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wrong_mix_range_award_00063
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FactBench
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0
| 17 |
https://sg.news.yahoo.com/nobel-literature-row-usually-takes-140058142.html
|
en
|
Nobel literature row: usually it takes a world war to disrupt the prize
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[
""
] | null |
[
"Thomas Kaiserfeld, Professor at Division of History of Ideas and Sciences, Lund University"
] |
2018-05-04T14:00:58+00:00
|
The long and turbulent history of the Nobel Prize for Literature continues.
|
en
|
https://s.yimg.com/rz/l/favicon.ico
|
Yahoo News
|
https://uk.news.yahoo.com/nobel-literature-row-usually-takes-140058142.html
|
The Swedish Academy has announced it will not select a Nobel laureate in literature for 2018. Instead, two laureates will be appointed 2019, one for 2018 and one for 2019. The decision is not unique. The prize has been withheld on no fewer than seven occasions in the past and it has also been postponed for a year five times previously – the last time being in 1949.
The reason for postponing the prize this time, however, is exceptional since it is not related to the academy’s inability to unify behind one single candidate, but is instead the consequence of a more general crisis in the academy in which a number of members resigned their posts over a scandal relating to allegations of sexual harassment made against the husband of one of the members.
According to the academy, the reason for the decision is more specifically the number of members who have withdrawn from participating in its work. Eight members of 18 are no longer academy participants, which will impede its work, and make it hard to evaluate the different authors nominated for the Nobel Prize in literature in particular. Another motive for the decision to postpone, the academy’s announcement said, was the necessity to restore the academy’s reputation after a few months filled with accusations and scandal.
Turbulent history
Glancing through the list of Nobel Prizes in literature over the years, from the very first that was awarded in 1901 to French poet and essayist Sully Prudhomme, to the most recent winner, British author Kazuo Ishiguro in 2017, reveals a mix of world-famous authors and names hardly even remembered today by specialists.
French author François Mauriac, Nobel laureate in 1952, is probably not commonly read anymore, if he ever was. There are also a number of laureates who were rewarded more for their general contributions to human thinking and culture than their skills in literature – persons such as Bertrand Russell (1950), Winston Churchill (1953) and Jean-Paul Sartre, who was selected in 1964 only to decline the prize.
In 1914, when deliberations were upset by the beginning of World War I, the Nobel Prize was withheld. The following year, in 1915, the prize was postponed and was given to the French author Romain Rolland in 1916. The same thing happened in 1918 when the prize was withheld and then the selection of the 1919 laureate, the Swiss author Carl Spitteler, was delayed by a year. To award an author from neutral Switzerland seems to have been safe bet in a time of excited feelings following the end of the war.
In 1935, no prize was awarded and in 1936 it was postponed, because “the Nobel Committee for Literature decided that none of the year’s nominations met the criteria as outlined in the will of Alfred Nobel”. The 1936 award went to Eugene O’Neill. The same thing happened again during World War II when no prizes were awarded between 1940 and 1943. In 1944, the prize was again postponed to be given to the Danish author Johannes Jensen in 1945 after the war had ended (the 1945 prize went to Chilean poet Gabriela Mistral). The prize of 1949 was postponed by 12 months because the committee couldn’t find a suitable laureate. The 1949 prize was awarded to William Faulkner in 1950. Since then, Nobel laureates in literature have been selected regularly. But not any more.
Uncertain future
The decision to postpone the Nobel Prize in literature 2018 for one year has surprised many commentators. The loss of prestige for the academy is considerable and the decision to postpone the Nobel Prize can only be interpreted as the recognition by the remaining ten members of the academy the need for reform.
Read more: Nobel Prize crisis: flurry of withdrawals rocking Swedish Academy's showpiece literature award
The shortlist of authors nominated for the Nobel Prize in literature also changes only slowly from year to year. So the four members of the Nobel Committee for Literature (there should normally be five, but one is among those eight who have left the academy) should already know all about them. The work already done to evaluate earlier shortlisted authors, then, could surely have been used to select a laureate for 2018. So, the decision to postpone the prize should be taken as a sign of how serious the remaining ten members of the Swedish Academy view the turmoil that is disrupting their organisation.
The Nobel Foundation – which is ultimately responsible for administering the intentions of the will of Alfred Nobel – has said it supports the decision made by the Swedish Academy. The foundation has also made it clear that the postponing of the literature prize does not affect other Nobel Prizes in physics, chemistry, medicine and peace.
This article was originally published on The Conversation. Read the original article.
Thomas Kaiserfeld does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
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||
wrong_mix_range_award_00063
|
FactBench
|
0
| 40 |
https://www.answers.com/natural-sciences/Did_Carl_Linnaeus_win_a_nobel_prize
|
en
|
Did Carl Linnaeus win a nobel prize?
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[] | null |
mabye
|
en
|
/favicon.ico
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Answers
|
https://www.answers.com/natural-sciences/Did_Carl_Linnaeus_win_a_nobel_prize
|
No, Carl Linnaeus did not win a Nobel Prize. He was a Swedish botanist, zoologist, and physician known for his work in taxonomy and classification of living organisms. The Nobel Prize was established after his time.
|
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wrong_mix_range_award_00063
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FactBench
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3
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https://literature.fandom.com/wiki/Nobel_Prize_in_Literature
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en
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Nobel Prize in Literature
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The Nobel Prize in Literature (often referred to as the Nobel Prize for Literature) is a prestigious international prize awarded annually to authors in recognition of their outstanding bodies of literary work. It is one of the five prizes established by the Swedish chemist and inventor Alfred...
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Literawiki
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https://literature.fandom.com/wiki/Nobel_Prize_in_Literature
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The Nobel Prize in Literature (often referred to as the Nobel Prize for Literature) is a prestigious international prize awarded annually to authors in recognition of their outstanding bodies of literary work. It is one of the five prizes established by the Swedish chemist and inventor Alfred Nobel (1833–1896) in his will.
Each year, the laureate is selected in October by the Nobel Committee of the Swedish Academy from a long list of candidates - usually about 200 nominations - received by the February 1 deadline. The laureate receives a gold medal and a diploma in addition to a large sum of money for the prize at a ceremony held in Stockholm.
With the exception of eight years (1914, 1918, 1935, 1940–1943 and 2018), the prize has been awarded continuously since 1901. In 1904, the prize was jointly awarded to the Spanish author José Echegaray and the French author Frédéric Mistral. In 1917, it was jointly awarded to the Danish authots Karl Adolph Gjellerup and Henrik Pontoppidian. In 1966, it was jointly awarded to the Israeli author Shmuel Yosef Agnon and the German-born Swedish author Nelly Sachs. In 1974, it was jointly awarded to the Swedish authors Eyvind Johnson and Harry Martinson. Although no prize was awarded in the year 2018, a winner for 2018 was officially named on October 10, 2019, at the same time that the 2019 winner was announced.
The Nobel Prize in Literature was declined by the Soviet writer Boris Pasternak in 1958 and by the French author Jean-Paul Sartre in 1966.
Winners[]
Year Winner 2023 Jon Fosse ( Norway) 2022 Annie Ernaux ( France) 2021 Abdulrazak Gurnah ( Tanzania/ United Kingdom) 2020 Louise Glück ( United States) 2019 Peter Handke ( Austria) 2018 Olga Tokarczuk ( Poland) 2017 Kazuo Ishiguro ( Japan/ United Kingdom) 2016 Bob Dylan ( United States) 2015 Svetlana Alexievich ( Belarus) 2014 Patrick Modiano ( France) 2013 Alice Munro ( Canada) 2012 Mo Yan ( China) 2011 Tomas Tranströmer ( Sweden) 2010 Mario Vargas Llosa ( Peru/ Spain) 2009 Herta Müller ( Romania/ Germany) 2008 Jean-Marie Gustave Le Clézio ( France/ Mauritius) 2007 Doris Lessing ( Iran/ United Kingdom) 2006 Orhan Pamuk ( Turkey) 2005 Harold Pinter ( United Kingdom) 2004 Elfriede Jelinek ( Austria) 2003 John M. Coetzee ( South Africa) 2002 Imre Kertész ( Hungary) 2001 V.S. Naipaul ( Trinidad and Tobago/ United Kingdom) 2000 Gao Xingjian ( China/ France) 1999 Günter Grass ( Germany) 1998 José Saramago ( Portugal) 1997 Dario Fo ( Italy) 1996 Wisława Szymborska ( Poland) 1995 Seamus Heaney ( Ireland) 1994 Kenzaburō Ōe ( Japan) 1993 Toni Morrison ( United States) 1992 Derek Walcott ( Saint Lucia) 1991 Nadine Gordimer ( South Africa) 1990 Octavio Paz ( Mexico) 1989 Camilo José Cela ( Spain) 1988 Naguib Mahfouz ( Egypt) 1987 Joseph Brodsky ( Soviet Union/ United States) 1986 Wole Soyinka ( Nigeria) 1985 Claude Simon ( French Madagascar/France) 1984 Jaroslav Seifert ( Czechoslovakia) 1983 William Golding ( United Kingdom) 1982 Gabriel García Márquez ( Colombia) 1981 Elias Canetti ( Bulgaria/ United Kingdom) 1980 Czesław Miłosz ( Poland) 1979 Odysseas Elytis ( Greece) 1978 Isaac Bashevis Singer ( Poland/ United States) 1977 Vicente Aleixandre ( Spain) 1976 Saul Bellow ( Canada/ United States) 1975 Eugenio Montale ( Italy) 1974 Eyvind Johnson ( Sweden) 1974 Harry Martinson ( Sweden) 1973 Patrick White ( United Kingdom/ Australia) 1972 Heinrich Böll ( West Germany) 1971 Pablo Neruda ( Chile) 1970 Aleksandr Solzhenitsyn ( Soviet Union) 1969 Samuel Beckett ( Ireland) 1968 Kawabata Yasunari ( Japan) 1967 Miguel Ángel Asturias ( Guatemala) 1966 Shmuel Yosef Agnon ( Israel) 1966 Nelly Sachs ( Germany/ Sweden) 1965 Mikhail Sholokov ( Soviet Union) 1964 Jean-Paul Sartre ( France) 1963 Giorgos Seferis ( Greece) 1962 John Steinbeck ( United States) 1961 Ivo Andrić ( Yugoslavia) 1960 Saint-John Perse ( France) 1959 Salvatore Quasimodo ( Italy) 1958 Boris Pasternak ( Soviet Union) 1957 Albert Camus ( French Algeria/France) 1956 Juan Ramón Jiménez ( Spain/ Puerto Rico) 1955 Halldór Laxness ( Iceland) 1954 Ernest Hemingway ( United States) 1953 Winston Churchill ( United Kingdom) 1952 François Mauriac ( France) 1951 Pär Lagerkvist ( Sweden) 1950 Bertrand Russell ( United Kingdom) 1949 William Faulkner ( United States) 1948 T.S. Eliot ( United States/ United Kingdom) 1947 André Gide ( France) 1946 Hermann Hesse ( Germany/ Switzerland) 1945 Gabriela Mistral ( Chile) 1944 Johannes Vilhelm Jensen ( Denmark) 1943 No prize awarded 1942 No prize awarded 1941 No prize awarded 1940 No prize awarded 1939 Frans Eemil Sillanpää ( Finland) 1938 Pearl S. Buck ( United States) 1937 Roger Martin du Gard ( France) 1936 Eugene O'Neiill United States) 1935 No prize awarded 1934 Luigi Pirandello ( Italy) 1933 Ivan Bunin ( Russian Empire/ France) 1932 John Galsworthy ( United Kingdom) 1931 Erik Axel Karlfedt ( Sweden) 1930 Sinclair Lewis ( United States) 1929 Thomas Mann ( Germany) 1928 Sigrid Undset ( Denmark/ Norway) 1927 Henri Bergson ( France) 1926 Grazia Deledda ( Italy) 1925 George Bernard Shaw ( Ireland) 1924 Władysław Reymont ( Poland) 1923 W.B. Yeats ( Ireland) 1922 Jacinto Benavente ( Spain) 1921 Anatole France ( France) 1920 Knut Hamsun ( Norway) 1919 Carl Spitteler ( Switzerland) 1918 No prize awarded 1917 Henrik Pontoppidan ( Denmark) 1917 Karl Adolph Gjellerup ( Denmark) 1916 Verner von Heidenstam ( Sweden) 1915 Roman Rolland ( France) 1914 No prize awarded 1913 Rabindranath Tagore ( India) 1912 Gerhart Hauptmann ( German Empire) 1911 Maurice Maeterlinck ( Belgium) 1910 Paul von Heyse ( German Empire) 1909 Selma Lagerlöf ( Sweden) 1908 Rudolph Christoph Eucken ( German Empire) 1907 Rudyard Kipling ( India/ United Kingdom) 1906 Giosuè Carducci ( Italy) 1905 Henryk Sienkiewicz ( Poland) 1904 Frédéric Mistral ( France) 1904 José Echegaray ( Spain) 1903 Bjørnstjerne Bjørnson ( Norway) 1902 Christian Matthias Theodor Mommsen ( German Empire) 1901 Sully Prudhomme ( France)
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Nobel Prize - Awards, Sciences, Peace: Each Nobel Prize consists of a gold medal, a diploma bearing a citation, and a sum of money, the amount of which depends on the income of the Nobel Foundation. A Nobel Prize is either given entirely to one person, divided equally between two persons, or shared by three persons. In the latter case, each of the three persons can receive a one-third share of the prize or two together can receive a one-half share. Sometimes a prize is withheld until the following year; if not then awarded, it is paid back into the funds, which happens also when a
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1901 chemistry Jacobus Henricus van 't Hoff Netherlands laws of chemical dynamics and osmotic pressure literature Sully Prudhomme France peace Henri Dunant Switzerland Frédéric Passy France physics Wilhelm Conrad Röntgen Germany discovery of X-rays physiology/medicine Emil von Behring Germany work on serum therapy 1902 chemistry Emil Fischer Germany work on sugar and purine syntheses literature Theodor Mommsen Germany peace Élie Ducommun Switzerland Charles-Albert Gobat Switzerland physics Hendrik Antoon Lorentz Netherlands investigation of the influence of magnetism on radiation Pieter Zeeman Netherlands investigation of the influence of magnetism on radiation physiology/medicine Sir Ronald Ross U.K. discovery of how malaria enters an organism 1903 chemistry Svante Arrhenius Sweden theory of electrolytic dissociation literature Bjørnstjerne Martinius Bjørnson Norway peace Sir Randal Cremer U.K. physics Henri Becquerel France discovery of spontaneous radioactivity Marie Curie France investigations of radiation phenomena discovered by Becquerel Pierre Curie France investigations of radiation phenomena discovered by Becquerel physiology/medicine Niels Ryberg Finsen Denmark treatment of skin diseases with light 1904 chemistry Sir William Ramsay U.K. discovery of inert gas elements and their places in the periodic system literature José Echegaray y Eizaguirre Spain Frédéric Mistral France peace Institute of International Law (founded 1873) physics Lord Rayleigh U.K. discovery of argon physiology/medicine Ivan Pavlov Russia work on the physiology of digestion 1905 chemistry Adolf von Baeyer Germany work on organic dyes, hydroaromatic compounds literature Henryk Sienkiewicz Poland peace Bertha, baroness von Suttner Austria-Hungary physics Philipp Lenard Germany research on cathode rays physiology/medicine Robert Koch Germany tuberculosis research 1906 chemistry Henri Moissan France isolation of fluorine; introduction of Moissan furnace literature Giosuè Carducci Italy peace Theodore Roosevelt U.S. physics Sir J.J. Thomson U.K. researches into electrical conductivity of gases physiology/medicine Camillo Golgi Italy work on the structure of the nervous system Santiago Ramón y Cajal Spain work on the structure of the nervous system 1907 chemistry Eduard Buchner Germany discovery of noncellular fermentation literature Rudyard Kipling U.K. peace Ernesto Teodoro Moneta Italy Louis Renault France physics A.A. Michelson U.S. spectroscopic and metrological investigations physiology/medicine Alphonse Laveran France discovery of the role of protozoa in diseases 1908 chemistry Ernest Rutherford U.K. investigations into the disintegration of elements and the chemistry of radioactive substances literature Rudolf Christoph Eucken Germany peace Klas Pontus Arnoldson Sweden Fredrik Bajer Denmark physics Gabriel Lippmann France photographic reproduction of colours physiology/medicine Paul Ehrlich Germany work on immunity Élie Metchnikoff Russia work on immunity 1909 chemistry Wilhelm Ostwald Germany pioneer work on catalysis, chemical equilibrium, and reaction velocities literature Selma Lagerlöf Sweden peace Auguste-Marie-François Beernaert Belgium Paul-H.-B. d'Estournelles de Constant France physics Ferdinand Braun Germany development of wireless telegraphy Guglielmo Marconi Italy development of wireless telegraphy physiology/medicine Emil Theodor Kocher Switzerland physiology, pathology, and surgery of the thyroid gland 1910 chemistry Otto Wallach Germany pioneer work in alicyclic combinations literature Paul Johann Ludwig von Heyse Germany peace International Peace Bureau (founded 1891) physics Johannes Diederik van der Waals Netherlands research concerning the equation of state of gases and liquids physiology/medicine Albrecht Kossel Germany researches in cellular chemistry 1911 chemistry Marie Curie France discovery of radium and polonium; isolation of radium literature Maurice Maeterlinck Belgium peace Tobias Michael Carel Asser Netherlands Alfred Hermann Fried Austria-Hungary physics Wilhelm Wien Germany discoveries regarding laws governing heat radiation physiology/medicine Allvar Gullstrand Sweden work on dioptrics of the eye 1912 chemistry Victor Grignard France discovery of the Grignard reagents Paul Sabatier France method of hydrogenating organic compounds literature Gerhart Hauptmann Germany peace Elihu Root U.S. physics Nils Dalén Sweden invention of automatic regulators for lighting coastal beacons and light buoys physiology/medicine Alexis Carrel France work on vascular suture; transplantation of organs 1913 chemistry Alfred Werner Switzerland work on the linkage of atoms in molecules literature Rabindranath Tagore India peace Henri-Marie Lafontaine Belgium physics Heike Kamerlingh Onnes Netherlands investigation into the properties of matter at low temperatures; production of liquid helium physiology/medicine Charles Richet France work on anaphylaxis 1914 chemistry Theodore William Richards U.S. accurate determination of the atomic weights of numerous elements physics Max von Laue Germany discovery of diffraction of X-rays by crystals physiology/medicine Robert Bárány Austria-Hungary work on vestibular apparatus 1915 chemistry Richard Willstätter Germany pioneer researches in plant pigments, especially chlorophyll literature Romain Rolland France physics Sir Lawrence Bragg U.K. analysis of crystal structure by means of X-rays Sir William Bragg U.K. analysis of crystal structure by means of X-rays 1916 literature Verner von Heidenstam Sweden 1917 literature Karl Adolph Gjellerup Denmark Henrik Pontoppidan Denmark peace International Committee of the Red Cross (founded 1863) physics Charles Glover Barkla U.K. discovery of characteristic X-radiation of elements 1918 chemistry Fritz Haber Germany synthesis of ammonia literature Erik Axel Karlfeldt (declined) Sweden physics Max Planck Germany discovery of the elemental quanta 1919 literature Carl Spitteler Switzerland peace Woodrow Wilson U.S. physics Johannes Stark Germany discovery of Doppler effect in positive ion rays and division of spectral lines in electric field physiology/medicine Jules Bordet Belgium work on immunity factors in blood serum 1920 chemistry Walther Hermann Nernst Germany work in thermochemistry literature Knut Hamsun Norway peace Léon Bourgeois France physics Charles Édouard Guillaume Switzerland discovery of anomalies in alloys physiology/medicine August Krogh Denmark discovery of capillary motor-regulating mechanism 1921 chemistry Frederick Soddy U.K. chemistry of radioactive substances; occurrence and nature of isotopes literature Anatole France France peace Karl Hjalmar Branting Sweden Christian Lous Lange Norway physics Albert Einstein Switzerland work in theoretical physics 1922 chemistry Francis William Aston U.K. work with mass spectrograph; whole-number rule literature Jacinto Benavente y Martínez Spain peace Fridtjof Nansen Norway physics Niels Bohr Denmark investigation of atomic structure and radiation physiology/medicine A.V. Hill U.K. discoveries concerning heat production in muscles Otto Meyerhof Germany work on metabolism of lactic acid in muscles 1923 chemistry Fritz Pregl Austria method of microanalysis of organic substances literature William Butler Yeats Ireland physics Robert Andrews Millikan U.S. work on elementary electric charge and the photoelectric effect physiology/medicine Sir Frederick Grant Banting Canada discovery of insulin J.J.R. Macleod U.K. discovery of insulin 1924 literature Władysław Stanisław Reymont Poland physics Karl Manne Georg Siegbahn Sweden work in X-ray spectroscopy physiology/medicine Willem Einthoven Netherlands discovery of electrocardiogram mechanism 1925 chemistry Richard Zsigmondy Austria elucidation of the heterogeneous nature of colloidal solutions literature George Bernard Shaw Ireland peace Sir Austen Chamberlain U.K. Charles G. Dawes U.S. physics James Franck Germany discovery of the laws governing the impact of an electron upon an atom Gustav Hertz Germany discovery of the laws governing the impact of an electron upon an atom 1926 chemistry Theodor H.E. Svedberg Sweden work on disperse systems literature Grazia Deledda Italy peace Aristide Briand France Gustav Stresemann Germany physics Jean Perrin France work on discontinuous structure of matter physiology/medicine Johannes Fibiger Denmark contributions to cancer research 1927 chemistry Heinrich Otto Wieland Germany researches into the constitution of bile acids literature Henri Bergson France peace Ferdinand-Édouard Buisson France Ludwig Quidde Germany physics Arthur Holly Compton U.S. discovery of wavelength change in diffused X-rays C.T.R. Wilson U.K. method of making visible the paths of electrically charged particles physiology/medicine Julius Wagner-Jauregg Austria work on malaria inoculation in dementia paralytica 1928 chemistry Adolf Windaus Germany constitution of sterols and their connection with vitamins literature Sigrid Undset Norway physics Sir Owen Willans Richardson U.K. work on electron emission by hot metals physiology/medicine Charles-Jules-Henri Nicolle France work on typhus 1929 chemistry Hans von Euler-Chelpin Sweden investigations in the fermentation of sugars and the enzyme action involved Sir Arthur Harden U.K. investigations in the fermentation of sugars and the enzyme action involved literature Thomas Mann Germany peace Frank B. Kellogg U.S. physics Louis de Broglie France discovery of the wave nature of electrons physiology/medicine Christiaan Eijkman Netherlands discovery of the antineuritic vitamin Sir Frederick Gowland Hopkins U.K. discovery of growth-stimulating vitamins 1930 chemistry Hans Fischer Germany hemin, chlorophyll research; synthesis of hemin literature Sinclair Lewis U.S. peace Nathan Söderblom Sweden physics Sir Chandrasekhara Venkata Raman India work on light diffusion; discovery of Raman effect physiology/medicine Karl Landsteiner U.S. grouping of human blood types 1931 chemistry Friedrich Bergius Germany invention and development of chemical high-pressure methods Carl Bosch Germany invention and development of chemical high-pressure methods literature Erik Axel Karlfeldt (posthumous award) Sweden peace Jane Addams U.S. Nicholas Murray Butler U.S. physiology/medicine Otto Warburg Germany discovery of nature and action of respiratory enzyme 1932 chemistry Irving Langmuir U.S. discoveries and investigations in surface chemistry literature John Galsworthy U.K. physics Werner Heisenberg Germany creation of quantum mechanics physiology/medicine Edgar Douglas Adrian, 1st Baron Adrian U.K. discoveries regarding function of neurons Sir Charles Scott Sherrington U.K. discoveries regarding function of neurons 1933 literature Ivan Bunin U.S.S.R. peace Sir Norman Angell U.K. physics P.A.M. Dirac U.K. introduction of wave equations in quantum mechanics Erwin Schrödinger Austria introduction of wave equations in quantum mechanics physiology/medicine Thomas Hunt Morgan U.S. heredity transmission functions of chromosomes 1934 chemistry Harold C. Urey U.S. discovery of heavy hydrogen literature Luigi Pirandello Italy peace Arthur Henderson U.K. physiology/medicine George Richards Minot U.S. discoveries concerning liver treatment for anemia William P. Murphy U.S. discoveries concerning liver treatment for anemia George H. Whipple U.S. discoveries concerning liver treatment for anemia 1935 chemistry Frédéric and Irène Joliot-Curie France synthesis of new radioactive elements peace Carl von Ossietzky Germany physics Sir James Chadwick U.K. discovery of the neutron physiology/medicine Hans Spemann Germany organizer effect in embryo 1936 chemistry Peter Debye Netherlands work on dipole moments and diffraction of X-rays and electrons in gases literature Eugene O'Neill U.S. peace Carlos Saavedra Lamas Argentina physics Carl David Anderson U.S. discovery of the positron Victor Francis Hess Austria discovery of cosmic radiation physiology/medicine Sir Henry Dale U.K. work on chemical transmission of nerve impulses Otto Loewi Germany work on chemical transmission of nerve impulses 1937 chemistry Sir Norman Haworth U.K. research on carbohydrates and vitamin C Paul Karrer Switzerland research on carotenoids, flavins, and vitamins literature Roger Martin du Gard France peace Robert Gascoyne-Cecil, 1st Viscount Cecil U.K. physics Clinton Joseph Davisson U.S. experimental demonstration of the interference phenomenon in crystals irradiated by electrons Sir George Paget Thomson U.K. experimental demonstration of the interference phenomenon in crystals irradiated by electrons physiology/medicine Albert Szent-Györgyi Hungary work on biological combustion 1938 chemistry Richard Kuhn (declined) Germany carotenoid and vitamin research literature Pearl Buck U.S. peace Nansen International Office for Refugees (founded 1931) physics Enrico Fermi Italy disclosure of artificial radioactive elements produced by neutron irradiation physiology/medicine Corneille Heymans Belgium discovery of role of sinus and aortic mechanisms in respiration regulation 1939 chemistry Adolf Butenandt (declined) Germany work on sexual hormones Leopold Ruzicka Switzerland work on polymethylenes and higher terpenes literature Frans Eemil Sillanpää Finland physics Ernest Orlando Lawrence U.S. invention of the cyclotron physiology/medicine Gerhard Domagk (declined) Germany antibacterial effect of Prontosil 1943 chemistry Georg Charles von Hevesy Hungary use of isotopes as tracers in chemical research physics Otto Stern U.S. discovery of the magnetic moment of the proton physiology/medicine Henrik Dam Denmark discovery of vitamin K Edward Adelbert Doisy U.S. discovery of chemical nature of vitamin K 1944 chemistry Otto Hahn Germany discovery of the fission of heavy nuclei literature Johannes V. Jensen Denmark peace International Committee of the Red Cross (founded 1863) physics Isidor Isaac Rabi U.S. resonance method for registration of various properties of atomic nuclei physiology/medicine Joseph Erlanger U.S. researches on differentiated functions of nerve fibres Herbert Spencer Gasser U.S. researches on differentiated functions of nerve fibres 1945 chemistry Artturi Ilmari Virtanen Finland invention of fodder preservation method literature Gabriela Mistral Chile peace Cordell Hull U.S. physics Wolfgang Pauli Austria discovery of the exclusion principle of electrons physiology/medicine Sir Ernst Boris Chain U.K. discovery of penicillin and its curative value Sir Alexander Fleming U.K. discovery of penicillin and its curative value Howard Walter Florey, Baron Florey Australia discovery of penicillin and its curative value 1946 chemistry John Howard Northrop U.S. preparation of enzymes and virus proteins in pure form Wendell Meredith Stanley U.S. preparation of enzymes and virus proteins in pure form James Batcheller Sumner U.S. discovery of enzyme crystallization literature Hermann Hesse Switzerland peace Emily Greene Balch U.S. John R. Mott U.S. physics Percy Williams Bridgman U.S. discoveries in the domain of high-pressure physics physiology/medicine Hermann Joseph Muller U.S. production of mutations by X-ray irradiation 1947 chemistry Sir Robert Robinson U.K. investigation of alkaloids and other plant products literature André Gide France peace American Friends Service Committee U.S. Friends Service Council (FSC) U.K. physics Sir Edward Victor Appleton U.K. discovery of Appleton layer in upper atmosphere physiology/medicine Carl and Gerty Cori U.S. discovery of how glycogen is catalytically converted Bernardo Alberto Houssay Argentina pituitary hormone function in sugar metabolism 1948 chemistry Arne Tiselius Sweden researches in electrophoresis and adsorption analysis; serum proteins literature T.S. Eliot U.K. physics Patrick M.S. Blackett U.K. discoveries in the domain of nuclear physics and cosmic radiation physiology/medicine Paul Hermann Müller Switzerland properties of DDT 1949 chemistry William Francis Giauque U.S. behaviour of substances at extremely low temperatures literature William Faulkner U.S. peace John Boyd Orr, Baron Boyd-Orr of Brechin Mearns U.K. physics Yukawa Hideki Japan prediction of the existence of mesons physiology/medicine António Egas Moniz Portugal therapeutic value of leucotomy in psychoses Walter Rudolf Hess Switzerland discovery of function of interbrain 1950 chemistry Kurt Alder West Germany discovery and development of diene synthesis Otto Paul Hermann Diels West Germany discovery and development of diene synthesis literature Bertrand Russell U.K. peace Ralph Bunche U.S. physics Cecil Frank Powell U.K. photographic method of studying nuclear processes; discoveries concerning mesons physiology/medicine Philip Showalter Hench U.S. research on adrenal cortex hormones, their structure and biological effects Edward Calvin Kendall U.S. research on adrenal cortex hormones, their structure and biological effects Tadeus Reichstein Switzerland research on adrenal cortex hormones, their structure and biological effects 1951 chemistry Edwin Mattison McMillan U.S. discovery of and research on transuranium elements Glenn T. Seaborg U.S. discovery of and research on transuranium elements literature Pär Lagerkvist Sweden peace Léon Jouhaux France physics Sir John Douglas Cockcroft U.K. work on transmutation of atomic nuclei by accelerated particles Ernest Thomas Sinton Walton Ireland work on transmutation of atomic nuclei by accelerated particles physiology/medicine Max Theiler South Africa yellow fever discoveries 1952 chemistry A.J.P. Martin U.K. development of partition chromatography R.L.M. Synge U.K. development of partition chromatography literature François Mauriac France peace Albert Schweitzer Alsace physics Felix Bloch U.S. discovery of nuclear magnetic resonance in solids E.M. Purcell U.S. discovery of nuclear magnetic resonance in solids physiology/medicine Selman Abraham Waksman U.S. discovery of streptomycin 1953 chemistry Hermann Staudinger West Germany work on macromolecules literature Sir Winston Churchill U.K. peace George C. Marshall U.S. physics Frits Zernike Netherlands method of phase-contrast microscopy physiology/medicine Sir Hans Adolf Krebs U.K. discovery of coenzyme A–citric acid cycle in metabolism of carbohydrates Fritz Albert Lipmann U.S. discovery of coenzyme A–citric acid cycle in metabolism of carbohydrates 1954 chemistry Linus Pauling U.S. study of the nature of the chemical bond literature Ernest Hemingway U.S. peace Office of the United Nations High Commissioner for Refugees (founded 1951) physics Max Born U.K. statistical studies of atomic wave functions Walther Bothe West Germany invention of coincidence method physiology/medicine John Franklin Enders U.S. cultivation of the poliomyelitis virus in tissue cultures Frederick Chapman Robbins U.S. cultivation of the poliomyelitis virus in tissue cultures Thomas H. Weller U.S. cultivation of the poliomyelitis virus in tissue cultures 1955 chemistry Vincent du Vigneaud U.S. first synthesis of a polypeptide hormone literature Halldór Laxness Iceland physics Polykarp Kusch U.S. measurement of magnetic moment of electron Willis Eugene Lamb, Jr. U.S. discoveries in the hydrogen spectrum physiology/medicine Axel Hugo Teodor Theorell Sweden nature and mode of action of oxidation enzymes 1956 chemistry Sir Cyril Norman Hinshelwood U.K. work on the kinetics of chemical reactions Nikolay Nikolayevich Semyonov U.S.S.R. work on the kinetics of chemical reactions literature Juan Ramón Jiménez Spain physics John Bardeen U.S. investigations on semiconductors and invention of the transistor Walter H. Brattain U.S. investigations on semiconductors and invention of the transistor William B. Shockley U.S. investigations on semiconductors and invention of the transistor physiology/medicine André F. Cournand U.S. discoveries concerning heart catheterization and circulatory changes Werner Forssmann West Germany discoveries concerning heart catheterization and circulatory changes Dickinson Woodruff Richards U.S. discoveries concerning heart catheterization and circulatory changes 1957 chemistry Alexander Robertus Todd, Baron Todd U.K. work on nucleotides and nucleotide coenzymes literature Albert Camus France peace Lester B. Pearson Canada physics Tsung-Dao Lee China discovery of violations of the principle of parity Chen Ning Yang China discovery of violations of the principle of parity physiology/medicine Daniel Bovet Italy production of synthetic curare 1958 chemistry Frederick Sanger U.K. determination of the structure of the insulin molecule literature Boris Leonidovich Pasternak (declined) U.S.S.R. peace Dominique Pire Belgium physics Pavel Alekseyevich Cherenkov U.S.S.R. discovery and interpretation of the Cherenkov effect Ilya Mikhaylovich Frank U.S.S.R. discovery and interpretation of the Cherenkov effect Igor Yevgenyevich Tamm U.S.S.R. discovery and interpretation of the Cherenkov effect physiology/medicine George Wells Beadle U.S. genetic regulation of chemical processes Joshua Lederberg U.S. genetic recombination Edward L. Tatum U.S. genetic regulation of chemical processes 1959 chemistry Jaroslav Heyrovský Czechoslovakia discovery and development of polarography literature Salvatore Quasimodo Italy peace Philip John Noel-Baker, Baron Noel-Baker U.K. physics Owen Chamberlain U.S. confirmation of the existence of the antiproton Emilio Segrè U.S. confirmation of the existence of the antiproton physiology/medicine Arthur Kornberg U.S. work on producing nucleic acids artificially Severo Ochoa U.S. work on producing nucleic acids artificially 1960 chemistry Willard Frank Libby U.S. development of radiocarbon dating literature Saint-John Perse France peace Albert John Luthuli South Africa physics Donald A. Glaser U.S. development of the bubble chamber physiology/medicine Sir Macfarlane Burnet Australia acquired immunity to tissue transplants Sir Peter B. Medawar U.K. acquired immunity to tissue transplants 1961 chemistry Melvin Calvin U.S. study of chemical steps that take place during photosynthesis literature Ivo Andric Yugoslavia peace Dag Hammarskjöld Sweden physics Robert Hofstadter U.S. determination of shape and size of atomic nucleons Rudolf Ludwig Mössbauer West Germany discovery of the Mössbauer effect physiology/medicine Georg von Békésy U.S. functions of the inner ear 1962 chemistry Sir John Cowdery Kendrew U.K. determination of the structure of hemoproteins Max Ferdinand Perutz U.K. determination of the structure of hemoproteins literature John Steinbeck U.S. peace Linus Pauling U.S. physics Lev Davidovich Landau U.S.S.R. contributions to the understanding of condensed states of matter physiology/medicine Francis Harry Compton Crick U.K. discoveries concerning the molecular structure of DNA James Dewey Watson U.S. discoveries concerning the molecular structure of DNA Maurice Wilkins U.K. discoveries concerning the molecular structure of DNA 1963 chemistry Giulio Natta Italy structure and synthesis of polymers in the field of plastics Karl Ziegler West Germany structure and synthesis of polymers in the field of plastics literature George Seferis Greece peace International Committee of the Red Cross (founded 1863) League of Red Cross Societies physics J. Hans D. Jensen West Germany development of shell model theory of the structure of the atomic nuclei Maria Goeppert Mayer U.S. development of shell model theory of the structure of the atomic nuclei Eugene Paul Wigner U.S. principles governing interaction of protons and neutrons in the nucleus physiology/medicine Sir John Carew Eccles Australia study of the transmission of impulses along a nerve fibre Sir Alan Hodgkin U.K. study of the transmission of impulses along a nerve fibre Sir Andrew Fielding Huxley U.K. study of the transmission of impulses along a nerve fibre 1964 chemistry Dorothy Mary Crowfoot Hodgkin U.K. determining the structure of biochemical compounds essential in combating pernicious anemia literature Jean-Paul Sartre (declined) France peace Martin Luther King, Jr. U.S. physics Nikolay Gennadiyevich Basov U.S.S.R. work in quantum electronics leading to construction of instruments based on maser-laser principles Aleksandr Mikhaylovich Prokhorov U.S.S.R. work in quantum electronics leading to construction of instruments based on maser-laser principles Charles Hard Townes U.S. work in quantum electronics leading to construction of instruments based on maser-laser principles physiology/medicine Konrad Bloch U.S. discoveries concerning cholesterol and fatty-acid metabolism Feodor Lynen West Germany discoveries concerning cholesterol and fatty-acid metabolism 1965 chemistry R.B. Woodward U.S. synthesis of sterols, chlorophyll, and other substances literature Mikhail Aleksandrovich Sholokhov U.S.S.R. peace United Nations Children's Fund (founded 1946) physics Richard P. Feynman U.S. basic principles of quantum electrodynamics Julian Seymour Schwinger U.S. basic principles of quantum electrodynamics Tomonaga Shin'ichiro Japan basic principles of quantum electrodynamics physiology/medicine François Jacob France discoveries concerning regulatory activities of the body cells André Lwoff France discoveries concerning regulatory activities of the body cells Jacques Monod France discoveries concerning regulatory activities of the body cells 1966 chemistry Robert Sanderson Mulliken U.S. work concerning chemical bonds and the electronic structure of molecules literature S.Y. Agnon Israel Nelly Sachs Sweden physics Alfred Kastler France discovery of optical methods for studying Hertzian resonances in atoms physiology/medicine Charles B. Huggins U.S. research on causes and treatment of cancer Peyton Rous U.S. research on causes and treatment of cancer 1967 chemistry Manfred Eigen West Germany studies of extremely fast chemical reactions Ronald George Wreyford Norrish U.K. studies of extremely fast chemical reactions Sir George Porter U.K. studies of extremely fast chemical reactions literature Miguel Ángel Asturias Guatemala physics Hans Bethe U.S. discoveries concerning the energy production of stars physiology/medicine Ragnar Arthur Granit Sweden discoveries about chemical and physiological visual processes in the eye Haldan Keffer Hartline U.S. discoveries about chemical and physiological visual processes in the eye George Wald U.S. discoveries about chemical and physiological visual processes in the eye 1968 chemistry Lars Onsager U.S. work on theory of thermodynamics of irreversible processes literature Kawabata Yasunari Japan peace René Cassin France physics Luis W. Alvarez U.S. work with elementary particles, discovery of resonance states physiology/medicine Robert William Holley U.S. deciphering of the genetic code Har Gobind Khorana U.S. deciphering of the genetic code Marshall William Nirenberg U.S. deciphering of the genetic code 1969 chemistry Sir Derek H.R. Barton U.K. work in determining actual three-dimensional shape of molecules Odd Hassel Norway work in determining actual three-dimensional shape of molecules economics Ragnar Frisch Norway work in econometrics Jan Tinbergen Netherlands work in econometrics literature Samuel Beckett Ireland peace International Labour Organisation (founded 1919) physics Murray Gell-Mann U.S. classification of elementary particles and their interactions physiology/medicine Max Delbrück U.S. research and discoveries concerning viruses and viral diseases A.D. Hershey U.S. research and discoveries concerning viruses and viral diseases Salvador Luria U.S. research and discoveries concerning viruses and viral diseases 1970 chemistry Luis Federico Leloir Argentina discovery of sugar nucleotides and their role in the biosynthesis of carbohydrates economics Paul Samuelson U.S. work in scientific analysis of economic theory literature Aleksandr Isayevich Solzhenitsyn U.S.S.R. peace Norman Ernest Borlaug U.S. physics Hannes Alfvén Sweden work in magnetohydrodynamics and in antiferromagnetism and ferrimagnetism Louis-Eugène-Félix Néel France work in magnetohydrodynamics and in antiferromagnetism and ferrimagnetism physiology/medicine Julius Axelrod U.S. discoveries concerning the chemistry of nerve transmission Ulf von Euler Sweden discoveries concerning the chemistry of nerve transmission Sir Bernard Katz U.K. discoveries concerning the chemistry of nerve transmission 1971 chemistry Gerhard Herzberg Canada research in the structure of molecules economics Simon Kuznets U.S. extensive research on the economic growth of nations literature Pablo Neruda Chile peace Willy Brandt West Germany physics Dennis Gabor U.K. invention of holography physiology/medicine Earl W. Sutherland, Jr. U.S. action of hormones 1972 chemistry Christian B. Anfinsen U.S. fundamental contributions to enzyme chemistry Stanford Moore U.S. fundamental contributions to enzyme chemistry William H. Stein U.S. fundamental contributions to enzyme chemistry economics Kenneth J. Arrow U.S. contributions to general economic equilibrium theory and welfare theory Sir John R. Hicks U.K. contributions to general economic equilibrium theory and welfare theory literature Heinrich Böll West Germany physics John Bardeen U.S. development of the theory of superconductivity Leon N. Cooper U.S. development of the theory of superconductivity John Robert Schrieffer U.S. development of the theory of superconductivity physiology/medicine Gerald Maurice Edelman U.S. research on the chemical structure of antibodies Rodney Robert Porter U.K. research on the chemical structure of antibodies 1973 chemistry Ernst Otto Fischer West Germany organometallic chemistry Sir Geoffrey Wilkinson U.K. organometallic chemistry economics Wassily Leontief U.S. input-output analysis literature Patrick White Australia peace Henry A. Kissinger U.S. Le Duc Tho (declined) North Vietnam physics Leo Esaki Japan tunneling in semiconductors and superconductors Ivar Giaever U.S. tunneling in semiconductors and superconductors Brian D. Josephson U.K. tunneling in semiconductors and superconductors physiology/medicine Karl von Frisch Austria discoveries in animal behaviour patterns Konrad Lorenz Austria discoveries in animal behaviour patterns Nikolaas Tinbergen U.K. discoveries in animal behaviour patterns 1974 chemistry Paul J. Flory U.S. studies of long-chain molecules economics Friedrich von Hayek U.K. pioneering analysis of the interdependence of economic, social, and institutional phenomena Gunnar Myrdal Sweden pioneering analysis of the interdependence of economic, social, and institutional phenomena literature Eyvind Johnson Sweden Harry Martinson Sweden peace Seán MacBride Ireland Sato Eisaku Japan physics Antony Hewish U.K. work in radio astronomy Sir Martin Ryle U.K. work in radio astronomy physiology/medicine Albert Claude U.S. research on structural and functional organization of cells Christian René de Duve Belgium research on structural and functional organization of cells George E. Palade U.S. research on structural and functional organization of cells 1975 chemistry Sir John Warcup Cornforth U.K. work in stereochemistry Vladimir Prelog Switzerland work in stereochemistry economics Leonid Vitalyevich Kantorovich U.S.S.R. contributions to the theory of optimum allocation of resources Tjalling C. Koopmans U.S. contributions to the theory of optimum allocation of resources literature Eugenio Montale Italy peace Andrey Dmitriyevich Sakharov U.S.S.R. physics Aage N. Bohr Denmark work on the atomic nucleus that paved the way for nuclear fusion Ben R. Mottelson Denmark work on the atomic nucleus that paved the way for nuclear fusion James Rainwater U.S. work on the atomic nucleus that paved the way for nuclear fusion physiology/medicine David Baltimore U.S. interaction between tumour viruses and the genetic material of the cell Renato Dulbecco U.S. interaction between tumour viruses and the genetic material of the cell Howard Martin Temin U.S. interaction between tumour viruses and the genetic material of the cell 1976 chemistry William Nunn Lipscomb, Jr. U.S. structure of boranes economics Milton Friedman U.S. consumption analysis, monetary theory, and economic stabilization literature Saul Bellow U.S. peace Mairéad Corrigan Northern Ireland Betty Williams Northern Ireland physics Burton Richter U.S. discovery of new class of elementary particles (psi, or J) Samuel C.C. Ting U.S. discovery of new class of elementary particles (psi, or J) physiology/medicine Baruch S. Blumberg U.S. studies of origin and spread of infectious diseases D. Carleton Gajdusek U.S. studies of origin and spread of infectious diseases 1977 chemistry Ilya Prigogine Belgium widening the scope of thermodynamics economics James Edward Meade U.K. contributions to theory of international trade Bertil Ohlin Sweden contributions to theory of international trade literature Vicente Aleixandre Spain peace Amnesty International (founded 1961) physics Philip W. Anderson U.S. contributions to understanding the behaviour of electrons in magnetic, noncrystalline solids Sir Nevill F. Mott U.K. contributions to understanding the behaviour of electrons in magnetic, noncrystalline solids John H. Van Vleck U.S. contributions to understanding the behaviour of electrons in magnetic, noncrystalline solids physiology/medicine Roger Charles Louis Guillemin U.S. research on pituitary hormones Andrew Victor Schally U.S. research on pituitary hormones Rosalyn S. Yalow U.S. development of radioimmunoassay 1978 chemistry Peter Dennis Mitchell U.K. formulation of a theory of energy transfer processes in biological systems economics Herbert Alexander Simon U.S. decision-making processes in economic organizations literature Isaac Bashevis Singer U.S. peace Menachem Begin Israel Anwar el-Sadat Egypt physics Pyotr Leonidovich Kapitsa U.S.S.R. invention and application of helium liquefier Arno Penzias U.S. discovery of cosmic microwave background radiation, providing support for the big-bang theory Robert Woodrow Wilson U.S. discovery of cosmic microwave background radiation, providing support for the big-bang theory physiology/medicine Werner Arber Switzerland discovery and application of enzymes that fragment DNA Daniel Nathans U.S. discovery and application of enzymes that fragment DNA Hamilton Othanel Smith U.S. discovery and application of enzymes that fragment DNA 1979 chemistry Herbert Charles Brown U.S. introduction of compounds of boron and phosphorus in the synthesis of organic substances Georg Wittig West Germany introduction of compounds of boron and phosphorus in the synthesis of organic substances economics Sir Arthur Lewis U.K. analyses of economic processes in developing nations Theodore William Schultz U.S. analyses of economic processes in developing nations literature Odysseus Elytis Greece peace Mother Teresa India physics Sheldon Lee Glashow U.S. unification of electromagnetism and the weak interactions of subatomic particles Abdus Salam Pakistan unification of electromagnetism and the weak interactions of subatomic particles Steven Weinberg U.S. unification of electromagnetism and the weak interactions of subatomic particles physiology/medicine Allan MacLeod Cormack U.S. development of the CAT scan Sir Godfrey Newbold Hounsfield U.K. development of the CAT scan 1980 chemistry Paul Berg U.S. first preparation of a hybrid DNA Walter Gilbert U.S. development of chemical and biological analyses of DNA structure Frederick Sanger U.K. development of chemical and biological analyses of DNA structure economics Lawrence Robert Klein U.S. development and analysis of empirical models of business fluctuations literature Czesław Miłosz U.S. peace Adolfo Pérez Esquivel Argentina physics James Watson Cronin U.S. demonstration of simultaneous violation of both charge-conjugation and parity-inversion symmetries Val Logsdon Fitch U.S. demonstration of simultaneous violation of both charge-conjugation and parity-inversion symmetries physiology/medicine Baruj Benacerraf U.S. investigations of genetic control of the response of the immune system to foreign substances Jean-Baptiste-Gabriel-Joachim Dausset France investigations of genetic control of the response of the immune system to foreign substances George Davis Snell U.S. investigations of genetic control of the response of the immune system to foreign substances 1981 chemistry Fukui Kenichi Japan orbital symmetry interpretation of chemical reactions Roald Hoffmann U.S. orbital symmetry interpretation of chemical reactions economics James Tobin U.S. portfolio selection theory of investment literature Elias Canetti Bulgaria peace Office of the United Nations High Commissioner for Refugees (founded 1951) physics Nicolaas Bloembergen U.S. applications of lasers in spectroscopy Arthur Leonard Schawlow U.S. applications of lasers in spectroscopy Kai Manne Börje Siegbahn Sweden electron spectroscopy for chemical analysis physiology/medicine David Hunter Hubel U.S. processing of visual information by the brain Roger Wolcott Sperry U.S. functions of the cerebral hemispheres Torsten Nils Wiesel Sweden processing of visual information by the brain 1982 chemistry Aaron Klug U.K. determination of structure of biological substances economics George J. Stigler U.S. economic effects of governmental regulation literature Gabriel García Márquez Colombia peace Alfonso García Robles Mexico Alva Myrdal Sweden physics Kenneth Geddes Wilson U.S. analysis of continuous phase transitions physiology/medicine Sune K. Bergström Sweden biochemistry and physiology of prostaglandins Bengt Ingemar Samuelsson Sweden biochemistry and physiology of prostaglandins John Robert Vane U.K. biochemistry and physiology of prostaglandins 1983 chemistry Henry Taube U.S. study of electron transfer reactions economics Gerard Debreu U.S. mathematical proof of supply and demand theory literature Sir William Golding U.K. peace Lech Wałęsa Poland physics Subrahmanyan Chandrasekhar U.S. contributions to understanding the evolution and devolution of stars William A. Fowler U.S. contributions to understanding the evolution and devolution of stars physiology/medicine Barbara McClintock U.S. discovery of mobile plant genes that affect heredity 1984 chemistry Bruce Merrifield U.S. development of a method of polypeptide synthesis economics Sir Richard Stone U.K. development of national income accounting system literature Jaroslav Seifert Czechoslovakia peace Desmond Tutu South Africa physics Simon van der Meer Netherlands discovery of subatomic particles W and Z, which supports the electroweak theory Carlo Rubbia Italy discovery of subatomic particles W and Z, which supports the electroweak theory physiology/medicine Niels K. Jerne U.K.