"Desk Set" and "Working Girl"

Total Page:16

File Type:pdf, Size:1020Kb

City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2014 Working Women: Contemporary Cinematic Costumes in "Desk Set" and "Working Girl" Karen Hummel Kinsley Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/143 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] WORKING WOMEN: Contemporary Cinematic Costumes in Desk Set and Working Girl BY KAREN HUMMEL KINSLEY A master's thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2014 ii This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the requirement for the degree of Master of Arts. Thesis Adviser Date Shifra Sharlin January 10, 2014 Approved Executive Officer Date Matthew Gold January 13, 2014 THE CITY UNIVERSITY OF NEW YORK iii Abstract WORKING WOMEN: CONEMPORARY CINEMATIC COSTUMES IN DESK SET AND WORKING GIRL By Karen Hummel Kinsley Advisor: Professor Shifra Sharlin The contemporary cinematic costume designer is a visual storyteller. Through the dressing, or undressing of the actor’s body, the costume designer narrates the cinematic character’s physical and psychological journey from the first frame to the final credits. The costume designer creates the character’s image by selecting specific garments and accessories that will inform the audience about the character’s relationship with his cinematic environment. The focus of this thesis is to examine how the contemporary cinematic costume designer unifies contemporary clothing with the actor’s body to narrate a cinematic character’s story. In order to understand how the costume designer creates a visual narrative, I will examine two films, Desk Set (1957) with costumes designed by Charles le Maire and Working Girl (1988) with costumes designed by Ann Roth that offer an entrée into two different time periods; however, both films were released as contemporary films. iv Table of Contents Introduction…………………………………………………………………………...……..…..1 Desk Set (1957)………………………………………………………...…………………..….…9 Working Girl (1988)……………..……………………………………………………..…….…..31 Conclusion……………………………………………………………………….………….….45 References………………………………………………………………………………….…..48 1 Introduction Getting dressed, even casually, fixing our hair, putting on makeup, etc., is a language that always ‘recounts’ something. Even more so in cinema, where every sign on the body of a character has a precise meaning, linked to social characterization, historical identity, grotesque emphasis, transformation in terms of personality or feeling, and so on. Thus in the great sense-making machine of cinema, costume represents yet another signifying system, the signs of which become distinctive feature, functioning as linguistic units that are often more important than script or sound track.1 The contemporary cinematic costume designer is a visual storyteller.2 Through the dressing, or undressing of the actor’s body, the costume designer narrates the cinematic character’s physical and psychological journey from the first frame to the final credits. The costume designer creates the character’s image by selecting specific garments and accessories that will inform the audience about the character’s relationship with his cinematic environment. Although the central characters are the focus of film’s visual narrative, the costume designer uses the costumes of the supporting cast as a point or counterpoint to the image of the central characters.3 1 Patrizia Calefato, The Clothed Body, (Oxford: Berg Publishers, 2004) http://dx.doi.org/10.2752/9780857854049. (accessed November 1, 2013), 91. 2 The term “contemporary” refers to the correlation between the style of fashion and the release date of the film. The term “cinematic costume” is used to distinguish the difference between theatrical and cinematic costumes. Although many of the skills and techniques employed by both theatrical and cinematic costume designers are similar, the costumes are realized as two separate and unique garments. The theatrical costume is designed so that the effect, narrative and comprehension of the garment can be understood by viewers who are seated adjacent to the playing area, as well as the viewer standing behind the furthest row in the theatre. The cinematic costume is designed to create an image that is always viewed and received through the technical demands of the filmic process. 3The author has been a member of United Scenic Artists Local 829 that is a professional association of Designers, Artists and Craftspeople since 1983. Kinsley, Karen Hummel. "Karen Hummel Kinsley." Last modified March 03, 2013. Accessed January 01, 2014. www.KarenHummelKinsley. 