Length in Mina. Length in Nins. METRO-GOLDWYN-MAYER. (R

Total Page:16

File Type:pdf, Size:1020Kb

Length in Mina. Length in Nins. METRO-GOLDWYN-MAYER. (R Length Length In Mina. In Nins. HOTEL 124 HOW TO MAKE A MONSTER 75 WARNER BROS. (R) March, 1967. Rod Taylor, Catherine AMERICAN INTERNATIONAL. (R) July, 1968. Robert Spaak. Color. Harris, Paul Brinegar. HOTEL PARADISO (P) 100 HOW TO MURDER A RICH UNCLE 80 METRO-GOLDWYN-MAYER. (R) November, 1966. Alec Guin- COLUMBIA. (R) January, 1958. Charles Coburn, Migel Patrick ness, Gina Lollobrigida. Color. HOW TO MURDER YOUR WIFE 118 HOUND OF THE BASKERVILLES 64 UNITED ARTISTS. (R) February, 1965. Jack Lemmon, Virna UNITED ARTISTS. (R) June, 1959. Peter Cushing. Lisi. Color. HOUND DOG MAN (Cs) 87 HOW TO SAVE A MARRIAGE -AND RUIN YOUR LIFE (P) 108 TWENTIETH CENTURY-FOX. (R) November, 1959. Fabian, COLUMBIA. (R) March, 1968. Dean Martin, Stella Stevens. Carol Lynley. Color. Color. HOUR OF DECISION (Belt.) 74 HOW TO SEDUCE A WOMAN 106 ASTOR. (R) January, 1957. Jeff Morrow, Hazel Court. CINERAMA. (R) January, 1974. Angus Duncan, Angel Tompkins. HOUR OF THE GUN (R) 100 UNITED ARTISTS. (R) October, 1967. James Garner, Jason HOW TO STEAL A MILLION (P) 127 Robards. Color. 20th CENTURY -FOX. (R) August, 1966. Audrey Hepburn, Peter O'Toole. Color. HOUR THE WOLF (Swed.) 88 OF HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING (P) . 119 LOPERT. (R) April, 1968. Liv Ullmann, Max von Sydow. UNITED ARTISTS. (R) March, 1967. Robert Morse, Michele HOURS OF LOVE, THE (Md. English Titles) 89 Lee. Color. CINEMA V. (R) September, 1965. Vgo Tognazzi, Emmanuela HOW TO STUFF A WILD BIKINI 90 Riva. AMERICAN INTERNATIONAL. (R) July, 1965. Annette HOUSE IS NOT A HOME, A 90 Funicello, Dwayne Hickman. Color. EMBASSY. (R) August, 1964. Shelley Winters, Robert Taylor HUCKLEBERRY FINN (P) 118 HOUSE OF BAMBOO (Cs) 162 UNITED ARTISTS. (R) April, 1974. Jeff East, Paul Winfield TWENTIETH CENTURY-FOX. (R) July, 1955. Robert Ryan, Robert Stack. Color. HUD (P) 112 PARAMOUNT. (R) May, 1963. Paul Newman, Melvyn Douglas HOUSE OF CARDS 105 UNIVERSAL. (R) March, 1969. George Peppard, Inger HUGS AND KISSES (Swedish; Eng. titles) 93 Stevens, Orson Welles. Color. EMBASSY. (R) August, 1963. Agneta Ekmanner, Sven Bertil- Taube, Hakan Serner. b&w. HOUSE OF DARK SHADOWS 98 MGM. (R) September, 1970. Johathan Frid, Joan Bennett. Color HUK 84 UNITED ARTISTS. (R) August, 1956. George Montgomery, HOUSE OF FRIGHT (M) 80 Mona Freeman. Color. AMERICAN INTERNATIONAL. (R) May, 1961. Paul Massie, Dawn Addams. Color. HUMAN DUPLICATORS, THE 82 ALLIED ARTISTS. (R) March, 1965. George Nader, Barbara HOUSE OF 1,000 DOLLS 78 Nichols. Color. AMERICAN INTERNATIONAL. (R) October, 1967. Vincent Price, Martha Hyer. Color. HUNCHBACK OF NOTRE DAME, THE (Cs) 103 ALLIED ARTISTS. (R) November, 1967. Gina Lollobrigida, An- HOUSE OF NUMBERS (Cs) 92 thony Quinn. Color. METRO-GOLDWYN-MAYER. (R) September, 1957. Jack Pa - HUNCHBACK OF ROME 84 lance, Barbara Lang. ROYAL. 