DOCSLIB.ORG

My Brother's Keeper

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
My Brother's Keeper MY BROTHER’S KEEPER Sean Greenthaner Thesis Prepared for the Degree of MASTER OF FINE ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: C. Melinda Levin, Major Professor Ben Levin, Committee Member George Larke-Walsh, Committee Member Alan B. Albarran, Chair of the Department of Media Arts Mark Wardell, Dean of the Toulouse Graduate School Greenthaner, Sean. “My Brother’s Keeper.” Master of Fine Arts (Radio, Television and Film), May 2014, 35 pp., illustrations, references, 23 titles. My Brother’s Keeper is a Documentary Film developed to explore the life of John Dillinger. It examines the legendary criminal through the memories of Frances Dillinger Thompson his last remaining sibling. The film attempts to understand John Dillinger by exposing the intimate childhood relationship with, and the burdens his actions left on his sister. Copyright 2014 By Sean Greenthaner ii TABLE OF CONTENTS PROSPECTUS…………………………………………………………………………1 Description PREPRODUCTION RESEARCH……………………………………………………..3 Purpose Intended Audience Treatment Feasibility Research Style and Approach Potential Shots and Characters Photos Funding Distribution RECONCEPTUALIZATION BEFORE PRODUCTION………………………….…15 INTERGRATION OF THEORY AND PRODUCTION……………………………..17 Theories and Rationales Re-enactment and Authenticity PRODUCTION………………………………………………………………………..22 Overview Crew Equipment POSTPRODUCTION…………………………………………………………………26 Overview Editing Techniques Distribution APPENDIX A BUDGET ITEMIZATION…………………...……………………….29 REFERENCES………………………………………………………….……………..34 iii Description The Great Depression, the most severe recorded economic downfall in America’s history. The hardship began mid 1920s and lasted until 1939. It was the longest and most devastating depression ever experienced in the United States. The federal and state authorities found it a desperate time as well. The nation had to coexist with poverty and the circumstantial rise in crime. Ordinary men turned to crime as a way to survive. But for one man, his crimes were extraordinary. He was a new breed of outlaw with aspirations of legacy. In the media, he was portrayed as a modern day “Billy the Kid”. His crimes against financial institutions paid homage to those who came before him. His crimes became accepted by many across the nation as he was referred to as a “prince amongst thieves.” Criminals became front page news and their crimes and exploits were followed by the nation. Gangsters and bandits became romantic hero figures and were glamorized Robin Hoods of the day. People cheered them as celebrities. They represented a “power of the people” that stood up against what was viewed as government- produced hardships. He was known as Public Enemy #1 to the authorities but to his family, he was simply Johnnie. 1 My Brother’s Keeper explores John Dillinger’s iconic criminal career, life and death. The film will reveal a historical, intimate biographical look at Dillinger. This documentary will explore the media of the time and reveal their role in glamorizing Dillinger’s actions and creating the contemporary popular opinion about Dillinger. In the film, John Dillinger’s roots are visited in the home of the Dillinger family: Mooresville, Indiana. Also, My Brother’s Keeper will introduce the Dillinger family today. For the fist time in over sixty five years Frances Dillinger Thompson, the youngest of the Dillinger sisters, recounts personal family stories about John as a boy and up until the years of his death. An audience will witness the family today and how they came to terms with intimate memories of John, now burdened by historical myth. Viewers will have a rare firsthand look at recorded personal artifacts such as John’s letters from prison to his father and the infamous carved wooded pistol coated in shoe polish that is to believe to be the one used by Dillinger during his famous escape from Crown Point. The film will observe the Dillinger family brings personal items for sale to auction and how the family came to the decision to depart with the personal items. This film allows an honest understanding of the man himself, and will aid in reintroducing John Dillinger to a more contemporary audience. In this attempt to rediscover John Dillinger, the documentary will focus on the qualities and characteristics recorded from interviews with eyewitnesses at the time and that of the circumstances that surrounded his life. Interviews with expert historians, authors and retired FBI agents will provide accounts that will be threaded together to educate and focus on fact versus myth. My Brother’s Keeper will allow for the social perception of John Dillinger to be connected to a more intimate perspective about the man that his family called Johnnie. 