Reviews and Criticism of Vietnam War Theatrical and Television Dramas ( Compiled by John K

Total Page:16

File Type:pdf, Size:1020Kb

Reviews and Criticism of Vietnam War Theatrical and Television Dramas ( Compiled by John K From: Reviews and Criticism of Vietnam War Theatrical and Television Dramas (http://www.lasalle.edu/library/vietnam/FilmIndex/home.htm) compiled by John K. McAskill, La Salle University ([email protected]) U4500 ULEE’S GOLD (USA, 1997) (Other titles: Oro di Ulisse) Credits: director/writer, Victor Nunes. Cast: Peter Fonda, Pamela Richardson, Jessica Biel, J. Kenneth Campbell. Summary: Melodrama set in contemporary Florida. Third-generation beekeeper Ulee Jackson (Fonda) may have gotten out of Vietnam alive, but he left a part of himself behind. Now he methodically tends his bees, carefully provides for those that need him and vigilantly keeps his emotions at bay. He protects his gold: his Tupelo honey and his family. But when both are threatened by a long-buried secret, Ulee must break through his emotional walls, find the strength to change, and begin life anew. Adams, Thelma. [Ulee’s gold] New York post (Jun 13, 1997), p. 48. [Reprinted in Film review annual 1998] Alleva, Richard. “Melodramas that work” Commonweal 124 (Sep 12, 1997), p. 26-7. Anderson, John. “On movies: Striking gold after years as a captive” Newsday (Jun 15, 1997), Famfare, p. C4. Ansen, David. “The buzz on ‘Ulee’? A honey” Newsweek 129/24 (Jun 16, 1997), p. 57. Anthony, Todd. “Rebel from Easy rider matures in Ulee’s gold” Miami herald (Jun 20, 1997), p. 4G. Arnold, Frank. “Ulee’s gold” EPD Film 15 (may 1998), p. 47-8. Benallal, Mehdi. “6-1 inedits d’Amerique” Positif n. 448 (Jun 1998), p. 28-30. Biskind, Peter. “Ballad of easy rider” Premiere 10/11 (Jul 1997), p. 39+ [4 p.] Butzin, Charlotte. “Ulee’s gold” US no. 234 (Jul 1997), p. 46. Caro, Mark. “Striking ‘Gold’: Peter Fonda gives a powerful performance in dramatic role” Chicago tribune (Jun 20, 1997), Friday, p. C. Carr, Jay. “Peter Fonda strikes ‘Gold’ as true-blue farmer” Boston globe (Jun 20, 1997), p. F7. _______. “Peter’s principles: Peter Fonda believes his beekeeper role in ‘Ulee’s gold’ is an odyssey of the heart” Boston globe (Jun 15, 1997), p. N11. Clark, Mike. “Peter Fonda is solid gold in subtle, satisfying ‘Ulee’” USA today (Jun 13, 1997), p. 4D. Cuneen, Joseph. “‘Ulee’s gold’ shines; ‘Wedding’ does not” National Catholic reporter 33/35 (Aug 1, 1997), p. 17. Denby, David. “Ulee’s gold” New York 30/23 (Jun 16, 1997), p. 52. [Reprinted in Film review annual 1998] Diamond, Jamie. “Film: Peter Fonda finds a bit of Henry within” New York times (Jun 8, 1997), sec. 2, p. 17. Early, Emmett. The war veteran in film Jefferson, N.C. : McFarland, 2003. (p. 8, 59, 68, 98-102, 106, 211, 222, 228, 230 234, 240) Farber, Stephen. “Independent summer” Movieline 8 (Jul 1997), p. 26-7. Fuller, Graham. “Fonda, Peter Fonda” Interview (Jun 1997), p. 110-15+ [8 p.] Geier, Thom. “Ulee’s gold” U.S. news & world report 122/23 (Jun 16, 1997), p. 71. Goldstein, Patrick. “Profile: A rather uneasy ride: Peter Fonda is downright Henry- like in ‘Ulee’s gold.’ But he’s dealing with it” Los Angeles times (Jun 8, 1997), Calendar, p. 3. Helie, Roland. “Inedits d’Amerique” Jeune cinema n. 250 (summer 1998), p. 35-8. Higuinen, E. “L’amerique a corps perdus” Cahiers du cinema n. 525 (Jun 1998), p. 72-5. Howe, Desson. “Discovering ‘Ulee’s gold’” Washington post (Jun 20, 1997), Weekend, p. 27. Johnson, Brian D. “Adrenaline and aphrodisiacs” Maclean’s 110/27 (Jul 7, 1997), p. 62+ [2 p.] Kauffmann, Stanley. “The work of their lives” New republic 217/1 (Jul 7, 1997), p. 26. Kemp, Philip. “Ulee’s gold” Sight and sound 8 (Apr 1998), p. 56. [Reprinted in Film review annual 1998] Klawans, Stuart. “Nunez, Kusturica, Godard” Nation 265 (Jul 14, 1997), p. 34-6. Lally, Kevin. “Discovering ‘Gold’” Film journal 100 (Jun 1997), p. 16+ [3 p.] _________. “Ulee’s gold” Film journal 100 (May 1997), p. 59. LaSalle, Mick. “Peter Fonda mines dad’s ‘Gold’: Images of Henry flicker in dull tale” San Francisco chronicle (Jun 20, 1997), p. C3. Lawson, Terry. “At last, Peter Fonda strikes gold as an actor” Detroit free press (Jun 20, 1997), p. 12D. ___________. “Henry’s ghost peacefully haunts Peter Fonda’s latest” Detroit free press (Jun 15, 1997), p. 1G. Lochen, Kalle. “Familien som bikube” Film & kino n. 3 (Jun 1998), p. 26-7. Loewenstein, Lael. “Ulee’s gold” Boxoffice 133 (Apr 1997), p. 176. Maslin, Janet. “Film review: From the company of bees to that of humans” New York times (Jun 13, 1997), p. C3. McCarthy, Todd. “Off beaten track, Nunez mines ‘Gold’” Variety 366 (Feb. 3-9, 1997), p. 42. McGavin, Patrick Z. “Fonda’s Gold: Rebel hero earns raves in quiet role” Chicago tribune (Jun 22, 1997), Arts & entertainment, p. 13. Mathews, Jack. “Peter Fonda mines ‘Ulee’s gold’: A quirky character, an unconventional story” Newsday (Jun 13, 1997), pt. II, p. 13. [Reprinted in Film review annual 1998] Millan, Jeff. “Peter Fonda’s performance is pure ‘Gold’” Houston chronicle (Jun 20, 1997), 2 star ed., p. 1. Morgenstern, Joe. “Film: Emotional wreck; Shipwreck” Wall Street journal (Jun 13, 1997), p. A17. Oppenheimer, Jean. “Ulee’s gold” American cinematographer 78 (Jun 1997), p. 26+ [3 p.] Parks, Louis B. “Film notes: Fonda ‘Magic’ sets stage for a bit of Fonda ‘Gold’” Houston chronicle (Jun 13, 1997), Weekend preview, p. 4. Perez, Gilberto. “Film in review” Yale review 86/2 (1998), p. 174-85. Powers, John. “Ulee’s gold” Vogue 187/6 (Jun 1997), p. 126. Rafferty, Terrence. “Celestial navigation” New Yorker 73/16 (Jun 16, 1997), p. 107- 8. Rea, Stephen. “On movies: Peter Fonda deems himself perfect for the role” Philadelphia inquirer (Jun 15, 1997), p. F7. __________. “On screen: An understated gem features mature talents of Peter Fonda” Philadelphia inquirer (Jun 20, 1997), Weekend, p. 4. Riley, Phil. “Ulee’s gold” Motion picture guide annual (edited by Jay Robert Nash and Stanley Ralph Ross) Chicago : Cinebooks, 1987-2000. (1998, p. 431-2) Ringel, Eleanor. “Movies: Review: ‘Ulee’s gold’: Grade A” Atlanta constitution (Jun 20, 1997), p. E11. Rozen, Leah. “Ulee’s gold” People weekly 47/24 (Jun 23, 1997), p. 20. Schickel, Richard. “Stingless” Time 150/1 (Jul 7, 1997), p. 108. [Reprinted in Film review annual 1998] Sider, Don. “Feeling the buzz” People weekly 48/4 (Jul 28, 1997), p. 22+ [2 p.] Simmons, Sheila. “Beekeeper tale makes honey of a movie” Plain dealer [Cleveland] (Jun 20, 1997), Friday, p. 10. Snead, Elizabeth. “Peter Fonda mines a rich vein with ‘Ulee’s gold’” USA today (Jun 27, 1997), p. 7D. Southall, James. “Ulee’s