Bamcinématek Presents Joe Dante at the Movies, 18 Days of 40 Genre-Busting Films, Aug 5—24
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Now We Are All Sons of Bitches
Now We Are All Sons of Bitches MICHAEL BONTATIBUS “Wake up, Mr. Freeman. Wake up and smell the ashes,” the enigmat- ic G-Man murmurs as he leers into the camera, finishing an eerie opening monologue—and so begins Half-Life 2, Valve Corporation’s flagship game. The last time we saw Gordon Freeman, the protagonist, the same rigid and mysterious (though more poorly animated, since the prequel was released six years earlier) G-Man was handing him a job offer after witnessing the former scientist transform into a warrior, bent on escaping from the besieged Black Mesa Research Facility alive. Now, suddenly, Freeman finds himself on a train. No context.1 Is it a prison train? The three other individuals on it wear uniforms like those the inmates wore in Cool Hand Luke. The train soon stops at its destination, and we realize that it is a prison train, in a way—Freeman has arrived at the Orwellian “City 17,” where the ironically named Civil Protection abuses and oppresses, where antagonist Dr. Breen preaches poet- ic propaganda from large monitors hung high above the town. In the years since scientists at the facility accidentally opened a gateway between dimen- sions and allowed a bevy of grotesque creatures to spill into our universe, Earth has been taken over by the Combine, an alien multiplanetary empire. Breen is merely Earth’s administrator—and we realize that the ashes the G- Man spoke of were the ashes of the prelapsarian world. It’s classic dystopia, complete with a Resistance, of which Freeman soon finds himself the “mes- sianic” leader (HL2). -
Cial Climber. Hunter, As the Professor Responsible for Wagner's Eventual Downfall, Was Believably Bland but Wasted. How Much
cial climber. Hunter, as the professor what proves to be a sordid suburbia, responsible for Wagner's eventual are Mitchell/Woodward, Hingle/Rush, downfall, was believably bland but and Randall/North. Hunter's wife is wasted. How much better this film attacked by Mitchell; Hunter himself might have been had Hunter and Wag- is cruelly beaten when he tries to ner exchanged roles! avenge her; villain Mitchell goes to 20. GUN FOR A COWARD. (Universal- his death under an auto; his wife Jo- International, 1957.) Directed by Ab- anne Woodward goes off in a taxi; and ner Biberman. Cast: Fred MacMurray, the remaining couples demonstrate Jeffrey Hunter, Janice Rule, Chill their new maturity by going to church. Wills, Dean Stockwell, Josephine Hut- A distasteful mess. chinson, Betty Lynn. In this Western, Hunter appeared When Hunter reported to Universal- as the overprotected second of three International for Appointment with a sons. "Coward" Hunter eventually Shadow (released in 1958), he worked proved to be anything but in a rousing but one day, as an alcoholic ex- climax. Not a great film, but a good reporter on the trail of a supposedly one. slain gangster. Having become ill 21. THE TRUE STORY OF JESSE with hepatitis, he was replaced by JAMES. (20th Century-Fox, 1957.) Di- George Nader. Subsequently, Hunter rected by Nicholas Ray. Cast: Robert told reporters that only the faithful Wagner, Jeffrey Hunter, Hope Lange, Agnes Moorehead, Alan Hale, Alan nursing by his wife, Dusty Bartlett, Baxter, John Carradine. whom he had married in July, 1957, This was not even good. -
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema. -
Anton Yelchin May Be ‘Very Cynical’ About Fame, but with His Role in Romantic Indie Drama Like Crazy
anton yelchin may be ‘very cynical’ about fame, but with his role in romantic indie drama like crazy. it’s about to become unavoidable. by steve cummins. photographed crazy by hilary walsh ANTON YELCHIN LOOKS LIKE he’s in ready tolove kill me. Lips pursed, his green Such open self-analysis is at odds with eyes narrowing, he scowls when I other Hollywood stars of his ilk, but then suggest that signing up to star in Like there’s something different about the Crazy—a low-budget, largely improvised Russian-born actor. Dressed in a green indie movie with an unknown director— Harris Tweed sports jacket over a was, on paper, a risky move. Fixing his checked shirt and navy jeans, he’s eyes on mine, there’s an intense stare as animated, candid, and talkative when he tries to suss me out. And then, as faced with questions on his personal life, quickly as it arrived, it’s gone. where others are guarded. Talk to him It’s a telling moment. Later, as we sit about his work methods—his obsessive back in the sunshine during an abnormally note-taking and his ability to bring warm August day in Dublin, the 22-year- extraordinary depth to characters such as old actor (who’s in Ireland to promote the Jacob in Like Crazy and Porter in The horror movie Fright Night, in which he Beaver—and he becomes even more stars opposite Colin Farrell), will tell me engaged, words whizzing from his mouth that he doesn’t trust people, that his core and hands moving around impatiently. -