2 Purpose My Brother’s Keeper will explore the fascination with one of America’s most notorious criminals, John Dillinger. The film’s focus will deconstruct many of the myths associated with Dillinger’s life. It will take into account the circumstances and actions of the man and his crimes, paralleled against intimate family stories and detailed letters of John’s own admissions of his crimes to his father and family. The documentary attempts to bring closure to many of the sensationalized actions of Dillinger played out by the media of the time and show how the 1930s media helped create the myth. It will also address the post-Dillinger era of today. How will the burden of John Dillinger’s crimes and iconic status affect future generations of the Dillinger family? My Brother’s Keeper will also serve as a record of the intimate memories of the last remaining family member closest to John, his little sister Frances Dillinger Thompson. From this personal access, the film allows Frances to have one of the first and last conversations about her older brother in over sixty- five years and allow a rare, privileged conversation into his past. This is a documentary that aims to separate fact from fiction and to reveal John Dillinger in a more intimate light. A film that can act as a voice for who John Dillinger the man really was and who as a nation we needed him to be. Intended Audience A national target audience is intended. In my opinion, this film has the potential for broad interest because of the action-based content and historical basis. Moviegoers who enjoy biography, history, crime or documentary films and books are targeted. Those who like documentaries that employ re-enactments to aid in the storytelling are a target audience. Educators could find this film useful as an educational tool for history and social studies to assist 3 in the teaching of American culture. As Dillinger’s criminal escapades took him through the Midwest, regional markets in Illinois, Indiana, Kansas, Ohio, and Missouri will be targeted for localization and identification towards the subject matter. Treatment The sign reads “Welcome to Mooresville”. It is a small Indiana town mostly made up of farm land and the humble hard working people who live there. A car pulls up to a small house where an older women and a man stand out front. The woman waves and is inviting. Inside the house the walls are lined with picture frames with wonderful black and white photographs. She now sits at the kitchen table with a coffee in front of her and introduces herself. She is Francis Dillinger Thompson and she is proud to say that John Dillinger was her brother. She begins to reminisce about when she was a little girl and how she would love to go to the movies with her big brother. She smiles when she thinks of the time she tried to bring one of her brother’s bulletproof vests from his car. The weight of the vest was so heavy for her weak arms that “Johnnie would tease me as I dragged it to the house” she remembered. To Frances, John Dillinger was just a big brother that liked to take her to the movies or play and tease with her as they grew up in a modest normal home surrounded by the fields of the small Midwest town and countryside of Morrisville, Indiana. As for Johnnie Dillinger, growing up would be the hardest thing to do. The death of his mother at the age of three would not be the first time the loss of a woman in his life would spark his misdirected anger. His childhood sweetheart and first wife broke his heart and after ten years of marriage, his stepmother who loved him like he was her own died the day he came home from prison. His relationships with women would be the one thing that made him vulnerable and it 4 was yet another woman who would be his downfall. Anna Sage who Dillinger trusted in the end cooperated with the FBI and told the agents where and when they would be at the Biograph Theater. The myth of John Dillinger still resonates today. Countless books and movies sensationalize the actions of Dillinger and has been the major reason why his myth continues today. But where is the separation between fact and myth? Who really was John Dillinger? Has the myth replaced the facts of who Dillinger really was? Historians today still argue myth versus facts and credit Dillinger as the most influential criminal of our time. John Dillinger shaped The United States government’s stance towards criminals and redefined the FBI as we know it today. John Dillinger is loved by many, but not by as much as the little sister who had to grow up without her big brother. Francis Dillinger has always found it difficult to understand the reasons behind her brother’s actions. All she can remember are the good times she spent with her big brother. They would go to the movies or Johnnie would read to her from his dime novels. She was very young but her memory is still vivid when she speaks about John.
