DOCSLIB.ORG

Criterion Collection Presents Ivan’S Childhood

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Criterion Collection Presents Ivan’S Childhood 1962 NOW AVAILABLE IN A BLU-RAY EDITION! THE CRITERION COLLECTION PRESENTS IVAN’S CHILDHOOD THE VISUALLY STUNNING FIRST MASTERPIECE FROM THE DIRECTOR OF SOLARIS, NOW IN A BLU-RAY EDITION! WINNER GOLDEN LION, VENICE FILM FESTIVAL, 1962 The debut feature by the great ANDREI TARKOVSKY (Andrei Rublev), Ivan’s Childhood is a poetic journey through the shards and shadows of one boy’s war-ravaged youth. Moving back and forth between the traumatic realities of World War II and serene moments of family life before the conflict began, Tarkovsky’s film remains one of the most jarring and unforgettable depictions of the impact of war on children. BLU-RAY SPECIAL EDITION FEATURES • High-definition digital restoration, with uncompressed monaural soundtrack “One of the most beautiful films I have had • Appreciation of filmmaker Andrei Tarkovsky and Ivan’s Childhood featuring Vida T. Johnson, the privilege of seeing.” coauthor of The Films of Andrei Tarkovsky: —Jean-Paul Sartre A Visual Fugue • Interviews with cinematographer Vadim Yusov and actor Nikolai Burlyaev • PLUS: A booklet featuring an essay by film scholar Dina Iordanova; “Between Two Films,” Tarkovsky’s essay on Ivan’s Childhood; and “Ivan’s Willow,” BLU-RAY EDITION SRP $39.95 a poem by the director’s father, Arseny Tarkovsky PREBOOK 12/19/12 STREET 1/22/13 CAT. NO. CC2226BD ISBN 978-1-60465-685-5 UPC 7-15515-10221-6 1962 • 95 MINUTES • BLACK & WHITE • MONAURAL • 1.33:1 ASPECT RATIO Summary and design © 2012 The Criterion Collection. www.criterion.com 1934 AVAILABLE ON BLU-RAY AND DVD! THE CRITERION COLLECTION PRESENTS THE MAN WHO KNEW TOO MUCH HITCHCOCK’S ORIGINAL SUSPENSE CLASSIC, STARRING PETER LORRE, FINALLY RESTORED! An ordinary British couple vacationing in Switzerland suddenly find themselves embroiled in a case of international intrigue when their daughter is kidnapped by spies plotting a political assassination. This fleet and gripping early thriller from the Master of Suspense, ALFRED HITCHCOCK, was the first film the director made after signing to the Gaumont-British Picture Corporation. Besides affirming Hitchcock’s brilliance, it gave the brilliant PETER LORRE (M) his first English-speaking role, as a slithery villain. With its tension and gallows humor, it’s pure Hitchcock, and it set the tone for films like The 39 Steps and The Lady Vanishes. “Vintage Hitchcock, SPECIAL EDITION FEATURES with sheer wit and verve.” • New high-definition digital restoration, with —Tom Milne, Time Out uncompressed monaural soundtrack on the Blu-ray edition • New audio commentary featuring film historian “A superbly structured thriller whose Philip Kemp excellence is aided and abetted • New interview with filmmaker Guillermo del Toro by a spirited cast.” —David Parkinson, Empire • The Illustrated Hitchcock, an extensive interview with director Alfred Hitchcock from 1972, conducted by journalist Pia Lindstrom and film historian William Everson BLU-RAY EDITION SRP $39.95 • Audio excerpts from filmmaker François Truffaut’s PREBOOK 12/11/12 STREET 1/15/13 legendary 1962 interviews with Hitchcock CAT. NO. CC2220BD ISBN 978-1-60465-679-4 • Restoration demonstration UPC 7-15515-10041-0 • PLUS: A booklet featuring an essay by critic Farran Smith