Every Saturday Night at Midnight

Total Page：16

File Type：pdf, Size：1020Kb

EVERY SATURDAY NIGHT AT MIDNIGHT 12/29 Raiders Of The Lost Ark 1/5 Taxi Driver 1/12 The Silence Of The Lambs 1/19 One Flew Over the Cuckoo’s Nest 1/26 A Clockwork Orange 2/2 The Graduate 2/9 Pulp Fiction 2/16 Dr. Strangelove 2/23 Chinatown 1729 MURRAY AVENUE . 412-422-9851 TICKETS AVAILABLE AT WWW.MANORPGH.COM 12/29 Raiders Of 1/26 A Clockwork The Lost Ark Orange Directed by Steven Spielberg and starring Harrison This 1972 action-packed classic about a violent Ford and Karen Allen, this 1982 four time Oscar London gang from director Stanley Kubrick still winner is one of the most exhilarating adventure seems light years ahead of its time films of all times 2/2 The Graduate 1/5 Taxi Driver Directed by Oscar winner Mike Nichols, this 1967 Marty Scorsese’s intense, neon-lit portrait of New funny, moving and erotic fable stars Dustin Hoffman York City made Robert De Niro a star in this 1976 as a young man coming of age in Beverly Hills psychological thriller Presented in Sony 4K digital 2/9 Pulp Fiction This exhilarating tour-de-force from Quentin Tarantino 1/12 The Silence redefined the gangster film with its tasty dialogue and all-star cast, earning an Oscar for Best Of The Lambs Original Screenplay This 1991 “Big Five” Oscar winner stars Jodie Foster and Anthony Hopkins as serial killer Hannibal Lecter, famously fond of Chianti and fava beans 2/16 Dr. Strangelove A scary and hilarious classic from director Stanley Kubrick about a mad U.S. general who, despite all 1/19 One Flew safeguards, brings the world to the brink Over the Presented in Sony 4K digital Cuckoo’s Nest 2/23 Chinatown Jack Nicholson provides one of his most iconic, This 1974 Oscar winning searing murder mystery high-energy performances in this 1975 “Big Five” directed by Roman Polanski stars Jack Nicholson Oscar winner as an LA private eye on the trail of some very unsavory characters.

Copy Link

Recommended publications

Editorial Necsus
EUROPEAN JOURNAL OF MEDIA STUDIES www.necsus-ejms.org Editorial Necsus NECSUS 6 (2), Autumn 2017: 1–3 URL: https://necsus-ejms.org/editorial-necsus-autumn-2017/ Keywords: dress, editorial From the early days of film studies, costumes have been analysed as an im- portant element of the mise-en-scène and stardom, as they help shape identi- ties and define subjectivities, crafting the stars. There is no question that cos- tumes help create meaning, no less today than in the heyday of classical cin- ema. More recently, haute couture has entered film as a topic, just as fashion designers have become the subjects of biopics. In recent years, fashion films have become an interesting vehicle for large fashion brands that were able to attract prestigious auteurs (Roman Polanski, Wes Anderson, Martin Scorsese, Sofia Coppola, et al). Indeed, the whole ecosystem of fashion has been rup- tured by the effects of digital distribution, blogs, and social media. The special section of the Autumn 2017 issue of NECSUS is devoted to this key element in photographic practices and cinematic and audiovisual storytelling. #Dress investigates fashion and costume as theoretical and ana- lytical concerns in media studies, and the analyses demonstrate how dress and costume contribute to the production of meaning. #Dress also presents the many echoes of Roland Barthes’ seminal publication The Fashion System (1967) and the ‘language’ of fashion magazines as an analytical tool to address theoretical questions of identity, politics, and cultural history. Contributors to this special section include Marie Lous Baronian, Giuliana Bruno, Isabelle Freda, Šárka Gmiterková & Miroslava Papežová, and Frances Joseph.