Load more

Recommended publications
  • Die Invasion Der Barbaren Gedanken Zur Re-Mythisierung Hollywoods in Den 1980Er-Jahren
    Die Invasion der Barbaren Gedanken zur Re-Mythisierung Hollywoods in den 1980er-Jahren Marcus Stiglegger, Berlin 1. Wenn ich zurückdenke an das Jahr 1982 – ich war gerade 11 Jahre alt –, muss ich sagen, dass Conan für kurze Zeit zu meinem Mentor wurde. Ich durfte den Film mit Arnold Schwar- zenegger damals noch nicht sehen und sammelte daher verzweifelt alle Artikel über John Milius’ CONAN THE BARBARIAN (1982), die ich finden konnte. So kaufte ich mein erstes Cinema-Heft und meine erste Bravo-Ausgabe, denn beide berichteten ausführlich über den archaischen Barbaren. Und welche Freude war es, als der Heyne Verlag mit seiner Veröf- fentlichung der Conan-Stories und -Romane begann, die jeweils mit einem Filmfoto auf dem Cover erschienen. Diese blassgelben Buchrücken schmücken noch heute mein Lesezimmer. Conan kam damals zur richtigen Zeit: mit der wachsenden Popularität von J. R. R. Tolkiens Herr der Ringe-Romantrilogie und dem gleichnamigen Animationsfilm von Ralph Bakshi aus dem Jahr 1979, mit John Boormans 1981 gestarteter Neuinterpretation des Arthus-Mythos’ in EXCALIBUR und Terry Gilliams TIME BANDITS (1981). Es folgten THE DRAGON SLAYER (1982) von Matthew Robbins, FIRE AND ICE (1983) von Ralph Bakshi, THE DARK CRYSTAL (1982) von Jim Hanson und Frank Oz, LEGEND (1983) von Ridley Scott und aus Deutsch- land DIE UNENDLICHE GESCHICHTE (1984) von Wolfgang Petersen. Und nicht nur das Kino feierte die Phantasie, auch das Table-Top-Rollenspiel Dungeons & Dragons hatte damals eine Hochphase. Tolkiens Mittelerde hatte sich bereits in der Hippie-Ära der frühen 1970er-Jahre großer Beliebtheit erfreut, Studierendenkreise ebenso inspiriert wie esoterische Beschäfti- gung angestoßen. Pen-and-Paper-Rollenspiele etablierten sich als Gruppenerlebnis, und schon in den 1970er-Jahren musste man von einem Revival jener Fantasy-Literatur sprechen, die eigentlich einer anderen Ära entstammte: den krisengeplagten 1930er-Jahren mit ihren ‚Weird Tales‘ und weiteren frühen Fantasy-Magazinen.
    [Show full text]
  • 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.
    [Show full text]
  • Apocalypse Now
    Sabrina Baiguera Università degli Studi di Bergamo Letteratura Anglo-americana LMI A.A. 2011/2012 Paolo Jachia’s Francis Ford Coppola: Apocalypse Now. Un’analisi semiotica , an intertextual reconstruction of the texts, of the cultural references that lie behind the film. Apocalypse Now (1979) Two versions: the orginal version (1979) and the extended version ( Apocalypse Now Redux: 2001 ), released in 2001. The film is set during the Vietnam war (the action takes place approximately in 1970) It tells the story of U.S. Army Captain Benjamin L. Willard who has the mission to proceed up the Nung river into Cambodia, find Colonel Kurtz and “terminate” his command, by whatever means available. Willard starts a journey up the Nung river on a PBR (Petrol Boat) with a four- man crew (Chef – a saucier; Chief – the chief of the boat; Clean – a 17 year- old young from Bronx; Lance – a professional surfer). Kurtz had deserted the U.S. Army to start his own private war in the middle of the jungle. There he is worshipped as a god by his own Montagnard army, but he has gone insane and his methods are “unsound”. The artistic dimension Source texts of Apocalypse Now : 1. Joseph Conrad’s novella Heart of Darkness (1899) 2. James G. Frazer’s The Golden Bough (1890) 3. Jessie Weston’s From ritual to romance (1920) 4. Goethe’s Faust (1808) 5. The Holy Bible 6. T.S.Eliot’s The Waste Land (1922) and The Hollow Men (1925) 7. Baudelaire’s The Albatross (1861) 8. The Doors’ The End Heart of Darkness (1899) “In the case of “Apocalypse,” there was a script written by the great John Milius, but, I must say, what I really made the film from was the little green copy of Heart of Darkness that I had done all those lines in.” (Coppola) Heart of Darkness was not credited as a source text when the film first came out.
