John Waters Retrospective Nikki Blonsky
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On the Ball! One of the Most Recognizable Stars on the U.S
TVhome The Daily Home June 7 - 13, 2015 On the Ball! One of the most recognizable stars on the U.S. Women’s World Cup roster, Hope Solo tends the goal as the U.S. 000208858R1 Women’s National Team takes on Sweden in the “2015 FIFA Women’s World Cup,” airing Friday at 7 p.m. on FOX. The Future of Banking? We’ve Got A 167 Year Head Start. You can now deposit checks directly from your smartphone by using FNB’s Mobile App for iPhones and Android devices. No more hurrying to the bank; handle your deposits from virtually anywhere with the Mobile Remote Deposit option available in our Mobile App today. (256) 362-2334 | www.fnbtalladega.com Some products or services have a fee or require enrollment and approval. Some restrictions may apply. Please visit your nearest branch for details. 000209980r1 2 THE DAILY HOME / TV HOME Sun., June 7, 2015 — Sat., June 13, 2015 DISH AT&T CABLE DIRECTV CHARTER CHARTER PELL CITY PELL ANNISTON CABLE ONE CABLE TALLADEGA SYLACAUGA SPORTS BIRMINGHAM BIRMINGHAM BIRMINGHAM CONVERSION CABLE COOSA WBRC 6 6 7 7 6 6 6 6 AUTO RACING 5 p.m. ESPN2 2015 NCAA Baseball WBIQ 10 4 10 10 10 10 Championship Super Regionals: Drag Racing Site 7, Game 2 (Live) WCIQ 7 10 4 WVTM 13 13 5 5 13 13 13 13 Sunday Monday WTTO 21 8 9 9 8 21 21 21 8 p.m. ESPN2 Toyota NHRA Sum- 12 p.m. ESPN2 2015 NCAA Baseball WUOA 23 14 6 6 23 23 23 mernationals from Old Bridge Championship Super Regionals Township Race. -
Fais-Moi Mal, Johnyy, Johnny, Johnny / Serial Mom De John Waters]
Document généré le 25 sept. 2021 03:29 24 images Fais-moi mal, Johnyy, Johnny, Johnny Serial Mom de John Waters Marcel Jean Numéro 73-74, septembre–octobre 1994 URI : https://id.erudit.org/iderudit/23262ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer ce compte rendu Jean, M. (1994). Compte rendu de [Fais-moi mal, Johnyy, Johnny, Johnny / Serial Mom de John Waters]. 24 images, (73-74), 98–98. Tous droits réservés © 24 images inc., 1994 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ SERIAL MOM DE JOHN WATERS FAIS-MOI MAL, JOHNNY, JOHNNY, JOHNNY par Marcel Jean n peut désormais affirmer O qu'il y a deux périodes dans la carrière de John Waters. D'abord la période underground, dominée par des films comme Female Trouble et Pink Flamingoes, puis la période industrielle, qui compte maintenant trois films: Hairspray, Cry-Baby et le récent Serial Mom. Entre ces deux pôles, Polyester, curieux film en Odorama, vient tracer une frontière mal gardée qui permet aux dernières réalisations du cinéaste de jouir de l'énergie délinquante de ses premiers films. -
Motion Picture
Moving Images Prepared by Bobby Bothmann RDA Moving Images by Robert L. Bothmann is licensed under a Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. Created 2 February 2013 Modified 11 November 2014 https://link.mnsu.edu/rda-video Scope Step-through view of the movie Hairspray from 2007 Generally in RDA rule order Uses MARC 21 examples Describing Manifestations & Items Follows RDA Chapters 2, 3, 4 Describing Works and Expressions Follows RDA Chapters 6, 7 Recording Attributes of Person & Corporate Body Uses RDA Chapters 9, 11, 18 Covers relator terms only Recording Relationships Follows RDA Chapters 24, 25, 26 2 Resources Olson, Nancy B., Robert L. Bothmann, and Jessica J. Schomberg. Cataloging of Audiovisual Materials and Other Special Materials: A Manual Based on AACR2 and MARC 21. Westport, Conn: Libraries Unlimited, 2008. [Short citation: CAVM] Online Audiovisual Catalogers, Inc. Cataloging Policy Committee. Streaming Media Best Practices Task Force. Best Practices for Cataloging Streaming Media. No place : OLAC CAPC, 2009. http://olacinc.org/drupal/capc_files/streamingmedia.pdf Online Audiovisual Catalogers, Inc. Cataloging Policy Committee. DVD Cataloging Guide Update Task Force. Guide to Cataloging DVD and Blu-ray Discs Using AACR2r and MARC 21. 2008 Update. No place: OLAC CAPC, 2008. http://olacinc.org/drupal/capc_files/DVD_guide_final.pdf Pan-Canadian Working Group on Cataloguing with RDA. “Workflow: Video recording (DVD) RDA.” In RDA Toolkit | Tools| Workflows |Global Workflows. 3 Preferred Source 4 5 Title Proper 2.3.2.1 RDA CORE the chief name of a resource (i.e., the title normally used when citing the resource). 245 10 $a Hairspray Capitalization is institutional and cataloger’s choice Describing Manifestations 6 Note on the Title Proper 2.17.2.3 RDA Make a note on the source from which the title proper is taken if it is a source other than: a) the title page, .. -