Nehme DVD EDITION SRP $29.95 PREBOOK 12/11/12 STREET 1/15/13 CAT. NO. CC2221D ISBN 978-1-60465-680-0 1934 • 75 MINUTES • BLACK & WHITE • MONAURAL • UPC 7-15515-10171-4 1.33:1 ASPECT RATIO Summary and design © 2012 The Criterion Collection. www.criterion.com 2011 AVAILABLE IN TWO EDITIONS: BLU-RAY 3D/BLU-RAY COMBO AND DVD! THE CRITERION COLLECTION PRESENTS PINA WIM WENDERS’S OSCAR-NOMINATED TRIBUTE TO PINA BAUSCH— IN CRITERION’S FIRST 3D RELEASE! NOMINEE WINNER WINNER BEST DOCUMENTARY BEST DOCUMENTARY, BEST DOCUMENTARY, FEATURE, ACADEMY EUROPEAN FILM GERMAN FILM AWARDS, AWARDS, 2011 AWARDS, 2011 2011 The boundless imagination and physical marvels of the work of the German modern-dance pioneer Pina Bausch leap off the screen in this exuberant tribute by WIM WENDERS (Wings of Desire). A long-planned film collaboration between the director and the choreographer was in preproduction when Bausch died in 2009. Two years later, Wenders decided to go ahead with the project, reconceiving it as an homage to his late friend. The result, shot in stunning 3D, is a remarkable visual experience and a vivid representation of Bausch’s art, enacted by a group of staggeringly talented dancers from her company, the Tanztheater Wuppertal. Pina is an adventurous work of cinema that highlights the bold legacy of one of the world’s true creative visionaries. DIRECTOR-APPROVED “You don’t have to know the first thing about modern dance to be SPECIAL EDITION FEATURES transported to an alternate state • High-definition digital transfer, supervised and approved of consciousness by Pina.” by director Wim Wenders, presented in two editions: Blu-ray 3D/Blu-ray combo, with 5.1 surround DTS-HD —Andrew O’Hehir, Salon Master Audio soundtrack, and DVD “A shockingly beautiful and • Audio commentary featuring Wenders moving tribute.” • The Making of “Pina” (available in 3D) —Steven Rea, The Philadelphia Inquirer • Deleted scenes with commentary by Wenders (available in 3D) • Behind-the-scenes footage 2-DISC BLU-RAY 3D/BLU-RAY COMBO • Interview with Wenders EDITION SRP $49.95 • Trailer PREBOOK 12/19/12 STREET 1/22/13 CAT. NO. CC2224BD • English subtitle translation ISBN 978-1-60465-683-1 • PLUS: A booklet featuring a piece by novelist and UPC 7-15515-10201-8 essayist Siri Hustvedt; reprinted pieces by Wenders and choreographer Pina Bausch; information on the dances 2-DVD EDITION SRP $29.95 featured in the film; and portraits of the dancers PREBOOK 12/19/12 STREET 1/22/13 CAT. NO. CC2225D 2011 • 103 MINUTES • COLOR • 5.1 SURROUND • ISBN 978-1-60465-684-8 IN GERMAN, ENGLISH, RUSSIAN, FRENCH, ITALIAN, UPC 7-15515-10211-7 SLOVENIAN, SPANISH, PORTUGUESE, AND KOREAN, WITH ENGLISH SUBTITLES • 1.85:1 ASPECT RATIO Summary and design © 2012 The Criterion Collection. Photographs by Donata Wenders and © Neue Road Movies GmbH. Oscar®, Academy Award®, and Academy Awards® are the registered trademarks and service marks of the Academy of Motion Picture Arts and Sciences. www.criterion.com 1979 AVAILABLE ON BLU-RAY AND DVD! THE CRITERION COLLECTION PRESENTS THE TIN DRUM IN A RESTORED, NEVER-BEFORE- AVAILABLE DIRECTOR’S CUT! Oskar is born in Germany in 1924 with an advanced intellect. Repulsed by the hypocrisy of adults and the irresponsibility of society, he refuses to grow older after his third birthday. While the chaotic world around him careers toward the madness and folly of World War II, Oskar