[Show full text]
January 2012 at BFI Southbank
PRESS RELEASE November 2011 11/77 January 2012 at BFI Southbank Dickens on Screen, Woody Allen & the first London Comedy Film Festival Major Seasons: x Dickens on Screen Charles Dickens (1812-1870) is undoubtedly the greatest-ever English novelist, and as a key contribution to the worldwide celebrations of his 200th birthday – co-ordinated by Film London and The Charles Dickens Museum in partnership with the BFI – BFI Southbank will launch this comprehensive three-month survey of his works adapted for film and television x Wise Cracks: The Comedies of Woody Allen Woody Allen has also made his fair share of serious films, but since this month sees BFI Southbank celebrate the highlights of his peerless career as a writer-director of comedy films; with the inclusion of both Zelig (1983) and the Oscar-winning Hannah and Her Sisters (1986) on Extended Run 30 December - 19 January x Extended Run: L’Atalante (Dir, Jean Vigo, 1934) 20 January – 29 February Funny, heart-rending, erotic, suspenseful, exhilaratingly inventive... Jean Vigo’s only full- length feature satisfies on so many levels, it’s no surprise it’s widely regarded as one of the greatest films ever made Featured Events Highlights from our events calendar include: x LoCo presents: The London Comedy Film Festival 26 – 29 January LoCo joins forces with BFI Southbank to present the first London Comedy Film Festival, with features previews, classics, masterclasses and special guests in celebration of the genre x Plus previews of some of the best titles from the BFI London Film Festival:
[Show full text]
The New Hollywood Films
The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d.
[Show full text]
Reading for Fictional Worlds in Literature and Film
Reading for Fictional Worlds in Literature and Film Danielle Simard Doctor of Philosophy University of York English and Related Literature March, 2020 2 Abstract The aim of this thesis is to establish a critical methodology which reads for fictional worlds in literature and film. Close readings of literary and cinematic texts are presented in support of the proposition that the fictional world is, and arguably should be, central to the critical process. These readings demonstrate how fictional world-centric readings challenge the conclusions generated by approaches which prioritise the author, the reader and the viewer. I establish a definition of independent fictional worlds, and show how characters rather than narrative are the means by which readers access the fictional world in order to analyse it. This interdisciplinary project engages predominantly with theoretical and critical work on literature and film to consider four distinct groups of contemporary novels and films. These texts demand readings that pose potential problems for my approach, and therefore test the scope and viability of my thesis. I evaluate character and narrative through Fight Club (novel, Chuck Palahniuk [1996] film, David Fincher [1999]); genre, context, and intertextuality in Solaris (novel, Stanisław Lem [1961] film, Andrei Tarkovsky [1974] film, Steven Soderbergh [2002]); mythic thinking and character’s authority with American Gods (novel, Neil Gaiman [2001]) and Anansi Boys (novel, Neil Gaiman [2005]); and temporality and nationality in Cronos (film, Guillermo
[Show full text]
Urban Netherworlds: Noir and Neo-Noir NY and LA in Film (Abstracts 5/15/16)
H-Film CFP: Urban Netherworlds: Noir and Neo-Noir NY and LA in Film (Abstracts 5/15/16) Discussion published by Cynthia Miller on Monday, April 4, 2016 Call for Contributors Urban Netherworlds: Noir and Neo-Noir New York and Los Angeles in Film (under contract) Film noir is one of the most intensely studied cinematic genres, yet Mark Shiel remarks that while numerous studies have helped define the genre in thematic, stylistic, and technical terms, “they have engaged very little with the local geography of film noirs, whether set in Los Angeles, New York, or other cities.” Yet it is hard to think of another genre where the identity of a particular city or neighborhood or even street carries equal diegetic weight. The symbiotic screen relationship between New York and Los Angeles in noir and neo-noir is reflected in the work of actors such as Robert De Niro, Roy Scheider, Al Pacino, and directors such as William Friedkin, Sidney Lumet, Martin Scorsese, John Cassavettes, and Roman Polanski. Kathryn Bigelow puts Jamie Lee Curtis at risk in New York Blue( Steel) and then does the same thing to Angela Bassett in Los Angeles (Strange Days). In Brian De Palma’s Body Double Melanie Griffith is menaced by a Hollywood killer with a penchant for disguises and power tools; in Jane Campion’sIn the Cut Meg Ryan is stalked by a murderer who may be a member of the NYPD. This book will bring together a limited number of essays on the ways in which New York and Los Angeles have been represented, over the last half-century or more, in noir film.