Field+Perspectives+2017.Pdf
Field Perspectives is an arts writing project organized by Common Field in collaboration with nine arts publishing organizations around the US. Field Perspectives publishes writing that considers the state of the artist organization field and the key ideas explored in the Common Field 2017 Los Angeles Convening. The nine 2017 Field Perspectives partners are Los Angeles publications Contemporary Art Review Los Angeles (CARLA), contemptorary, X-TRA; and national publications ARTS. BLACK (Detroit/New York), Art Practical (Bay Area), The Chart (Portland, ME), DIRT (DC, Maryland, Virginia (DMV) Area), Pelican Bomb (New Orleans), and Temporary Art Review (St. Loius). Commissioned writers include Chloë Bass, Dan Bustillo, Travis Diehl, Lucy Lopez, Lindsay Preston Zappas, Ellen Tani, Anuradha Vikram; Andrea Andersson, Imani Jacqueline Brown, L. Kasimu Harris, and Charlie Tatum; and a collaborative essay by Ani Bradberry, Martina Dodd, Andy Johnson, Jordan Martin & Ikram Lakhdhar, Georgie Payne, and Valerie Wiseman. Thanks to the organizing and editing efforts of the people behind our nine partner organizations — Taylor Renee Aldridge, Anahita Bradberry, Michele Carlson, Poppy Coles, Jenna Crowder, Martina Dodd, Andy Johnson, Gelare Khoshgozaran, Eunsong Kim, Ikram Lakhdhar, Jessica Lynne, Shana Lutker, Jordan Martin, James McAnally, Georgie Payne, Lindsay Preston Zappas, Cameron Shaw, Vivian Sming, Charlie Tatum, and Valerie Wiseman. Each publication commissioned writing published weekly throughout October 2017, with goals of catalyzing discussion, dialog, and debate before, during and after the Los Angeles Convening. To see the 2016 Field Perspectives project, you can download a PDF of the essays from Common Field or read on websites of 2016 partners Miami Rail and Temporary Art Review. -
Bye Bye Birdie"
MEDIA CONTACT Natalie Kojen [email protected] April 6, 2011 FOR IMMEDIATE RELEASE ACADEMY TO PREMIERE NEW RESTORATION OF 1963 MUSICAL COMEDY "BYE BYE BIRDIE" BEVERLY HillS, CA - The Academy of Motion Picture Arts and Sciences will premiere a new digital restoration of "Bye Bye Birdie" on Wednesday, April 27, at 7:30 p.m. at the Samuel Goldwyn Theater in Beverly Hills. Hosted by film critic Stephen Farber, the evening will feature a Digital Cinema presentation with a newly restored 4- channel stereo soundtrack, followed by an onstage discussion with special guests Ann Margret and Bobby Rydell. Just five years after Elvis Presley was drafted into the army, the satirical "Bye Bye Birdie" had already been written, staged on Broadway, and turned into a film . When singing sensation Conrad Birdie (Jesse Pearson) is drafted, songwriter Albert Peterson (Dick Van Dyke) and his girlfriend, Rosie Deleon (Janet leigh), arrange for Birdie to sing one of Peterson's songs in a farewell performance on "The Ed Sullivan Show." To heighten the drama, the rock 'n' roll star is to give a goodbye kiss to a lucky young lady (Ann-Margret) from a small Ohio town - much to the dismay of her steady beau (Rydell) and parents (Paul Lynde and Mary LaRoche). Directed by George Sidney, this vibrant adaptation of the successful Broadway musical comedy earned Oscar" nominations for both Music and Sound, and features a range of songs, from the youthful "A lot of Livin' to Do" to the parentally angled "Kids. " For updates on special guests, visit www.oscars.org. -
Film Directors by Deborah Hunn