-Denmark theory and development of a technique for producing monoclonal antibodies Georges J.F. Köhler West Germany theory and development of a technique for producing monoclonal antibodies César Milstein Argentina theory and development of a technique for producing monoclonal antibodies 1985 chemistry Herbert A. Hauptman U.S. development of a way to map the chemical structures of small molecules Jerome Karle U.S. development of a way to map the chemical structures of small molecules economics Franco Modigliani U.S. analyses of household savings and financial markets literature Claude Simon France peace International Physicians for the Prevention of Nuclear War (founded 1980) physics Klaus von Klitzing West Germany discovery of the quantized Hall effect, permitting exact measurements of electrical resistance physiology/medicine Michael S. Brown U.S. discovery of cell receptors relating to cholesterol metabolism Joseph L. Goldstein U.S. discovery of cell receptors relating to cholesterol metabolism 1986 chemistry Dudley R. Herschbach U.S. development of methods for analyzing basic chemical reactions Yuan T. Lee U.S. development of methods for analyzing basic chemical reactions John C. Polanyi Canada development of methods for analyzing basic chemical reactions economics James M. Buchanan U.S. public-choice theory bridging economics and political science literature Wole Soyinka Nigeria peace Elie Wiesel U.S. physics Gerd Binnig West Germany development of special electron microscopes Heinrich Rohrer Switzerland development of special electron microscopes Ernst Ruska West Germany development of special electron microscopes physiology/medicine Stanley Cohen U.S. discovery of chemical agents that help regulate the growth of cells Rita Levi-Montalcini Italy discovery of chemical agents that help regulate the growth of cells 1987 chemistry Donald J. Cram U.S. development of molecules that can link with other molecules Jean-Marie Lehn France development of molecules that can link with other molecules Charles J. Pedersen U.S. development of molecules that can link with other molecules economics Robert Merton Solow U.S. contributions to the theory of economic growth literature Joseph Brodsky U.S. peace Oscar Arias Sánchez Costa Rica physics J. Georg Bednorz West Germany discovery of new superconducting materials Karl Alex Müller Switzerland discovery of new superconducting materials physiology/medicine Tonegawa Susumu Japan study of genetic aspects of antibodies 1988 chemistry Johann Deisenhofer West Germany discovery of structure of proteins needed in photosynthesis Robert Huber West Germany discovery of structure of proteins needed in photosynthesis Hartmut Michel West Germany discovery of structure of proteins needed in photosynthesis economics Maurice Allais France contributions to the theory of markets and efficient use of resources literature Naguib Mahfouz Egypt peace United Nations Peacekeeping Forces physics Leon Max Lederman U.S. research in subatomic particles Melvin Schwartz U.S. research in subatomic particles Jack Steinberger U.S. research in subatomic particles physiology/medicine Sir James Black U.K. development of new classes of drugs for combating disease Gertrude Belle Elion U.S. development of new classes of drugs for combating disease George Herbert Hitchings U.S. development of new classes of drugs for combating disease 1989 chemistry Sidney Altman U.S. discovery of certain basic properties of RNA Thomas Robert Cech U.S. discovery of certain basic properties of RNA economics Trygve Haavelmo Norway development of statistical techniques for economic forecasting literature Camilo José Cela Spain peace Dalai Lama Tibet physics Hans Georg Dehmelt U.S. development of methods to isolate atoms and subatomic particles for study Wolfgang Paul West Germany development of methods to isolate atoms and subatomic particles for study Norman Foster Ramsey U.S. development of the atomic clock physiology/medicine J. Michael Bishop U.S. study of cancer-causing genes called oncogenes Harold Varmus U.S. study of cancer-causing genes called oncogenes 1990 chemistry Elias James Corey U.S. development of retrosynthetic analysis for synthesis of complex molecules economics Harry M. Markowitz U.S. study of financial markets and investment decision-making Merton H. Miller U.S. study of financial markets and investment decision-making William F. Sharpe U.S. study of financial markets and investment decision-making literature Octavio Paz Mexico peace Mikhail Gorbachev U.S.S.R. physics Jerome Isaac Friedman U.S. discovery of atomic quarks Henry Way Kendall U.S. discovery of atomic quarks Richard E. Taylor Canada discovery of atomic quarks physiology/medicine Joseph E. Murray U.S. development of kidney and bone-marrow transplants E. Donnall Thomas U.S. development of kidney and bone-marrow transplants 1991 chemistry Richard R. Ernst Switzerland improvements in nuclear magnetic resonance spectroscopy economics Ronald Coase U.S. application of economic principles to the study of law literature Nadine Gordimer South Africa peace Aung San Suu Kyi Myanmar physics Pierre-Gilles de Gennes France discovery of general rules for behaviour of molecules physiology/medicine Erwin Neher Germany discovery of how cells communicate, as related to diseases Bert Sakmann Germany discovery of how cells communicate, as related to diseases 1992 chemistry Rudolph A. Marcus U.S. explanation of how electrons transfer between molecules economics Gary S. Becker U.S. application of economic theory to social sciences literature Derek Walcott St. Lucia peace Rigoberta Menchú Guatemala physics Georges Charpak France inventor of detector that traces subatomic particles physiology/medicine Edmond H. Fischer U.S. discovery of class of enzymes called protein kinases Edwin Gerhard Krebs U.S. discovery of class of enzymes called protein kinases 1993 chemistry Kary B. Mullis U.S. inventors of techniques for gene study and manipulation Michael Smith Canada inventors of techniques for gene study and manipulation economics Robert William Fogel U.S. contributions to economic history Douglass C. North U.S. contributions to economic history literature Toni Morrison U.S. peace F.W. de Klerk South Africa Nelson Mandela South Africa physics Russell Alan Hulse U.S. identifying binary pulsars Joseph H. Taylor, Jr. U.S. identifying binary pulsars physiology/medicine Richard J. Roberts U.K. discovery of "split," or interrupted, genetic structure Phillip A. Sharp U.S. discovery of "split," or interrupted, genetic structure 1994 chemistry George A. Olah U.S. development of techniques to study hydrocarbon molecules economics John C. Harsanyi U.S. development of game theory John F. Nash U.S. development of game theory Reinhard Selten Germany development of game theory literature Oe Kenzaburo Japan peace Yasser Arafat Palestinian Shimon Peres Israel Yitzhak Rabin Israel physics Bertram N. Brockhouse Canada development of neutron-scattering techniques Clifford G. Shull U.S. development of neutron-scattering techniques physiology/medicine Alfred G. Gilman U.S. discovery of cell signalers called G-proteins Martin Rodbell U.S. discovery of cell signalers called G-proteins 1995 chemistry Paul Crutzen Netherlands explanation of processes that deplete Earth's ozone layer Mario Molina U.S. explanation of processes that deplete Earth's ozone layer F. Sherwood Rowland U.S. explanation of processes that deplete Earth's ozone layer economics Robert E. Lucas, Jr. U.S. incorporation of rational expectations in macroeconomic theory literature Seamus Heaney Ireland peace Pugwash Conferences (founded 1957) Joseph Rotblat U.K. physics Martin Lewis Perl U.S. discovery of tau subatomic particle Frederick Reines U.S. discovery of neutrino subatomic particle physiology/medicine Edward B. Lewis U.S. identification of genes that control the body's early structural development Christiane Nüsslein-Volhard Germany identification of genes that control the body's early structural development Eric F. Wieschaus U.S. identification of genes that control the body's early structural development 1996 chemistry Robert F. Curl, Jr. U.S. discovery of new carbon compounds called fullerenes Sir Harold W. Kroto U.K. discovery of new carbon compounds called fullerenes Richard E. Smalley U.S. discovery of new carbon compounds called fullerenes economics James A. Mirrlees U.K. contributions to theory of incentives under conditions of asymmetric information William Vickrey U.S. contributions to theory of incentives under conditions of asymmetric information literature Wisława Szymborska Poland peace Carlos Felipe Ximenes Belo Timorese José Ramos-Horta Timorese physics David M. Lee U.S. discovery of superfluidity in isotope helium-3 Douglas D. Osheroff U.S. discovery of superfluidity in isotope helium-3 Robert C. Richardson U.S. discovery of superfluidity in isotope helium-3 physiology/medicine Peter C. Doherty Australia discovery of how the immune system recognizes virus-infected cells Rolf M. Zinkernagel Switzerland discovery of how the immune system recognizes virus-infected cells 1997 chemistry Paul D. Boyer U.S. explanation of the enzymatic conversion of adenosine triphosphate Jens C. Skou Denmark discovery of sodium-potassium-activated adenosine triphosphatase John E. Walker U.K. explanation of the enzymatic conversion of adenosine triphosphate economics Robert C. Merton U.S. methods for determining the value of stock options and other derivatives Myron S. Scholes U.S. methods for determining the value of stock options and other derivatives literature Dario Fo Italy peace International Campaign to Ban Landmines (founded 1992) Jody Williams U.S. physics Steven Chu U.S. process of trapping atoms with laser cooling Claude Cohen-Tannoudji France process of trapping atoms with laser cooling William D. Phillips U.S. process of trapping atoms with laser cooling physiology/medicine Stanley B. Prusiner U.S. discovery of the prion, a type of disease-causing protein 1998 chemistry Walter Kohn U.S. development of the density-functional theory John A. Pople U.K. development of computational methods in quantum chemistry economics Amartya Sen India contribution to welfare economics literature José Saramago Portugal peace John Hume Northern Ireland David Trimble Northern Ireland physics Robert B. Laughlin U.S. discovery of fractional quantum Hall effect Horst L. Störmer U.S. discovery of fractional quantum Hall effect Daniel C. Tsui U.S. discovery of fractional quantum Hall effect physiology/medicine Robert F. Furchgott U.S. discovery that nitric oxide (NO) acts as a signaling molecule in the cardiovascular system Louis J. Ignarro U.S. discovery that nitric oxide (NO) acts as a signaling molecule in the cardiovascular system Ferid Murad U.S. discovery that nitric oxide (NO) acts as a signaling molecule in the cardiovascular system 1999 chemistry Ahmed H. Zewail Egypt/U.S. study of the transition states of chemical reactions using femtosecond spectroscopy economics Robert A. Mundell Canada analysis of optimum currency areas and of policy under different exchange rate regimes literature Günter Grass Germany peace Doctors Without Borders (founded 1971) physics Gerardus 't Hooft Netherlands study of quantum structure of electroweak interactions Martinus J.G. Veltman Netherlands study of quantum structure of electroweak interactions physiology/medicine Günter Blobel U.S. discovery that proteins have signals governing cellular organization 2000 chemistry Alan J. Heeger U.S. discovery of plastics that conduct electricity Alan G. MacDiarmid U.S. discovery of plastics that conduct electricity Shirakawa Hideki Japan discovery of plastics that conduct electricity economics James J. Heckman U.S. development of methods of statistical analysis of individual and household behaviour Daniel L. McFadden U.S. development of methods of statistical analysis of individual and household behaviour literature Gao Xingjian France peace Kim Dae-Jung South Korea physics Zhores I. Alferov Russia development of fast semiconductors for use in microelectronics Jack S. Kilby U.S. development of the integrated circuit (microchip) Herbert Kroemer Germany development of fast semiconductors for use in microelectronics physiology/medicine Arvid Carlsson Sweden discovery of how signals are transmitted between nerve cells in the brain Paul Greengard U.S. discovery of how signals are transmitted between nerve cells in the brain Eric R. Kandel U.S. discovery of how signals are transmitted between nerve cells in the brain 2001 chemistry William S. Knowles U.S. work on chirally catalyzed hydrogenation reactions Noyori Ryoji Japan work on chirally catalyzed hydrogenation reactions K. Barry Sharpless U.S. work on chirally catalyzed oxidation reactions economics George A. Akerlof U.S. analysis of markets with asymmetric information A. Michael Spence U.S. analysis of markets with asymmetric information Joseph E. Stiglitz U.S. analysis of markets with asymmetric information literature Sir V.S. Naipaul Trinidad peace United Nations (founded 1945) Kofi Annan Ghana physics Eric A. Cornell U.S. achievement of Bose-Einstein condensation in dilute gases of alkali atoms; early fundamental studies of the properties of the condensates Wolfgang Ketterle Germany achievement of Bose-Einstein condensation in dilute gases of alkali atoms; early fundamental studies of the properties of the condensates Carl E. Wieman U.S. achievement of Bose-Einstein condensation in dilute gases of alkali atoms; early fundamental studies of the properties of the condensates physiology/medicine Leland H. Hartwell U.S. discovery of key regulators of the cell cycle R. Timothy Hunt U.K. discovery of key regulators of the cell cycle Sir Paul M. Nurse U.K. discovery of key regulators of the cell cycle 2002 chemistry John B. Fenn U.S. development of techniques to identify and analyze proteins and other large molecules Tanaka Koichi Japan development of techniques to identify and analyze proteins and other large molecules Kurt Wüthrich Switzerland development of techniques to identify and analyze proteins and other large molecules economics Daniel Kahneman U.S./Israel integration of psychological research into economic science, especially concerning human judgment and decision-making under uncertainty Vernon L. Smith U.S. establishment of laboratory experiments as a tool in empirical economic analysis literature Imre Kertész Hungary peace Jimmy Carter U.S. physics Raymond Davis, Jr. U.S. detection of neutrinos Riccardo Giacconi U.S. seminal discoveries of cosmic sources of X-rays Koshiba Masatoshi Japan detection of neutrinos physiology/medicine Sydney Brenner U.K. discoveries concerning genetic regulation of organ development and programmed cell death (apoptosis) H. Robert Horvitz U.S. discoveries concerning genetic regulation of organ development and programmed cell death (apoptosis) John E. Sulston U.K. discoveries concerning genetic regulation of organ development and programmed cell death (apoptosis) 2003 chemistry Peter Agre U.S. discoveries regarding water channels and ion channels in cells Roderick MacKinnon U.S. discoveries regarding water channels and ion channels in cells economics Robert F. Engle U.S. development of techniques for the analysis of time series data Clive W.J. Granger U.K. development of techniques for the analysis of time series data literature J.M. Coetzee South Africa peace Shirin Ebadi Iran physics Alexei A. Abrikosov U.S. discoveries regarding superconductivity and superfluidity at very low temperatures Vitaly L. Ginzburg Russia discoveries regarding superconductivity and superfluidity at very low temperatures Anthony J. Leggett U.S. discoveries regarding superconductivity and superfluidity at very low temperatures physiology/medicine Paul Lauterbur U.S. development of magnetic resonance imaging (MRI) Sir Peter Mansfield U.K. development of magnetic resonance imaging (MRI) 2004 chemistry Aaron Ciechanover Israel discovery of ubiquitin-mediated protein degradation Avram Hershko Israel discovery of ubiquitin-mediated protein degradation Irwin Rose U.S. discovery of ubiquitin-mediated protein degradation economics Finn E. Kydland Norway contributions to dynamic macroeconomics Edward C. Prescott U.S. contributions to dynamic macroeconomics literature Elfriede Jelinek Austria peace Wangari Maathi Kenya physics David J. Gross U.S. discovery of asymptotic freedom in the theory of the strong interaction H. David Politzer U.S. discovery of asymptotic freedom in the theory of the strong interaction Frank Wilczek U.S. discovery of asymptotic freedom in the theory of the strong interaction physiology/medicine Richard Axel U.S. discovery of odorant receptors and the organization of the olfactory system Linda B. Buck U.S. discovery of odorant receptors and the organization of the olfactory system 2005 chemistry Yves Chauvin France development of the metathesis method in organic synthesis Robert H. Grubbs U.S. development of the metathesis method in organic synthesis Richard R. Schrock U.S. development of the metathesis method in organic synthesis economics Robert J. Aumann Israel contributions to game-theory analysis Thomas C. Schelling U.S. contributions to game-theory analysis literature Harold Pinter U.K. peace Mohamed ElBaradei Egypt International Atomic Energy Agency (founded 1957) physics Roy J. Glauber U.S. contributions to the field of optics John L. Hall U.S. contributions to the development of laser spectroscopy Theodor W. Hänsch Germany contributions to the development of laser spectroscopy physiology/medicine Barry J. Marshall Australia discovery of bacteria's role in peptic ulcer disease J. Robin Warren Australia discovery of bacteria's role in peptic ulcer disease 2006 chemistry Roger D. Kornberg U.S. work on the molecular basis of eukaryotic transcription economics Edmund S. Phelps U.S. analysis of intertemporal trade-offs in macroeconomic policy literature Orhan Pamuk Turkey peace Grameen Bank (founded 1976) Muhammad Yunus Bangladesh physics John C. Mather U.S. discovery of the blackbody form and anisotropy of the cosmic microwave background radiation George F. Smoot U.S. discovery of the blackbody form and anisotropy of the cosmic microwave background radiation physiology/medicine Andrew Z. Fire U.S. discovery of RNA interference—gene silencing by double-stranded RNA Craig C. Mello U.S. discovery of RNA interference—gene silencing by double-stranded RNA 2007 chemistry Gerhard Ertl Germany studies of chemical processes on solid surfaces economics Leonid Hurwicz U.S. work that laid the foundations of mechanism design theory Eric S. Maskin U.S. work that laid the foundations of mechanism design theory Roger B. Myerson U.S. work that laid the foundations of mechanism design theory literature Doris Lessing U.S. peace Al Gore U.S. Intergovernmental Panel on Climate Change (founded 1988) physics Albert Fert France discovery of giant magnetoresistance Peter Grünberg Germany discovery of giant magnetoresistance physiology/medicine Mario R. Capecchi U.S. discovery of principles for introducing specific gene modifications in mice by the use of embryonic stem cells Sir Martin J. Evans U.K. discovery of principles for introducing specific gene modifications in mice by the use of embryonic stem cells Oliver Smithies U.S. discovery of principles for introducing specific gene modifications in mice by the use of embryonic stem cells 2008 chemistry Martin Chalfie U.S. discovery and development of the green fluorescent protein, GFP Osamu Shimomura U.S. discovery and development of the green fluorescent protein, GFP Roger Y. Tsien U.S. discovery and development of the green fluorescent protein, GFP economics Paul Krugman U.S. analysis of trade patterns and location of economic activity literature Jean-Marie Gustave Le Clézio France peace Martti Ahtisaari Finland physics Kobayashi Makoto Japan discovery of the origin of the broken symmetry which predicts the existence of at least three families of quarks in nature Maskawa Toshihide Japan discovery of the origin of the broken symmetry which predicts the existence of at least three families of quarks in nature Yoichiro Nambu U.S. discovery of the mechanism of spontaneous broken symmetry in subatomic physics physiology/medicine Françoise Barré-Sinoussi France discovery of human immunodeficiency virus Luc Montagnier France discovery of human immunodeficiency virus Harald zur Hausen Germany discovery of human papilloma viruses causing cervical cancer Oliver E. Williamson U.S. analysis of economic governance, especially the boundaries of the firm literature Herta Müller Germany peace Barack Obama U.S. physics Willard Boyle Canada/U.S. invention of the CCD sensor, an imaging semiconductor circuit Charles Kao U.K./U.S. achievements concerning the transmission of light in fibres for optical communication George E. Smith U.S. invention of the CCD sensor, an imaging semiconductor circuit physiology/medicine Elizabeth H. Blackburn U.S. discovery of how chromosomes are protected by telomeres and the enzyme telomerase Carol W. Greider U.S. discovery of how chromosomes are protected by telomeres and the enzyme telomerase Jack W. Szostak U.S. discovery of how chromosomes are protected by telomeres and the enzyme telomerase 2010 chemistry Richard F. Heck U.S. development of techniques to synthesize complex carbon molecules Negishi Ei-ichi Japan development of techniques to synthesize complex carbon molecules Suzmediuki Akira Japan development of techniques to synthesize complex carbon molecules economics Peter A. Diamond U.S. analysis of markets with search frictions Dale T. Mortensen U.S. analysis of markets with search frictions Christopher A. Pissarides Cyprus/U.K. analysis of markets with search frictions literature Mario Vargas Llosa Peru peace Liu Xiaobo China physics Andre Geim Netherlands experiments regarding the two-dimensional material graphene Konstantin Novoselov Russia/U.K. experiments regarding the two-dimensional material graphene physiology/medicine Robert Edwards U.K. development of in vitro fertilization 2011 chemistry Daniel Shechtman Israel discovery of quasicrystals economics Thomas J. Sargent U.S. empirical research on cause and effect in the macroeconomy Christopher A. Sims U.S. empirical research on cause and effect in the macroeconomy literature Tomas Tranströmer Sweden peace Leymah Gbowee Liberia Ellen Johnson Sirleaf Liberia Tawakkul Karmān Yemen physics Saul Perlmutter U.S. discovery of the accelerating expansion of the universe through observations of distant supernovae Adam G. Riess U.S./Australia discovery of the accelerating expansion of the universe through observations of distant supernovae Brian P. Schmidt U.S. discovery of the accelerating expansion of the universe through observations of distant supernovae physiology/medicine Bruce A. Beutler U.S. discoveries concerning the activation of innate immunity Jules A. Hoffman Luxembourg/France discoveries concerning the activation of innate immunity Ralph M. Steinman Canada discovery of the dendritic cell and its role in adaptive immunity 2012 chemistry Brian K. Kobilka U.S. studies of G-protein-coupled receptors Robert J. Lefkowitz U.S. studies of G-protein-coupled receptors economics Alvin E. Roth U.S. work on market design and matching theory Lloyd S. Shapley U.S. work on market design and matching theory literature Mo Yan China peace European Union (founded 1993) physics Serge Haroche France development of methods that enable measuring and manipulation of individual quantum systems David J. Wineland U.S. development of methods that enable measuring and manipulation of individual quantum systems physiology/medicine Sir John Bertrand Gurdon U.K. discovery that mature cells can be reprogrammed to become pluripotent Shinya Yamanaka Japan discovery that mature cells can be reprogrammed to become pluripotent 2013 chemistry Martin Karplus Austria/U.S. development of multiscale models for complex chemical systems Michael Levitt U.K./U.S./Israel development of multiscale models for complex chemical systems Arieh Warshel Israel/U.S. development of multiscale models for complex chemical systems economics Eugene F. Fama U.S. empirical analysis of asset prices Lars P. Hansen U.S. empirical analysis of asset prices Robert J. Shiller U.S. empirical analysis of asset prices literature Alice Munro Canada peace Organisation for the Prohibition of Chemical Weapons (founded 1997) physics François Englert Belgium theoretical discovery of a mechanism that contributes to the understanding of the origin of mass of subatomic particles Peter Higgs U.K. theoretical discovery of a mechanism that contributes to the understanding of the origin of mass of subatomic particles physiology/medicine James E. Rothman U.S. discoveries of machinery regulating vesicle traffic, a major transport system in cells Randy W. Schekman U.S. discoveries of machinery regulating vesicle traffic, a major transport system in cells Thomas C. Südhof Germany/U.S. discoveries of machinery regulating vesicle traffic, a major transport system in cells 2014 chemistry Eric Betzig U.S. development of super-resolved fluorescence microscopy Stefan W. Hell Germany development of super-resolved fluorescence microscopy William E. Moerner U.S. development of super-resolved fluorescence microscopy economics Jean Tirole France analysis of market power and regulation literature Patrick Modiano France peace Kailash Satyarthi India Malala Yousafzai Pakistan physics Akasaki Isamu Japan invention of efficient blue light-emitting diodes, which has enabled bright and energy-saving white light sources Amano Hiroshi Japan invention of efficient blue light-emitting diodes, which has enabled bright and energy-saving white light sources Shuji Nakamura U.S. invention of efficient blue light-emitting diodes, which has enabled bright and energy-saving white light sources physiology/medicine Edvard I. Moser Norway discoveries of cells that constitute a positioning system in the brain May-Britt Moser Norway discoveries of cells that constitute a positioning system in the brain John O'Keefe U.S./U.K. discoveries of cells that constitute a positioning system in the brain 2015 chemistry Tomas Lindahl Sweden mechanistic studies of DNA repair Paul Modrich U.S. mechanistic studies of DNA repair Aziz Sancar Turkey/U.S. mechanistic studies of DNA repair economics Angus S. Deaton U.K. analysis of consumption, poverty, and welfare literature Svetlana Alexievich Belarus peace National Dialogue Quartet (founded 2013) physics Kajita Takaaki Japan discovery of neutrino oscillations, which show that neutrinos have mass Arthur B. McDonald Canada discovery of neutrino oscillations, which show that neutrinos have mass physiology/medicine William C. Campbell Ireland discoveries concerning a novel therapy against infections caused by roundworm parasites Ōmura Satoshi Japan discoveries concerning a novel therapy against infections caused by roundworm parasites Tu Youyou China discoveries concerning a novel therapy against malaria 2016 chemistry Jean-Pierre Sauvage France design and synthesis of molecular machines J. Fraser Stoddart U.K. design and synthesis of molecular machines Bernard Feringa Netherlands design and synthesis of molecular machines economics Oliver Hart U.K. contributions to contract theory Bengt Holmström Finland contributions to contract theory literature Bob Dylan U.S. peace Juan Manuel Santos Colombia physics David Thouless U.K. theoretical discoveries of topological phase transitions and topological phases of matter Duncan Haldane U.K. theoretical discoveries of topological phase transitions and topological phases of matter Michael Kosterlitz U.K. theoretical discoveries of topological phase transitions and topological phases of matter physiology/medicine Yoshinori Ohsumi Japan discoveries of mechanisms for autophagy 2017 chemistry Jacques Dubochet Switzerland development of cryo-electron microscopy for the high-resolution structure determination of biomolecules in solution Joachim Frank Germany/U.S. development of cryo-electron microscopy for the high-resolution structure determination of biomolecules in solution Richard Henderson U.K. development of cryo-electron microscopy for the high-resolution structure determination of biomolecules in solution economics Richard H. Thaler U.S. contributions to behavioral economics literature Kazuo Ishiguro U.K. peace International Campaign to Abolish Nuclear Weapons (founded 2007) physics Barry C. Barish U.S. decisive contributions to the Laser Interferometer Gravitational-Wave Observatory detector and the observation of gravitational waves Kip S. Thorne U.S. decisive contributions to the Laser Interferometer Gravitational-Wave Observatory detector and the observation of gravitational waves Rainer Weiss U.S. decisive contributions to the Laser Interferometer Gravitational-Wave Observatory detector and the observation of gravitational waves physiology/medicine Jeffrey C. Hall U.S. discoveries of molecular mechanisms controlling the circadian rhythm Michael Rosbash U.S. discoveries of molecular mechanisms controlling the circadian rhythm Michael W. Young U.S. discoveries of molecular mechanisms controlling the circadian rhythm 2018 chemistry Frances Arnold U.S. first directed evolution of enzymes George P. Smith U.S. development of phage display, a method in which a bacteriophage can be used to evolve new proteins Gregory P. Winter U.K. work using the phage display method for the directed evolution of antibodies economics William Nordhaus U.S. integration of climate change into long-run macroeconomic analysis Paul Romer U.S. integration of technological innovations into long-run macroeconomic analysis literature** Olga Tokarczuk Poland peace Denis Mukwege Democratic Republic of the Congo Nadia Murad Iraq physics Arthur Ashkin U.S. invention of optical tweezers and their application to biological systems Gérard Mourou France invention of a method of generating high-intensity ultrashort optical pulses Donna Strickland Canada invention of a method of generating high-intensity ultrashort optical pulses physiology/medicine James P. Allison U.S. discovery of cancer therapy by inhibition of negative immune regulation Tasuku Honjo Japan discovery of cancer therapy by inhibition of negative immune regulation 2019 chemistry John B. Goodenough U.S. development of lithium-ion batteries M. Stanley Whittingham U.K./U.S. development of lithium-ion batteries Yoshino Akira Japan development of lithium-ion batteries economics Abhijit Banerjee U.S. experimental approach to alleviating global poverty Esther Duflo French/U.S. experimental approach to alleviating global poverty Michael Kremer U.S. experimental approach to alleviating global poverty literature Peter Handke Austria peace Abiy Ahmed Ethiopia physics James Peebles Canada/U.S. theoretical discoveries in physical cosmology Michel Mayor Switzerland discovery of an exoplanet orbiting a solar-type star Didier Queloz Switzerland discovery of an exoplanet orbiting a solar-type star physiology/medicine William G. Kaelin, Jr. U.S. discoveries of how cells sense and adapt to oxygen availability Peter J. Ratcliffe U.K. discoveries of how cells sense and adapt to oxygen availability Gregg L. Semenza U.S. discoveries of how cells sense and adapt to oxygen availability 2020 chemistry Emmanuelle Charpentier France development of a method for genome editing Jennifer Doudna U.S. development of a method for genome editing economics Paul R. Milgrom U.S. improvements to auction theory and inventions of new auction formats Robert B. Wilson U.S. improvements to auction theory and inventions of new auction formats literature Louise Glück U.S. peace World Food Programme (founded 1961) physics Reinhard Genzel Germany discovery of a supermassive compact object at the centre of the Milky Way Galaxy Andrea Ghez U.S. discovery of a supermassive compact object at the centre of the Milky Way Galaxy Roger Penrose U.K. discovery that black hole formation is a robust prediction of the general theory of relativity physiology/medicine Harvey J. Alter U.S. discovery of hepatitis C virus Michael Houghton U.K. discovery of hepatitis C virus Charles M. Rice U.S. discovery of hepatitis C virus 2021 chemistry Benjamin List Germany development of asymmetric organocatalysis David W.C. MacMillan U.K./U.S. development of asymmetric organocatalysis economics Joshua Angrist Israel/U.S. methodological contributions to the analysis of causal relationships David Card Canada/U.S. empirical contributions to labour economics Guido W. Imbens Neth./U.S. methodological contributions to the analysis of causal relationships literature Abdulrazak Gurnah Tanz. peace Dmitry Muratov Russia Maria Ressa Phil./U.S. physics Klaus Hasselmann Germany physical modelling of Earth's climate, quantifying variability and reliably predicting global warming Manabe Syukuro Japan/U.S. physical modelling of Earth's climate, quantifying variability and reliably predicting global warming Giorgio Parisi Italy discovery of the interplay of disorder and fluctuations in physical systems from atomic to planetary scales physiology/medicine David Julius U.S. discoveries of receptors for temperature and touch Ardem Patapoutian U.S. discoveries of receptors for temperature and touch 2022 chemistry Carolyn R. Bertozzi U.S. development of click chemistry and bioorthogonal chemistry Morten P. Meldal Neth. development of click chemistry and bioorthogonal chemistry K. Barry Sharpless U.S. development of click chemistry and bioorthogonal chemistry economics Ben Bernanke U.S. research on banks and financial crises Douglas Diamond U.S. research on banks and financial crises Philip Dybvig U.S. research on banks and financial crises literature Annie Ernaux France peace Ales Bialiatski Belarus Center for Civil Liberties Ukraine Memorial Russia physics Alain Aspect France experiments with quantum entanglement that laid the foundation for a new era of quantum technology John F. Clauser U.S. experiments with quantum entanglement that laid the foundation for a new era of quantum technology Anton Zeilinger Austria experiments with quantum entanglement that laid the foundation for a new era of quantum technology physiology/medicine Svante Pääbo Sweden discoveries concerning the genomes of extinct hominins and human evolution 2023 chemistry Moungi Bawendi France/U.S. discovery and synthesis of quantum dots Louis Brus U.S. discovery and synthesis of quantum dots Alexei Ekimov Russia/U.S. discovery and synthesis of quantum dots economics Claudia Goldin U.S. research on women’s labour market outcomes literature Jon Fosse U.S. peace Narges Mohammadi Iran physics Pierre Agostini France development of experimental methods that generate attosecond pulses of light for the study of electron dynamics in matter Ferenc Krausz Hungary development of experimental methods that generate attosecond pulses of light for the study of electron dynamics in matter Anne L’Huillier France development of experimental methods that generate attosecond pulses of light for the study of electron dynamics in matter physiology/medicine Katalin Karikó Hungary/U.S. discoveries concerning nucleoside base modifications that enabled the development of effective mRNA vaccines against COVID-19
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Waymarking.com is a way to mark unique locations on the planet and give them a voice. While GPS technology allows us to pinpoint any location on the planet, mark the location, and share it with others, Waymarking is the toolset for categorizing and adding unique information for that location.
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en
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/images/favicon.ico
| null |
View waymark gallery
Carl Spitteler - Bennwil, BL, Switzerland
Posted by: fi67
N 47° 24.183 E 007° 46.809
32T E 407960 N 5250676
A monument in the center of Bennwil for the most famous citizen of town, the Literature Nobel Prize laureate Carl Spitteler.
Waymark Code: WMQ3M9
Location: Basel Landschaft, Switzerland
Views: 6
EN: This monument is located on a square in the village center of Bennwil. There is a large stone with a bronze relief of the portrait of Carl Spitteler. Below there is simply written: "Carl Spitteler 1845-1924".
Carl Spitteler was a citizen of Bennwil, in the early 20th century he was a well-known writer. In 1919 he was awarded the Nobel Prize for Literature as the first and only Swiss to date.
DE: Dieses Denkmal befindet sich an einem Platz im Dorfzentrum von Bennwil. Es ist ein grosser Stein mit einem Bronzerelief von Spittelers Porträt. Darunter steht einfach "Carl Spitteler 1845-1924".
Carl Spitteler war Bürger von Bennwil, im frühen 20. Jahrhundert war er ein bekannter Schriftsteller. 1919 erhielt er als bisher einziger Schweizer den Literaturnobelpreis.
Relevant Web Site: [Web Link]
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Give the date of your visit and describe your experience. Additional photos and information about the site or poet/author are appreciated.
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wrong_mix_range_award_00063
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FactBench
|
3
| 78 |
https://www.infoplease.com/awards/nobel/nobel-prize-literature
|
en
|
Nobel Prize for Literature
|
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[
"Infoplease"
] |
2021-03-29T12:23:04-04:00
|
The Most Famous Prize in LiteratureThe Nobel Prize for Literature, one of the six international awards administered by the Nobel Foundation, honors outstanding achievement in letters. The estate of Alfred Bernhard Nobel (1833–1896), the Swedish inventor of dynamite, funds the awards.
|
en
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/themes/ip/favicon.ico
|
InfoPlease
|
https://www.infoplease.com/awards/nobel/nobel-prize-literature
|
Current Events
View captivating images and news briefs about critical government decisions, medical discoveries, technology breakthroughs, and more. From this page, you'll see news events organized chronologically by month and separated into four categories: World News, U.S. News, Disaster News, and Science & Technology News.
We also collect a summary of each week's events, from one Friday to the next, so make sure you check back every week for fascinating updates on the world around to help keep you updated on the latest happenings from across the globe!
Current Events 2023
Check out the November News and Events Here:
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||||
wrong_mix_range_award_00063
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FactBench
|
3
| 81 |
https://www.answers.com/natural-sciences/Did_Carl_Linnaeus_win_a_nobel_prize
|
en
|
Did Carl Linnaeus win a nobel prize?
|
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mabye
|
en
|
/favicon.ico
|
Answers
|
https://www.answers.com/natural-sciences/Did_Carl_Linnaeus_win_a_nobel_prize
|
No, Carl Linnaeus did not win a Nobel Prize. He was a Swedish botanist, zoologist, and physician known for his work in taxonomy and classification of living organisms. The Nobel Prize was established after his time.
