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(XXXVIII:10) Michael Cimino: the DEER HUNTER (1978, 183 Min.) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
April 9, 2019 (XXXVIII:10) Michael Cimino: THE DEER HUNTER (1978, 183 min.) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. DIRECTOR Michael Cimino WRITING Michael Cimino, Deric Washburn, Louis Garfinkle, and Quinn K. Redeker developed the story, and Deric Washburn wrote the screenplay. PRODUCED BY Michael Cimino, Michael Deeley, John Peverall, and Barry Spikings CINEMATOGRAPHY Vilmos Zsigmond MUSIC Stanley Myers EDITING Peter Zinner At the 1979 Academy Awards, the film won Oscars for Best Picture, Best Director, Best Film Editing, Best Actor in a Supporting Role, and Best Sound, and it was nominated for Oscars for Best Actor in a Leading Role, Best Actress in a Supporting Role, Best Writing, and Best Cinematography. CAST Robert De Niro...Michael John Cazale...Stan John Savage...Steven Christopher Walken...Nick was the first of a “spate of pictures. .articulat[ing] the effect on Meryl Streep...Linda the American psyche of the Vietnam war” (The Guardian). George Dzundza...John Cimino won Oscars for Best Picture and Best Directing and was Chuck Aspegren...Axel nominated for Best Writing for The Deer Hunter. The film was Shirley Stoler...Steven's Mother such an artistic and critical accomplishment that he was given Rutanya Alda...Angela carte blanche from United Artists to make his next film, the Pierre Segui...Julien western Heaven’s Gate* (1980). This decision was a serious Mady Kaplan...Axel's Girl blow to Cimino’s directorial career, and it brought about the Amy Wright... Bridesmaid downfall of United Artists, forcing its sale to MGM in 1981 (The Mary Ann Haenel...Stan's Girl Guardian). -
Blockbuster Culture : the Nuclear Family in Meltdown
BLOCKBUSTER CULTURE: THE NUCLEAR FAMILY IN MELTDOWN By DANA H. PETERSON A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1994 L UNIVERSI FY OF FLORIDA LIBRARIES TABLE OF CONTENTS Pag e ABSTRACT iii INTRODUCTION BLOCKBUSTER CULTURE: THE NUCLEAR FAMILY IN MELTDOWN 1 CHAPTERS 1 WHAT IS POPULAR CULTURE?: RE-VIEWING CULTURAL STUDIES IN THE AGE OF THE BLOCKBUSTER 4 2 SKELETONS IN THE CLOSET: STEPHEN KING'S FAMILY FRIGHTS 4 9 3 FAMILY PORTRAITS: HOLLYWOOD'S HOME SWEET HOME 93 CONCLUSION CONSTRUCTION AHEAD: CHANGING TIMES ON THE INFORMATION SUPERHIGHWAY 145 BIBLIOGRAPHY 155 BIOGRAPHICAL SKETCH 164 li Abstract of Dissertation Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy BLOCKBUSTER CULTURE: THE NUCLEAR FAMILY IN MELTDOWN By Dana H. Peterson April 1994 Chair: James B. Twitchell Major Department: English The consideration of popular culture as a source for looking at artistic expressions as chronicles of social reform and current values is at the heart of this study. Yet, its "other" agenda is to undermine, as they collapse onto themselves, the positions of the academic discourse. Whether they come from the political left or the right, the "Truths" that gatekeepers possess--the canonization of art, the "interpretive communities, " the traditions and fads-- have been pushed aside by the force of blockbuster culture. The choice of subject matter for a discussion such as this is thus no longer in the hands of those "trained" in the profession of art appreciation; instead, the control now lies with the mass audience who "canonize" popular culture by the act of consumption. -
Heavens Gate.P65