pounds incessantly on his beloved tin drum and perfects his uncannily piercing shrieks. The Tin Drum, which earned the Palme d’Or at Cannes and the Academy Award for best foreign-language film, is a visionary adaptation from VOLKER SCHLÖNDORFF (Young Törless) of Nobel laureate Günter Grass’s acclaimed novel, characterized by surreal imagery, arresting eroticism, and clear-eyed satire. DIRECTOR-APPROVED “Has lost neither its ability to shock and disturb SPECIAL EDITION FEATURES nor its biting, absurdist sense of humor.” • New, restored high-definition digital transfer of the —New York complete version, approved by director Volker Schlöndorff • Newly remastered 5.1 surround soundtrack, approved by Schlöndorff and presented in DTS-HD Master Audio “A big, sweeping film . on the Blu-ray edition Bizarre, funny, and eccentric.” • New interview with Schlöndorff about the making of —Vincent Canby, The New York Times The Tin Drum and the creation of the 2010 restored, complete version • New interview with film scholar Timothy Corrigan 1979 • 163 MINUTES • COLOR • 5.1 SURROUND • • German audio recording from 1987 of author Günter IN GERMAN WITH ENGLISH SUBTITLES • Grass reading an excerpt from his novel The Tin Drum 1.66:1 ASPECT RATIO with musical accompaniment, illustrated with the corresponding scene from the film BLU-RAY EDITION SRP $39.95 PREBOOK 12/11/12 STREET 1/15/13 • Television interview excerpts featuring Schlöndorff, CAT. NO. CC2222BD Grass, actors David Bennent and Mario Adorf, and ISBN 978-1-60465-681-7 cowriter Jean-Claude Carrière reflecting on their UPC 7-15515-10181-3 experiences making the film • Trailer 2-DVD EDITION SRP $29.95 PREBOOK 12/11/12 STREET 1/15/13 • New English subtitle translation CAT. NO. CC2223D • PLUS: A booklet featuring an essay by critic Michael ISBN 978-1-60465-682-4 Atkinson and 1978 statements by Grass about the UPC 7-15515-10191-2 adaptation of his novel Summary and design © 2012 The Criterion Collection. www.criterion.com NOW AVAILABLE IN A BLU-RAY EDITION! THE CRITERION COLLECTION PRESENTS TWO-LANE BLACKTOP MONTE HELLMAN’S ROAD TRIP MASTERPIECE, NOW IN A BLU-RAY EDITION! Drag racing east from L.A. in a souped-up ’55 Chevy are the wayward Driver and Mechanic (singer/ songwriter JAMES TAYLOR and the Beach Boys’ DENNIS WILSON, in their only acting roles), accompanied by a tagalong Girl (Cockfighter’s LAURIE BIRD). Along the way, they meet Warren Oates’s Pontiac GTO– driving wanderer and challenge him to a cross-country race—the prize: their cars’ pink slips. But no summary can do justice to the existential punch of Two-Lane Blacktop. With its gorgeous widescreen compositions and sophisticated look at American male obsession, this stripped-down narrative from maverick director MONTE HELLMAN (The Shooting) is one of the artistic high points of 1970s cinema, and possibly the greatest road movie ever made. DIRECTOR-APPROVED BLU-RAY SPECIAL EDITION FEATURES • Restored high-definition digital transfer, supervised by “Monte Hellman gets my vote director Monte Hellman, with uncompressed monaural as the cinema’s most soundtrack underappreciated great director.” • Alternate 5.1 surround soundtrack, supervised by Hellman —Kent Jones, Film Comment and presented in DTS-HD Master Audio • Two audio commentaries: one by Hellman and filmmaker Allison Anders and one by screenwriter Rudolph Wurlitzer and author David N.