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||||
3509
|
dbpedia
|
0
| 14 |
https://letterboxd.com/film/xchange/
|
en
|
Xchange (2001)
|
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[] | null |
In the near future, a company called Xchange owns a mind transference technology that enables instantaneous travel by swapping bodies with someone at the destination. A member of the privileged corporate class ("Corpie") Xchanging for the first time unwittingly switches bodies with a terrorist. Forced to hide in a limited life span cloned body with just 2 days remaining, he races against time to stop the terrorist and regain his body.
|
en
|
https://letterboxd.com/film/xchange/
|
What a convoluted mess! It's so bad. And it really takes alot for me to rate a movie so low, but wow! Confusing, slow, erratic, cheap and gratuitous. With a horrible script, directing, music and editing. Nothing is cleary defined so I had no idea what was happening or why most of the time, and it was only exciting in the last 10 minutes.
A Canadian knockoff of face off except here rich people swap minds for fast travel. The plot is a terrorsit takes over a corpy(corporate goon) body for reasons? And the main character gets stuck in a clone body called Jeff. One minute Kyle Mclaughlin is our main then all of sudden were stuck with dull Stephen Baldwin.
This movie smells its own farts so hard. It really thought it was being edgey and smart huh? Thankfully the writers didnt do much after this. Avoid at all costs. Unless your having a bad movie night.
Kinda clever DTV Canadian sci-fi from Allan Moyle (Pump Up the Volume, Empire Records) probably deserving of a higher budget. Conveys a corporate dystopia effectively enough, but the awful, awful, awful early 2000s Space Channel sheen (sorry this is my second review in a row complaining about it) makes the movie feel like it should be broken up with commercial breaks featuring a computer ad scored to a parody of Alice Deejay's "Better Off Alone".
Admittedly lost a lot of interest by the time I realized Kyle MacLachlan was gonna ROLL IN ROLL OUT so early
Sort of a DTV riff on Face/Off (I know i couldn't believe it either--and it's from the director of Pump Up the Volume and Empire Records too) with uptight middle management exec Kim Coates swapping bodies with terrorist Kyle MacLachlan (whoa!) This then goes a step further by having MacLachlan jumping bodies into that of a clone played by Stephen Baldwin. So it's Baldwin vs Coates. Because Baldwin is a clone, his body is going to fall apart in roughly 48 hours so he's got a giant deadline to get himself transferred back into the right body here, but first he has to find it!
This actually starts out fairly well, with it feeling a little more like Total Recall…
A little Canadian sub Dickian DTV sci-fi thriller that is actually a good deal more interesting than most actual Dick adaptations. A corporate asshole has to make use of current xchange technology of body swaping to go to a business meeting just to lose his original body to a terrorist with some big wig backers. Reliable Allan Moyle directs with a lot of neat ideas and some Verhovenian sense of satirical fun. The last act is a bit disappointing action oriented (Moyle is many things, but action director is not one of them) and plot dictactes the film has to swap leads from Kyle MacLachlan to Stephen Baldwin which is not fair (that said casting Baldwin as an assembly line cloned body with an expirating date is genius).
A movie that should be watched before any election, before any movement into a position of political power, before we see cycles repeat themselves over and over, from Ancient Rome to today. An explosive illustration of the plots and intrigues of those with political power and their attempts to retain and consolidate it. Virtually every character is a manipulator. "They await you sir, on the Capitol. The senate comes up there expressly to swear to your laws before Jupiter's eyes."
It’s a fun concept. Inception body snatching and the plot is slightly predictable since it’s one that has been done over and over again, but there is some freshness to it.
Moyle doesn’t do action sequences well though. Also the production was a bit low budget so the effects shots suffer. MacLauchlin and Baldwin are good enough in it to pull you through the movie. I feel like if this was done in the 80s it would have more of that futuristic charm, however this was at a time studios were pumping out dvd movies no matter how low the quality. I doubt Moyle is happy with this final product.
|
||||||
3509
|
dbpedia
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1
| 19 |
https://www.clta-us.org/about-clta/special-interest-groups/sig-film-exchange/
|
en
|
SIG – Chinese Language Film Exchange – The Chinese Language Teachers Association, USA
|
[
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[] |
[] |
[
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[] | null |
en
|
https://www.clta-us.org/about-clta/special-interest-groups/sig-film-exchange/
|
SIG – Chinese Language Film Education Exchange (CLFEdEx) CLTA 中文電影教學興趣小組
Facebook: CLTA 中文電影教學興趣小組
https://www.facebook.com/groups/317635671923482/
Description
CLFEdEx is a special interest group that provides a platform for Chinese language teachers to introduce Chinese films of interest to the group, to share thoughts of educational focuses of these films, and to exchange pedagogical ideas with K-16 colleagues. The group plans to create a website to function as a Chinese Language Film teaching resources center to share information and recommendations for each film, such as appropriate language level, age group, and cultural points, etc.
Activities
Forming an online community –eGroup—(create LISTSEV and Facebook group for the group)
Developing a website to share resources, research/pedagogical activities or projects with the CLTA community
Holding regular group activities for collaborating a common project in educational exchange of teaching through Chinese language films
Holding annual face-to-face group meeting/activity at CLTA sponsored conferences
Submitting proposals to CLTA sponsored conferences.
Leadership
|
|||||||
3509
|
dbpedia
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2
| 60 |
https://www.audible.com/author/Chris-Lynch/B071KQF876
|
en
|
Chris Lynch – Audio Books, Best Sellers, Author Bio
|
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[] |
[
""
] | null |
[] | null |
Learn more about Chris Lynch. Browse Chris Lynch’s best-selling audiobooks and newest titles. Discover more authors you’ll love listening to on Audible.
|
en
|
Audible.com
|
https://www.audible.com/author/Chris-Lynch/B071KQF876
|
Welcome to Neverbury
By: Chris Lynch
Narrated by: Terry Cooper
Length: 4 hrs and 17 mins
Unabridged
Overall
5 out of 5 stars 1
Performance
0 out of 5 stars 0
Story
0 out of 5 stars 0
Somewhere on the coast of England, Neverbury a little quaint seaside town with the kind of problems that a lot of quaint little English seaside towns have these days....
|
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3509
|
dbpedia
|
0
| 96 |
https://www.equineinfoexchange.com/horse-racing/penny-chenery-mentor-leader-supernatural-horsewoman-klingon-warrior
|
en
|
Penny Chenery: Mentor, Leader, Supernatural Horsewoman, Klingon Warrior
|
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"Marion E. Altieri"
] | null |
The leading site for uniting the horse world, Equine Info Exchange is the sole source for everything equine.
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https://www.equineinfoexchange.com/horse-racing/penny-chenery-mentor-leader-supernatural-horsewoman-klingon-warrior
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By Marion E. Altieri for Equine Info Exchange
“Screw the men. I’ve got the horse.”
The entire horse racing community is mourning the loss of Helen B. (Penny) Chenery, the driven horsewoman who died on September 16, 2017. Part of the healthy grief process is to talk it out, via the sharing of stories about the beloved, recently-departed. The tales help us make sense of the death, and assure us that—even if only in legend and lore—the one we love lives on.
I am one such person, who needs to tell my story. I’m sharing it because it’s true—because I love Penny--and, that actually through a bizarre twist of fortune—I got to know her in a way that very few others have. I was singled out not because of any great thing I did, but because I was in the right church, at the right time.
If social media is any indication, it appears that half the world population has a Penny Narrative: of meeting her, knowing her—and the usual, Sharing a Sherry/night before a Belmont Stakes anecdote. Many people (most notably, women and grrrlz) met her over the years, and came away from the experience inspired to pursue their racing careers. Indeed, many have been thusly blessed.
Penny meant so much to me personally, for reasons that are multi-layered: she was more than a brilliant businesswoman who showed the way. More than a famous person who taught by example—that it’s OK to be strong, smart; funny, irreverent; well-heeled and wildly earthy—all at the same time.
Penny was my Mentor. We met in 2003, in a way that I could not have invented, in my wildest writerly imagination. The very-real setting for the story sounds like the plot of a classic film—but one that audiences would assume, had to be fiction.* I believe that I was allowed to see her quite fully in large part because of our unusual introduction, through a church in Pelham, New York. And, because we were of similar mind regarding horse welfare and the roles of women in horse racing--she chose to give me the leg up onto my steed, mentoring me at the very beginning of my vocation as a horse racing media professional.
Penny was both the horse and the trainer.
I saw her for all of who she was (is), I believe: no blinkers on here. I’ve never been a fan of lying to myself, of seeing only the parts of a human as my myth requires. I believe that I saw Penny as fully as any person who’s not her actual children could know her, for I was blessed that she felt comfortable enough around me to be herself.
And herself was a magnificent tower of strength, humor and fortitude. And with a single wink and a nudge, she let me into her secret society—she showed me layers of her spirit that she didn’t necessarily show to everyone. Yes, her children, business partners and closest friends knew The Whole Penny, and I’m convinced that I was allowed to peek under that veil, as well.
Early in September 2004, Penny Chenery had a heart attack. She was 82, and of course had led a very active life up to that point—so something like a heart attack was probably not unexpected. The part of the story that did surprise many people was that, at age 82—the impatient patient drove herself to Central Baptist Hospital near her Lexington, Kentucky home.
Well, of course she did. That information didn't seem odd to me, at all. By late 2004, I’d known the icon for over a year, and knew (as did all her family, friends and colleagues)—that Penny, herself, was a Force of Nature. Pragmatic to the Nth degree; strong as any horse she’d ever owned; focused and brilliant. Why should she wait to hitch a ride in an ambulance, when her car was parked right outside?
Stories like this—reported by mainstream racing media—gave light clues as to the core of Penny’s being. She was at the helm, even in a circumstance when most people would have scrambled, Barney Fife-like, for the defibrillator. So many Penny Stories to tell. Read carefully and deliberately, they give hints as to the wild child whose heart beat inside her seemingly-demure chest.
My story is but one. Only one, but one which may help you see the great lady more fully. Hers was a rich, full person and personality, with more facets than the Hope Diamond. Many think they could peg her—but she was, and always will be—beyond pegging. Penny Chenery was so much her own woman that she absolutely cannot be shoved into a round hole by the expectations or assumptions of anyone who didn't really know her.
You must bear with me, for this is one of the hardest things I've ever had to write. (Actually a dead-heat with my own Mother’s obituary, 22 years ago.) As I prepare to pen this, sharing profoundly personal reflections with (potentially) millions of strangers via the Internet--I am grief-stricken. I’m weeping wildly, even as I write with determination my memories and gratitude for the Life, the Wisdom and the generosity of the now-late, always-great Penny Chenery—yes, I am weeping. Shoulders-shaking, wet-faced, full-out—grief, in all its soul-purging glory.
A million thoughts go through my mind and heart today, in the immediate moments after hearing of Penny’s death. When I read the simple subject line in my email inbox (“Penny Chenery”)—I knew. My heart sank. Tears exploded in my eyes.
In that place in the human brain wherein swirls 10,000 thoughts simultaneously, I thought about how much I love her. That I wished I’d seen her before she died. About all she did for me, personally, and for the entire world of horse racing.
And then one strange phrase came to the front:
“It is a good day to die.”
This phrase was uttered for many centuries by Native Americans, before (Star Trek’s) Klingon culture and language caught on. (It may be that the Klingons borrowed the phrase from the Native Americans—or the reverse…but however it came down, that is the phrase that came into my head, last.)
And it is the thought that feels most-fitting, when thinking about Penny. That no doubt, she, being of big spirit—being who she was—faithfully, always, herself—absolutely, her beautiful blue eyes pierced the veil between the worlds and focused not on the past, but on her eternal future.
I’m certain that she gazed beyond, seeing things that her loving family around her could not see—and with strength, intention and confidence—she strode, shoulders back, straight ahead to meet her God, and reunite with her parents, her Riva Ridge and her Big Red.
Penny was a Klingon Warrior: the specter of Death could not frighten her. She was—is—always will be—a woman whose two feet were planted on the ground, firmly and precisely. She was who you think—and at the same time, she was not the person whom many horse racing fans and peers thought they knew. She was beautiful, sharp and tough as nails.
And there’s nothing wrong with being tough as nails, especially if you’re a woman in the sport of horse racing.
Like a chocolate bon-bon by Godiva, she appeared on the outside to be all deliciousness, and exquisitely elegant in her apparent, no-frills simplicity. The Perfect Pelham Woman, she fit The Look: blonde; crisp, shirtwaist dress; very tailored. She looked the role of a female whose well-heeled world included greystone Neo-Gothic architecture, Smith College and horseback riding lessons.
Like a woman who was destined to sit in her front-row box at Saratoga, and go home at night to her ivy-covered manse on North Broadway.
BUT.
She's not only what people saw—if they looked only at her outside, tailored appearance. She’s not necessarily whom you think she is, or was. She wasn't bound by The Real Housewives of Westchester County’s unwritten, arbitrary rules.
She knew the rules--ignored them when they needed ignoring--and just-plain re-wrote them when they proved to be ridiculous.
Ironically, to the untrained eye, she fit the stereotype right down to her family's spiritual tradition: Penny was Episcopalian.
And it was that Anglican tradition that brought Penny Chenery into my Life, my heart and my destiny. This is the part of the story to which I referred, above: this, I know, sounds like it must be fiction—because all the pieces fell into place seamlessly.
In 2003, I lived in Westchester County, New York and attended The Episcopal Parish of Christ the Redeemer in Pelham.
On Sunday, June 22nd that year, I realized with a jolt that writing about horses—and horse racing, specifically—was my vocation. My calling, the reason I was put on this planet. I’d been freelancing as a writer for years—first published in 1968, at age 12—but never had thought about narrowing it down, writing from my core. And that my writing could be a vehicle through which I could help make horse racing a better place, for horses and females.
Never before that day did I think about the idea that it was OK to write about something I loved passionately. Never mind, that my writing could help change the Status Quo.
As the thought came into my brain, I spoke aloud, “I’m supposed to…write about horse racing?”
I went to Mass, and during Communion—since I was on my knees, in prayer-mode, anyway—I asked God, “This is ridiculous, but…I’m supposed to write about horse racing…? No, really…”
The next week, the idea of writing, editing and how I could use these talents in horse racing took the form of a Game Plan, as it were. I wrote it down—as you know, writing down our ideas is the first step to seeing them become real, three-dimensional things. “Thoughts are things,” Buddha said—and writing down thoughts makes them even closer to realization.
One week, to the day.
The following Sunday during Coffee Hour, a woman came up to me and asked casually,
“Did you know that Secretariat gave a million dollars to our church?”
“You mean, the Secretariat of the U.N.?”
“NO. THE HORSE.”
Of course I thought she was nuts, or at least, crazily mistaken. I went home, found an email address for Secretariat.com, and sent a brief note. This could not possibly be true, right? So, while I was at it, I asked if, indeed, Penny Chenery—a Smith College Alumna—had named Secretariat to honor Elizabeth Ham, a Mount Holyoke College Alumna. (Miss Ham, as you know, was Secretary to Penny’s Father, Christopher.)
So, here’s the thing: Smith and Mount Holyoke (my Alma Mater)—are rivals. There are seven colleges known as The Seven Sisters—Smith and Mount Holyoke are but two of them. And there’s no huge reason for them to be rivals, except perhaps that they’re a mere seven miles from each other. Oh, yes, and each has a distinction that probably annoys the other: Smith is the largest college for women in the world. Mount Holyoke is the oldest. Our two colleges have no rivalries with the other five schools--there’s just something about Smith and Mount Holyoke that causes friendly growling, even when we socialize. We don’t mean it. But we do.
I’ve even referred to Smith as, “The ‘S’ Word.”
So, for Penny to take the suggestion that Miss Ham--a Mount Holyoke Alumna--threw out (to honor her own previous employer, the Secretariat of the League of Nations)—obviously, that was a serious honor. May even have given Penny heartburn for a minute. But they’d tried to register several other names with the Jockey Club, unsuccessfully: Sceptre, Royal Line, Something Special, Games of Chance, Deo Volente (“God Willing”). All were rejected. Finally, Secretariat—and the Jockey Club gave the nod.
I sent off my email, my heart filled with wild-eyed curiosity. But the next day was Monday, and I had to go to work and forget about it for at least eight hours. Much to my shock, I walked in the door at 5PM on Monday, June 30th—and my life changed forever, and for the better.
As I walked through the door, I heard a voice on my answering machine:
“This is Penny Chenery, calling from Lexington, Kentucky…”
I screamed, and grabbed the phone before she could finish her message and hang up.
It took one nanosecond, for me to compose myself enough to say, “Hello? Being the gracious intuitive that she was, she kicked off the conversation immediately, and put me at ease with a challenge:
“SO. YOU went to Mount Holyoke. I went to Smith. Huh.”
Retort:
“Oh…couldn’t get into Mount Holyoke?”
(Yes, even as the words came flying out of my mouth of their own volition, I was screaming at myself, inside my head: “Marion, you’re an idiot.”)
She actually laughed aloud, a hearty laugh (Phew!)—and responded,
“Great! You’re a smartass!”
WHAT? The Queen of Horse Racing—the elegant, Pelhamite Princess, The Stereotype of W.A.S.P.-iness—just called me a “smartass”?
She confirmed with a bit of dramatic flair and chagrin that, ugh, yes—yes, his name did honor Miss Ham, her job and her suggestion.
The conversation flowed from there. For 45 minutes, she regaled me with parts of her story: Yes, her Father had been a member of Christ (Episcopal) Church, Pelham, for 50 years. She got married there. Baptized her babies there. And, in ’73 when she divorced John Tweedy—Father Hoag was her counselor. She loved and missed Christ Church, Pelham, it was the church of her heart.
One brief tale was about her Father, standing up during Mass one Sunday—and his foot went through the floor. After church he walked up to the priest, and handed him a blank check:
“Please buy a new floor.”
Riva Ridge…Christopher knew:
Suddenly somber, her voice shifted as she began the story of Riva Ridge, saving The Meadow, and of her Father, understanding this—in spite of his Alzheimer’s. Mr. Chenery was in the hospital in New Rochelle, where he’d been for several years. By May 6, 1972 (Riva’s Kentucky Derby day)—the once-brilliant man was fully in the throes of the murderous disease. Two of his nurses turned on the Kentucky Derby, so he could watch his beautiful homebred race.
They doubted that he’d understand what was going on, but still they talked to him about Riva, Penny, The Meadow and the Kentucky Derby.
As it became obvious that Riva was going to win the Kentucky Derby—as his gorgeous boy screamed for home—a tear ran down Christopher Chenery’s face. Alzheimer’s had tried to rob him of all memories, of all understanding—but, as Penny said to me—deep in his soul, he understood that his beloved Meadow had been saved. His Riva Ridge literally saved the farm.
I cried on the phone as this story unfolded. Penny grew silent, but only for a minute. Then she went back to effusing, that she was so happy to be connected again to Christ Church.
The million-dollar prayer.
And why, yes, Secretariat gave a million bucks to the church:
Everyone who knows horse racing knows that “big horses”—super Champions—toss out a lot of hormones every time they race. And that, sometimes this means that, at the end of a horse’s racing career—she or he has viability problems in the breeding shed.
This was another of the moments that told me about Penny’s personality, her no-holds-barred and honest attitude. Using the lingua franca of a farmer, she stated simply, “We were afraid he was going to shoot blanks, so I called Father Hoag and asked him to pray.”
Father Hoag prayed.
You know the rest of the story: obviously, Secretariat proved to be fertile, and went on to throw some of the greatest broodmares in the history of racing. The syndicate sent a check for a cool million to Christ Church.
I was floored.
At the end of those 45 minutes of regaling me with tales of tails, the icon posed a simple question:
“So, what’s your dream, Dear?”
There was something about Penny that made people want to be honest. Or perhaps, it was a magickal spell that she wove, that forced people to say what they really thought at the moment. Whichever the reason, I stated calmly,
“I need to become the Oprah of Horse Racing.” (Even as I said these words, I thought, “What the hell is wrong with you, Marion????”)
Her voice sounded skeptical: “Why?” she asked—and rightly so.
“Because I need to help make the sport more nurturing and loving for horses…and egalitarian for women. I need the influence that comes with being known, to be heard.”
I could hear her smile over the phone—we were on the same page. She nodded. (I could see her nod, in my mind’s eye.) She, too, was very worried about horses’ welfare, and about the need for strong, smart women in horse racing to come to the front. She stated frankly that she and several other female scions in the sport were “getting old, and will die soon”—and that the next generation of females—like [me]—had to rise up, to take over the reins.
By this time, I was so jazzed that I couldn't shut up.
I said that I needed to earn enough clout that, if I was at a track and saw a horse being abused —I could call the President of the track, and hear his assistant say,
“Oh, s**t. It’s HER.”
At this, she laughed loudly, and chimed in,
“That’s what they say when I call, too!!”
She bounced into asking how I’d do it: I responded that I’m a writer and editor. I would write, I would grow my reputation as a writer in the sport. Eventually, I would start a media company that covered all the bases: print magazines, radio, web…
She cut in, and made a pronouncement, followed by an invitation:
"Let me guess: you’re smart; you have a lot of friends because you’re funny as Hell—and you talk too much. You remind me of my best friend.” Then,
"Can you meet me in my box at Saratoga on opening day in three weeks, and we can see what we can do to get it started?”
I felt around in my chest, mentally, trying to find my heart—because it had stopped beating.
Penny Chenery had just uttered words that would change my life: she didn’t know at that exact moment, how it would play out—but she would mentor me. She would open a door where before, I could see only walls.
It’s a good thing Skype didn’t exist back then, because I was in utter shock. I nearly dropped the phone, but somehow managed to spit out an acceptance of her invitation, that I’d meet her there, yes, Ma’am. She told me the time and Clubhouse box number, and we agreed to meet on July 23 in Saratoga, front row.
Date with Destiny
Twenty-four days later, I was attired appropriately—albeit, feeling a bit like Scarlett O’Hara, wearing the green drapes—arriving at the Clubhouse at the appointed moment. As I ascended the stairs from the apron, I was in The Penny Zone. Upon my arrival, we shook hands, she smacked the TV in the box, scowled and asked me,
“Can you fix this thing? It hasn't worked all day…”
I tried everything. I unplugged-and-plugged. I smacked it around. I inspected the wires—as if I knew what to do. Surrendering to defeat, I turned to her and asked, “Did you pay your electric bill?”
She chuckled, and thus began our afternoon, and our unique association.
I spent about two hours in her box with her. She asked, how I handicap races—and whom I would pick for two particular races on the card. I was pretty sure that I was being tested: fortunately, I picked the exactas for both those races. She was duly impressed.
I urged her to open the Meadow Stable-blue-and-white metallic gift bag that I’d brought. (The dollar store really IS a life-saver…) In the bag was a wrapped box, and in that box—a coffee mug with an etching of Christ Church on the side.
As she held the mug aloft, a few tears trickled out of her eyes. She reiterated, how much she loved that church, and what a special gift it was. I responded, “It’s the Episcopal way: you give us a million bucks, we give you a five-dollar coffee mug—and call it, Even.”
She laughed and repeated her original assessment, that I’m a smartass.
Penny, the sharp cookie, could see that I was nervous. (This was unusual: I’d been in the music biz in Atlanta in the mid-80s. I worked for the Grammy Awards—I met virtually everyone who was anyone. No one made me nervous. But they were just rock stars.)
This was Penny Chenery—practically a sacred institution, and the owner of another sacred institution. She was Penny Chenery—and I was not. Of course I was nervous.
She patted my hand and said, “I want to make you laugh, may I tell you a story?”
She took great joy in this: slowly and deliberately, she watched my face as she pulled out each word with care, and perfection. Her splendid blue eyes twinkled as she recounted thus:
Shortly after Secretariat won the Triple Crown, she was the focus of a press conference at Keeneland. Seated at the table with Keeneland honchos, Penny looked out at a sea of journalists. All of them, males. Not a single female face, could she see in the crowd. For another woman—one who lacked The Right Stuff—this might have been the setting for a nervous breakdown.
If anything, I think it charged her battery. Challenged her to sit straight, head aloft. Focus those blue eyes on a point at the back of the room, and look over the crowd—giving absolutely no clue to them, as to her thoughts. She owned that room.
She patted my hand again: “Well, an idiot raised his hand—and asked me how it felt to be the ‘only woman in horse racing.’ Apparently he’d forgotten about, oh, Allaire du Pont and Elizabeth Arden…?”
Slowly and deliberately, she continued: “I replied, “Excuse me? and he actually said, ‘Mrs. Tweedy—do men scare you?”
She took her time as she lowered her head a bit—rolled her eyes up at me, and dropped the register of her voice:
“He asked if men…scare me. So I said,
‘Screw the men. I’ve got the horse.’”
I exploded in laughter. Gales of it. Tornadoes of it. Like a machine gun at a shooting range, I lost it, doubled over, howling. Tears of joy rolled down my face as I gasped for air, even as the insanity of this moment hit me between the eyes. I kept laughing, but managed to gesture, wildly, “OH! I want a t-shirt, a bumper sticker, that reads, “’Screw the men. I’ve got the horse.’ – Penny Chenery”!!!!!
The power of what she said—that she—who looked for all the world like the most proper Clubhouse-sitting, horse-owning woman in all of W.A.S.P.dom—had just said, “Screw the men. I’ve got the horse.”—BLEW. MY. MIND.
Apparently this was the desired response, for she sat back, satisfied, smiling, and laughing with me.
And then…she winked. She winked, and in that expression, I knew everything I needed to know: that, had we been at Mount Holyoke—or Smith—together as students, we’d have found each other and become fast friends. Hung out together. Spent a lot of time in Student Council hearings.
She winked, and in the closing of that one bright, blue eye—I saw the imp who loved being a smartass, and appreciated others who are, too. I saw the cool control of a woman who would have made a brilliant comedienne, had she chosen that line of work—for her delivery was perfect. She had the rare ability to assess a situation almost instantaneously—and drop a zinger before the audience (or, in the case of the Keeneland Idiot, the victim)—realized what had happened.
I love that about her. To sit demurely at a desk, hands folded. Listen to a silly person, posing a sexist question—then, zap him with the same grace and aplomb with which she served tea? That is a gift, a rare ability. As every good comedian knows—timing is everything. Penny had nothing, if not perfect comic timing.
And that is a side of her that not everyone got to see, I’m afraid. Maybe I’m wrong—perhaps her wicked humor and lack of aversion to saltiness were well-known among racing insiders. All I know is: that day, in Saratoga, Penny became my Mentor, who opened vocational doors for me even as she taught me that, being my actual self was the only authentic way to conduct A Life Well-Lived.
This is The Real Stuff of Life. Only with a metaphoric wink and a zinger—by being authentic—can anyone thrive in this world. We may find career success, but if we lose ourselves in the process—what have we gained? Penny seemingly had it all, and she compromised nothing of herself in the transaction.
Penny Chenery indeed, was all the fine and beautiful things that people want her to be. Perhaps, even that tellers of racing history need her to be.
But she was so much more than simply, “fine” and “beautiful.” She was a real, flesh-and-blood human being. She was a woman of faith, and she knew that God had made her to be the person and personality she was. (He never asked her to change, because that would be to say that He’d made a mistake. Penny needed no “fixing.”) So if God, her Creator and Confidant, had no compulsion to make her toe some Invisible Line —then who in horse racing, who on Earth—had the right to suggest she change?
Penny was a woman of tiny body and big spirit. Irreverent and reverent. Wickedly funny; intellectually superior; socially savvy; real, intense, honest—and always, always—herself. She didn’t pretend to be anything she wasn’t. If she disappointed someone because she lived her life as she did—in an era when women still were expected to live as others told them to—well, that was their problem through which to work.
She created opportunities for me on that day in her Clubhouse box, and opened doors that led to other doors, and to today. To write simply that I am blessed and honored—would be an understatement of monumental proportions. Never can I thank Penny enough, or thank God enough for putting her into my Life.
I’m not so arrogant as to think that I’m the only person mentored by Penny over the years. But I know that I was singularly blessed, to be in her beloved church, at the right time. I was singled out to meet her through Secretariat, and his great gift to that church. And the perfect timing, that just one week before—I’d realized with a startle, my true vocation as a communicator in horse racing.
Our church connection may have endeared me to her at first--but then our shared humor, love for horses and concern for women’s roles built on that solid foundation of shared faith. So, of all those whom Penny Chenery no doubt mentored over the years—the way in which we were brought together, and her embrace of me initially because of that connection—is unique, and an honor.
Penny indeed is an example—of what a woman can achieve in Life, in general. And especially, of what we can do in the sport of horse racing, and business.
I have no doubt that, even as she marched toward Death, Penny did it with pragmatic dignity and focus. She did not whimper into Eternity: she knew the moment was coming, and she embraced it. She gathered her family ‘round her for those final moments. She didn't “fall” into Death, she strode in—mind and heart wide-open.
And, Klingon warrior that she was/is, I’m convinced that she pronounced—at least to herself-- “It is a good day to die,” knowing that Heaven was just on the other side of her eyes’ flutter shut. And that her beloved Riva Ridge, Secretariat and parents waited there to welcome her to their eternal Home. The mighty Warrior Woman could relax at last, for she’d achieved on Earth all that she was created to do.
* N.B.: re this story line, a film and fiction vs. non-: This article is covered by the Copyright of Equine Info Exchange, and therefore is owned by the writer and the website. Any use of this story by anyone other than these two parties (writer and Equine Info Exchange) will constitute a violation of international Copyright Law.
Post Script: The film, “Secretariat,” begins with Diane Lane as Penny, reciting from the Book of Job in the Bible. It was fitting, for Penny knew and understood not only the might and strength of the horse—but also the fact that God, Himself, was in every molecule, every DNA strand—in the details, themselves:
Job 39:19-25New Revised Standard Version (NRSV)
19 “Do you give the horse its might?
Do you clothe its neck with thunder?
20 Do you make it leap like the locust?
Its majestic snorting is terrible.
21 It paws[a] violently, exults mightily;
it goes out to meet the weapons.
22 It laughs at fear, and is not dismayed;
it does not turn back from the sword.
23 Upon it rattle the quiver,
the flashing spear, and the javelin.
24 With fierceness and rage it swallows the ground;
it cannot stand still at the sound of the trumpet.
25 When the trumpet sounds, it says ‘Aha!’
From a distance it smells the battle,
the thunder of the captains, and the shouting.”
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Christopher Whitelaw Pine (born August 26, 1980)[1][2] is an American actor. Pine made his feature film debut as Lord Devereaux in The Princess Diaries 2: Royal Engagement (2004), and is known for playing James T. Kirk in the Star Trek reboot film series (2009–2016), Will Colson in Unstoppable...
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Not to be confused with Christopher Pyne or Chris Pyne
American actorTemplate:SHORTDESC:American actor
This article might be using a American English for its pagename. (December 2017)
Christopher Whitelaw Pine (born August 26, 1980)[1][2] is an American actor. Pine made his feature film debut as Lord Devereaux in The Princess Diaries 2: Royal Engagement (2004), and is known for playing James T. Kirk in the Star Trek reboot film series (2009–2016), Will Colson in Unstoppable (2010), Cinderella's Prince in Into the Woods (2014), Jack Ryan in Jack Ryan: Shadow Recruit (2014), Toby Howard in Hell or High Water (2016), Bernie Webber in The Finest Hours (2016), Steve Trevor in Wonder Woman (2017), Dr. Alexander Murry in A Wrinkle in Time (2018), and Robert the Bruce in Outlaw King (2018).
Early life[]
Pine was born at Cedars Sinai Hospital in Los Angeles, California. His father, Robert Pine, is an actor who co-starred on CHiPs as Sergeant Joseph Getraer, and his mother, Gwynne Gilford, is a former actress who became a practicing psychotherapist.[3] He has an older sister, Katie.[4] His maternal grandmother, Anne Gwynne, was a Hollywood actress, and his maternal grandfather, Max M. Gilford, was an attorney who was elected president of the Hollywood Bar Association.[5] Pine's maternal grandfather was from a Russian Jewish family.[6]
Pine graduated from the University of California, Berkeley in 2002 with a B.A. in English.[7][8] When he got to Berkeley, Pine was initially scared of looking for a place to fit in and had a hard time making friends. As he was not interested in joining a fraternity, he got into theater.[9] As a member of the UC Berkeley Theater Department, Pine performed in a Caryl Churchill play in La Val's Pizza's Subterranean Theater and performed Orestes and Shakespeare at Zellerbach Hall.[10][11]
He was an exchange student at the University of Leeds in England for one year.[12] After graduating from Berkeley, he attended the Williamstown Theatre Festival,[13][14] and he studied at the American Conservatory Theater in San Francisco.[5]
Career[]
2003–2010: Early career and breakthrough[]
Pine's first acting role was in a 2003 episode of ER; the same year, he also appeared in episodes of The Guardian and CSI: Miami.[15]
In 2004, he appeared in Why Germany?, a short film; and in The Princess Diaries 2: Royal Engagement. Pine played the part of Nicholas Devereaux, the love interest of Anne Hathaway's leading character. In 2005, Pine appeared in an episode of the series Six Feet Under, as well as in Confession, an independent film that was released directly to video, and The Bulls, another short film.[16]
Pine appeared in the made-for-television film Surrender, Dorothy which aired in early 2006.[17] He played Jake Hardin in the American film Just My Luck, a romantic comedy in which he starred opposite Lindsay Lohan. The film was released on May 12, 2006.[18] Later that year, Pine appeared in the comedy Blind Dating, and in the action film Smokin' Aces.[19] Pine did the one-man play The Atheist, at Center Stage, New York, in late 2006.[20][21] In 2007, he starred opposite Scott Wolf in the Los Angeles production of Neil LaBute's play Fat Pig, winning positive reviews for his depiction of a competitive, alpha-male friend.[5] He portrayed real-life Napa Valley vintner Bo Barrett in the 2008 film Bottle Shock.[22]
In 2007, Pine turned down a role in a film adaptation of White Jazz,[23][24] to accept the part of James T. Kirk in the 2009 Star Trek film, which was released to critical and viewer acclaim in May of that year.[25] That same month, he made a brief appearance promoting the film on Saturday Night Live, with co-stars Zachary Quinto and Leonard Nimoy.[26]
During the rest of the summer of 2009, he appeared in the Los Angeles production of the Beau Willimon play Farragut North.[27] Pine appeared in the Los Angeles production of The Lieutenant of Inishmore during the summer of 2010,[28] for which he won the Los Angeles Drama Critics Circle's lead appearance award.[29]
In the fall of 2009, Pine began filming the action film Unstoppable, directed by Tony Scott and written by Mark Bomback, which was released in November 2010. In the film, he played a young train conductor who helped a veteran railroad engineer (Denzel Washington) stop an unmanned, half mile long runaway freight train carrying toxic liquids and poisonous gases from wiping out a nearby city.[30] The Hollywood Reporter named Pine as one of the young male actors who are "pushing—or being pushed" into taking over Hollywood as the new "A-List".[31]
2011–present: Worldwide recognition[]
In 2011, Pine sat down with the actor who originated the role of Captain Kirk more than forty years earlier, William Shatner, for the feature length documentary The Captains, which Shatner wrote and directed. The film sees Shatner interview Pine about his career and how it felt to take the role of Kirk for the 2009 movie. Their interview features a scene where the pair arm wrestles; pictures of this incident "went viral" leading to Internet headlines such as "Kirk v. Kirk" and others.[32]
Pine filmed the romantic comedy This Means War, with Reese Witherspoon and Tom Hardy, during the fall of 2010, in Vancouver.[33] This Means War was released in February 2012.[34] Pine voiced the character of Jack Frost in Rise of the Guardians.[35] Pine co-starred with Elizabeth Banks, Olivia Wilde and Michelle Pfeiffer in the family drama People Like Us, which was filmed in early 2011 and released in June 2012.[36] He reprised the role of Captain Kirk in the sequel to 2009's Star Trek, Star Trek Into Darkness, released in the US on May 15, 2013.[37]
In 2009, Pine entered talks to play CIA analyst Jack Ryan in a reboot of Tom Clancy's novels.[38] He starred in Jack Ryan: Shadow Recruit, which was released in 2014. Pine was the fourth actor to play the character, after Alec Baldwin, Harrison Ford, and Ben Affleck.[39]
In 2014, Pine was in talks to star in a thriller about the United States Coast Guard, The Finest Hours,[40] released in January 2016.[41] He guest-starred in Netflix's Wet Hot American Summer: First Day of Camp[42] and lent his voice for SuperMansion in 2015.[43]
In May 2015, Pine was confirmed to play one of the Howard brothers, along with Ben Foster, in Hell or High Water (originally called Comancheria). Filming started on May 26, 2015 in New Mexico.[44] The film premiered at the 69th annual Cannes Film Festival in May 2016 and was released in August 2016.[45] He reprised the role of Captain Kirk in Star Trek Beyond. Filming began in June 2015 in Canada,[46] and it was released in the US on July 22, 2016.[47]
On July 14, 2016, he received his first Emmy Award nomination in "Outstanding Character Voice-Over Performance" for his work on the series SuperMansion.[48][49]
Pine was invited by Barbra Streisand to duet with her on her album, Encore: Movie Partners Sing Broadway, along with other stars.[50]
In 2015, Pine was cast as Steve Trevor, opposite Gal Gadot, in the superhero film Wonder Woman, which was released in June 2017.[51][52] Also in 2017, he reprised his roles in SuperMansion season 2[53] and Wet Hot American Summer: Ten Years Later,[54] guest-starred in Angie Tribeca season 3 (including an episode where his father was also a guest star),[55] and narrated the final episode of National Geographic Channel's Breakthrough season 2.[56]
In 2018, Pine played Dr. Alexander Murry in the fantasy film A Wrinkle in Time, based on the novel of the same name,[57][58] and starred as Robert the Bruce in Outlaw King.[59] The latter project began filming on August 21, 2017 in Scotland, and was released on Netflix on 9 November 2018.[60][61] Also that year, Pine voiced a version of Peter Parker / Spider-Man in the animated film Spider-Man: Into the Spider-Verse.[62] In August 2018, it was reported that Pine would not be reprising his role as Captain Kirk in the fourth film of the Star Trek film series after contract negotiations fell through.[63]
In July 2017, the US cable network TNT announced Pine would play the role of Jay Singletary in a six-episode television drama, One Day She'll Darken. He also served as an executive producer alongside director Patty Jenkins and writer Sam Sheridan.[64] The show, ultimately titled I Am the Night, began airing in January 2019.[65]
Upcoming projects[]
In May 2017, Pine was in negotiations to star in a film adaptation of the novel, All the Old Knives, opposite Michelle Williams.[66] On September 5, 2017, it was announced that Pine is set to star as Robert F. Kennedy in a limited series on Hulu, produced by Sony Pictures Television. He will also serve as an executive producer for the series, based on the Larry Tye biography Bobby Kennedy: The Making Of A Liberal Icon.[67]
On June 13, 2018, director Patty Jenkins announced through Twitter that Pine will appear in the Wonder Woman sequel Wonder Woman 1984 as Steve Trevor.[68] In May 2019, it is announced that Pine will star in action-thriller “Violence of Action”.[69] In August 2019, it is reported that Pine will play Walter Cronkite in Newsflash, a drama movie about how media reported the Assassination of JFK.[70]
Personal life[]
Pine has stated, "I definitely have a spiritual outlook... I am not a religious guy, I am probably agnostic."[71]
On March 1, 2014, while filming Z for Zachariah in New Zealand, Pine was arrested by police near Methven after failing to pass a routine roadside breath alcohol test.[72][73] He pleaded guilty to drunk driving on March 17, stating that he drank four vodkas at a local pub. Pine was disqualified from driving in New Zealand for six months and ordered to pay NZ$93 in reparation. He had a clean record, and the judge said that "the incident was out of character."[74][75]
Politically, Pine has called himself a "left-leaning liberal."[76] He has stated that both Democrats and Republicans tend to be interchangeable when it comes to certain actions, citing President Obama's strengthening of the Patriot Act.[77]
During the 2016 presidential campaign, Pine along with fellow Star Trek coworkers J.J. Abrams, John Cho, Simon Pegg, Zachary Quinto, Zoe Saldana, Karl Urban, George Takei, Justin Lin, Bryan Fuller, and Adam Nimoy, endorsed a movement called Trek Against Trump. The movement endorsed Hillary Clinton.[78]
On November 1, 2016, Pine, along with director Joss Whedon, released a video urging people to vote in the upcoming elections. While the video was a parody of Congress in general, certain commentators took the video to represent the Republican Congress.[79][80][81]
Filmography[]
Film[]
Year Title Role Director Notes 2004 Why Germany? Chris Gabriel Peters-Lazaro Short film The Princess Diaries 2: Royal Engagement Nicholas Devereaux Garry Marshall 2005 Confession (aka Deadly Secrets)[82] Luther Scott Jonathan Meyers The Bulls Jason Eric Stoltz Short film 2006 Just My Luck Jake Hardin Donald Petrie Blind Dating Danny Valdessecchi James Keach Smokin' Aces Darwin Tremor Joe Carnahan 2008 Bottle Shock Bo Barrett Randall Miller 2009 Star Trek James T. Kirk J. J. Abrams Carriers Brian Green Àlex Pastor & David Pastor Beyond All Boundaries Hanson Baldwin / Sgt. Bill Reed David Briggs Voices 2010 Small Town Saturday Night Rhett Ryan Ryan Craig Quantum Quest: A Cassini Space Odyssey Dave Harry Kloor & Daniel St. Pierre Voice role Unstoppable Will Colson Tony Scott 2012 Celeste and Jesse Forever Rory Shenandoah Lee Toland Krieger Cameo;
Credited as Kris Pino This Means War Franklin "FDR" Foster McG People Like Us Sam Harper Alex Kurtzman Rise of the Guardians Jack Frost Peter Ramsey Voice role; DreamWorks Animation animated film 2013 Star Trek Into Darkness James T. Kirk J. J. Abrams 2014 Jack Ryan: Shadow Recruit Jack Ryan Kenneth Branagh Stretch Roger Karos Joe Carnahan Uncredited Horrible Bosses 2 Rex Hanson Sean Anders Into the Woods Cinderella's Prince Rob Marshall 2015 Z for Zachariah Caleb Craig Zobel Figures of Speech Himself Ari Levinson Documentary (Narrator) 2016 The Finest Hours Bernie Webber Craig Gillespie Hell or High Water Toby Howard David Mackenzie Star Trek Beyond James T. Kirk Justin Lin For the Love of Spock Himself Adam Nimoy Documentary 2017 Wonder Woman Steve Trevor Patty Jenkins 2018 A Wrinkle in Time Dr. Alexander Murry Ava DuVernay Outlaw King Robert the Bruce David Mackenzie Spider-Man: Into the Spider-Verse Peter Parker / Ultimate Spider-Man Bob Persichetti, Peter Ramsey & Rodney Rothman Voice role; Sony Pictures animated film 2019 Love, Antosha Himself Garret Price Documentary 2020 Wonder Woman 1984 Steve Trevor Patty Jenkins 2021 The Peanuts Super Movie Fan film
Voice role; HR Animation, WB, LX and SPA animated film
HR Animation film debut 2022 The Contractor James Harper Also executive producer All the Old Knives Henry Pelham Also executive producer Doula Doctor Also producer Don't Worry Darling Frank 2023 Peter Dog 2 (Peter's father) Voice role; Nickelodeon Studios and DreamWorks Animation animated film Dungeons & Dragons: Honor Among Thieves Edgin Darvis Also executive producer Poolman Darren Barrenman Also director, co-writer and producer Wish King Magnifico Chris Buck
Fawn Veerasunthorn Voice role; Disney animated film 2024 Pangiration Brakucklingue Eric Jean Williams
Patrick Osborne
Kirk Wise
Jordy Ranft (co-director)
Matt Peterson (co-director) Voice role; HR Animation, Pixar and Disney animated film
Television[]
Year Title Role Notes 2003 ER Levine Episode: "A Thousand Cranes" The Guardian Lonnie Grandy Episode: "Hazel Park" CSI: Miami Tommy Chandler Episode: "Extreme" 2004 American Dreams Joey Tremain Episode: "Tidings of Comfort and Joy" 2005 Six Feet Under Young Sam Hoviak Episode: "Dancing for Me" 2006 Surrender, Dorothy Shawn Best Television film 2009 Saturday Night Live Himself Episode: "Justin Timberlake/Ciara" 2014 Robot Chicken Captain Jake Voice
Episode: "Noidstrom Rack" 2015 Wet Hot American Summer: First Day of Camp Eric 5 episodes 2015–present SuperMansion Dr. Devizo/Robo-Dino Voice
season 1: guest star- 3 episodes, season 2-present: Main role 2017 Angie Tribeca Dr. Thomas Hornbein 3 episodes Saturday Night Live Himself Host
"Episode: Chris Pine/LCD Soundsystem" Breakthrough Himself Narrator
"Episode: Power to the People" Wet Hot American Summer: Ten Years Later Eric 4 episodes 2019 I Am the Night Jay Singletary Also executive producer American Dad! Alistair Covax Voice
"Episode: Rabbit Ears"
Video games[]
Year Title Role 2013 Star Trek James T. Kirk (voice)
Music videos[]
Year Title Artist 2012 "All I Want" The Ivy Walls 2013 "Queenie Eye" Paul McCartney 2018 "White Ocean" The Ivy Walls
Theater[]
Year Title Role Theater 2006 The Atheist Augustine Early Center Stage, NY 2007 Fat Pig Carter Geffen Playhouse 2009 Farragut North Stephen Geffen Playhouse 2010 The Lieutenant of Inishmore Padraic Mark Taper Forum
Discography[]
Soundtracks[]
Year Song with Movie 2010 "Someday Came Today" Small Town Saturday Night 2014 "Agony" Billy Magnussen Into the Woods "Any Moment" Emily Blunt
Miscellaneous[]
Year Song Album 2016 "I'll Be Seeing You"/"I've Grown Accustomed to Her Face" Encore: Movie Partners Sing Broadway (Barbra Streisand) 2018 "Spidey Bells (A Hero's Lament)" A Very Spidey Christmas "Up on the House Top"
Awards and nominations[]
See also: List of awards and nominations received by Chris Pine
Year Award Category Work Result 2009 Ovation Award Lead Actor in a Play Farragut North Nominated[83] Boston Society of Film Critics Award Best Ensemble Cast (with cast) Star Trek Won Washington D.C. Area Film Critics Association Award Best Ensemble (with cast) Nominated Teen Choice Awards Choice Movie Fresh Face Male Nominated Choice Movie Rumble (with Zachary Quinto) Nominated Scream Award Best Actor in a Science Fiction Movie or TV Show Won Detroit Film Critics Society Award Breakthrough Performance Nominated Best Ensemble (with cast) Nominated ShoWest Award Male Star of Tomorrow Won 2010 People's Choice Award Favorite Breakout Movie Star Nominated MTV Movie Award Best Breakout Star Star Trek Nominated Biggest Badass Star Nominated Broadcast Film Critics Association Award Best Acting Ensemble (with cast) Nominated Los Angeles Drama Critics Circle Award Lead Performance The Lieutenant of Inishmore Won 2012 Teen Choice Award Choice Movie Actor: Romance This Means War Nominated 2013 Choice Summer Movie Star: Male Star Trek Into Darkness Nominated CinemaCon Award Male Star of the Year Won 2014 People's Choice Award Favorite Movie Duo (with Zachary Quinto) Star Trek Into Darkness Nominated Detroit Film Critics Society Award Best Ensemble (with cast) Into the Woods Nominated Satellite Award Best Ensemble – Motion Picture (with cast) Won[84] 2016 Primetime Emmy Award Outstanding Character Voice-Over Performance SuperMansion Nominated Teen Choice Awards Choice Movie Actor: AnTEENcipated Star Trek Beyond Nominated Broadcast Film Critics Association Award Best Acting Ensemble (with cast) Hell or High Water Nominated Washington D.C. Area Film Critics Association Award Best Ensemble (with cast) Won San Diego Film Critics Society Best Actor Nominated Best Ensemble(with cast) Won Detroit Film Critics Society Award Best Ensemble(with cast) Nominated 2017 People's Choice Awards Favorite Dramatic Movie Actor The Finest Hours / Hell or High Water Nominated Jupiter Award Best International Actor
Star Trek Beyond
Nominated Saturn Award Best Actor Nominated Teen Choice Awards Choice Action Movie Actor Wonder Woman Won 2018 Saturn Award Best Supporting Actor Nominated
References[]
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Learn about Christopher Pelham on Apple TV. Browse shows and movies that feature Christopher Pelham including Xchange.