1963. Gerard Blain, Anna Maria Ferrero. HOUSE OF RICORDI (Mal.) 117 HUNT, THE (ltd.) 93 1956. Toren, Micheline BAKER -BRILL. (R) March, Marta TRANS -LUX. (R) June, 1967. Ismael Merlo, Alfredo Mayo. Prelle, Danielle Delorme. Color. 108 (Cs) 62 HUNTERS, THE(Cs) HOUSE OF THE DAMNED TWENTIETH CENTURY-FOX. (R) September, 1958. Robert TWENTIETH CENTURY-FOX. (R) March, 1963. Ronald Wagner. Color. Foster, Merry Anders. Mitcham, Robert HOUSE OF THE SEVEN HAWKS 92 HUNTERS OF THE DEEP 84 METRO-GOLDWYN-MAYER. (R) November, 1959. Robert DISTRIBUTORS CORP. OF AMERICA. (R) January, 1966 Taylor, Nicole Maurey. Documentary. Color. HOUSE OF USHER 85 HUNTING PARTY, THE iO8 AMERICAN INTERNATIONAL. (R) July, 1960. Vincent Price, UNITED ARTISTS. (R) July, 1971. Candice Bergen, Oliver Mark Damon. Color. Reed. Color. HOUSE OF WOMEN 85 HURRY UP, OR I'LL BE 30 88 WARNER BROS. (R) May, 1962. Shirley Knight, Andrew AVCO-EMBASSY. (R) November, 1973. John Lefkowita, Linda Duggan. de Coff. HOUSE THAT DRIPPED BLOOD, THE 101 HURRY SUNDOWN (P) 148 CINERAMA. (R) March, 1971. Peter Cushing, Christopher Lee PARAMOUNT. (R) March, 1967. Michael Caine, Jane Fonda Color. Color. HOUSE ON HAUNTED HILL 75 HUSBANDS 138 ALLIED ARTISTS. (R) January, 1959. Vincent Price, Carol COLUMBIA. (R) December, 1970. Ben Gazzara, Peter Falk, Ohmart. John Cassavetes. Color. HOUSE THAT SCREAMED, THE (P) 8g HUSH ... HUSH SWEET CHARLOTTE 133 AMERICAN INTERNATIONAL. (R) March, 1971. Lilli TWENTIETH CENTURY-FOX. (R) March, 1965. Bette Davie, Palmer, Cristina Galbo. Color. Olivia de Havilland. HOUSEBOAT (1/19 110 HUSTLER, THE (Cs) 135 PARAMOUNT. (R) November, 1968. Cary Grant, Sophia Loren TWENTIETH CENTURY-FOX. (R) October, 1961. Paul Newman, Piper Laurie. HOUSTON STORY, THE 79 COLUMBIA. (R) February, 1958. Gene Barry, Barbara Hale, HYPNOTIC EYE, THE n Edward Arnold. ALLIED ARTISTS. (R) February, 1960. Jacques Bergerac, Merry Anders. HOW DO I LOVE THEE? (WS) 110 CINERAMA. (R) October, 1970. Jackie Gleason, Maureen HYSTERIA 86 O'Hara. Color. METRO-GOLDWYN-MAYER. (R) September, 1966. Robert Webber, Anthony Newlands. HOW 1 WON THE WAR 109 UNITED ARTISTS. (R) November, 1967. John Lennon, Michael Crawford. Color. HOW NOT TO ROB A DEPARTMENT STORE (Fr., Eng. Titles) 95 ARTIXO PRODUCTIONS, LTD. (R) December, 1965 Jean- Claude Brialy, Marie