The New School, Everybody Comes to Rick's
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Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
James Stewart: the Trouble with Urban Modernity in Verligo and Liberly Valance
MA MAJOR RESEARCH PAPER James Stewart: The Trouble with Urban Modernity in Verligo and Liberly Valance ALEX MORRIS Supervisor: Edward Siopek The Major Research Paper is submitted in partial fulfillment of the requirements for the degree of Master of Arts Joint Graduate Program in Communication & Culture Ryerson University - York University Toronto, Ontario, Canada Sept. 21, 2009 Table of Contents Introduction: Post-War Stewart and the Dark Turn in Hollywood ...................................... 2 Chapter 1: Vertigo: An Architecture for Double Vision ..................................................... 13 Chapter 2: Liberty Valance: Masculine Anxiety in the Cinematic "Wild West" ................ 24 Works Cited and Consulted .............................................................................44 1 Introduction Legendary 20th Century Hollywood film star and American everyman James Maitland Stewart saw merit and enduring intrinsic reward more in his extensive career as a decorated military serviceman, which began a year before Pearl Harbor, well before his nation joined the fighting in the European theatre of the Second World War, and ended long after his controversial peace-time promotion to Brigadier General decades later than in his lifelong career as a cherished and profoundly successful screen actor. For him, as for his father and grandfather before him, who, between the two of them, saw action in three major American wars, serving the nation militarily was as good as it got. When asked by an interviewer some 50 years after the end of his wartime military service about his WWII memories, writes biographer Jonathan Coe in his book, Jimmy Stewart: A Wonderful Life, Stewart remarks that his military experience was "something that I think about almost everyday: one of the greatest experiences of my life." "Greater than being in the movies?" countered the reporter. -
Casablanca by Jay Carr the a List: the National Society of Film Critics’ 100 Essential Films, 2002
Casablanca By Jay Carr The A List: The National Society of Film Critics’ 100 Essential Films, 2002 It’s still the same old story. Maybe more so. “Casablanca” was never a great film, never a profound film. It’s merely the most beloved movie of all time. In its fifty-year history, it has resisted the transmogrifica- tion of its rich, reverberant icons into camp. It’s not about the demimondaines washing through Rick’s Café Americain – at the edge of the world, at the edge of hope – in 1941. Ultimately, it’s not even about Bogey and Ingrid Bergman sacrificing love for nobility. It’s about the hold movies have on us. That’s what makes it so powerful, so enduring. It is film’s analogue to Noel Coward’s famous line about the amazing potency of cheap music. Like few films before or since, it sums up Hollywood’s genius for recasting archetypes in big, bold, universally accessible strokes, for turning myth into pop culture. Courtesy Library of Congress Motion Picture, Broadcast and Recorded It’s not deep, but it sinks roots into America’s Sound Division collective consciousness. As a love story, it’s flawed. We than a little let down by her genuflection to idealism. don’t feel a rush of uplift when trenchcoated Bogey, You feel passion is being subordinated to an abstraction. masking idealism with cynicism, lets Bergman, the love You want her to second-guess Rick and not go. of his life, fly off to Lisbon and wartime sanctuary with “Casablanca” leaves the heart feeling cheated. -
MEMORY of the WORLD REGISTER the Wizard of Oz
MEMORY OF THE WORLD REGISTER The Wizard of Oz (Victor Fleming 1939), produced by Metro-Goldwyn-Mayer REF N° 2006-10 PART A – ESSENTIAL INFORMATION 1 SUMMARY In 1939, as the world fell into the chaos of war, Metro-Goldwyn-Mayer released a film that espoused kindness, charity, friendship, courage, fortitude, love and generosity. It was dedicated to the “young, and the young in heart” and today it remains one of the most beloved works of cinema, embraced by audiences of all ages throughout the world. It is one of the most widely seen and influential films in all of cinema history. The Wizard of Oz (1939) has become a true cinema classic, one that resonates with hope and love every time Dorothy Gale (the inimitable Judy Garland in her signature screen performance) wistfully sings “Over the Rainbow” as she yearns for a place where “troubles melt like lemon drops” and the sky is always blue. George Eastman House takes pride in nominating The Wizard of Oz for inclusion in the Memory of the World