Bee Gee News February 17, 1943
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Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
Slapstick, Sex Og Screwball
The Miracle o f Morgan’s Creek Slapstick, sex og screwball Preston Sturges’ guddommelige komedier A f Kenneth T. de Lorenzi “There’s a lot to be said for making people laugh (Joel McCrea i Sullivans Travels) Verdensmanden og komediegeniet kameraet. Havde Sturges ikke Lubitschs Preston Sturges (1898-1959) var sammen lette touch havde han til gengæld en evne med sit store forbillede, den sofistikerede til skrive de mest vanvittige dialoger og få komedies ophavsmand, Ernst Lubitsch, en dem leveret i et hæsblæsende tempo, der af de få instruktører, der blev lige så får hans film til at virke friske, udfordren- berømt som de glamourøse stjerner foran de og enormt morsomme den dag i dag. 45 Slapstick, sex og screwball I 1940 blev Preston Sturges Hollywoods sådan. Der skulle dog gå næsten et årti, første egentlige writer/director, da han førend hans bemærkelsesværdige talent endelig fik lov at stå bag indspilningen af endelig fik ham placeret på toppen af sit på det tidspunkt seks år gamle origi filmbyens fødekæde. nalmanuskript The Great McGinty 1930’erne var dog på ingen måde (Portræt af en bums). Allerede senere ufrugtbare for Preston Sturges. Hans pro samme år kom så Christmas in July blem var først og fremmest den uskrevne (Sommerjul - baseret på hans eget teater regel - et vaskeægte ’punkt 22’ - at ingen stykke A Cup of Coffee) og over de følgen ville tage chancen at lade en uerfaren de fire år ialt otte film - alle for instruktør instruere sin første film. Men, Paramount - og de blev næsten hver og én ud over de mange film han skrev med på, forrygende kunstneriske og kommercielle med og uden navns nævnelse, formåede hits: The Lady Eve (1941, En moderne han alligevel at bryde tidens princip som Eva), Sullivan’s Travels (1942, Med ti cent dikterede, at mange forfattere til hver en på lommen), The Palm Beach Story (1942, tid ville gøre et hvilket som helst m anu Flugten til Florida), The Miracle of skript bedre. -
XV:4) Preston Sturges the MIRACLE of MORGAN's CREEK (1944
September 18, 2007 (XV:4) Preston Sturges THE MIRACLE OF MORGAN’S CREEK (1944) 99 minutes Eddie Bracken...Norval Jones Betty Hutton...Trudy Kockenlocker Diana Lynn...Emmy Kockenlocker William Demarest...Const. Kockenlocker Porter Hall...Justice of the Peace Emory Parnell...Mr. Tuerck Al Bridge...Mr. Johnson Julius Tannen...Mr. Rafferty Victor Potel...Newspaper editor Brian Donlevy...Gov. McGinty Akim Tamiroff...The Boss Directed and written by Preston Sturges Written by Preston Sturges Produced by Buddy G. DeSylva and Preston Sturges Cinematography by John F. Seitz Costume Design by Edith Head Makeup Department Wally Westmore Selected for the National Film Registry by the National Film Preservation Board, 2001 Preston Sturges (29 August 1898, Chicago—6 August 1959, New York, heart attack) is the first Hollywood director to get the double credit, “written and directed by.” His only Oscar, in fact, was for the screenplay of The Great McGinty 1941. (He received best screenplay nominations for Hail the Conquering Hero and The Miracle of Morgan’s Creek, both in 1944. He split the vote with himself and the award went to Lamar Trotti for Wilson, a film no one has heard of since). He wrote 45 screenplays and directed 15, among which were The French they Are a Funny Race (1955), The Beautiful Blonde from Bashful Bend (1949), Unfaithfully Yours (1948), The Sin of Harold Diddlebock (1947), The Great Moment (1944), Hail the Conquering Hero (1944), The Palm Beach Story (1942), Sullivan’s Travel’s (1941), The Lady Eve (1941), Christmas in July (1940), and The Great McGinty (1940). He won a best screenplay Oscar for The Great McGinty and was nominated for The Miracle of Morgan’s Creek and Hail the Conquering Hero. -
Electric Dreams: Computers in American Culture
Electric Dreams: Computers in American Culture By Ted Friedman New York: New York University Press, 2005. ISBN 0-1847-2739-5. 