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RITUALES DE LA TRANSFIGURACIÓN Rubin Filma Enchristmas on Earth Una Orgía En Un Lugar Indeterminado, Fuera Barbara Rubin: Del Tiempo Y El Espacio
Flaming Creatures, 1936. Jack Smith Domingo 18:30 h RITUALES DE LA TRANSFIGURACIÓN Rubin filma enChristmas on Earth una orgía en un lugar indeterminado, fuera Barbara Rubin: del tiempo y el espacio. La doble proyección superpuesta de esta película se Christmas on Earth, 1963, 29 min. desarrolla de manera diferente en cada sesión. Lucifer Rising, por su parte, desarrolla la fascinación de Anger por el ocultismo, Aleister Crowley y la ima- Kenneth Anger: ginería del antiguo Egipto. Esta película generó su propia mitología en torno a Lucifer Rising, 1972, 29 min. los participantes en el rodaje (Marianne Faithfull, el hermano de Mick Jagger o (Copia de Cinédoc París Films Coop) el líder de Led Zeppelin, Jimmy Page, entre otros) y a las vicisitudes que sufrió la filmación original. En Flaming Creatures, Smith juega a filmar situaciones Jack Smith: aparentemente inconexas, quizás cercanas a la performance, en una película Flaming Creatures, 1963, 45 min. que valió a su creador un juicio por obscenidad. Proyección en 16 mm Mayores de 18 años 01. Christmas on Earth, por Ara Osterweil Chica judía de clase media del barrio de Queens, [Barbara] Rubin llegó a la comunidad del cine underground de Nueva York cuando solo era una adolescente. A diferencia de la adolescente común, sin embargo, Rubin acababa de salir de un correccional de menores por consumo de drogas, consumo que había iniciado, paradójicamente, después de ingerir un buen puñado de píldoras dietéticas recetadas para con- 01 02 03 trolar su peso. Gracias a su tío, William Rubin, que por aquel entonces dirigía el Gramercy Arts Theater, donde se realizaban muchas proyec- ciones de películas de vanguardia, Barbara conoció a Jonas Mekas, el 03. -
Binghamton Babylon
The Weave 1 Emergence Larry Gottheim: When I arrived at Harpur College in 1964, I was still working on my dissertation, which was on the ideal hero in the realistic novel, focusing on Dostoevsky (The Idiot), George Eliot (Daniel Deronda), and the German Paul Heyse (Kinder der Welt) [The Ideal Hero in the Realistic Novel, Yale University, 1965]—my adviser was the great theoretician René Wellek. After Yale, I’d spent three years at Northwestern University, but I came to Harpur College because it was supposed to be a very special place, the public Swarthmore. And actually, my students at the begin- ning were fantastically literate, more like Yale graduate students than Midwestern undergraduates. Harpur was on a trimester system, which allowed for a lot of flexibility; in fact they were willing to hire me and let me have the first trimester off so I could work on my dissertation. But as soon as I finished my degree and started to face up to the rest of my life, I didn’t feel so comfortable. I was being groomed in the English Department to be the new young scholar/teacher, and I could see my future laid out before me: assistant professor, associate professor, professor—something in me rebelled. Meanwhile, Frank Newman, who, like me, was in the English Department (and much later became the chairman of the Cinema Department for a short period), had started the Harpur Film Society. I wasn’t so involved at the beginning, but I felt a pull. Like everybody else in the humanities, I was interested in Fellini and Godard and the other international directors, through whom we were also discovering the earlier American cinema. -
Transformative Screenwriting: Charlie Kaufman’S Postmodern Adaptation of Story