Load more

Recommended publications
  • American Road Movies of the 1960S, 1970S, and 1990S
    Identity and Marginality on the Road: American Road Movies of the 1960s, 1970s, and 1990s Alan Hui-Bon-Hoa Art History and Communication Studies McGill University, Montreal March 2012 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts in Communication Studies. © Alan Hui-Bon-Hoa 2012 Table of Contents Abstract ………………………………………………………………………………………….. 3 Abrégé …………………………………………………………………………………………… 4 Acknowledgements …..………………………………………………………………………….. 5 Introduction ……………………………………………………………………………………… 6 Chapter One: The Founding of the Contemporary Road Rebel …...………………………...… 23 Chapter Two: Cynicism on the Road …………………………………………………………... 41 Chapter Three: The Minority Road Movie …………………………………………………….. 62 Chapter Four: New Directions …………………………………………………………………. 84 Works Cited …………………………………………………………………………………..... 90 Filmography ……………………………………………………………………………………. 93 2 Abstract This thesis examines two key periods in the American road movie genre with a particular emphasis on formations of identity as they are articulated through themes of marginality, freedom, and rebellion. The first period, what I term the "founding" period of the road movie genre, includes six films of the 1960s and 1970s: Arthur Penn's Bonnie and Clyde (1967), Dennis Hopper's Easy Rider (1969), Francis Ford Coppola's The Rain People (1969), Monte Hellman's Two-Lane Blacktop (1971), Richard Sarafian's Vanishing Point (1971), and Joseph Strick's Road Movie (1974). The second period of the genre, what I identify as that
    [Show full text]
  • American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
    For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE
    [Show full text]
  • The Museum of Modern Art Department of Film
    The Museum of Modern Art Department of Film 11 West 53 Street, New York, N.Y. 10019 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART THE ARTS FOR TELEVISION an exhibition organized by The Museum of Contemporary Art, Los Angeles and the Stedelijk Museum, Amsterdam THE ARTS FOR TELEVISION is the first major museum exhibition to examine television as a form for contemporary art : television as a gallery or theater or alternative space, even television as art . An international selection of artworks made for broadcast, the exhibi- tion documents the crossovers and collaborations that take place on this new television, between and among dancers, musicians, play- wrights, actors, authors, poets, and visual and video artists . And it investigates the artists' own investigation of one medium -- be it dance or music or literature -- through another . It examines the transformations video makes and the possibilities it allows . These provocative uses of television time and technology are organized in THE ARTS FOR TELEVISION according to the medium transformed by the electronic image ; the six categories are Dance for Television, Music for Television, Theatre for Television, Literature for Television, The Video Image (works that address video as a visual art, that make reference to the traditional visual arts and to seeing itself), and Not Necessarily Television (works that address the usual content of TV, and transform it) . The ARTS FOR TELEVISION also presents another level of collaboration in artists' television . It documents the involvement of television stations in Europe and America with art and artists' video . It recognizes their commitment and acknowledges the risks they take in allowing artists the opportunity to realize works of art .
    [Show full text]
  • Two-Lane Blacktop by Sam Adams “The B List: the National Society of Film Critics on the Low-Budget Beauties, Genre-Bending Mavericks, and Cult Clas- Sics We Love”
    Courtesy Library of Congress Two-Lane Blacktop By Sam Adams “The B List: The National Society of Film Critics on the Low-Budget Beauties, Genre-Bending Mavericks, and Cult Clas- sics We Love” Reprinted by permission of the author Racing flat-out on the road to no- where, the scrawny speed demons of “Two-Lane Blacktop” are caught be- tween a past they’ve never known and a future they’ll never see. The Driver (James Taylor) and the Me- chanic (Dennis Wilson) act the part of rebels from a ‘50s exploitation movie, but their sallow skin and sunken eyes reveal the gnawing uncertainty of a Laurie Bird, James Taylor and Dennis Wilson strike a pose with another of the film’s stars: disillusioned age, a longing for a the Chevy. Courtesy Library of Congress sense of purpose that exists only in the seconds between starting flag and finish line. Oates), whose slick patter spills out in bewildering chunks. (the credits call him “G.T.O.” although the char- Universal, which handed director Monte Hellman nine acters never address each other by name.) The route hundred thousand dollars to make his first (and, as it (Arizona to DC) is set, the stakes (pink slips) agreed upon, turned out, only) studio movie, must have hoped for a and the cars peel out, intending to drive straight through. youth-culture paean in the “Easy Rider” mode. Although neither of the movie’s leads had acted before, both were But a series of pit stops and small-town diversions turns stars in their own right” Wilson was the Beach Boys’ their breakneck dash into a roadside odyssey, a trave- drummer and Taylor was a budding soft-rock superstar.
