Recommended List of 1970S Films

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Smithsonian Associates The ’70s Movies a Real Cinephile Should See Compiled by Noah Gittell Listed by director ALAN J. PAKULA MARTIN SCORSESE Klute Who’s That Knocking at My Door? The Parallax View Mean Streets All the President’s Men Taxi Driver HAL ASHBY The Last Waltz Harold and Maude FRANCIS FORD COPPOLA Being There New York, New York Coming Home The Conversation The Landlord The Godfather, Part II The Last Detail Apocalypse Now SIDNEY LUMET STEVEN SPIELBERG The Anderson Tapes Jaws Dog Day Afternoon Close Encounters of the Third Kind Network GEORGE LUCAS ROBERT ALTMAN Star Wars M*A*S*H BARBARA LODEN Nashville The Long Goodbye Wanda ELAINE MAY McCabe and Mrs. Miller WILLIAM FRIEDKIN A New Leaf Mikey and Nicky The Exorcist PETER BOGDANOVICH JIM SHARMAN The Last Picture Show The Rocky Horror Picture Show MICHAEL RITCHIE SYDNEY POLLACK The Candidate Jeremiah Johnson GORDON PARKS MILOS FORMAN Shaft One Flew Over the Cuckoo’s Nest MELVIN VAN PEEBLES BOB RAFELSON Sweetback’s Sweet Badass Song Five Easy Pieces JACK HILL MICHAEL CIMINO Foxy Brown The Deer Hunter SERGIO LEONE LUIS BUNUEL The Good, the Bad, and the Ugly The Discreet Charm of the Bourgeoisie INGMAR BERGMAN PAUL SCHRADER Cries and Whispers Blue Collar Autumn Sonata BOB FOSSE RAINER WERNER FASSBINDER Cabaret The Bitter Tears of Petra von Kant All That Jazz Ali: Fear Eats the Soul MEL BROOKS DAVID LYNCH Young Frankenstein The Elephant Man Blazing Saddles Eraserhead HERBERT ROSS WILLIAM FRIEDKIN The Goodbye Girl The French Connection TERRY JONES AND TERRY GILLIAM ALBERT AND DAVID MAYSLES Monty Python and the Holy Grail Grey Gardens TERRY JONES BARBARA KOPPLE Monty Python and the Life of Brian Harlan County, U.S.A. JAMES WILLIAM GUERCIO JOHN CARPENTER Electra Glide in Blue Dark Star JOAN MICKLIN SILVER Halloween Hester Street RIDLEY SCOTT JOHN CASSAVETES Alien A Woman Under the Influence ROMAN POLANSKI The Killing of a Chinese Bookie Chinatown Husbands .

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DIRECTORS GUILD of AMERICA: FIFTIETH ANNIERSARY TRIBUTE ELAINE MAY, November 17 LOUIS MALLE, December 8
The Museum of Modern Art For Immediate Release November 1986 DIRECTORS GUILD OF AMERICA: FIFTIETH ANNIERSARY TRIBUTE ELAINE MAY, November 17 LOUIS MALLE, December 8 Elaine May and Louis Malle will be honored by The Museum of Modern Art as part of the ongoing DIRECTORS GUILD OF AMERICA: FIFTIETH ANNIVERSARY TRIBUTE. Ms. May, film director, playwright, actress, and comedienne, is the subject of a tribute on Monday, November 17, at 6:00 p.m., when her 1976 revisionist buddy-movie Mikey and Nicky will be screened. Mr. Malle, a provocative director of sensual images who has experimented with a variety of film forms, will present his 1980 film Atlantic City, starring Burt Lancaster and Susan Sarandon, on Monday, December 8, at 6:00 p.m. In Mikey and Nicky Ms. May tailors the framing and dialogue to the personalities of the actors John Cassavetes and Peter Falk. Convinced that a contract is out for him, Nicky (Cassavetes), a small-time hood, calls his childhood friend Mikey (Falk), a syndicate man. Their one night encounter is the focus of the film. A seemingly casual approach cleverly disguises a tight, carefully-planned structure. From a screenplay by John Guare, Mr. Malle's Atlantic City uses the transitory character of the boardwalk town as a backdrop for a tale of decay and corruption. Mr. Lancaster plays the aging friend and protector of an ambitious nightclub croupier, played by Ms. Sarandon. As a child Ms. May appeared on stage and radio with her father, Jack Berlin. After collaborating with Mike Nichols on stage, radio, and television through the mid-sixties, she made her film acting debut in Clive - more - 11 West 53 Street, New York, N.Y 10019 Teh 212-708-9400 Cable: MODERNARI Telex: 62370MODART - 2 - Donner's Luv (1967) and Carl Reiner's Enter Laughing (1967).
