TAKE the MONEY and RUN Woody Allen, 1969
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The New Hollywood Films
The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d. -
Referentiality and the Films of Woody Allen This Page Intentionally Left Blank Referentiality and the Films of Woody Allen
Referentiality and the Films of Woody Allen This page intentionally left blank Referentiality and the Films of Woody Allen Edited by Klara Stephanie Szlezák Passau University, Germany D. E. Wynter California State University, Northridge, USA Selection, introduction and editorial matter © Klara Stephanie Szlezák and D. E. Wynter 2015 Individual chapters © Respective authors 2015 Foreword © David Desser 2015 Softcover reprint of the hardcover 1st edition 2015 978-1-137-51546-9 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2015 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. -
COM 321, Documentary Form in Film & Television
1 COM 321, Documentary Form in Film, Television, & Interactive Media Humor and the Documentary The Four Humor Mechanisms (Neuendorf & Skalski et al.; see also the extended handout on the class web site) 1. Disparagement: Focusing on a perception of superiority, a one-up/one-down relationship, e.g., “putdown” humor, satire, sarcasm, self-deprecation, and the display of stupid behaviors (Freud, 1960; Hobbes, 1651/1981) 2. Incongruity: The juxtaposition of inconsistent or incongruous elements, e.g., wordplay (e.g., puns), “pure” incongruity, absurdity, and sight gags (Schopenhauer in Martin, 2007; Koestler, 1964). 3. Arousal/Dark: The creation of a high level of physiological arousal, e.g., slapstick, dark humor, sick humor, and sexual or naughty humor (Kant & Spencer; Spencer, 1860; Berlyne, 1972). 4. Social currency: Playful interaction, or building a sense of group belonging or understanding, e.g., joking to fit in, joking around socially, inside jokes, and parody (relying on a shared view of a known form, such as a film genre) (Chapman, 1983; Fry, 1963). Satire vs. Parody Parody deals with literary/cinematic norms (at the level of the cultural product) Satire deals with social/political norms (at the level of the culture or society) There is sometimes confusion between the two, perhaps because they may be used together (e.g., Western movie parody + satire on racism = Blazing Saddles) Four Stages of Genre Development (Giannetti and others) 1. Primitive 2. Classical 3. Revisionist 4. Parodic 2 Humor and Documentaries: 1. [Social] Satire -
Whatever Works Film Production Notes
PRODUCTION NOTES A new comedy written and directed by Woody Allen Release date: October 15, 2009 Running time: 88 minutes Rated: M (Sexual references) For more information contact Jillian Heggie at Hopscotch Films on: 02) 8303 3800 or email: [email protected] WHATEVER WORKS Starring (in alphabetical order) John ED BEGLEY, JR. Marietta PATRICIA CLARKSON Boris LARRY DAVID Leo Brockman CONLETH HILL Joe MICHAEL McKEAN Melody EVAN RACHEL WOOD Co-Starring (in alphabetical order) Randy James HENRY CAVILL Perry JOHN GALLAGHER, JR. Helena JESSICA HECHT Jessica CAROLYN McCORMICK Howard CHRISTOPHER EVAN WELCH Filmmakers Writer/Director WOODY ALLEN Producers LETTY ARONSON STEPHEN TENENBAUM Co-Producer HELEN ROBIN Executive Producers VINCENT MARAVAL BRAHIM CHIOUA Co-Executive Producers JACK ROLLINS CHARLES H. JOFFE Director of Photography HARRIS SAVIDES, A.S.C. Production Designer SANTO LOQUASTO Editor ALISA LEPSELTER Costume Designer SUZY BENZINGER Casting JULIET TAYLOR LAURA ROSENTHAL ALI FARRELL 2 WHATEVER WORKS Synopsis Woody Allen returns to New York with an offbeat comedy about a crotchety misanthrope (Larry David) and a naïve, impressionable young runaway from the south (Evan Rachel Wood). When her uptight parents, (Patricia Clarkson and Ed Begley, Jr.) arrive to rescue her, they are quickly drawn into wildly unexpected romantic entanglements. Everyone discovers that finding love is just a combination of lucky chance and appreciating the value of WHATEVER WORKS. After the failure of his career, his marriage, and his suicide attempt, world-class grouch Boris Yellnikoff (Larry David), spends his days insulting the small children unfortunate enough to study chess with him and irritating his still-loyal friends with his never-ending tirades about the worthlessness of absolutely everything. -
Moral Luck in the Films of Woody Allen