Register because as custodian of the original Technicolor 3-strip nitrate negatives and the black and white sequences preservation negatives and soundtrack, the Museum has conserved these precious artefacts, thus ensuring the survival of this film for future generations. Working in partnership with the current legal owner, Warner Bros., the Museum has made it possible for this beloved film classic to continue to enchant and delight audiences. The original YCM negatives have been conserved at the Museum since 1975, and Warner Bros. recently completed our holdings of the film by assigning the best surviving preservation elements of the opening and closing black and white sequences and the soundtrack to our care. -
CURRICULUM VITAE: LESLIE EPSTEIN Married
CURRICULUM VITAE: LESLIE EPSTEIN Married: Ilene Epstein Three children: Anya, Paul, Theo Born: Los Angeles, l938 EDUCATION: BA: Yale College, summa cum laude, 1960 Dip. Anthro. Oxon: Oxford, 1962 MA: Theater Arts, UCLA, 1963 DFA: Yale University (Yale Drama School), 1967 ACADEMIC POSITIONS: Queens College, CUNY, 1965-1978, starting as lecturer, ending as Professor of English Boston University, Director, Graduate Creative Writing Program (and Professor of English), 1978-present Visiting Positions: Lane College, summer, 1964 (a civil rights project) Yale University, creative writing, and honorary fellow, Silliman College, spring, 1972 Groningen University (Holland), Visiting Professor of English and American Literature, 1972/73 (A Fulbright teaching fellowship) John Hopkins University, Department of Writing Seminars, spring, 1977 Various writing workshops and seminars, most notably teaching at The Writers' Community, New York City, 1976; a residency at Yaddho in 1982; three weeks in India, helping to initiate writers' workshops in New Delhi (1992); and a six-week residence at the Rockefeller Institute, Villa Serbelloni, Bellagio, 1994; numerous summer writing conferences. FELLOWSHIPS AND AWARDS: Rhodes Scholarship, Merton College, Oxford, 1960-1962 Samuel Goldwyn Creative Writing Award ($2000) (UCLA), 1963 Lemist Esler Fellowship, Yale Drama School, 1963-65 National Endowment for the Arts Award ($1000 and publication of story), 1969 Playboy Editors Award (non-fiction), 1971 National Endowment for the Arts Fellowship Grant ($5000), 1972 -
Celebrating Ella at 100 Lla Jane Fitzgerald Was Born on April 25, 1917 in Newport News, Her Last Concert at New York’S Carnegie Hall in 1991
Volume 45 • Issue 7 July/August 2017 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Ella Fitzgerald publicity portrait early 1950s. Photo: CTS Images. Celebrating Ella At 100 lla Jane Fitzgerald was born on April 25, 1917 in Newport News, her last concert at New York’s Carnegie Hall in 1991. She died EVirginia. Her mother, Tempi, worked as a domestic and she due to complications from diabetes in her Beverly Hills home never knew her father, William. She went on to become the on June 15, 1996. During this year’s centennial anniversary of her world’s most celebrated woman jazz singer. Her long and birth hundreds of tributes in her honor are taking place worldwide, illustrious musical career included 13 Grammys, numerous including a two-day “cELLAbration” at the Rutgers Institute of DownBeat Awards, the Kennedy Center Honors, the Presidential Jazz Studies in Newark on May 24–25. Jersey Jazz contributor Medal of Freedom, the National Medal of the Arts and many other Jim Gerard talked to several of the distinguished participants and honors — and more than 40 million albums sold. Ella performed his report on the IJS symposium and more begins on page 28. New JerseyJazzSociety in this issue: New Jersey JAzz socIety Prez Sez . 2 Bulletin Board . 2 NJJS Calendar . 3 Jazz Trivia . 4 Editor’s Pick/Deadlines/NJJS Info . 6 Prez sez Change of Address/Support NJJS/ Volunteer/Join NJJs . 49 By Mike Katz President, NJJS Crow’s Nest . 50 New/Renewed Members . 56 t our May Jazz Social at Shanghai Jazz, we presented with Dan Levinson’s Midsummer Night’s Jazz Party on storIes a band mad ae up of the winners of our 2017 New Monday, July 10 . -
THE Permanent Crisis of FILM Criticism