Laforet. HOW SWEET IT 1St 90 NATIONAL GENERAL. (R) July, 1968. James Garner, Debbie I ACCUSE (Cs) 99 Reynolds, Maurice Ronet. Color. METRO-GOLDWYN-MAYER. (R) March, 1968. Jose Ferrer, Anton Walbrook. HOW THE WEST WAS WON (Cinerama) 162 METRO-GOLDWYN-MAYER. (R) November, 1962. Special I AIM AT THE STARS 107 All Star Cast. Color. COLUMBIA. (R) October, 1960. Curt Jurgen, Victoria Shaw HOW TO BE VERY, VERY POPULAR (Cs) 89 I AM A CAMERA (Brit.) 98 TWENTIETH CENTURY-FOX. (R) July, 1955. Betty Grable, DISTRIBUTORS CORP. OF AMERICA. (R) August, 1966 Robert Cummings, Sheree North. Color. Julie Harris, Laurence Harvey, Shelley Winters. Color. HOW TO FRAME A FIGG 103 I AM CURIOUS (Blue) 103 UNIVERSAL. (R) February, 1971. Don Knotts, Joe Flynn GROVE. (R) May, 1970. Lena Nyman, Borje Ahlstedt, Peter Color. Lindgren. b&w. 361 .
Recommended publications
  • Before the Forties
    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
    [Show full text]
  • It 2.007 Vc Italian Films On
    1 UW-Madison Learning Support Services Van Hise Hall - Room 274 rev. May 3, 2019 SET CALL NUMBER: IT 2.007 VC ITALIAN FILMS ON VIDEO, (Various distributors, 1986-1989) TYPE OF PROGRAM: Italian culture and civilization; Films DESCRIPTION: A series of classic Italian films either produced in Italy, directed by Italian directors, or on Italian subjects. Most are subtitled in English. Individual times are given for each videocassette. VIDEOTAPES ARE FOR RESERVE USE IN THE MEDIA LIBRARY ONLY -- Instructors may check them out for up to 24 hours for previewing purposes or to show them in class. See the Media Catalog for film series in other languages. AUDIENCE: Students of Italian, Italian literature, Italian film FORMAT: VHS; NTSC; DVD CONTENTS CALL NUMBER Il 7 e l’8 IT2.007.151 Italy. 90 min. DVD, requires region free player. In Italian. Ficarra & Picone. 8 1/2 IT2.007.013 1963. Italian with English subtitles. 138 min. B/W. VHS or DVD.Directed by Frederico Fellini, with Marcello Mastroianni. Fellini's semi- autobiographical masterpiece. Portrayal of a film director during the course of making a film and finding himself trapped by his fears and insecurities. 1900 (Novocento) IT2.007.131 1977. Italy. DVD. In Italian w/English subtitles. 315 min. Directed by Bernardo Bertolucci. With Robert De niro, Gerard Depardieu, Burt Lancaster and Donald Sutherland. Epic about friendship and war in Italy. Accattone IT2.007.053 Italy. 1961. Italian with English subtitles. 100 min. B/W. VHS or DVD. Directed by Pier Paolo Pasolini. Pasolini's first feature film. In the slums of Rome, Accattone "The Sponger" lives off the earnings of a prostitute.