Lund University Johan Peter Sundberg Centre for Languages and Literature 801212-0518 Film Studies Master's Thesis: LIV704 Tutors: Lars Gustaf Andersson & Erik Hedling Seminar Date: 2015-01-15 Title Page Transformative Screenwriting: Charlie Kaufman’s Postmodern Adaptation of Story Nothing is random. Nothing that happens to him has no point. Nothing that he says happens to him in his life does not get turned into something that is useful to him. Things that appear to have been pointlessly destructive and poisoning, things that look at the time to have been wasteful and appalling and spoiling, are the things that turn out to be, say, the writing of Portnoy's Complaint. As each person comes into his life, you begin to think, "So what is this person's usefulness going to be? What is this person going to provide him in the way of the book?" Well, maybe this is the difference between the writer's life and an ordinary life.1 – Philip Roth, The Facts Table of Contents Title Page ........................................................................................................................................... 1 Table of Contents ............................................................................................................................ 2 Part 1: Introduction ............................................................................................................. 3 Cast, Acronyms and Abbreviations ........................................................................................... 6 Method and Purpose ..................................................................................................................... -
Projection and Control in the Works of Charlie Kaufman
In this careful study of the works of Charlie Kaufman, Larson sets up the problem of the mind's relationship to reality, then explores it through a series of related concepts—how we project ourselves into reality, how we try to control it, and how this limits our ability to connect to others. (Instructor: Victoria Olsen) PLAYING WITH PEOPLE: PROJECTION AND CONTROL IN THE WORKS OF CHARLIE KAUFMAN Audrey Larson ohn Malkovich is falling down a dark, grimy tunnel. With a crash, he finds himself in a restaurant, the camera panning up from a plate set with a perfectly starched napkin to a pair of large Jbreasts in a red dress and a delicate wrist hanging in the air like a question mark. The camera continues panning up to the face that belongs to this body, the face of—John Malkovich. Large-breasted Malkovich looks sensually at the camera and whispers, “Malkovich, Malkovich,” in a sing-song whisper. A waiter pops in, also with the face of Malkovich, and asks, “Malkovich? Malkovich, Malkovich?” The real Malkovich looks down at the menu—every item is “Malkovich.” He opens his mouth, but only “Malkovich,” comes out. A look of horror dawns on his face as the camera jerks around the restaurant, focusing on different groups of people, all with Malkovich’s face. He gets up and starts to run, but stops in his tracks at the sight of a jazz singer with his face, lounging across a piano and tossing a high-heeled leg up in the air. A whimper escapes the real Malkovich. -
The Dialectic of Obscenity
University of Kentucky UKnowledge Law Faculty Scholarly Articles Law Faculty Publications Winter 2012 The Dialectic of Obscenity Brian L. Frye University of Kentucky College of Law, [email protected] Follow this and additional works at: https://uknowledge.uky.edu/law_facpub Part of the Constitutional Law Commons, Entertainment, Arts, and Sports Law Commons, and the Legal History Commons Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Brian L. Frye, The Dialectic of Obscenity, 35 Hamline L. Rev. 229 (2012). This Article is brought to you for free and open access by the Law Faculty Publications at UKnowledge. It has been accepted for inclusion in Law Faculty Scholarly Articles by an authorized administrator of UKnowledge. For more information, please contact [email protected]. The Dialectic of Obscenity Notes/Citation Information Hamline Law Review, Vol. 35, No. 1 (Winter 2012), pp. 229-278 This article is available at UKnowledge: https://uknowledge.uky.edu/law_facpub/264 229 THE DIALECTIC OF OBSCENITY Brian L. Frye* I. INTRODUCTION 230 II. A BRIEF HISTORY OF OBSCENITY 231 A. WHAT IS OBSCENITY? 231 B. THE RISE & FALL OF THE PANDERING TEST 232 C. THE MILLER TEST 234 D. THE AFTERMATH OF MILLER 235 III. FLAMING CREATURES 236 A. THE MAKING OF FLAMING CREATURES 237 B. THE INTRODUCTION OF FLAMING CREATURES 238 C. THE PERSECUTION OF FLAMING CREATURES 242 IV. JACOBS V. NEW YORK 245 A. FLAMING CREATURES IN NEW YORK STATE COURT 245 B. FLAMING CREATURES IN THE SUPREME COURT 250 C. -