2 The costume designer’s narrative mission is consistent regardless of the film genre. The work of the costume designer is to illustrate the character’s journey whether his story begins clothed in metal armor or a white t-shirt; however, there is a perception that there is a difference between the costume designer’s process in designing costumes for historic or fantasy genre films, rather than contemporary films. Costume designers who work in the contemporary genre do not garner the artistic accolades that are bestowed on their fellow designers whose work is viewed as more creative and “better” than costume design that is evidenced in contemporary film. Despite the fact that since 1967, when the Academy of Motion Picture Arts and Sciences combined the Black and White and Color Costume Design Categories into a single award, The Adventures of Priscilla, Queen of the Desert (1994) with costume design by Lizzy Gardiner4 and Tim Chappel,5 is the only film to receive the costume design Oscar that showcased a limited number of contemporary costumes.6 In recent years, the Academy has awarded the Oscar to Mark Bridges’ homage to the 1930’s black and white era musical, The Artist (2011) and Jacqueline Durran’s work in Anna Karenina (2012).7 These costume designs are considered historical or period costume films, while, for example, Gary Jones’ costumes for Oz the Great and Powerful (2013), are viewed as fantasy costumes.8 Both historic and fantasy genre films 4 Lizzy Gardiner was born in 1966 in Australia. http://www.imdb.com/name/nm0306773/. 5 Tim Chappel was born in 1967 in New South Wales, Australia. http://www.imdb.com/name/nm0152579/?ref_=fn_al_nm_1. 6 The Academy of Motion Pictures Arts and Sciences’ website at hhtp://www.oscars.org/awards/index offers an indexed list of all nominees and award recipients from 1948 to the present. 7 Ibid. 3 feature exotic and unique clothing elements that bring the narrative work of the costume designer to the forefront of both the theatrical experience and the Academy ballots. The elements of clothing in these types of films are viewed on the screen as unfamiliar and removed from the viewers’ frame of clothing reference. A characters clothes, accessories or hairstyle in a costume drama may appear verisimilar to the viewer if the latter’s encyclopaedia [sic] contains prior knowledge of the apparel in vogue during the historical period in which the film is set and, moreover, if the images manage to make the costume credible at a textual and intertextual level, if they manage to stimulate the viewers’ imagination (as a semiotic activity productive of other worlds). 9 The cinematic costume designer’s work is created within the parameters of visual constraint that is set up by Production Designer, who coordinates and oversees the visual cinematic departments. The unification and consistency of design elements is used to reinforce the audience’s perception that the cinematic environment on the screen is “real.” In order to convince the audience of this paradigm, the viewer’s gaze is drawn through a rigidly defined visual portal into a cinematic space that has been imagined, drawn, constructed and controlled by the Production Designer. The costume designer is asked to filter the negotiated historical or fantastical cinematic elements through an additional prism of costume elements that may be referenced through historical garments, or the imagination of the designer, or a combination of both. Because the costume design in historical or fantasy films falls under the umbrella of the tightly controlled production design, the costume can stand outside the audience’s common frame of reference; therefore, there is a willingness, cooperation and participation of the 8 The Costume Designers Guild Local 892 is a professional organization for costume designers working in film that is affiliated with the International Alliance of Theatrical State Employees (IATSE). The Costume Designers Guild Awards have three categories for costumes created for film: Contemporary, Period and Fantasy. 9 Patrizia Calefato, The Clothed Body, (Oxford: Berg Publishers, 2004) http://dx.doi.org/10.2752/9780857854049. (accessed November 1, 2013), 92. 4 audience, as well as the actor wearing the costume, in the “suspension of disbelief,” or “poetic faith” that transcends realism.10 The actor is often willing to relinquish control over his sartorial self-image on screen because his cinematic, costumed persona will be confined to an image that is separate and distinct from the red-carpet image, which is more directly linked to his off-screen persona and fashion acumen. The unfamiliarity with the clothing allows the actor to make a more straightforward visual transformation into a character that stands outside of a pre-conceived self- image. This straightforward visual transformation from actor “into” a character is not the same for the actor in contemporary films because the actor too easily and readily sees his own person, rather than the character, standing in front of the mirror. The blurred lines between actor and character can be blurred for the cinematic costume designer, as well as the actor.
