Film Club Screening

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March and April Film Club 03/05 Rumble Fish (1983, dir. Meetings Francis Ford Coppola, 95 m. US) Spring 2018 “Rusty James, an absent-minded street thug struggles to live up to his legendary older brother’s reputation, and longs for the days when gang January and warfare was going on.” Synopses taken from February 03/19 Sullivan’s Travels (1942, IMDB.com. dir. Preston Sturges, 91 m. US) 01/29 Dazed and Confused Meetings held Mondays at 6 (1993, dir. Richard Linklater, “A director of escapist films goes on pm in Simpkins 220 102 m. US) the road as a hobo to learn about life, (Department of English) which gives him a rude awakening.” “The adventures of high school and Snacks and Drinks Provided junior high students on the last day 04/02 Europa Europa (1990, of school in May 1976.” dir. Agnieszka Holland, 113 m. Any questions? Contact Us Germany/France/Poland) 02/19 Fruitvale Station President – Sam Wheelhouse (2013, dir. Ryan Coogler, 85 “A boy in Nazi Germany, trying to [email protected] conceal that he is Jewish, joins the m. US) Treasurer – Eve Guenther Hitler Youth.” “The story of Oscar Grant III, a 22- [email protected] year-old Bay Area resident, who 04/16 Selena (1997, dir. Faculty Advisor – crosses paths with friends, enemies, Gregory Nava, 127 m. US) family, and strangers on the last day Roberta Di Carmine “The true story of Selena of 2008.” [email protected] Quintanilla-Perez, a Texas-born This screening will be co-hosted by Tejano singer who rose from cult the African American Literary Co-hosted by the status to performing at the Society. Interdisciplinary Film Minor Astrodome, as well as having chart topping albums on the Latin music 02/26 Fantastic Mr. Fox charts.” (2009, dir. Wes Anderson, 87 m. US) 04/30 Kung Fu Hustle (2004, “An urbane fox cannot resist dir. Stephen Chow, 109 m. Hong returning to his farm raiding ways Kong/China) and then must help his community “In Shanghai, China in the 1940s, a survive the farmers’ retaliation. wannabe gangster aspires to join the notorious ‘Axe Gang.’” .

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The Art of Adaptation
Ritgerð til M.A.-prófs Bókmenntir, Menning og Miðlun The Art of Adaptation The move from page to stage/screen, as seen through three films Margrét Ann Thors 301287-3139 Leiðbeinandi: Guðrún Björk Guðsteinsdóttir Janúar 2020 2 Big TAKK to ÓBS, “Óskar Helps,” for being IMDB and the (very) best 3 Abstract This paper looks at the art of adaptation, specifically the move from page to screen/stage, through the lens of three films from the early aughts: Spike Jonze’s Adaptation, Alejandro González Iñárritu’s Birdman, or The Unexpected Virtue of Ignorance, and Joel and Ethan Coen’s O Brother, Where Art Thou? The analysis identifies three main adaptation-related themes woven throughout each of these films, namely, duality/the double, artistic madness/genius, and meta- commentary on the art of adaptation. Ultimately, the paper seeks to argue that contrary to common opinion, adaptations need not be viewed as derivatives of or secondary to their source text; rather, just as in nature species shift, change, and evolve over time to better suit their environment, so too do (and should) narratives change to suit new media, cultural mores, and modes of storytelling. The analysis begins with a theoretical framing that draws on T.S. Eliot’s, Linda Hutcheon’s, Kamilla Elliott’s, and Julie Sanders’s thoughts about the art of adaptation. The framing then extends to notions of duality/the double and artistic madness/genius, both of which feature prominently in the films discussed herein. Finally, the framing concludes with a discussion of postmodernism, and the basis on which these films can be situated within the postmodern artistic landscape.
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Midnight By Kyle Westphal Long-standing critical con- sensus and the marketing prowess of Turner Classic Movies have declared 1939 to be “Hollywood’s Greatest Year”— a judgment made on the basis of a handful of popular classics like “Gone with the Wind,” “The Wizard of Oz,” “Stagecoach,” and “Mr. Smith Goes to Washington,” and a rather large stable of films that represent studio craftsmen at its most competent and unpretentious. There is no finer product of that collabo- Two-page advertisement from May 1939 edition of Photoplay. rative ethos than Midnight” Courtesy Media History Digital Library. — a shimmering comedy that exemplifies the weary cosmopolitan style of its stu- dio, Paramount Pictures. It received no Academy The plot, such as it is, is pure screwball. Colbert Award nominations, but it can go toe-to-toe with any stars as Bronx-bred but lately itinerant showgirl Eve ’39 warhorse. Peabody, who awakes on a train and disembarks in Paris with nothing but the gold lamé dress on her Film critic Dave Kehr has affectionately described back. She winds up in the taxi of Tibor Czerny (Don Paramount’s ’30s output as an earnest examination Ameche), who willingly drives her from nightclub to of an imagined “Uptown Depression,” positing an nightclub in search of a gig. Recognizing the futility economic calamity that “seemed to have its greatest of this plan, Colbert sneaks away from Ameche and effect not on switchboard operators and taxi drivers, uses her Monte Carlo municipal pawn ticket as en- but on Park Avenue socialites, Broadway stars and trée to a society soirée hosted by society matron well-heeled bootleggers.” Coming late in the cycle, Hedda Hopper.
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