Heaven Can Wait and Racing with the Moon Nce Upon a Time There Was a Play by Film’S Composer, Dave Grusin
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7.Castrillo-Echart
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Dadun, University of Navarra Pablo Castrillo Towards a narrative definition of [email protected] PhD Candidate and Lecturer. the American political thriller film University of Navarra. Spain. Pablo Echart Abstract [email protected] Senior Lecturer in The Hollywood political thriller is a film genre of unique Screenwriting. University of relevance in the United States, often acting as a reflection of the Navarra. Spain. fears and anxieties of its historical times. At the same time, however, the definition of its identity and boundaries still leaves Submitted room for further specification, perhaps due to the frequent June 4, 2015 consideration of the political thriller as part of the broader Approved September 30, 2015 categories of either thriller narratives or political films. By revising the available literature and filmography and analyzing the narrative features of the classical political thriller, this © 2015 Communication & Society article proposes a deeper definition of the genre that takes into ISSN 0214-0039 account the nature of the broader ‘thriller’ category of films E ISSN 2386-7876 springing from a specific mode of crime fiction that focuses on a doi: 10.15581/003.28.4. 109-123 www.communication-society.com victim or threatened individual as its protagonist, depicts and conveys intense emotional states, portrays an unbalanced and highly existentialist worldview, and travels into the 2015 – Vol. 28(4), pp. 109-123 extraordinary while at the same time holding on to very concrete expectations of verisimilitude. The political thriller How to cite this article: specifies this broader form of narration and links it to dramatic Castrillo, P. -
Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
3 Jours Condor
! Cycle « Théorie du complot ?… » Les trois jours du condor ( Three days of the Condor) (Sidney Pollack, USA - 1975) ! Scénario: Lorenzo Semple Jr et Da- vid Rayfield d’après le roman Les six jours du condor de James Grady Image: Owen Roizman Montage: Don Guidice Musique: Dave Grusin Producteurs: Stanley Schneider et Dino De Laurentiis Interprétation: Robert Redford (Joe Turner), Faye Dunaway (Kathy Hale), Cliff Robertson (Higgins), Max Von Sydow (Joubert), John Houseman (Wabbash) Budget : environ 20 000 000 $ Format: 2.35:1 durée: 117 mn Tournage: 4 nov 74-21 fév 75. Sorties: USA: 24 septembre 75, France : 21 novembre 75 1 400 000 spectateurs Critiques et commentaires « Si je réalise un film avec des vedettes comme Robert Redford et Faye Dunaway, qui coûte 5 millions de dollars, je suis forcé de faire un film « populaire » et pas seulement pour une élite. mais je trouve qu’il est passionnant de prendre un genre comme le western, la « love story » ou le thriller et d’introduire des éléments politiques ou philosophiques, pour que ce ne soit pas seulement un produit de série. J’essaie de le rendre actuel et sensible à un vaste public. Aujourd’hui, il n’est pas vraiment dangereux de s’attaquer à des sujets comme celui-ci, alors qu’il y a quelques années, certaines personnes se seraient interposées. D’autre metteurs en scène s’attaquent aux problèmes actuels comme le Watergate: Alan J. Pakula vient de terminer Les hommes du président, avec aussi Robert Redford. Je crois qu’il s’agit là d’un prolongement de la série « politique-fiction »qui avait débuté dans les années soixante par exemple avec des films de John Frankenheimer (Sept jours en mai, Un crime dans la tête) Quelqu’un a écrit un article très intéressant sur ce qu’il a appelé la « paranoïa prophétique ». -
Once Upon a Time in Hollywood
THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE SUMMER MOVIE ISSUE IN THIS ISSUE Once Upon a Time in Hollywood PLUS John Wick: Chapter 3 – Parabellum Rocketman Toy Story 4 AND MUCH MORE! US $8.95 / Canada $8.95 QTR 2 / 2019 / VOL 69 FOR YOUR EMMY ® CONSIDERATION OUTSTANDING SINGLE-CAMERA PICTURE EDITING FOR A DRAMA SERIES - STEVE SINGLETON FYC.NETFLIX.COM CINEMA EDITOR MAGAZINE COVER 2 ISSUE: SUMMER BLOCKBUSTERS EMMY NOMINATION ISSUE NETFLIX: BODYGUARD PUB DATE: 06/03/19 TRIM: 8.5” X 11” BLEED: 8.75” X 11.25” PETITION FOR EDITORS RECOGNITION he American Cinema Editors Board of Directors • Sundance Film Festival T has been actively pursuing film festivals and • Shanghai International Film Festival, China awards presentations, domestic and international, • San Sebastian Film Festival, Spain that do not currently recognize the category of Film • Byron Bay International Film Festival, Australia Editing. The Motion Picture Editors Guild has joined • New York Film Critics Circle with ACE in an unprecedented alliance to reach out • New York Film Critics Online to editors and industry people around the world. • National Society of Film Critics The organizations listed on the petition already We would like to thank the organizations that have recognize cinematography and/or production design recently added the Film Editing category to their Annual Awards: in their annual awards presentations. Given the essential role film editors play in the creative process • Durban International Film Festival, South Africa of making a film, acknowledging them is long • New Orleans Film Festival overdue. We would like to send that message in • Tribeca Film Festival solidarity. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
An Analysis of the Perennial Big-Screen Representations of the Famed Detective, Sherlock Holmes Brody Challinor College of Dupage
ESSAI Volume 11 Article 12 Spring 2013 An Analysis of the Perennial Big-Screen Representations of the Famed Detective, Sherlock Holmes Brody Challinor College of DuPage Follow this and additional works at: http://dc.cod.edu/essai Recommended Citation Challinor, Brody (2013) "An Analysis of the Perennial Big-Screen Representations of the Famed Detective, Sherlock Holmes," ESSAI: Vol. 11, Article 12. Available at: http://dc.cod.edu/essai/vol11/iss1/12 This Selection is brought to you for free and open access by the College Publications at DigitalCommons@COD. It has been accepted for inclusion in ESSAI by an authorized administrator of DigitalCommons@COD. For more information, please contact [email protected]. Challinor: An Analysis of the Perennial Big-Screen Representations of An Analysis of the Perennial Big-Screen Representations of the Famed Detective, Sherlock Holmes by Brody Challinor (English 1154) n the 1939 movie, The Adventures of Sherlock Holmes, Conan Doyle‘s famous detective [Basil Rathbone] finds himself up against his greatest nemesis, Professor Moriarty, [George Zucco] I whom he must fight on two different fronts; protecting a young lady and her brother from the deadly implications of a series of cryptic notes, while simultaneously protecting the Crown Jewels. This portrayal of the character was released to a backdrop of a world in tension, hitting theaters on the first official day of World War II, once Nazi Germany invaded Poland. In sharp contrast to its predecessor, however, the 1979 Murder by Decree pitted Holmes [Christopher Plummer] against what some might call the ‗phantom‘ menace of a fictionalized Jack the Ripper, following hot on the heels of both the Watergate scandal as well as the American feminist movement. -
Jack Oakie & Victoria Horne-Oakie Films
JACK OAKIE & VICTORIA HORNE-OAKIE FILMS AVAILABLE FOR RESEARCH VIEWING To arrange onsite research viewing access, please visit the Archive Research & Study Center (ARSC) in Powell Library (room 46) or e-mail us at [email protected]. Jack Oakie Films Close Harmony (1929). Directors, John Cromwell, A. Edward Sutherland. Writers, Percy Heath, John V. A. Weaver, Elsie Janis, Gene Markey. Cast, Charles "Buddy" Rogers, Nancy Carroll, Harry Green, Jack Oakie. Marjorie, a song-and-dance girl in the stage show of a palatial movie theater, becomes interested in Al West, a warehouse clerk who has put together an unusual jazz band, and uses her influence to get him a place on one of the programs. Study Copy: DVD3375 M The Wild Party (1929). Director, Dorothy Arzner. Writers, Samuel Hopkins Adams, E. Lloyd Sheldon. Cast, Clara Bow, Fredric March, Marceline Day, Jack Oakie. Wild