    [Show full text]
  • On Tour (Aug – Oct 2021)
    On Tour (Aug – Oct 2021) Cinema Rediscovered is back for its 5th Edition (28 July – 1 August 2021) celebrating the return to cinemas with a selection of restorations and rediscoveries. Full Festival line-up: watershed.co.uk/cinema-rediscovered Book any of the titles below under the Cinema Rediscovered on Tour banner and access: - Assets (copy, images, trailers, bespoke content such as pre-recorded screening intros) - National PR campaign (Sarah Harvey PR) and MUBI cross promotion* - Invitation to Cinema Rediscovered ‘s Reframing Film industry strand (29 – 30 July) and access to a 50% partner discount to festival tickets. *Optional: audiences for CR tour bookings can receive a free one month trial from MUBI, the global streaming service, production company and film distributor. Note that access to guest speakers and other titles from the festival line-up can be looked into on request. Contact: [email protected] See Credit Lines / Logos below. Also note that a high res DCP slide will be supplied for the cinema for the start of your screening. TOUR IMAGES & TRAILERS: Download folder TOUR TITLES – QUICK LINKS THE STORY OF A THREE DAY PASS 2 1971: THE YEAR HOLLYWOOD WENT INDEPENDENT 3 TWO-LANE BLACKTOP 4 KLUTE 5 MCCABE & MRS MILLER 5 THE LAST PICTURE SHOW 5 FIVE EASY PIECES 6 TWELVE 30 COLLECTIVE PRESENT: NO PLACE LIKE HOME 6 THE STORY OF A THREE DAY PASS 4K Restoration Rec Cert: 15 Dir: Melvin Van Peeble USA 1967 87mins Cast: Harry Baird, Nicole Berger, Pierre Doris Source: Cinema Rediscovered / Janus Films Book: [email protected] Terms: £80 MG vs 35% (+ UK Transport or download costs) Format: DCP or Eclairplay Trailer: watch & download A New 4K restoration by IndieCollect in consultation with Mario Van Peebles, with support from the Hollywood Foreign Press Association.
    [Show full text]
  • Road to Nowhere
    ROAD TO NOWHERE A picture by Monte Hellman Starring Shannyn Sossamon, Tygh Runyan, Dominique Swain, Cliff De Young, Waylon Payne, John Diehl, Fabio Testi (Press Kit from Venice Film Festival) ROAD TO NOWHERE CAST (in order of appearance) Mitchell Haven Tygh Runyan Nathalie Post Dominique Swain Laurel Graham/Velma Duran Shannyn Sossamon Bobby Billings John Diehl Cary Stewart/Rafe Tachen Cliff de Young Bruno Brotherton Waylon Payne Steve Gates Robert Kolar Jermey Laidlaw Nic Paul Nestor Duran Fabio Testi Desk Clerk Fabio Tricamo Moxie Herself Peter Bart Himself El Cholo Bartender Pete Manos Mallory Mallory Culbert Doc Holliday Bartender Beck Lattimore Man in Bar Thomas Nelson Bonnie Pointer Herself Airplane Coordinator Jim Galan Airplane Pilot Jim Rowell Greg Gregory Rentis Larry Larry Lerner Erik Lathan McKay Joe Watts Michael Bigham Araceli Araceli Lemos Sarah Sarah Dorsey Female Cadaver Mandy Hughes Morgue Technician Cathy Parker Male Cadaver Brett Mann Room Service Waitress Vanessa Golden Cop Voices Dean Person Jared Hellman Jones Clark Guard Mitchell Allen Jenkin PRODUCTION Directed and Produced by Monte Hellman Written and Produced by Steven Gaydos Produced by Melissa Hellman Executive Producers Thomas Nelson, June Nelson Director of Photography Joseph M Civit Edited by Celine Ameslon Production Designed by Laurie Post Music by Tom Russell Co-Producers Peter R J Deyell, Jared Hellman Associate Producers Lea-Beth Shapiro, Robin-John Gibb Costumes Designed by Chelsea Staebell Production Sound by Rich Gavin Visual Effects Supervisor Robert Skotak First Assistant Director Larry Lerner Second Assistant Director Noreen Perez Supervising Sound Editors Ayne O Joujon-Roche, Kelly Cabral Re-Recording Mixers Scott Sanders, Perry Robertson First Assistant Editors Gregory Rentis, Harold Hyde Producers Representative Jonathan Dana Worldwide Sales E1 Entertainment ROAD TO NOWHERE "Well the ditches are on fire, And there ainʼt no higher ground.