gold” Film score monthly 3/8 (1998), p. 43. Spines, Christine. “Ulee’s gold” Premiere 10/11 (Jul 1997), p. 22. Sterritt, David. “If the ‘indies’ stay in vogue, ‘Ulee’s gold’ may strike it rich” Christian science monitor (Jun 13, 1997), p. 11. [Reprinted in Film review annual 1998] Tassi, Fabrizio. “L’oro di Ulisse” Cineforum 37/367 (Sep 1997), p. 89-90. Taubin, Amy. “Gold rush” Village voice 42/25 (Jun 24, 1997), p. 82. __________. “The odysseys” Village voice 42/24 (Jun 17, 1997), p. 66. [Reprinted in Film review annual 1998] Thomson, Patricia. “Good as gold” Independent film and video monthly 20 (Jun 1997), p. 32-5. Travers, Peter. “Ulee’s gold” Rolling stone no. 763 (Jun 26, 1997), p. 59+ [2 p.] Turan, Kenneth. “Movie review: Fonda a la Fonda in ‘Ulee’s gold’” Los Angeles times (Jun 13, 1997), Calendar, p. 1. [Reprinted in Film review annual 1998] “Ulee’s gold” Film review annual 1998 Englewood, N.J. : J.S. Ozer, 1981- (p. 1369- 75) “Ulee’s gold” Mademoiselle 103/7 (Jul 1997), p. 70. “Ulee’s gold” Playboy 44/7 (Jul 1997), p. 22. Vejnoska, Jill. “Film event: ‘Ulee’s gold’ closing night gala, Atlanta Film & Video festival...” Atlanta constitution (Jun 6, 1997), p. E1. Wall, James M. “Fluff and substance” Christian century 114/22 (Jul 30-Aug 6, 1997), p. 683+ [2 p.] c2005 J.K.M. Enterprises .
Recommended publications
  • County Theater ART HOUSE
    A NONPROFIT County Theater ART HOUSE Previews108C JUNE – SEPTEMBER 2019 Gordon MacRae and Shirley Jones in Rodgers & Hammerstein’s OKLAHOMA! & Hammerstein’s in Rodgers Gordon MacRae and Shirley Jones INCLUDES OUR MAIN ATTRACTIONS AND SPECIAL PROGRAMS C OUNTYT HEATER.ORG 215 345 6789 Welcome to the nonprofit County Theater The County Theater is a nonprofit, tax-exempt 501(c)(3) organization. Policies ADMISSION Children under 6 – Children under age 6 will not be admitted to our films or programs unless specifically indicated. General ............................................................$11.25 Late Arrivals – The Theater reserves the right to stop selling Members ...........................................................$6.75 tickets (and/or seating patrons) 10 minutes after a film has Seniors (62+) & Students ..................................$9.00 started. Matinees Outside Food and Drink – Patrons are not permitted to bring Mon, Tues, Thurs & Fri before 4:30 outside food and drink into the theater. Sat & Sun before 2:30 .....................................$9.00 Wed Early Matinee before 2:30 ........................$8.00 Accessibility & Hearing Assistance – The County Theater has wheelchair-accessible auditoriums and restrooms, and is Affiliated Theater Members* ...............................$6.75 equipped with hearing enhancement headsets and closed cap- You must present your membership card to obtain membership discounts. tion devices. (Please inquire at the concession stand.) The above ticket prices are subject to change. Parking Check our website for parking information. THANK YOU MEMBERS! Your membership is the foundation of the theater’s success. Without your membership support, we would not exist. Thank you for being a member. Contact us with your feedback How can you support or questions at 215 348 1878 x115 or email us at COUNTY THEATER the County Theater? MEMBER [email protected].