[Show full text]
The Shoah on Screen – Representing Crimes Against Humanity Big Screen, Film-Makers Generally Have to Address the Key Question of Realism
Mémoi In attempting to portray the Holocaust and crimes against humanity on the The Shoah on screen – representing crimes against humanity big screen, film-makers generally have to address the key question of realism. This is both an ethical and an artistic issue. The full range of approaches has emember been adopted, covering documentaries and fiction, historical reconstructions such as Steven Spielberg’s Schindler’s List, depicting reality in all its details, and more symbolic films such as Roberto Benigni’s Life is beautiful. Some films have been very controversial, and it is important to understand why. Is cinema the best way of informing the younger generations about what moire took place, or should this perhaps be left, for example, to CD-Roms, videos Memoi or archive collections? What is the difference between these and the cinema as an art form? Is it possible to inform and appeal to the emotions without being explicit? Is emotion itself, though often very intense, not ambivalent? These are the questions addressed by this book which sets out to show that the cinema, a major art form today, cannot merely depict the horrors of concentration camps but must also nurture greater sensitivity among increas- Mémoire ingly younger audiences, inured by the many images of violence conveyed in the media. ireRemem moireRem The Shoah on screen – www.coe.int Representing crimes The Council of Europe has 47 member states, covering virtually the entire continent of Europe. It seeks to develop common democratic and legal princi- against humanity ples based on the European Convention on Human Rights and other reference texts on the protection of individuals.
[Show full text]
101 Films for Filmmakers
101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers.
[Show full text]
Gruner Time: Tu/Th 2:00-3:20Pm Email: [email protected] Room: WPH103 Phone: (213) 740-1668 Class #: 35247R Office Hours: Tue/Thur 12.45-1.45 Pm & by App’T
Arts and Letters 100g The Holocaust in Literature and Film Spring 2009 Prof. Wolf Gruner Time: Tu/Th 2:00-3:20pm Email: [email protected] Room: WPH103 Phone: (213) 740-1668 Class #: 35247R Office hours: Tue/Thur 12.45-1.45 pm & by app’t. Office: SOS 262 Course is on Blackboard The Holocaust is one of the most disputed events in modern history. Through close discussion of literature and film we will explore the origins and the development of persecution and mass murder of the European Jewry during World War II. During the course we will address major questions as: Why did people participate in persecution? Could people resist? Who did help the Jews? Could the Holocaust have been prevented? These questions are still valuable today. Key themes we will explore include: the personalities of the perpetrators, the lives of the victims, the role of the bystanders, and the motives of the rescuers. We will use closely discussion of movies by famous filmmakers as Chaplin, Polanski and Spielberg, as well as documentaries, novels and diaries. Using both fiction and non fictional material we will also touch upon the eternal debate between historians and artists about the interpretation of historical events. Required books (at Bookstore or library) Jurek Becker, Jacob the Liar Anne Michaels, Fugitive Pieces Primo Levi, Survival in Auschwitz Patrick Modiano, Dora Bruder Rutka’s Notebook. A voice from the Holocaust Required movies The Pianist, 2002, Roman Polanski Rosenstrasse, 2003, Margarete von Trotta, Schindler’s list, 1993, Steven Spielberg, Sophie Scholl – the last days, 2005, marc rothemund Attention: Some of the movies and documentaries display graphic images; some of the novels describe graphic scenes.
[Show full text]
Will Poulter Wins the Ee Rising Star Award
WILL POULTER WINS THE EE RISING STAR AWARD We’re the Millers and Wild Bill actor tops the public vote The EE Rising Star Award is the only one at the EE British Academy Film Awards to be voted for by the public Previous winners are Juno Temple, Adam Deacon, Tom Hardy, Kristen Stewart, Noel Clarke, Shia LeBeouf, Eva Green and James McAvoy London, Sunday 16 February 2014: EE is proud to announce Will Poulter as the winner of the EE Rising Star Award in 2014. The EE Rising Star Award is the only publicly-voted award presented at the EE British Academy Film Awards, and a hotly contested accolade for up and coming acting talent. Will was one of five international actors nominated for their exceptional talent and recognised as a true star in the making. The other nominees were: Dane DeHaan, George MacKay, Lupita Nyong’o and Léa Seydoux. Will Poulter made his feature debut in the quirky British comedy Son of Rambow, where he gained critical acclaim and earned himself a nomination for most promising newcomer at the 2007 British Independent Film Awards. He has proved to be as comfortable with Hollywood A-listers as he is with small-budget Brit flicks. He recently took the lead in Dexter Fletcher’s gritty UK independent film, Wild Bill and more recently starred alongside Jason Sudeikis and Jennifer Aniston in the outrageous We’re the Millers. His performance in Wild Bill saw Will pick up a nomination for young British performer of the year at the London Critics’ Circle Awards.
