DOCSLIB.ORG

Feminist Film Theory, with Application to Klute

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Feminist Film Theory, with Application to Klute 1 A Gaze of One's Own: Feminist Film Theory, with application to Klute Pamela J. Hicks UniversitySubmitted ofin terms Cape of the requirementsTown for the degree of Master of Arts University of Cape Town 1994 Supervisor: John Higgins Department of English [r .. Q >·. ···:<:; ,r c:·. , ·. : , : ·.~ :.... ;;,-~;~~:J1 ~ r-:ic. r~~->~ ~·:_·: ;·~-:·:.:::.·~-.~;<..: _:;~ .• t~~·'::;s _;~, , .. _,>:;;::; -~ ( nr fn i>·./L (>:1 ::.~ :··;_;:;: ic~ ~;.:}\J by the ;;·~JiC:". ;.~ li '.- .. ·' ' ·... · ,., ' .... :. ... -.·,.- .• ·. ,._,_,.., The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town ABSTRACT This study is concerned with the development of a field of film theory around the place of the female spectator. Chapter 1 presents an historical overview of some trends in the development of film theory, with emphasis on the emergence of a paradigm in which theories of semiotics, ideology and psychoanalysis intersect. It critically assesses the establishment of a dominant theory founded in the notion of film as art, proposing certain parallels between this and contemporary Leavisite literary theory, and notes auteurism as the point of departure from this into the consideration of film as popular culture. It then traces the impact of the critiques by Barthes and Foucault of authorial intentionality, Althusser's theory of ideology and Lacanian psychoanalytic theory in the shift to a body of film theory centrally concerned with the notion of film as text. The feminist intervention is located at the meeting point of this theory with the concerns of the emergent women's movement, and is traced in its development from the "image of" criticism of Rosen and Haskell to Claire Johnston's and Laura Mulvey's seminal work on women and representation. Chapter 2 focuses on some of the theoretical considerations of the image and the gaze, extends these into the theory of cinema as an apparatus, and outlines. feminist critiques of apparatus theory. Accounts of representation and the image are drawn from Bill Nichols, John Berger, and Peter Wollen's summary of C.S. Peirce. In the shift of theoretical interest to the process of viewing film, Munsterberg's account of the psychology of vision is noted. The psychoanalytic construction of visual meaning is traced _ through Lacan's elaboration of the mirror phase to its significance for cinema in the centrality of desire and the gaze. The consequent development of a model of cinema as an apparatus by Baudry and Metz is followed. The feminist criticism of the androcentricity of this model is traced, both through its outright rejection, and through specific critiques by Teresa de Lauretis, Jacqueline Rose, Kaja Silverman, Mary Ann Doane and Constance Penley. Chapter 3 follows three theorists in their attempts to account for female spectatorship: Laura Mulvey's theory of oscillation, Teresa de Lauretis's double identification and Mary Ann Doane's accounts both of textual strategies of specularization in the "woman's film" and the masquerade are considered. Chapter 4 presents an analysis of the text Klute in order to apply some of the theoretical implications, particularly around questions of female subjectivity and spectatorship. It situates Klute within its historical context, in relation to the cinema industry and the emergent women's movement, and within the terms suggested by its generic structuration. The Conclusion provides a summary of my intention to provide an overview of this difficult and fertile field of debate. An Appendix provides a script of Klute. 2 TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................... 4 CHAPTER ONE: HISTORICAL INTRODUCTION ................................. 5 EARLY DOMINANT FILM THEORY: "FILM AS ART" ..................... 5 A PARALLEL: LITERARY THEORY ............................................. 8 COUNTER-THEORY: "FILM AS TEXT" ..................................... 10 THEORIES OF IDEOLOGY ...................................................... 13 DIFFERENCE: POST-STRUCTURAL BEGINNINGS ....................... 17 FEMINIST BEGINNINGS: IMAGE OF WOMAN ........................... 19 FEMINIST BEGINNINGS: REPRESENTATION OF WOMAN ........... 22 CLAIRE JOHNSTON .............................................................. 23 LAURA MULVEY .................................................................. 26 CHAPTER TWO: THE AXIS OF VISION ........................................ 30 THE IMAGE: PERCEPTION AND CODES ................................... 30 THE IMAGE: SIGNS .............................................................. 35 THE IMAGE: NATURALIZATION ............................................. 38 LACAN: SUBJECTIVITY, THE GAZE AND DESIRE ..................... 