Recommended publications
  • The Films of Raoul Walsh, Part 1
    Contents Screen Valentines: Great Movie Romances Screen Valentines: Great Movie Romances .......... 2 February 7–March 20 Vivien Leigh 100th ......................................... 4 30th Anniversary! 60th Anniversary! Burt Lancaster, Part 1 ...................................... 5 In time for Valentine's Day, and continuing into March, 70mm Print! JOURNEY TO ITALY [Viaggio In Italia] Play Ball! Hollywood and the AFI Silver offers a selection of great movie romances from STARMAN Fri, Feb 21, 7:15; Sat, Feb 22, 1:00; Wed, Feb 26, 9:15 across the decades, from 1930s screwball comedy to Fri, Mar 7, 9:45; Wed, Mar 12, 9:15 British couple Ingrid Bergman and George Sanders see their American Pastime ........................................... 8 the quirky rom-coms of today. This year’s lineup is bigger Jeff Bridges earned a Best Actor Oscar nomination for his portrayal of an Courtesy of RKO Pictures strained marriage come undone on a trip to Naples to dispose Action! The Films of Raoul Walsh, Part 1 .......... 10 than ever, including a trio of screwball comedies from alien from outer space who adopts the human form of Karen Allen’s recently of Sanders’ deceased uncle’s estate. But after threatening each Courtesy of Hollywood Pictures the magical movie year of 1939, celebrating their 75th Raoul Peck Retrospective ............................... 12 deceased husband in this beguiling, romantic sci-fi from genre innovator John other with divorce and separating for most of the trip, the two anniversaries this year. Carpenter. His starship shot down by U.S. air defenses over Wisconsin, are surprised to find their union rekindled and their spirits moved Festival of New Spanish Cinema ....................
    [Show full text]
  • Volume 2, Issue 3, Autumn 2018
    The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Front Cover Image: Textile Detail of an Evening Dress, circa 1950s, Maker Unknown, Middlesex University Fashion Collection, London, England, F2021AB. The Middlesex University Fashion Collection comprises approximately 450 garments for women and men, textiles, accessories including hats, shoes, gloves, and more, plus hundreds of haberdashery items including buttons and trimmings, from the nineteenth century to the present day. Browse the Middlesex University Fashion Collection at https://tinyurl.com/middlesex-fashion. The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Editor–in–Chief Jennifer Daley Editor Scott Hughes Myerly Proofreader Georgina Chappell Published by The Association of Dress Historians [email protected] www.dresshistorians.org The Journal of Dress History Volume 2, Issue 3, Autumn 2018 [email protected] www.dresshistorians.org Copyright © 2018 The Association of Dress Historians ISSN 2515–0995 Online Computer Library Centre (OCLC) accession #988749854 The Journal of Dress History is the academic publication of The Association of Dress Historians through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Journal of Dress History is copyrighted by the publisher, The Association of Dress Historians, while each published author within the journal holds the copyright to their individual article. The Journal of Dress History is circulated solely for educational purposes, completely free of charge, and not for sale or profit.
    [Show full text]
  • MAY 2020 Weekly Activities 2 Dear Friends, Going Green J.O.Y
    Capen Caller Newsletter West Bridgewater Council On Aging 97 West Center Street, West Bridgewater MA 02379 508-894-1262 Bruce Holmquist, Chairman of the Board * Marilyn Mather, Director LOOK WHAT’S INSIDE MAY 2020 Weekly Activities 2 Dear Friends, Going Green J.O.Y. Sign-up Sometimes in the darkest of hours if we look hard enough we see a little glimmer of JOY. On Wednesday April 29th our little glimmer came to us in the form of a Early Voting 3 parade of cars driven by our J.O.Y. (Just Older Youth) members and friends tooting Musical Instrument their horns, waving and yelling “THANK YOU” to the COA staff joined by West Word Search Bridgewater Board of Selectmen Anthony Kinahan, Denise Reyes, Eldon Moreira and Town Manager David Gagne! Thank you to Marguerite Morse and to all who Lunch Menu 4 Comedy Movies planned and participated in this fabulous gesture of caring and appreciation. We Word Search love you and miss you all. As time marches on we are now in the midst of planning and preparing for when May Birthdays 5 the time comes to phase in programs and activities. This will be a very slow and careful process, but we will keep you posted as we move forward. Board of Directors 6 Staff & Volunteers Stay home, stay safe and remember we are here Monday - Friday 9:00AM - 3:00PM Community Caring to answer questions and to offer assistance if you have needs or concerns. The Meals On Wheels program is still running and our van drivers are available to take you grocery shopping (call ahead).
