio- logical shift from one literary discourse to another. One discourse is that of the logocentric academic community—the language of the few. The other is the unbridled and unsophisticated lingua franca—the language of the many.1 The low (popular) discourse often occupies a symbolic space below the high (élite) discourse in a hierarchical pyramid.2 Remarkably, Shakespearean theatre transcends this schematic order, occupying a unique space in our cultural psyche. His dramatic language is at once high and low, dissected and revered by academics while reproduced unconsciously by the quotidian utterances of the masses.3 The phenomenal discursive duality that Shakespeare embodies is in effect what makes his plays so adaptable to cinema.4 While early film directors used Shakespeare’s cultural capital to legitimize their medium, Van Sant and Welles (among others) use Shakespeare to criticize the establishment.5 Idaho, for instance, uses Shakespeare both to legitimize Van Sant’s story and to criticize the 1 For a discussion of how Shakespeare’s language has become the “lingua franca of modern cultural exchange”, see Garber (3). For discussions of Shakespeare and popular culture, see Howlett, Jess-Cooke, and MacCabe. 2 For the purposes of this essay, I shall ignore the inherent social justice issue of placing one discourse above the other.
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Christopher Doyle
SYNOPSIS Alex, jeune skateur de 16 ans, tue accidentellement un agent de sécurité tout près du skatepark le plus malfamé de Portland, le Paranoid Park. Il décide de ne rien dire. Alex, a teenage skateboarder accidentally kills a security guard in the vicinity of Paranoid Park, Portland's tough street park. He decides to say nothing. BIOGRAPHIE BIOGRAPHY GUS VAN SANT, scénariste et réalisateur GUS VAN SANT, Writer and Director Gus Van Sant s’est fait connaître avec son premier long métrage Mala Noche , Gus Van Sant has been winning over critics and audiences alike since bursting onto the scene with his widely acclaimed feature film MALA NOCHE (1985), which récompensé en 1987 dans la catégorie meilleur film indépendant par le Los Angeles won the Los Angeles Film Critics Award for the Best Independent/Experimental Film Film Critics. Le film réalisé en 1985 est sorti en france en 2006 distribué par MK2. in 1987. Van Sant’s body of work includes many hallmarks of 90’s independent Les films de Gus Van Sant ont marqué le cinéma américain indépendant des cinema, notably DRUGSTORE COWBOY (1989), MY OWN PRIVATE IDAHO (1991), and EVEN COWGIRLS GET THE BLUES (1993). Van Sant’s direction of années 90 : DRUGSTORE COWBOY (1989), MY OWN PRIVATE IDAHO (1991) et Nicole Kidman in the black comedy TO DIE FOR (1995) won her a Golden Globe EVEN COWGIRLS GET THE BLUES (1993). Sa comédie grinçante, PRÊTE À TOUT Award and was screened at the Cannes and Toronto Film Festivals. (1995), avec Nicole Kidman, a été présentée aux festivals de Cannes et de Toronto avant d’être récompensée par un Golden Globe.
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My Own Private Idaho : Œuvre Croisée, Œuvre Ouverte
My Own Private Idaho : œuvre croisée, œuvre ouverte My Own Private Idaho occupe une place particulière dans l’œuvre de Gus Van Sant. Son troisième long-métrage, celui qui clôturera ladite trilogie de Portland et qui comprend également ses deux premiers long-métrages, Mala Noche et Drugstore Cowboy, est également son premier film en tant qu’auteur complet (il signe aussi bien le scénario que la réalisation). C’est surtout une œuvre séminale où une première fois Gus Van Sant se frotte à la pratique du remake, où il fixe un axe thématique (l’exploration de la relation duelle Homoérotique) dont on pourra trouver les prolongements les plus évidents, par-delà même la période « hollywoodienne », dans un film comme Gerry (qui, à bien des égards, constitue une sorte d’épure de My Own Private Idaho), où prennent racine, enfin, certains cHoix poïétiques qui donneront leurs pleins effets dans les trois films suivants : Elephant, Last Days et Paranoid Park. Je voudrais tenter d’expliquer, en m’attardant d’abord sur quelques aspects relatifs aux calculs opératiques du film et en insistant également sur la genèse du film, en quoi My Own Private Idaho constitue une œuvre à la fois croisée et ouverte. Une lecture emblématique de My Own Private Idaho Au début du film un premier plan cadre une page de dictionnaire, un rayon met en lumière un mot orthograpHié comme suit : « nar.co.lep.sy » (« nar.co.lep.sie »). Suit une définition extrêmement succincte, qui tient en deux lignes : « a condition cHaracterized by brief attacks of deep sleep » (« un état caractérisé par de brusques accès de sommeil profond »).
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Gus Van Sant (B. 1952, Louisville, Kentucky), Admired Internationally
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