Film Directors by Deborah Hunn Encyclopedia Copyright © 2015, glbtq, Inc. A portrait of actor Jack Entry Copyright © 2002, glbtq, Inc. Larson (left) with director Reprinted from http://www.glbtq.com James Bridges and their dog Max by Stathis Gay, lesbian and bisexual film directors have been a vital creative presence in cinema Orphanos. Courtesy Stathis since the medium's inception over one hundred years ago. Until the last two decades, Orphanos.Copyright © however, mainstream directors kept their work (and not infrequently their lives) Stathis Orphanos.All discreetly closeted, while the films of underground and experimental creators, Rights Reserved. although often confrontational in theme and technique, had limited circulation and financial support. More recently, new queer filmmakers have capitalized on increased (although by no means unproblematic) public acceptance to win critical recognition and commercial viability for their projects. The Hollywood Golden Era In the so-called Golden Era of Hollywood, there were a number of famous directors privately known for their alternative sexual preferences. These included George Cukor, Edmund Goulding, Mitchell Leisen, F.W. Murnau, Mauritz Stiller, James Whale, and Dorothy Arzner, who functioned with varying degrees of success in the industry. Cukor (1899-1983) is primarily famous as a prolific and assured director of women's films. His sexuality was a well known secret in Hollywood, and while it did not do substantial harm to his career, it is generally believed that his "fairy" reputation cost him the directorship of Gone With the Wind (1939), following objections from macho star Clark Gable. Although Cukor's work never overtly addresses gay issues, later critics and viewers have come to appreciate its many queer subtexts: Katharine Hepburn's cross dressing in Sylvia Scarlett (1935); the gloriously camp bitchiness in the dress and dialogue of the all women cast of The Women (1939); the effete figure of Kip in the classic Adam's Rib (1948). -
Post-Queer Desires
Post-Queer Desires: A Contemporary Queer Discourse in Pink Flamingos MA Thesis Media Studies: Film Studies Department of Humanities Author: Sidney Adelaar Supervisor: Abe Geil June 26, 2017 Word count: 13566 1 2 Contents Introduction……………………………………………………………………………. p. 5 1. The Anti-Social Queer Desiring-Machine: Going Beyond Queer………... p. 11 1.1 Antisocial Filth……………………………………………………………... p. 12 1.2 The Queer Desiring-Machine…………………………………………… p. 15 1.3 Desiring...Poop?…………………………………………………………... p. 19 2. Celebrating a Post-Queer Utopia or Dystopia?……………………………… p. 24 2.1 A Mudgey Dystopia……………………………………………………… p. 24 2.2 A Divine Utopia……………………………………………………………. p. 27 2.3 A Happy Post-Queer Birthday, Divine!………………………………... p. 30 Conclusion……………………………………………………………………………… p. 37 Acknowledgements………………………………………………………………….. p. 40 Appendix……………………………………………………………………………….. p. 41 Bibliography……………………………………………………………………………. p. 44 Films Cited……………………………………………………………………………… p. 45 3 4 Introduction Queer cinema is a fairly recent category in cinema history. Starting around 30 years ago, during the same time in the 1980’s that queer theory became a prominent academic discipline, queer cinema seems to encompass all films that deal with gay and lesbian themes, or ‘LGBT’ to use a recent term. As these themes focus mainly on the sexuality of the characters and their struggles in a ‘straight’ world because of it, there appears to be a major centring around desires, be it sexual or something else. If a desire is not desirable in heteronormative society, ‘queer’ is the right word for it. This thesis’ main focus is this notion of queer desires. By focusing on this aspect of the queer, I will show just how these desires can shape queer cinema and provide a unique framework for the analysis of the modern queer film. -
COVER ART by JEFF KNIGHT 1 Film Festival Goer, Treasure Hunter