mattias FILM THEORY FILM THEORY the PermaNENT Crisis of IN MEDIA HISTORY IN MEDIA HISTORY film CritiCism frey the ANXiety of AUthority mattias frey Film criticism is in crisis. Dwelling on the Kingdom, and the United States to dem the many film journalists made redundant at onstrate that film criticism has, since its P newspapers, magazines, and other “old origins, always found itself in crisis. The erma media” in past years, commentators need to assert critical authority and have voiced existential questions about anxieties over challenges to that author N E the purpose and worth of the profession ity are longstanding concerns; indeed, N T in the age of WordPress blogospheres these issues have animated and choreo C and proclaimed the “death of the critic.” graphed the trajectory of international risis Bemoaning the current anarchy of inter film criticism since its origins. net amateurs and the lack of authorita of tive critics, many journalists and acade Mattias Frey is Senior Lecturer in Film at film mics claim that in the digital age, cultural the University of Kent, author of Postwall commentary has become dumbed down German Cinema: History, Film History, C and fragmented into niche markets. and Cinephilia, coeditor of Cine-Ethics: riti Arguing against these claims, this book Ethical Dimensions of Film Theory, Prac- C examines the history of film critical dis tice, and Spectatorship, and editor of the ism course in France, Germany, the United journal Film Studies. AUP.nl 9789089647177 9789089648167 The Permanent Crisis of Film Criticism Film Theory in Media History explores the epistemological and theoretical founda- tions of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. -
How I Became the Los Angeles Correspondent for Cahiers Du Cinéma
1 How I Became the Los Angeles Correspondent for Cahiers du cinéma grew up in a small town in North Texas on the Oklahoma border. Living in a big house on the edge of town, I had access to the larger I world through radio—still in its “Golden Age”—and television: The Adventures of Ozzie and Harriet (1952), which I still enjoy in reruns; I Love Lucy (1951); the many Warner Bros. television series; and countless westerns, a staple in theaters that filled the airwaves as well. Every week on Alfred Hitchcock Presents (1955), which began airing when I was ten, the maestro personally presented concentrated doses of his trademark cinema of suspense and black comedy, while Rod Serling did the same thing on The Twilight Zone (1959), a weekly series that began airing five years later, offering tales of fantasy and science fiction introduced and narrated by Serling. I first encountered Orson Welles inThe Fountain of Youth (1958), an unsold pilot that aired on CBS in 1958 and won a Peabody Award. (I would later introduce it to French audiences via the Cahiers du cinéma when Welles was receiving an honor for his life’s work in France, accompanied by an interview conducted over the telephone between Los Angeles and New York for a special issue of the Cahiers.) The fundamentals of auteurism, a theory promulgated by the Cahiers, were already being communicated to me and future friends in other parts of the country, some of whom grew up to be auteurs of cinema and television: Joe Dante, John Landis, and in a more modest way me, 3 © 2020 State University of New York Press, Albany 4 Letters from Hollywood when editor Ed Marx and I finished a film for Welles in 1994, theFour Men on a Raft section of It’s All True (1943), a three-part film he shot in Latin America in 1942 and was not permitted to finish. -
Ancient Tragedy, Echoed by a Chorus of Veterans - the New York Times
The Lunatic Is on the Air: A Stoppard Radio Play for Pink Floyd's 'Dark Side of the Moon' - NYTimes.com MARCH 28, 2013, 8:51 AM The Lunatic Is on the Air: A Stoppard Radio Play for Pink Floyd’s ‘Dark Side of the Moon’ By DAVE ITZKOFF The 40th anniversary of the release of “The Dark Side of the Moon,” that best-selling Pink Floyd album, technically occurred earlier this month. But in the case of a seminal prog-rock record that deals with the nature of time (and the slowing-down thereof), we’ll forgive Tom Stoppard if his unique effort to celebrate this milestone doesn’t actually arrive until the summer. Mr. Stoppard, the celebrated playwright of “Rosencrantz and Guildenstern Are Dead” and “The Coast of Utopia” and a screenwriter of “Shakespeare in Love,” among many other works, has written a new play for British radio that will mark the 40 years since “The Dark Side of the Moon” was released in March 1973, The Guardian reported. But this latest dramatic work is no simple narrative of how Roger Waters, David Gilmour and company spent several months at Abbey Road recording songs like “Money,” “Time” and “Breathe.” This one’s … a little weird. Describing Mr. Stoppard’s radio play, called “Dark Side,” at its Web site, the BBC called it “a fantastical and psychedelic story based on themes from the seminal album” that incorporates “music from the album and a gripping story that takes listeners on a journey through their imaginations.” (So keep your black-light posters handy, apparently.) Mr. -
RFC's Library's Book Guide