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Paddy Breathnach the Irish Film Institute
AUGUST 2016 PADDY BREATHNACH THE IRISH FILM INSTITUTE The Irish Film Institute is Ireland’s national cultural institution for film. EXHIBIT It aims to exhibit the finest in independent, Irish and international cinema, preserve PRESERVE Ireland’s moving image heritage at the IFI Irish Film Archive, and encourage EDUCATE engagement with film through its various educational programmes. LAST CHANCE Commune The FRENCH FILM CLUB Some new releases carrying over from our July programme This month’s French Film Club screening – where IFI and include: Author: The JT LeRoy Story, the astonishing Alliance Française members pay just €7 a ticket – on August unmasking of the real story behind novelist wunderkind 17th at 18.30, is Guillaume Nicloux’s Valley of Love starring JT LeRoy, whose tough prose about his sordid childhood Isabelle Huppert and Gérard Depardieu as a divorced couple captivated icons and luminaries internationally; and drawn together by their son’s suicide note instructing them The Commune, Thomas Vinterberg’s new feature about the to travel to Death Valley where he will briefly reappear to clash between personal desires and tolerance in a Danish them. See page 8 for film notes. Please visit www.ifi.ie commune in the 1970s. or ask at the IFI Box Office for further details. IFI CAFÉ BAR DEAL IFI PLAYER We have a sizzling new summer menu in the IFI Café Bar The IFI Player launches in late August, and will create and a very special deal for the month of August, where free online access to a range of collections that have you can have a main course and film ticket for only €18.
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1,000 Films to See Before You Die Published in the Guardian, June 2007
1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation.
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Series 28: 7) John Cassavetes, KILLING of a CHINESE BOOKIE (1976, 135 Minutes)
March 11, 2014 (Series 28: 7) John Cassavetes, KILLING OF A CHINESE BOOKIE (1976, 135 minutes) Directed by John Cassavetes Cinematography by Mitch Breit Ben Gazzara ... Cosmo Vittelli Timothy Carey ... Flo Al Ruban ... Marty Reitz JOHN CASSAVETES (director) (b. John Nicholas Cassavetes, December 9, 1929 in New York City, New York—d. February 3, 1989 (age 59) in Los Angeles, California) directed 16 films and TV shows, which are 1986 Big Trouble, 1984 Love Streams, 1980 Gloria, 1977 Opening Night, 1976 The Killing of a Chinese Bookie, 1974 A Woman Under the Influence, 1972 “Columbo” (TV Series), 1971 Minnie and Moskowitz, 1970 Husbands, 1968 Faces, 1966 “Bob Hope Presents the Chrysler Theatre” (TV Series), 1962-1963 “The Lloyd Bridges Show” (TV Series), 1963 A Child Is Waiting, 1961 Too Late Blues, 1959-1960 “Johnny Staccato” (TV Series), and 1959 Shadows. He also wrote 14 films and TV shows—2010 Antes del estreno (original story), MITCH BREIT (cinematography) has been cinematographer for 1999 Gloria (1980 screenplay), 1997 She's So Lovely, 1984 Love 2 films: 1976 The Killing of a Chinese Bookie and 1974 A Streams, 1980 Gloria, 1977 Opening Night, 1976 The Killing of Woman Under the Influence. a Chinese Bookie, 1974 A Woman Under the Influence, 1971 Minnie and Moskowitz, 1970 Husbands, 1968 Faces, 1966 “Bob BEN GAZZARA ... Cosmo Vittelli (b. Biagio Anthony Gazzara, Hope Presents the Chrysler Theatre” (TV Series), 1961 Too Late August 28, 1930 in New York City, New York—d. February 3, Blues, and 1959 Shadows—and edited 2—1968 Faces and 1959 2012 (age 81) in New York City, New York) appeared in 133 Shadows.