40 APPARATUS THEORY .......................................................... 44 APPARATUS: FEMINIST OPPOSITION ..................................... 46 APPARATUS: FEMINIST REJECTIONS ..................................... 48 APPARATUS: FEMINIST CRITIQUES ....................................... 51 3 CHAPTER THREE: LOOKING FOR THE WOMAN: IN SEARCH OF THE FEMALE GAZE .............................................. 59 LAURA MULVEY: OSCILLATION ............................................. 60 TERESA DE LAURETIS: DOUBLE IDENTIFICATION .................... 63 MARY ANN DOANE: PROXIMITY AND ADDRESS ..................... 69 CHAPTER FOUR: KLUTE: A TEXTUAL ANALYSIS .......................... 82 THE NEW HOLLYWOOD? ...................................................... 83 GENRE: KLUTE AS DETECTIVE THRILLER AND FILM NOIR ......... 87 BREE AS GENERIC MISFIT ..................................................... 90 MODEL AUDITION SEQUENCE (#36-38) .................................. 96 HOTEL ROOM SEQUENCE (#50 - 57) .................................... 104 APARTMENT SEQUENCE ((#58 - 69) .................................... 107 SUMMARY: THE FIGURATION OF BREE THROUGH GENRE ...... 113 BREE VERSUS THE IMAGE .................................................. 115 BREE AND THE MASQUERADE ............................................ 118 CHAPTER 5: CONCLUSION ...................................................... 120 WORKS CITED ........................................................................ 122 APPENDIX .............................................................................. 1 27 4 ACKNOWLEDGEMENTS I would like to acknowledge my indebtedness and record my thanks to my supervisor, John Higgins, who has never failed with patience, guidance and encouragement. He has given me a model in the quality of his scholarship and standard of his teaching to my brother Barry Hicks who has provided unconditional material and practical support whenever needed, and all without complaint and to my son Steven who, although (because?) he has known no other life, has shown remarkable tolerance for this, his mother's other creative endeavour. Thanks also to Gillian Finchilescu for help with printing to Jill Kreutz and Louisa Green for proofreading and to John Valentine for help with the images. I would also like to acknowledge with thanks the Bertha Isabel Epstein and Winifred Wilson Bursary Funds for financial assistance. 5 CHAPTER ONE HISTORICAL INTRODUCTION, This introduction presents an historical overview of aspects of the development of film theory with a particular focus on how theories of semiotics, ideology, psychoanalysis and feminism have come to have a central bearing on contemporary film theory. EARLY DOMINANT FILM THEORY: "FILM AS ART" Film theory, as a distinct tradition with its own history, began within decades of the beginnings of commercial cinema (Rosen, vii). Vachel Lindsay's The Art of the Moving Picture (1915) and Hugo Munsterberg's The Photoplay: A Psychological Study (first published in 1916) were early works that gave serious attention to the new phenomenon. In so doing, early theorists laboured under a perceived need to counter several prejudices against the new phenomenon of film: denigration of the mechanical nature of film's means of reproduction (Perkins 13); the legacy of its early association with the "low culture" of vaudeville, evident in the development of the dominant film genres of melodrama and farce (Mast 27); the class basis of film's popularity, its appeal across language barriers that brought American immigrants - the bulk of the country's working class - into exhibition halls in their millions (Terry Rams aye quoted in Rhode 29). The claim for film's status as an art was thus a central tenet in the development of film theory; the onus was on serious writers on film to counter such 6 judgements as William DeMille's in 1911, when he denounced the movies as "galloping tintypes [which] no one can expect ... to develop into anything which could, by the wildest stretch of the imagination, be called art" (quoted in Perkins 9). Although not always the central point of debate, this issue has nonetheless provided a continuous strand through the development of the tradition. But in this long 'battle for prestige', in developing film theory as a major weapon, 'the pioneers ... made it the campaign's chief casualty' (Perkins 11 ). Developments in the other arts, particularly in painting where the Post-Impressionists had led the revolt against representational
Load more

Recommended publications
  • Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DCU Online Research Access Service Smart cinema as trans-generic mode: a study of industrial transgression and assimilation 1990-2005 Laura Canning B.A., M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. November 2013 School of Communications Supervisor: Dr. Pat Brereton 1 I hereby certify that that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_________________________________ (Candidate) ID No.: 58118276 Date: ________________ 2 Table of Contents Chapter One: Introduction p.6 Chapter Two: Literature Review p.27 Chapter Three: The industrial history of Smart cinema p.53 Chapter Four: Smart cinema, the auteur as commodity, and cult film p.82 Chapter Five: The Smart film, prestige, and ‘indie’ culture p.105 Chapter Six: Smart cinema and industrial categorisations p.137 Chapter Seven: ‘Double Coding’ and the Smart canon p.159 Chapter Eight: Smart inside and outside the system – two case studies p.210 Chapter Nine: Conclusions p.236 References and Bibliography p.259 3 Abstract Following from Sconce’s “Irony, nihilism, and the new American ‘smart’ film”, describing an American school of filmmaking that “survives (and at times thrives) at the symbolic and material intersection of ‘Hollywood’, the ‘indie’ scene and the vestiges of what cinephiles used to call ‘art films’” (Sconce, 2002, 351), I seek to link industrial and textual studies in order to explore Smart cinema as a transgeneric mode.
    [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]
  • Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
    INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
    [Show full text]
  • Sean Maher Thesis
    NOIR AND THE URBAN IMAGINARY By Sean Maher B.C.A (Film/TV), MA (Film/Theatre), MA.hons. by Research (First Class) A thesis submitted in fulfilment of the requirements for the degree Doctor of Philosophy (Research) School of Film and Television, Creative Industries Faculty, Queensland University of Technology 2010 Principal Supervisor: D.Prof. Stuart Cunningham Associate Supervisor: Assoc. Prof. Geoff Portmann KEY WORDS Blade Runner Modernism Brisbane Line Modernity Chinatown Neo Noir Cinematic City Postmodernism Film Noir Postmodernity Historiography Urban Imaginary Urbanism Los Angeles Urban Theory SHORT ABSTRACT Noir and the Urban Imaginary is creative practice based PhD research comprising critical analysis (40%) exegesis (10%) and a twenty-six minute film, The Brisbane Line (50%). The research investigates intersection of four elements; the city, the cinema, history and postmodernity. The thesis discusses relationships between each of the four elements and what cinematic representation of cities reveals about modern and postmodern urban experience and historicisation. Key concepts in the research include, „urbanism‟, „historiography, „modernity‟ „postmodernity‟, „neo-noir‟. ii TABLE of CONTENTS Supplementary Material………………………………………………………….……….….vi Statement of Original Authorship……………………………………………….….…….…vii Acknowledgements…………………………………………………..………….……….…viii Preface………………………………………………………………………….…………...xii Introduction…………………………………………………..………………..……….……15 Praxis…………………………………………………………………………………16 Methodological approach and Thesis Structure………….………………….……….19
    [Show full text]
  • Visions of Power: Violence, the Law, and the Post-9/11 Genre Film by Fareed Ismail Ben-Youssef a Dissertation Submitted in Parti
    Visions of Power: Violence, the Law, and the Post-9/11 Genre Film By Fareed Ismail Ben-Youssef A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Miryam B. Sas, Chair Professor David J. Cohen Professor Anton Kaes Professor D.A. Miller Summer 2017 1 Abstract Visions of Power: Violence, the Law, and the Post-9/11 Genre Film by Fareed Ismail Ben-Youssef Doctor of Philosophy in Film and Media University of California, Berkeley Professor Miryam B. Sas, Chair My dissertation, Visions of Power, uncovers specific moments where key Hollywood genre films blur the line between perpetrators of violence and its victims, disrupting a post-9/11 public discourse shaped by Manichean divisions. Discordant notes in these films provoke productive estrangement and challenge us to think historically, to see the resonances between this cultural moment and past traumatized moments in US history. The study thereby advances our understanding of American and international politics through its exploration of the narrative production of discourses around a state of emergency and the effects of this storytelling in creating a space of vaguely defined enemies where the parameters of the battlefield are obscured. Recent speeches by US presidents—as when George W. Bush commenced the War on Terror by citing the wanted posters of Old West, or when Barack Obama compared ISIS to the Joker—show how genre modes hold sway in executive discourse. I probe the cross-sections, slippages, and conflicts that exist within the ongoing dialogue between Hollywood entertainment and political discourse in the creation of competing visions of power to frame genre as a contested critical site—one of equal interest to politicians and to critically inclined filmmakers.