    [Show full text]
  • THTR 433A/ '16 CD II/ Syllabus-9.Pages
    USCSchool of Costume Design II: THTR 433A Thurs. 2:00-4:50 Dramatic Arts Fall 2016 Location: Light Lab/PDE Instructor: Terry Ann Gordon Office: [email protected]/ floating office Office Hours: Thurs. 1:00-2:00: by appt/24 hr notice Contact Info: [email protected], 818-636-2729 Course Description and Overview This course is designed to acquaint students with the requirements, process and expectations for Film/TV Costume Designers, supervisors and crew. Emphasis will be placed on all aspects of the Costume process; Design, Prep: script analysis,“scene breakdown”, continuity, research, and budgeting; Shooting schedules, and wrap. The supporting/ancillary Costume Arts and Crafts will also be discussed. Students will gain an historical overview, researching a variety of designers processes, aesthetics and philosophies. Viewing films and film clips will support critique and class discussion. Projects focused on specific design styles and varied media will further support an overview of techniques and concepts. Current production procedures, vocabulary and technology will be covered. We will highlight those Production departments interacting closely with the Costume Department. Time permitting, extra-curricular programs will include rendering/drawing instruction, select field trips, and visiting TV/Film professionals. Students will be required to design a variety of projects structured to enhance their understanding of Film/TV production, concept, style and technique . Learning Objectives The course goal is for students to become familiar with the fundamentals of costume design for TV/Film. They will gain insight into the protocol and expectations required to succeed in this fast paced industry. We will touch on the multiple variations of production formats: Music Video, Tv: 4 camera vs episodic, Film, Commercials, Styling vs Costume Design.
    [Show full text]
  • Press Kit the History of French Lingerie at the Sagamore Hotel Miami Beach
    LINGERIE FRANCAISE EXHIBITION PRESS KIT THE HISTORY OF FRENCH LINGERIE AT THE SAGAMORE HOTEL MIAMI BEACH Continuing its world tour, the Lingerie Francaise exhibition will be presented at the famous Sagamore Hotel Miami Beach during the Art Basel Fair in Miami Beach from November 29th through December 6th, 2016. Free and open to all, the exhibition showcases the ingeniousness and creativity of French lingerie which, for over a century and a half, has been worn by millions of women worldwide. The exhibition is an immersion into the collections of eleven of the most prestigious French brands: AUBADE, BARBARA, CHANTELLE, EMPREINTE, IMPLICITE, LISE CHARMEL, LOU, LOUISA BRACQ, MAISON LEJABY, PASSIONATA and SIMONE PÉRÈLE. With both elegance and playfulness, the story of an exceptional craft unfolds in a space devoted to contemporary art. The heart of this historic exhibition takes place in the Game Room of the Sagamore Hotel. Beginning with the first corsets of the 1880’s, the presentation documents the custom-made creations of the 1930’s, showcases the lingerie of the 1950’s that was the first to use nylon, and culminates with the widespread use of Lycra® in the 1980’s, an epic era of forms and fabrics. This section focuses on contemporary and future creations; including the Lingerie Francaise sponsored competition’s winning entry by Salima Abes, a recent graduate from the university ESMOD Paris. An exclusive collection of approximately one hundred pieces will be exhibited, all of them emblematic of a technique, textile, and/or fashion innovation. A selection of landmark pieces will trace both the history of intimacy and the narrative of women’s liberation.