    [Show full text]
  • Tracing Posthuman Cannibalism: Animality and the Animal/Human Boundary in the Texas Chain Saw Massacre Movies
    The Cine-Files, Issue 14 (spring 2019) Tracing Posthuman Cannibalism: Animality and the Animal/Human Boundary in The Texas Chain Saw Massacre Movies Ece Üçoluk Krane In this article I will consider insights emerging from the field of Animal Studies in relation to a selection of films in The Texas Chain Saw Massacre (hereafter TCSM) franchise. By paying close attention to the construction of the animal subject and the human-animal relation in the TCSM franchise, I will argue that the original 1974 film, The Texas Chain Saw Massacre II (1986) and the 2003 reboot The Texas Chain Saw Massacre all transgress the human-animal boundary in order to critique “carnism.”1 As such, these films exemplify “posthuman cannibalism,” which I define as a trope that transgresses the human-nonhuman boundary to undermine speciesism and anthropocentrism. In contrast, the most recent installment in the TCSM franchise Leatherface (2017) paradoxically disrupts the human-animal boundary only to re-establish it, thereby diverging from the earlier films’ critiques of carnism. For Communication scholar and animal advocate Carrie Packwood Freeman, the human/animal duality lying at the heart of speciesism is something humans have created in their own minds.2 That is, we humans typically do not consider ourselves animals, even though we may acknowledge evolution as a factual account of human development. Freeman proposes that we begin to transform this hegemonic mindset by creating language that would help humans rhetorically reconstruct themselves as animals. Specifically, she calls for the replacement of the term “human” with “humanimal” and the term “animal” with “nonhuman animal.”3 The advantage of Freeman’s terms is that instead of being mutually exclusive, they are mutually inclusive terms that foreground commonalities between humans and animals instead of differences.
    [Show full text]
  • Dennis Hopper
    GALERIE THADDAEUS ROPAC DENNIS HOPPER ICONS OF THE SIXTIES PARIS PANTIN 21 Oct 2015 - 27 Feb 2016 OPENING: WEDNESDAY, 21 OCTOBER 2015, 7PM-9PM Galerie Thaddaeus Ropac Paris Pantin is delighted to present Dennis Hopper’s exhibition Icons of the Sixties, a selection of photographs and personal objects alongside an emblematic sculpture as well as an installation composed of two canvases and an experimental film. The multitalented actor, director, photographer and painter Dennis Hopper (1936 – 2010) was known as an icon of the New Hollywood and of the artistic underground in California. In his early age he started as an actor alongside James Dean in Rebel Without a Cause (1955), working within the traditional Hollywood studio system, yet he felt driven to other artistic fields. Dean advised him to pick up a photo camera to investigate new creative territories. At this time Hopper painted a lot, “influenced by abstract expressionism and jazz” as he said, but after a fire devastated his house in Bel Air in 1961 and destroyed almost all his paintings, he stopped painting and turned more and more to photography. In the following years he always walked around with a camera, as a chronicler of his time, eager to capture the cultural and social seism that hit the American way of life specifically on the West coast – with its revolutionary wave of beat, pop and art. At the centre of the exhibition in Paris Pantin we present a selection of hand-signed vintage photographic prints by Dennis Hopper where he experimented with an irregular black frame produced by the photo-emulsion.
    [Show full text]
  • 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.