Moral Luck in the Films of Woody Allen By Ewa Mazierska Fall 2011 Issue of KINEMA MORAL LUCK IN THE FILMS OF WOODY ALLEN We happened to have won the war. But if we didn’t win the war, then history would be created differently. (Judah’s aunt in Crimes and Misdemeanors) The purpose of this essay is to discuss how moral issues are represented in two films of Woody Allen: Crimes and Misdemeanors (1989) and Match Point (2005). My principal tool of analysis is the concept of ’moral luck’, elaborated in an essay of the same title by Bernard Williams (1929-2003) (see Williams 1981a), widely cited as the most important British moral philosopher of his time. I am using this concept because these two Allen films can serve as a perfect illustration of its validity or, conversely, because the idea ofmoralluck supports the way the director deploys moral problems in his films. My discussion will consist of three parts. In the first I will summarise Williams’ concept of moral luck. Inthe second I will apply it to the situations represented in Crimes and Misdemeanors and Match Point. Finally, I will attempt to contextualise Allen’s ethics, linking it to the ideology dominating in the West. The concept of moral luck In arguably his most influential essay, ’Moral luck’, Bernard Williams presents his views on the character of morality by contrasting them to Kantianism and, in a smaller measure, to Utilitarianism. Hence, in order to understand Williams’ concepts, we should begin by reconstructing his views on these two doctrines. -
Cotmthes Exes
MindGames 6Inside Film, Music & What’s on artsFriday June 25 2010 &ents ‘If I get chapped lips I immediately think it’s fatal’ Woody Allen on his night <COTMTHESfears about dying, career regrets and plans for Sarah Palin. EXESInterview by > Tim Teeman thetimes| FridayJune252010 thetimes| FridayJune252010 4 arts&ents film film arts&ents 5 COVER IMAGE: COLORSTORM MEDIA/EYEVINE; BELOW:DAVID JOHNSON/CORBIS Uber-liberalfilm-makergetsitonwith becomeadirector.Intheatre,thewriteris andBicycleThievesandthesewillbethe smokin’right-winger?“She’sacolourful king.Filmdoesn’tworkthatway.” greatest filmsevermadeandeveryyoung spicein thegeneralrecipeof democracy,” Eversincethenhehaswritten andmade film-makerwillcopymystyle’.Ihavea WoodyAllen Allensays,smiling.“She’sasexywoman. hisownfilms.“It’sagreatliving,”he says. peaceful,resignedfeelingaboutit.Ididn’t Yes. MeandSarah—wecoulddo a Sarah Palin is a “Inmyneighbourhood,halfthekids loseanyonemoney,Ididn’t go toHolly- romance.” turnedout to becabdrivers,gangsters and woodandmake junk.Ididn’ttrytocurry Afterhiscurrentfilm, MidnightinParis, colourful spice low-lifes,theotherhalflawyers,account- favourwiththeaudience orcritics. Itried whichheisfilmingthis summer,he may in the recipe of antsanddoctors. Iwasn’ta goodstudent tomakegoodwork.Unfortunatelymybest ‘At a certain age makea politicalfilm,“lessrelevantto the andIgotinto showbusiness becauseof isn’tFellini’sbest.” problems weface, notset withinthis democracy. luck.IfIhadn’thadthat,ormytalent,I Wouldhe evergiveup? “No,it’sa good administration,butadjacentto -
Whatever Works
WHATEVER WORKS Written and Directed by Woody Allen A Sony Pictures Classics Release Ed Begley, Jr. Patricia Clarkson Larry David Conleth Hill Michael McKean Evan Rachel Wood Official Selection – Opening Night Film – 2009 Tribeca Film Festival Release Date – June 19th Rating: PG-13 Runtime: 92 Minutes Press Contacts East Coast Publicity West Coast Publicity Distributor Donna Daniels PR. Block Korenbrot Sony Pictures Classics Donna Daniels Melody Korenbrot Carmelo Pirrone 20 West 22nd St., #1410 Ziggy Kozlowski Leila Guenancia New York, NY 10010 110 S. Fairfax Ave, #310 550 Madison Ave 347-254-7054, ext 101 Los Angeles, CA 90036 New York, NY 10022 323-634-7001 tel 212-833-8833 tel 323-634-7030 fax 212-833-8844 fax 1 WHATEVER WORKS Starring (in alphabetical order) John ED BEGLEY, JR. Marietta PATRICIA CLARKSON Boris LARRY DAVID Leo Brockman CONLETH HILL Joe MICHAEL McKEAN Melody EVAN RACHEL WOOD Co-Starring (in alphabetical order) Randy James HENRY CAVILL Perry JOHN GALLAGHER, JR. Helena JESSICA HECHT Jessica CAROLYN McCORMICK Howard CHRISTOPHER EVAN WELCH Filmmakers Writer/Director WOODY ALLEN Producers LETTY ARONSON STEPHEN TENENBAUM Co-Producer HELEN ROBIN Executive Producers VINCENT MARAVAL BRAHIM CHIOUA Co-Executive Producers JACK ROLLINS CHARLES H. JOFFE Director of Photography HARRIS SAVIDES, A.S.C. Production Designer SANTO LOQUASTO Editor ALISA LEPSELTER Costume Designer SUZY BENZINGER Casting JULIET TAYLOR LAURA ROSENTHAL ALI FARRELL 2 WHATEVER WORKS Synopsis Woody Allen returns to New York with an offbeat comedy about a crotchety misanthrope (Larry David) and a naïve, impressionable young runaway from the south (Evan Rachel Wood). When her uptight parents, (Patricia Clarkson and Ed Begley, Jr.) arrive to rescue her, they are quickly drawn into wildly unexpected romantic entanglements. -