    [Show full text]
  • 2018-19 SEASON Celebrating 30 Years
    2018-19 SEASON Celebrating 30 Years OPENING NIGHT Proving Up NEW YORK PREMIERE MUSIC BY Missy Mazzoli LIBRETTO BY Royce Vavrek Adapted from the short story “Proving Up” by Karen Russell Co-commissioned by Washington National Opera, Opera Omaha, and Miller Theatre at Columbia University © 2018 G. Schirmer Inc. IN A NEW PRODUCTION BY OPERA OMAHA Wednesday, September 26, 8 p.m. | Friday, September 28, 8 p.m. Click on a section to learn more OVERVIEW SYNOPSIS CREATIVE TEAM CAST PRODUCTION PHOTOS OVERVIEW Proving Up Wednesday, September 26, 8 p.m. | Friday, September 28, 8 p.m. The performance runs approximately 75 minutes with no intermission. Composer Missy Mazzoli and librettist Royce Vavrek thrilled audiences and critics alike in 2016 with the premiere of their opera Breaking the Waves. This dynamic creative duo reunites for Proving Up, a harrow- ing tale of a family’s pursuit of the American Dream set in post-Civil War Nebraska. Miller’s 30th Anniver- sary Season opens with the New York premiere of this chamber opera that is by turns optimistic, exultant, and menacing. Major support for Proving Up is provided by Francis Goelet Charitable Lead Trusts and H.F. Lenfest Fund of The Philadelphia Foundation Introducing Proving Up A CONVERSATION WITH MISSY MAZZOLI AND ROYCE VAVREK Tuesday, September 25, 6:30 p.m. | Lenfest Center for the Arts On the eve of the New York premiere of their newest opera, Proving Up, the dynamic creative duo sits down with Associate Dean and Executive Director Melissa Smey to talk about the project, their creative process, and their inspiration.
    [Show full text]
  • Hollywood's Image of the Working Woman
    UNLV Retrospective Theses & Dissertations 1-1-1995 Hollywood's image of the working woman Jody Elizabeth Dawson University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Dawson, Jody Elizabeth, "Hollywood's image of the working woman" (1995). UNLV Retrospective Theses & Dissertations. 516. http://dx.doi.org/10.25669/f1nc-wwio This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI film s the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted.
    [Show full text]
  • DRAWING COSTUMES, PORTRAYING CHARACTERS Costume Sketches and Costume Concept Art in the Filmmaking Process
    Laura Malinen 2017 DRAWING COSTUMES, PORTRAYING CHARACTERS Costume sketches and costume concept art in the filmmaking process MA thesis Aalto University School of Arts, Design and Architecture Department of Film, Television and Scenography Master’s Degree Programme in Design for Theatre, Film and Television Major in Costume Design 30 credits Acknowledgements I would like to thank my supervisors Sofia Pantouvaki and Satu Kyösola for the invaluable help I got for this thesis. I would also like to thank Nick Keller, Anna Vilppunen and Merja Väisänen, for sharing their professional expertise with me. Author Laura Malinen Title of thesis Drawing Costumes, Portraying Characters – Costume sketches and costume concept art in the filmmaking process Department Department of Film, Television and Scenography Degree programme Master’s Degree Programme in Design for Theatre, Film and Television. Major in Costume Design Year 2017 Number of pages 85 Language English Abstract This thesis investigates the various types of drawing used in the process of costume design for film, focusing on costume sketches and costume concept art. The research question for this thesis is ‘how and why are costume sketches and costume concept art used when designing costumes for film?’ The terms ‘costume concept art’ and ‘costume sketch’ have largely been used interchangeably. My hypothesis is that even though costume sketch and costume concept art have similarities in the ways of usage and meaning, they are, in fact, two separate, albeit interlinked and complementary terms as well as two separate types of professional expertise. The focus of this thesis is on large-scale film productions, since they provide the most valuable information regarding costume sketches and costume concept art.