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/assets/favicon/apple-touch-icon-9a18d92f405f4cba68b503b186df5f5b.png
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Apple TV
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https://tv.apple.com/us/person/christopher-pelham/umc.cpc.2vz82o36mvwoc3gknukttef7r
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dbpedia
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0
| 38 |
https://static.anarchivism.org/cyberpunkreview-archive/www.cyberpunkreview.com/movie/decade/2000-2009/xchange/index.html
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en
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Cyberpunk Review
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Overview: Xchange is one of those movies that comes up with an interesting if unbelievable Sci-Fi premise (mind transference technology) and then proceeds to hose it beyond all recognition with a horrid script, bad acting and flat out bizarre (not in a good way) scenes. Still the initial idea about exchanging conscious minds is interesting enough to at least keep you watching for the first 20 minutes or so. Whether you care to after that is truly a matter of how much you like trashy cyberpunked Sci-Fi.
The Setting: In the near future, the technology can enable a personâs consciousness to be exchanged with another. So while you may take on the speech patterns of the new âhost,â your thoughts and memories are still âyours.â Furthering this technology, a company, Xchange, now uses this technology to enable instant travel across the globe. You just need to go into an Xchange office, agree upon a temporary host (male or female), and plug-in. But wait, thereâs more! In addition to Xchanges with humans, the Xchange corporation has also created disposable clones with supra-human abilities that are ready-made to accept a temporary mind transferal. Unfortunately, the clones only last a few days before self-destructing (one might wonder how the development of a full human clone that only lasts two days could possibly be cost-effective, but, um, this isnât really explored). Unfortunately for society, the near-future has turned onto a world of the haves and have-nots, where corporations sit on top of a society where life is only valued if you are a corporate stooge.
The Story: Toffler (Kim Coates) is a corporate executive who has it all. His one fear is that heâs afraid of undergoing mind transferal travel, or âfloatingâ as it has become called. Unfortunately for him, his biggest corporate customerâs CEO has been murdered and the CEOâs son needs him by his side in an hour for an important meeting on the other side of the country. Due to the time issue, Toffler is forced to undergo his first floating instance. A temporary host has been found at the last minute, so everything seems to be set. While the transferal and meeting goes off without a hitch, and in fact Toffler (now Kyle MacLachlan) has found the experience to be enjoyable, problems arise when Toffler goes back the next day to transfer into his own body. Unfortunately, the temporary host that now is traveling in Tofferâs body has not returned â worse, his current body appears to be stolen, and the Xchange corporation is asking for it to be returned. In fact, it appears that the most notorious terrorist now is in control of his body.
The CEO for Xchange (Janet Kidder) asks Toffler to take on the body of a clone until his real body is found. This is Tofflersâ worst nightmare. Considering clones only last a few days or so, Toffler freaks out and escapes. Strangely, he eventually gets someone to put him in a clone (Stephen Baldwin) anyways so that he can go out and find his body. From the moment Toffler escapes until the end, we get a completely bizarre and convoluted plot of corporate slimes treating the little people like trash, and screwing whoever they need to get to the top. I could go into details, but truly, for the most part itâs about as predictable as you can get.
Scenes Too Stupid for Words: OK, Xchange is almost worth sitting through just to see the quick-cut shot of the CEO chick in the buff screwing the son bad guy while arguing about their absurd take over the world plan at the same time. The narrative called for the beans to be spilled on who the bad guys were, and why they were working together, so, for whatever reasons, they tried to combine the two scenes into one. Truly, this has to be one of the most idiotic sex scenes ever put on film. There are others in Xchange that are pretty bad, where similarly, something has to happen in the narrative but they couldnât bother spending more than 10 minutes coming up with the details. But truly, the CEO sex scene has to be seen to be believed.
The Bottom Line: The mind transfer technology in Xchange could have potentially been interesting, but instead it is delivered in a completely simplistic and non-believable way. Worse, the surrounding story sucks horribly, and the acting, especially from Stephen Baldwin is pretty lousy. But again, the story idea was at least interesting, as was the bizarre floater bar. And the production values were at least on par with TV movies, so Xchange earns a solid 4 stars.
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3509
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| 23 |
https://www.chicagofilmsociety.org/calendar/archives/classic/2024-2/january-april-2024/
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en
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January – April 2024 – Chicago Film Society
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en
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https://www.chicagofilmsociety.org/calendar/archives/classic/2024-2/january-april-2024/
|
Our screenings are held at multiple venues around Chicago. This season you can find us at:
• The Music Box Theatre
3733 N Southport Ave — Directions • Parking
Tickets: $11 – $12
• The Auditorium at Northeastern Illinois University (NEIU) (inside of Building E)
3701 W Bryn Mawr Ave — Directions • Campus Map
Tickets: $10
***Complimentary Parking for audience members on Wednesday nights is available in Parking Lot D adjacent to the Bryn Mawr entrance.***
• Chicago Filmmakers
5720 N Ridge Ave., Chicago, IL 60660 — Directions • Parking
Tickets: $10
• The Gene Siskel Film Center
164 N State St — Directions • Parking
Tickets: $13
Want to attend our screenings but having financial hardships? Contact [email protected]
SEASON AT A GLANCE
☆ = Technicolor Weekend March 15-17
Wednesday, January 10 @ 7:30 PM / NEIU
TABU: A STORY OF THE SOUTH SEAS
Directed by F.W. Murnau • 1931
F.W. Murnau had been imported from Germany to bring an artistic air to Fox Film Corporation with Sunrise, but soon soured on the Hollywood dream factory. Robert Flaherty had never been a studio man, though his pioneering documentaries Nanook of the North and Moana played to broad and receptive audiences and demonstrated a largely untapped hunger for new approaches to storytelling. Perhaps together Murnau and Flaherty could inaugurate a new style of filmmaking and beat Hollywood at its own game. The pair sailed to Tahiti with a promise of funding from a fly-by-night film company, which never materialized. Working with a cast of non-professionals, Murnau and Flaherty pointed to an unspecified Polynesian legend as their putative source material. What they brought back from eight months in Bora Bora was something mythic but cagey, ethereal but rough: not a documentary, but a universal (and hence, very Hollywood) story of a Girl (Reri) and a Boy (Matahi) whose Paradise becomes Paradise Lost. Was it drama, anthropology, or some unholy commingling of the two? Alas, by the time the film was finished, Murnau and Flaherty had gone their separate ways, leaving cinematographer Floyd Crosby (who won an Academy Award for his efforts) as the film’s spokesman. Murnau died a week before the film’s premiere, and Tabu finally became the legend he had been after all along: a staggering vision of innocence and loss, a stark symphony guided by an otherworldly conductor. (KW)
81 min • Murnau-Flaherty Productions • 35mm from the Chicago Film Society collection at the University of Chicago Film Studies Center, permission Kino
Preceded by: “Finding His Voice” (Fleischer Studios, 1929) – 11 min – 35mm
Tuesday, January 16 @ 7:00 PM / Music Box Theatre
AELITA, QUEEN OF MARS
Directed by Yakov Protazanov • 1924
A cryptic radio transmission baffles scientists and statesmen around the globe. Only the dreamy Soviet engineer Los correctly surmises that the signal is coming from Mars. With the Soviet Union mired in a period of New Economic Policy retrenchment — and Los’s wife Natasha cavorting with duplicitous aristocrats behind his back — who wouldn’t yearn to leave the Earth behind? Alas, Mars is just as backwards as the West, practically an intergalactic Barclays outpost, with the proletariat imprisoned underground while Aelita and her family pursue maximum profit. This very strange film was the product of two Russian artists who had been reluctantly brought back into the fold after periods of post-Revolutionary exile — director Yakov Protazanov had helmed dozens of Czarist-era film fossils while novelist Alexei Tolstoy had renounced his anti-Bolshevik politics and embarked on a series of science fiction epics that wed the prestige of his family name to the party line. The movie adaptation of Tolstoy’s novel was envisioned as a calling card for the Soviet film industry generally and the Mezhrabprom-Rus studio specifically, with eye-popping Constructivist-Martian costumes from Alexandra Exter and sets from Viktor Kozlovsky. Alas, this popular success was viciously mocked in the increasingly strident Soviet press. Director Lev Kuleshov dismissed Aelita as “the blind alley of pre-revolutionary cinema” while critic Vladimir Blyum lamented it as an exemplar of a trend where “it even became de rigueur to spice agitational pictures with a romantic subplot, far-fetched stunts, and happy endings …. Agitation steeped in stupidity began to merge into counter-agitation.” (KW)
110 min • Mezhrabprom-Rus • 35mm from the Walker Art Center’s Ruben/Bentson Moving Image Collection
Preceded by: “Trip to Mars” (Fleischer Studios, 1924) – 7 min – 16mm
Live musical accompaniment by Maxx McGathey!
Wednesday, January 24 @ 7:30 PM / NEIU
THE WOMAN ON THE BEACH
Directed by Jean Renoir • 1947
Joan Bennett’s face is illuminated by flames in the hallucinatory nightmares of a Coast Guard officer with PTSD in Jean Renoir’s wild, visually ravishing, and atmospheric melodrama. An adaptation of a reasonably popular 1945 novel that might have been straightforward in other hands, The Woman on the Beach turned out to be the idiosyncratic coda to Renoir’s wartime stint in Hollywood. The shoot was marked by the abrupt departure of producer Val Lewton, after which RKO left Renoir to helm the largely unscripted and freewheeling production. The lack of studio encroachment allowed Renoir to execute a long-simmering vision: “a film based on what we call today sex…. a love story based purely on physical attraction, a story in which emotions played no part.” After a disastrous preview screening, a discouraged Renoir was forced to heavily reshoot and reedit the movie. “You know, a preview is a horrible test. You sit in a theater, and it’s as if someone were stabbing you with knives all over your body,” Renoir recalled. The film’s choppy 71-minute final cut has a fractured feel, like the feverish dreams of its protagonist. Robert Ryan stars as the troubled Lieutenant, who resides in a small seaside town. He has a sweet blonde girlfriend—that is, until on a deserted beach, he comes across Peggy (Joan Bennett), a brunette stunner married to Tod, a blind painter (Charles Bickford). Peggy and Tod’s marriage is itself a nightmare, complete with drunken fights, violence, and bitter allegations. All three corners of this love triangle are loose cannons. What anyone wants, other than chaos, remains a mystery. Would any of them choose happiness? Probably not on purpose. Lucky for us! Restored by the Library of Congress and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation. (RIN)
71 min • RKO Radio Pictures • 35mm from Library of Congress
Preceded by: Schlitz Playhouse: “Bitter Parting” (Paul Henreid & James Neilson, 1957) – 30 min – 35mm
Wednesday, January 31 @ 7:30 PM / NEIU
CUTTER’S WAY
Directed by Ivan Passer • 1981
Overeducated gigolo Richard Bone (Jeff Bridges) spends his days tooling around Santa Barbara, half-heartedly hawking yachts to the polo set and hanging out with his washout buddies, who all share the bruised affect of Weather Underground comrades keeping their heads down in the straight world. Bone’s best friend Alex Cutter (John Heard) is a real piece of work: a one-eyed, one-armed, one-legged Vietnam veteran with a chip on his shoulder and an inexhaustible array of paranoid schemes on his mind. (“I haven’t even begun to let my imagination loose on this one,” Cutter says of one nascent conspiracy theory, as if flinging open the doors to his artist’s studio.) By contrast, Cutter’s wife Mo (Lisa Eichhorn, staggering) sees the world so clearly that she can only bear to get through the day in an alcoholic stupor, fleetingly enlivened by fantasies of boning Rich Bone. What could shake them all loose? How about a dead girl stuffed in a trash can, probably the handiwork of the local oil magnate who owns half the town, routinely orders assassinations, and may as well stand in for the shadowy forces responsible for US military adventures in Vietnam? Soon enough Cutter and Bone are sleepwalking into a hand-crafted extortion scheme to smoke out the killer. Less a taut who-done-it thriller than a stoner’s hazy who-done-what-again contraption, Cutter’s Way nails the aimless amble of a Santa Barbara afternoon and the hopeless vibe of the early Reagan era. Czech director Ivan Passer’s all-American fever dream was fumbled by United Artists and pulled from theaters after a week — probably some kind of coverup. (KW)
109 min • United Artists Classics • 35mm from Park Circus
Preceded by: “Uncommon Valor” (Kendrick W. Williams, 1955) – 10 min – 35mm
Sunday, February 4 @ 7:30 PM / Music Box Theatre
JOAN THE WOMAN
Directed by Cecil B. DeMille • 1916
Before his name became synonymous with the Biblical epic, Cecil B. DeMille experimented with several different modes of historical storytelling, with sex, spectacle, and narrative ingenuity punching up the textbook facts. His first such effort, Joan the Woman, wrapped the story of the Maid of Orleans within a framing story about the imperative of French and British cooperation in the trenches of World War I. Metropolitan Opera soprano Geraldine Farrar stars as Joan of Arc, who dons armor, exposes the innate weaknesses of patriarchy, and faces off against her ex-boyfriend (Wallace Reid) in battle after recognizing the futility of romance. A fractured feminist interpretation that simultaneously damns and exults traditional gender roles, Joan the Woman is nothing if not a film of its anxious moment. Though it does not shy away from depicting Joan’s divine visions, DeMille and scenarist Jeanie Macpherson routinely emphasize the fragility of flesh over chapter-and-verse, with a pair of elaborate battle sequences. “It is impossible to describe in detail what producer DeMille has accomplished with such a wealth of material,” effused Variety. “Suffice it to say that no one else could have done more and few, if any, could have done as much.” Long available only in substandard copies, this new restoration, derived from DeMille’s personal nitrate print, retains the elaborating tinting, toning, and Handschiegl hand-colored effects that haven’t been seen in their expressive glory in over a century. Restored by the George Eastman Museum with funding from the Century Arts Foundation. (KW)
148 min • Cardinal Film Corporation • 35mm from George Eastman Museum
Preceded by: “The Pillar of Fire” (George Méliès, 1899) – 1 min – 35mm
Live musical accompaniment by Jay Warren!
This film will have a short intermission.
Wednesday, February 7 @ 7:30 PM / NEIU
AN AMERICAN TRAGEDY
Directed by Josef von Sternberg • 1931
An American Tragedy was the first adaptation of author Theodore Dreiser’s 1925 900-page behemoth. It was a fictionalized account of a famous crime that had captured the nation, the 1906 murder of Grace Brown, aged twenty, by her lover Chester Gillette, a fellow employee at his wealthy uncle’s factory. The film has become relatively obscure, lost in the shadow of the novel’s second adaptation, 1951’s classic A Place in the Sun. It came on the heels of von Sternberg’s string of successful collaborations with Marlene Dietrich, including Dietrich’s breakthrough, 1930’s The Blue Angel. Morocco followed, while 1931 marked the releases of Dishonored— and An American Tragedy. It was a change of pace for von Sternberg, one of cinema’s great aesthetes. Gone were the gowns, feathers, and glamour; this movie never could have starred Dietrich. The film had a sensational (and rather insensitive) tagline (“The Story of a Girl….Good Enough to Betray…But Not Good Enough to Marry”). Part tragedy, part courtroom drama, the film follows unscrupulous striver Clyde Griffiths (an impenetrable Phillips Holmes), who flees after his involvement in a hit and run. Clyde is given a position of power and immediately exploits it, pursuing his employee Roberta (portrayed by the luminous Sylvia Sidney) for less than honorable reasons. Her continued existence begins to inconvenience him after he’s introduced to a beautiful heiress—especially after Roberta becomes pregnant. Von Sternberg’s An American Tragedy is not particularly interested in class, in sharp contrast to Dreiser’s novel; it is primarily concerned with the soul, with the torment and tragedy of losing one’s humanity. (RIN)
96 min • Paramount Pictures • 35mm from Universal
Preceded by: “The Runt Page” (Ray Nazarro, 1932) – 10 min – 35mm
Wednesday, February 14 at 7:30 PM @ NEIU
VIRIDIANA
Directed by Luis Buñuel • 1961
In Spanish with English subtitles
Narcissism or charity? Before taking her vows, a gorgeous and devout nun-in-training Viridiana (Silvia Pinal) is sent to visit her widowed uncle Don Jaime (Fernando Rey), a wealthy benefactor with a not-so-hidden agenda. Premiering three years after the release of Hitchcock’s Vertigo, Viridiana begins as another movie about a man who attempts to perversely recreate a dead blonde. Don Jaime plots with his house servant Ramona (Margarita Lozano) to entrap his niece and violently prevent her from taking her vows, even adorning Viridiana in the wedding gown and veil of her look alike aunt. Eventually the would-be nun turns heiress and welcomes a crew of beggars to the mansion, to the dismay of her illegitimate cousin Jorge (Francisco Rabal). Buñuel shuffles the deck on some of his most prevalent themes and motifs with Viridiana, a satirical comedy that skewers Catholicism while reveling in fetishism and taboo-breaking subversion. Buñuel, a cinematic troublemaker, is the only person who could have made the film, a rigorously composed 90 minutes of shocking imagery and events, including a joyously sacrilegious depiction of the Last Supper. The film marked Buñuel’s return to his native country after over two decades of international work in the United States, Mexico, and France. Viridiana’s reception led to both the 1961 Palme d’Or and a disavowal from the Spanish government. Following controversy that declared the film blasphemous, it was blocked from release in Spain until Francisco Franco’s death in 1977. However, not all controversy is bad—to Buñuel’s delight, censorship even directly contributed to the film’s famously suggestive ending, a winking nod at further depravity. (RIN)
91 min • Unión Industrial Cinematográfica (UNINCI) • 35mm from Janus Films
Preceded by: The Sound of Music Trailer (1965) – 35mm
Wednesday, February 21 at 7:30 PM @ NEIU
KID GALAHAD
Directed by Phil Karlson • 1962
Welcome to Grogan’s Gaelic Gardens resort in picturesque Cream Valley, New York, home to sleazy part-time boxing promoter and full-time gambler Willy Grogan and his long-suffering “fiancée” (depending on whether you ask him or her). When a young GI played by Elvis Presley literally falls off the back of a truck into town, it doesn’t take long for Grogan to find out he’s not too bad with the gloves, or at least seems to have an extremely hard skull. The velvet-voiced newcomer begins training under Lew (a solid performance by Charles Bronson, who may look better in jeans and a sweatshirt than any man alive) in preparation for a big fight that promises to solve Willy’s money problems. Presley sings, he dances, he gets punched in the face! A lot. It was his sixth film in less than two years, so he may not have noticed. He also gets cozy with Willy’s sister, an Audrey Horne look-alike played by Joan Blackman, who receives the brunt of his ballads. Kid Galahad had behind-the-scenes assistance from real-life former light welterweight champion Mushy Callahan (“I’m having an awful time with Elvis because he looks too GOOD”) and was helmed by talented director (and Chicago native) Phil Karlson, of Kansas City Confidential and Gunman’s Walk fame. While Southern California is about as convincing at playing the Catskills as Elvis is at playing a boxer, if you let the Hollywood magic do its work you’ll be rewarded with a spirited romance filmed on location in stunning timber-chic Idyllwild, CA, a whole lot of angelic crooning, and numerous scenes of Elvis in shorts. So basically, your money’s worth. (RL)
96 min • United Artists • 35mm from Park Circus
Preceded by: Elvis trailer reel – 10 min – 35mm
Monday, February 26 @ 7:00 PM / Music Box Theatre
MESSIAH OF EVIL
Directed by Willard Huyck & Gloria Katz • 1974
A man collapses in exhaustion in a stranger’s backyard, believing himself saved until a smiling adolescent girl affectionately dries the sweat from his forehead before slitting his throat. A young woman catches a ride with an imposing albino man who eats a live rat in front of her, and offers to share the next one if she’s hungry. A painter of psychotronic murals goes missing after sending his daughter a series of paranoid letters. When she goes looking for him, all she finds in his place is a thick haze of dread and madness rolling over the Pacific Coast. Among the writers and directors to forge industry careers in the New Hollywood of the 1970s, Willard Huyck and Gloria Katz accumulated perhaps the most fascinating and inscrutable filmography of all of their peers. The pair served as script doctors on Star Wars, wrote Indiana Jones and the Temple of Doom, and split directing and producing duties for a number of their own screenplays, a practice which ended with the release of Howard the Duck in 1986. Concurrent with Huyck and Katz’s first major screen credit (writing the treatment for George Lucas’s American Graffiti), the two made a film for the regional horror market worlds away from the smooth-finish film cultural behemoths that bear their names. Featuring contributions from art director Jack Fisk (best known for his work with Terrence Malick and David Lynch) and experimental filmmaker Morgan Fisher, Messiah of Evil has remained a pedigreed singularity in American cinema, drifting between unaccountably menacing encounters and episodes of present, incomprehensible horror with its own somnambulist logic, and leaving significant mysteries unresolved by its end. Half a century from its genesis, it remains unshakeable, a vision of hell forming in one of the dim sprawls of asphalt that stretches between destinations in America. (CW)
90 min • International Cine Film Corporation • 35mm from American Genre Film Archive
Preceded by: “Outer Space” (Peter Tscherkassky, 1999) – 10 min – 35mm from Canyon Cinema
Wednesday, March 6th @ 7:30 / NEIU
PUMPING IRON II: THE WOMEN
Directed by George Butler • 1985
“I happen to believe in bodybuilding, and I hold the belief that you can create a very feminine shape through bodybuilding.” Pumping Iron II: The Women emerged from the monumental success of its predecessor, Pumping Iron — the documentary that thrust Arnold Schwarzenegger into stardom and triumphantly validated bodybuilding as a serious sport. We follow three competitors: Carla Dunlap, synchronized swimmer-turned-bodybuilder; Rachel McLish, a former Ms. Olympia Champion, who’s gunning for the first-place prize money so her lover, Randy, can end his career as a male stripper; and then there’s Bev Francis from Melbourne, daydreaming about the allure of strength. Bev, a former ballet dancer and powerlifter who already holds the title of the most muscular woman in the world, is now entering bodybuilding, making her U.S. competition sweat with her physique and endurance. Carla, Rachel, and Bev face off in the bodybuilding competition Caesar’s World Cup 1983 (constructed for the sole purpose of this film) at Caesar’s Palace in Las Vegas. The women bodybuilders in the film are praised for their athleticism by their peers and trainers but are antagonized by their male counterparts for challenging what femininity can look like. Contra Sports Illustrated, which casually asserted that the stars of Pumping Iron II were grotesque and strange, the women in competition – lifting weights in a full face of makeup with bustling muscles and stunning leotards – demonstrate that their physiques do not diminish their femininity. (TV)
107 min • White Mountain Films • 35mm from University of North Carolina School of the Arts, permission White Mountain Films
Preceded by: “Catherine Deneuve Chanel Commercial Reel” – 5 min – 35mm
☆ = Technicolor Weekend Screening
March 15th – 17th at the Gene Siskel Film Center, we present six features and a program of short subjects in beautiful, vintage Technicolor prints.
Not to be confused with the 3-strip Technicolor filming process (abandoned in 1955), the Technicolor printing process involved transferring yellow, cyan, and magenta dyes one by one onto the film base to create the release prints shown in theaters, in a process analogous to offset printing. Prints produced using this method were known for their deep, saturated colors, and the resulting “look” is effectively impossible to replicate using 2024’s digital or analog technologies.
Technicolor prints also have the archival benefit of extraordinary color stability. While the colors in an original print on Eastman stock (the leading Technicolor competitor in the ’50s-’70s) would be completely faded to pink today, prints on Technicolor stock have color just as rich as the day they were released.
Although Technicolor printing ended in the US around 1974, the process was so beloved that it was very briefly revived from 1996 to 2001 (at incredible expense), during which time a handful of large studio titles, including Apocalypse Now Redux, screening in this series, were printed. The process was retired permanently when Technicolor was bought by the British media company Carlton Communications, rendering every surviving Technicolor print completely irreplaceable.
All of the films screening in this series show in prints that were at one point or another saved by private collectors. They were intended to last only through their initial runs, but instead have endured hundreds of projections, studio mergers, film exchange closures, and multiple private owners. These unlikely survivors offer us a view of what these films looked like before digital color correction and other modern restoration techniques, and are stunning examples of an incredibly complex industrial process that delighted millions.
Friday, March 15th @ 6:00 PM
THE BOY WITH GREEN HAIR ☆
Directed by Joseph Losey • 1948
In Joseph Losey’s weird, gorgeous Technicolor fantasy, a neglected war orphan and possible messiah shares the miraculous story behind his green-colored hair (as well as his subsequent persecution) with a psychologist after being discovered bald-headed and alone. Shot in the aftermath of the Second World War, the odd and ambitious film is many things: an allegory on discrimination, an anti-war protest, an appeal for tolerance, and a treat for the eyes. It was also a box office flop, and an expensive one at that. A few years later, Losey was blacklisted from Hollywood after refusing to testify before the HUAC, relocating to England to continue his directorial career. Original Technicolor prints were nitrate; we will be screening an IB Technicolor safety reissue print avec sous-titres français. (RIN)
82 min • RKO Radio Pictures • 35mm from private collections, permission Warner Bros.
Friday, March 15th @ 8:15 PM
CLEOPATRA JONES ☆
Directed by Jack Starrett • 1973
Fur bomber jackets, blue skies, and burning poppy fields; such are the sights of Cleopatra Jones, a 1973 American blaxploitation classic starring Tamara Dobson as the titular 6’2″ supermodel and undercover special agent. Kung-fu master Cleopatra “Cleo” Jones works for the government out of her tricked-out ‘73 Stingray. In order to defend her community, Cleo takes on a cartel run by a drug lord known as Mommy (a delightfully unhinged Shelley Winters). She faces off against Mommy’s hitmen, as well as a corrupt police force that interferes with her lover’s passion project, a halfway house serving addicts. As entertaining as it is eye-catching, Jones is a can’t-miss Technicolor spectacle. (RIN)
89 min • Warner Bros. • 35mm from private collections, permission Warner Bros.
Saturday, March 16th @ 2:00 PM
TECHNICOLOR SHORTS PROGRAM ☆
The Voice Beneath the Sea, a documentary about the laying of the first transatlantic telephone line. McQ: A Digest, a “found footage” clip reel which condenses the John Wayne film McQ to 15 minutes and cuts between Technicolor and Eastman film stocks. Scenes from an underwater premiere of our favorite Don Knotts movie in Weekend at Weeki Wachee. These delights and many more cartoons, trailers, and oddities await you in our Technicolor Shorts Showcase, which represents the strange and gooey fruits of 12 years of CFS film collecting. (JA)
Approx 90 minutes • 35mm from Chicago Film Society
Saturday, March 16th @ 4:15 PM
HAS ANYBODY SEEN MY GAL ☆
Directed by Douglas Sirk • 1952
Looking back on his life with regret, the childless old goat millionaire Charles Coburn anonymously gives $100,000 to the family of his only true love. Masquerading as a surrealist painter in need of a room, Coburn visits his new family to make sure they spend the money wisely, and finds them abusing it to mostly tragic effect: gambling, bad stock tips, bad engagements, dumb poodles, and parties with multiple Santa Clauses. Set in small town Vermont in pre-Depression 1928, Has Anybody Seen My Gal is part of Douglas Sirk’s underappreciated series of Americana musicals, which like his melodramas embrace the delicious hues of American excess while exposing its rotten core. Featuring the first of many legendary collaborations between Sirk and Rock Hudson, Has Anybody Seen My Gal screens in the only known 35mm print in the country. (JA)
89 min • Universal-International • 35mm from Chicago Film Society, permission Universal
Saturday, March 16th @ 7:00 PM
APOCALYPSE NOW REDUX ☆
Directed by Francis Ford Coppola • 1979
The 2001 extended version of the Vietnam War drama added 49 minutes to the 1979 theatrical cut. The dramatic restructuring of one of the most iconic American movies of all time was likely not much of a concern to Coppola, who has never been shy about a recut. It is one of three versions from the famously scissor-friendly director. Original 35mm (and 70mm!) prints of Apocalypse Now in 1979 were Eastmancolor, but the brief resurgence of IB Technicolor in the late 1990s allowed cinematographer Vittorio Storaro’s expressive palette to reach its apotheosis in Redux. Editor Walter Murch reluctantly agreed to return to Vietnam and recut the original camera negative to conform to the Redux continuity. Coppola insisted that this would be the definitive version of the film. The latest version, Apocalypse Now Final Cut, was released in 2019. (RIN)
202 min • American Zoetrope • 35mm from private collections, permission Rialto
Sunday, March 17th @ 2:00 PM
THE NUTTY PROFESSOR ☆
Directed by Jerry Lewis • 1963
In perhaps the most enduring hit of his career, Jerry Lewis stars as Julius Kelp, a neuroses-riddled chemistry professor who has run afoul of both his university’s administration and its student athletes, who mercilessly humiliate him in front of the attractive young women he teaches. Kelp’s scientific prowess leads him to a solution, a serum which transforms him into debonair nightclub performer and all-around jerkoff Buddy Love. The bold and generously applied colors Lewis favored as a visual stylist were a perfect fit for the Technicolor process, which perhaps reached its apotheosis in the toxic green chemicals and chintzy purple night club decor littered throughout The Nutty Professor. It’s this uniquely striking palette that gives some clarity to what Jean-Luc Godard meant when he said of Lewis: “he’s more a painter, maybe, than a director.” (CW)
103 min • Paramount Pictures • 35mm from private collections, permission Paramount
Sunday, March 17th @ 5:00 PM
20,000 LEAGUES UNDER THE SEA ☆
Directed by Richard Fleischer • 1954
Ending a decades long Swift/Perry-sized feud, Walt Disney brought in Richard Fleischer, son of Betty Boop creator Max Fleischer, to direct this story of male ego and hubris. Disney’s first major attempt at serious live action filmmaking brought in a crew of A-list actors–a singing Kirk Douglas, Paul Lukas, Peter Lorre, and a particularly dark and brooding James Mason–and was, at the time of release, among the most expensive films ever made. Much of the cost came from the experimental underwater cinematography, which required custom-built diving suits and air tanks that only allowed for a few minutes of filming at a time. A one-ton, life-sided giant squid operated by a crew of 30 people also had to be redesigned multiple times at enormous expense. The results are, of course, spectacular, testing the limits of practical effects to create a world just as astonishing as in Disney’s animated features. (JA)
127 min • Walt Disney Productions • 35mm from the Chicago Film Society collection at the University of Chicago Film Studies Center, permission Disney
Thursday, March 21st @ 6:45 PM / Music Box Theatre
MISSION TO MARS
Directed by Brian De Palma • 2000
In 1975, Disneyland opened Mission to Mars, a cost-conscious update of their Flight to the Moon attraction, which simulated interplanetary travel using vibrating seats and multiple 16mm projectors. It closed in 1992, and was eventually replaced by Redd Rockett’s Pizza Port. Eight years after its closure, Mission to Mars would enjoy the distinction of being the first Disneyland ride to receive a theatrical film adaptation (preceding The Country Bears, Pirates of the Caribbean, and two different iterations of The Haunted Mansion). If Mission to Mars the attraction was a thrifty repurposing of a Disney holding past its prime, its movie adaptation, an all-ages tentpole budgeted at $100 million and helmed by Scarface and Dressed to Kill director Brian De Palma, was anything but. It’s the year 2020 and the first manned expedition to Mars has successfully landed on the planet’s surface, an unforgivingly hostile landscape that summarily terminates the entire crew, save commander Luke Graham (Don Cheadle). Luke’s best friend Jim McConnell (Gary Sinise), a classic space melodrama hero with a dead wife to make proud, charges ahead on an equally disastrous rescue mission which will kill more of his friends and end with the secrets of the cosmos revealed to the bedraggled survivors. Upon release, Mission to Mars ran afoul of mainstream American critics affronted by its undiluted sentimentality and genial space woo-woo, their dismissals stoking full-throated defenses from Cahiers du Cinéma (who placed it in their top ten of the year alongside films by Chantal Akerman and Edward Yang) and assorted De Palma auteurists for whom the film’s excellence was inextricable from its director’s formal trademarks. Featuring a stately and lush score from frequent De Palma collaborator Ennio Morricone. (CW)
114 min • Touchstone Pictures • 35mm from The Walt Disney Company
Preceded by: “Our Lady of the Sphere” (Lawrence Jordan, 1969) – 10 min – 35mm from Canyon Cinema
Sunday, March 24 @ 11:30am / Music Box Theatre
HUMORESQUE
Directed by Frank Borzage • 1920
Publishing magnate William Randolph Hearst founded Cosmopolitan Productions to boost the screen career of his mistress Marion Davies, but the studio found its first major critical and commercial success with Humoresque, a heart-tugging drama about a Jewish family with no role for comedienne Davies. (The film was adapted by Frances Marion from a Fannie Hurst story that first ran in Hearst’s Cosmopolitan Magazine, so corporate efficiency won out regardless.) Set in New York’s Lower East Side ghetto, where kids wrestle on the sidewalk for used cigarette butts and junkmen peddle dubious antiques, Humoresque follows the Kantors, a Russian émigré family dominated by the original Yiddishe Momme (Vera Gordon, a stage actress from Yekaterinoslav) who dotes on her son Leon. He grows up and becomes an acclaimed violinist (Gaston Glass) whose talent serves as a ticket to upward mobility for the Kantor clan — until World War I interrupts the march of assimilation. (“When there is talk in the press of Jewish radicals and bolshevists,” observed Educational Film Magazine, “it is good to see a strong photoplay featuring the patriotism of a Jewish youth in whose grasp was fame and fortune but who deliberately gave it all up to fight for his Uncle Sam.”) Voted the best film of 1920 by readers of Photoplay, Humoresque announced Frank Borzage as a master of urban melodrama and launched a legion of sentimental imitators. The film was loosely remade in 1946, with the violinist’s shiksa girlfriend Joan Crawford taking top billing and engineering an over-the-top exit scored to Tristan and Isolde, but it’s the original that leaves us verklempt. (KW)
75 min • Cosmopolitan Productions • 35mm from UCLA Film & Television Archive
Preceded by: “The Boy Friend” (Fred Guiol, 1928) – 20 min – 35mm from UCLA Film & Television Archive
Live musical accompaniment by David Drazin!