    [Show full text]
  • IN MY ROOM Feuille D’Information Consacrée À Brian Wilson Et Aux Beach Boys N° 5 – Eté 2006
    IN MY ROOM Feuille d’information consacrée à Brian Wilson et aux Beach Boys N° 5 – Eté 2006 DENNIS WILSON Edito C’est l’été ! Comme promis, voici donc la deuxième et les BEACH BOY S partie de l’histoire de Dennis Wilson. Et comme un bonheur n’arrive jamais seul, 2ème partie, 1969 - 1983 un de nos reporters a croisé Carolyn Edwards. Dennis trouve sa voie (1969 √ 1975) Et comme deux bonheurs n’arrivent jamais A la fin des années soixante, les Beach Boys sont globalement largués : les seuls, un nouvel album (sic) des Beach problèmes de Brian, leur identification tenace avec la Californie de papa au Boys, une possible réunion sur scène des moment où celle-ci devient « l’épicentre de la contre-culture underground »1, tout cela et le reste – à commencer par leur nom ridicule Garçons et Capitol qui innove follement ! les renvoie dans les poubelles de l’histoire musicale californienne dont on ne souhaite pas vraiment les voir ressortir, malgré leur bonne volonté (Mike Mais, bientôt l’automne, avec un n° 6 accompagne les Beatles à Rishikesh, Carl est objecteur de conscience, ils consacré à la période « Brian’s Back ». jouent régulièrement au Fillmore East, tournent avec le Buffalo Toutes les contributions sont les bienvenues. Springfield…). C’est le moment justement que choisit Dennis pour tout tenter et, provisoirement, tout réussir. Vous savez où nous trouver ! Enjoy ! Charlie Dontsurf une version, elle aussi magnifique, 2 ans plus tard3. Déclaration d’indépendance ? Difficile à affirmer puisque « Lady » fait partie des nombreux morceaux enregistrés pour le premier album chez Warner qui finira par s’intituler « Sunflower » (voir IMR 2) ; quant à « Sound of free », il bénéficie de larges contributions des frères Wilson : Carl à la guitare, Brian aux backing vocals.
    [Show full text]
  • Reappraising the Renaissance
    Reappraising the Renaissance The New Hollywood in Industrial and Critical Context Nicholas Godfrey Bachelor of Arts (Honours) A thesis submitted for the degree of Doctor of Philosophy December 2014 Department of Screen and Media School of Humanities and Creative Arts Flinders University South Australia i ii Contents Introduction… 1 The New Hollywood that Couldn’t… 1 Aims and Context: Which New Hollywood?... 8 Chapter One: Easy Rider… 22 Chapter Two: Variations on a Theme - Five Easy Riders… 54 Part I: Five Easy Pieces... 56 Part II: Two-Lane Blacktop… 79 Part III: Vanishing Point… 126 Part IV: Little Fauss and Big Halsy… 149 Part V: Adam at 6 A.M…. 162 Chapter Three: Politicising Genre… 175 Part I: Dirty Harry… 179 Part II: The French Connection… 202 Chapter Four: The Limits of Auteurism… 222 Part I: The Last Movie… 222 Part II: The Hired Hand… 254 Conclusion… 278 Bibliography and Filmography… 293 iii iv Thesis Abstract This thesis offers a reappraisal of the “New Hollywood” of the late 1960s and early 1970s that aims to move beyond the currently accepted reductive historical models. It challenges many of the assumptions underlying prevailing accounts of the period, including the makeup of the orthodox “canon” of New Hollywood movies, the time frame within which the movies were contained, and the role played by the critical establishment in determining the ways in which the movies of the period were understood. Bringing together industrial context, textual analysis and critical (re)interpretation, it examines the complex interplay of factors that allowed a movie such as Easy Rider to achieve commercial and canonical success, while so many of its contemporaries and imitators failed to make an impact, either at the box office or within the annals of film history.
    [Show full text]
  • The Mississippi Gulf Coast Exploration of Timothy T
    PHOTOGRAPHY / MISSISSIPPI A captivating photographic The Mississippi Gulf Coast exploration of Timothy T. Isbell Mississippi’s Gulf Coast Th rough more than two hundred stunning photographs, Th e Mississippi Gulf Coast illustrates what visitors and residents alike love about the region—the sunrises and sunsets; the distinctive character of each town along the waterfront; the historic places; the traditional coast cuisine; and the arts, gaming, and watersports. Passing from the western part of the coast to the east, Th e Mississippi Gulf Coast will refamiliarize some and introduce others to the Coast of Bay St. Louis, Pass Christian, Long Beach, Gulfport, Biloxi, d’Iberville, Ocean Springs, Gautier, Pascagoula, and Moss Point. Th rough words and images, photographer Timothy T. Isbell provides a brief history of the area, from the fi rst settlers to the waves of immigrants who have helped shape the character and culture of the region, and a refl ection of the current state of the Gulf Coast. Th e Mississippi Gulf Coast has spent more than a decade recovering from the ruin left in the wake of Hurricane Katrina. During the earliest days following the storm, Isbell was sent out to document the grim aft ermath of Katrina. Seeing damage everywhere, he became overwhelmed by the destruction surrounding him and soon wanted to see images of hope and recovery. It was at that point he made a promise to show the “true Mississippi Gulf Coast,” an area known for its natural beauty and spirit. Th e beautiful photo- graphs in Th e Mississippi Gulf Coast are a testament to renewal in the face of adversity.