    [Show full text]
  • THE PAKULA PARALLAX Author(S): Richard T
    THE PAKULA PARALLAX Author(s): Richard T. Jameson Source: Film Comment, Vol. 12, No. 5 (SEPTEMBER-OCTOBER 1976), pp. 8-12 Published by: Film Society of Lincoln Center Stable URL: http://www.jstor.org/stable/43753093 Accessed: 04-10-2016 00:15 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Film Society of Lincoln Center is collaborating with JSTOR to digitize, preserve and extend access to Film Comment This content downloaded from 95.183.180.42 on Tue, 04 Oct 2016 00:15:47 UTC All use subject to http://about.jstor.org/terms THE PflhLILfl PflñflLLflX by Richard T. Jameson .i the parallax view: Parallax stooge fingered for Carroll assassination atop the Space Needle. an edge and validity that suggest Pakula began at roughly the same time as his than Alan J. Pakula at work in the has taken the player back to the origin of own: Martin Scorsese, Brian De Palma, There American American than is Alan cinema no more today J. - cinema:a de- Pakula classical at today work filmmaker - :a in de- the the shtick, and beyond. Peter Bogdanovich, John Milius, Steven scription that applies at several levels.
    [Show full text]
  • Politicising Stardom: Jane Fonda, IPC Films and Hollywood, 1977-1982
    1 Politicising Stardom: Jane Fonda, IPC Films and Hollywood, 1977-1982 James Michael Rafferty Queen Mary, University of London Thesis submitted for the qualification of Doctorate of Philosophy (PhD) 2 Abstract This thesis is an empirical analysis of Jane Fonda’s films, stardom, and political activism during the most commercially successful period of her career. At the outset, Fonda’s early stardom is situated in relation to contemporaneous moral and political ideologies in the United States and how she functioned as both an agent and symbol of these ideologies. Her anti-war activism in the early-1970s constituted the apex of Fonda’s radicalisation and the nadir of her popular appeal; a central question of this thesis, therefore, is how her stardom was rehabilitated for the American mainstream to the point of becoming Hollywood’s most bankable actress. As the star and producer of IPC Films, Fonda developed political projects using commercial formats, namely Coming Home (1978), The China Syndrome (1979), Nine to Five (1980), and Rollover (1981). The final IPC film, On Golden Pond (1981), signalled an ideological breach in this political strategy by favouring a familial spectacle, and duly outperformed its predecessors significantly. The first and last chapters of this work provide historical parameters for IPC in Fonda’s career, while the remaining chapters are structured by the conceptual and political aspects of each IPC project. Julia (1977) is discussed as an IPC prototype through its dramatisation of political consciousness. Coming Home, The China Syndrome, Nine to Five, and Rollover all exhibit this motif whereas On Golden Pond employs melodramatic nostalgia.