    [Show full text]
  • Ross Lipman Urban Ruins, Found Moments
    Ross Lipman Urban Ruins, Found Moments Los Angeles premieres Tues Mar 30 | 8:30 pm $9 [students $7, CalArts $5] Jack H. Skirball Series Known as one of the world’s leading restorationists of experimental and independent cinema, Ross Lipman is also an accomplished filmmaker, writer and performer whose oeuvre has taken on urban decay as a marker of modern consciousness. He visits REDCAT with a program of his own lyrical and speculative works, including the films 10-17-88 (1989, 11 min.) and Rhythm 06 (1994/2008, 9 min.), selections from the video cycle The Perfect Heart of Flux, and the performance essay The Cropping of the Spectacle. “Everything that’s built crumbles in time: buildings, cultures, fortunes, and lives,” says Lipman. “The detritus of civilization tells us no less about our current epoch than an archeological dig speaks to history. The urban ruin is particularly compelling because it speaks of the recent past, and reminds us that our own lives and creations will also soon pass into dust. These film, video, and performance works explore decay in a myriad of forms—architectural, cultural, and personal.” In person: Ross Lipman “Lipman’s films are wonderful…. strong and delicate at the same time… unique. The rhythm and colors are so subtle, deep and soft.” – Nicole Brenez, Cinémathèque Française Program Self-Portrait in Mausoleum DigiBeta, 1 min., 2009 (Los Angeles) Refractions and reflections shot in the Hollywood Forever Cemetery: the half-life of death’s advance. Stained glass invokes the sublime in its filtering of light energy, a pre-cinematic cipher announcing a crack between worlds.
    [Show full text]
  • Free Indirect Affect in Cassavetes' Opening Night and Faces Homay King Bryn Mawr College, [email protected]
    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 2004 Free Indirect Affect in Cassavetes' Opening Night and Faces Homay King Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Part of the Film and Media Studies Commons Custom Citation King, Homay. "Free Indirect Affect in Cassavetes' Opening Night and Faces." Camera Obscura 19, no. 2/56 (2004): 105-139, doi: 10.1215/02705346-19-2_56-105. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/40 For more information, please contact [email protected]. 1 Homay King, “Free Indirect Affect in Cassavetes’ Opening Night and Faces,” Camera Obscura 56, v. 19, n. 2 (Summer 2004): 104-135. Free Indirect Affect in Cassavetes’ Opening Night and Faces Homay King How to make the affect echo? — Roland Barthes, Roland Barthes by Roland Barthes1 1. In the Middle of Things: Opening Night John Cassavetes’ Opening Night (1977) begins not with the curtain going up, but backstage. In the first image we see, Myrtle Gordon (Gena Rowlands) has just exited stage left into the wings during a performance of the play The Second Woman. In this play, Myrtle acts the starring role of Virginia, a woman in her early sixties who is trapped in a stagnant second marriage to a photographer. Both Myrtle and Virginia are grappling with age and attempting to come to terms with the choices they have made throughout their lives.
    [Show full text]
  • SLAV-T230 Vampire F2019 Syllabus-Holdeman-Final
    The Vampire in European and American Culture Dr. Jeff Holdeman SLAV-T230 11498 (SLAV) (please call me Jeff) SLAV-T230 11893 (HHC section) GISB East 4041 Fall 2019 812-855-5891 (office) TR 4:00–5:15 pm Office hours: Classroom: GA 0009 * Tues. and Thur. 2:45–3:45 pm in GISB 4041 carries CASE A&H, GCC; GenEd A&H, WC * and by appointment (just ask!!!) * e-mail me beforehand to reserve a time * It is always best to schedule an appointment. [email protected] [my preferred method] 812-335-9868 (home) This syllabus is available in alternative formats upon request. Overview The vampire is one of the most popular and enduring images in the world, giving rise to hundreds of monster movies around the globe every year, not to mention novels, short stories, plays, TV shows, and commercial merchandise. Yet the Western vampire image that we know from the film, television, and literature of today is very different from its eastern European progenitor. Nina Auerbach has said that "every age creates the vampire that it needs." In this course we will explore the eastern European origins of the vampire, similar entities in other cultures that predate them, and how the vampire in its look, nature, vulnerabilities, and threat has changed over the centuries. This approach will provide us with the means to learn about the geography, village and urban cultures, traditional social structure, and religions of eastern Europe; the nature and manifestations of Evil and the concept of Limited Good; physical, temporal, and societal boundaries and ritual passage that accompany them; and major historical and intellectual periods (the settlement of Europe, the Age of Reason, Romanticism, Neo-classicism, the Enlightenment, the Victorian era, up to today).