COVER ART BY JEFF KNIGHT 1 Film Festival Goer, Treasure Hunter There are times when we walk into a cinema knowing exactly what to expect. We know that Nicolas Cage will deliver an awesomely bad punchline after riding a motorcycle through the flaming hull of a downed jetliner, Colin Firth will make us swoon in that totally respectable way, and Meryl Streep will meryl as only Meryl can. The familiar can be a lovely warm blanket, the White Hat saving the day, and an excellent night at the movies. But there are times when we feel a bit more adventurous – times when we seek art that grabs us by the collar Emily Beck and shakes us awake. These are the times when we are treasure hunters, boldly going beyond to find something FARGO THEATRE Executive Director of inmeasureable worth. If you are craving an adventure, then you are in the right place. A film festival is a wonderful place to explore. At any given moment may see something that leaves you scratching your head OR you may discover That Film (written in Denmark, shot in Rio, starring Nobody You’ve Ever Heard Of) that speaks to you in conversation, leaves you breathless, and reminds you why you struck out into the wild in the first place. On behalf of the entire team, it is my pleasure to welcome you to the 15th annual Fargo Film Festival. We welcome you aboard and are grateful to share the journey. Thank you for coming and enjoy the show! DAN FRANCIS PHOTOGRAPHY FARGO THEATRE STAFF: FARGO THEATRE BOARD FESTIVAL COMMITTEE AND VOLUNTEERS: Emily Beck, Executive Director Greg Carlson, President -
Blunderful-World-Of-Bloopers.Pdf
o More than Kermit Schafer's 1,000 BEQ01416. BLlfdel 400 pages Indexed More than 100 cartoons WÖLof Foreword by Mike Douglas Contains the com- plete contents of The Best of Boo Ittli Bloopers All Time Great Bloopers Super Duper Bloopers and the best of Pardon My Blooper Prize Bloopers Blooper Parade Blooper Blackouts Blooper Blow Ups Super Bloopers SILVER ANNIVERSARY EDITION 25 years of Radio & TV Bloópers A TREASURY OF BROADCASTING'S MOST HILARIOUS AWARD WINNING BONERS Kermit Schafer, the international authority on lip -slip- pers, is a veteran New York radio, TV, film and recording Producer Kermit producer. Several Schafer presents his Blooper record al- Bloopy Award, the sym- bums and books bol of human error in have been best- broadcasting. sellers. His other Blooper projects include "Blooperama," a night club and lecture show featuring audio and video tape and film; TV specials; a full - length "Pardon My Blooper" movie and "The Blooper Game" a TV quiz program. His forthcoming autobiography is entitled "I Never Make Misteaks." Another Schafer project is the establish- ment of a Blooper Hall of Fame. In between his many trips to England, where he has in- troduced his Blooper works, he lectures on college campuses. Also formed is the Blooper Snooper Club, where members who submit Bloopers be- come eligible for prizes. Fans who wish club information or would like to submit material can write to: Kermit Schafer Blooper Enterprises Inc. Box 43 -1925 South Miami, Florida 33143 (Left) Producer Kermit on My Blooper" movie opening. (Right) The million -seller gold Blooper record. -
Nan Goldin and Andres Serrano's Post-Mortem Photography
Visible Care: Nan Goldin and Andres Serrano’s Post-mortem Photography Lauren Jane Summersgill Humanities and Cultural Studies Birkbeck, University of London Submitted for the Degree of Doctor of Philosophy November 2014 2 Declaration I certify that this thesis is the result of my own investigations and, except for quotations, all of which have been clearly identified, was written entirely by me. Lauren J. Summersgill October 2014 3 Abstract This thesis investigates artistic post-mortem photography in the context of shifting social relationship with death in the 1980s and 1990s. Analyzing Nan Goldin’s Cookie in Her Casket and Andres Serrano’s The Morgue, I argue that artists engaging in post- mortem photography demonstrate care for the deceased. Further, that demonstrable care in photographing the dead responds to a crisis of the late 1980s and early 1990s in America. At the time, death returned to social and political discourse with the visibility of AIDS and cancer and the euthanasia debates, spurring on photographic engagement with the corpse. Nan Goldin’s 1989 post-mortem portrait of her friend, Cookie in Her Casket, was first presented within The Cookie Portfolio. The memorial portfolio traced the friendship between Cookie and Goldin over fourteen years. The work relies on a personal narrative, framing the works within a familial gaze. I argue that Goldin creates the sense of family to encourage empathy in the viewer for Cookie’s loss. Further, Goldin’s generic and beautified post-mortem image of Cookie is a way of offering Cookie respect and dignity in death. Andres Serrano’s 1992 The Morgue is a series of large-scale cropped, and detailed photographs capturing indiscriminate bodies from within an unidentified morgue. -