    [Show full text]
  • “Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World
    ABSTRACT “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD by Kyle Andrew Moody This thesis analyzes a trend in a subgenre of motion pictures that are designed to not only entertain, but also provide a message for the modern world after the terrorist attacks of September 11, 2001. The analysis provides a critical look at three different films as artifacts of post-9/11 culture, showing how the integration of certain elements made them allegorical works regarding the status of the United States in the aftermath of the attacks. Jean Baudrillard‟s postmodern theory of simulation and simulacra was utilized to provide a context for the films that tap into themes reflecting post-9/11 reality. The results were analyzed by critically examining the source material, with a cultural criticism emerging regarding the progression of this subgenre of motion pictures as meaningful work. “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Communications Mass Communications Area by Kyle Andrew Moody Miami University Oxford, Ohio 2009 Advisor ___________________ Dr. Bruce Drushel Reader ___________________ Dr. Ronald Scott Reader ___________________ Dr. David Sholle TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... III CHAPTER ONE: COMIC BOOK MOVIES AND THE REAL WORLD ............................................. 1 PURPOSE OF STUDY ...................................................................................................................................
    [Show full text]
  • American International Pictures Retrospective at the Museum of Modern Art
    The Museum of Modern Art 50th Anniversary •JO NO. 47 FOR IMMEDIATE RELEASE AMERICAN INTERNATIONAL PICTURES RETROSPECTIVE AT THE MUSEUM OF MODERN ART The Department of Film of The Museum of Modern Art will present a retrospective exhibition of films from American International Pictures beginning July 26 and running through August 28, 1979. The 38 film retrospective, which coincides with the studio's 25th anniversary, was selected from the company's total production of more than 500 films, by Adrienne Mancia, Curator, and Larry Kardish, Associate Curator, of the Museum's Department of Film. The films, many in new 35mm prints, will be screened in the Museum's Roy and Niuta Titus Auditorium and, concurrent with the retro­ spective, a special installation of related film stills and posters will be on view in the adjacent Auditorium Gallery. "It's extraordinary to see how many filmmakers, writers and actors — now often referred to as 'the New Hollywood'—took their first creative steps at American International," commented Adrienne Mancia. "AIP was a good training ground; you had to work quickly and economically. Low budgets can force you to find fresh resources. There is a vitality and energy to these feisty films that capture a certain very American quality. I think these films are rich in information about our popular culture and we are delighted to have an opportunity to screen them." (more) II West 53 Street, New York, NY. 10019, 212-956-6100 Coble: Modernart NO. 47 Page 2 Represented in the retrospective are Martin Scorsese, Francis Ford Coppola, Woody Allen, Jack Nicholson, Annette Funicello, Peter Fonda, Richard Dreyfuss, Roger Corman, Ralph Bakshi, Brian De Palma, John Milius, Larry Cohen, Michael Schultz, Dennis Hopper, Michelle Phillips, Robert De Niro, Bruce Dern, Michael Landon, Charles Bronson, Mike Curb, Richard Rush, Tom Laughlin, Cher, Richard Pryor, and Christopher Jones.
    [Show full text]
  • Imperialism and Exploration in the American Road Movie Andy Wright Pitzer College
    Claremont Colleges Scholarship @ Claremont Pitzer Senior Theses Pitzer Student Scholarship 2016 Off The Road: Imperialism And Exploration in the American Road Movie Andy Wright Pitzer College Recommended Citation Wright, Andy, "Off The Road: Imperialism And Exploration in the American Road Movie" (2016). Pitzer Senior Theses. Paper 75. http://scholarship.claremont.edu/pitzer_theses/75 This Open Access Senior Thesis is brought to you for free and open access by the Pitzer Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pitzer Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Wright 1 OFF THE ROAD Imperialism And Exploration In The American Road Movie “Road movies are too cool to address serious socio-political issues. Instead, they express the fury and suffering at the extremities of a civilized life, and give their restless protagonists the false hope of a one-way ticket to nowhere.” –Michael Atkinson, quoted in “The Road Movie Book” (1). “‘Imperialism’ means the practice, the theory, and the attitudes of a dominating metropolitan center ruling a distant territory; ‘colonialism’, which is almost always a consequence of imperialism, is the implanting of settlements on distant territory” –Edward Said, Culture and Imperialism (9) “I am still a little bit scared of flying, but I am definitely far more scared of all the disgusting trash in between places” -Cy Amundson, This Is Not Happening “This is gonna be exactly like Eurotrip, except it’s not gonna suck” -Kumar Patel, Harold and Kumar Escape From Guantanamo Bay Wright 2 Off The Road Abstract: This essay explores the imperialist nature of the American road movie as it is defined by the film’s era of release, specifically through the lens of how road movies abuse the lands that are travelled through.