How I Made a Hundred Movies in Hollywood and Never Lost a Dime Pdf
FREE HOW I MADE A HUNDRED MOVIES IN HOLLYWOOD AND NEVER LOST A DIME PDF Roger Corman | 254 pages | 01 Sep 1998 | The Perseus Books Group | 9780306808746 | English | Cambridge, MA, United States How I Made A Hundred Movies In Hollywood And Never Lost A Dime by Roger Corman Roger Corman borna filmmaker with several hundred films to his credit, has rightly been called the "King of the B Movies. Since Corman has operated successful independent film production and distribution companies. Roger Corman's childhood gave few clues that, in later years, he would create hundreds of low-budget films that would make him one of Hollywood's best-known directors. He was born in Detroit, Michigan, on April 5,the first child of European immigrants William and Ann Corman; his brother Gene who also became a producer was born 18 months later. As a child Corman was more interested in sports and building model airplanes than in film. William Corman, an engineer, was forced to take a huge pay cut during the Great Depression that began in The family moved to the "poor side" of Beverly Hills, California, while Corman was in high school. He became fascinated with the stories of Edgar Allan Poe asking for a complete set of Poe's works as a giftbut he planned to become an engineer like his father. After graduating from high How I Made a Hundred Movies in Hollywood and Never Lost a Dime, Corman studied engineering How I Made a Hundred Movies in Hollywood and Never Lost a Dime Stanford University and participated in the Navy's officer training program. -
Why Call Them "Cult Movies"? American Independent Filmmaking and the Counterculture in the 1960S Mark Shiel, University of Leicester, UK
Why Call them "Cult Movies"? American Independent Filmmaking and the Counterculture in the 1960s Mark Shiel, University of Leicester, UK Preface In response to the recent increased prominence of studies of "cult movies" in academic circles, this essay aims to question the critical usefulness of that term, indeed the very notion of "cult" as a way of talking about cultural practice in general. My intention is to inject a note of caution into that current discourse in Film Studies which valorizes and celebrates "cult movies" in particular, and "cult" in general, by arguing that "cult" is a negative symptom of, rather than a positive response to, the social, cultural, and cinematic conditions in which we live today. The essay consists of two parts: firstly, a general critique of recent "cult movies" criticism; and, secondly, a specific critique of the term "cult movies" as it is sometimes applied to 1960s American independent biker movies -- particularly films by Roger Corman such as The Wild Angels (1966) and The Trip (1967), by Richard Rush such as Hell's Angels on Wheels (1967), The Savage Seven, and Psych-Out (both 1968), and, most famously, Easy Rider (1969) directed by Dennis Hopper. Of course, no-one would want to suggest that it is not acceptable to be a "fan" of movies which have attracted the label "cult". But this essay begins from a position which assumes that the business of Film Studies should be to view films of all types as profoundly and positively "political", in the sense in which Fredric Jameson uses that adjective in his argument that all culture and every cultural object is most fruitfully and meaningfully understood as an articulation of the "political unconscious" of the social and historical context in which it originates, an understanding achieved through "the unmasking of cultural artifacts as socially symbolic acts" (Jameson, 1989: 20). -
Dvds - Now on DVD, Glenda Farrell As Torchy Blane - Nytimes.Com 5/10/10 3:08 PM
DVDs - Now on DVD, Glenda Farrell as Torchy Blane - NYTimes.com 5/10/10 3:08 PM Welcome to TimesPeople TimesPeople recommended: Sex & Drugs & the Spill 3:08Recommend PM Get Started HOME PAGE TODAY'S PAPER VIDEO MOST POPULAR TIMES TOPICS Get Home Delivery Log In Register Now Search All NYTimes.com DVD WORLD U.S. N.Y. / REGION BUSINESS TECHNOLOGY SCIENCE HEALTH SPORTS OPINION ARTS STYLE TRAVEL JOBS REAL ESTATE AUTOS Search Movies, People and Showtimes by ZIP Code More in Movies » In Theaters The Critics' On DVD Tickets & Trailers Carpetbagger Picks Showtimes DVDS B-Movie Newshound: Hello, Big Boy, Get Me Rewrite! Warner Home Video Glenda Farrell with Tom Kennedy, left, and Barton MacLane in “Torchy Blane in Chinatown” (1939). By DAVE KEHR Published: May 7, 2010 SIGN IN TO RECOMMEND The Torchy Blane Collection TWITTER Enlarge This Image “B movie” is now SIGN IN TO E- a term routinely MAIL applied to PRINT essentially any SHARE low-budget, vaguely disreputable genre film. But it used to mean something quite specific. During the Great Depression MOST POPULAR exhibitors began offering double E-MAILED BLOGGED SEARCHED VIEWED MOVIES features in the hope of luring back their diminished audience. The 1. 10 Days in a Carry-On program would consist of an A picture, 2. Tell-All Generation Learns to Keep Things Offline with stars, conspicuous production 3. The Moral Life of Babies Shout! Factory and New Horizons Pictures 4. Paul Krugman: Sex & Drugs & the Spill Youth in revolt: P. J. Soles, center, values and a running time of 80 5. -