    [Show full text]
  • APOCALYPSE NOW REDUX Written by John Milius & Francis Ford
    APOCALYPSE NOW REDUX Written by John Milius & Francis Ford Coppola FADE IN: EXT. A SIMPLE IMAGE OF TREES - DAY Coconut trees being VIEWED through the veil of time or a dream. Occasionally colored smoke wafts through the FRAME, yellow and then violet. MUSIC begins quietly, suggestive of 1968-69. Perhaps "The End" by the Doors. Now MOVING through the FRAME are skids of helicopters, not that we could make them out as that though; rather, hard shapes that glide by at random. Then a phantom helicopter in FULL VIEW floats by the trees-suddenly without warning, the jungle BURSTS into a bright red-orange glob of napalm flame. The VIEW MOVES ACROSS the burning trees as the smoke ghostly helicopters come and go. DISSOLVE TO: INT. SAIGON HOTEL - DAY A CLOSE SHOT, upside down of the stubble-covered face of a young man. His EYES OPEN...this is B.L. WILLARD. Intense and dissipated. The CAMERA MOVES around to a side view as he continues to look up at a ROTATING FAN on the ceiling. EXT. IMAGES OF HELICOPTERS - DAY They continue to fly slowly, peacefully across the burning jungle. The colored smoke comes and goes. Morrison continues with "The End". INT. SAIGON HOTEL - DAY The CAMERA MOVES slowly across the room...and we SEE WILLARD, a young army captain. He looks out the window to the busy Saigon street. WILLARD (V.O.) * Saigon...shit. I'm only in Saigon. Every time, I think I'm gonna wake up back in the jungle. He moves back to the bed, lies down.
    [Show full text]
  • The Picture of Abjection: Film, Fetish, and the Nature of Difference
    The Picture of Abjection: Film, Fetish, and the Nature of Difference By Tina Chanter Bloomington: Indiana University Press, 2008. ISBN: 9780253219183. 15 illustrations, 377 pp. £19.99 (pbk) A review by Adrienne Angelo, Angelo, University of West Georgia, USA How do scholars and others with an interest in film studies and psychoanalysis engage with existing theoretical discourses on race, gender, culture and sexual difference in order to bypass the often polemicized and contested paradigm of fetishism and voyeurism, two critical modes that have dominated and continue to dominate film theory? It is this problematic that Tina Chanter explores in The Picture of Abjection: Film, Fetish and the Nature of Difference. For Chanter, drawing largely upon Kristeva's theoretical considerations of abjection, a point of entry to this endeavor lies precisely in further developing the implications of abjection as a "staging of a defensive dynamic that has the potential to significantly rework the imaginary commitments of Oedipal theory, specifically its privileging of masculinity and femininity" (17). Chanter's primary goal appears to be to develop a new critical model at the very center of which lies that which is otherwise neglected, excluded and expelled from dominant cultural discourse for being "too much", too "other". However, for as much as Chanter promotes a consideration of film and film theory, there is less an in-depth reading of films per se than a highly informed reconsideration of theoretical notions of subjectivity and the subject, one read through the lens of abjection and its destabilizing and thus subversive potential for considering marginalized identities and their representation in film theory.