RFC’s Library’s Book Guide 2017 Since the beginning of our journey at the Royal Film Commission – Jordan (RFC), we have been keen to provide everything that promotes cinema culture in Jordan; hence, the Film Library was established at the RFC’s Film House in Jabal Amman. The Film Library offers access to a wide and valuable variety of Jordanian, Arab and International movies: the “must see” movies for any cinephile. There are some 2000 titles available from 59 countries. In addition, the Film Library has 2500 books related to various aspects of the audiovisual field. These books tackle artistic, technical, theoretical and historical aspects of cinema and filmmaking. The collec- tion of books is bilingual (English and Arabic). Visitors can watch movies using the private viewing stations available and read books or consult periodi- cals in a calm and relaxed atmosphere. Library members are, in addition, allowed to borrow films and/or books. Membership fees: 20 JOD per year; 10 JOD for students. Working hours: The Film Library is open on weekdays from 9:00 AM until 8:00 PM. From 3:00 PM until 8:00 PM on Saturdays. It is closed on Fridays. RFC’s Library’s Book Guide 2 About People In Cinema 1 A Double Life: George Cukor Patrick McGilligan 2 A Hitchcock Reader Marshall Dentelbaum & Leland Poague 3 A life Elia Kazan 4 A Man With a Camera Nestor Almenros 5 Abbas Kiarostami Saeed-Vafa & Rosenbaum 6 About John Ford Lindsay Anderson 7 Adventures with D.W. Griffith Karl Brown 8 Alexander Dovzhenko Marco Carynnk 9 All About Almodovar Epps And Kakoudeki -
Max Steiner and the Music of Casablanca
The Hilltop Review Volume 6 Issue 1 Winter Article 12 December 2012 Max Steiner and the Music of Casablanca Coralin Davelaar Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/hilltopreview Part of the Music Commons Recommended Citation Davelaar, Coralin (2012) "Max Steiner and the Music of Casablanca," The Hilltop Review: Vol. 6 : Iss. 1 , Article 12. Available at: https://scholarworks.wmich.edu/hilltopreview/vol6/iss1/12 This Article is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in The Hilltop Review by an authorized editor of ScholarWorks at WMU. For more information, please contact wmu- [email protected]. Davelaar 69 Max Steiner and the Music of Casablanca By Coralin Davelaar College of Fine Arts: Music [email protected] Not only did Max Steiner not like the song, he thought that it was not appropriate for the film. Nevertheless, as every film buff knows, ―As Time Goes By‖ stayed in the film Casa- blanca, and the song has almost become emblematic of the film itself. However, it is but one song in a very musical film that proved challenging for veteran film composer Max Steiner. It was not the amount of material that he had to compose (as with Gone with the Wind), but ra- ther the music that was already built into the drama that he had to incorporate into a meaning- ful score. Steiner, one of the most thoughtful of film composers, masterfully wove the diegetic music (music that functions as part of the story and that the characters onscreen can hear) and nondiegetic music (music that functions outside of the story that the characters do not hear) of Casablanca into an evocative score that illuminates and connects the political and romantic conflicts in the film. -
The MS Most Ro Sotheb Omantic By's to O C Movie Offer
P ress Release New York For Immediate Release New York | +1 212 606 7176 |Lauren Gioia | [email protected] | Ali Malizia | [email protected] | Sotheby’s to Offer The Most Romantic Movie Prop of All Time Casablanca’s Iconic Piano From La Belle Aurore At Auction For The 70th Anniversary of The Oscar Award-Winning Film On 14 December 2012, Sotheby’s will offer an icon of the Hollywood silver screen, the Paris piano from the Oscar award- winning Warner Bros. fillm Casablanca. The American Film Institute has ranked Casablanca the Most Romantic Movie of All Time and the Most Quotable. It is consistently found at or near the top of any list of great films. The romance between Rick (Humphrey Bogart) and Isla (Ingrid Bergman) is movingly established during the famous flashbaack scene in Paris at La Belle Aurore. The 58-key piano (est. $800,000/1.2 million) on which Sam plays “As Time Goes By” is the key prop in the intensely romantic scene. Casablanca won three Oscars in 1943 for Best Picture, Best Writing (Screenplay) and Best Director, with Oscar nominations in five other categories, including Best Score. The piano comes to auction on the 70th anniversary of the film, which premiered on Thanksgiving Day in 1942. The flashback at La Belle Aurore, with Rick and Ilsa leaning on the piano while Sam (Dooley Wilson) sings “As Time Goes By,” was the first scene filmed by director Michael Curtiz. The three drink champagne and Bogart utters his now immortal line, “Here’s lookin’ at you, kid,” while outside the café, loudspeakers announce the imminent arrival of the German army.