Heaven’s Gate Regie: Michael Cimino Land: USA 1980. Produktion: United Artists. Buch, Regie: Michael Cimino. Kamera: Vilmos Zsigmond. Ton: Richard W. Adams, James J. Klinger, Darin Knight, Tom McCarthy. Musik: David Mansfield, Johann Strauß (‘An der Schönen Blauen Donau’). Produktionsdesign: Tambi Larsen. Ausstattung: Spencer Deverill, Maurice Fowler, Jim Berkey, Josie MacAvin. Kostümentwürfe: Allen Highfill. Maske: Thomas R. Burman, Vern Caruso, Ken Chase, Thomas A. Hoerber, Mary Keats, Ben Nye, Jerry O’Dell. Special Effects: Jim Camomile, Stan Parks, Ken Pepiot, Sam Price, Kevin Quibell, Paul Stewart. Stunt-Koordination: Buddy Van Horn. Schnitt: Lisa Fruchtman, Gerald B. Greenberg, William Reynolds, Tom Rolf. Produzentin: Joann Carelli. Produktionsleitung: Denis O’Dell, Charles Okun, William Reynolds. Aufnahmeleitung: Bob Grand, Dennis O’Dell, Charles Okun, Peter Price. Darsteller: Kris Kristofferson (James Averill), Christopher Walken (Nathan D. Champion), John Hurt (Billy Irvine), Sam Waterston (Frank Canton), Brad Dourif (Mr. Eggleston), Isabelle Huppert (Ella Watson), Joseph Cotten (Rev. Doctor), Jeff Bridges (John H. Bridges), Ronnie Hawkins (Wolcott), Paul Koslo (Major), Geoffrey Lewis (Trapper), Richard Masur (Cully), Rosie Vela (schönes Mäd- chen), Mary Catherine Wright (Nell), Nicholas Woodeson (kleiner Mann), Stefan Shcherby (großer Mann), Waldemar Kalinowski (Photo- graph), Terry O’Quinn (Capt. Minardi), Jack Conley (Morrison), Margaret Benczak (Frau Eggleston), Jim Knobeloch (Kopestansky), Erika Petersen (Frau Kopestonsky), Tom Noonan (Jake), Marat Yusin (russischer Händler), Aivars Smits (Herr Kovach), Terry Sullivan (Gouver- neur von Wyoming), Jerry McGee (Heaven’s Gate Band), Cleve Dupin (Heaven’s Gate Band), Stephen Bruton (Heaven’s Gate Band), Sean Hopper (Heaven’s Gate Band), David Mansfield (Heaven’s Gate Band), T-Bone Burnett (Heaven’s Gate Band), u.v.a. -
American Audiences on Movies and Moviegoing
University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 2001 American Audiences on Movies and Moviegoing Tom Stempel Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Stempel, Tom, "American Audiences on Movies and Moviegoing" (2001). Film and Media Studies. 7. https://uknowledge.uky.edu/upk_film_and_media_studies/7 American Audiences on Movies and Moviegoing This page intentionally left blank American Audiences on Movies and Moviegoing Tom Stempel THJE UNNERSITY PRESS OlF KENTUCKY Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright© 2001 by Tom Stempel Published by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine College, Berea College, Centre College ofKentucky, Eastern Kentucky University, The Filson Club Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 05 04 03 02 01 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Stempel, Tom, 1941- American audiences on movies and moviegoing I by Tom Stempel. p. em. Includes bibliographical references. -
United Artists
United Artists This article is about the film studio. For the cinema chain, see Regal Entertainment Group. For the former record label, see United Artists Records. The United Artists Media Group (UAMG), formerly known as United Artists Corporation (UA), is an American film and television entertainment company. The original studio using the name “United Artists” was founded in 1919 by D. W. Griffith, Charlie Chaplin, The first United Artists logo, used until the 1967 sale to Mary Pickford, and Douglas Fairbanks, with the intention Transamerica of controlling their own interests rather than depending upon the powerful commercial studios.[1] ing 20% held by lawyer William Gibbs McAdoo.