    [Show full text]
  • Apoplexy Now
    return to updates Apoplexy Now by Miles Mathis Probably the best critique of Apocalypse Now is that of Jean Baudrillard, from his book Simulacra and Simulations. I recommend it as interesting in both language and idea. That said, I no longer find it convincing. Though incisive, it isn't incisive enough to suit me. I just watched the film again after a break of more than a decade, and found my low opinion of it had fallen another dozen notches. The problem with Baudrillard is that he was still writing to try to impress his fellow intellectuals and academics. To that end, he always seems too aware of his words, and too little aware of his facts and opinions. Certainly a reader is more aware of his words than his facts and opinions, since the latter crouch behind the former, never coming fully into the light. Even the late period Baudrillard wrote like a Frenchman who hadn't fully thrown off the haze of Deconstruction. Like Baudrillard's writing, mine was born out of the philosophy department, and as a younger man I toyed with many styles, including several that were more flowery and indirect. I still allow myself to wax poetic occasionally in short bursts, as my readers know, but for the most part I now strive for a style of absolute clarity. I save my art for other times. Some will think I just got lazy, but it was a conscious choice. I've grown impatient over the years with academic writing—and journalistic writing, too, if it comes to that.
    [Show full text]
  • Filmography 1963 Through 2017 Greg Macgillivray (Right) with His Friend and Filmmaking Partner of Eleven Years, Jim Freeman in 1976
    MacGillivray Freeman Films Filmography 1963 through 2017 Greg MacGillivray (right) with his friend and filmmaking partner of eleven years, Jim Freeman in 1976. The two made their first IMAX Theatre film together, the seminal To Fly!, which premiered at the Smithsonian National Air and Space Museum on July 1, 1976, one day after Jim’s untimely death in a helicopter crash. “Jim and I cared only that a film be beautiful and expressive, not that it make a lot of money. But in the end the films did make a profit because they were unique, which expanded the audience by a factor of five.” —Greg MacGillivray 2 MacGillivray Freeman Films Filmography Greg MacGillivray: Cinema’s First Billion Dollar Box Office Documentarian he billion dollar box office benchmark was never on Greg MacGillivray’s bucket list, in fact he describes being “a little embarrassed about it,” but even the entertainment industry’s trade journal TDaily Variety found the achievement worth a six-page spread late last summer. As the first documentary filmmaker to earn $1 billion in worldwide ticket sales, giant-screen film producer/director Greg MacGillivray joined an elite club—approximately 100 filmmakers—who have attained this level of success. Daily Variety’s Iain Blair writes, “The film business is full of showy sprinters: filmmakers and movies that flash by as they ring up impressive box office numbers, only to leave little of substance in their wake. Then there are the dedicated long-distance specialists, like Greg MacGillivray, whose thought-provoking documentaries —including EVEREST, TO THE ARCTIC, TO FLY! and THE LIVING Sea—play for years, even decades at a time.
    [Show full text]
  • SAVANNAH FILMS Title, Year, Director
    SAVANNAH FILMS The following list includes major projects identified as being filmed in the Savannah area (this list should not be considered all-inclusive; there may be additional films that have been accidentally omitted). It does not include short films, television series, and commercials filmed in Savannah. For more information on filming in Savannah, please visit the Savannah Film Office’s website at: www.savannahfilm.org. Title, Year, Director Pushmobile Race in Savannah (documentary), 1912 City of the Living Dead, 1980, Lucio Fulci Historic Savannah, Georgia (documentary), 1913 Carny, 1980, Robert Kaylor God's Witness, 1915, Eugene Moore The Last Shark, 1981, Enzo G. Castellari Under Southern Skies, 1916, Lucius Henderson When the Circus Came to Town, 1981, Boris Sagal The Wall Between, 1916, John W. Noble Tales of Ordinary Madness, 1981, Marco Ferreri A Corner in Cotton, 1916, Fred J. Balshofer Madhouse, 1981, Ovidio G. Assonitis Half a Rogue, 1916, Henry Otto If You Could See What I Hear, 1982, Eric Till Hate (silent movie), 1917, Walter Richard Stahl The Slayer, 1982, J.S. Cardone The Glorious Adventure (silent movie), 1918, Hobart Pals, 1983, Lou Antonio Henley My Father, My Son, 1988, Jeff Bleckner Stolen Moments (silent movie), 1920, James 1969, 1988, Ernest Thompson Vincent The Return of Swamp Thing, 1989, Jim Wynorski Babs (silent movie), 1920, Edward Griffith Glory, 1989, Edward Zwick Experience (silent movie), 1921, George Fitzmaurice Il ragazzo delle mani d'acciaio, 1990, Fabrizio De The Young Don't Cry, 1957, Alfred L. Werker Angelis Cape Fear, 1962, J. Lee Thompson The Rose and the Jackal, 1990, Jack Gold The Greatest Gift, 1974, Boris Sagal The Judas Project, 1990, James H.