Wednesday, March 27 @ 7:30pm / NEIU
TOKYO POP
Directed by Fran Rubel Kuzui • 1988
Tired of trying to make it in America (and of her loser boyfriend), aspiring rock and roller Wendy Reed moves to Tokyo and falls in love with Hiro, an unsuccessful musician (real-life successful musician Diamond Yukai). Wendy joins Hiro’s band The Red Warriors as lead singer, and the group of under-achievers gets their first taste of success. Tokyo Pop was inspired by Kuzui’s experiences as a film distributor in Japan, where she imported films like Stop Making Sense and Wild Style. “I looked at the films made by foreigners in Japan, and they seemed either romantic or macho. I didn’t see anything that included the joys of pop culture made on the streets.” Kuzui secured financing from Canadian production company Spectrafilm with the condition that she would find a reasonably well-known lead actress to boost eventual VHS sales. The reasonably well-known actress ended up being Carol Burnett’s daughter Carrie Hamilton, perfectly cast and plucked from the TV show Fame. The resulting film is a gorgeous love letter to Japanese pop culture that also addresses the fickle nature of success. Spectrafilm went bankrupt shortly after the film was released, and the original 35mm prints and elements were scattered to the winds. Recently digitally restored with funding from none other than Dolly Parton (uncredited producer of Kuzui’s other film, Buffy the Vampire Slayer), we’re pleased to present Tokyo Pop in a rare surviving original release print from our own collection. (JA)
99 min • Kuzui Enterprises • 35mm from the Chicago Film Society collection at the University of Chicago Film Studies Center, permission Kino
Preceded by: “Juke-Bar” (Martin Barry, 1990) – 10 min – 35mm
Monday, April 1st @ 7:00 / Music Box Theatre
SECONDS
Directed by John Frankenheimer • 1966
Seconds, adapted from David Ely’s 1963 novel, is not for the faint-hearted. Director John Frankenheimer, known for his work on The Manchurian Candidate and Seven Days in May, brings forth a chilling psychological horror film deeply entrenched in science fiction. Renowned cinematographer James Wong Howe’s striking visuals, which earned the film an Academy Award nomination, heighten the sense of paranoia and existential dread. Seconds revolves around Arthur Hamilton (John Randolph), a disenfranchised banker unsatisfied with his marriage and the overall course of his life. A call from a friend beyond the grave lures him into working with The Company, an agency that promises a complete life reincarnation through dark and unpleasant means. At the hands of The Company, Arthur transforms into Antiochus Wilson, a seaside painter portrayed by the iconic Rock Hudson. Arthur’s transformed physique, achieved by way of rhinoplasty, hair transplants, and months of physical training, is novel to him. But can he mentally handle the transition of leaving his old world behind? Seconds refuses to shy away from the macabre details of Arthur’s experience. The film intensifies his transformation with footage of real-life plastic surgery; director Frankenheimer stepped in as a camera operator for this scene after a crew member fainted. Rock Hudson gives a career-defining performance that serves as the film’s focal point, shedding light on the consequences of attaining a second life and realizing one’s desires. Seconds weaves together a Dionysian party, dystopian realities, and the unsettling moral complexities associated with fulfilling one’s deepest wishes. The result is a rapid fever dream of cinematic unease and excellence. (TV)
106 min • Paramount Pictures • 35mm from private collections, permission Paramount
Preceded by: “By the Sea” (Pat O’Neill, 1963) – 10 min – 16mm from Canyon Cinema
Saturday, April 6 @ 7:00 PM / Chicago Filmmakers
Left-Handed Memories: The Films of Shellie Fleming
Directed by Shellie Fleming
During the course of her time in Chicago, artist and educator Shellie Fleming touched the lives of innumerable people passing through the city’s film scene. While Fleming passed in 2013, the impressions she made can still be felt, not just in her many acolytes who have remained local (including the author of this capsule), but throughout the entire spectrum of international artist cinema, with a number of her former students considered among today’s most important and respected living filmmakers. While Shellie’s influence on the contemporary film world has been significant, it’s been exerted quietly. Her own 16mm films have screened infrequently throughout the 21st century, but their formal innovations and emotional depths have earned her a standing among connoisseurs of experimental cinema as one of the best filmmakers of the ’80s and ’90s. The films in this program prove this reputation justified, wedding optically-printed reveries with practical explications of the filmmaking process, Fleming’s own evocative writing sharing space with sounds and images appropriated from classic Hollywood cinema, coalescing into an inimitable body of work as curious, intelligent, and sensitive as the woman who made it. Included in this program are the films Left-Handed Memories (1989), Private Property (Public Domain) (1991), Ornithology (1995), and Life/Expectancy (1999). (CW)
Approx. 80 min • 16mm
Presented in partnership with the John M. Flaxman Library at the School of the Art Institute of Chicago as part of the Onion City Experimental Film & Video Festival (running April 4 – 7)
Saturday, April 13 @ 11:30 AM / Music Box Theatre
PADLOCKED
Directed by Allan Dwan • 1926
The sexual hypocrisy of the Jazz Age is skewered, throttled, and puréed in Padlocked, an upside-down morality tale about the petty tyranny of the purity brigade. Edith Gilbert (Lois Moran) just wants to be a normal teen, but her Holy Roller father Henry (Noah Beery) is too busy crusading against the modern world to be an effective parent. While Henry is off delivering a barnstormer of a speech against vice, Edith’s mother (Florence Turner) throws her a secret birthday party. Dad comes home early to find Mom blindfolded, playing Pin the Tail on the Donkey and inadvertently revealing her husband to be the biggest ass of them all. Henry announces that Edith will be sent to live with his steadier sister and then accidentally kills his wife by knocking her out and filling her bedroom with gas. After the funeral, Henry suggests that Edith should be adopted by his pious secretary, but she runs off to become a burlesque dancer instead. Edith starts spending weekends at the home of an ‘aesthetic dance’ instructor and his partner-in-crime, a woman who’s aged out of debauchery herself and grooms young ladies to join their lifestyle. A totally bonkers movie that’s simultaneously a sincerely feminist plea for emancipation and a frothy, QAnon-adjacent child-trafficking bromide from the pit of hell, Padlocked hangs together thanks to the smooth craft of director Allan Dwan and cinematographer James Wong Howe. Unseen since 1926 and recently restored from the sole surviving copy in the Národní Filmový Archiv, Padlocked must be seen to be believed. Restored by San Francisco Silent Film Festival with the support of the National Film Preservation Foundation. (KW)
80 min • Paramount Pictures • 35mm from San Francisco Silent Film Festival
Preceded by: “Flaming Flappers” [Fragment] (Fred Guiol, 1925) – 9 min – 35mm from Library of Congress
Live musical accompaniment by David Drazin!
Saturday, April 20 @ 7:00 PM
Films to Dance to with Kioto Aoki
Directed by Kioto Aoki
Musician, photographer, and curator Kioto Aoki has emerged within Chicago’s art world as an irreducible and multivalent creative force. It’s a wonder, then, that she has also found the time to become one of the city’s most active and prolific filmmakers, producing dozens of short subjects in 16mm over the past ten years using 100% photochemical means. Filmed silent, often edited in camera and tied to a set of material constraints, Aoki’s 16mm work openly and proudly elicits comparisons to various classics of structuralist cinema. Enlivening these rigorously delineated film architectures is a healthy dose of artistic play, which sees her incorporating elements of dance and movement performance, treating the camera as a tool for improvisation much like a musical instrument, and retaining all technical miscalculations which may arise during filming. The results count among the most charming works offered by contemporary experimental cinema. After previously highlighting Aoki’s work as part of our Celluloid Now showcase, CFS is thrilled to present a full program’s worth of her short films, including previously unscreened work and a brand new print commissioned by CFS of her only sound film to date, Celluloid Now 2022 selection 6018 | Dance (2022). (CW)
Approx. 60 min. • 16mm from Kioto Aoki
This program will feature live musical accompaniment by Aoki’s frequent collaborator Jamie Kempkers.
This screening is supported by:
Wednesday, April 24 @ 7:30 PM / NEIU
TOKYO STORY
Directed by Yasujirō Ozu • 1953
Yasujirō Ozu’s nuanced and beautifully realized portrait of postwar life in Japan is a depiction of family, and of the consequences of belonging to one—among them joy, connection, regret, and grief. By the time of Tokyo Story‘s 1953 release, Ozu had directed 39 features and 6 shorts in a career that started in 1927. Taking inspiration from Hollywood’s 1937 drama Make Way for Tomorrow, an intergenerational family story set in the aftermath of the Great Depression, he set out to make Tokyo Story. Despite Ozu’s assertion that it’s his most melodramatic feature, it is a perfect introduction to his distinctive visual style and his narrative preoccupations. Through his signature cutaways, he depicts the modernization and Westernization of Tokyo. Like many of his other movies, it is also a domestic drama (although the director remained famously unmarried). The grandparents, Tomi (Chieko Higashiyama) and Shukichi (frequent Ozu collaborator Chishū Ryū) aren’t perfect; we meet Shukichi as an amiable elder, not as a compulsive drinker. The children carry pain too. The movie’s lone hero is their widowed daughter-in-law (Ozu regular Setsuko Hara), a character already painfully acquainted with loss. If only being a part of a family was simple. Tokyo Story does not condemn the offspring (although their selfish dismissiveness does rattle). If anything, it takes great pains to show one of the causes of this fissure. They are not deliberately cruel. It contributes to the movie’s potent universality. They are busy. They are distracted. The world had changed. As Tokyo transforms, so does the family over three generations. (RIN)
136 min • Shochiku • 35mm from Janus Films
Preceded by: Harry and Tonto trailer (1974) – 35mm
Programmed and Projected by Julian Antos, Becca Hall, Rocío Irizarry Nuñez, Rebecca Lyon, Tavi Veraldi, Kyle Westphal, and Cameron Worden.
Research Associate: Mike Quintero
The Chicago Film Society is partially supported by a grant from the Illinois Arts Council Agency and partially supported by a CityArts Grant from the City of Chicago Department of Cultural Affairs & Special Events.
Heartfelt thanks to:
Shayne Pepper, Cyndi Moran, Robert Ritsema, Jose Aguinaga of Northeastern Illinois University; Brian Andreotti & Ryan Oestreich of the Music Box Theatre; David Antos; Brian Belovarac of Janus Films; Bret Berg of the American Genre Film Archive; Keero Birla of White Mountain Films; James Bond of Full Aperture Systems; Chris Chouinard of Park Circus; Peter Conheim; Amy Crismer of Disney; Justin Dennis of Kinora; Carolyn Faber; Rebecca Fons of the Gene Siskel Film Center; Harry Guerro; Jason Jackowski of Universal Pictures; Matt Jones of UNCSA Moving Image Archives; Steven Lloyd; Douglas McLaren of the University of Chicago Film Studies Center; Jeff Milam of Ecometric Solutions; Brett Kashmere & Seth Mitter of Canyon Cinema; Tim Morefield; Nicky Ni of Onion City Experimental Film & Video Festival; Kathy Rose O’Regan & Rob Byrne of San Francisco Silent Film Festival; Beth Rennie, Jared Case, & Jeffrey Stoiber of George Eastman Museum; George Schmalz of Kino Lorber; Lynanne Schweighofer, Andy Whitmore, & David Pierce of the Library of Congress; Leila Sherbini of Chicago Filmmakers; Tommy José Stathes; Patricia Ledesma Villon of Walker Art Center; Gabriel Wallace; and Todd Wiener & Steven Hill of UCLA Film & Television Archives. Particular thanks to CFS research associate Mike Quintero, CFS board members Raul Benitez, Mimi Brody, Edo Choi, Steven Lucy, Brigid Maniates, & Artemis Willis, & CFS advisory board members Brian Block, Lori Felker, and Andy Uhrich.
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I expected far better than this from Frankenheimer and Caine. I didn’t realize until after watching it that it was made in the mid 1980’s. It plays far more like a 70’s plot including the music and the cinematography. I’ve not read the Robert Ludlum novel, though I suspect as is the case for others in his canon that the book was far better than the film version, particularly for late 70’s/early 80’s material.
I watched this as a poorly cropped and overly letterboxed version on Amazon Prime, so the quality was certainly lacking from that perspective.
While there was a reasonable amount of suspense throughout, it’s not the directing that creates the ride, but really the liberally applied music which, while not great, was probably the best part of the experience. Those interested in what sound can do for a plot should study this piece.
In all, the plot was a muddy and convoluted and didn’t play itself out well at all. Tom Cruise’s first Mission Impossible was clearer. Frankenheimer had a few nice films, but it’s middling fare like this that squarely peg him as passable journeyman for most of his career.
Caine had one or two nice quips in the picture and was serviceable, but didn’t have quite the personality that shines through in many other pictures. The overall cast was great, they just weren’t given much in terms of plot or dialogue.
Some of the highlight quotes for me:
[Spotting a car tailing them]
Noel Holcroft: Probably just another Sunday driver. But on the other hand, as it is Tuesday, why don’t you put your foot on the gas and see what happens.
Noel Holcroft: May I suggest, that it is extremely difficult for a man, in a gray flannel suit, to behave naturally, while riding on a horse in the middle of the night, waiting for someone to shoot at you!
Leighton: Oh, dear, oh, dear. Assumption, Mr. Holcroft, is, as they say in my profession, the mother of fuck-up.
Leighton: Naughty, naughty, Mr. Holcroft. You mustn’t speak to strangers. Could be harmful to the health.
Leighton: There’s a lot of villainous characters lurking about. I’m glad to say that most of them are mine.
Noel Holcroft: I have a friend who lives in the country, and it’s supposed to be an hour from 42nd Street. A lie! The only thing that’s an hour from 42nd Street is 43rd Street!
A great classic film starring Walter Matthau, Robert Shaw, Hector Elizondo, and Jerry Stiller. The plot and story (as well as some great 70’s cinematography) holds up incredibly well and far better than most of its contemporaries. The score of the film does have the definite tone of the 70’s, but isn’t so overbearingly stereotypical as movies which came later in the decade.
While headed by Walter Matthau, this film is far more serious in tone and there are few, if any, bits of humor stemming from his Lt. Garber character (or they just don’t play as well now). The final freeze frame of Matthau’s which closes the film (in an early American studio feature nod to the French New Wave) does have a fantastic feel of sardonic comedy though. Matthau’s function in the film reminded me more of his turn in Charade (1963) than his extensive body of comedic work.
The film does fit well into the crime/drama/thriller progression of the modern blockbuster which includes its classic predecessors: Bonnie and Clyde (Warner Bros., 1967), Bullitt (Warner Bros., 1968), The Italian Job (Paramount, 1969), The French Connection (20th Century Fox, 1971), Shaft (MGM, 1971), Dirty Harry (Warner Bros., 1971), and Magnum Force (Warner Bros., 1973).
The movie is set in a time period after the prison riot at Attica which is mentioned in passing by the mayor’s staff, but before the film Dog Day Afternoon (Warner Bros., 1975). It’s also obviously set in a time period when people expect airplane hijacks, but think it’s laughable that anyone would consider a subway hijack. (This likely played into the high-concept idea of the studio consider making it originally). However, none of the train passengers takes the hijacking very seriously or seems very scared by the four rough looking characters carrying high powered and automatic weapons. This may be because the terrorism of the late 70’s, early 80’s, or even early 2000s had not yet happened; it was also set prior to John Frankenheimer’s Black Sunday (Paramount, 1979). I find it interesting that the hijackers in the piece actually verbally explain the capacity and killing power of their weapons as if none of the everyday people on the train would understand their automatic capabilities. (This assuredly wouldn’t happen in a modern-day version.) I have to imagine that more modern actor portrayals would have been much more fearful early on. Here no one seems very upset until Mr. Blue shoots the subway car driver in the back. Until then they just seem like they’re a bit “put out”. As an aside, the perpetrators’ going by the names Blue, Green, Grey, and Brown was most assuredly the inspiration for Quentin Tarantino’s use of similar names for the characters in Resevoir Dogs (Miramax, 1992) which also included the quote “let’s do it by the books”.
The film includes a fantastic (though possibly stereotypical) portrayal of 70’s culture through the characters of multiple ethnicities and cultural types. These are borne out in the credit sequence with character “names” which actually include: The Maid, The Mother, The Homosexual, The Secretary, The Delivery Boy, The Salesman, The Hooker, The Old Man, The Older Son, The Spanish Woman, The Alcoholic, The Pimp, Coed #1, The Younger Son, Coed #2, The Hippie, and The W.A.S.P. One of my favorite stereotypes (which the film may have first immortalized) was the hippie woman calmly chanting “Om” and then later “Om stop” on the runaway subway hoping it wouldn’t crash.
As an indicator of racial change, there’s an odd exchange (that may have been funny at the time), but to a more modern viewer is now just awkward:
Lt. Garber: [looking for the inspector] Inspector Daniels?
Inspector Daniels: [identifying himself] Daniels.
Lt. Garber: [realizing DCI Daniels is African-American] Oh, I, uh, thought you were, uh, like a shorter guy or – I don’t know what I thought.
There’s also a nice indicator of the growth of stature in women in society as the lead character posits (several times) that a plain clothes police officer might in fact be a woman, a fact that one of Garber’s colleagues failed to contemplate. This is offset by a zany statement by an old, gruff (and somewhat marginalized) subway supervisor (following a prior litany of profanity, by almost everyone in the room):
I’ll have to go back and rewatch the remake again to further compare the portrayal of the two time periods. I will note that the mayor’s deputy comes in at one point in this incarnation and says to him, “Pull your pants up Al, we’re going downtown.” I can’t help but sadly imagine that in a remake, the mayor wouldn’t be laying sick in bed getting a shot in the ass, but would more likely be sitting behind his desk with a woman in a compromising position to get the cheap laugh.
The film also includes some great, but short character actor turns by Tony Roberts as the Mayor’s assistant, Doris Roberts (almost unrecognizable to modern day Everybody Loves Raymond fans) as the mayor’s wife, Kenneth McMillan, and a middle-aged Joe Seneca.
I also noticed an obscure, early production office coordinator credit for Barbara DaFina, better known as Barbara De Fina, much later a well-known and prolific producer and production manager, known for Goodfellas (1990), Casino (1995) and Hugo (2011). She was married to Martin Scorsese from 1985 – 1991, though she had a nice body of work even prior to that.
Another quote that I can’t help but mention not only for its sheer joy but because it’s also one of the first lines of spoken dialogue of the film:
In the pantheon of first lines of poetry, this captures the tone of its time incredibly well.
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Christopher Pelham
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https://jameskreul.com/survival-supplies-1989-and-finding-a-film-community/
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SURVIVAL SUPPLIES (1989) and Finding a Film Community
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2023-08-13T21:42:52+00:00
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Making a three minute video about a garbage can initiated me into Madison's campus film community. Watch Survival Supplies (1989) and read about what I learned from the experience.
|
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|
James Kreul
|
https://jameskreul.com/survival-supplies-1989-and-finding-a-film-community/
|
Making a three minute video about a garbage can initiated me into Madison’s campus film community. Watch Survival Supplies (1989) and read about what I learned from the experience.
Okay. So Who Cares?
A lot of people make videos when they’re 19 years-old. Way more do so now, in fact, with the potential for far greater reach and impact thanks to social media. Why should I bother writing an entry about a video shot and edited on VHS over 30 years ago? Why should anyone want to read it?
Well, part of the mission of this website is personal. I’m looking back for inspiration as I work on projects in the future. Revisiting work made years ago has reconnected me with the creative spirit that drove me back then. So that’s what I’m getting out of it, regardless of whether anyone reads this. Perhaps naively, I hope that others might find inspiration to get out and make something, too.
This website also discusses moving images in Madison (and Wisconsin, and the Midwest). Telling the story of Survival Supplies helps to revisit people and organizations who have been part of that story. Throughout this post I’ll swiftly alternate between fine grained details about my personal experiences and broader observations about people and organizations in Madison’s film community.
I wasn’t fully a part of that community quite yet in 1989. My experience with Survival Supplies helped me find it.
Follow the Instructions
At the time, I worked a few hours each weekday at the Glenway Pharmacy, near the Glenway Golf Course. Tom Gitter owned and operated the Glenway Pharmacy for many, many years before I started working there. A neighborhood pharmacy could be owned and operated by one pharmacist back then.
Based on current eBay listings for similar vintage survival supply drum barrels, I’m guessing that the Glenway Pharmacy drum likely dated back to the 1960s.
The matter of fact instructions, to be used in horrifying conditions, fascinated me. But the eventual images in Survival Supplies did not act out the instructions. Instead, the text inspired a series of images arranged by the principles of free association, repetition and variation. Once I made an association between water and a green shake (remember this was March, so Shamrock Shake season), it was an easy, if somewhat gross, leap to a chocolate shake for the commode section. That, in turn, led to the strawberry shake and the association with Pepto Bismol.
I asked Mr. Gitter if I could borrow the garbage can for the weekend. He let me use it without asking for any details. I shot most of the footage with the can inside the house that I grew up in on Birch Avenue. My friend Dave Sather, who appeared in earlier films and videos, assisted me.
I shot Survival Supplies with an RCA CC010 Color Video Camera. My family had an RCA VHS deck that had a portable section with a 14-pin input for that video camera. I had used the camera and deck on several high school era videos. Like many tube cameras, the CC010 suffered from burn-ins and ghosting. This was usually a problem when I wanted a clean image. But I used the flaw to my advantage in Survival Supplies. I let the Civil Defense logo burn in before it panning between the two logos. The ghost logo floats across the screen until it comes to rest on top of the other logo.
The various screen sizes and mattes were created with a cheap Radio Shack gizmo. I composed the screen shapes as I shot them, not in post.
I shot exteriors with the gutters and straws at the intersection of Glenway Road and Paunack Avenue. The Glenway Golf Course visible in the background. My home block on Birch Avenue did not have curbs and gutters. We had to walk over to Paunack to find streams of water strong enough to carry the straws.
I temporarily had access to a video editing suite belonging to a local DJ company. Access was supposed to be in exchange for logging footage or relatively menial editing work related to their wedding videos. I’m ashamed to admit that I did not stick around after the Survival Supplies edit was complete.
A Freshman Finds His Way
My undergraduate years at UW-Madison started in Fall 1988. I made Survival Supplies in Spring 1989, before I was able to take film and video production classes. But I had attended my first few meetings of the Independent Film and Video Collaborative (IFVC).
Eventually, I visited video production professor Laura Kipnis during her office hours. I asked her to take a look at Survival Supplies. She granted me permission to enroll in Introduction to Film and Video Production (CA 355) the following semester, Fall 1989.
My first IFVC meetings had a direct influence on Survival Supplies. I saw recent and historical avant-garde and experimental films at meetings. Influences included the unconventional voice over in Christopher Maclaine’s The End (1953) and the performance style in George Kuchar’s weather diaries. I believe I first saw Weather Diary 4 (1988), shot in Milwaukee. Most viewers assume that the “17 1/2 gallons” voice is supposed to be Elmer Fudd. But that voice is actually a 19-year-old midwestern kid attempting to mimic (but not exactly impersonate) an introspective George Kuchar .
Survival Supplies taught me that an important part of experimental film and video making was actively participating in a community. Production itself was something that I could do on my own with relatively few resources. The distribution and exhibition side, on the other hand, depended on my willingness to put myself out there and get involved with groups like IFVC.
Survival Supplies probably premiered at the Spring 1989 IFVC Open Video Show. This was my entryway into the campus film and video production community. But two additional screening opportunities that spring also opened some doors for me. The fourth annual Wisconsin Union Directorate Student Film & Video Festival introduced me to the larger campus film community. The Wisconsin Media Artists Showcase in Milwaukee in 1990 introduced me to a larger regional filmaking community.
Fourth Annual WUD Student Film & Video Festival, April 19, 1989
The Wisconsin Union Directorate is the student programming board for the Wisconsin Union. As their mission states, they are “the students who organize, promote and execute some of the best experiences and events you can get outside the classroom.” WUD is probably best known for its music committee. The film committee also has had a lasting impact on Madison’s film culture.
I’ll return to WUD film many times on this website. For now I’ll focus on my first experience with the WUD Student Film & Video Festival.
Student run exhibition of student films and videos seems to be missing from current student film culture in Madison. Often, a filmmaker wants to show his/her own work, and then their interest in exhibition wanes shortly after that.
Building a film and video community starts with having consistent opportunities to exhibit work. Regular screenings eventually influence the production of new work. Filmmakers know that they’ll have an opportunity to share their films with a receptive audience.
I didn’t make Survival Supplies for a class. I knew that I’d have a chance to screen it at least at an Open Show. And I knew that I had the opportunity to submit to the WUD Film festival. Those opportunities motivated me to make Survival Supplies in the first place.
As you’ll see from the program, I was one of 32 entrants that year. From a 2023 perspective, it should stand out that only 5 out of 32 of the entrants were female. That’s about 6%. The gender gap in film production has improved, but not by much in some areas. According to the Center for the Study of Women in Television and Film at San Diego State University, in 2022 “women comprised 26% of directors, writers, producers, executive producers, editors, and cinematographers,” and “women accounted for 8% of cinematographers.” So when I talk about creating opportunities, we should all keep in mind that there are cultural and institutional obstacles to creating equitable opportunities in film production and exhibition to this day.
That said, there are several names worth pointing out on the list of entrants. For example, after graduating in 1990, Andrew Dickler worked as an apprentice editor on Pulp Fiction. He then went on to work with filmmakers like Miranda July and Christopher Guest.
Four names on the list will appear on this website many times: Sean Hanish, Mike Kuetemeyer, Erik Gunneson and D.W. Wanberg. Each of them was invovled with the IFVC.
Sean Hanish has directed features like Return to Zero (2014) with Minnie Driver and Saint Judy (2018) with Michelle Monaghan. Mike Keutemeyer is an Assistant Professor in film and media arts at Temple University. Erik Gunneson has been teaching film production in the Communication Arts Department for many years. And, of course, D.W. Wanberg has a long history in film and public access video in Madison. He worked with Leon Varjian on The Vern & Evelyn Show in the early 1980s, and makes his own D.W.’s Show to this day.
On the WUD Film Committee side, Mike Maggiore served as the Master of Ceremonies for the evening. I did not know Mike. In 1989 he was wrapping up his time as a student at UW-Madison. In 1992, when he was working at the Walker Art Center in Minneapolis, he returned to be a judge for the 7th Annual Student Film & Video Festival. More on that below. In 1994, Maggiore started working alongside Karen Cooper at the Film Forum arthouse and repertory cinema in New York. In 2022, he was named the artistic director of Film Forum.
While I did not meet the judges, their participation helped me learn about the independent film landscape in Wisconsin and the Midwest.
Two UW-Milwaukee film professors served on the jury: Cathy Cook and Iverson White. I’m not sure how I never got to meet Cathy Cook while she was in the Midwest, but I admire her work. Her great film The Match That Started My Fire (1992) was selected to be preserved by a Avant-Garde Masters Grant in 2021. She also appears in several George Kuchar videos, including Weather Diary 4, mentioned above. Iverson White received his M.F.A. from U.C.LA. during the period associated with the L.A. Rebellion. In 1992, he directed a feature film, Magic Love, with grants provided by the National Endowment for the Arts and Film in the Cities.
The third judge was Steve Westerlund from Film in the Cities in Minneapolis/St. Paul. It has been years since I have thought about Film in the Cities and its significant impact on filmmaking in the Midwest. It should not be forgotten. You can find a historical overview of FITC from 1970 to 1993 at the Walker Art Center website.
It is worth remembering that for a while, with funding provided by the Jerome Foundation, FITC provided film production grants to filmmakers in Minnesota, Iowa, Wisconsin, and the Dakotas. (This ended when the Jerome Foundation returned to its mission to support artists specifically in Minnesota and New York City.) Just the idea of such a grant was inspiring. At some point I even applied for one, which reinforces my argument that opportunities can and will inspire creativity.
More Than a Prize
So . . . how did the evening of April 19, 1989 in the Tripp Commons go?
I did not win a Student Film & Video Festival prize again until my last opportunity, at the 7th edition in 1992. That year I won the top prize for a 16mm optically printed found footage collage called Autobiograffti. There are interesting connections between the 4th and 7th Festivals.
Who were the judges in 1992, you ask? Cathy Cook, Mike Maggiore, and a different representative from Film in the Cities, Margaret Weinstein. Did Cathy remember my name from Survival Supplies? Did Mike remember my acceptance speech joke? Probably not. But I like to think that they did.
Wisconsin Media Artists Showcase in Milwaukee, May 5, 1990
There have been several attempts to improve communication and collaboration between filmmakers in Madison and Milwaukee over the years. Communication waxes and wanes. There were efforts to network with Milwaukee filmmakers leading into the 2000 Wisconsin Film Festival, for example. Now, with the Milwaukee Film Festival also taking place in the Spring, and the Milwaukee Underground Film Festival actually taking place on the same weekend as the Wisconsin Film Festival, I think it is fair to say that the Wisconsin Film Festival is no longer a catalyst for that kind of cooperation.
As early as 1985, Mary Yelanjian was listed as director of Milwaukee’s Great Lakes Film and Video Center in Chicago Reader coverage of a screening of independent films from Wisconsin. At some point Yelanjian and Great Lakes Film & Video selected films for Milwaukee’s Latin American Film Series. As late as 1993, Yelanjian discussed in Art Muscle an upcoming Great Lakes Film & Video screening of highlights from the Women in the Directors Chair Film Festival.
In spring of 1990, Great Lakes Film & Video initiated a call for entries for a Wisconsin Media Artists Showcase, to be held at the UWM Union Cinema on Saturday, May 5, 1990. They received a grant from the Wisconsin Arts Board and additional support from Milwaukee Access Telecommunications Authority (MATA).
There was some communication between film departments in Madison and Milwaukee at the time. For example, since Madison had a 16mm reversal color lab, and Milwaukee had a 16mm reversal black and white lab, there was a film exchange so that students at each campus could shoot either color or black and white. But, as would be the case in 2000 with the Wisconsin Film Festival, and as is the case again now, there needed to be more of an ongoing exchange of ideas and films. The Wisconsin Media Artists Showcase was a potential solution to address that.
I found a letter from Yelanjian and Great Lakes Film and Video from January 1991 which refers two two GLF&V projects that attempted to build a community of Wisconsin filmmakers. I had responded to a questionnaire for a Wisconsin Media Artists Directory, and had expressed interest in participating in a Wisconsin Teacher Video Rental Program. The directory was one of several attempts to create a single resource to contact film and video artists and professionals across the state. (My memory is fuzzy, but. I believe that the Wisconsin Film Office had one, too.) I had completely forgotten about the proposed rental program, but the letter outlined its goals.
This program would allow elementary and secondary teachers to rent videos at reduced rates for classroom use. Great Lakes Film & Video is now organizing a VHS videotape library with an accompanying catalog to get this program off to a strong start. In addition, GLF&V would use this library as a tool for creating touring programs and compilation tapes of work by Wisconsin artists.
Letter from Mary Yelangian, Managing Director, GLF&V, January 25, 1991
I don’t recall submitting work to the proposed library. It was a very interesting idea, one that probably makes more sense now with downloading digital files. The logistics of curating programs, artists fees, and file security would be a challenge, but the general idea is one that might be worth revisiting.
Returning to the Wisconsin Media Artists Showcase, there are names on the screening list with whom I would be in contact again for the Wisconsin Film Festival a decade later. Mark G.E., for example, premiered Midwestern Gothic at the 2000 Festival.
Another Wisconsin Film Festival connection was someone who was not on the list, but was in attendance. Chris Smith’s American Job, completed in 1996, was an opening night film at the 2000 Wisconsin Film Festival. At some point during our conversations during the Festival, the Wisconsin Media Artists Showcase screening came up. He remembered seeing Survival Supplies, ten years earlier, which made me very proud.
Conclusion
A few takeaways, now that writing this has stirred up a lot of memories.
First, I’m inspired to continue making stuff. Sometimes I forget what got me started on all of this. I like the kid who made Survival Supplies, and I’d like to spend more time with him.
Second, I’m more motivated than ever to continue the Project Projection screenings at Mills Folly Microcinema. A few filmmakers have asked me about the August 18 early deadline (coming up!), because they’re working on something with the intent to screen it at Project Projection on September 20. That’s the way it should be happening in this town.
Third, I need to work harder on networking with Milwaukee and other microcinemas in Wisconsin. We’ve made some progress, but writing this has reminded me that the progress can slow down or reverse unless attention is paid to networks and relationships.
Endnotes
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https://www.boisestatepublicradio.org/2024-08-05/as-an-olympic-boxing-controversy-deepens-the-women-at-its-center-are-poised-to-medal
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|
As an Olympic boxing controversy deepens, the women at its center are poised to medal
|
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2024-08-05T00:00:00
|
Imane Khelif and Lin Yu-Ting are guaranteed to leave Paris with medals. But fallout continues, as does drama between Olympic officials and the Russian-led association that disqualified them last year.
|
en
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/apple-touch-icon.png
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Boise State Public Radio
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https://www.boisestatepublicradio.org/2024-08-05/as-an-olympic-boxing-controversy-deepens-the-women-at-its-center-are-poised-to-medal
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NPR is in Paris for the 2024 Summer Olympics. For more of our coverage from the Games, head to our latest updates.
The two female boxers who found themselves at the center of a global controversy have both fought their way to the medal podium.
Algeria’s Imane Khelif and Lin Yu-Ting of Taiwan each won their respective quarterfinal fights over the weekend, which — due to how Olympic boxing is scored — means they will both leave Paris with a medal. The only question is what color those will be.
"I want to tell the entire world that I am a female, and I will remain a female," Khelif told reporters after her match on Saturday, one that started with cheers of support from the crowd and ended with Khelif in tears of joy.
Khelif and Lin came under scrutiny last week after Khelif’s first victory, when it emerged that they had both been disqualified from the 2023 women’s world championships for supposedly failing unspecified sex eligibility tests.
Those championships were run by the Russian-led International Boxing Association (IBA), which no longer governs Olympic boxing. The International Olympic Committee (IOC) withdrew its recognition of the body in June 2023 over concerns about its governance, finances and ethics.
The IOC has vigorously defended the boxers and increasingly cast doubt on the reliability of the tests that were used to disqualify them mid-championship last year, just days after Khelif defeated a Russian boxer in an early round.
At a Saturday briefing marking the Games’ halfway point, IOC President Thomas Bach reiterated that both Khelif and Lin were born and raised as women, are described as female on their passports and have competed against women for years — and hadn’t faced questions over their gender until now.
"We will not take part in a politically motivated … cultural war," Bach said. "What is going on in this context, in the social media with all this hate speech, with this aggression and abuse, and fueled by this agenda, is totally unacceptable.”
Khelif, 25, got into boxing as a teenager in part because of her ability to dodge the punches of boys who picked fights with her in soccer, according to a biography from UNICEF, for which she is a national ambassador.
In her first interview since the controversy began, she asked for "all the people of the world to uphold the Olympic principles and the Olympic Charter, to refrain from bullying all athletes, because this has effects, massive effects."
"It can destroy people, it can kill people’s thoughts, spirit and mind. It can divide people," Khelif told SNTV in Arabic on Sunday, describing bullying as "something that harms human dignity."
The Algerian Olympic and Sports Committee has said it filed an official complaint with the IOC to protest the online harassment toward Khelif, which it described as "a serious violation of sports ethics and the Olympic Charter by one of the participants in the boxing tournament," without naming names.
Khelif acknowledged that she has been greatly affected by her experience, and also worries about her family members back home (her parents have publicly come to her defense). But she credited the IOC for its response, and hoped for not a silver but a gold lining.
“God willing, this crisis will culminate in a gold medal, and that would be the best response,” said Khelif, who is due to compete in the women’s welterweight semi-final on Tuesday.
Lin, who is headed for redemption after leaving the Tokyo Olympics empty-handed, is set to compete in the featherweight semi-finals on Wednesday.
Olympic officials accuse the IBA of a defamation campaign
The IBA alleged last year that the tests proved both athletes have XY chromosomes, which are typically seen in men. Doubling down last week, it said the athletes "were found to have competitive advantages over other female competitors," but declined to elaborate on specifics other than to say the two had not undergone a testosterone exam.
The IOC has dismissed the testing process as arbitrary, and the results illegitimate.
"The testing, the method of testing, the idea of the testing, which happened kind of overnight — none of it is legitimate and this does not deserve any response," IOC spokesperson Mark Adams told reporters on Sunday.
The IOC has also pointed out that it did away with blanket sex testing in 1999 and has no plans to revisit such procedures, which have a long history of being invasive and inaccurate.
In remarks this weekend, Bach accused Russia and the IBA specifically of undertaking "a defamation campaign against France, against the Games, against the IOC" before the Olympics even began.
He said they had made "a number of comments" along those lines, and declined to give them more airtime.
"If you want to have an idea about the credibility of information coming from this not-anymore-recognized international federation, I can only suggest to you look into the comments they and the leaders of this federation have made recently and make your own judgment," Bach said.
Russia has been all but shunned by the Olympic community over its invasion of Ukraine as well as past doping violations. The one-time powerhouse sent just 15 athletes to Paris, all of whom are competing as "neutral."
In a statement issued Friday, the IBA stood by its procedures and slammed Olympic organizers for allowing Lin and Khelif to participate in Paris. It continued to promote the falsehood that they are not women, saying it would "never support any boxing bouts between the genders."
The IBA held a press conference on Monday, with President Umar Kremlev videoing in for a long-winded presentation that ranged from personal attacks against Bach to criticisms of the Paris opening ceremony.
"Today we are witnessing the death of female boxing, the corruption of judges,” he said, according to Reuters. “All of these happens when Mr. Bach (is) president.”
Italian boxer apologizes for kicking off controversy
Further stirring the pot, the IBA has offered a financial reward to the Italian boxer whose defeat set the controversy in motion last week.
Italy’s Angela Carini withdrew 46 seconds into her bout with Khelif, and left the ring in tears. She later told reporters she had never been hit so hard before, and suspected a broken nose.
Within hours, several high-profile figures who have expressed anti-trans views in the past — including author J.K. Rowling, former President Donald Trump and Tesla CEO Elon Musk — had weighed in, falsely describing Khelif as a man and fueling questions about her gender.
Carini has since expressed regret, telling the Italian newspaper La Gazzetta dello Sport on Friday that "all this controversy certainly made me sad" for herself and her opponent, both of whom were just there to fight.
"It wasn’t something I intended to do,” she said, according to several English translations. “Actually, I want to apologize to her and everyone else. I was angry because my Olympics had gone up in smoke."
Carini said that she has "nothing against Khelif," adding, "On the contrary, if I happened to meet her again I would give her a hug."
Kremlev announced that same day that the IBA would award Carini the "prize money as if she were an Olympic champion" — which amounts to $50,000 for Carini, and $25,000 each for her coach and Italy’s national boxing federation.
The IBA said it would also support Uzbekistan’s Sitora Turdibekova, who lost to Lin in the round of 16 on Friday.
The Italian Boxing Federation said in a statement over the weekend that it will not accept the IBA’s prize money, according to the Associated Press — which notes that the Italian boxing federation is one of roughly three dozen Western groups that have left the IBA in the last two years to form World Boxing, the governing body that hopes to earn regulatory power over future Games.
Copyright 2024 NPR
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https://en.wikipedia.org/wiki/The_Exchange_(2021_film)
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The Exchange (2021 film)
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https://en.wikipedia.org/wiki/The_Exchange_(2021_film)
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2021 film
The ExchangeDirected byDan MazerWritten byTim LongProduced by
Dan Hine
Christina Piovesan
Noah Segal
StarringCinematographyJean-Phillippe BernierEdited byMark DaviesMusic by
Michael Smith
Christopher Bauschinger
Production
companies
Distributed by
Elevation Pictures
Quiver Distribution
Release date
Countries
United States
United Kingdom
Australia
Canada
LanguageEnglish
The Exchange is a 2021 internationally co-produced[1] comedy-drama film directed by Dan Mazer from a screenplay by Tim Long. It stars Ed Oxenbould, Avan Jogia and Justin Hartley. The film follows the events triggered by outcast student Tim Long entering an exchange program hoping to get a sophisticated kindred spirit sent from France but instead ending up with more than he bargained for when the outgoing Stéphane turns up in his quiet Canadian town.
It was released in the United States and Canada on July 30, 2021, by Elevation Pictures and Quiver Distribution.
Plot
[edit]
Winter 1986, a small Canadian town called Hobart which is still suffering the effects of financial recession.
Tim, a student with pretensions of sophistication, enters a student exchange program in hopes the French student will share his love of the cultured things in life. Something he feels is sorely lacking in his provincial classmates. To his dismay the exchangee, Stéphane, is not what he expected. Outgoing, fashion conscious, with a healthy appetite for sex and little interest in "culture". Stéphane is initially able to quickly charm those around him like teaching assistant Diane. Even her domineering boyfriend Gary Rothbauer, school gym teacher and local part-time policeman, initially takes to Stéphane. Partly because he laughed at his joke but also due to his soccer skills.
Walking with Diane, Gary decides to take advantage of a closing down sale. Leaving Diane outside to hold the shopping, he bullies the owner into a better deal on already discounted shoes. The final straw for the bankrupt shop-keep, while seemingly going to fetch stock, instead goes to the top of his shop to jump off. Unaware, Diane is in his path. Passing on the other side of the street with Tim, Stéphane spots what is about to happen and rushes to sweep Diane off her feet out of danger. Diane is saved and the shop-keep is unharmed. Stéphane is hailed a hero, to the chagrin of Gary and further overshadowing Tim. Stéphane quickly becomes more popular, excelling at making friends and wooing the girls. During a ride home from school Tim sits awkwardly in the front with Brenda Crowfoot (a classmate with a crush on him) while Stéphane energetically has sex in the backseat with classmate Mary. Stéphane even manages to give sage advice to Tim's father about sharing his mounting business woes with his wife. Tim's father in return tries to help the young exchange student bond with his son, leading Stéphane and Tim to an eventful night-time drive.
Not everything goes smoothly for Stéphane, The school bullies target him for racist abuse by pasting his photo onto a newspaper about terrorists. Persistent goading on the soccer field leads to Stéphane headbutting the offending player. Gary uses the red carding as pretext to denigrate the benched player leading to a heated outpouring against the town and its White Squirrel mascot from Stéphane. Seeing Gary's jealous and spiteful behavior for what it is Diane breaks up with him.
With his relations with the town souring, Stéphane's rocky friendship with Tim takes a nosedive. Earlier Stéphane had swapped Tim's presentation video for one the pair had drunkenly made wherein Tim proclaimed his appreciation for Brenda, with the intent she will see it and the two will finally get together. Instead the video ends up played for the whole class, humiliating Tim and driving a wedge between the friends. Stéphane moves out of Tim's home to stay with Brenda and her brothers, the Crowfoots. The Crowfoots are themselves on the outskirts of town "polite society" being First Nations and thus sympathetic to Stéphane's treatment by the other townspeople.
When the White Squirrel float is found destroyed Stéphane is blamed, Gary particularly insistent he's the culprit. At the White Squirrel parade Stéphane is arrested in front of the whole town. Tim, despite their differences, makes an impassioned plea in his defense with his father stepping forward with an alibi. The suspicion of guilt falls on Gary, who first protests, offering his alibi of having sex with Diane at the time. However, she is among the crowd and angrily refutes this claim, having previously broken up with him. Caught very publicly in a lie and crime, Gary makes a run for it but is quickly clotheslined by Brenda's brother and arrested. A now exonerated Stéphane and Tim patch up their relationship. Events prove cathartic for many as Tim's parents finally discuss their financial problems openly while Tim and Brenda kiss.
A reversal of the film's plot sees Tim has traveled to France as an exchange student to be among Stéphane's friends in Paris at the end.
Cast
[edit]
Ed Oxenbould as Tim
Avan Jogia as Stéphane
Justin Hartley as Gary Rothbauer
Jennifer Irwin as Sheila
Paul Braunstein as Glenn
Jayli Wolf as Brenda
Kathy Greenwood as Mrs. Fleming
Melanie Leishman as Diane
Rodrigo Fernandez-Stoll as Kevin
Brandon Oakes as Neil Crowfoot
Production
[edit]
In April 2019, it was announced Ed Oxenbould, Avan Jogia and Justin Hartley had joined the cast of the film, with Dan Mazer directing from a screenplay by Tim Long.[2]
Principal photography began in April 2019.[3] Filming took place in Almonte, Carleton Place, and Ottawa, Ontario.[3] The film is set in the fictional town of Hobart, Ontario, a thinly-disguised version of Long's hometown of Exeter.[4]
Costume designer was Lea Carlson, responsible for the 80's fashions worn by the film's characters.[5]
Release
[edit]
In May 2021, Quiver Distribution acquired US distribution rights to the film.[6][7] It was released in the United States and Canada on July 30, 2021.[8][9]
Reception
[edit]
The review aggregator website Rotten Tomatoes surveyed six critics and, categorizing the reviews as positive or negative, assessed five as positive and one as negative for a 83% rating. Among the reviews, it determined an average rating of 6.70 out of 10.[10]
In 2023, Barry Hertz of The Globe and Mail named the film as one of the 23 best Canadian comedy films ever made.[11]
Accolades
[edit]
Year Award Category Recipient(s) Result Ref. 2022 10th Canadian Screen Awards Best Art Direction/Production Design Nigel Churcher Nominated [12][13] Costume Design Lea Carlson Nominated Best Hair Debra Johnson Nominated
References
[edit]
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https://www.pelhamfuneral.com/obituaries/douglas-hearle
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en
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Douglas G. Hearle Obituary 2018
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2022-11-04T15:14:53
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Born into a family of policemen, Doug charted a course of his own. Although he took the NYPD exam, while he awaited the results, he was offered a job as a cub reporter for The J...