    [Show full text]
  • 9-1 Full Issue
    CONTRIBUTORS ANDREW PENDAKIS NATHAN HOLMES ISSUE 9-1 COLIN WILLIAMSON K. R. CORNETT FRASER MCCALLUM THE MISE-EN-SCÈNE OF A DECADE: VISUALIZING THE 70S VISUALIZING DECADE: A OF THE MISE-EN-SCÈNE ADAM CHARLES HART KAITLIN POMERANTZ SEB ROBERTS REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES THE MISE-EN-SCÈNE OF A DECADE: VISUALIZING THE 70S ISSUE 9-1, 2018 GUEST EDITORS NATHAN HOLMES ANDREW PENDAKIS CONTRIBUTORS ANDREW PENDAKIS NATHAN HOLMESI COLIN WILLIAMSON K. R. CORNETT FRASER MCCALLUM ADAM CHARLES HART KAITLIN POMERANTZ SEB ROBERTS REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES THE MISE-EN-SCÈNE OF A DECADE: VISUALIZING THE 70S ISSUE 9-1, 2018 THE MISE-EN-SCÈNE OF A DECADE: ISSUE 9-1, 2018 VISUALIZING THE 70S Guest Editors – Nathan Holmes and Andrew Pendakis Issue Managing Editor - Brent Ryan Bellamy Editor in Chief | Rédacteur en chef Markus Reisenleitner Managing Editor | Rédacteur Brent Ryan Bellamy Editorial Team | Comité de rédaction Brent Ryan Bellamy, Dominique Laurent, Andriko Lozowy, Tara Milbrandt, Carrie Smith-Prei, and Sheena Wilson Elicitations Reviews Editor | Comptes rendus critiques – Élicitations Tara Milbrandt Web Editor | Mise en forme web Brent Ryan Bellamy French Translator & Copy Editor | Traductions françaises Ève Robidoux-Descary English Substantive & Copy Editor | Rédacteur Shama Rangwala Copy Editor | Révisions Shama Rangwala Founding Editors | Fondateurs William Anselmi, Daniel Laforest, Carrie Smith-Prei, Sheena Wilson Previous Team Members
    [Show full text]
  • MR.PAKULA GOES to WASHINGTON Author(S): Alan J
    MR.PAKULA GOES TO WASHINGTON Author(s): Alan J. Pakula and Richard Thompson Source: Film Comment, Vol. 12, No. 5 (SEPTEMBER-OCTOBER 1976), pp. 12-19 Published by: Film Society of Lincoln Center Stable URL: http://www.jstor.org/stable/43753094 Accessed: 04-10-2016 00:17 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Film Society of Lincoln Center is collaborating with JSTOR to digitize, preserve and extend access to Film Comment This content downloaded from 95.183.180.42 on Tue, 04 Oct 2016 00:17:56 UTC All use subject to http://about.jstor.org/terms rectors in the American cinema might be described as specializing in outcasts and oddballs. Nevertheless, it is necessary to note that all five of Alan Pakula's fea- tures (including his two pathological comedies, THE STERILE CUCKOO and LOVE AND PAIN AND THE WHOLE DAMN THING) xnxaa tři» have focused on characters whose per- sonalities, professions, or both have taken them far from what we laughingly call normalcy - as his style, for all the di- rector's ability to achieve a stunning be- havioral conviction in the depiction of the future-shock world we live in, re- Alan J.
    [Show full text]
  • Download As an MP3 and Potent Character Drama
    Volume 10, Number 5 Original Music Soundtracks for Movies and Television C3PO Conducts pg. 40 The Poet of Paranoia From Out of the Shadows Comes Michael Small Elliot Goldenthal Writing a Monster Opera Miami Vice Verses Song Scores That Work March of the Penguins The Emperors Strike Back Goblin Buyer’s Guide Meet the Proglodytes National Geographic The Trek to Find the Tracks $7.95 U.S. • $8.95 Canada ���������������������������������������� contents Sept./Oct. 2005 Film Score Magazine (ISSN 1077-4289) is published six times a year for $36.95 per year by Vineyard Haven LLC., 8503 Washington Blvd, Culver City, CA 90232. Periodicals postage paid at Culver City, CA and additional mailing offices. POSTMASTER: Send address changes to Film Score Magazine, 8503 Washington Blvd, Culver City, CA 90232 contents Sept./Oct.Sept./Oct. 2005 2005 DEPARTMENTS COVER STORY 30 The Poet of Paranoia 2 Editorial We’re proud to bring you an extensive profile on the life and The 1000 Club. times of one of film music’s most talented—and underappreci- ated—composers: the late Michael Small, the unrivaled master of 4 News paranoiac film music. Joe Harnell, Rick Victor, By Kyle Renick Clifford McCarty, et al. 5 Record Label Round-Up 35 Remembering Michael What’s on the way. Orchestrator Christopher Dedrick recalls working with his close friend. Now Playing 5 12 Welcome to birdland. Movies and CDs in FEATURES release. 6 Concerts 16 A Voyage of Discovery Film music performed Intrada’s releases of the music from those well-known National Geo- around the globe. graphic TV specials have been a boon for soundtrack buffs.