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Painfully Funny the Complete Directorial Works of Elaine May
THE BADLANDS COLLECTIVE presents PAINFULLY FUNNY THE COMPLETE DIRECTORIAL WORKS OF ELAINE MAY INSTITUTE OF CONTEMPORARY ARTS, LONDON SEPTEMBER 21-23, 2018 PAINFULLY FUNNY THE COMPLETE DIRECTORIAL WORKS OF ELAINE MAY Elaine May is a legend in the world of comedy – acknowledged as an influence by comics such as Steve Martin, Lily Tomlin, Woody Allen and countless others – but her work as a movie director has become curiously and unjustly obscure. While other filmmakers who emerged in the New Hollywood of the 1970s have become venerated icons, Elaine May’s films have fallen out of the conversation, and in some cases have fallen out of circulation entirely. With this retrospective, we’re pleased to bring her back into the limelight and hail her as one of the most brilliant artists from that exalted generation of American directors. May directed four theatrical feature films, three of which resulted in fierce behind-the- scenes battles before they finally reached cinemas, with May fighting to protect the integrity of her vision. Her background in improvisation – developed with the Compass Players, before she and Mike Nichols revolutionised American comedy in the late 1950s – led to her taking an exacting, exploratory approach to filmmaking. She would shoot dozens of takes for a single scene, exhausting every possible variation and often filming with multiple cameras in a constant attempt to capture spontaneous moments of inspiration, humour and truth. When editing she relished pauses, dead spots and extended moments of awkwardness, adding a tension underneath the films’ comic surface. May’s filmmaking style inevitably led to her amassing mountains of footage, missing deadlines, going over budget and falling out of favour with the studios, but it also produced films with an energy, rhythm and edge that distinguishes them from their contemporaries and elevates them beyond genre conventions.
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Universidade De São Paulo Escola De Comunicações E Artes
UNIVERSIDADE DE SÃO PAULO ESCOLA DE COMUNICAÇÕES E ARTES SÉRGIO EDUARDO ALPENDRE DE OLIVEIRA O mal-estar da sociedade americana e sua representação no cinema (1975-1978) São Paulo 2013 SÉRGIO EDUARDO ALPENDRE DE OLIVEIRA O mal-estar da sociedade americana e sua representação no cinema (1975-1978) Dissertação apresentada ao Programa de Pós- Graduação em Meios e Processos Audiovisuais, Linha de Pesquisa História, Teoria e Crítica, da Escola de Comunicações e Artes da Universidade de São Paulo, como requisito parcial para obtenção do título de Mestre em Meios e Processos Audiovisuais, sob orientação do Prof. Dr. Eduardo Victorio Morettin São Paulo 2013 Aos meus pais, Maria dos Anjos e Manoel Ao meu irmão Ricardo À Eide Sandra Azevedo Abreu Agradecimentos Agradeço especialmente ao Prof. Dr. Eduardo Victorio Morettin, que me ensinou a ser menos um crítico de cinema e mais um pesquisador acadêmico nestes dois anos e meio de trabalho. À CAPES, pela concessão da bolsa de mestrado, fundamental para a realização desta pesquisa. Aos meus pais, Maria dos Anjos e Manoel, por entenderem que a diminuição do número de visitas se devia ao término dos prazos de qualificação e entrega da dissertação. Ao meu irmão Ricardo, por me ajudar sempre com algumas dúvidas gramaticais. À Eide Sandra Azevedo Abreu, por ter me incentivado a trilhar novamente o caminho acadêmico e pela ajuda inestimável na redação do projeto. Aos amigos Cléber Eduardo, Luiz Carlos Oliveira Jr. e Pedro Faissol, pelas sugestões e questionamentos feitos durante a pesquisa. Resumo: Neste trabalho investigamos em que medida o mal-estar da sociedade americana, entre 1975 e 1978, causado por uma série de acontecimentos dos anos 1970 (fim da Guerra do Vietnã, reivindicações das chamadas minorias sociais, crise da OPEP e Watergate, entre outros), foi representado em filmes comerciais, feitos dentro de Hollywood e sem maiores ambições autorais.