    [Show full text]
  • Introduction
    THE NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS THE OLIVE WONG PROJECT PERFORMANCE COSTUME DESIGN RESEARCH GUIDE INTRODUCTION COSTUME DESIGN AND PERFORMANCE WRITTEN AND EDITED BY AILEEN ABERCROMBIE The New York Public Library for the Perform- newspapers, sketches, lithographs, poster art ing Arts, located in Lincoln Center Plaza, is and photo- graphs. In this introduction, I will nestled between four of the most infuential share with you some of Olive’s selections from performing arts buildings in New York City: the NYPL collection. Avery Fisher Hall, Te Metropolitan Opera, the Vivian Beaumont Teater (home to the Lincoln There are typically two ways to discuss cos- Center Teater), and David H. Koch Teater. tume design: “manner of dress” and “the history Te library matches its illustrious location with of costume design”. “Manner of dress” contextu- one of the largest collections of material per- alizes the way people dress in their time period taining to the performing arts in the world. due to environment, gender, position, economic constraints and attitude. Tis is essentially the The library catalogs the history of the perform- anthropological approach to costume design. ing arts through collections acquired by notable Others study “the history of costume design”, photographers, directors, designers, perform- examining the way costume designers interpret ers, composers, and patrons. Here in NYC the the manner of dress in their time period: where so many artists live and work we have the history of the profession and the profession- an opportunity, through the library, to hear als. Tis discussion also talks about costume sound recording of early flms, to see shows designers’ backstory, their process, their that closed on Broadway years ago, and get to relationships and their work.
    [Show full text]
  • Little Theatre Society of Indiana
    LITTLE THEATRE SOCIETY OF INDIANA 1915-16 1919-20 1921-22 Polyxena Bernice Release A Killing Triangle Eugenically Speaking The Dragon The Glittering Gate Three Pills in a Bottle The Spring The Scheming Lieutenant Trespass A Nativity Play Dad The Angel Intrudes The Constant Lover A Christmas Miracle Play Trespass (2nd Production) Androcles & the Lion The Pretty Sabine Women The Shepherd in the Distance The Forest Ring Overtones The Star of Bethlehem Beyond the Horizon The Broken God Dierdre of the Sorrows Everyman Dad (2nd Production) The Jackdaw The Betrothal Cake At Steinberg’s Bushido Disarmament How He Lied to Her Husband A Woman’s Honor The Casino Gardens The Game of Chess Unspoken Children of the Moon The Kisses of Marjorie Moonshine Belinda Dawn Phoebe Louise Not According to Hoyle The Dark Lady of the Sonnets The Bank Robbery Mansions A Scrambled Romance Chicane The Dryad & the Deacon (silent film) The Groove Underneath A Shakespeare Revel Stingy 1922-23 Rococo The Trysting Place 1916-17 The Price of Coal A Civil War Pageant 1920-21 The Turtle Dove Night with Indiana Authors The Proposal Brothers Polly of Pogue’s Run In Hospital Two Dollars, Please! Laughing Gas Behind a Watteau Picture The Marriage Gown The Lost Silk Hat The Home of the Free Dad (3rd Production) The Farce of Pierre Patelin The Blind Sycamore Shadders Duty The Medicine Show Nocturne The Maker of Dreams Aria Da Capo Treason The Importance of Being Mary Broome Where Do We Go From Here? Earnest The Star of Bethlehem (2nd The Wish Fellow Lithuania Production) Father and the Boys Supressed Desires The Mollusc My Lady Make-Believe Cathleen Ni’Hoolihan Mary’s Lamb A Shakespeare Revel (2nd Spreading the News The Emperor Jones Production) The Rising of the Moon The Beauty Editor Sham 1923-24 1917-18 The Confession March Hares (No records survive) The Lotion of Love The Bountiful Lady The Wren 1918-19 The Doctor of Lonesome Folk A Pageant of Sunshine Why Marry? and Shadow Hidden Spirits The Murderer (a.k.a.