    [Show full text]
  • Red and White on the Silver Screen: the Shifting Meaning and Use of American Indians in Hollywood Films from the 1930S to the 1970S
    RED AND WHITE ON THE SILVER SCREEN: THE SHIFTING MEANING AND USE OF AMERICAN INDIANS IN HOLLYWOOD FILMS FROM THE 1930s TO THE 1970s a dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Bryan W. Kvet May, 2016 (c) Copyright All rights reserved Except for previously published materials Dissertation Written by Bryan W. Kvet B.A., Grove City College, 1994 M.A., Kent State University, 1998 Ph.D., Kent State University, 2015 Approved by ___Kenneth Bindas_______________, Chair, Doctoral Dissertation Committee Dr. Kenneth Bindas ___Clarence Wunderlin ___________, Members, Doctoral Dissertation Committee Dr. Clarence Wunderlin ___James Seelye_________________, Dr. James Seelye ___Bob Batchelor________________, Dr. Bob Batchelor ___Paul Haridakis________________, Dr. Paul Haridakis Accepted by ___Kenneth Bindas_______________, Chair, Department of History Dr. Kenneth Bindas ___James L. Blank________________, Dean, College of Arts and Sciences Dr. James L. Blank TABLE OF CONTENTS…………………………………………………………………iv LIST OF FIGURES………………………………………………………………………v ACKNOWLEDGEMENTS……………………………………………………………...vii CHAPTERS Introduction………………………………………………………………………1 Part I: 1930 - 1945 1. "You Haven't Seen Any Indians Yet:" Hollywood's Bloodthirsty Savages……………………………………….26 2. "Don't You Realize this Is a New Empire?" Hollywood's Noble Savages……………………………………………...72 Epilogue for Part I………………………………………………………………..121 Part II: 1945 - 1960 3. "Small Warrior Should Have Father:" The Cold War Family in American Indian Films………………………...136 4. "In a Hundred Years it Might've Worked:" American Indian Films and Civil Rights………………………………....185 Epilogue for Part II……………………………………………………………….244 Part III, 1960 - 1970 5. "If Things Keep Trying to Live, the White Man Will Rub Them Out:" The American Indian Film and the Counterculture………………………260 6.
    [Show full text]
  • Butch and Sundance: the Early Years
    Butch and Sundance: The Early Years hat do you do when you have a for Burns’s quirky script for Butch and work so well is the great score by smash hit film that becomes an Sundance: The Early Years . Patrick Williams, one of two happy col - Winstant classic, that breaks box- laborations with Richard Lester, both office records, and that audiences flock The casting of the film proved inspired. from 1979, the other being his wonder - to see? Easy – you do a sequel, of For Butch it was the young actor, Tom ful score to Lester’s Cuba . Patrick course. However, doing a sequel be - Berenger, who’d just gotten a lot of at - Williams, born in 1939, began scoring comes a little problematic if your two tention for Looking for Mr. Goodbar . films in 1968 with How Sweet It Is. Over leading characters are dead at the end While he wasn’t an exact dead ringer for the years he’s written some truly superb of the film. That was the problem faced Paul Newman, there was definitely an scores, such as The One and Only, by Twentieth Century-Fox in 1969 with uncanny resemblance. For The Sun - Casey’s Shadow, The Cheap Detective, their monster hit, Butch Cassidy and dance Kid it was another young up-and- Hero at Large, Used Cars, Breaking The Sundance Kid , written by William comer, William Katt, who’d had a big Away (Oscar nomination), Some Kind of Goldman, directed by George Roy Hill, success in the Brian de Palma block - Hero, The Toy, The Buddy System , and and starring Paul Newman and Robert buster, Carrie , followed by an excellent many, many others, along with scores Redford in what some would say were performance in the John Milius film, Big for such television classics as The the most iconic roles of their long and Wednesday .