31 illustrations, 286pp. £14.50 (pbk), £41.50 (hbk) A review by Anne Petersen, University of Oregon, USA Electric Dreams takes two issues to task: our collective lack of historical context concerning the computer, and the promotion of the hope for a utopian (computer-influenced) future. By investigating the tension induced by what he terms "the dialectic of technological determinism," Ted Friedman, a Professor of Communication at Georgia State University, claims there is room, even hope, for utopian visions of the future. Because "Americans don"t take computers for granted yet," their uses and meanings are not fixed (2). Friedman calls his readers to think differently about computers, to reexamine their history, their exponential evolution, and their future utility. Instead of commodities with ever-increasing speed, memory, and capabilities, if we consider them as creations with the potential to dissolve gender or race, to eliminate (instead of produce) sweat-shop labour....then the utopian technological sphere envisioned by generations of sci-fi writers and pro-technology pundits may be realised. The only way that this will happen, however, is if we cease thinking about a computer as merely the labour-saving tool that performs a number of processes: that allows me to word process this review, to email it as an attachment, to read Scope on-line. Electric Dreams forwards this thesis by providing the reader with an engaging, extremely readable account of the genealogy of the computer. Friedman introduces each "ancestor" of the laptop, from Charles Babbage and Ana Lovelace's original innovations to the basement- filling mainframes created for the military. -
The Movie Scene & He D
March-April 2015 VOL. 30 THE VIDEO REVIEW MAGAZINE FOR LIBRARIES N O . 2 IN THIS ISSUE Life Itself | ALA Notables | Vaccines: Calling the Shots | Robin Williams Remembered | Kids for Cash | Sex (ed): The Movie scene & he d BAKER & TAYLOR’S SPECIALIZED A/V TEAM OFFERS ALL THE PRODUCTS, SERVICES AND EXPERTISE TO FULFILL YOUR LIBRARY PATRONS’ NEEDS. Le n more about Bak & Taylor’s Scene & He d team: ELITE Helpful personnel focused exclusively on A/V products and customized services to meet continued patron demand PROFICIENT Qualified entertainment content buyers ensure frontlist and backlist titles are available and delivered on time SKILLED Supportive Sales Representatives with an average of 15 years industry experience DEVOTED Nationwide team of A/V processing staff ready to prepare your movie and music products to your shelf-ready specifications KNOWLEDGEABLE Full-time staff of A/V catalogers, backed by their MLS degree and more than 43 years of media cataloging expertise 800-775-2600 x2050 [email protected] www.baker-taylor.com scene & he d Spotlight Review Life Itself HHHH not resuscitate” order until the day he died. Magnolia, 120 min., R, Beginning with Ebert’s definition of cinema DVD: $26.98, Blu-ray: as “a machine that generates empathy,” this BAKER & TAYLOR’S SPECIALIZED A/V TEAM OFFERS $29.98 bio-pic covers Ebert’s career and personal Film critic Roget Eb- life—from his early days at the Chicago Sun- ALL THE PRODUCTS, SERVICES AND EXPERTISE Publisher/Editor: Randy Pitman ert knew he would not Times up through his popular TV show and TO FULFILL YOUR LIBRARY PATRONS’ NEEDS. -
Preston Sturges & the Marx Bros
Preston Sturges & The Marx Bros. by Richard von Busack “Somebody said that all I needed for success in American life was a bass voice and a muscular handshake, so I seized producers with a powerful grip, looked piercingly into their eyes and asked them in my deepest tones if they doubted for a second if I could direct. “When they said, ‘no’, and I said, “Then when do I start,’ they said, “As soon as you’ve directed for anybody else.” Such was Preston Sturges’ dilemma in the late 1930s. He was one of the best-paid writers in Hollywood, where, as the saying went, you never saw so many unhappy people earning $100,000 a year. He had worked for Goldwyn, MGM and Universal, had writ- ten dialogue for kings and drum majorettes alike, and he was burning to direct. It was during this time that a script of Sturges’ titled “The Vagrant” was being pre- pared for filming. Sturges offered his services as director for the sum of $1. Paramount producer William LeBaron accepted the deal for $10 to make it more official. The script was retitled “The Great McGinty.” In parting, LeBaron warned the novice direc- tor that he’d be happier as a writer: “Shoemaker, stick to your last!” “You show me a man who sticks to his last, and I’ll show you a shoemaker,” Sturges thought to himself, on the staircase out of the office. So began the directing career of Preston Sturges. In a startlingly short rush of creative fervor, which chronologically paralleled the US’s most desperate years during World War II, Sturges directed seven peerless comedies. -
Closest Equivalent to Restoration Comedy”