ICE - Making Predictions
A ICE - Making Predictions What do the lines, • “What if everything is an illusion and nothing exists? In that case, I definitely overpaid for my carpet.” • “Sex without love is an empty gesture. But as empty gestures go, it is one of the best.” and, • “When I was in school, I cheated on my metaphysics exam: I looked into the soul of the boy sitting next to me.” all have in common? The answer is that they were all conceived by writer, actor and director Woody Allen (see Figure 11. Born Allan Stewart Konigsberg on December 1, 1935, in Brooklyn New York, he adopted the name “Woody Allen” in 1952 - a year before graduating from high school. Allen enrolled in NYU and astonishingly (given his long and critically acclaimed career as a film maker) failed the class on motion picture production. After graduating from NYU, Allen made a career as a comedy writer for television programs such as “Your Show of Shows” starring Pat Boone (see Figure 22). Figure 1: Described as a “pale, bespectacled, 120 pound neurotic,” Woody Allen has written, directed or starred in (sometimes all of the above) more than 40 feature films during a career spanning almost than 40 years. 1 Image source: http://www.ibiblio.org/mal/MO/phlim/woody/ 2 Image source: http://pages.prodigy.net/dianamorris/feat1k.htm Allen made his first professional appearance as a comedian in 1960, and between 1964 and 1965 released three comedy albums that were enthusiastically received. Also in 1965, Allen’s first motion picture “What’s New, Pussycat” was released. -
In This Paper I Employ Goodenough´S Distinction Between Films That
Vol. 9, no. 2 (2014) Category: Conference paper Written by Róbert Haraldsson In this paper I employ Goodenough´s distinction between films that illustrate, are about and do philosophy to answer the question how we can identify the ethical content of movies. Crimes and Misdemeanors by Woody Allen is taken as an example but Mary L. Litch has argued that this movie illustrates ethical problems and is about ethics. On Litch´s reading the film reveals inherent flaws in utilitarianism and illustrates a Kantian insight as well as other ethical and religious theses. I argue, however, that Litch has relied on a too narrow method when identifying the ethics of Crimes and Misdemeanors. She focuses almost exclusively on dialogue and the general storyline. If we broaden our method to include sensitivity to filming, editing, camera angulation etc., we will not only realize a rather different ethical content in Crimes and Misdemeanors but also see how the movie stirkes close to home for most viewers of Hollywood movies. How do we get at the ethical content of a movie? Let’s begin with a slightly easier question: Why should ethicists go to the movies? What can they expect to learn? One obvious reason is that ethicists like most people might simply enjoy watching movies. What I have in mind, however, is why ethicists qua ethicists should go to the movies. What can they learn as ethicists by watching films? The answer to this question will give us some ideas about how to get at the ethical content of movies. Jerry Goodenough has identified four reasons a philosopher as a philosopher might want to go to the movies.[1] Adapting his classification scheme to ethics in particular, we could say first of all that an ethicist might go to the movies because he was interested in ethical questions about the film medium itself and the nature of the film experience. -
The Unshine Boys by Sara Vilkomerson April 14, 2009 | 6:00 P.M
The Unshine Boys By Sara Vilkomerson April 14, 2009 | 6:00 p.m. "It used to be Diane Keaton with me—she always used to tell me, ‘I’m terrible, I’m awful, I can’t do it, you should get someone else.’ And she was always brilliant. Well, Larry is like this,” said Woody Allen via telephone from his Upper East Side apartment last week. The 73-year-old director was discussing his new movie Whatever Works, which stars Larry David, and will open the Tribeca Film Festival on April 22 before hitting theaters in June. “I’d always been a fan. … I asked him to do it, and he said, ‘But I can’t act! I can only do what I do, I’m not an actor, you’ll be disappointed,’” said Mr. Allen. “You know, those are the ones who can always do it. The ones that tell you how great they are can never do it. Larry is all, ‘I can’t do it. I can’t do it,’ but when it came time to do it, right out of the box, he did it. And not just the comedy, which I expected, but all the other things he had to do which required acting and emotions and being touching and all that—he did that, too.” “I didn’t even know I was on his radar, to tell you the truth,” said Larry David, 61, with utmost seriousness, speaking from Los Angeles a couple of days later. “I’m very surprised about that. When you hear that Woody Allen is a fan of yours … ” He paused. -