    [Show full text]
  • Family & Domesticity in the Films of Steven Spielberg
    Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Why Did I Marry A Sentimentalist?: Family & Domesticity in the Films of Steven Spielberg Emmet Dotan Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Other Film and Media Studies Commons, and the Theory and Criticism Commons This work is licensed under a Creative Commons Attribution 4.0 License. Recommended Citation Dotan, Emmet, "Why Did I Marry A Sentimentalist?: Family & Domesticity in the Films of Steven Spielberg" (2017). Senior Projects Spring 2017. 232. https://digitalcommons.bard.edu/senproj_s2017/232 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. 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. For more information, please contact [email protected]. Why Did I Marry A Sentimentalist?: Family & Domesticity in the Films of Steven Spielberg Senior Project Submitted to The Division of Arts of Bard College by Emmet Dotan Annandale-on-Hudson, New York May 2017 Acknowledgements I want to thank my advisor, Ed Halter, for pushing me to understand why I love the films that I love. I would also like to thank Natan Dotan for always reminding me why I do what I do.
    [Show full text]
  • L'onda Perfetta Del Secolo Disurfin'
    Piaceri&Saperi Saggistica / di Diego Gabutti L’onda perfetta del secolo di Surfin’ Usa Gusto estetico e valore spirituale nella magia di cavalcare altissimi muri d’acqua, allegoria degli anni Sessanta he il surf, oltre che uno sport bello fin’ Usa dei Beach Boys, della guerra nel Vie- e pericoloso, sia anche un’esperien- tnam e di quelle successive, del nomadismo za estetica e persino «spirituale» giovanile. Non è un mondo perfetto: i Sixties C – come talvolta si dice con espres- hanno un lato oscuro, dilagano le droghe, il sione vagamente ridicola di qualunque cosa rock and roll diventa sempre più dolciastro e attiri lo sguardo delle anime ecologiste e belle barocco, le controculture si convertono alla – è chiaro anche a chi non ha mai imparato violenza rivoluzionaria, e può anche capitare non diciamo a cavalcare le onde in California d’incontrare, in giro per le spiagge, «un ragaz- o sulle spiagge australiane, ma nemmeno a Giorni SeLvaGGi. zo inquietante, che in seguito avremmo iden- Una vita SULLe onde nuotare. William Finnegan, tificato in Charles Manson». Ma un surfista Non ricordo se Elvis Presley, in Blue Hawaii, 66th and 2nd 2016, pp. 496, ben allenato scivola sulla cresta di onde anche un film pop del 1961, praticasse il surf. Non 25 euro, ebook 12,99 euro più devastanti. credo, però. Ma basta aver visto (e rivisto) da leggere inoltre... Un mercoledì da leoni di John Milius, forse il Zona di takeoff. «Se leggete», dice Finne- miglior film sugli anni Sessanta in America, BiG wedneSday gan, «alcune delle prime descrizioni pubbli- per capire che i campioni di surf sono domi- di Dennis Aaberg cate sul surf – le più citate sono quelle di Jack e John Milius nati da un’ossessione estetica, proprio come Bantam Doubleday Dell London e Mark Twain, suggerite entrambe da le rock star, per esempio Elvis Presley.
    [Show full text]