    [Show full text]
  • TU NE TUERAS POINT (Hacksaw Ridge)
    METROPOLITAN FILMEXPORT présente un film de Mel Gibson TU NE TUERAS POINT (Hacksaw Ridge) Avec Andrew Garfield Vince Vaughn Teresa Palmer Sam Worthington Luke Bracey Hugo Weaving Rachel Griffiths Un film produit par Bill Mechanic Durée : 2 h 11 min Sortie nationale : 9 novembre 2016 Vous pouvez télécharger l’affiche et des photos du film sur : www.metrofilms.com Distribution : Relations presse : METROPOLITAN FILMEXPORT KINEMA FILM 29, rue Galilée - 75116 Paris François Frey Tél. 01 56 59 23 25 15, rue Jouffroy-d’Abbans – 75017 Paris Fax 01 53 57 84 02 Tél. 01 43 18 80 00 [email protected] Fax 01 43 18 80 09 Programmation : Partenariats et promotion : Tél. 01 56 59 23 25 AGENCE MERCREDI Tél. 01 56 59 66 66 Relations presse internet : Zvi David Fajol Mensch Agency Tél. 06 12 18 89 27 [email protected] 1 L’HISTOIRE 1945, alors que la guerre dans le Pacifique faisait rage et que les forces américaines menaient l’une des batailles les plus acharnées du conflit sur l’île d’Okinawa, un soldat s’est distingué. Desmond T. Doss, un objecteur de conscience, qui bien qu’ayant fait le serment de ne jamais tuer ni toucher à une arme, voulut servir son pays et s’engagea dans l’infanterie. Fidèle à ses convictions et armé de son seul courage, il a sauvé la vie de dizaines de soldats blessés en les ramenant un par un en sureté, sous le feu ennemi. 2 QUELQUES MOTS DU RÉALISATEUR « Lorsque j’ai entendu parler de Desmond Doss, le premier objecteur de conscience à recevoir la Médaille d’honneur, la plus haute distinction militaire des États-Unis, j’ai été stupéfait par l’ampleur de son sacrifice.
    [Show full text]
  • CTCS 464: the Romantic Comedy in Classical, Postwar, and Reactionary/Revolutionary Hollywood (1929 – 1976)
    CTCS 464: The Romantic Comedy In Classical, Postwar, and Reactionary/Revolutionary Hollywood (1929 – 1976) Summer 2009 (First Session) Monday & Wednesdays 1 p.m to 5:30 p.m. Norris Theater Instructor: Dr. Drew Casper The Alma and Alfred Hitchcock Professor of American Film Course Description: An in-depth analysis the myths, conventions and iconographies of the romantic comedy genre in its Classical, Postwar and Reactionary/Revolutionary periods, this course will explore its extra-cinematic determinants (major historical events, economic situations, societal issues and other popular leisure activities) and cinematic determinants (business, technology, censorship, generic patterns, major directors, the star and the star system). Finally, this course will also examine the major theoretical issues of the genre. Teaching Assistants: Kate Fortmueller ([email protected]) & David Lerner ([email protected]). Office Hours: IMS Building, 2nd Floor, Monday and Wednesday 11:30 – 12:30pm Dr. Casper’s Office Hours: 12:00 – 1:00pm, Monday and Wednesday 323 School of Cinematic Arts Building – (213) 740-3334 If you wish to see Dr. Casper during his office hours, you must make an appointment in advance by signing up on the appointment sheet at the front desk of the Critical Studies office (SCA 320). Course Requirements: I. Attendance: Prompt and regular attendance for the full class period is of extreme importance. Missing the screening of any film will seriously limit your success in the course. NOT ALL OF THE FILMS SCREENED IN CLASS ARE AVAILABLE ON VIDEOTAPE OR DVD. It is your responsibility to make up any missed screenings and to obtain detailed notes from another student.
    [Show full text]