girls at a college pay more attention to parties than their classes. But when one party girl, Stella Ames, goes too far at a local bar and gets in trouble, her professor has to rescue her. Study Copy: VA11193 M Street Girl (1929). Director, Wesley Ruggles. Writer, Jane Murfin. Cast, Betty Compson, John Harron, Ned Sparks, Jack Oakie. A homeless and destitute violinist joins a combo to bring it success, but has problems with her love life. Study Copy: VA8220 M Let’s Go Native (1930). Director, Leo McCarey. Writers, George Marion Jr., Percy Heath. Cast, Jack Oakie, Jeanette MacDonald, Richard “Skeets” Gallagher. In this comical island musical, assorted passengers (most from a performing troupe bound for Buenos Aires) from a sunken cruise ship end up marooned on an island inhabited by a hoofer and his dancing natives. -
Mulholland Falls
Mulholland Falls THIS ISN’T AMERICA, cumb to its pleasures, and there are (for which he won the Oscar), and many THIS IS LOS ANGELES many. The performances are all wonder - others. Everyone has their favorite ful, the direction hits the right marks, and Grusin scores, and Mulholland Falls is Sometimes it’s just timing. Sometimes the story is compellingly told. mine. Not only does his music do every - it’s just the luck of the draw. In 1996, an thing that film music is supposed to do, LA film noir called Mulholland Falls was Roger Ebert really liked the film, saying, i.e. propel the film, establish its moods, released. Very much attempting to tap “This is the kind of movie where every define its characters, and illuminate its into the feel of the film Chinatown , it re - note is put in lovingly. It’s a 1950s crime story, but apart from the film it is a great ceived some good reviews and some movie, but with a modern, ironic edge.” listening experience – its themes are bad reviews; but not many people cared The Los Angeles Times ’ Kenneth Turan beautiful and memorable, exciting and to see a period LA film noir set in the also liked it, and said, “Mulholland Falls melancholy, mysterious and smoky and early 1950s in 1996, despite its excellent combines a vivid sense of place with a intoxicating. In fact, it’s one of the best cast, which included Nick Nolte, Chaz visceral directorial style that fuses con - noir scores ever written, and right up Palminteri, Jennifer Connelly, John trolled fury onto everything it touches.” there with other classics of the post- Malkovich, Melanie Griffith, Chris Penn, The New York Times’ Janet Maslin, de - 1970s noir scores, Chinatown (Jerry Michael Madsen, Andrew McCarthy, and spite her concerns about the story itself, Goldsmith), Farewell, My Lovely (David Treat Williams, as well as small roles lauded the film: “Mr. -
The Dave Grusin Manuscripts an Inventory of Holdings at the American Music Research Center
The Dave Grusin manuscripts An inventory of holdings at the American Music Research Center American Music Research Center, University of Colorado at Boulder The Dave Grusin manuscripts Descriptive summary Title Dave Grusin manuscripts ID COU-AMRC-39 Creator(s) Grusin, Dave Repository The American Music Research Center University of Colorado at Boulder 288 UCB Boulder, CO 80309 Location Housed in the American Music Research Center Physical Description 100 linear feet Scope and Contents Manuscript scores of Dave Grusin (b. 1934), composer, graduate of the University of Colorado (B.Mus., 1956), including manuscript scores and parts for film and television compositions, as well as sketches and published arrangements. Notable in the collection are manuscript and sketches of several award-winning and award-nominated film scores, including "The Milagro Beanfield War," "On Golden Pond," and "The Fabulous Baker Boys" Administrative Information Arrangement Arranged by production type (films, TV shows, concerts, commercials) and alphabetically by title. Access Open Publication Rights All requests for permission to publish or quote from manuscripts must be submitted in writing to the American Music Research Center. Preferred Citation [Identification of item], Dave Grusin manuscripts, University of Colorado, Boulder - Page 2 - The Dave Grusin manuscripts Index Terms Access points related to this collection: Personal names Grusin, Dave -- Archives Grusin, Dave Corporate names American Music Research Center Subject headings Composers -- United States -- Archives Popular music -- Scores and parts Biography of Dave Grusin Born in Littleton, Colorado on June 26, 1934, Dave Grusin has made a name for himself as a composer of film scores, record producer, and fusion keyboardist. After graduating from Littleton High School in Denver, Colorado, he attended the University of Colorado at Boulder where he received a bachelor of music in piano performance. -