Special 75Th Anniversary Issue
NIEMAN REPORTS SUMMER/FALL 2013 VOL. 67 NO. 2-3 Nieman Reports The Nieman Foundation for Journalism Harvard University One Francis Avenue Cambridge, Massachusetts 02138 VOL. 67 NO. 2-3 SUMMER-FALL 2013 TO PROMOTE AND ELEVATE THE STANDARDS OF JOURNALISM 75 TH ANNIVERSARY ISSUE THE NIEMAN FOUNDATION AT HARVARD UNIVERSITY Special 75th Anniversary Issue Agnes Wahl Nieman The Faces of Agnes Wahl Nieman About the cover: British artist Jamie Poole (left) based his portrait of Agnes Wahl Nieman on one of only two known images of her—a small engraving from a collage published in The Milwaukee Journal in 1916—and on the physical description she provided in her 1891 passport application: light brown hair, bluish-gray eyes, and fair complexion. Using portraits of Mrs. Nieman’s mother and father as references, he worked with cut pages from Nieman Reports and from the Foundation’s archival material to create this likeness. About the portrait on page 6: Alexandra Garcia (left), NF ’13, an Emmy Award-winning multimedia journalist with The Washington Post, based her acrylic portrait with collage on the photograph of Agnes Wahl Nieman standing with her husband, Lucius Nieman, in the pressroom of The Milwaukee Journal. The photograph was likely taken in the mid-1920s when Mrs. Nieman would have been in her late 50s or 60s. Garcia took inspiration from her Fellowship and from the Foundation’s archives to present a younger depiction of Mrs. Nieman. Video and images of the portraits’ creation can be seen at http://nieman.harvard.edu/agnes. A Nieman lasts a year ~ a Nieman lasts a lifetime SUMMER/FALL 2013 VOL. -
Intern Journal: Susan Orlean Listening to Susan Orlean, Author of Books Like the Orchid Thief and Rin Tin Tin Speak Is a Lot
Intern Journal: Susan Orlean By Kate Stefanski Listening to Susan Orlean, author of books like The Orchid Thief and Rin Tin Tin speak is a lot like reading one of her incredibly engaging profiles on the life of a seemingly uninteresting 10 year old. But that’s what makes her such a prolific storyteller. When asked a question as predictable as “What is it like to have Meryl Streep play you,” Orlean answers by launching her audience into the world of Hollywood, pinpricked by a famous author leveling with a room full of admirers and hopefuls. Where we may have been nervous, borderline uncomfortable to talk about Adaptation, Susan simply laughed good-naturedly and clarified that she was far more worried about the idea of sleeping with her subject than she was about the potential of her snorting imagined drugs derived from the ghost orchid. If you’re a fan of her books, especially The Bullfighter Checks Her Makeup, you feel honored to listen to her talk about anything. Because any question she answers turns into another profile, another story about her own life and how she got to be who and where she is now. On Wednesday night, we had a reception and watched Adaption, the movie inspired by The Orchid Thief, at the Enzian Theater. Afterwards, we had an informal question and answer session, and Susan answered questions from the audience about her movie, the books she has written, and what it’s like to be a renowned author across the board. Thursday night, Susan was kind enough to give a workshop class where she discussed leads, and the best ways to get your readers involved in the first few lines of your story. -
Hopwoodthe Newsletter Vol