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Pelham Funeral Home
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https://www.pelhamfuneral.com/obituaries/douglas-hearle
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Thursday, September 6, 2018
4:00 - 8:00 pm (Eastern time)
Friday, September 7, 2018
11:00am - 12:00 pm (Eastern time)
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Xchange (2001)
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Xchange is a film directed by Allan Moyle with Stephen Baldwin, Kyle MacLachlan, Kim Coates, Amy Sloan .... Year: 2001. Original title: Xchange. Synopsis: In the near future, a company called Xchange owns a mind transference technology that enables instantaneous travel by swapping bodies with someone at the destination. A member of the privileged ...You can watch Xchange through flatrate,Rent,buy,ads,free on the platforms: Amazon Prime Video,Amazon Prime Video with Ads,Amazon Video,Apple TV,Fandango At Home,The Roku Channel,VUDU Free,Freevee,Plex,Plex Channel
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FilmAffinity
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https://www.filmaffinity.com/us/film661406.html
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Is the synopsis/plot summary missing? Do you want to report a spoiler, error or omission? Please send us a message.
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3509
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https://en.wikipedia.org/wiki/The_Taking_of_Pelham_One_Two_Three_(1974_film)
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The Taking of Pelham One Two Three (1974 film)
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https://en.wikipedia.org/wiki/The_Taking_of_Pelham_One_Two_Three_(1974_film)
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1974 American thriller film directed by Joseph Sargent
The Taking of Pelham One Two ThreeDirected byJoseph SargentScreenplay byPeter StoneBased onThe Taking of Pelham One Two Three
1973 novel
by John GodeyProduced byStarringCinematographyOwen RoizmanEdited byMusic byDavid Shire
Production
companies
Distributed byUnited Artists
Release date
Running time
104 minutesCountryUnited StatesLanguageEnglishBudget$3.8 million[2]
The Taking of Pelham One Two Three (also known as The Taking of Pelham 1 2 3) is a 1974 American crime drama film[1] directed by Joseph Sargent, produced by Gabriel Katzka and Edgar J. Scherick, and starring Walter Matthau, Robert Shaw, Martin Balsam, and Héctor Elizondo.[3] Peter Stone adapted the screenplay[3] from the 1973 novel of the same name written by Morton Freedgood under the pen name John Godey.
The title is derived from the train's radio call sign, which is based upon where and when the train began its run; in this case, the train originated at the Pelham Bay Park station in the Bronx at 1:23 p.m. For several years after the film was released, the New York City Transit Authority would not schedule any train to leave Pelham Bay Park station at 1:23.[4]
The film received critical acclaim. Several critics called it one of 1974's finest films, and it was a box office success.[5] As in the novel, the film follows a group of criminals taking the passengers hostage inside a New York City Subway car for ransom. Musically, it features "one of the best and most inventive thriller scores of the 1970s".[6] It was remade in 1998 as a television film and in 2009 as a theatrical film.
Plot
[edit]
In New York City, four men wearing similar disguises and carrying concealed weapons board the same downtown 6 train, Pelham 1-2-3, at different stations. Using the codenames Mr. Blue, Mr. Green, Mr. Grey, and Mr. Brown, they take 18 people, including the conductor and an undercover police officer, hostage in the first car.
Communicating over the radio with New York City Transit Police lieutenant Zachary Garber, Blue demands a US$1 million (equivalent to $4.8 million in 2023) ransom to be delivered exactly within one hour or he will kill one hostage for every minute it is late. Green sneezes periodically, to which Garber always responds, "Gesundheit". Garber, Lt. Patrone and others cooperate while speculating about the hijackers' escape plan. Garber surmises that one hijacker must be a former motorman since they were able to uncouple the head car and park it down the tunnel below 28th Street.
Conversations between the hijackers reveal that Blue is a former British Army colonel and was a mercenary in Africa; Green was a motorman caught in a drug bust; and Blue does not trust Grey, who was ousted from the Mafia for being erratic. Just then, Grey shoots and kills transit supervisor Caz Dolowicz, sent from Grand Central, as he approaches the stalled train.
The ransom is transported uptown in a speeding police car that crashes well before it reaches 28th Street. As the deadline is reached, Garber bluffs Blue by claiming that the money has reached the station entrance and just has to be walked down the tunnel to the train. Meanwhile, a police motorcycle arrives with the ransom. As two patrolmen carry the money down the tunnel, one of the many police snipers in the tunnel shoots at Brown, and the hijackers exchange gunfire with the police. In retaliation, Blue kills the conductor.
The money is delivered and divided among the hijackers. Blue orders Garber to restore power to the subway line, set the signals to green all the way to South Ferry, and clear the police from stations along the route. Before the process is complete, however, Green moves the train farther south. When Garber becomes alarmed, Blue explains that he wanted more distance from the police inside the tunnel.
The hijackers override the dead man's switch so that the train will run without anyone at the controls. Garber joins Inspector Daniels above ground where the train stopped. The hijackers set the train in motion and get off. As they walk to the tunnel's emergency exit, the undercover officer jumps off the train and hides between the rails. Unaware that the hijackers have left the train, Garber and Daniels drive south above its route. With no one at the controls, the train gains speed.
The hijackers collect their disguises and weapons for disposal, but Grey refuses to surrender his gun, resulting in a stand-off with Blue, who shoots him dead. The undercover officer shoots Brown dead and exchanges fire with Blue, while Green escapes through an emergency exit onto the street.
Garber, contemplating the train's suspicious last movement, concludes that the hijackers bypassed the dead-man feature and are no longer on board. He returns to where the train had stopped, enters the same emergency exit from street level, and confronts Blue as he is about to kill the undercover officer. With no escape, Blue electrocutes himself by deliberately placing his foot against the third rail.
Meanwhile, Pelham 1-2-3 hurtles through the southbound tunnel. When it enters the South Ferry loop, its speed triggers the automatic safeties. It screeches to a halt, leaving the hostages bruised but safe.
Since none of the three dead hijackers was a motorman, Garber surmises that the lone survivor must be. Working their way through a list of recently discharged motormen, Garber and Patrone knock on the door of Harold Longman (Green). After hastily hiding the loot, Longman lets them in, bluffs his way through their interrogation, and complains indignantly about being suspected. Garber vows to return with a search warrant. As Garber closes the apartment door behind him, Longman sneezes, and Garber reflexively says "Gesundheit", as he had over the radio. Garber re-opens the door and gives Longman a caustic, knowing stare.
Cast
[edit]
Walter Matthau as Lt. Garber
Robert Shaw as Blue
Martin Balsam as Green
Héctor Elizondo as Grey (as Hector Elizondo)
Earl Hindman as Brown
James Broderick as Denny Doyle
Dick O'Neill as Correll
Lee Wallace as the Mayor
Tom Pedi as Caz Dolowicz
Beatrice Winde as Mrs. Jenkins
Jerry Stiller as Lt. Rico Patrone
Nathan George as Ptl. James
Rudy Bond as Police Commissioner
Kenneth McMillan as Borough Commander (as Kenneth Mc Millan)
Doris Roberts as mayor's wife
Julius Harris as Inspector Daniels
Production
[edit]
Godey's novel was published in February 1973 by Putnam, but Palomar Productions had secured the film rights, and Dell had bought the paperback rights months earlier in September 1972. The paperback rights sold for US$450,000 (equivalent to $3.28 million in 2023).[7]
Godey (Morton Freedgood) was a "subway buff".[8] The novel and the film came out during the so-called "Golden Age" of skyjacking in the United States from 1968 through 1979. Additionally, New York City was edging toward a financial crisis; crime had risen citywide (as depicted in the contemporaneous film Death Wish); and the subway was perceived as neither safe nor reliable.
At first, the Metropolitan Transportation Authority (MTA) refused to cooperate with the filmmakers. Godey's novel was more detailed about how the hijackers would accomplish their goal and recognized that the caper's success did not rely solely on defeating the "deadman feature" in the motorman's cab. Screenwriter Stone, however, made a fictional override mechanism the linchpin of the script. Director Sargent explained, "We're making a movie, not a handbook on subway hijacking ... I must admit the seriousness of Pelham never occurred to me until we got the initial TA reaction. They thought it potentially a stimulant—not to hardened professional criminals like the ones in our movie, but to kooks. Cold professionals can see the absurdities of the plot right off, but kooks don't reason it out. That's why they're kooks. Yes, we gladly gave in about the 'deadman feature'. Any responsible filmmaker would if he stumbled onto something that could spread into a new form of madness."[2]
For several years after the film was released, the New York City Transit Authority would not schedule any train to leave Pelham Bay Park station at 1:23. Although this policy was eventually rescinded, dispatchers have generally avoided scheduling a Pelham train at 1:23 p.m. or a.m.[4]
Sargent said, "It's important that we don't be too plausible. We're counting on the film's style and charm and comedy to say, subliminally at least, 'Don't take us too seriously.'"[2] The credits have a disclaimer that the Transit Authority did not give advice or information for use in the film.
After eight weeks of negotiations, and through the influence of Mayor John Lindsay, the MTA relented, but required that the producers take out $20 million in insurance policies, including special "kook coverage" in case the movie inspired a real-life hijacking.[2] This was in addition to a $250,000 fee for use of the track, station, subway cars, and TA personnel.
The TA also insisted that no graffiti appear in the film. Graffiti had become increasingly prevalent on trains starting in 1969. Mayor Lindsay had first announced his intention to remove graffiti in 1972,[9] but the last graffiti-covered car was not removed from service until 1989. "New Yorkers are going to hoot when they see our spotless subway cars", Sargent said. "But the TA was adamant on that score. They said to show graffiti would be to glorify it. We argued that it was artistically expressive. But we got nowhere. They said the graffiti fad would be dead by the time the movie got out. I really doubt that."[2]
Other changes included beefing up Matthau's role. In the novel, Garber is the equivalent of the Patrone character in the film. "I like the piece", Matthau said. "It moves swiftly and stays interesting right down to the wire. That's the reason I wanted to do it. The TA inspector I play is really a supporting role—they built it up a bit when I expressed interest in it—but it's still secondary."[2] In the novel, Inspector Daniels confronts Mr. Blue in the tunnel during the climax. Additionally, screenwriter Peter Stone gave the hijackers their color code names, with hats whose colors matched their code names, and the Longman character his telltale cold.
Filming began on November 23, 1973, and was completed in late April 1974.[10] The budget was $3.8 million.[2]
Filming locations
[edit]
Production began with scenes inside the subway tunnel. These were filmed over the course of eight weeks on the local tracks of the IND Fulton Street Line at the abandoned Court Street station in Brooklyn. Closed to the public in 1946, it became a filming location and later home to the New York Transit Museum. Among other films, the Court Street station was used for The French Connection (1971), Death Wish (1974), and the 2009 remake of Pelham.
The production company set up chess boards, card tables, and ping pong tables along the Court Street platform for cast and crew recreation between set-ups. Robert Shaw apparently beat all comers in ping pong.[11]
Although this was an abandoned spur of track, passing A, E, and GG trains rumbled through adjacent tracks on their regular schedules. Dialogue that was marred by the noise was later post-dubbed. The third rail, which carries 600 volts of direct current, was shut off, and three protective bars were placed against the rail, but the cast and crew were told to treat it as if it were still live. "Those TA people ... are super careful", Sargent said. "They anticipate everything. By the fifth week we were dancing our way through those tunnels like nobody's business. They were expecting that, too. That's when they told us of the fatalities in the tunnels. They're mostly old-timers. The young guys still have a healthy fear of the place."[2]
"There was one scene where Robert Shaw was to step on the third rail", Sargent recalled. "When we were rehearsing the scene, Shaw accidentally stubbed his toe and the sparks from his special-effects boot flew everywhere. He turned white as a sheet. We had eight weeks of that. I think we got out just in time. It was like coal mining."[2]
According to a notation on IMDb[better source needed], the crew wore surgical masks during the tunnel scenes.[11] Shaw's biographer, John French, reported: "There were rats everywhere and every time someone jumped from the train, or tripped over the lines, clouds of black dust rose into the air, making it impossible to shoot until it had settled."[12]
Matthau, who had one scene in the tunnel, said, "There are bacteria down there that haven't been discovered yet. And bugs. Big ugly bugs from the planet Uranus. They all settled in the New York subway tunnels. I saw one bug mug a guy. I wasn't down there a long time—but long enough to develop the strangest cold I ever had. It stayed in my nose for five days, then went to my throat. Finally I woke up one morning with no voice at all, and they had to shut down for the day."[2]
According to Backstage, the film makers were the first to use a "flash" process developed by Movielab to bring out detail when shooting with low light in the tunnel. The process reportedly increased film speed by two stops. It allowed the film makers to use fewer lights and generators and cut five days out of the schedule.[13]
At least two R22 trains portrayed Pelham 1-2-3. As it enters 28th Street station, the head car is labeled 7339. However, in an early scene at Grand Central, 7339 is seen on the express track across the platform. Later, after being cut from the rest of the train, the head car is labeled 7434.[14] R22 cars first went into service in April 1957 and the vast majority of the 450 cars were scrapped in 1987.
After two months in the tunnel, production moved to Filmways Studios at 246 East 127th Street in East Harlem, where a replica of the Transit Authority's Brooklyn control center was constructed. Built around 1920 as Cosmopolitan Studios, the facility was leased in 1928 by MGM for sound production and purchased by Filmways in 1959. Among later films shot there were Butterfield 8 (1960), The Godfather (1972), The Wiz (1978), and Manhattan (1979). The building was demolished in the 1980s.
The exterior street scenes above the hijacked subway train were filmed at the subway entrance at 28th and Park Avenue South in Manhattan. The mayor's residence, Gracie Mansion, was used for exteriors. Wave Hill, a nineteenth-century mansion overlooking the Hudson in Riverdale, Bronx, was used for the interior scenes set in Gracie Mansion.[15]
Music
[edit]
The score, composed and conducted by David Shire, "layers explosive horn arrangements and serpentine keyboard riffs over a rhythm section that pits hard-grooving basslines against constantly shifting but always insistent layers of percussion".[6] Shire used the 12-tone composition method to create unusual, somewhat dissonant melodic elements.[16] The soundtrack album was the first CD release by Film Score Monthly and was later released by Retrograde Records.[16] The end titles contain a more expansive arrangement of the theme, courtesy of Shire's wife at the time, Talia Shire, who suggested that he end the score with a more traditional ode to New York.[17]
Release
[edit]
The Taking of Pelham One Two Three was released on October 2, 1974.[1]
Critical reception
[edit]
The film was well received by critics. Variety called it "a good action caper" but "the major liability is Peter Stone's screenplay, which develops little interest in either Matthau or Shaw's gang, nor the innocent hostages" who are "simply stereotyped baggage". While the trade paper complained that the Mayor was "played for silly laughs", it called Shaw "superb in another versatile characterization".[18]
BoxOffice thought that "some of the excitement has been lost" translating the novel to the screen, but "there is entertainment value in Peter Stone's screenplay".[19]
Nora Sayre of The New York Times thought it captured the mood of New York and New Yorkers. "Throughout there's a skillful balance between the vulnerability of New Yorkers and the drastic, provocative sense of comedy that thrives all over our sidewalks. And the hijacking seems like a perfectly probable event for this town. (Perhaps the only element of fantasy is the implication that the city's departments could function so smoothly together). Meanwhile, the movie adds up to a fine piece of reporting—and it's the only action picture I've seen this year that has a rousing plot."[20]
The film was one of several released that year that gave New York a bad image, including Law and Disorder, Death Wish, Serpico, and The Super Cops. Vincent Canby, another New York Times critic, wrote, "New York is a mess, say these films. It's run by fools. Its citizens are at the mercy of its criminals who, as often as not, are protected by an unholy alliance of civil libertarians and crooked cops. The air is foul. The traffic impossible. Services are diminishing and the morale is such that ordering a cup of coffee in a diner can turn into a request for a fat lip." But The Taking of Pelham One Two Three, "compared to the general run of New York City films, is practically a tonic, a good-humored, often witty suspense melodrama in which the representatives of law and decency triumph without bending the rules."[21]
The Boston Globe called it "fast, funny and fairly terrifying", and "a nerve-racking ride", and appreciated the "wry humor" of Stone's script. It tapped into a darker reality: "A short time ago subways were safe; today some of them are full of the dark rage of asylums. And who really is to say a Pelham-type incident is out of the question?"[22]
Charles Champlin of the Los Angeles Times called it "coarse-textured and effective, a cartoon-vivid melodrama and not, it's nice to know, a case study of psychopathic behavior. 'Pelham' is in fact the best to date of the new multiple-jeopardy capers, fresh, lively and suspenseful... . There are some marvelously managed scenes in the subway tunnels and on teeming platforms and at the barricaded street-level entrances. The subway nerve center is fascinating, and indeed one of the pleasures of the film is its glimpse of how things work... . The violence is handled with restraint; the dangers are mixed with raucous humor and what stays clear is that the aim is swift entertainment."[23]
Roger Ebert's contemporary review gave the film 3 out of a possible 4 stars. He praised the film's "unforced realism", and the supporting characters who elevated what could have been a predictable crime thriller: "we care about the people not the plot mechanics. And what could have been formula trash turns out to be fairly classy trash, after all."[24]
Gene Siskel also gave the film 3 out of 4 stars, describing it as a "solid new thriller laced with equal amounts of tension and comedy."[25]
The film holds a 98% score on Rotten Tomatoes based on 44 reviews and a weighted average of 8.3/10. The site's consensus reads: "Breezy, thrilling, and quite funny, The Taking of Pelham One Two Three sees Walter Matthau and Robert Shaw pitted against each other in effortlessly high form".[26]
Accolades
[edit]
BAFTA Awards
1976: Nominated, "Best Film Music"—David Shire
1976: Nominated, "Best Supporting Actor"—Martin Balsam
Writers Guild of America Award
1975: Nominated, "Best Drama Adapted from Another Medium"—Peter Stone
Remakes
[edit]
In 1998, the film was remade as a television film with the same title, with Edward James Olmos in the Matthau role and Vincent D'Onofrio replacing Shaw as the senior hijacker.[citation needed] Although not particularly well received by critics or viewers, this version was reportedly more faithful to the book, though it revised the setting with new technologies.[citation needed]. It was filmed in Toronto, Ontario, and is jokingly referred to as “The Taking of Bloor Street 123”.
Another remake set in a post 9/11 New York City directed by Tony Scott and starring Denzel Washington and John Travolta, was released in 2009 to mixed reviews.[27]
Legacy
[edit]
The color-coded thieves’ names in Reservoir Dogs were a deliberate homage by Quentin Tarantino to The Taking of Pelham One Two Three.[28]
See also
[edit]
List of American films of 1974
The Incident (1967)
References
[edit]
|
||||||
3509
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dbpedia
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2
| 95 |
https://wbkr.com/is-elvis-alive-and-living-in-ky/
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Satire Site Has Folks Believing Elvis is Alive and Living in KY
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"Spencer Brister",
"Dave Spencer"
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2024-07-28T16:04:48+00:00
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A satire site asserting that Elvis MIGHT be alive and living incognito in Kentucky has accomplished its mission.
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en
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WBKR
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https://wbkr.com/is-elvis-alive-and-living-in-ky/
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The following topic of conversation came up recently: "What was the first news story you remember following as a kid?"
My answer was the Iran hostage crisis from 1979 through 1981 which lasted for 444 days. Later, however, I remembered the breaking news of August 16th, 1977. I'll never forget programming being interrupted with the news of the death of Elvis Presley. That was, in fact, the first time I ever remember seeing some form of "Breaking News" announcement come across the TV screen.
A monumental news item if ever there was one, the news of Presley's passing was a gut punch. Yes, celebrities--BIG ones--had died before, but Elvis's death was just...different. It felt weird. It kept feeling weird. And, for some, it felt SO weird that they didn't accept it. And during the 47 years since his passing, theories about him still being alive have frequently resurfaced.
Inside Edition even devoted a segment to a belief that a bearded man at Graceland on Elvis's 82nd birthday was Elvis himself:
Fast forward to 2024, and we have an 89-year-old Kentucky man named John Burroughs whom Pulaski County residents or anyone who's seen him really believe is Elvis Presley. The fact he's the same AGE as Presley would be only fuels the theory.
Burroughs is a quiet man, rarely venturing into town, but he HAS been asked about his uncanny resemblance to the rock icon, and he just laughs it off.
Now...check out the source of this story:
The Somerset Insider is an accomplished satire site on Facebook. With the Elvis lookalike story, I believe they have accomplished a mission. In the comment sections of both, you'll see references to artificial intelligence. And when I saw the "John Burroughs" image, that's what I thought, too.
This image reminds me of all those "here's what they would look like if they were still alive" images that pop up in my feed all the time.
But, wait a minute, this isn't Elvis. It's John Burroughs, right? 😉
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https://coolidge.org/films/dark-knight
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en
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The Dark Knight
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Why so serious? Christian Bale and director Christopher Nolan reunited following their blockbuster success with Batman Begins, joined by Heath Ledger in an Academy Award-winning turn as The Joker.
|
en
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/themes/coolidge/favicon.ico
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Coolidge Corner Theater
|
https://coolidge.org/films/dark-knight
|
Why so serious?
Christian Bale and director Christopher Nolan reunited following their blockbuster success with Batman Begins, joined by Heath Ledger in an Academy Award-winning turn as The Joker.
With the help of Lieutenant Jim Gordon (Gary Oldman) and new district attorney Harvey Dent (Aaron Eckhart), Batman sets out to destroy organized crime in Gotham City forever. The three enjoy early success, but they soon find themselves prey to a rising criminal mastermind known as The Joker (Ledger), who throws Gotham into anarchy and forces Batman ever closer to crossing the line between hero and vigilante.
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https://thepageaholic.wordpress.com/2021/09/27/the-reading-of-pelham-1-2-3-lord-edward-bulwer-lytton-pelham-or-adventures-of-a-gentleman/
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en
|
The Reading of Pelham, 1, 2, 3: Lord Edward Bulwer-Lytton – “Pelham, or Adventures of a Gentleman”
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2021-09-27T00:00:00
|
For about half a century or so, people who have never bothered to read Sir Edward Bulwer-Lytton have been crapping on him based on one supposedly bad line: “It was a dark and stormy night.” Some nights ARE dark and stormy, though. For the record, both Edgar Allan Poe in “A Bargain Lost” and Madeleine…
|
en
|
HANSEL CASTRO'S HALLUCINA
|
https://thepageaholic.wordpress.com/2021/09/27/the-reading-of-pelham-1-2-3-lord-edward-bulwer-lytton-pelham-or-adventures-of-a-gentleman/
|
For about half a century or so, people who have never bothered to read Sir Edward Bulwer-Lytton have been crapping on him based on one supposedly bad line: “It was a dark and stormy night.” Some nights ARE dark and stormy, though. For the record, both Edgar Allan Poe in “A Bargain Lost” and Madeleine L’Engle in “A Wrinkle in Time” have used the exact same line, without detriment to their literary reputations. Look, if it’s good enough for Snoopy, it’s good enough for me.
Here’s another famous Bulwer-Lytton line you might have heard: “The pen is mightier than the sword.” Why not praise him for THAT one? I don’t pretend that we need to resurrect the bulk of Bulwer-Lytton’s work for the masses, in the same way that we don’t need to resurrect Disraeli or George Du Maurier or George Meredith. But I wager there’s plenty of readable stuff in the Lord’s catalogue (I recall enjoying “Alice, or the Mysteries” years ago.) As a successor to Walter Scott, Bulwer-Lytton’s historical romances are considered some of the best in the English language. “The Last Days of Pompeii” remains a tour-de-force. “Rienzi, Last of the Tribunes” was adapted by Wagner and “Harold, Last of the Saxons” was adapted by Verdi. I’m saying it’s probably absurd to pretend the dude sucked, considering both his success and influence.
Bulwer-Lytton’s first big hit was 1828’s “Pelham” (“Or Adventures of a Gentleman”) a bildungsroman/ roman-a-clef that caused minor societal convulsions: some characters were recognizable, merciless lampoons of Victorian celebs. The novel is cosmopolitan in its frankness, far from the stuffiness one associates with an era in which, the joke goes, people covered those sexy piano “legs” out of prudishness. (If anyone did cover piano legs, it was just for an excessive love of decoration.)
Still, “Pelham” is pretty out there for the 1820s! It begins with young Henry Pelham matter-of-factly reminiscing on his parents near-divorce:
“The end of the season was unusually dull, and so my mother decided to elope with her new lover.” Lady Pelham’s elopement goes comically awry when, just before getting into her lover’s coach, she remembers to go back for her favorite china and her French poodle… and accidentally runs into Lord Pelham, who is forced to pretend to be upset about the infidelity in front of the servants: “Had they met each other alone, the affair might easily have been settled, and Lady Frances gone off in tranquillity. Those damned servants are always in the way!” Young Pelham has since consoled himself: “I have, however, often thought that it was better for me that the affair ended in this manner, since it is frequently inconvenient to have a divorced mother.”
And a mother like Lady Frances Pelham is priceless, with so much endless wisdom for her son that she might as well have also birthed Oscar Wilde. Some of her lines:
“In marriage a man lowers a woman to his own rank; in an affair, he raises himself to hers.”
“A fool, my dear Henry, flatters himself; a wise man flatters the fool.”
“It is very different with French people than with our countrymen; in France, it is acceptable to seem to have emotions.”
Pelham clearly benefited from his mother’s witticisms.
Of a bleak, desolate, barren seashore, he says: “a spot upon which any creature would have starved, except perhaps a seagull or a Scotsman.”
Of his (mis) education studying Greek and Roman classics at Eton: “I didn’t learn a syllable of English, but I spent 8 years acquiring a great amount of information which, as you can imagine, I entirely forgot by the age of 25.”
His rank as nobility earns him an “honorary” degree at Cambridge, “which is the opposite of those honorable degrees obtained by pale people with spectacles after 36 months of exertions.”
We follow Henry as he travels through France with an acquaintance, the sarcastic Lord Vincent, “one of those writers who are promising young talents well into their seventies, and who are always working on something which is going to be published any day now.” (Attack felt.) Lord Vincent has the habit of following every withering putdown with a Greek or Latin quotation; (here is hard to tell whether Bulwer-Lytton is knowingly mocking himself, or if this is a case of “Potus vocatio Kettleus nigreos” (Horace.)
But it’s Pelham’s friendship with the mysterious Reginald Glanville that gives the novel its shape: Pelham tries to solve the mystery behind his friend’s bizarre behavior, while romancing Reginald’s sister, Ellen. Also, there’s murder afoot; so much so that in “Pelham” earns the distinction of being considered, however loosely, one of the earliest “detective” novels in Stephen Knight’s “Chronology of Crime Fiction.”
“Pelham” is not just a shallow social satire with mystery and romantic elements, though. The young gentleman also gets to witness the more serious intellectual exchanges of the period. Here’s some Parisian salon repartee, which might as well be Bulwer-Lytton’s meditation upon his own novel’s durability:
“Works that treat man in his relation to society, can only be strictly applicable so long as that relation and that society do not change. The play which satirizes a particular class, however deep its reflections, must necessarily be obsolete when the class itself has become so. The political pamphlet admirable for one state, may be absurd in another. The novel which exactly delineates the present age will seem strange and unfamiliar to the next. These works must often confine their popularity to the age and the country in which they were written. But the work that seizes, discovers, and analyzes the human mind as it is, whether ancient or modern, savage or European, is useful to all times and all nations. He who discovers the origin of ideas must be a philosopher to every person who has ideas; but he who delineates the manners of one country or one age is only the philosopher of that country and that age. Yet Hume holds the contrary opinion to this, and considers a good comedy of manners more durable than a system of philosophy. Hume is right, of course… if a system of philosophy is understood to be a pile of guesses, false but plausible, set up by one age to be destroyed by the next. Ingenuity cannot rescue Error from oblivion; but when Wisdom has discovered Truth, she has obtained Immortality.”
(The punchline, though, is that Pelham almost falls asleep listening to this exchange.)
If the era interests you at all, “Pelham” is a surprisingly fast-paced read, and superior to a lot of more “nutritional” stuff that has been prescribed by joyless literary dieticians. Kind of like a Jane Austen novel, if Jane Austen had been funny or gotten laid.*
*#bookstagram, hold the fatwa.
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https://en.kinorium.com/name/503700/
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https://tv.apple.com/gb/person/christopher-pelham/umc.cpc.2vz82o36mvwoc3gknukttef7r
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en
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Christopher Pelham Films and Shows â Apple TV (UK)
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Learn about Christopher Pelham on Apple TV. Browse shows and movies that include Christopher Pelham, such as Xchange.
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Apple TV
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https://tv.apple.com/gb/person/christopher-pelham/umc.cpc.2vz82o36mvwoc3gknukttef7r
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https://www.jsu.edu/english/faculty-staff/christopher-douglas.html
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en
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Department of English
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Associate Professor
(he/him/his)
203 Stone Center
[email protected]
Dr. Douglas, originally from Illinois, came to JSU in the fall of 2019 after working as an Instructor of English at the University of Alabama from 2016-2019. He has a Ph.D. in eighteenth- and nineteenth-century transatlantic literature. Dr. Douglas taught English as a Foreign Language at Wada Jr. High School in Minamiboso City, Chiba Prefecture, Japan before beginning his graduate studies in America. His dissertation work is on the moral agency of it-narratives, stories narrated by non-humans (animals, objects, and the occasional ghost), in eighteenth and nineteenth century literature. He has published on it-narratives in ESQ and JNT and has published a pandemic teaching reflection in Digital Defoe and pandemic-informed reading in the Nathaniel Hawthorne Review. Dr. Douglas also has a forthcoming book chapter on 19th-century children’s it-narratives in Animal Satire (Palgrave MacMillan) and has selections in the forthcoming Cambridge Guide to the Eighteenth-Century Novel, 1660-1820. A co-edited collection of scholarly essays, “I’m Just a Comic Book Boy”: Essays on the Intersection of Comics and Punk, was published by McFarland & Co, in 2019. While he is not teaching, Dr. Douglas enjoys spending time with his rescue dog, and he considers himself an amateur baker and powerlifter.
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https://m.openjurist.org/550/f2d/1180
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550 F2d 1180 United States v. W Wise
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550 F.2d 1180
194 U.S.P.Q. 59
UNITED STATES of America, Plaintiff-Appellee,
v.
Woodrow W. WISE, Jr., dba Hollywood Film Exchange,
Defendant-Appellant.
No. 76-1141.
United States Court of Appeals,
Ninth Circuit.
JAMESON, District Judge:
Factual Background
Issues
Constitutionality of 17 U.S.C. § 104
Constitutionality of 17 U.S.C. § 27
Collateral Estoppel
Sufficiency of Evidence
A. Infringement
1. License Agreements
2. V.I.P. Contracts
3. Salvage
4. Application of First Sale Doctrine
B. Willfulness
C. Profit
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http://www.stoneriverpress.com/store.asp
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Stone River Press
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Stone River Press is a small regional press dedicated to publishing the literature of Texas.
| null |
VITTLES & CHAMPAGNE
Recipes by Friends of Abandoned Animal Rescue
Edited by Jackie Pelham
264 pages of over 250 recipes by 99 contributors. Many recipes include nostalgic, funny and downhome essays about the recipe. Fun to read, delicious to prepare.
HERE'S TO NOAH, BLESS HIS ARK AND OTHER MUSINGS
Essays and Nonfiction Prose By Paul Ruffin
In this eclectic collection of familiar essays and pieces from his weekly newspaper column, Ruffin-It, novelist, short story writer, poet and essayist Paul Ruffin gives us a broad sampling of his nonfiction prose.
Choose Paperback or Hardcover
HEART SPEAK, Monologues for Men and Women
by Christopher Woods
Dramatist, poet, short story writer Christopher Woods has a knack for getting to the heart of a character that is hard to match.
UNDER THE ROSE
by Jacqueline Pelham
From the drawing rooms of the upper echelons of French aristocracy, to a repository for looted treasures, through the sewers of Paris, and along the ramparts of a château in the Loire Valley, the unlikeliest of spies is pursued by an SS Colonel with only one desire: to possess her body and soul and to gain control of her family fortune.
FALL FROM INNOCENCE, Memoirs of the Great Depression
Edited by Guida Jackson and Jackie Pelham
From north to south, east to west, these memoirs are a testimony to the devastating years following the stock market crash of 1929.
FOOD FOR THOUGHT, EZ Recipes & Poetry by Texas Poets
Edited by Jackie Pelham
210 pages with 66 Texas Poets and over 300 recipes and over 100 poems and short sayings along with note pages at the end of each section and contributors' bios.
|
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https://www.imdb.com/title/tt0242150/reviews
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Xchange (2001)
|
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Xchange (2001) on IMDb: Movies, TV, Celebs, and more...
|
IMDb
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https://flixchatter.net/2009/06/22/flixchatter-review-the-taking-of-pelham-123/
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Flixchatter Review: The Taking of Pelham 123
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2009-06-22T00:00:00
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Ok now, The Taking of Pelham 123 is yet another remake (clearly Hollywood's long been out of original ideas!) of a subway train being hijacked. It's a simple premise really, but director Tony Scott managed to inject enough tension and sharp dialogue to keep audience engaged. This is a story of an ordinary man forced into…
|
en
|
https://secure.gravatar.com/blavatar/225aac6afd707ff13fc3778958ac47dc07423746258fea5e75a42e1afbaf731e?s=32
|
FLIXCHATTER FILM BLOG
|
https://flixchatter.net/2009/06/22/flixchatter-review-the-taking-of-pelham-123/
|
Ok now, The Taking of Pelham 123 is yet another remake (clearly Hollywood’s long been out of original ideas!) of a subway train being hijacked. It’s a simple premise really, but director Tony Scott managed to inject enough tension and sharp dialogue to keep audience engaged. This is a story of an ordinary man forced into extraordinary circumstances, played brilliantly by Denzel Washington. The normally dashing Oscar winner was able to convince us he’s just a regular joe in a not-so-regular day at work. Compared to his debonair and opulent look in American Gangster with his sharply-pressed suit, he’s almost entirely transformed here. Most of the time, his character Walter Garber looks perplexed and frazzled, but yet you still gets a sense he’d get the job done and carry the day in the end.
John Travolta’s role offers a strong contrast as the ultimate baddie. A self-described wronged man, Ryder is hell-bent on revenge against the NYC government, Travolta channeled his role as Castor Troy in Face/Off with his sinister laughs and facial ticks. Just like Troy, he’s not an entirely unsympathetic villain—one can’t help feeling sorry for him as much as we despise what he does.
Instead of filling it with non-stop action sequences, the movie consist a large amount of dialogue between Ryder and Garber, mostly over an intercom. I have no problem with that, in fact it makes the action sequences and car crashes all the more effectively jolting.
The one thing I could do without is the crude language and overly excessive amount of @$$ jokes for my taste, which I don’t think is necessary. IHMO, If they take all the profanities out, I don’t think it’d lessen the impact of the whole situation. Someone else might pick on the migrane-inducing shaky camera movement used throughout. It seems to be the technique du jour ever since the Bourne series came about. Doesn’t bother me though, but I feel that it’s not as highly effective as the way it was done in Bourne where it almost enhances the plotline.
In any case, I think the script is a strong one and it’s truly what’s good about this flix. The enjoyable repartee lets you in on the character’s own dilemmas and predicaments, making their ‘connection’ believable. You enjoy their banter so much that at one point when Garber’s replaced by an official hostage negotiator (played by John Turturro) — a costly move on the part of the hostages — we want Garber back as much as Ryder does. The two finally face off towards the end, and Travolta quips, ‘You’re taller than I imagined you’d be. And good lookin’ too.’ It’s a funny line delivered in the same manner as when Castor Troy visits ‘himself’ in jail in the form of Nicolas Cage (you have to see Face/Off to know what I mean, hmmm now I want to watch it again myself!)
Besides Turturro, James Gandolfini was another solid supporting cast member. When I saw him I thought, ‘What, Tony Soprano? Wow Ryder picked the wrong mayor to deal with today!’ But Gandolfini revealed his funny side not much seen by the public, which is too bad because his comic timing is spotless. Coming out of his limo, he said ‘I left my Rudy Giulliani suit at home’ in an apparent jab at the former Republican mayor. I actually saw his funny side in this little-seen musical called Romance & Cigarettes, which strangely enough was directed by John Turturo! I saw it at the Toronto Film Festival back in 2005. It was around 11 AM and the director himself came and introduced the flick. He said “sorry you had to watch a dirty film so early in the morning” or something like that. It was a rather vulgar but hilarious musical where Gandolfini sang and danced along with a terrific cast of Christopher Walken, Susan Sarandon and Kate Winslet (as his prostitute lover!).
Sorry I digress. Overall, Pelham is a pretty good movie. It won’t win an Oscar, nor would it linger in your memory for days to come. It could’ve been better under a more capable hand at the helm, say Michael Mann. Nevertheless, with Washington and Travolta in top form, it’s a pretty entertaining flix worth your 10 bucks.
3.5 out of 5 reels
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Asiko!: MY EXPERIENCE AT THE I
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A blog about all the interesting and creative aspects of life!
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http://www.asikobeampeh.com/favicon.ico
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http://www.asikobeampeh.com/2017/09/my-experience-at-i-rep-xchange-4.html
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https://austinfilmfestival.com/blog/news/2023-script-competition-semifinalist-judge-announcements/
|
en
|
2023 SCRIPT COMPETITION SEMIFINALIST JUDGE ANNOUNCEMENTS!
|
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[] |
[] |
[
""
] | null |
[
"Travis Broughton"
] |
2023-08-30T18:34:31+00:00
|
en
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https://austinfilmfestival.com/wp-content/themes/AFFest-wp-theme/images/favicon.ico
|
Austin Film Festival
|
https://austinfilmfestival.com/blog/news/2023-script-competition-semifinalist-judge-announcements/
|
Nadya Panfilov
Nadya was born in Uzbekistan and has spend the last twenty years trying to figure out how to fit into the microcosm of the United States. Her saving grace was film & television and when it came time to apply for colleges her immigrant parents “were very cool about film school.” She graduated from Chapman University with a degree in Screenwriting which is ironic because she actually hates writing. Like so much. Post college she got into TV development and went from intern to Coordinator at Parkes+MacDonald for their first look with Universal Studios. While at Parkes she helped sell two shows to NBC, one to STARZ and the last project she had the honor of working on is pending release from Amazon. After finally admitting to herself that she hated to write and that she loved to help people, she pivoted to representation and started at Writ-Large in January 2020 and quickly rose through the ranks. Now she spends her days grateful to be fulfilled in her career and not having to force herself to write. That can be left to people who actually enjoy it. But she is more than happy to share her opinions, of which she has a lot.
Liz Kelly
Liz Kelly is Senior Manager of Creative Talent Development & Inclusion at Disney Entertainment. In this role, she works with the network and studio to staff writers and directors across ABC, ABC Signature, Freeform, Disney Channel, 20th TV, FX, Nat Geo, Disney+ and Hulu’s scripted television shows. She manages the industry-leading Disney Writing Program and Disney Directing Program. She has staffed talent on THE GOOD DOCTOR, THE ROOKIE, A MILLION LITTLE THINGS, DAVE, HOW I MET YOUR FATHER, SINGLE DRUNK FEMALE, THE GOLDBERGS, STATION 19, RAVEN’S HOME, and BLACK-ISH, among other scripted series. Prior to Disney, Kelly worked for 6 years at Fox, most recently as Associate Director of Production and Development Labs – Film & TV, for 21CF Global Inclusion. Kelly staffed writers and directors on FOX’s scripted television shows, including THE GIFTED, THE COOL KIDS, LUCIFER, LAST MAN ON EARTH, THE EXORCIST, THE RESIDENT, and LETHAL WEAPON, among others. She managed the Fox Writers Lab, Fox Directors Lab, Fox DP Lab, and Fox Filmmakers Lab, tracked and maintained network diversity statistics regarding on-air and behind-the-camera creative talent, and managed the department’s partnerships and sponsorships with non-profits and film and TV festivals.
Kelly has been a judge, script reader, or panelist for numerous film and TV festivals across the country, including the Tribeca Film Festival, New York Television Festival, Austin Film Festival, ATX Television Festival, SeriesFest Denver, CAAMFest San Francisco, San Diego Latino Film Festival, NALIP Media Summit, LA Skins Fest, Outfest, BlackStar Philadelphia Film Festival, and Humanitas New Voices. In 2017, she was invited to be part of Creative Artists Agency’s “Amplify: Next Gen” group of up-and-coming entertainment artists, agents, and executives.
Kelly is a member of the Hollywood Radio & Television Society. She has a BA from UCLA and is a graduate of UCLA School of Theater Film & Television’s graduate-level Professional Program in Screenwriting.
Craig Brody
Craig Brody is the founder of Map Point Management, a boutique literary management and production company.
Brody began his career in New York City as a lawyer, specializing in intellectual property law at a large corporate law firm before making his move to Hollywood. He wanted to continue representing clients, but was more passionate about advocating for creators than large corporations. Brody’s first stop was at CAA, where he spent 11 years in the motion picture literary department. As an agent, he loved discovering emerging talent and breaking writers and directors from television and theater into film. As the TV renaissance continued, and more of his clients had an interest in working in TV, Brody decided that he would be most valuable in building his clients’ careers if he could work with them in all areas. In 2016, he made the jump to become a manager at The Shuman Company. In 2019, Brody started Map Point Management to further nurture the creative visions of his clients and elevate previously underrepresented voices.