    [Show full text]
  • Sxsw Film Festival Announces 2018 Features and Opening Night Film a Quiet Place
    SXSW FILM FESTIVAL ANNOUNCES 2018 FEATURES AND OPENING NIGHT FILM A QUIET PLACE Film Festival Celebrates 25th Edition Austin, Texas, January 31, 2018 – The South by Southwest® (SXSW®) Conference and Festivals announced the features lineup and opening night film for the 25th edition of the Film Festival, running March 9-18, 2018 in Austin, Texas. The acclaimed program draws thousands of fans, filmmakers, press, and industry leaders every year to immerse themselves in the most innovative, smart and entertaining new films of the year. During the nine days of SXSW 132 features will be shown, with additional titles yet to be announced. The full lineup will include 44 films from first-time filmmakers, 86 World Premieres, 11 North American Premieres and 5 U.S. Premieres. These films were selected from 2,458 feature-length film submissions, with a total of 8,160 films submitted this year. “2018 marks the 25th edition of the SXSW Film Festival and my tenth year at the helm. As we look back on the body of work of talent discovered, careers launched and wonderful films we’ve enjoyed, we couldn’t be more excited about the future,” said Janet Pierson, Director of Film. “This year’s slate, while peppered with works from many of our alumni, remains focused on new voices, new directors and a range of films that entertain and enlighten.” “We are particularly pleased to present John Krasinski’s A Quiet Place as our Opening Night Film,” Pierson added.“Not only do we love its originality, suspense and amazing cast, we love seeing artists stretch and explore.
    [Show full text]
  • Jessica Biel
    Jessica Biel Jessica Biel is a Hollywood sex symbol: Every guy dreams about her, and every women dreams of looking like her. Born on March 3, 1982, she always had an interest in all things theatrical, taking voice and dance lessons as a child. At age 11, she took part in a modeling competition and won an acting scholarship for a school in Los Angeles. She landed her breakout role on the family drama 7th Heaven, playing Mary Camden. She then appeared in films like Ulee’s Gold and I’ll Be Home for Christmas. After a year of college, she went back to L.A. to focus on acting, nabbing roles in Summer Catch, Rules of Attraction, Texas Chainsaw Massacre, Blade: Trinity, Stealth, I Now Pronounce You Chuck and Larry, Valentine’s Day, and Hitchcock. Off-camera, the actress supports numerous social causes, and most recently, she used her celebrity status to help turn the spotlight on the global water crisis. At the start of her career, Jessica Biel dated Adam LaVorgna, who she met on the set of I’ll Be Home for Christmas. The young famous couple made it work for three years before they split. She started dating Chris Evans in 2004, and soon after their celebrity break-up, she was spotted spending a lot of time with baseball player Derek Jeter. Although they only lasted a year, they sure did look good together! Then, the beautiful brunette broke all our hearts and took Justin Timberlake off the market. They started dating in 2007 and got hitched in Italy in October 2012.