    [Show full text]
  • BFI THRILLER: WHO CAN YOU TRUST?, Running from Friday 20 October – Sunday 10 December at BFI Southbank, Online on BFI Player, and at Selected Venues Across the UK
    Monday 25 September 2017, London. As previously announced, this autumn the BFI will embark on a suspense-filled UK-wide season BFI THRILLER: WHO CAN YOU TRUST?, running from Friday 20 October – Sunday 10 December at BFI Southbank, online on BFI Player, and at selected venues across the UK. WHO CAN YOU TRUST? will begin at BFI Southbank with a special screening of Francis Ford Coppola’s haunting surveillance thriller The Conversation (1974) starring Gene Hackman; inspired by the relationship of surveillance sound to cinema, on the evening of Friday 20 October BFI Southbank will be wired for a sound- based evening, blurring the line between viewer and protagonist. The programme at BFI Southbank will be divided into three main sections: Can You Trust Them?, Can You Trust Her? and Big Thrill Double Bills, consisting respectively of paranoia and conspiracy thrillers, thrillers in which femmes fatales and dangerous women reign, and double bills of perfectly paired nail-biters. Also included will be UK-wide BFI re-releases of The Silence of the Lambs (Jonathan Demme, 1991) and North by Northwest (Alfred Hitchcock, 1959), runs of brand new thrillers such as The Killing of a Sacred Deer (Yorgos Lanthimos, 2017) and a major day-long event THE BIG THRILL on Saturday 11 November. There will also be television events such as a TV preview of Hard Sun (Euston Films-BBC-Hulu 2017), the new BBC thriller from the creator of Luther Neil Cross, who will take part in a Q&A following a screening alongside lead actors Jim Sturgess and Agyness Deyn.
    [Show full text]
  • Alan J. Pakula; 25 Years of Filmmaking
    The Museum of Modern Art Department of Film 11 West 53 Street, New York, N.Y. 10019 #49 for immediate release 11/30/82 ALAN J. PAKULA; 25 YEARS OF FILMMAKING From Friday, December 17 through Tuesday, December 21, 1982, The Department of Film will present a selection of films produced or directed by one of the foremost American filmmakers of today, Alan J. Pakula. ALAN J. PAKULA: 25 YEARS OF FILMMAKING will include seven of Mr. Pakula»s films made between 1957 and 1978. The series will be screened in MoMA's new Roy and Niuta Titus Theater 2. KLUTE, the opening-night film on December 17 at 6:00, will be in­ troduced by Alan J. Pakula, who directed the film in 1971. 1982 marks the 25th anniversary of Mr. Pakula•s filmmaking debut with his production of FEAR STRIKES OUT in 1957. For the first decade of his career, he was one of Hollywood's most creative producers, col­ laborating with director Robert Mulligan on a series of distinguished films. Mr. Pakula made his directorial debut in 1969 with THE STERILE CUCKOO, and has since established himself as one of America's most prominent directors. Included in the program are: FEAR STRIKES OUT (1957); TO KILL A MOCKINGBIRD (1962); THE STERILE CUCKOO (1969); KLUTE (1971); LOVE AND PAIN AND THE WHOLE DAMN THING (1973); ALL THE PRESIDENT'S MEN (1976); and COMES A HORSEMAN (1978). Alan J. Pakula has successfully worked within genres as disparate as the romantic comedy and the tense topical thriller. His work has al­ ternately focused on the personal, in particular the often thorny relations between men and women, and on broader social concerns, notably the misuse of political power.
    [Show full text]