Film Classics
prrewr S „- Sonntag, und 13.3.2011, 11.00 Uhr in 35mm bringen: DAS LAND DES REGENBAUMS ("Raintree County" ), USA 1956. 35mm-Technicolor: aufgenommen in MGM Camera 65. Deutsche Warum ein Kinomuseum? FFIILLMM CCLLAASSSSIICCSS Fassung, ca. 168 Minuten. Regie: Edward Dmytryk. Mit Elizabeth Taylor, Montgomery Clift, Eva-Marie Saint Der Verein KINOMUSEUM BERLIN E.V. enga giert sich dafür, die Ein romantischer junger Lehrer aus Indiana heiratet eine historische und aktuelle Kultur des Kinowesens archetypisch zu geltungsbedürftige Südstaatenschönheit aus New Orleans, die erhalten und zu pflegen, seine gesellschaftliche Bedeutung zu durch ein Kindheitstrauma seelisch gestört ist. Die Ehe hält den ergründen und die technischen, künstlerischen, sozialen sowie psychischen Belastungen, den sozialen und politischen wissenschaftlichen Phänomene zu erforschen. Derzeit bringt das Gegensätzen nicht stand; die junge Frau sucht in geistiger KINOMUSEUM BERLIN E.V. in der ASTOR FILM LOUNGE die Umnachtung den Tod. Ausstellung „Raum der Illusionen: Fotoreisen durch Berliner Kinolandschaften – 1895 bis 2001“ in Fortsetzungen. (Aus: „Lexikon des Internationalen Films“. Exzerpt aus, „fd“ 7389“) Kontakt: Kinomuseum Berlin e.V., Jean-Pierre Gutzeit und andere, Siegmunds Hof 11, 10555 Berlin. www.kinomuseum-berlin.de, eMail: [email protected], Phone: 0177 853 15 71, Sonntag, Bankverbindung/Bank Information: Kinomuseum Berlin e.V., Berliner Volksbank, BLZ 100 900 00, Konto-Nr./Account No.: 221 785 1001 10.4.2011, 11.00 Uhr Was ist 70mm? in Raumbilder lösen sich ab 1952 vom Verfahren der bebrillten Systeme (3-D) und okkupieren die Breitleinwand: CinemaScope reüssiert, wirkt aber zu unscharf. Cinerama- und 70mm–Breitfilmstreifen erst füllen die immer größer werden Panorama-Bildwände mit kristallklaren, tiefenscharfen und nahezu „kornlosen“ Bildern. -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything. -
Movie Data Analysis.Pdf
FinalProject 25/08/2018, 930 PM COGS108 Final Project Group Members: Yanyi Wang Ziwen Zeng Lingfei Lu Yuhan Wang Yuqing Deng Introduction and Background Movie revenue is one of the most important measure of good and bad movies. Revenue is also the most important and intuitionistic feedback to producers, directors and actors. Therefore it is worth for us to put effort on analyzing what factors correlate to revenue, so that producers, directors and actors know how to get higher revenue on next movie by focusing on most correlated factors. Our project focuses on anaylzing all kinds of factors that correlated to revenue, for example, genres, elements in the movie, popularity, release month, runtime, vote average, vote count on website and cast etc. After analysis, we can clearly know what are the crucial factors to a movie's revenue and our analysis can be used as a guide for people shooting movies who want to earn higher renveue for their next movie. They can focus on those most correlated factors, for example, shooting specific genre and hire some actors who have higher average revenue. Reasrch Question: Various factors blend together to create a high revenue for movie, but what are the most important aspect contribute to higher revenue? What aspects should people put more effort on and what factors should people focus on when they try to higher the revenue of a movie? http://localhost:8888/nbconvert/html/Desktop/MyProjects/Pr_085/FinalProject.ipynb?download=false Page 1 of 62 FinalProject 25/08/2018, 930 PM Hypothesis: We predict that the following factors contribute the most to movie revenue.