American Movies’ ”Closest Equivalent to Restoration Comedy” By Oliver Tilley Fall 2009 Issue of KINEMA ”IT MAY BE AMERICAN MOVIES’ CLOSEST EQUIVALENT TO RESTORATION COMEDY” (Pauline Kael on Bringing Up Baby) I will attempt to ascertain the accuracy of Pauline Kael’s comment. It is a difficult issue, demanding a telescoping of two distinctive cultures, nations and media as well as an exploration of the concept of genre and intertextuality. In many ways Kael’s assertion - written, as she herself attests ’hurriedly’, being ’frequently dependent on [her] old, spotty memories’(1) - is superficial and breaks down after analysis. Her comparison is flawed in its assumptions that genres can contain such diverse works as they denote, over a fifty-year period on the one hand and a 10 year period on the other; while the idea that these genres can then be parallelled with each other is yet further problematic. Despite this, Kael’s perhaps unthinking observation proves a worthwhile area to explore and reach beyond the surface qualities of tone and style on which she seems to base her assessment. Kael, in her conversation with Ann Geracimos in 1969 concerning the ’Woman Reading’, discusses how much she loves reading, how it is her ’favourite’ pastime and how she could ’live without movies much more easily than [she] could live without books’(2). During her conversation with Geracimos, Kael details a large variety of books, ranging from Nabokov to Synge, which she had read or which she had found compelling, with, significantly, no mention of Restoration Comedy. It is still possible that she had deeply exploredthe genre and simply not thought to mention her interest during this interview, but it offers the provocative suggestion that she has never read, and only cursorily seen, any of the plays. -
Why Are Comedy Films So Critically Underrated?
The University of Maine DigitalCommons@UMaine Honors College 5-2012 Why are Comedy Films so Critically Underrated? Michael Arell Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Dramatic Literature, Criticism and Theory Commons, and the Film and Media Studies Commons Recommended Citation Arell, Michael, "Why are Comedy Films so Critically Underrated?" (2012). Honors College. 93. https://digitalcommons.library.umaine.edu/honors/93 This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. WHY ARE COMEDY FILMS SO CRITICALLY UNDERRATED? by Michael Arell A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Bachelor of Music in Education) The Honors College University of Maine May 2012 Advisory Committee: Michael Grillo, Associate Professor of History of Art, Advisor Ludlow Hallman, Professor of Music Annette F. Nelligan, Ed.D., Lecturer, Counselor Education Tina Passman, Associate Professor of Classical Languages and Literature Stephen Wicks, Adjunct Faculty in English © 2012 Michael Arell All Rights Reserved Abstract This study explores the lack of critical and scholarly attention given to the film genre of comedy. Included as part of the study are both existing and original theories of the elements of film comedy. An extensive look into the development of film comedy traces the role of comedy in a socio-cultural and historical manner and identifies the major comic themes and conventions that continue to influence film comedy. -
ABSTRACT “What's the Matter with Bigamy?” the American Family In
ABSTRACT “What’s the Matter with Bigamy?” The American Family in the Wartime Comedies of Preston Sturges Felix M. Gonzalez, Jr., M.A. Thesis Chairperson: James M. Kendrick, Ph.D. The 1940s comedies of writer-director Preston Sturges are known for their satirical narratives and eccentric characters. They were made during a period in Hollywood history when filmmakers adhered to the strict Production Code, ensuring that movies projected a wholesome image of American society. The purpose of this study was to explore the reflection of America during World War II as a troubled and disordered society through the unconventional depictions of the American family in five Sturges films: The Great McGinty (1940), The Lady Eve (1941), The Palm Beach Story (1942), The Miracle of Morgan’s Creek (1944), and Hail the Conquering Hero (1944). Content analyses revealed a pessimistic viewpoint that defied the moral principles of the Production Code and the typical representations of American society in popular wartime films. Sturges’ depiction of the family is one of disunity and deception, in contrast to the cheerful surfaces of his narratives. “What’s the Matter with Bigamy?” The American Family in the Wartime Comedies of Preston Sturges by Felix M. Gonzalez, Jr., B.A. A Thesis Approved by the Department of Communication Studies ___________________________________ David W. Schlueter, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee ___________________________________ James M. Kendrick, Ph.D., Chairperson ___________________________________ Christopher J. Hansen, M.F.A. ___________________________________ Sara J. -
Screwball Comedies: Eine Filmographie, Eine Bibliographie 2003