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John Cassavetes
Cassavetes on Cassavetes Ray Carney is Professor of Film and American Studies and Director of the undergraduate and graduate Film Studies programs at Boston Uni- versity. He is the author or editor of more than ten books, including the critically acclaimed John Cassavetes: The Adventure of Insecurity; The Films of Mike Leigh: Embracing the World; The Films of John Cas- savetes: Pragmatism, Modernism, and the Movies; American Vision: The Films of Frank Capra; Speaking the Language of Desire: The Films of Carl Dreyer; American Dreaming; and the BFI monograph on Cas- savetes’ Shadows. He is an acknowledged expert on William James and pragmatic philosophy, having contributed major essays on pragmatist aesthetics to Morris Dickstein’s The Revival of Pragmatism: New Essays on Social Thought, Law, and Culture and Townsend Ludington’s A Modern Mosaic: Art and Modernism in the United States. He co- curated the Beat Culture and the New America show for the Whitney Museum of American Art in New York, is General Editor of the Cam- bridge Film Classics series, and is a frequent speaker at ﬁlm festivals around the world. He is regarded as one of the world’s leading authori- ties on independent ﬁlm and American art and culture, and has a web site with more information at www.Cassavetes.com. in the same series woody allen on woody allen edited by Stig Björkman almodóvar on almodóvar edited by Frédéric Strauss burton on burton edited by Mark Salisbury cronenberg on cronenberg edited by Chris Rodley de toth on de toth edited by Anthony Slide fellini on
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22 De Xaneiro De 2020
03 Follas do cineclube | 22/01/2020 recadou só 14 millóns sobre un presuposto que algúns Follas do Cineclube | 22/01/2020 estimaron tan alto como 55 millóns, e converteuse nunha Mikey e Nicky (Mikey and Nicky, Elaine May, 03 broma instantaneamente, viras a película ou non. Unha EUA, 1976, 106’, VOSG) tira cómica de Far Side co título “O videoclube do inferno” amosaba estantes e estantes cheos de copias de Ishtar en VHS. No cambio de milenio, Time incluíu o filme na súa lista “As cen peores ideas do século”, ao lado do telemarketing e o amianto. Emerxeron rumores sobre a caótica indecisión de May na rodaxe (unha reportaxe da revista New York pasaba unha anécdota repetida a miúdo sobre May pedíndolle ao seu equipo que aplanase as dunas rodando nunha localización de Marrocos), e os retrasos no calendario de produción fixeron desconfiar ao público. Aínda así, había unha sensación de que o O CEO PODE ESPERAR: O XENIO OCULTO DE filme estaba predestinado a fracasar. Converteuse no ELAINE MAY golpe que acabou de afundir a xa renqueante carreira de LINDSAY ZOLADZ May como directora, levando a anos de traballo anónimo como consultora de guion, sendo unha especie de exilia- [Tirado de The Ringer: https://www.theringer.com/pop- da de Hollywood á vista de todos. “Se toda a xente que culture/2019/3/14/18245240/elaine-may-life-career- odia Ishtar a tivese visto”, comentou May ao seu antigo mike-ishtar-nichols-mikey-and-nicky-heartbreak-kid- compañeiro comediante Mike Nichols nunha conversa a-new-leaf] de 2006, “sería unha muller rica hoxe”.
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Disparities for Women Filmmakers in the Film Industry Bobbie Lucas
Vassar College Digital Window @ Vassar Senior Capstone Projects 2015 Behind Every Great Man There Are More Men: Disparities for Women Filmmakers in the Film Industry Bobbie Lucas Follow this and additional works at: http://digitalwindow.vassar.edu/senior_capstone Recommended Citation Lucas, Bobbie, "Behind Every Great Man There Are More Men: Disparities for Women Filmmakers in the Film Industry" (2015). Senior Capstone Projects. Paper 387. This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. Vassar College “Behind Every Great Man There Are More Men:” Disparities for Women Filmmakers in the Film Industry A research thesis submitted to The Department of Film Bobbie Lucas Fall 2014 ACKNOWLEDGMENTS “Someday hopefully it won’t be necessary to allocate a special evening [Women in Film] to celebrate where we are and how far we’ve come…someday women writers, producers, and crew members will be so commonplace, and roles and salaries for actresses will outstrip those for men, and pigs will fly.” --Sigourney Weaver For the women filmmakers who made films and established filmmaking careers in the face of adversity and misogyny, and for those who will continue to do so. I would like to express my appreciation to the people who helped me accomplish this endeavor: Dara Greenwood, Associate Professor of Psychology Paul Johnson, Professor of Economics Evsen Turkay Pillai, Associate Professor of Economics I am extremely grateful for the valuable input you provided on my ideas and your willing assistance in my research.
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The '70S Movies a Real Cinephile Should
Smithsonian Associates The ’70s Movies a Real Cinephile Should See Compiled by Noah Gittell Listed by director ALAN J. PAKULA MARTIN SCORSESE Klute Who’s That Knocking at My Door? The Parallax View Mean Streets All the President’s Men Taxi Driver Harold and Maude The Last Waltz Being There FRANCIS FORD COPPOLA Coming Home The Landlord New York, New York The Last Detail The Conversation SIDNEY LUMET The Godfather, Part II Apocalypse Now The Anderson Tapes STEVEN SPIELBERG Dog Day Afternoon Network Jaws ROBERT ALTMAN Close Encounters of the Third Kind GEORGE LUCAS M*A*S*H Nashville Star Wars The Long Goodbye BARBARA LODEN McCabe and Mrs. Miller Wanda WILLIAM FRIEDKIN ELAINE MAY The Exorcist A New Leaf JIM SHARMAN Mikey and Nicky PETER BOGDANOVICH The Rocky Horror Picture Show SYDNEY POLLACK The Last Picture Show MICHAEL RITCHIE Jeremiah Johnson The Candidate GORDON PARKS MILOS FORMAN Shaft One Flew Over the Cuckoo’s Nest MELVIN VAN PEEBLES BOB RAFELSON Sweetback’s Sweet Badass Song Five Easy Pieces JACK HILL MICHAEL CIMINO Foxy Brown The Deer Hunter SERGIO LEONE LUIS BUNUEL The Good, the Bad, and the Ugly The Discreet Charm of the Bourgeoisie INGMAR BERGMAN PAUL SCHRADER Cries and Whispers Blue Collar Autumn Sonata BOB FOSSE RAINER WERNER FASSBINDER Cabaret The Bitter Tears of Petra von Kant All That Jazz Ali: Fear Eats the Soul MEL BROOKS DAVID LYNCH Young Frankenstein The Elephant Man Blazing Saddles Eraserhead HERBERT ROSS WILLIAM FRIEDKIN The Goodbye Girl The French Connection TERRY JONES AND TERRY GILLIAM ALBERT AND DAVID MAYSLES Monty Python and the Holy Grail Grey Gardens TERRY JONES BARBARA KOPPLE Monty Python and the Life of Brian Harlan County, U.S.A.