HopwoodThe Newsletter Vol. LXX, 2 http://www.lsa.umich.edu/english/hopwood/ June, 2009 HOPWOODHOPWOOD The University of Michigan Press has recently published The Hopwood Lectures, Sixth Series, edited and with an introduction by Nicholas Delbanco. It includes the Hopwood Lectures from 1999-2008 from writers Andrea Barrett, Charles Baxter, Mary Gordon, Donald Hall, Richard Howard, Charles Johnson, Susan Orlean, Susan Stamberg, and our own Lawrence Kasdan (“POV”) and Edmund White (“Writing Gay”). The book ($18.95 for the paperback edition) may be ordered on the University of Michigan Press’s website: http://www.press.umich.edu/titleDetailDesc. do?id=354411. The awards for the Hopwood Underclassmen Contest were announced on January 20 by Professor Nicholas Delbanco, Director of the Hopwood Awards Program. The judges were Charlotte Boulay, Lizzie Hutton, Todd McKinney, and Adela Pinch. A fi ction reading by Tobias Wolff , author of This Boy’s Life, Old School, and Our Story Begins: New and Selected Stories, followed the announcement of the awards. And the winners were: Nonfi ction: Xu (Sue) Li, $800; Jillian Maguire, $800; Alex O’Dell, $1,000; Eli Hager, $1,500 Fiction: Eli Hager, $800; Da-Inn Erika Lee, $1,000; Andrew Lapin. $1,000; Perry Janes, $1,750 Poetry: Perry Janes, $1,200; Gahl Liberzon, $1,500; David Kinzer, $1,750 Other writing contest winners were: The Academy of American Poets Prize: Jane Cope (Undergraduate Division), $100; Nava Etshalom (Graduate Division), $100 The Bain-Swiggett Poetry Prize: Catherine E. Calabro, $600 The Michael R. Gutterman Award in Poetry: Zilka Joseph, $450; Emily Zinnemann, $450 The Jeff rey L. -
The Making and Unmaking of Jack Smith's Flaming Creatures A
FILM AT REDCAT PRESENTS Mon Nov 9 | 8:30 pm Jack H. Skirball Series $9 [students $7, CalArts $5] The Making and Unmaking of Jack Smith’s Flaming Creatures A Screening and Talk with J. Hoberman Los Angeles revival 1963, 16mm, b/w, 45 min. Recognized as an unprecedented visionary masterpiece, Flaming Creatures was also reviled, rioted over, banned as porn, and pondered by the Supreme Court. “Jack Smith described Flaming Creatures as ‘a comedy set in a haunted movie studio.’ It is that, as well as the single most important and influential underground movie ever released in America,” according to J. Hoberman, film critic of The Village Voice for more than 30 years and an authority on the Smith performance and film oeuvre. “Smith’s movie was a source of inspiration for artists as disparate as Andy Warhol, Federico Fellini and John Waters but he never completed another.” Find out why. Hoberman’s books include The Dream Life: Movies, Media and the Mythology of the Sixties and Bridge of Light: Yiddish Cinema Between Two Worlds. Hoberman has authored a 2001 monograph on Flaming Creatures titled, On Jack Smith’s Flaming Creatures (and Other Secret-Flix of Cinemaroc), as well as numerous articles on Smith, a key figure in the New York underground cinema of the 1960s and a performance art pioneer. Hoberman’s talk will precede a screening of Flaming Creatures, and detail the film’s creative making and legal unmaking on charges of obscenity. Flaming Creatures’ delirium of transgendered eroticism and trashy artifice prompted its first champion Jonas Mekas, then writing in The Village Voice to declare (presciently, as it turned out): “[I]t is so beautiful I feel ashamed to sit through the current Hollywood and European movies... -
Scholars to Examine Queer Aesthetic in Films
Scholars to examine queer aesthetic in films http://chronicle.uchicago.edu/060119/queercinema.shtml Scholars to examine queer aesthetic in films By Jennifer Carnig January 19, 2006 News Office Vol. 25 No. 8 Long before Brokeback Mountain hit the big screen, films such as Kenneth Anger’s current issue Scorpio Rising, Jack Smith’s Flaming Creatures and Andy Warhol’s Chelsea Girls archive / search brought queer imagery to the 1960s art house circuit. Now a new film series will contact bring these and other films from the genre to campus each Friday through Feb. 10. Chronicle RSS Feed Though these films are widely regarded as some of the most important and influential films of postwar underground cinema, only recently have cinema scholars begun to take seriously the fact that Anger, Smith and Warhol were filmmakers whose work delivered a “distinctly queer aesthetic,” said Ron Gregg, Lecturer and Director of Programming for Cinema & Media Studies. In an attempt to explore the idea of a queer aesthetic further, Gregg—along with George Chauncey, Professor in History and the College and Director of the Center for Gender Studies, and Michelle Puetz, a Cinema & Media Studies graduate student and coordinator of the Experimental Film Club—organized a film series that will offer screenings every Friday through Feb. 10. “Beyond Warhol, Smith and Anger: Recovering the Significance of Postwar Queer Underground Cinema, 1950-1968” will include two dozen films created by mostly New York-based filmmakers, performers, writers and artists. Not all of the filmmakers included in the series were gay, but “their creative energies came out of a highly gay influenced cultural world,” Gregg said. -