[Show full text]
Los Angeles and Cinema
Los Angeles and Cinema Drive (Nicolas Winding Refn, 2011) Instructor: Dr. John Trafton FILM 3910 Office Hours: Mon and Wed, 12p.m. – 4 p.m. SPRING 2017 E-mail: [email protected] TTH 3:45-5:40 Office: Xavier 160 Admin 326 Description It is impossible to talk about the City of Angels without talking about its movie business. The history of American cinema is so intertwined with Los Angeles that the term “Hollywood” is used interchangeably with “American film” worldwide. The earliest film pioneers migrated to Southern California in the early twentieth century to take advantage of ideal shooting conditions—over 300 days of sunshine a year—and to evade patent enforcement from the Edison Studios. One of the first Hollywood studios, The Nestor Film Company, was established at a tavern, ironically placed in the eastern part of a town that was founded as a dry community: Hollywood. Slapstick comedy filmmaker Mack Sennett set up his Keystone Studios in the appropriately named Edendale, a now defunct city situated south of the Los Angeles Dodgers’ Stadium. Later, a group of German-Austrian immigrants would establish a community in Pacific Palisades (now the home of Steven Spielberg) where they would critique what they saw as “the culture industry.” The indecipherable nature of the city would give rise to a series of crime films and psychological thrillers that French film critics would later dub “Film Noir.” By the end of the century, natural disasters, punk rock music, ethnic enclaves, and star culture would contribute to what today we can call “Los Angeles Cinema.” This course will look at the history of Los Angeles Cinema and the complex relationship that American film has had with its host city throughout film history.
[Show full text]
Waterways Film List
Water/Ways Film List This film resource list was assembled to help you research and develop programming around the themes of the WATER/WAYS exhibition. Work with your local library, a movie theater, campus/community film clubs to host films and film discussions in conjunction with the exhibition. This list is not meant to be exhaustive or even all-encompassing – it will simply get you started. A quick search of the library card catalogue or internet will reveal numerous titles and lists compiled by experts, special interest groups and film buffs. Host series specific to your region or introduce new themes to your community. All titles are available on DVD unless otherwise specified. See children’s book list for some of the favorite animated short films. Many popular films have blogs, on-line talks, discussion ideas and classroom curriculum associated with the titles. Host sites should check with their state humanities council for recent Council- funded or produced documentaries on regional issues. 20,000 Leagues under the Sea. 1954. Adventure, Drama, Family. Not Rated. 127 minutes. Based on the 1870 classic science fiction novel by Jules Verne, this is the story of the fictional Captain Nemo (James Mason) and his submarine, Nautilus, and an epic undersea exploration. The oceans during the late 1860’s are no longer safe; many ships have been lost. Sailors have returned to port with stories of a vicious narwhal (a giant whale with a long horn) which sinks their ships. A naturalist, Professor Pierre Aronnax (Paul Lukas), his assistant, Conseil (Peter Lorre), and a professional whaler, Ned Land (Kirk Douglas), join an US expedition which attempts to unravel the mystery.
[Show full text]
14. Broken Time, Continued Evolution
AB Pamphlet 14 April 2017 Literary Lab Broken Time, Continued Evolution: Anachronies in Contemporary Films Maria Kanatova Alexandra Milyakina Tatyana Pilipovec Artjom Shelya Oleg Sobchuk Peeter Tinits Pamphlets of the Stanford Literary Lab ISSN 2164-1757 (online version) Maria Kanatova Alexandra Milyakina Tatyana Pilipovec Artjom Shelya Oleg Sobchuk Peeter Tinits Broken Time, Continued Evolution: Anachronies in Contemporary Films1 In 1983, Brian Henderson published an article that examined various types of narrative structure in film, including flashbacks and flashforwards. After analyzing a whole spectrum of techniques capable of effecting a transition between past and present – blurs, fades, dis- solves, and so on – he concluded: “Our discussions indicate that cinema has not (yet) devel- oped the complexity of tense structures found in literary works”.2 His “yet” (in parentheses) was an instance of laudable caution, as very soon – in some ten–fifteen years – the situation would change drastically, and temporal twists would become a trademark of a new genre that has not (yet) acquired a standardized name: “modular narratives”, “puzzle films”, and “complex films” are among the labels used.3 Here is an example: Christopher Nolan’s Me- mento (2000) contains 85 anachronies (i.e. flashbacks or flashforwards) – something that would have been hard to imagine in 1983.4 Memento is probably an extreme case – the most puzzlingly complex of all complex films – but the tendency towards using more anachronies has become widespread, although in less extreme forms. From romantic comedies (500 1 This research was started in Tartu (Estonia) by a small group of graduate students interested in digital humanities and cultural evolution.
[Show full text]