    [Show full text]
  • Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960S and Early 1970S
    TV/Series 12 | 2017 Littérature et séries télévisées/Literature and TV series Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy Electronic version URL: http://journals.openedition.org/tvseries/2200 DOI: 10.4000/tvseries.2200 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Dennis Tredy, « Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s », TV/Series [Online], 12 | 2017, Online since 20 September 2017, connection on 01 May 2019. URL : http://journals.openedition.org/tvseries/2200 ; DOI : 10.4000/tvseries.2200 This text was automatically generated on 1 May 2019. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Light Shadows: Loose Adaptations of Gothic Literature in American TV Series o... 1 Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy 1 In the late 1960’s and early 1970’s, in a somewhat failed attempt to wrestle some high ratings away from the network leader CBS, ABC would produce a spate of supernatural sitcoms, soap operas and investigative dramas, adapting and borrowing heavily from major works of Gothic literature of the nineteenth and early twentieth century. The trend began in 1964, when ABC produced the sitcom The Addams Family (1964-66), based on works of cartoonist Charles Addams, and CBS countered with its own The Munsters (CBS, 1964-66) –both satirical inversions of the American ideal sitcom family in which various monsters and freaks from Gothic literature and classic horror films form a family of misfits that somehow thrive in middle-class, suburban America.
    [Show full text]
  • Film Essay for "Mccabe & Mrs. Miller"
    McCabe & Mrs. Miller By Chelsea Wessels In a 1971 interview, Robert Altman describes the story of “McCabe & Mrs. Miller” as “the most ordinary common western that’s ever been told. It’s eve- ry event, every character, every west- ern you’ve ever seen.”1 And yet, the resulting film is no ordinary western: from its Pacific Northwest setting to characters like “Pudgy” McCabe (played by Warren Beatty), the gun- fighter and gambler turned business- man who isn’t particularly skilled at any of his occupations. In “McCabe & Mrs. Miller,” Altman’s impressionistic style revises western events and char- acters in such a way that the film re- flects on history, industry, and genre from an entirely new perspective. Mrs. Miller (Julie Christie) and saloon owner McCabe (Warren Beatty) swap ideas for striking it rich. Courtesy Library of Congress Collection. The opening of the film sets the tone for this revision: Leonard Cohen sings mournfully as the when a mining company offers to buy him out and camera tracks across a wooded landscape to a lone Mrs. Miller is ultimately a captive to his choices, una- rider, hunched against the misty rain. As the unidenti- ble (and perhaps unwilling) to save McCabe from his fied rider arrives at the settlement of Presbyterian own insecurities and herself from her opium addic- Church (not much more than a few shacks and an tion. The nuances of these characters, and the per- unfinished church), the trees practically suffocate the formances by Beatty and Julie Christie, build greater frame and close off the landscape.
    [Show full text]
  • The Dracula Film Adaptations
    DRACULA IN THE DARK DRACULA IN THE DARK The Dracula Film Adaptations JAMES CRAIG HOLTE Contributions to the Study of Science Fiction and Fantasy, Number 73 Donald Palumbo, Series Adviser GREENWOOD PRESS Westport, Connecticut • London Recent Titles in Contributions to the Study of Science Fiction and Fantasy Robbe-Grillet and the Fantastic: A Collection of Essays Virginia Harger-Grinling and Tony Chadwick, editors The Dystopian Impulse in Modern Literature: Fiction as Social Criticism M. Keith Booker The Company of Camelot: Arthurian Characters in Romance and Fantasy Charlotte Spivack and Roberta Lynne Staples Science Fiction Fandom Joe Sanders, editor Philip K. Dick: Contemporary Critical Interpretations Samuel J. Umland, editor Lord Dunsany: Master of the Anglo-Irish Imagination S. T. Joshi Modes of the Fantastic: Selected Essays from the Twelfth International Conference on the Fantastic in the Arts Robert A. Latham and Robert A. Collins, editors Functions of the Fantastic: Selected Essays from the Thirteenth International Conference on the Fantastic in the Arts Joe Sanders, editor Cosmic Engineers: A Study of Hard Science Fiction Gary Westfahl The Fantastic Sublime: Romanticism and Transcendence in Nineteenth-Century Children’s Fantasy Literature David Sandner Visions of the Fantastic: Selected Essays from the Fifteenth International Conference on the Fantastic in the Arts Allienne R. Becker, editor The Dark Fantastic: Selected Essays from the Ninth International Conference on the Fantastic in the Arts C. W. Sullivan III, editor Library of Congress Cataloging-in-Publication Data Holte, James Craig. Dracula in the dark : the Dracula film adaptations / James Craig Holte. p. cm.—(Contributions to the study of science fiction and fantasy, ISSN 0193–6875 ; no.