Barbara Rubin and the Exploding NY Underground
Barbara Rubin and the Exploding NY Underground Distributed in Canada by Films We Like Bookings and media inquiries – [email protected] Download high rez images/ trailer/ presskit filmswelike 1 “Barbara Rubin and the Exploding NY Underground” (2018, 78:00) a feature length documentary film LOGLINE: Underground filmmaker Barbara Rubin’s 1964 art-porn masterpiece “Christmas on Earth”, made when she was only 18 years old, shattered creative and sexist boundaries and shocked NYC's experimental film scene. Working with Jonas Mekas at the Filmmaker’s Coop, Rubin was instrumental in creating NYC's thriving underground film community and a rare female voice in a world of powerful men. A rebellious Zelig of the Sixties, she introduced Andy Warhol to the Velvet Underground and Bob Dylan to the Kabbalah. But beyond shaping the spirit of the Sixties, Barbara was seeking the deeper meaning of life. After retiring to a farm with Allen Ginsberg, she shocked everyone by becoming a Hasidic Jew. How and why did one of the 1960’s freest spirits submit to a religious life? For years, 94-year-old filmmaker Jonas Mekas has saved all of Barbara’s letters and cherished her memory. Working with Mekas’ footage and rare clips from the Andy Warhol archives, the film takes us inside the world and mind of Barbara Rubin; a woman who truly believed that film could change the world and then vanished into obscurity. STORY SUMMARY/SYNOPSIS December,1963, Belgium – An 18 year-old girl bursts into the projector booth at a the Knokke International Film Festival, ties up the projectionist, and screens Jack Smith’s scandalous “Flaming Creatures”, a film that was denied the right to be shown and had just been banned in the United States. -
Reviews & Press •
REVIEWS & PRESS J. Hoberman. On Jack Smith’s Flaming Creatures (and Other Secret-Flix of Cinemaroc). Granary Books, & Hip’s Road, 2001. • Grubbs, David. "Review of On Jack Smith's 'Flaming Creatures.' " Bookforum 9.1: 15. It's a shame that Ted Turner dropped out of the film-colorization business before tackling Flaming Creatures. I'm trying to imagine Jack Smith's washed-out, defiantly low-contrast 1963 film being given the full treatment. Flaming Creatures is the work for which Smith is best known, a film that landed exhibitors in a vortex of legal trouble and quickly became the most reviled of '60s underground features. As J. Hoberman writes, "Flaming Creatures is the only American avant-garde film whose reception approximates the scandals that greeted L'Age d'Or or Zéro de Conduite." Smith's self-described comedy in a "haunted movie studio" is a forty-two-minute series of attractions that include false starts, primping, limp penises, bouncing breasts, a fox-trot, an orgy, a transvestite vampire, an outsized painting of a vase, and perilous stretches of inactivity. The sound track juxtaposes Bartók, Ali Baba and the Forty Thieves, the Everly Brothers, and an audience-baiting minutes-long montage of screams. Still, one suspects that the greatest trespass may have been putting Smith's queer "creatures" on display. If Hoberman's monograph makes Smith's filmic demimonde less other-worldly—colorizes it, if without the Turner motive—it does so in a manner more akin to the 1995 restoration of Jacques Tati's 1948 Jour de Fête. Tati's film was shot simultaneously in color and in black and white; had the experimental Thomson-Color process worked at the time, it would have been the first French full-length color film.