    [Show full text]
  • A Running Plotline
    Riffing on Bird and Other Sad Songs Poems by Lisa Janssen Copyright 2007 by Lisa Janssen Cover designed and hand printed by Pamela Olson Riffing on Bird, Unsung Born: September 26, 1953 Somewhere, we think, on the East Coast somewhere on the East Coast, out East. No one says for sure. First seen or discovered as said history designates, was 1970 on the East Coast. Film director Monte Hellman and [sensational] casting director Fred Roos audition dozens of girls for the part of “The Girl” in Two-Lane Blacktop. One might note how many unsung were in this film, like Rudolph Wurlitzer. Rudy unsung for decades now. It’s said he doesn’t like to work. A Slow Fade. “In New York we met Laurie Bird, and she seemed like a prototype for the kind of character we had in mind . [a young female hitchhiker, nameless] . it never occurred to us to that she could play the part . she was, ‘a teenager with a strange history that fit her role as a. .’ [drifting hitchhiker] we spent several hours recording an interview with her which we used in the creation of the part . [of “The Girl,” nameless] later we couldn’t find anyone to play the part.” According to production notes she was: “asked to fly to Little Rock, Ark., this time as a candidate for the role. 3 A screen test was arranged in Hollywood after she was rehearsed by Hellman and his wife. A few days later she was signed to the picture.” Principle photography commenced on August 13, 1970.
    [Show full text]
  • Two-Lane Blacktop 1971, EEUU
    Two-Lane Blacktop 1971, EEUU a década de los años sesenta del pasado siglo supone uno de los puntos D: Monte Hellman; G: Rudy Lmás críticos del negocio de las grandes compañías que habían venido ri- Wurlitzer, Will Corry (Historia: Will giendo hasta esos momentos el destino del cine norteamericano y mundial. Corry); Pr: Universal Pictures; M: La sangría permanente en la frecuentación a las salas cinematográficas en Billy James; F: Jack Deerson; A: USA, que había alcanzado los 110 millones de espectadores/año en 1930, se James Taylor, Warren Oates, Laurie había derrumbado hasta apenas 40 millones para finales de los cincuenta tras Bird, Dennis Wilson, David Brake; el breve espejismo de los años inmediatamente posteriores al fin de la II Gue- Color, 101 min. DCP rra Mundial, cuando la recaudación por venta de entradas había alcanzado sus máximos históricos y se había se había recuperado temporalmente la cifra de asistentes hasta un esperanzador nivel de 100 millones de espectadores año. Pero a partir de ese momento, todos los parámetros económicos iban a volver a señalar una ruta descendente. Las causas, múltiples y complejas: el primer aldabonazo vino de la mano, en 1948, de la sentencia del Tribunal Supremo de los Estados Unidos cuando se dictó la sentencia antimonopolística que obligó a las Majors de Hollywood a renunciar a su política de integración vertical que les permitía controlar todo el proceso cinematográfico desde la producción de los estudios hasta la exhibición en salas de los filmes que producían. Pero las mutaciones más importantes vinieron de la mano de los cambios sociológicos que sufrió la sociedad norteamericana, en especial con el des- plazamiento creciente de importantes núcleos de población hasta las nuevas zonas residenciales en la periferia de las grandes urbes lo que dejaba ayunos de público potencial a los viejos “palacios del cine” ubicados en unos cen- tros urbanos crecientemente desertificados y que no podían ser sustituidos de forma suficientemente rentable por los drive-in ubicados en zonas subur- biales.
    [Show full text]