    [Show full text]
  • Press Release: HPFI® Product Again Featured in New Movie
    Press Release For Immediate Release HPFI® Product Again Featured in New Movie HPFI (High Point Furniture Industries) is pleased to announce that, once again, its products will be included in a major motion picture. The 7500 Series reception furnishings will be featured in “New Year’s Eve,” an ensemble comedy starring Sarah Jessica Parker, Lea Michele, Abigail Breslin, Robert De Niro, Michelle Pfeiffer, Hilary Swank, Ashton Kutcher, Jessica Biel, Sofia Vergara, Halle Berry, Zac Efron, Til Schweiger and Sienna Miller. “New Year’s Eve” is a follow up to New Line Cinema’s “Valentine’s Day” and will again be directed by Garry Marshall. The cast portrays a group of interconnected New Yorkers as they navigate their way through romance and heartbreak over the course of the last day of the year. It is scheduled for release on December 9, 2011. The 7500 Series is but one of over two dozen collections of reception furnishings manufactured and marketed by HPFI. New Year’s Eve will feature three sofas and ten sled-base chairs from the 7500 Series. HPFI operates in two manufacturing facilities in High Point, North Carolina with over 440,000 square feet of manufacturing space. With roots in High Point, the furniture capital of the world, HPFI combines the skill and expertise of seasoned furniture craftspeople with modern day technology to deliver exceptional value to its customers. For more information, please contact Tom Carrigan, Director of Marketing, 1104 Bedford Street, High Point, North Carolina 27263, Telephone: 336-431-7101 Ext 2241, Fax: 336-431-0673, Email: [email protected].
    [Show full text]
  • Movie in Search of America: the Rhetoric of Myth in Easy Rider
    California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2005 Movie in search of America: The rhetoric of myth in Easy Rider Hayley Susan Raynes Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the American Film Studies Commons, and the Rhetoric Commons Recommended Citation Raynes, Hayley Susan, "Movie in search of America: The rhetoric of myth in Easy Rider" (2005). Theses Digitization Project. 2804. https://scholarworks.lib.csusb.edu/etd-project/2804 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. MOVIE IN SEARCH OF AMERICA: THE RHETORIC OF MYTH IN EASY RIDER A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition by Hayley Susan Raynes March 2005 MOVIE IN SEARCH OF AMERICA: THE RHETORIC OF MYTH IN EASY RIDER A Thesis Presented to the Faculty of California State University, San Bernardino' by Hayley Susan Raynes March 2005 © 2005 Hayley Susan Raynes ABSTRACT Chronicling the cross-country journey of two hippies on motorcycles, Easy Rider is an historical fiction embodying the ideals, naivete, politics and hypocrisies of 1960's America. This thesis is a rhetorical analysis of Easy Rider exploring how auteurs Peter Fonda, Dennis Hopper and Terry Southern's use of road, regional and cowboy mythology creates a text that simultaneously exposes and is dominated by the ironies inherent in American culture while breathing new life into the cowboy myth and reaffirming his place as one of America's most enduring cultural icons.
    [Show full text]
  • July 2014 at BFI Southbank
    July 2014 at BFI Southbank Dennis Potter, A Century of Chinese Cinema, Gotta Dance, Gotta Dance! Dennis Hopper with Peter Fonda in person, Richard Lester In Conversation The BFI Southbank’s complete Dennis Potter season, which marks the 20th anniversary of his death and brings together the entire surviving canon of Potter’s work for the first time, continues with this month’s theme The Outsider Inside. July highlights include screenings of Brimstone & Treacle (1982) and complete series screenings of Pennies From Heaven (1978) starring the late Bob Hoskins, and Lipstick on Your Collar (1993). This landmark season will continue in June and July 2015 A Century of Chinese Cinema continues with Swordsmen, Gangsters and Ghosts looking at the evolution of Chinese genre cinema with the popular wuxia (swordplay), martial arts and Hong Kong gangster films which first brought Chinese cinema to international attention. Highlights include Fist of Fury (1972), Police Story (1985), Crouching Tiger, Hidden Dragon (2000) and Infernal Affairs (2002) BFI Southbank will host a month long season dedicated to the actor, director and artist Dennis Hopper; the season will launch on Wednesday 2 July as we welcome Peter Fonda to BFI Southbank to discuss his career, and his friendship and collaborations with Dennis Hopper. The season will include screenings of some of Hopper’s most significant films including Easy Rider (1969), Blue Velvet (1986) and The Last Movie (1971), and coincides with Dennis Hopper: The Lost Album, a photographic exhibition hosted by The Royal Academy of Arts A two month season of dance films, Gotta Dance, Gotta Dance! will begin in July as part of Big Dance 2014.
    [Show full text]