Film 484: Film Directors/Woody Allen
Film 484: Film Directors/Woody Allen “You got to remember that Woody Allen is a writer…. It can be argued that he is America’s greatest writer.” —Jonathan Schwartz, WNYC Prof. Christopher Knight Autumn 2015 Department of English Office: LA 115 Tel.: 243-2878 Email: [email protected] Class Meeting: Tuesday & Thursday, 9:40 - 12 Office Hours: Wednesday & Friday, 10 – 11; and by appointment Library Films & Texts on Reserve: Each of the films is on two-hour reserve at the Mansfield Library’s front desk. Also on reserve are the following books: 1. Peter Bailey, The Reluctant Film Art of Woody Allen. University of Kentucky Press, 2001. 2. Peter Bailey & Sam Girgus, eds., A Companion to Woody Allen, Wiley-Blackwell, 2013. 3. Sam Girgus, The Films of Woody Allen, Cambridge University Press, 1993. 4. Eric Lax, Conversations with Woody Allen: His Films, The Movies, and Moviemaking. Alfred A. Knopf, 2009. 5. Charles L. P. Silet, ed., The Films of Woody Allen: Critical Essays, Scarescrow Press, 2006. Plan: Woody Allen began his career as a gag writer; moved to doing stand-up comedy; then began writing film scripts, short fiction and plays. His first work as a director came in 1966, with What’s Up, Tiger Lily? His next efforts in directing—including Take the Money and Run (1969), Bananas (1971), Everything You Wanted to Know About Sex (1972), Sleeper (1973) and Love and Death (1975)—carried forward his work as a comedian in the tradition of Charlie Chaplin and Groucho Marx. In 1977 came Annie Hall, a film that Graham McCann has spoken of as “a watershed,” for the reason that with this film Allen introduces an intellectual, emotional and narrative complexity that had shown itself less crucial in his earlier films, with the possible exception of Play It Again, Sam, a Harold Ross directed film based upon Allen’s Broadway play of the same name, and starring Allen, Tony Roberts and Diane Keaton, the three of whom would be reunited in Annie Hall. -
Midnight in Paris
MIDNIGHT IN PARIS Ein Film von Woody Allen USA/Frankreich 2011 94 Minuten, Farbe MIDNIGHT IN PARIS Hauptdarsteller (in alphabetischer Reihenfolge) Gert KATHY BATES Salvador ADRIEN BRODY Museumsführerin CARLA BRUNI Adriana MARION COTILLARD Inez RACHEL McADAMS Paul MICHAEL SHEEN Gil OWEN WILSON Nebendarsteller (in alphabetischer Reihenfolge) Carol NINA ARIANDA John KURT FULLER Mr. Fitzgerald TOM HIDDLESTON Helen MIMI KENNEDY Ms. Fitzgerald ALISON PILL Gabrielle LÉA SEYDOUX Ernest COREY STOLL Filmemacher Drehbuch & Regie WOODY ALLEN Produktion LETTY ARONSON STEPHEN TENENBAUM JAUME ROURES Koproduktion HELEN ROBIN RAPHAEL BENOLIEL Ausführende Produktion JAVIER MÉNDEZ Kamera DARIUS KHONDJI ASC, AFC Szenenbild ANNE SEIBEL ADC Schnitt ALISA LEPSELTER Kostüm SONIA GRANDE Besetzung JULIET TAYLOR PATRICIA DiCERTO STÉPHANE FOENKINOS KURZINHALT Ein Wunschtraum geht für den Amerikaner Gil (OWEN WILSON) in Erfüllung, als er mit seiner Verlobten Inez (RACHEL McADAMS), ein Mädchen aus wohlhabendem Hause, seinen Urlaub in Paris verbringen kann. Seit seiner Jugend schwärmt Gil von der dortigen Künstlerszene der Zwanzigerjahre. Wenn er nur damals hätte leben können! Hemingway, Fitzgerald, Gertrude Stein - das sind die Idole des erfolgreichen Hollywood- Drehbuchautoren, der sich sehnlichst wünscht, als ernst zu nehmender Schriftsteller zu reüssieren. Inez hat kein Verständnis für seine Schwärmerei. Eines Abends bricht Gil alleine auf und verirrt sich bei seinem Streifzug durch die Straßen der Stadt der Liebe. Punkt Mitternacht geschieht etwas Wundersames: Gil wird von einer Limousine aufgelesen, die ihn geradewegs in die Roaring Twenties transportiert, zu all den legendären Künstlern, die er immer schon bewundert hat! Mit einem Mal ist nichts mehr so, wie es vorher war... PRESSENOTIZ So romantisch und hinreißend war Woody Allen schon lange nicht mehr! Allens 42.