Craig’s clients include writers, directors, and playwrights, such as: Academy Award-nominated writer Virgil Williams (Mudbound, upcoming The Piano Lesson), two-time WGA Award-winning writer Debora Cahn (creator of The Diplomat, Homeland, The West Wing), writer/director Ben Younger (Snowfall, Bleed for This, Boiler Room, Prime), writer/director Stephen Scaia (Tulsa King, co-creator of Blood & Treasure, Limitless), playwright/writer Zakiyyah Alexander (co-showrunner of Grown-ish, Russian Doll), playwright/writer Lauren Yee (Pachinko, Billions, upcoming Interior Chinatown, upcoming The Sterling Affairs), author/writer Sandra Chwialkowska (Alaska Daily),author/writer Sarah Cornwell (Mayfair Witches) writer/director Sherif Alabede (upcoming The Craving, Perry Mason).
Craig lives in Los Angeles with his wife, their two children, and their pet turtle, Jerry.
Erwin More
Erwin More is currently a founding partner of More/Medavoy Management. As a partner at More/Medavoy he manages a wide array of talents focusing on clients who have multiple platforms in acting, writing, directing, and content creation. More has a passion for representing and inspiring talent. “Pushing the boundaries of what is attainable is my primary goal in the representation business”, says More. More co-ran the talent department at the famed William Morris Agency for seven years where he also focused on television packaging. He also spent five years at the premier talent agency, Paradigm. He got his start working for Norman Lear and Bud Yorkin’s legendary television companies T.A.T and Tandem Productions where he watched television history being made in the company that produced iconic programs such as “All In The Family”, “One Day At A Time”, “Maude”, and “The Jeffersons” to name a few. More has produced such successful series as “Dharma and Greg”, “Just Shoot Me”, “Sweet Justice” and receive an Emmy for one of the first network docu-series, “American High”.
Erwin served on the Board Of Directors and served as Board Chair for the academic institution, The Willows” He is currently the Co-Chair of the Board of Governors for The Willows. “Finding inspiration through educating children has been a rewarding experience”, says More.
Glenn Cockburn
Glenn Cockburn is the founder of Meridian Artists. Along with the rest of the Meridian Artists team, Glenn currently represents a select roster of some of Canada’s most talented writers, directors and producers.
Glenn’s career started in 1996 when he began working as script reader for New Line Cinema and Innovative Artists Agency. From 1997 through 1999, Glenn worked as a Creative Executive at Templeton Production’s first look deal with New Line Cinema. In 1999, Glenn returned to Toronto and joined The Characters Talent Agency where he ran the Packaging Department. Glenn also acted as Executive Producer on the feature film, Young People Fucking, which premiered at the Toronto International Film Festival in 2007 and became one of the most successful and highest grossing Canadian comedies of all time.
Glenn’s other professional activities include teaching the course, The Business of Film and Television, at Sheridan College as well as being a board member for the Humber Comedy program. Glenn has a B.F.A. Honours in Film and Television Production, from York University and a M.B.A. from the Ivey School of Business.
Jared Negrón
Veteran development executive Jared Negrón is the founder of Writers Management, a literary management company focused on representing diverse creators from a variety of backgrounds.
Negrón, who himself identifies as Queer, Latinx, and Jewish, previously served as a member of the cable development team at CBS Television Studios before joining the television division at Scott Free Productions, and ultimately running U.S. scripted television development for Simon Cowell’s Syco Entertainment. He then went on to work as a programming manager for Disney Parks, Entertainment and Products before founding Writers Management. Negrón began his career with an apprenticeship at FX networks.
During his time in development, Negrón contributed to such notable series as Common Law, Power, Man in the High Castle, The Terror, and Jean-Claude Van Johnson. Under his tenure at Syco, the company saw several high-profile pilot sales including the adaptation of the Emma Sayle novel Behind the Mask to Fremantle and Dead Pop Star to Fox.
The mission of Writers Management is to amplify unheard voices and tell entertaining and impactful stories on any screen.
The roster at Writers Management includes Humanitas playwright and screenwriter Jami Brandli, UCB writer and Tonya Harding the Musical star Heather Woodward, novelist and Bread Loaf alumnus Will Clarke, and novelist and Atlantic contributor Jon Methven. In addition to established writers, the firm represents fresh voices such as up-and-coming indie Queer Armenian American filmmaker Dave Sarrafian.
Jason Lubin
Jason Lubin is a manager-producer and the principal at First Story Entertainment, which he founded in 2018. The lit management company represents a diverse roster of talented writers and directors with fresh voices in all genres for Film and TV. The company’s clients have been staffed on shows on multiple networks including Showtime, CW, Apple+ and Netflix and have sold series to Disney and HBO Max. In 2021, two of the nine participants selected for the highly competitive WBTV Writers Workshop were clients. In the feature space, First Story clients have written films starring Robert De Niro and John Malkovich, sold specs to financiers including Searchlight Pictures and Sony International, and directed projects selected by the Cannes Film Festival. Jason also develops both feature film and television projects under the company’s banner. Prior to starting First Story, Jason was a seasoned development executive. He worked at Lynda Obst Productions as the Head of Development & Production and at Lionsgate, where he rose to Story Editor in the Motion Picture Group. Jason cut his teeth as the assistant to CEO Jon Feltheimer and was named one of Variety’s Ten Assistants to Watch in 2013. A graduate of USC, Jason currently sits on the university’s Board of Governors as the School of Cinematic Arts’ representative and is a former President of the Trojan Entertainment Network.
John K.D. Graham
John K.D. Graham is an auteur filmmaker whose diverse body of work can be found on major distribution platforms across the world on major platforms including Netflid, Walmart, Tubi, Pureflix and in a variety of project types. He is an accomplished Director, Writer, Producer, Editor, who attributes the success of his projects, including seven feature films, miniseries, music videos and travel docs, to his ability to navigate all aspects of a film’s creation.
Growing up in the wild Chihuahuan deserts of New Mexico, John K.D. Graham’s love for the natural world turned into a discovery that everything around tells a story. His fascination with storytelling, collaboration and technology led to the Savannah College of Art and Design where he graduated Magna Cum Laude with a BFA in Film and Television. John began his career shooting music videos and working as a member of IATSE Local 480 as set electrician, craft service and video assist in New Mexico. John soon gained recognition in the film industry for his ability to plan, film and deliver cinema consistently and began his career as an independent filmmaker.
John K.D. Graham is an award-winning filmmaker; including Best Screen Play in the Kairos Pro Awards for his script, “Switched” and most recently a bronze Telly Award for his mini-series, “Unstained”.
To find out more visit: www.johnkdgraham.com
John Zaozirny
John Zaozirny oversees feature film production for Bellevue and the Literary Management Team.
His clients’ writing and directing credits include INFINITE, PARALLEL, ELI, BAD MATCH, TEXAS CHAINSAW MASSACRE (2022), HEAVY TRIP, OFFICE UPRISING, JOLT, and SPLINTER amongst others. His clients have written feature scripts that are set up at Warner Bros, Paramount, Fox, Lionsgate, New Line, Focus Features, Fox 2000, Sony, Universal, amongst others. As well, his clients have had 30 scripts on the last 8 Black Lists, the annual list of the best unproduced feature scripts, including BLONDE AMBITION, the number one script on the 2016 Black List, HEADHUNTER, the number one script on the 2020 Black List, and CAULIFLOWER, the number one script on the 2021 Black List.
His clients have also written on TV shows such as SHANTARAM, FBI INTERNATIONAL, BOSCH: LEGACY, MR ROBOT, TRAINING DAY, TINY PRETTY THINGS, HAWAII FIVE-O, THE MAN IN THE HIGH CASTLE and HAND OF GOD, amongst others. He also reps the writer of the Eisner nominated comic book LITTLE BIRD.
He was an executive producer on the feature films ALWAYS WATCHING and PARALLEL and produced ELI, which was released by Netflix. He most recently produced INFINITE, directed by Antoine Fuqua and starring Mark Wahlberg, Chiwetel Ejiofor, and Dylan O’Brien, which was released by Paramount Plus.
Raised in Vancouver, Canada, John is a graduate of the Tisch Film and Television program at New York University.
Katie Cates
Katie Cates has spent over a decade working in the talent management and agency business. She is currently a manager based in the Los Angeles office of Artists First, a premiere management/production company and partnership led by Peter Principato. Previously, Katie spent 12 years as a television literary and packaging agent, most recently at ICM Partners, where she worked with leading writers, directors, actors, comedians, musicians, authors, playwrights and on-air personalities to bring their scripted work to the screen. As a manager Katie now focuses primarily on representing writers, directors and multi-hyphenate talent, from creators and emerging voices to critically acclaimed filmmakers and showrunners. A great joy and priority for Katie has been not only elevating female and underrepresented artists, but also working with talent to expand their vision and artistry beyond their “core” area of expertise.
Katie views the future of representation as a true partnership where she is excited to not only work “for,” but most importantly “with,” clients building a relationship based on values of mutual integrity, transparency and the relentless pursuit of art across all platforms. She relishes her role as an innovative strategist, career architect and creative collaborator to all of her clients. Katie is a graduate of Ohio University’s Honor Tutorial College.
Lee Stobby
Lee Stobby has over 15 years of management and producing experience, and focuses on championing strong independent voices and quality cinema and television. He is a literary manager, producer and principal of 2B CONT’D. His success can be attributed to his passion, extensive knowledge, and enthusiasm for films. This has enabled him to, on numerous occasions, discover raw, exciting new talent and build them into juggernauts in Hollywood.
Some of his client highlights include: Shay Hatten (JOHN WICK: CHAPTER 3, JOHN WICK 4, ARMY OF THE DEAD, ARMY OF THIEVES, DAY SHIFT), Kate Trefry (STRANGER THINGS), Isaac Adamson (#1 Black List script BUBBLES), Rodney Ascher (ROOM 237, THE NIGHTMARE, A GLITCH IN THE MATRIX), and Myroslav Slaboshpytskiy (Cannes winner THE TRIBE and upcoming THE TIGER starring Alexander Skarsgård and Dane DeHaan).
Recently, he produced dark comedy feature FOIBLES, a dark comedy starring John Karna, Carina Conti, and Deborah Wilson, which is currently in post and is the Fantasia alum Ryan Oksenberg’s feature film debut. Stobby’s other Producing highlights and credits include SISTER AIMEE, which premiered at the 2019 Sundance Film Festival and was released by 1091; WILDLING starring Bel Powley, Liv Tyler and Brad Dourif and which sold to IFC and premiered at the 2017 SXSW; HOW TO BE ALONE staring Maika Monroe and Joe Keery; PEOPLING, starring Kimmy Robertson and Josh Fadem which played at Fantasia, Fantasic Fest, and Sitges and has over 30 million online views; MUNCHAUSEN written and directed by Ari Aster; PLAY ME, a new horror short by Caleb Phillips (SXSW winning filmmaker behind THE OTHER SIDE OF THE BOX, which has over 10 million views online).
As for development, Stobby has a horror satire from Sundance and Cannes Auteur filmmaker Rodney Ascher with Greg Silverman’s Stampede Ventures producing alongside Stobby, as well as feature development set up with Matt Reeves’ 6th and Idaho, Charlize Theron’s Denver and Delilah, Darren Aronofsky’s Protozoa, Universal, Timur Bekmambetov’s Bazelevs, and Netflix.
Monique Nash
MONIQUE NASH is an award-winning producer and Head of Creative Affairs of Kronicle Media, the entertainment industry’s first Black female led production & literary management company which she co-founded in 2017 with Korin D. Williams. Kronicle Media’s mission is to produce content for and about women from diverse perspectives and champion inclusion and representation, both in front of and behind the camera.
Currently, Nash has a number of projects in various stages of development, including a drama series for Peacock, inspired by the founding of the iconic Black women’s magazine, Essence; a romantic comedy for Netflix, a series adaptation of the book, Shakespeare’s Conspirator, which centers on the life of Emilia Bassano Lanier, a biracial ingenue who many believe was the enigmatic “Dark Lady” in Shakespeare’s works, written by the legendary Tom Fontana & playwright Gabrielle Fulton-Ponder for Will Smith’s Westbrook Studios; and a family drama series inspired by the women behind the Bill Pickett Invitation Rodeo, a real-life all-Black rodeo.
Most recently, Nash executive produced Hallmark Media’s first movie under its newly created Mahogany banner, UNTHINKABLY GOOD THINGS, shot entirely on location in Rome, Italy in partnership with ITV Studios’ Cattleya Productions. The film, starring Karen Pitman, Erica Ash, Joyful Drake and Lance Gross, premiered in August 2022 and was recognized with a 2023 Gracie Award for Best Movie for Television.
In 2021, she developed and produced a psychological thriller, SINGLE BLACK FEMALE starring Amber Riley, Raven Goodwin and K. Michelle for Lifetime. The movie ranked as television’s top entertainment telecast across all key demographics when it premiered in February 2022, leading immediately to talks of a sequel, becoming the second movie franchise she helped create for the network.
The first franchise being, MERRY LIDDLE CHRISTMAS, which she developed and produced in 2019, starring Kelly Rowland, Bresha Webb & the legendary Debbi Morgan. The film was beloved by audiences and was Lifetime’s highest rated Christmas movie of the season and the network’s most socially buzzed about movie of all time, prompting the network to order its first-ever sequel to a holiday movie. The sequel, MERRY LIDDLE CHRISTMAS WEDDING premiered in 2020, delivering the highest ratings in the key demo of any holiday movie on Lifetime in 3 years.
In addition to producing, Nash is also a literary manager who represents screenwriters and directors through Kronicle Media’s management division which supports and advocates for some of the most talented diverse voices in the business. Her clients are currently working on a variety of popular series including A MILLION LITTLE THINGS (ABC), THE WONDER YEARS (ABC), THE NEIGHBORHOOD (CBS), GRAND CREW (NBC), A BLACK LADY SKETCH SHOW (HBOmax), FAMILY REUNION (Netflix) and SOUTH SIDE (HBOmax), as well as films for studios and networks including Sony/Tristar, Paramount, Lifetime, Hallmark and Netflix.
Previously, Nash served as Director of Current Programming & Development at Will Packer Productions, working on the hit BET drama, BEING MARY JANE, starring Gabrielle Union, the ABC comedy, UNCLE BUCK, starring Mike Epps and Nia Long, as well as the Emmy®-nominated remake of the ROOTS miniseries for History Channel, Lifetime and A+E Networks. She has also served as Manager, Current Programming at Fox Broadcast Company, where she oversaw series including BONES, THE SIMPSONS, BACK TO YOU, THE SARAH CONNOR CHRONICLES and THE WAR AT HOME. She has also consulted for the National Association of Television Program Executives’ (NATPE) Navigator Program and for the Walter Kaitz Foundation to help promote diversity in cable television. During a stint working outside of the entertainment industry, Nash served as Director of Development & Project Management for American Gonzo Food Corp, where she was a member of the 5-person executive leadership team operating the $35 million restaurant company, contributing to the exponential expansion of the Los Angeles-based company from nearly 150 employees to over 600, growing the Pitfire Artisan Pizza concept from 4 units to 9 and developing & launching several other restaurant concepts, including the Superba brand (Superba Snack Bar, Superba Food + Bread and Superba Snacks + Coffee), ultimately leading to the sale of the 3-unit concept for $12 million in less than 3 years.
Nash currently serves on the board of directors for The Shakespeare Center of Los Angeles, which produces world-class Shakespeare-inspired plays and offers arts education & award-winning arts-based workforce development programs targeting under-served youth and veterans. A graduate of University of Massachusetts at Amherst, Nash began her television career at Creative Artists Agency. She lives in Los Angeles with her two dogs, Clyde & Pearl.
Meredith Riley Stewart
Meredith Riley Stewart is an actor, producer, and a founding partner of Aegis Creative Media. Born and raised in Alabama, Meredith has spent the past two decades living in 3 of the 5 largest cities in America, now calling Los Angeles home. Her first feature film, The Greatest Inheritance, starring Mena Suvari and Jaleel White, was distributed by Vertical Entertainment, premiered in spring 2022 and is currently available on Amazon.
Her award-winning short, American Dream, is wrapping up its successful festival run, after a premiere at the Cannes Film Festival. Her most recent feature to produce, For When You Get Lost, is ramping up for a late 2023 festival premiere.
As a multimedia producer, Meredith has created multiple digital series (Women In Film’s Flip The Script, AutocorrectFU, Shaping Our State), short films (Orphan is the New Orange, Miss Underwater, No Backsies) and a virtual reality experience (See Me).
Meredith is a Film Independent fellow (with fiscal sponsorship for the upcoming project Parent-Teacher) and recently served as a Women In Film Peer Mentor. She has served as a script judge for the Austin Film Festival for the past two years. Above all, Meredith is passionate about using media as a platform for social change.
Tom Carter
Tom Carter is a literary manager and film and television producer living in Los Angeles. He is the founder of Artillery Creative, a multimedia development, production, and literary management company, and co-founder of film and
television development fund, Oil & Cattle.
In 2006, Carter co-founded Station3, a talent management and production company. Within a few years Station3 became one of the most sought-after boutique representation and independent film production companies in Hollywood, representing lead actors in nearly every Broadway show, and 20+ series regulars on primetime and premium series television. Carter’s first film, GARDENS OF THE NIGHT, opened the Berlinale International Film Festival in 2008, in main competition, alongside Martin Scorsese’s SHINE A LIGHT, and Paul Thomas Anderson’s THERE WILL BE BLOOD.
In 2009, Carter founded Artillery Creative Collective, a literary management focusing on identifying, developing and supporting the careers of both emerging and established writers and filmmakers. ACC is committed to creating a landscape of storytelling that is both authentic and representative of the diverse global community in which we all live. ACC’s clients are currently writing and producing film and television projects across current and emerging digital platforms including HBO, Amazon, FX, Netflix, Starz, Freeform, FOX, ABC, Hulu.
In 2016, Carter co-founded Oil & Cattle, an entertainment acquisition and development fund focused on identifying unique and commercially viable stories for a global audience. O&C has optioned properties such as Octavia Butler’s “Dawn” (Macro/Ava Duvernay/Amazon), Sean Flynn’s GQ article “Murder in the
Meth Lab,” and David Kushner’s Rolling Stone article “The Rise and Fall of a Bitcoin Kingpin” (Jon Chu directing), Kirk Wallace Johnson’s Edgar-nominated “The Feather Thief” (Amazon).
Carter and O&C are developing stories around several sensitive subjects such as a premium series with the presidential detail of the Secret Service, the first and only company ever to have access. They continue to push the boundaries of storytelling and regularly work with high-end journalists such as Patrick Radden Keefe, Sean Flynn, Josh Dean and many others, often before their stories even go to print.
Carter and O&C currently have film projects and premium series set up at Amazon, Apple, Netflix, and FX. For more information, visit: https://oilandcattle.com.
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https://www.aaartsalliance.org/events/bong-joon-ho-s-mother-live-feat-composer-byeong-woo-lee
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BONG JOON-HO’S "MOTHER" LIVE – FEAT. COMPOSER BYEONG WOO LEE
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The celebrated South Korean filmmaker Bong Joon-ho is almost certainly best known for his multiple Academy Award and Palme d'Or-winning film Parasite, but perhaps his most critically-beloved movie to date is the 2009 noir Mother. The...
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Asian American Arts Alliance
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https://www.aaartsalliance.org/events/bong-joon-ho-s-mother-live-feat-composer-byeong-woo-lee
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The celebrated South Korean filmmaker Bong Joon-ho is almost certainly best known for his multiple Academy Award and Palme d'Or-winning film Parasite, but perhaps his most critically-beloved movie to date is the 2009 noir Mother. The taut thriller, helmed by acclaimed actress Kim Hye-ja, tells the story of a woman who must become a detective to find the true killer behind the murder her son has been accused of. Fans of Bong’s later work will recognize the master’s touch in Mother‘s dark humor, careful pacing, and beautifully framed images. For one night only, Town Hall is proud to present a very special screening of this cinema classic, exclusively shown with in-person musical accompaniment. The live score concert will be conducted by Kennedy Center Honoree Tania León with a rare performance by the man who wrote Mother’s original music, the highly decorated composer and guitarist Lee Byeong Woo. Lee will be joined by an orchestra, assembled from members of the internationally renowned Harlem Chamber Players.
Location
The Town Hall, NYC
123 W 43rd Street
NY 10036
Tags
Film/Media, Music
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https://www.wsfa.com/2024/08/01/he-had-everyone-fooled-former-fbi-agent-sentenced-life-child-rape-alabama/
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‘He had everyone fooled’: Former FBI agent sentenced to life for child rape in Alabama
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"Legal proceedings",
"Politics",
"Sexual assault",
"U.S. news",
"General news"
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[
"KIM CHANDLER and JIM MUSTIAN"
] |
2024-08-01T00:00:00
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A former FBI agent has been sentenced to life behind bars for sexually assaulting an 11-year-old girl
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//webpubcontent.gray.tv/gray/arc-fusion-assets/images/favicons/wsfa/favicon.ico?d=425
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https://www.wsfa.com
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https://www.wsfa.com/2024/08/01/he-had-everyone-fooled-former-fbi-agent-sentenced-life-child-rape-alabama/
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MONTGOMERY, Ala. (AP) — A former FBI agent was sentenced to life in prison Thursday for sexually assaulting an 11-year-old girl while serving as an Alabama state trooper.
Alabama's state police hired Christopher Bauer even after he was kicked out of the FBI amid earlier claims he raped a co-worker at knifepoint.
An Associated Press investigation showed Bauer, 45, moved from one law enforcement job to another with the help of a forged letter making it appear he was "eligible for rehire."
The forgery prompted an FBI investigation but federal authorities held off charging Bauer as the state proceedings played out.
A jury convicted Bauer in June of first-degree sodomy and sexual abuse of a child under 12 following a weeklong trial in which defense attorneys claimed the girl made up the allegations.
Shackled and wearing an orange jail uniform, Bauer told Montgomery Circuit Judge Jimmy Pool that he never imagined he would end up on the prisoner side of a jail cell. He said juries don't always get it right.
“It seems no matter what I say, no one wants to believe I’m innocent,” he told the judge. “All it took was an accusation to strip me of everything.”
The girl’s mother stood with prosecutors, who asked for the maximum sentence. Daryl D. Bailey, the Montgomery County district attorney, called Bauer a “sexual predator” following his conviction, saying he needed to be “removed from our streets forever.”
“He’s a monster,” the girl's mother told the judge. Bauer, she added, used the badge to project the “image of a good person.”
“He had everyone fooled,” she said.
Pool told Bauer as he pronounced the life sentence that he “believed every single word” of the victim's testimony.
Bauer's defense attorneys argued the disgraced lawman deserved leniency following his own abusive childhood in foster homes and orphanages. He was removed from his parents at the age of 5 and later diagnosed with oppositional defiant disorder.
“Several instances stick out to Mr. Bauer, including once when he was pushed out of the third floor of a building and another when he was left in a burning apartment,” his attorneys wrote in a court filing.
Bauer, who was arrested in 2021, faces similar child sex abuse charges outside New Orleans. Louisiana State Police said they intended to extradite him following the Alabama case.
During the Alabama trial, the child — who is now a young teen — testified through tears that she was repeatedly abused by Bauer for years, too scared to say no or to tell anyone what was happening.
Jurors saw a recording of her interview with a child abuse investigator in which she described the same abuse. Law enforcement became involved after the girl eventually told a friend and the friend’s parent alerted the school.
Bauer took the stand in his own defense during the trial, responding “no, never” when asked if he had abused or sodomized the child. “If she said I did something to her, then yes that’s a lie.”
Bauer’s time in the FBI was not discussed in detail at the trial. The judge granted a defense request to exclude statements about allegations by a co-worker in Louisiana that he had raped her at knifepoint.
The FBI has said Bauer forged a letter that scrubbed his record clean and helped clear the way to his hiring by the Alabama state police in 2019. The document, obtained by AP, confirmed his decade of “creditable service” and deemed him “eligible for rehire," but the FBI told AP the letter in question was “not legitimate.”
Alabama authorities have refused to explain how Bauer's earlier misconduct was overlooked. AP’s investigation found he omitted his ouster from the FBI on his application to the state police, including that he had been suspended without pay and stripped of his security clearance in 2018 amid a string of sexual misconduct allegations he faced working in the FBI’s New Orleans office.
Many of the allegations played out in Louisiana court filings that had been public for a year when Bauer was hired in Alabama. The woman who accused him of rape, a co-worker at the FBI, wrote in an application for a restraining order that Bauer had choked her and made her “scared for my life.”
Bauer disputed those claims, telling colleagues the acts were consensual. But the woman previously told AP that Bauer sexually assaulted her so frequently her hair began to fall out.
“It was a year of torture,” she said. “He quite literally would keep me awake for days. I couldn’t eat. I couldn’t sleep, and in six months I went from 150 pounds to 92 pounds. I was physically dying from what he was doing to me.”
The Alabama Law Enforcement Agency did not immediately respond to a request for comment on Bauer's sentence. The agency has refused to release records from its internal investigation into Bauer's hiring, with a spokeswoman saying only “there were no disciplinary actions taken as a result of the review.”
___
Mustian reported from Miami.
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https://letterboxd.com/writer/christopher-pelham/
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Films written by Christopher Pelham
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Films written by Christopher Pelham
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en
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https://letterboxd.com/writer/christopher-pelham/
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Letterboxd is an independent service created by a small team, and we rely mostly on the support of our members to maintain our site and apps. Please consider upgrading to a Pro account—for less than a couple bucks a month, you’ll get cool additional features like all-time and annual stats pages (example), the ability to select (and filter by) your favorite streaming services, and no ads!
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https://magazine.holycross.edu/stories/holy-cross-produces-seven-fulbright-scholars
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Holy Cross Produces Seven Fulbright Scholars
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Recipients to teach and conduct research in locations across Europe, Asia and Africa
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/themes/custom/hcmagazine/favicon.ico
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Holy Cross Magazine
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https://magazine.holycross.edu/stories/holy-cross-produces-seven-fulbright-scholars
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Six members of the Class of 2016 and one member of the Class of 2014 have been awarded Fulbright grants to teach and conduct research around the world during the 2016-17 academic year. Since 2005, Holy Cross has received a total of 79 Fulbrights, and has consistently been among the nation’s top producers of Fulbright students at the undergraduate level.
This year’s recipients are headed to Vietnam, Kenya, Germany, Taiwan, Spain, Greece, and Croatia.
The Fulbright Program, sponsored by the U.S. Department of State, is widely recognized as the most prestigious international exchange program in the world. The highly competitive grants are awarded on the basis of academic merit and professional promise.
Each year approximately 1,900 U.S. college students are awarded grants through the Fulbright U.S. Student Program. The Fulbright Program, the U.S. government’s flagship program in international educational exchange, awards grants to U.S. citizens and nationals of other countries for a variety of educational activities, primarily university lecturing, advanced research, graduate study and teaching in elementary and secondary schools. Since the program’s inception in 1946, more than 360,000 participants — selected on the basis of academic or professional achievement, as well as demonstrated leadership potential — have had the opportunity to observe each other’s political, economic and cultural institutions. The program operates in more than 160 countries worldwide.
This year’s recipients are:
Related Information
Office of Distinguished Fellowships and Graduate Studies
Points of Pride
Media Coverage
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https://mylibrary.laportelibrary.org/Record/CARL0000043060%3FsearchId%3D199688%26recordIndex%3D15%26page%3D
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en
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La Porte County Public Library System
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La Porte County Public Library System
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https://tv.apple.com/us/person/christopher-pelham/umc.cpc.2vz82o36mvwoc3gknukttef7r
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Christopher Pelham Movies and Shows
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Learn about Christopher Pelham on Apple TV. Browse shows and movies that feature Christopher Pelham including Xchange.
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https://tv.apple.com/us/person/christopher-pelham/umc.cpc.2vz82o36mvwoc3gknukttef7r
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https://susanwalkerartsblog.com/category/film-and-video/
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film and video – susan walker's artsblog
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2024-03-03T11:55:31-05:00
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Posts about film and video written by susanwalkerartsblog
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susan walker's artsblog
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https://susanwalkerartsblog.com/category/film-and-video/
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It takes an anarchist to know one. And it took Norman Nawrocki, Montreal playwright, musician, novelist and anarcho-artist-activist to create MARUSYA NIKIFOROVA: Ukraine’s legendary anarchist warrior. First mounted in 2023, at the 16th annual Montreal International Anarchist Theatre Festival, the one-act, 30-minute play is screening on YouTube until March 8, International Women’s Day, as a fundraiser for the Ukrainian resistance – feminists, environmentalists, anarchists and activists, working on the frontlines against Russian invaders and occupiers.
You can take in the teleplay on Nawrocki’s YouTube channel here: https://youtu.be/Lv05Vd9n1iY and watch for the prompts in the show credits to donate to the Ukrainian resistance group Solidarity Collectives.
Maria Hryhorivna Nikiforova (1885–1919), better known as Marusya, was born in Oleksandrivsk — present-day Zaporizhzhia — a strategic location on the banks of the Dnieper River. Maryusa’s father had fought as an officer in the Russian-Turkish war of 1877-1878. After leaving home at 16, the androgenous teenager (actually intersex) found whatever work she could to support herself and wound up on a factory floor washing bottles in a vodka distillery. Taking up with a communist anarchist group, Maryusa engaged in terrorist acts against the Russian empire, including bombing, expropriation of property and armed robbery.
Imprisoned in 1908, she served time in exile in Siberia, incited a prison riot and once released, joined the international anarchist movement, saw action with anarchists in Spain, enlisted with the French Foreign Legion and fought on the Macedonian front against the Russian empire.
The outbreak of the 1917 Russian revolution forced Nikiforova back to Oleksandrivsk (Aleksandrovsk), where she took up active combat against the Bolsheviks, collaborating with other anarchist/soldiers to form the Ukrainian Peoples Republic of Soviets. She stole from the rich to support the poor, led armed militia into battle and was a chief resistor of and terrorist toward the Bolsheviks and later the White army. Nikiforova even accepted a mission to assassinate Alexander Kolchak, Supreme Ruler of Russia.
Maryusa’s heroic, ceaseless fight to defend Ukrainians against the Russian state stands as profound inspiration for the Ukrainian armed forces and the brave civilian resisters acting against the ongoing Russian assault on their country.
She and her Polish anarchist husband Witold Brzostek were arrested on August 11, 1919 in Crimea, where they had planned to assassinate the White army’s commander-in-chief Anton Denikin. Court-martialed and sentenced to execution by firing squad, they were both shot to death, Nikiforova first having tearfully bid her husband good-bye.
Nawrocki, himself of Ukrainian-Polish descent, has created a stirring, succinct, one-hander, employing an overhead voice as narrator and projections of archival photos to set the scene. His star, Ukrainian actor Mariya Hadubyak, a Montrealer since her immigration to Canada in 2022, performs with the Ukrainian troupe Sozhary. She gives life and soul to Maryusa under Nawrocki’s spirited direction. Vancouver-based musician and composer Vivian Nawrocki (Nawrocki’s sister) created the soundtrack. Producer Babushka Theatre is a Montreal theatre laboratory dedicated to the staging of Ukrainian-Canadian[1]Polish plays.
The YouTube run ends March 8; time enough to show our solidarity with the Ukrainian resistance.
MARUSYA NIKIFOROVA: Ukraine’s legendary anarchist warrior
Written and directed by Norman Nawrocki
Performed by Mariya Hadubyak
Soundtrack by Vivian Nawrocki
Produced by Babushka Theatre
Screening on YouTube until March 8 at https://youtu.be/Lv05Vd9n1iY
For more information about the Ukrainian resistance, go to https://www.solidaritycollectives.org/en/main-page-english
Photo: Mariya Hadubyak as Maryusa Nikiforova in Paris, 1912-13, where she met with international anarchists and Russian exiles.
Phil Comeau is an experienced francophone filmmaker with a long list of documentaries and features to his name. But even he looks a bit stunned by what he’s finding out about his father as he researches l’Ordre de Jacques Cartier in the NFB film The Secret Order.
The secret society established in 1926 was truly underground, its members recruited mainly through the church and its aims and rituals kept secret for life among most members.
A sinister air surrounds the francophone society as Comeau recreates an initiation ceremony in a very effective dramatization. The young men, having assembled at some point, don eye-masks for a blindfolded journey to an underground chamber. They must put a hand on the shoulder of the man in front and are led then by a member of the order to submit to five “ordeals” that will determine if they have what it takes to belong to Jacques Cartier brotherhood. These tests involve holding a hand over a candle, walking a plank and having their heads held under water. In the film, one initiate decides the order is not for him. The ritual, led by a grand chief in a blue satin sash, was to show how solidarity was as important as secrecy in the operations of the order.
The Secret Order follows Comeau, a New Brunswick-born francophone, in his search through multiple archives to uncover the purpose of the secret society. The Jacques Cartier order was born of necessity: to assert the rights of French Canadians. Long before the 1963 Royal Commission on Bilingualism and Biculturalism, it was only through the Ordre de Jacques Cartier that francophones could establish the right to use their own language in their own country.
English oppression was so bad that as one Acadian former member of the order recalls, he was reprimanded by his boss at the post office for speaking French to a French-speaking customer.
For Phil Comeau, investigation into the order that his father was a member of was freighted with personal revelations. In one of the archives, he finds his father’s membership card. In another cache of materials, the actual eye coverings used in the initiation ritual. And his searches lead him to living family members as well as former members of the order, most of whom have never spoken of the secret society for a public audience.
Secrecy was paramount so each chapter or cell of L’Ordre de Jacques Cartier—as many as 850 across the country comprising 72,000 members—kept to itself. The goal was representation in government, in banks and on school boards, but recruitment focused on the rural population, which was where most Canadian francophones lived in the early 20th century.
By 1965, after Quebeckers began to agitate for their rights, the order was disbanded. However, The Secret Order is a testament to the many men (only one woman was ever made a member of the order) who helped secure the French language and francophone culture in Canada on a permanent basis. Among the prominent names were onetime mayor of Montreal Jean Drapeau and the first francophone premier of New Brunswick, Louis Robichaud.
No longer secret, L’Ordre de Jacques Cartier made an important contribution to Canadian democracy.
The Secret Order https://www.nfb.ca/film/the-secret-order/.
The imagineNATIVE film + media arts festival gets better and better, morphing easily in 2020 into a cyber affair with lots to click on. Two feature films make this year’s fest a feast for readers as well as media consumers. Cree/ Métis director Loretta Todd co-wrote and directed Monkey Beach, a sensitive adaptation of Eden Robinson’s 2000 novel of the same name. It’s the story of Lisa Hill who has fled her Haisla village of Kitamaat for life in the big city of Vancouver and returns to undergo a healing process and come to terms with her personal past. What you need to know is that Lisa is gifted with the power to communicate with the dead. The script creaks a little, but performances by Grace Dove, Adam Beach, Glen Gould and especially Tina Lameman make up for such faults.
Thomas King wrote the book that Métis/Algonquin director actor Michelle Latimer, adapted for the screen, as Inconvenient Indian. An NFB/90th Parallel co-production, already lauded with the People’s Choice Award at this year’s Toronto International Film Festival, Inconvenient Indian is nothing short of brilliant. Latimer cast King in a starring position, as a movie-goer riding in the back of a Co-op cab. As King tells the story of Coyote and the duck feathers, his driver transforms into a grinning coyote. And so it goes, a riveting documentary that brings the undeniable truths of An Inconvenient Indian to the big screen.
The 21st imagineNATIVE festival presents work from 153 Indigenous artists from 13 countries and 97 Indigenous nations. In addition to 10 feature films, organizers have put together four short film programs, two guest-curated programs and one artist spotlight, on Cree video artist Thirza Cuthand with a screening of her video Thirza Cuthand is an Indian within the Meaning of the Indian Act.
This year’s winner of the August Schellenberg Award of Excellence is Squamish BC actor Lorne Cardinal, a well known thespian who performed in Schellenberg’s all-indigenous production of King Lear at the National Arts Centre. He’ll be presented with the award on Sunday, October 25, when all the other festival prizes are handed out.
In addition to the annual art crawl, imagineNATIVE sponsors exhibitions, industry talks, a pitch session and a keynote address from Tantoo Cardinal.
Here are some films that make this year’s festival particularly appealing. Shadow of Dumont is a feature film from Métis director Trevor Cameron, who sets out from Toronto to look for his roots in the story of Gabriel Dumont, leader of the 1885 Métis uprising in Saskatchewan. Brother, I Cry, written and directed by Jessie Anthony, a Haudenosaunee woman born and raised on the Six Nations of the Grand River Territory, looks at how cultural practices play a part in healing those suffering the pain of addiction. A Canadian premiere, Māori/Pasifika director/producer Kiel McNaughton’s The Legend of Baron To’a is the story of a young Tongan man dealing with the legacy of a superstar father who was a wrestler. Atua is a New Zealand film that imagines Atua Kahu, the last man standing in a world destroyed by disease. The film, directed and written by Brown Bitty Muaupoko, Ngai Tara, Ngati Raukawa and Ngati Huia, came out of NATIVE Slam, an international collaborative event that gives indigenous directors 72 hours to make a movie together.
ImagineNATIVE runs through Sunday October 25. For information on tickets, free events and daily schedules, go to https://festival.imaginenative.org/in2020
Photo: Still from Inconvenient Indian
At the Venice Biennale this summer visitors lingered long at the Canadian pavilion, captivated by One Day in the Life of Noah Piugattuk, as it played on three big screens, subtitled in Italian, French and English. A production of the Baffin Island Isuma collective, One Day is directed by Zacharias Kunuk and compellingly presents a story, in Inuktitut, of a day in 1961 when Noah (Apayata Kotierk) and his clan, out on the ice to hunt and trade, spy an approaching dog team and sled. This turns out to be a white man named Boss (Kim Bodnia), a Canadian government official who has come to tell Noah and his companions that they must prepare to leave their way of life and join a community where their children will go to school. Adding to the poignancy and authenticity of the film is the understood notion that the Inuit culture faces a still greater peril in the form of climate change and the melting of the polar sea ice.
Tonight, the film screens at Toronto’s Hot Docs Ted Rogers Cinema Hot Docs at the opening of the 20th edition of the imagineNATIVE Film & Media Arts Festival, 18 years after the opening night screening of Kunuk’s ground-breaking Atanarjuat The Fast Runner. imagineNATIVE, the largest indigenous festival of its kind in the world, serves as a platform, for first nations’ film and media and encompasses a professional development component, the imagineNATIVE Institute, as well as an awards program.
From tonight through Sunday, October 27, imagineNATIVE will present 126 film and video works in 30 languages from 18 countries and 101 indigenous nations, including nine features, 13 documentary features, and 12 short film programs. Watch for The Incredible 25th Year of Mitzi Bearclaw, a touching feature directed by Shelly Niro, starring MorningStar Angeline and featuring the amazing Billy Merasty as Mitzi’s father.
The outstanding filmmaker Alanis Obamsawin returns to the festival with an NFB production, Jordan River Anderson, the Messenger. This documentary tells the story of a Cree child born with overwhelming challenges and how a dispute over his care led to major changes in access to healthcare for indigenous peoples in Canada.
Among many short films of note, the 2001 Gwishalaayt – The Spirit Wraps Around You celebrates the life and work of ‘Namgis filmmaker Barb Cranmer, who died earlier this year. She was from the important Kwakwaka’wakw family in Alert Bay, British Columbia that did so much for the continuance and preservation of their art and culture.
Wik vs Queensland is a 2018 feature documentary from Australia directed by Dean Gibson relates how the aboriginal people of Wik take on the Queensland government and land developers to ensure rights to their traditional lands.
Among special events in the festival is a Friday presentation at the Art Gallery of Ontario of Lisa Reihana’s In Pursuit of Venus [infected], a multi-channel projection and immersive experience followed by a conversation with curator Julie Nagam. And on Thursday, the popular imagineNATIVE Art Crawl takes in five galleries with visual art works, curatorial and artist talks and a live performance, starting at Onsite Gallery and ending at the Toronto Media Arts Centre.
imagineNATIVE Film + Media Arts Festival
October 22-27, 2019 at Toronto locations
For more information call 416.585.2333 or visit www.imagineNATIVE.org
Photo: Still from One Day in the Life of Noah Piugattuk
Justice for Colten. Emblazoned on sweatshirts, written on protest signs, shouted by demonstrators and spoken in reply to any question about what the family of the murdered young Cree man Colten Boushie is seeking, becomes the running theme of Tasha Hubbard’s riveting documentary, nîpawistamâsowin: We Will Stand Up. By the end of the film, named Best Canadian Feature at Hot Docs 2019, there is little doubt that the Canadian justice system failed in the handling of the case, a message carried all the way to the United Nations Permanent Forum on Indigenous Issues.
We Will Stand Up, which screens June 26 and 27 at Cinecenta at the University of Victoria, is an even-handed presentation of a story told from the perspective of the Cree community that gathered together to protest not just Boushie’s death but the systemic racism that resulted in the acquittal of the man who shot him in the back of the head.
Colten Boushie was a smart little boy who grew up on the Cree reserve of Red Pheasant, on the prairie northeast of Saskatoon. He was just 22 on the evening of August 9, 2016, when he and some friends were caught on the property of Gerald Stanley, who shot Boushie at close range with a restricted handgun.
Hubbard, a Cree filmmaker from the Peepeekisis First Nation in Saskatchewan, details the circumstances that led to Colten’s killing and reveals the depth of hatred expressed by the non-native rural inhabitants toward the Cree. “This is conflicted territory,” she says, “and Stanley’s actions have exposed longstanding wounds.” Red Pheasant is located on Treaty Six lands where the Cree were starved out in the late 1800s to make way for the railroad and violently suppressed when they fought in under leaders like Big Bear in what became known as the Northwest Rebellion. Eight warriors were tried, without representation, convicted and hanged in 1885.
The longstanding enmity plays out in the wake of Colten’s death. At the trial in Battleford, Stanley’s lawyers eliminate any potential jury members who are indigenous. The all-white jury declares Stanley not guilty of second-degree murder and an appeal of the verdict is turned down.
Two women emerge as the heroines of this story: Colten’s mother Debbie Baptiste and his sister Jade Tootoosis who becomes the spokesperson for the family and carries their case to Ottawa to meet MPs and Prime Minister Trudeau and then on to the UN in New York, where her testimony gets a standing ovation.