    [Show full text]
  • Crowdsourcing Memories and Artefacts to Reconstruct Italian Cinema History: Micro- Histories of Small-Town Exhibition in the 1950S
    . Volume 16, Issue 1 May 2019 Crowdsourcing memories and artefacts to reconstruct Italian cinema history: Micro- histories of small-town exhibition in the 1950s Daniela Treveri Gennari, Oxford Brookes University, UK Sarah Culhane, Maynooth University, Ireland Abstract: In the mid-1950s, cinema was Italy’s second most important industry (Wagstaff 1995: 97). At its peak, the country’s exhibition circuit boasted some 8,000 cinemas (Quaglietti 1980). Despite the important role that cinema played within the social, cultural and economic fabric of 1950s Italy, we know relatively little about the workings of the distribution and exhibition networks across urban and rural contexts. We know even less about the individuals whose working lives and family businesses depended on the cinema industry. This article uses micro-history case studies to explore some of the broader questions associated with the history of film exhibition and distribution in 1950s Italy. We use both the oral history testimonies collected during the AHRC-funded Italian Cinema Audiences project (www.italiancinemaaudiences.org) and the crowdsourced digital artefacts donated by members of the general public during the creation of CineRicordi (www.cinericordi.it), an online archive that allows users to explore the history of Italian cinema-going. Building on the oral histories gathered for the Italian Cinema Audiences project, this archive integrates the video-interviews of 160 ordinary cinema-goers with public and private archival materials. With this article, we aim to explore the ‘relationship between image, oral narrative, and memory’ (Freund and Thomson 2011: 4), where - as Freund and Thomson describe – ‘words invest photographs with meaning’ (2011: 5).
    [Show full text]
  • John Cassavetes: at the Limits Of
    JOHN CASSAVETES: AT THE LIMITS OF PERFORMANCE A thesis submitted in fulfilment of the requirements for the Degree of Master of Arts in Cinema Studies in the University of Canterbury by Luke Towart University of Canterbury 2014 Table of Contents Acknowledgements…………………………………………………………………………....1 Abstract………………………………………………………………………………………..2 Introduction……………………………………………………………………………………3 Chapter One: Performative Opposition: A Woman Under the Influence…………………….20 Chapter Two: A New Kind of Acting: Shadows……………………………………………..52 Chapter Three: Documentaries of Performance: Faces……………………………………...90 Conclusion…………………………………………………………………………………..122 Bibliography………………………………………………………………………………...134 Filmography………………………………………………………………………………...141 1 Acknowledgements Thank you to Alan Wright, my primary supervisor, and Mary Wiles, my secondary supervisor, for their guidance whilst writing this thesis. 2 Abstract This thesis examines the central role of performance in three of the films of John Cassavetes. I identify Cassavetes’ unique approach to performance and analyze its development in A Woman Under the Influence (1974), Shadows (1959) and Faces (1968). In order to contextualize and define Cassavetes’ methodology, I compare and contrast each of these films in relation to two other relevant film movements. Cassavetes’ approach was dedicated to creating alternative forms of performative expression in film, yet his films are not solely independent from filmic history and can be read as being a reaction against established filmic structures. His films revolve around autonomous performances that often defy and deconstruct traditional concepts of genre, narrative structure and character. Cassavetes’ films are deeply concerned with their characters’ isolation and inability to communicate with one another, yet refrain from traditional or even abstract constructions of meaning in favour of a focus on spontaneous, unstructured performance of character. Cassavetes was devoted to exploring the details of personal relationships, identity and social interaction.