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Moma EXHIBITION AUTOMATIC UPDATE EXPLORES THE
MoMA’s NINTH ANNUAL INTERNATIONAL FESTIVAL OF FILM PRESERVATION SHOWCASES NEWLY RESTORED MASTERWORKS AND REDISCOVERIES Festival Features Films by Roger Corman, Forugh Farrokhzad, George Kuchar, Alberto Lattuada, Louis Malle, Agnes Martin, Georges Méliès, Michael Powell and Emeric Pressburger, Jean Rouch, and Seijun Suzuki Guest presenters include Joe Dante, Walter Hill, Alejandro Jodorowsky, Elaine May, Mario Montez, Thelma Schoonmaker, and Martin Scorsese To Save and Project: The Ninth MoMA International Festival of Film Preservation October 14–November 19, 2011 The Roy and Niuta Titus Theaters NEW YORK, September 20, 2011—The Museum of Modern Art presents To Save and Project: The Ninth MoMA International Festival of Film Preservation, the annual festival of preserved and restored films from archives, studios, and distributors around the world, from October 14 through November 19, 2011. This year’s festival comprises over 35 films from 14 countries, virtually all of them having their New York premieres, and some shown in versions never before seen in the United States. Complementing the annual festival is a retrospective devoted to filmmaker Jack Smith, featuring 11 newly struck prints acquired for MoMA’s collection and introduced on November 13 by Mario Montez, star of Smith’s Flaming Creatures (1962–63) and Normal Love (1963–65). To Save and Project is organized by Joshua Siegel, Associate Curator, Department of Film, The Museum of Modern Art. Opening this year’s festival is Joe Dante’s digital preservation of The Movie Orgy (1968). Dante, who created some of the best genre-bending movies of the past 40 years, including Piranha, The Howling, Gremlins, and Matinee, will introduce a rare screening of The Movie Orgy on October 14.
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Women Filmmakers in the New Hollywood Era, 1967—1980, May 2—20
BAMcinématek presents A Different Picture: Women Filmmakers in the New Hollywood Era, 1967—1980, May 2—20 Including appearances by Claudia Weill, Julia Reichert, and Christine Choy April 2, 2018/Brooklyn, NY—From Wednesday, May 2 through Sunday, May 20, BAMcinématek presents A Different Picture: Women Filmmakers in the New Hollywood Era, 1967—1980. A counter- narrative to the traditional macho mythology of the New Hollywood era, this series seeks to correct a historical wrong. As programmer Jesse Trussell explains, “This series is a redress to the established Easy Riders and Raging Bulls narratives; women from coast to coast radically altering film form, film subject and film power structures.” This series spotlights the prodigious work of female filmmakers in the United States from 1967—1980; films made both inside and outside of the Hollywood system and encompassing a wide array of genres from comedy to drama, art house to exploitation. The series opens with Claudia Weill in person for It’s My Turn (1980—May 2), starring Jill Clayburgh and Michael Douglas. It’s My Turn screens with Joyce Chopra’s Joyce at 34 (1972), made in collaboration with Weill. The series closes with Weill’s iconic Girlfriends (1978—May 20). Two films by Elaine May, one of the few women making major studio films at the time, appear in the series: A New Leaf (1971— May 4), screening with Faith Hubley’s W.O.W. (Women of the World) (1975), and Mikey and Nicky (1976—May 13). There are also two films by Joan Micklin Silver: Chilly Scenes of Winter (1979—May 13) and the Academy Award-nominated Hester Street (1975—May 6).
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