Repositorium für die Medienwissenschaft Hans Jürgen Wulff Screwball Comedies: Eine Filmographie, eine Bibliographie 2003 https://doi.org/10.25969/mediarep/12854 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen: Screwball Comedies: Eine Filmographie, eine Bibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2003 (Medienwissenschaft: Berichte und Papiere 50). DOI: https://doi.org/10.25969/mediarep/12854. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0050_03.pdf 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/ Medienwissenschaft / Hamburg: Berichte und Papiere 50, 2003: Screwball Comedy. ISSN 1613-7477. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. Letzte Änderung: 17. Dezember 2002. URL der Hamburger Ausgabe: .http://www1.uni-hamburg.de/Medien/berichte/arbeiten/0050_03.pdf. Screwball Comedies: Eine Filmographie, eine Bibliographie Zusammengestellt v. Hans J. Wulff Inhalt: Angel (Engel); USA 1937, Ernst Lubitsch, D: Marle- I. Die Filme (A-Z) ne Dietrich, Herbert Marshall. II. Die Regisseure (A-Z) III. Die Stars (A-Z) Annabel Takes a Tour; USA 1938, Lew Landers, D: IV. Chronologie Jack Oakie, Lucille Ball. V. Bibliographie Another Thin Man (Noch ein dünner Mann; aka: [*] Für Hinweise danke ich Christine Noll Brinckmann, Dünner Mann, dritter Fall); USA 1939, W.S. Van Thomas Christen, Karl-Dietmar Möller, Jörg Schweinitz Dyke, D: William Powell, Myrna Loy. -
The Inventory of the Edward Herrmann Collection #1262
The Inventory of the Edward Herrmann Collection #1262 Howard Gotlieb Archival Research Center I The Inventory ofthe Edward Herrmann Collection #1262 Howard Gotlieb Archival Research Center \ 1 Table of Contents Scope and Content Notes 2 I Material Related to Performances, 1965-1991 3 II Subject Files . 38 III Audio . 45 IV Manuscripts by Edward Herrmann 45 V Correspondence, 1967-1990 . 46 VI Film and Video 47 VII Large Size Materials . 48 2 Scope and Content Notes for the Edward Herrmann Collection 1. Biographical Information Edward Kirk Herrmann was born July 21, 1943 in Washington, D.C. He is the son of John Anthony and Jean Eleanor (O'Connor) Herrmann. After graduating from Bucknell University with a B.A. in English in 1965, he studied acting at the London Academy of Music and Dramatic Art (1968-1969) and at the Dallas Theater Center. 2. Information About the Collection This collection, in six boxes, follows Edward Hemnann's professional career from the Fall of 1965, when, following his graduation from Bucknell University, he enrolled in classes at Trinity University, San Antonio, Texas, to about 1991, when this first part of his archive was received. The collection includes numerous scripts, reviews, press releases, and photographs relating to his extensive work in the theatre. There are similar materials, as well as audio and video items, for the increasing number of film and television productions in which he appeared in those years. There is also a limited amount of correspondence. 3 Herrmann, Edward #1262 Box 1 I. Materials Related to Performances, 1965-1991. A. Stage plays, 1966-1991. -
Preston Sturges and the End of Laughter Alenka Zupancic
Abstract: Preston Sturges embodies, in his own person, the break C R between the so-called “old” and “new” Hollywood, the decline of the I latter’s “golden age”, which roughly coincides with the decline of the S Preston Sturges and I studio system. The paper analyses this break and the wider social S circumstances related to it through discussion of two of Sturges’ films. Sullivan’s Travels carries the date 1941 and certainly represents one & of the peaks of the old Hollywood, whereas Unfaithfully Yours (1948) The End of Laughter C already belongs to a different era. Both films are comedies, yet they R are profoundly different in form as well as in spirit. The paper focuses I particularly on how Sturges’ cinematic genius responds to the question T I which has been in the air at that time, and which also seems to be very Q relevant today: should artists engage with the pressing issues of their U time, and how? E / Alenka Zupancic Keywords: Comedy, laughter, social relations, collective, ideology Volume 7.2 / Issue 2 There seems to be a unanimous agreement that Preston Sturges embodies the very point when something irreversible happens to the classical Hollywood (and particularly to comedy1); something that irreversibly changes the direction and even the “nature” of Hollywood, ending the so-called golden age of Hollywood (on the systemic level this is of course related to the beginning of the decline of the studio system). Sturges embodies this shift in the most literal sense: his opus is quite literally split in two.