    [Show full text]
  • Airplane! by Michael Schlesinger
    Airplane! By Michael Schlesinger In most people’s minds, the 1970s break neatly in two. The first half was the so- called Silver Age of Holly- wood, when a new genera- tion of directors arose and put their stamp on the mov- ies: Scorsese, Coppola, DePalma, Friedkin and oth- ers made ambitious, rule- breaking films that seemed to spell the end of the vaunted studio system (save Peter Bogdanovich, Stewardess Julie Hagerty and erstwhile pilot Robert Hays in the cockpit of the doomed who made traditional pictures ‘Airplane!’ Courtesy Library of Congress Collection. in a modern way). But a funny thing happened on the way to auteur nirvana: two “Zero Hour!” (Davison avers this was totally a coinci- other New Kids inadvertently killed the silver goose, dence.) The brass liked it yet were skeptical, but leg- and by the time the dust settled, Spielberg and Lucas endary producer Howard W. Koch “got” it and volun- were the new white-haired boys, and the studios teered to come aboard. With that reassurance and a were back in the blockbuster business for good. reasonable $3.5 million budget, Michael Eisner gave them the green light. Yet what most people forget is that big money was already being hauled in throughout the decade by an It didn’t begin smoothly. ZAZ, as they were called, exceedingly old-fashioned genre: the disaster film. wanted dramatic actors not known for comedy, who George Seaton’s good-natured “Airport” made a kill- would deliver the goofy dialogue perfectly seriously; ing in 1970, but it was considered a one-off throw- Paramount thought this was bonkers and wanted back.
    [Show full text]
  • Pdf Ennio Flaiano Y Rafael Azcona: Historia De Un Universo Compartido / Giovanna Zanella Leer Obra
    Università degli Studi di Udine Ennio Flaiano y Rafael Azcona Historia de un universo compartido Giovanna Zanella Memoria de Licenciatura Facultad: Lengua y Literatura extranjera Directora: Dott. Renata Londero 2000-2001 UNIVERSITÀ DEGLI STUDI DI UDINE FACOLTÀ DI LINGUE E LETTERATURE STRANIERE Corso di Laurea in Lingue e Letterature Straniere Tesi di Laurea ENNIO FLAIANO Y RAFAEL AZCONA HISTORIA DE UN UNIVERSO COMPARTIDO Relatore: Laureanda: Dott. Renata Londero Giovanna Zanella ANNO ACCADEMICO 2000-2001 AGRADECIMIENTOS Durante la realización del presente trabajo he estado principalmente en la Universidad de Alicante, donde he podido contar en todo momento con la valiosa colaboración y los imprescindibles consejos de Juan Antonio Ríos, y con la disponibilidad de la Biblioteca Virtual Miguel de Cervantes, que precisamente este año ha abierto un portal de autor dedicado a Rafael Azcona (consultable en cervantesvirtual.com), cuyo material ha sido fundamental para mi estudio. Asimismo, por lo que concierne el material sobre Ennio Flaiano, he utilizado las numerosas publicaciones de la “Associazione Culturale Ennio Flaiano” de Pescara, cuyos volúmenes siempre han sido el apoyo más valioso en toda investigación sobre la figura y la obra del italiano. Por lo que respecta a la difícil labor de conseguir películas de los años 50, 60 y 70, tengo que agradecer a Cristina Ros de la Universidad de Alicante por haberme ofrecido la oportunidad de ver El Anacoreta, de Juan Esterlich; a la “Cineteca del Friuli”, que me ha facilitado la visión de La cagna de Marco Ferreri; al “Laboratorio Cinema e Multimedia” de la Universidad de Udine y a la “Filmoteca del Museo” de la Universidad de Alicante.
    [Show full text]