John Waters (Writer/Director)
John Waters (Writer/Director) Born in Baltimore, MD in 1946, John Waters was drawn to movies at an early age, particularly exploitation movies with lurid ad campaigns. He subscribed to Variety at the age of twelve, absorbing the magazine's factual information and its lexicon of insider lingo. This early education would prove useful as the future director began his career giving puppet shows for children's birthday parties. As a teen-ager, Waters began making 8-mm underground movies influenced by the likes of Jean-Luc Godard, Walt Disney, Andy Warhol, Russ Meyer, Ingmar Bergman, and Herschell Gordon Lewis. Using Baltimore, which he fondly dubbed the "Hairdo Capitol of the World," as the setting for all his films, Waters assembled a cast of ensemble players, mostly native Baltimoreans and friends of long standing: Divine, David Lochary, Mary Vivian Pearce, Mink Stole and Edith Massey. Waters also established lasting relationships with key production people, such as production designer Vincent Peranio, costume designer Van Smith, and casting director Pat Moran, helping to give his films that trademark Waters "look." Waters made his first film, an 8-mm short, Hag in a Black Leather Jacket in 1964, starring Mary Vivian Pearce. Waters followed with Roman Candles in 1966, the first of his films to star Divine and Mink Stole. In 1967, he made his first 16-mm film with Eat Your Makeup, the story of a deranged governess and her lover who kidnap fashion models and force them to model themselves to death. Mondo Trasho, Waters' first feature length film, was completed in 1969 despite the fact that the production ground to a halt when the director and two actors were arrested for "participating in a misdemeanor, to wit: indecent exposure." In 1970, Waters completed what he described as his first "celluloid atrocity," Multiple Maniacs. -
JOHN WATERS Born 1946 Lives and Works in Baltimore, MD SELECTED SOLO EXHIBITIONS 2018 John Waters
JOHN WATERS Born 1946 Lives and works in Baltimore, MD SELECTED SOLO EXHIBITIONS 2018 John Waters: Indecent Exposure, Baltimore Museum of Art, Baltimore, MD, (traveled to Columbus, OH, Wexner Center for the Arts) 2016 BLACK BOX: KIDDIE FLAMINGOS, Baltimore Museum of Art, Baltimore, MD, curated by Kristen Hileman 2015 How much can you take?, Kunsthaus Zurich, Zurich, Switzerland Beverly Hills John, London, UK, Sprüth Magers 2015 Beverly Hills John, Marianne Boesky Gallery, New York, NY 2014 Sprüth Magers, Berlin, February 2014 2012 John Waters: Neurotic, McClain Gallery, Houston, TX 2011 John Waters, Arthur Roger Gallery, New Orleans, LA 2010 Outsider Porn: The Photos of David Hurles, Marianne Boesky Gallery, New York, Project Space Exhibition curated by John Waters Rush, Rena Bransten Gallery, San Francisco, CA C. Grimaldis Gallery, Baltimore, MD 2009 Neurotic, Albert Merola Gallery, Provincetown, MA Rear Projection, Gagosian Gallery, Los Angeles Rear Projection, Marianne Boesky Gallery, New York 2008 Artistically Incorrect: The Photographs and Sculpture of John Waters, Laumeier Sculpture Park, St. Louis, MO 2007 Reckless Eyeballs, Rena Bransten Gallery, San Francisco, CA 2006 Eat Me, Arthur Roger Gallery, New Orleans, LA 21c Museum Hotel, Louisville, KY Albert Merola Gallery, Provincetown, MA Unwatchable, Marianne Boesky Gallery, New York, and de Pury & Luxembourg, Zurich The Visual Arts Gallery, The University of Alabama at Birmingham, Birmingham, AL 2005 Condemned, Albert Merola Gallery, Provincetown, MA John Waters: Greatest Hits