[4] The An incarnation of United Artists formed in November idea for the venture originated with Fairbanks, Chaplin, 2006 under a partnership between producer/actor Tom Pickford, and cowboy star William S. Hart a year ear- Cruise and his production partner, Paula Wagner, and lier as they were traveling around the U.S. selling Liberty Metro-Goldwyn-Mayer. Paula Wagner left the studio on bonds to help the World War I effort. Already veterans August 14, 2008.[2] Cruise owned a small stake in the stu- of Hollywood, the four film stars began to talk of form- dio until late 2011.[3] In 2014, MGM acquired controlling ing their own company to better control their own work interest in Mark Burnett and Roma Downey's entertain- as well as their futures. ment companies, resulting in another relaunch of United Artists. They were spurred on by established Hollywood pro- ducers and distributors who were tightening their con- trol over actor salaries and creative decisions, a process 1 History that evolved into the rigid studio system. -
The Cinema of Oliver Stone
The cinema of Oliver Stone The cinema of Oliver Stone Art, authorship and activism Ian Scott and Henry Thompson MANCHESTER UNIVERSITY PRESS Copyright © Ian Scott and Henry Thompson 2016 The rights of Ian Scott and Henry Thompson to be identified as the author of this work have been asserted by them in accordance with the Copyright, Designs and Patents Act 1988. Published by Manchester University Press Altrincham Street, Manchester M1 7JA www.manchesteruniversitypress.co.uk This electronic version has been made freely available under a Creative Commons (CC-BY-NC-ND) licence, thanks to the support of The University of Manchester, which permits non-commercial use, distribution and reproduction provided the author(s) and Manchester University Press are fully cited and no modifications or adaptations are made. Details of the licence can be viewed at https://creativecommons.org/licenses/by-nc-nd/4.0/ British Library Cataloguing- in- Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging- in- Publication Data applied for ISBN 978 0 7190 9916 8 hardback ISBN 978 1 5261 0871 5 paperback First published 2016 The publisher has no responsibility for the persistence or accuracy of URLs for any external or third- party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Typeset by Out of House Publishing Contents List of figures page vi Preface vii Acknowledgements ix List of abbreviations x Introduction -
Final Cut: the Making and Unmaking of Heaven's Gate
Final Cut: The Making and Unmaking of Heaven’s Gate Regie: Michael Epstein Land: USA 2004. Produktion: Viewfinder Productions Inc. (New York), Specialty Films Inc. (New York). Regie: Michael Epstein. Buch: Michael Epstein, nach dem Buch ‘Final Cut: Dreams and Disaster in the Making of Heaven’s Gate’ von Stephen Bach. Kamera: Michael Chin. Ton: Scott Harber, Merce Williams, Jeff Meese. Mischung: Ken Hahn. Musik: Joel Goodman. Schnitt: Penny Elliot Hays. Produzen- ten: Michael Epstein, Rachael Horovitz. Co-Produzentin: Caroline Suh. Produktionsleitung: Andrew Cohen, Lauren Zalaznick. Erzähler: Willem Dafoe. Interviewpartner: Jeff Bridges, Kris Kristofferson, Brad Dourif, Vilmos Zsigmond, Steven Bach, David Field, Penelope Shaw, Sandra Jordan, Todd McCarthy. Format: Digi Beta PAL, Farbe. Länge: 79 Minuten. Sprache: Englisch. Uraufführung: 6. Juni 2004, New York. Weltvertrieb: Films Transit International Inc., 252 Gouin Boulevard East, Montreal, Quebec, Kanada H3L 1 A8. Tel.: (1-514) 844 3358, Fax: (1-514) 844 7298, e-mail: [email protected]; www.filmstransit.com Inhalt Synopsis FINAL CUT wirft einen Blick hinter die Kulissen eines der berüchtigt- FINAL CUT is the behind-the-scenes story of one of the sten Debakel Hollywoods aller Zeiten: Heaven’s Gate von Michael Cimino. most notorious of all Hollywood debacles: Michael Cimino’s Noch heute – zwanzig Jahre nach dem Skandal – gilt Heaven’s Gate als Heaven’s Gate. Even today, twenty years after the scandal, der vielleicht kontroverseste und dabei kaum gesehene Film, der je- Heaven’s Gate remains perhaps the most controversial and 1 mals gedreht wurde. Die Exzesse von Heaven’s Gate sind legendär: least seen movie ever made. -