Valley's Own Dean Martin Dies at 78
'HE INTELLIGENCER -Wheeling, W.Va. -Tuesday, December 26, 1995 AP Photn DeanMartinleft, sings alonp with fellow "Rat Pack" members Frank Shlatra,right, and Sammy Davis Jr., at a fund-raising reunion in Santa Mimica, Calif., May 22, 1978. Martin died at his Beverly Hills home Monday of acute respiratory failure, according to his agent. He was 78. Valley's Own Dean Martin Dies at 78 (Continued from Page One) bctorhecause of those two things." Hlis smooth baritone on stuch songs as "That's Amore" and "Volare" made him a favorite with record-buyers, He was one of the few non-rockers to top..41 charts-in 1964. when his "Everybody Loves Somebody" hit No. liedescribed his singingslyle wlil (vpi(;lhliumor: "I copied Bing Cros- by I00 percent." ' Theln.lieconquered television. In 1965, N13Cfirst presented "The Dean Martin Show." a musical variety hour through which Martin ambled with customary ease, often pretending to he soused. The spontaneousappearance of (lie show was for real. Martin's contract stilpulatedthat lie would appear onlyon the day of the show and then have themost rudimcntary or rehearsals. "TIhleD)call Martin Show" was high-rated for most ofits eight years. It was followed by -rheDean Martin Comedy Hour" in (he1973-74 season and Ilhena series of celebrity "roasts." More recently. a 1992 book by Nick Tosches. "Dino: Living High in the DirtyBusiness of Dreams," portrayed Martin as an ailing alcoholic who dined outalone everynight. Vinci- his manager, countercd: "I-e loves to go out torestaurants. What liedlr.sn't like is to be with alot of lpeople or attend parties, "As far as his health is concerned. -
Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
Boxoffice Barometer (March 6, 1961)
MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph. -
Science Fiction Films of the 1950S Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 "Science in skirts": representations of women in science in the "B" science fiction films of the 1950s Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Noonan, Bonnie, ""Science in skirts": representations of women in science in the "B" science fiction films of the 1950s" (2003). LSU Doctoral Dissertations. 3653. https://digitalcommons.lsu.edu/gradschool_dissertations/3653 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “SCIENCE IN SKIRTS”: REPRESENTATIONS OF WOMEN IN SCIENCE IN THE “B” SCIENCE FICTION FILMS OF THE 1950S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English By Bonnie Noonan B.G.S., University of New Orleans, 1984 M.A., University of New Orleans, 1991 May 2003 Copyright 2003 Bonnie Noonan All rights reserved ii This dissertation is “one small step” for my cousin Timm Madden iii Acknowledgements Thank you to my dissertation director Elsie Michie, who was as demanding as she was supportive. Thank you to my brilliant committee: Carl Freedman, John May, Gerilyn Tandberg, and Sharon Weltman. -
Infinity Magazine
INFINITY - THE INDEX - VOLUME 1 (ISSUES 1-12) From Alien to Z.P.G. - via Creepozoids, Blake’s 7 and Bunty - here’s an exhaustive index from INFINITY contributor Mark Campbell. It includes everything in the first 12 issues of your favourite Sci-Fi / Nostalgia magazine NB: Interviews and features will only appear in the following categorised lists if they give the subject more than just a passing mention. I know this is subjective, but I’ve tried to use my judgement as to what constitutes ‘meat on the bone’, if you see what I mean. You’ll find wide-ranging interviews and articles that cover many subjects in the Miscellaneous section at the end. What follows is strictly alphabetical, except with franchises like Star Wars where you’ll find them chronologically listed for ease. Reviews will normally be of the DVD, Blu-ray or cinema release. If it says ‘Feature’ then that will be solely on the subject in question; if, say, ‘John Carpenter feature’, then it will be part of a wider article. Contributors’’ initials are in brackets. CONTRIBUTORS AB: Allan Bryce DB: David Brilliance JA: Jon Abbott MP: Mark Phillips RF: Robert Fairclough AJ: Adrian James DF: David Flint JM: John Martin MR: Martin Ruddock RH: Richard Holliss AL: Andrew Llewellyn DM: Denis Meikle JO: Joseph Oldham NP: Neil Pettigrew RME: Rick Melton AP: Andy Pearson DR: David Ryan JW: John Walsh PF: Peter Fuller RM: Richard Molesworth API: Andrew Pixley ES: Eugene Smith KC: Kevin Coward PJ: Pat Jankiewicz SG: Steve Green BJR: Brian J Robb GL: Giacomo Lee LR: Liam Ronan PM: Paul Mount