La Representación Cinematográfica Del Regreso: Entre La Identidad Y La Historia
LA REPRESENTACIÓN CINEMATOGRÁFICA DEL REGRESO: ENTRE LA IDENTIDAD Y LA HISTORIA EL CASO PRÁCTICO DE THE BEST YEARS OF OUR LIVES Y THE DEER HUNTER Pamplona, 2007 ÍNDICE A MODO DE INTRODUCCIÓN BIOGRAFÍA DEL PROYECTO i-x I. CONSIDERACIONES CONTEXTUALES PREVIAS 1 1.1. El momento histórico y la recepción de la audiencia 7 1.1.1. El caso de The Best Years of Our Lives (1946) 9 1.1.2. El caso de The Deer Hunter (1978) 20 1.2. Acercamiento autorial 29 1.2.1. The Best Years of Our Lives, reflejo de la evolución personal de Robert E. Sherwood 30 1.2.2. William Wyler, principio y final del Hollywood de guerra 41 1.2.3. The Deer Hunter como filme de Michael Cimino 51 1.2.4. Otras fuentes de autoría: producción, dirección de fotografía e interpretación 58 II. THE BEST YEARS OF OUR LIVES Y THE DEER HUNTER EN LA HISTORIA. IMPLICACIONES DE DISCURSO 65 2.1. La retórica en cinco actos de The Best Years of Our Lives 68 2.1.1. Influencia del discurso político 74 2.1.2. The Best Years of Our Lives como filme social 79 2.1.3. Espectador implícito, autor implícito y punto de vista en The Best Years of Our Lives 84 - a - ÍNDICE 2.2. The Deer Hunter: en la Historia para trascenderla 93 2.2.1. La manipulación histórica al servicio de la narrativa 96 2.2.2. La ironía como clave interpretativa 101 III. EL HOMBRE COMO NÚCLEO. ACUERDOS NARRATIVOS ENTRE THE BEST YEARS OF OUR LIVES Y THE DEER HUNTER 117 3.1. -
Once in a Lifetime
AMERICAN CONSERVATORY THEATER Carey Perloff, Artistic Director • Ellen Richard, Executive Director PRESENTS Once in a Lifetime By George S. Kaufman and Moss Hart Directed by Mark Rucker American Conservatory Theater September 22–October 16, 2011 words on plays vol. xviii, no. 1 Elizabeth Brodersen Director of Education Dan Rubin Publications Manager Michael Paller Resident Dramaturg Emily Hoffman Publications and Dramaturgy Associate Amy Krivohlavek Marketing Writer Zachary Moull Dramaturgy Fellow Made possible by © 2011 AMERICAN CONSERVATORY THEATER, A NONPROFIT ORGANIZATION. ALL RIGHTS RESERVED. Table of Contents 1 Characters, Cast, and Synopsis of Once in a Lifetime 6 “A Loving Look at That Craziness”: An Interview with Director Mark Rucker by Dan Rubin 11 Mixing Media: An Interview with Video Designer Alexander V. Nichols by Amy Krivohlavek 16 Going Hollywood by Michael Paller 20 Entertainment Revolution: Video Killed the Vaudeville Star by Emily Hoffman 25 Terrible Mike and the Transition to Talkies by Dan Rubin 32 The Big Five: The Studio System in Early Hollywood by Emily Hoffman and Zachary Moull 34 Once in a Lifetime Glossary by Zachary Moull 44 Questions to Consider / For Further Information . ON THE COVER Charlie Chaplin in Modern Times (1936). Courtesy Jerry Murbach, Doctor Macro’s High Quality Movie Scans. Chaplin began his career in vaudeville in 1910 before becoming a silent film sensation. The arrival of sound films in the 1920s was a challenge for Chaplin, who had won worldwide fame with pantomime. He told one interviewer, “Dialogue does not have a place in the sort of comedies I make.” Modern Times marks the last appearance of Chaplin’s famous Little Tramp character and the final dialogue-free film of one of silent film’s last holdouts.