Justice for Colten becomes a cry for justice for all indigenous peoples caught in a system stacked against them. Hubbard’s film stands as a remarkable testament to the calm determination, dignity and united front Colton’s family and his community exhibit in the battle to balance the scales of justice.
nîpawistamâsowin: We Will Stand Up
Written and directed by Tasha Hubbard
A co-production of Downstream Documentary Productions and the National Film Board of Canada
Screening at Cinecenta, University of Victoria, June 26 and 27 at 7 and 9 pm
Photo of Colten Boushie driving with his mother Debbie Baptiste
Christopher Auchter, creator of the brilliant Haida short film The Mountain of SGaana has strong words of gratitude for his Auntie Shelley, who gave him the opportunity to attend high school in Victoria. For medical reasons, she had moved to the city from Haida Gwaii, where Christopher’s secondary school had only 145 students. His aunt’s invitation to move in with her led to graduation from Oak Bay High School, where he’d advanced his art and woodworking skills and gained admission to Emily Carr University of Art and Design in Vancouver. There he focused on hand-drawn animation techniques. A year in the computer animation program at Sheridan College in Oakville, Ontario gave him the 3D digital skills that the market was then looking for.
Auchter got a foot in the door with the National Film Board when he was hired to do the charcoal drawings for the short animated film How People Got Fire (2008) directed by Daniel Janke. His career was launched.
Completed in 2017, The Mountain of SGaana is a wordless depiction in delightful hand-drawn imagery, of a Haida tale told to a fisherman by Mousewoman, a favourite Haida creature from the spirit world. Mousewoman knits a blanket that illustrates the story of sea hunter Naa-Naa-Simgat and his beloved Kuuga Kuns. SGaana (Haida for killer whale) captures the hunter who has been taking his prey and takes him to the underwater world. Kuuga Kuns dives in to save him.
“In the original tale, it is the wife who is captured and Naa-Naa-Simgat who saves her. “I switched the roles,” says Auchter, “because I was surrounded by so many strong Haida women, especially my Auntie Shelley. I wanted to show that strength in my telling of the story.” Having made the choice to eliminate dialogue from his film, Auchter brought in music. Another of the strong women in his life, his sister Nikita Toya Auchter, sings a Haida song to accompany the animation.
What makes this short so distinctive is the incorporation of Haida motifs. Auchter is the great-great-great grandson of Charles Edenshaw (1839-1920), the carver most associated with the preservation of Haida art forms, which had nearly disappeared after European contact.
The Mountain of SGaana has done well on the festival circuit and on Wednesday at the Capital 6 cinemas in Victoria it is coming home. Through an arrangement with the NFB, the Capital 6 Indie Film Series will present a short ahead of its feature film. Auchter’s short will precede a screening of This Mountain Life, a documentary directed by Grant Baldwin.
The Mountain of SGaana
Drawn and directed by Christopher Auchter
Screening Wednesday, November 14, 7 p.m. at The Capital 6, Victoria, BC
The scenes you see in Metamorphosis span the planet and are at once devastating, in the record they provide of global warming’s destruction of the environment, and heart-lifting, in showing the ways that the human imagination drives survival.
Metamorphosis is the term for a biological process — an animal’s growth and maturation — during which time the creature’s physical structure can radically change; from egg to butterfly, for instance. Velcrow Ripper and his co-director and life partner Novi Ami, gave that name to their extraordinary film, now on the western leg of its Canadian launch, because when they started thinking about this film, they were inspired by the life cycle of a monarch butterfly.
Their documentary, shot on a grand, cinematic scale, charts the ways in which humans and other life forms are adapting to their changed environment and undergoing a kind of metamorphosis.
“We can move this paradigm,” says Ripper, speaking of losses due to climate change. “But we have to figure out how to live in a symbiotic relationship [with changed conditions on earth]. And part of that shift is a cultural shift, a psychological and emotional shift and artists are part of that shift.”
Scientists, thinkers, writers, artists and architects became their collaborators and provided the narrative heard in voiceovers.
“Something going from one state to another that you couldn’t have anticipated,” says Sue Halpern, author of Four Wings and a Prayer, about metamorphosis. “We actually have a choice about what that metamorphosis looks like.”
Robert J. Lifton, psychiatrist and author of The Climate Swerve, reminds us we are capable of redirecting our imaginations to confront climate truths, thus replicating a form of metamorphosis in the service of human evolution.
On a budge of just under $1-million (“We use our resources wisely,” says Ami), the couple embarked on the project as co-writers and directors around the same time their son Phoenix was conceived. Now three-and-a-half years old, the little guy accompanied his parents through some of the most challenging shoots of the project.
With curiosity as their guide, Ripper and Ami made some amazing discoveries, as they travelled from the Philippines, where Typhoon Haiyan had struck, killing more than 6,000 people, to Milan, Venice, Toronto, where Alpha school students were working on a project to provide plants for migrating butterflies to stock up on, to several locations in North and Central America.
In the American southwest, they met Dennis McClung, founder and CEO of Garden Pool. He and his helpers are converting swimming pools that no one can fill anymore because of drought, into backyard biospheres, where with the right tweaking, plant and animal life can thrive.
“We wanted to offer the film as a poem,” says Ami. Seamlessly integrated into the film, is the work of artists such as Jean-Paul Bourdier, photographer, painter and performance director and creator of an arresting scene near the opening of the documentary, shows painted bodies on a sandy beach.
Sculptor Jason DeCaires Taylor sinks his statues in the ocean, so they become the sites of coral gardens and other marine life colonies.
Michael Reynolds, a New Mexico architect, is interviewed at the site of one of his Earthships, passive, self-sufficient, solar houses, designed to look as if they grew out of the earth they sit on. “If we could make it so that every human on this planet has everything they need, without anything centralized,” he says, “. . . . all of a sudden, stress is gone. Humans would morph into their next phase of evolution.”
Metamorphosis opens with a caterpillar (“we’re like that,” says one commentator, “eating everything in sight”) and then we see the chrysalis, the emerging butterfly. At the end of the documentary, some very tricky photography captures the thousands of monarch butterflies at the end of their winter migration to Mexico. The words of Homero Aridjis, Mexican poet and environmentalist, are subtitled on the screen. Layered one on top of another on a big tree trunk, the butterflies, he says, “are like a single organism,” trembling with life.
Metamorphosis screenings with Nova Ami and Velcrow Ripper presenting:
June 20, Globe Cinema, Calgary; June 22, Metro Cinema, Edmonton; June 24, Cinecenta, UVic, Victoria; June 26, Vancity Theatre, Vancouver
Photo of work by Jean-Paul Bourdier courtesy of the National Film Board
An important project, Solo Dance Xchange brings together 22 performers — on screen and live – from a broad spectrum of dance disciplines.
Introduced by producers Karen and Allen Kaeja, the show combines a film in which each of the dancers improvises a dance in the location of his/her choice and a staged segment when the dancers do two-to-three-minute solos accompanied by live music from Eric Cadesky, Laurel MacDonald and Phil Strong.
The outcome? Some predictably fine performances, some merely predictable and a few quite surprising delights.
Allen Kaeja’s 30-minute film, XTOD: Moments in Reel Time, is a nicely edited panoply of 22 dancers doing minute-long improvised solos in locations of their own choosing. Using only natural light, DOP Hernan Morris captures some lovely movement, but the footage lacks the finesse of a studio dance film. By virtue of the subject matter, the HD video reels feels improvised.
Many performers chose water settings, and even long-time Toronto residents will be surprised by the natural beauty found within the confines of Hogtown. Some are romanticized: Jasmyn Fyffe walks a watery concrete pier in a flowing robe; Claudia Moore goes pagan atop the giant rock in Yorkville; Karen Kaeja gyrates on the foredeck of a yacht, the CN Tower looming over her shoulder.
Some, such as Nova Bhattacharya posing on the rim of the fountain pond amid bank towers, opt for high contrast; Delicate-boned Hari Krishnan goes gangsta under an expressway. Two indigenous performers partner with nature, Brian Solomon enraptured in the branches of an old maple tree, Santee Smith, in a long blue gown, dipping into the waters below the Scarborough bluffs. Allen Kaeja charges into a wild tumble off a bicycle down a grassy ravine slope.
As the lights go down on the Streetcar Crowsnest stage, a few dancers, who will sometimes double as stage hands, sit in a row of chairs facing the audience, the trio of musicians set up stage right.
Solo Dance Xchange is in no way a competition, but mastery will out, and can’t help but draw an audience closer to the stage and inside the dancer’s moves, if only we could. The magnificent Peggy Baker in sleek jeans and grey t-shirt grasps a stick like a baton across her upper chest. In a few exquisite minutes, she strikes out with it like a warrior, uses it as a pivot point for a series of graceful floor manoeuvres, crawls hand over hand, then rises up free and strong with her mast held high.
Robert Desrosiers is electric: arms spread or held tight; tiny rapid steps accelerating to the beat of drums, sculpting the air with measured, vocalizing from whispered breaths to almost silent howl. And Robert Stephen, bare-chested in blue tights, executes a breathtaking pas d’un that is all about virtuosity without showing off.
Others in this category are Bhattacharya, androgynous and fascinating in a barely Bharatanatyam, modern dance progression and William Yong in long black straight hair, holding a daisy, simpering from farce to dignified, balletic beauty. Shawn Byfield taps like a genius in white pants, adding his own rhythms to the tradition of black tap dancers.
Unexpected delights of Solo Dance Xchange include: Esmeralda Enrique, girlish in a short black dress and shocking red flamenco shoes, clacking her castanets along a diagonal path of light; Ben Kamino, in nothing more than his tattoos, comically hefting a heavy folded table like frail, trembling muscleman in need of more strength; and Emily Law, who partnered with her costume, a full-length, diaphanous, kimono-like gown, its sleeves fluttering banners in her stately procession toward and away from us. Also, versatile Michael Caldwell in an Asian pointed straw hat, face obscured to the percussion of gongs and bells, moving with control toward a deliberate crumbling of his own spectacle.
So go see Solo Dance Xchange – tonight’s the last – no matter what you fancy in the way of dance. You can’t be disappointed.
Solo Dance Xchange
Dancers: Mi Young Kim, Roula Said, Robert Desrosiers, Santee Smith, Michael Caldwell, Roshanak Jaberi, Esmeralda Enrique, Nova Bhattacharya, Allen Kaeja, Ofilio Sinbadinho, Jasmyn Fyffe, Pulga Muchochoma, Benjamin Kamino, Emily Law, Karen Kaeja, Shawn Byfield, Peggy Baker, William Yong, Claudia Moore, Robert Stephen, Brian Solomon
Soundscore: SDXtet Eric Cadesky, Laurel MacDonald, Phil Strong
At Streetcar Crowsnest, Toronto, Feb 1 through 3 at 8 pm
Photo of William Yong by Aleksandar Antonijevic; Peggy Baker by Chris Hutcheson; Pulga Muchochoma by Allen Kaeja
“How many have to die before you say, Enough? ENOUGH!” So says one of the Maori women in Waru, a film made in New Zealand by eight Maori female directors, each of whom contributed a 10-minute segment to a feature telling how a community comes together over the killing of a boy by his caregiver.
Tomorrow, Waru will open the 18th imagineNATIVE Film + Media Arts Festival, running from October 18 to 22 in different downtown Toronto locations. imagineNATIVE, now the largest festival of indigenous screen content in the world, is this year presenting 130 works, including 116 films and videos, five audio pieces and nine digital media works. Almost three-quarters of the works (72%) were made by women.
Powerful imagery about powerful women, Waru is composed of eight shorts, each made in one continuous shot that, strung together, tell the story from many points of view of a boy named Waru, revealing the pain of child abuse and looking to ways of healing.
The festival closer, screening Sunday at TIFF Bell Lightbox, is The Road Forward, a Canadian-made musical documentary created by Marie Clements, a Métis/Dene playwright and filmmaker from Vancouver. The National Film Board production is based on a stage show employing first nations singing and dancing to tell the story of protest and activism by indigenous peoples in Canada from the 1930s to the present.
Sweet Country, another searing feature from Down Under, is a western directed by Australian filmmaker Warwick Thornton. Set in 1929 in the Northern Territory, the movie is based on an actual event: the murder of a white rancher by an Aboriginal bushman acting in self-defence.
This year’s festival is an occasion to mark the 50th film made by Alanis Obamsawin, Our People Will be Healed. The Quebec filmmaker, whose works go back to 1971, when she made her first film with the NFB, Christmas in Moose Factory, has this time turned her lens on the Helen Betty Osborne Ininiw Education Resource Centre, a Cree school near Norway House, 800 kilometres north of Winnipeg. As the 85-year-old Obamsawin told reporters in September at the time of the Toronto International Film Festival, “if you want to start talking about (native) problems, start talking about them in a positive way.”
Indictment: The Crimes of Shelley Chartier, is a documentary from CBC Docs POV. “I was stupid, I was bored, I was lonely – that’s the truth,” Chartier tells the camera of her catfishing exploits. She relates how simple it was to impersonate celebrities and their fans online from her home in a remote reserve in Manitoba, Easterville. When an NBA superstar falls for Chartier’s online pose as a model who sends him nude photos of herself, the player is entrapped with the revelation the pictures were of a 17-year-old. Chartier’s extortion efforts took RCMP on a trail that led to the Playboy Mansion and other celebrity locales, before Chartier was indicted and sent to prison for 18 months.
Among the 102 short films screening at the festival are many directed by emerging indigenous filmmakers. Razelle Benally (Diné) is an alumna of the Sundance Film Institute Native Filmmakers Lab. Her 10-minute drama, Raven, screens in the shorts program Mother + Child. Beautifully shot, Raven is the wordless, heart-breaking story of a teenage suicide that derails at the last minute.
Terry Jones, a Seneca artist from the United States, has made untitled & unlabeled, a three-minute experimental documentary that uses a video-game format to tell the story of how as a small boy he learned just how “different” he was.
Inuit filmmakers Carol Kunnuk and Zacharias Kunuk are represented at the festival with the world premiere screening of “Bowhead Whale Hunting with My Ancestors,” the first episode of a seven-part television series, Hunting With My Ancestors.
The festival’s new headquarters at 401 Richmond Street West will be the site for much of the industry component of the festival, including the imagineNATIVE live pitch sessions, workshops and panel discussions on such topics as, “Breaking the Mould: Developing Indigenous Narrative Models.”
Friday night, starting at 5 pm at the Onsite Gallery, is the festival’s Art Crawl, a bus tour taking in shows and talks on contemporary indigenous art at seven gallery spaces.
Partnering with Hamburg’s A Wall is a Screen, the festival presents an urban walk at 7:30 on Friday from the Art Gallery of Ontario featuring shorts projected on various wall spaces.
Last but not least, imagineNATIVE presents The Beat, hosted by Jarrett Martineau at the Horseshoe Tavern on Saturday night, showcasing live performances by Mob Bounce, Kayla Briët, Ziibiwan and DJ Kookum and screenings of music videos.
imagineNATIVE Film + Media Arts Festival
Oct. 18 to 22 at various venues in Toronto
Go to imaginenative.org for details and schedules
Photos, clockwise from top left: Sweet Country, Indictment: The Crimes of Shelley Chartier, Raven, Waru
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https://www.archives.nysed.gov/research/res_topics_film_intro
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About the Motion Picture Scripts Collection
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I. The Film Censorship Records in the New York State ArchivesThe most important of the censorship records at the New York State Archives are the case files that were established for each film reviewed by State censors. The case files contain the following information.Application for original license.
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https://www.archives.nysed.gov/sites/archives/files/favicon.ico
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New York State Archives
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https://www.archives.nysed.gov/research/res_topics_film_intro
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TITLE. Title of the film under which the application for New York State license was made. The TITLE is usually identical to the film's original release title. For foreign films, the TITLE is given in the language of the original release.
FILE NO. As applications for licenses were received by the Division, they were assigned sequential case file numbers. The case files are maintained in this numerical order.
DATE. The year in which the application for license was filed. Usually this is the same year that the film was released in New York State. This DATE may be later than the year the film was actually produced, particularly for foreign films.
COUNTRY. The country where the manufacturer was located at the time of application. Most films were American-made, but approximately 17,000 were foreign productions.
FOOTAGE. Length in feet of the film submitted for licensing, before any eliminations were made.
DETERMINATION. The licensing decision made by the Division. The entries indicate one of four possible options:
APPROVED --- the film was licensed as submitted, without any eliminations ordered.
ELIMINATIONS --- the film was licensed only after specified changes or deletions were made by the producers or exchanges.
REJECTED --- the film was denied a license because of the large amount of objectionable material.
NONE --- the application was withdrawn by the applicant and no license was issued.
NOTES Indicates either that the film is SILENT or that its case file is part of a SPECIAL CASE FILE series.
SILENT --- indicates that the license application form stated that the film was silent.
SPECIAL CASE FILE --- indicates that the case file for the film is part of a separate series arranged under sensitive topics such as obscenity, burlesque, social hygiene, narcotics, and nudity. These files were segregated to assist Division reviewers in deciding especially controversial or precedent-setting cases.
MANUFACTURER. The company that produced the film. (Abbreviation used in the index are: ASSOC---Associations; CO--Company; CORP--Corporation; DIST--Distributors(s), Distributing; INC--Incorporated; PROD--Productions(s).)
EXCHANGE. The company applying for the license. The exchange was usually the primary distributor of a film within the State. (Abbreviations are identical to those used in the MANUFACTURER category.)
SCRIPT. Applicants were required to submit a copy of all dialogue contained in the film. Entries contain one or more of the following indicators of the type(s) of scripts in each case file:
DIALOGUE --- All dialogue contained in the film. Credits are not usually given.
CUT CONT (Cutting Continuity) --- Typically includes all dialogue, reel numbers, scene numbers, description of scenes, number of frames within scenes, footage for each reel or scene, description of action, camera directions, and a complete list of credits.
TRANS (English Translation) --- English translation of all foreign language dialogue.
SUB SCRIPT (Subtitles Script) --- English subtitles that were superimposed on a foreign-language film.
DUB SCRIPT (Dubbing Script) --- English dialogue for a foreign language film submitted in a dubbed english language version. (In many cases, the index will contain another entry for the same film in a foreign language version.)
TIT SCRIPT (Title Script) --- Titles that appear in a film, usually in silent films. Very few exist in the case files.
SHO SCRIPT (Shooting Script) --- Typically contains all dialogue with general scene descriptions. Very few exist in the case files.
NONE --- Indicates that the case file contains no script material.
ADDITIONAL MATERIAL. Indicates that the case file contains one or more of the following:
CORRES (Correspondence) --- Letters written between the Division and exchanges or producers. Correspondence may cover changes in titles or footage, descriptions of eliminations ordered, or other aspects involving the review and licensing process.
REV (Reviews) --- Reviews clipped from newspapers or magazines to assist the Division in it review procedures.
PLOT SUM (Plot Summary) --- Brief descriptions of the film plot. Many were written by the Division to justify a decision to deny a license. Of particular importance are the many plot summaries for films rejected during the 1920's --- little information exists elsewhere about these films. In addition, there are summaries clipped from the Motion Picture Daily for many films produced in the 1950's and 1960's.
ADVER (Advertising) --- A few case files contain photos of objectionable theatre marquees, cards used in lobbies of theatres, posters, press books, and clippings from newspaper advertisements.
APP (Appeal Documentation) --- Correspondence and legal papers relating to appeals by exchanges of the licensing determination of the Division. Appeals could be made to the Director of the Division, the Board of Regents, or the courts.
NONE --- indicates the case file contains none of the additional materials listed above.
WRITER. The name(s) of the screenwriter(s) when this information was available from the script. NOT AVAILABLE IN FILE indicates no information was found.
DIRECTOR. The name(s) of the director(s) when this information was available from the script. NOT AVAILABLE IN FILE indicates no information was found.
EPISODE TITLE. Provided for serials and short subjects appearing in a continuously numbered series. For each entry, the TITLE (category 1, above) indicates the series title and number of the film, while the EPISODE TITLE category provides the title of the individual episode (e.g., for the film HEROES OF THE WEST #8 "FRONTIER JUSTICE," the TITLE is HEROES OF THE WEST #8 while the EPISODE TITLE is FRONTIER JUSTICE). NA indicates that the film is not part of a series.
ALTERNATE TITLE. Indicates any alternate or variant titles of a film. These include working titles (used during the filming but changed before the film was released); script titles (found on the script but not used as a release title); title changes (releases of the film under a title other than the one for which the license was issued); and subtitles or abbreviated versions of the original title, e.g., for the film THE JONES FAMILY IN "BORN TROUBLE," the ALTERNATE TITLE is BORN TROUBLE. NA indicates there is no alternate title.
TITLE IN ENGLISH. English translations of a foreign language title, if contained in the case file. NA indicates there is no English translation of the title.
IV. Arrangement of Sets in Index
The index is divided into eight separate sets. Each set contains entries arranged by a different information category. These information categories are:
SET No. of MICROFICHE Title 81 Country 69 Date 69 Manufacturer 69 Exchange 69 Writer 27 Director 25 Determination 9 Total 418 Microfiche
The various sets are described below:
Title. In this set of microfiche, entries are arranged alphabetically by the original release title of the film. This set of fiche includes "see" references for variant titles, e.g., if a user only knows the script title of a film but not the release title, he would find a "see" reference in this set under the script title instructing him to look under the name of the release title. Note: Titles beginning with numbers, e.g., "8 1/2," sort at end of title set.
Country. In this set of microfiche, entries are arranged by country of production. For example, all entries of films made by French companies are arranged alphabetically by title of the film under the heading FRANCE.
Date. In this set of microfiche, entries are arranged first by year, secondly by country of production, and thirdly alphabetically by title of film. For example, all films produced by French companies in 1959 are arranged alphabetically by title of the film under the heading 1959 FRANCE.
Manufacturer. In this set of microfiche, entries are arranged alphabetically by name of manufacturer and, under each manufacturer, alphabetically by title of film.
Exchange. In this set of microfiche, entries are arranged alphabetically by name of exchange and, under each exchange, alphabetically by title of film.
Writer. In this set of microfiche, entries are arranged alphabetically by name of screenwriter and, under each screenwriter, alphabetically by title of film. When multiple screenwriters occur, full entries are repeated under the name of each writer. As previously mentioned, entries are included only for writers identified on the scripts. If the screenwriter was not identified on a script, there will not be an entry for the film in this set.
Director. In this set of microfiche, entries are arranged alphabetically by name of director and, under each director's name, alphabetically by title of film. When multiple directors occur, full entries are repeated under the name of each director. As previously mentioned, entries are included only for directors identified on scripts. If the director was not identified on a script, there will not be an entry for the film in this set.
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https://brooklynrail.org/2005/02/film/exchange-hal-hartley-joe-maggio
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exchange: Hal Hartley & Joe Maggio
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2005-02-01T00:00:00+00:00
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Hal Hartleys latest film, The Girl From Monday, premiered at Sundance last month. Milk + Honey, the second film by Brooklyns Joe Maggio, premiered at Sundance last year and will open at the Quad on March 18.
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The Brooklyn Rail
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https://brooklynrail.org/2005/02/film/exchange-hal-hartley-joe-maggio
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Hal Hartley’s latest film, The Girl From Monday, premiered at Sundance last month. Milk + Honey, the second film by Brooklyn’s Joe Maggio, premiered at Sundance last year and will open at the Quad on March 18. Hartley composed the score for Milk + Honey. Maggio recently sat down with Hartley at the latter’s apartment in the West Village.
Joe Maggio: So I watched The Girl From Monday. One of the things I love is this notion that desire has become commodified in some way. I think it’s a continuation of things we’ve seen in your earlier films, but here it’s taken to a new level.
Hal Hartley: It is funny. In Berlin last month I saw The Unbelievable Truth. I hadn’t seen that film for maybe seven or eight years. I was really surprised how consistent my angst is! When I made The Unbelievable Truth I wasn’t quite as well read in terms of contemporary politics or economics and those types of things. I was just shooting from the hip, just a young person who thought, “Boy, money really does drive the world, doesn’t it?” The Girl From Monday is one of the films of mine where I’m beginning to see that when I make feature-length films, sometimes I make ones that are more like novels, like Henry Fool, or the upcoming Fay Grim. And then there’s The Book of Life, The Girl from Monday, you know—I conceive of them a bit differently. I don’t think of them as simply character-driven.
Maggio: More like meditations?
Hartley: Yeah. Kind of rants [laughs].
Maggio: The Girl from Monday reminded me a lot of Godard’s Alphaville. Was that an inspiration?
Hartley: Oh, totally. The Girl From Monday, Alphaville, Fahrenheit 451, even Roeg’s The Man Who Fell to Earth was there.
Maggio: It carries on this whole idea that you touch on in No Such Thing, that somehow nature has been corrupted by this hypercivilization where people are trying to become so civilized that…
Hartley: Well, not civilized. So informed. They get very excited about their ability to acquire and transmit more and more information, regardless of whether the information is of any value. I don’t think I could have even said that five or six years ago, certainly not before I made The Unbelievable Truth.
Maggio: Have you read Neil Postman’s Technopoly?
Hartley: I haven’t.
Maggio: He traces this problem of information overload back to the telegraph, where suddenly a two-headed calf being born in Texas becomes news in Bangor, Maine, simply because it can. Even though this information has no bearing on what is happening in Bangor, Maine. News exists simply because the technology exists to facilitate the quick and easy flow of information.
Hartley: How does that play into Milk + Honey? [Laughs.]
Maggio: I don’t know.
Hartley: I like it when Joyce’s cell phone just won’t work when she’s trying to call her husband.
Maggio: A lot of reviewers comment that Milk + Honey has the feel of early Hal Hartley films. At first I thought that they were just responding to your score, but then I started thinking about it, and I realized that Rick and Joyce’s predicament is so similar to the predicaments in your films. In Milk + Honey you have these two people who are trying to redeem their lives, which have been corrupted by rampant materialism. They desperately want to get back to some sort of innocence, but neither one of them knows where to begin, which I think accurately describes several of your scenarios, from Trust to Simple Men and Amateur.
Hartley: Well, it seems like Rick and Joyce have become alienated from everything that might have drawn them together in the first place. Another thing I like about Milk + Honey is that the narrative continuously surprises us as it goes along.
Maggio: Yeah, we tried to set it up so that every scene would begin with very specific expectations that are then quickly subverted. So in the opening scene, where Rick re-proposes to Joyce and she rejects him in front of all their best friends and colleagues—you really feel bad for him. Joyce seems pretty cold-blooded. But in the very next scene, Rick shows up at the apartment of his girlfriend, whom he broke up with just a few hours earlier because he thought he wanted to repair things with Joyce! Suddenly Rick doesn’t seem so innocent.
Hartley: By the end, everybody has been totally stripped, emotionally and literally. Joyce even loses a shoe, doesn’t she? [Laughs.]
Maggio: I’d like to address this marked shift in tone, style, and content from your early work to more recent films like No Such Thing and The Girl From Monday. Early on, you had so much dialogue and not a lot of music. It was almost like the dialogue was the music. There was a rhythm to the way people spoke. But in The Girl From Monday it seems like there is music during almost every second of the film, and the dialogue is kept to a minimum.
Hartley: It’s true. From the time of my second feature, The Unbelievable Truth, I kept telling myself, “Okay, we’ve got to stop this dialogue thing. I don’t want to keep writing these dialogue-driven things!” “Dialogue as action” is what I called it at the time, and it was good. I like doing it, but I also felt that my filmmaking wasn’t going to change and grow the way it should if I kept doing it. Flirt was my first major attempt to break away from all that.
Maggio: You had a good thing going. Why change? [Laughs.]
Hartley: Yeah, I know. This is what I’ve always been trying to explain to my brother-in-law, for instance. He’s always like, “Why don’t you make films that people like, man?” [Laughs.] “That’s your problem.” That is my problem, but the main thing for me is using my work to grow as a human being. To learn and to grow. The work has to change because I’m not interested in being a person who has a particular skill that I use to produce anticipated product for a known market.
Maggio: That’s very nicely put.
Hartley: I’ve been thinking about it a long time [laughs]. You know, you change and you grow, and you have to go where the work points. This is what makes it really hard because it’s not just about the difficulty of raising money to make the films. It’s the difficulty of enduring when people don’t like your work. It’s tough to wake up in the morning and read the paper and people say, “He’s untalented and uninteresting and basically a bad person.”
Maggio: Wow!
Hartley: I’m sure you’ve had those experiences too.
Maggio: I’ve read reviews of Virgil Bliss and Milk + Honey that were so mean and so personal, it’s as if the reviewer had overheard me saying nasty things about his or her mother.
Hartley: You have to get past that. Anyway, since the late ’90s I’ve been thinking about this way of making films where I ask: Why should the picture always take priority? We usually write a script, we film that script, and then we cut it together, and then we think of the sound and everything. I’ve always been intrigued with the idea of reversing it. Could I make a movie where I make the entire soundtrack first? I write the script, we record the dialogue, we do the sound effects and the music, everything. We make this 90-minute audio thing and then, having that, we think: Let’s make pictures of this now.
Maggio: Was there a script for The Girl From Monday?
Hartley: Yeah, but it was a little different than a more traditional film. I let the actors hear the music all the time while we were preparing and while we were shooting. What I wanted to do was get away from this idea that we were just photographing the theatrical idea of a play. I mean, there’s a script, there are characters, these people are going to play these characters, and I’m going to make the best shot I can of their performances. I’m trying to wrench myself out of that way of thinking. I want to deny that. I want to come at it from a totally different way, but it’s very hard. I keep falling back into the habit of thinking that movie stories have more to do with theater or naturalistic playing than with, say, graphic design or music. Music has been really helpful to me. It’s forced me to think differently about how I’m looking at a scene, how I’m rendering a scene. Graphic design has also been a huge consideration. I remember making The Book of Life, which has a lot in common with the way I made The Girl From Monday. With Henry Fool I felt like a novelist. With The Book of Life I was like a magazine editor, cutting and pasting and putting interesting things next to each other to hopefully give somebody an interesting experience as they flip through this magazine. Maybe The Girl From Monday is a movie that will be unsatisfying for a lot of people if they just want a linear experience. Actually, I don’t think I should say that. I don’t think The Girl From Monday is a difficult, obscure movie. I think it’s quite accessible, but it throws information at you in a way that people may be unaccustomed to, so it feels much more difficult to grasp. But the idea of a film that would be pleasurable to watch four or five or six times over the course of a year. I mean, that excites me too.
Maggio: I think that’s asking too much.
Hartley: Really?
Maggio: No, no [laughs].
Hartley: I don’t know. I learned early in my career that you have to let the audience know how to take a movie right in the first seconds.
Maggio: It’s funny you say that because with Milk + Honey, which I think is really, really funny—or at least I hope it’s funny—it seems like audiences are often not sure whether it’s okay to laugh. When it premiered at Sundance, I introduced the film as a comedy, and people were laughing from start to finish. For some reason, I forgot to mention this before the second screening, and it took 45 minutes before people felt comfortable enough to laugh.
Hartley: I guess it’s a genre that we’re very close to in a film like Milk + Honey. Something that is very popular right now: Is this documentary or is this fiction? One of the things that’s exciting about this dynamic and this ambiguity is exactly one of the things we recognize. Is this really happening? Or am I supposed to be seeing what that guy is doing? Is that character ever going to know? Is it ever going to amount to some sort of…? That’s the excitement of this kind of film. Although I think after seeing Milk + Honey a number of times, I realized that it is in fact very classically structured. It’s an old-fashioned melodrama in the best sense. Its stylistics are very—what would you call them—documentary, docudrama?
Maggio: I’m not sure. Aesthetically, I wanted Milk + Honey to unfold as a series of narrative shocks. I mean, it’s a fairly straightforward story. There are characters we can easily recognize, with clear-cut goals and ambitions and needs. But at the end of every scene, instead of proceeding to the point where you think the narrative should go, it darts off in some unforeseen direction. This is the exact opposite of what I was trying to do in Virgil Bliss. In that film, we know from the beginning what’s going to happen to Virgil. We come to love him, but we know that despite his best intentions, he’s not going to succeed in living a normal life, and sooner or later he’s going to end up back in prison. The drama springs from this tragic certainty. In Milk + Honey, the exact opposite is the case. The drama springs from constant uncertainty. Just when we think Rick and Joyce have achieved some kind of peace or perspective, that they’re going to go home and work things out, something else pops up, some coincidence or chance encounter drives them further apart. It’s something you could never do in a more mainstream, Hollywood film where the goal is to constantly ground and reassure the audience. I wanted to tell a story where the stakes feel as real as possible and you never know if the hero and heroine are going to make it. If I’d cast George Clooney or Julia Roberts in the leads, you’d never really feel that their lives or their sanity were in danger because everyone knows there’s no way the producers would allow the stars to be killed off before the end of the film! Sure, they can dangle from a cliff by a blade of grass, but somewhere in our brains we know everything’s gonna work out just fine. In a movie like Milk + Honey, we don’t know if Rick and Joyce are going to make it through the night, which is what life is all about after all.
Hartley: I don’t know how old you are, but one thing that stuck out when I first saw Milk + Honey was that it felt very mature to me. I was like, wow, he’s making a movie about early middle age.
Maggio: In writing the script I worked very closely with Clint Jordan, who plays Rick Johnson. We’re still young, but between us I think we had enough years of awful relationship experience to make 10 movies! That said, I think the central conflict in Milk + Honey applies to people of all ages, and that’s this question of choice. In a world of unlimited choice, how can we find any permanence or stability? What can we hold on to? Rick and Joyce Johnson are still relatively young, good looking, financially very well off, professionally successful, socially well connected. Their marriage is in a shambles. They’ve done everything humanly possible to destroy it and hurt one another. So why the hell don’t they just call it quits?
Hartley: Well?
Maggio: Well, I guess that’s the story. After this harrowing night apart, I think they come to realize that despite all the grief and pain, there might be something worth salvaging. You can’t be married to someone for 10 years—that’s how long they’ve been together—and not develop some real and lasting bonds.
Hartley: It’s just easier to have somebody who likes you who will put up with your stupidity [laughs].
For more on The Girl From Monday, go to www.possiblefilms.com.
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https://en.wikipedia.org/wiki/Pop-up_book
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Wikipedia
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https://en.wikipedia.org/wiki/Pop-up_book
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Book with moving parts, commonly directed at children
A pop-up book is any book with three-dimensional pages, often with elements that pop up as a page is turned. The terminology serves as an umbrella term for movable book, pop-ups, tunnel books, transformations, volvelles, flaps, pull-tabs, pop-outs, pull-downs, and other features each performing in a different manner. Three-dimensional greeting cards use the same principles.[1] Design and creation of such books in arts is sometimes called "paper engineering". This usage should not be confused with traditional paper engineering, the engineering of systems to mass-produce paper products.
Animated books
[edit]
Animated books combine three elements: story, colored illustrations which include text, and "two or more animated illustrations with their movement mechanisms working between a doubled page".[2] In 1938, Julian Wehr's animations for children's books were patented as "moving illustrations" that move the picture up and down and horizontally at the same time with a single movement.[3][4][5]
Transformations
[edit]
Transformations show a scene made up of vertical slats. When a reader pulls a tab on the side, the slats slide under and over one another to "transform" into a totally different scene. Ernest Nister, one of the early English children's book authors, often produced books solely of transformations. Many of these have been reproduced by the Metropolitan Museum of Art.[citation needed]
Tunnel books
[edit]
Tunnel books (also called peepshow books) consist of a set of pages bound with two folded concertina strips on each side and viewed through a hole in the cover. Openings in each page allow the viewer to see through the entire book to the back, and images on each page work together to create a dimensional scene inside. This type of book dates from the mid-18th century and was inspired by theatrical stage sets. Traditionally, these books were often created to commemorate special events or sold as souvenirs of tourist attractions. The term "tunnel book" derives from the fact that many of these books were made to commemorate the building of the tunnel under the Thames River in London in the mid-19th century. In the United States, tunnel books were made for such attractions as World's Fairs and the New York Botanical Gardens.
Recently the tunnel book format has been resurrected by book artist Carol Barton and others as a sculptural book form. Artists are interested not only in the book's interior views, but also in treating the side accordions and covers as informational and visual surfaces. A selection of tunnel books by Carol Barton is archived in the special collections of Virginia Commonwealth University's James Branch Cabell Library.
Volvelles
[edit]
Main article: Volvelle
Volvelles are paper constructions with rotating parts. An early example is the Astronomicum Caesareum, by Petrus Apianus, which was made for the Holy Roman Emperor Charles in 1540. The book is full of nested circular pieces revolving on grommets.
Harlequinades and turn-up books
[edit]
About 1765, English printer Robert Sayer began experimenting with a novelty format for the juvenile book market, an early forerunner to interactive movable books, according to book historian Peter Haining. The outcome was the creation of the "metamorphoses" format, "a thin book of four sections each with two flaps which folded over, and on each section an interchangeable picture. Beneath those pictures appeared some descriptive lines of verse, and as the reader turned up the flaps in the correct order in the text difference scenes were revealed".[6]
Sayer created books featuring the "Harlequins" from popular theater pantomimes. The black and white publications, which were also called Harlequinades or turn-up books, sold for sixpence and the hand-colored ones for one shilling.[6]
By late 1770, Sayer had published four turn-up or metamorphosis books, which became a "craze with children".[7] Rival booksellers, such as Thomas Hughes and George Martin soon copied the "turn-up" format.[7] In the United States, Joseph Rakestraw published "Metamorphosis; or, a Transformation of Pictures, with Poetical Explanations, for the Amusement of Young Persons", by Benjamin Sands.
History
[edit]
The audience for early movable books were adults, not children.[8] The first known movable in a book was created by Benedictine monk Matthew Paris in his Chronica Majora, which covers a period beginning in 1240. Paris attached volvelles onto some of the pages which were used by the monks to help calculate holy days. It is speculated that the Catalan mystic and poet Ramon Llull, of Majorca, also used volvelles to illustrate his theories in the early 14th century,[9] but no physical example of a paper volvelle created by him has ever been documented. Throughout the centuries volvelles have been used for such diverse purposes as teaching anatomy, making astronomical predictions, creating secret code, and telling fortunes. By 1564 another movable astrological book titled Cosmographia Petri Apiani had been published. In the following years, the medical profession made use of this format, illustrating anatomical books with layers and flaps showing the human body. The English landscape designer Capability Brown made use of flaps to illustrate "before and after" views of his designs.
While it can be documented that books with movable parts had been used for centuries, they were almost always used in scholarly works. In 1775 Thomas Malton, the elder published A Compleat Treatise on Perspective in Theory and Practice, on the Principles of Dr. Brook Taylor. A Compleat Treatise on Perspective is the earliest known commercially produced pop-up book since it contains three-dimensional paper mechanisms. The pop-ups are activated by pulling string and form geometric shapes used to aid the reader in understanding the concept of perspective.
It was not until the very late 18th century that these techniques were applied to books designed for entertainment, particularly for children.[10]
Some of the first three-dimensional and tab activated books were produced by Ernest Nister and Lothar Meggendorfer. These books were popular in Germany and Britain during the 19th century.
The great leap forward in the field of pop-up books came in 1929 with the publication of the Daily Express Children's Annual Number 1 "with pictures that spring up in model form". This was produced by Louis Giraud and Theodore Brown. Four more Daily Express Annuals followed and then Giraud set up his own publishing house, Strand Publications, this produced the groundbreaking series of Bookano books. The Bookano books are considered the first, true pop-up books for children because the pop-ups can be viewed from a full 360 degrees, not just the front side facing the viewer. There were seventeen Bookanos before the series came to an end with the death of Giraud in 1949.
In the United States, in the 1930s, Harold Lentz followed Giraud's lead with the production of the Blue Ribbon books in New York. He was the first publisher to use the term "pop-up" to describe their movable illustrations.[11][12]
The next advance in the field was made by the astoundingly prolific Vojtěch Kubašta working in Prague in the 1960s. His lead was followed by Waldo Hunt in the US with his founding of Graphics International.[11][13] He and two companies he established, Graphics International and Intervisual Books, produced hundreds of pop-up books for children between the 1960s and 1990s. Although intended for US audiences, these books were assembled in areas with lower labor costs: initially in Japan and later in Singapore and Latin American countries such as Colombia and Mexico. Hunt's first pop-up book was Bennett Cerf's Pop-Up Riddle Book, published by Random House as a promotion for Maxwell House Coffee and showcasing the work of humorist Bennett Cerf, who was then president of Random House.[11][13] The team of Waldo Hunt and Christopher Cerf created a total of 30 more children's pop-up books for publication by Random House, including books that featured Sesame Street characters. According to Bennett Cerf (in his book At Random), pop-up books were profitable for Random House.[11]
In addition to his collaborations with Christopher Cerf at Random House, Hunt produced pop-up books for Walt Disney, a series of pop-up books based on Babar, and titles such as Haunted House by Jan Pienkowski and The Human Body by David Pelham.[11][13]
Notable works
[edit]
Some pop-up books receive attention as literary works for the degree of artistry or sophistication which they entail. The 1967 Random House publication Andy Warhol's Index, was produced by Andy Warhol, Chris Cerf and Alan Rinzler, and included photos of celebrities together with pop-up versions of Warholesque images such as a cardboard can of tomato paste,[11] as well as a plastic tear-out recording, an inflatable silver balloon, and other novelties. Pop-up book artist Colette Fu designed China's largest pop-up book. In 2008, she was awarded a Fulbright Fellowship to create pop-up books of the 25 ethnic minorities residing in Yunnan Province, China. Her work can be found in the Library of Congress, Metropolitan Museum of Art and National Museum of Women in the Arts.[14]
David A. Carter, who created many bug themed pop-ups, and Robert Sabuda are other prominent pop-up book authors. Star Wars: A Pop-Up Guide to the Galaxy, by Matthew Reinhart. This book received literary attention for its elaborate pop-ups, and the skill of its imagery, with The New York Times saying that "calling this sophisticated piece of engineering a 'pop-up book' is like calling the Great Wall of China a partition".[15]
Collections
[edit]
Library collections
[edit]
Beinecke Rare Book and Manuscript Library at Yale University.[16]
Bowdoin College, the George J. Mitchell Department of Special Collections & Archives in Brunswick, Maine holds the Harold M. Goralnick Pop-up Book Collection, which contains 1,900 volumes.[17]
The North Carolina State University Libraries Research and Study Collection of Pop-Up Books 1960–2009 contains 7.5 linear feet of pop-up books, catalogs, newspaper clippings and other related ephemera pop-up book materials, many donated by Sara Frooman.[18]
The University of Iowa Special Collections Library in Iowa City includes the Matthew Reinhart Pop-up Book Collection[19] and the Emily Martin Collection,[20] two noted paper engineers.
The University of New Hampshire Dimond Library in Durham, New Hampshire holds the Carel Chapman Movable Book Collection, which contains over 1,800 pop-up and movable books.[21]
Virginia Commonwealth University Libraries Special Collections and Archives holds the Betty Tisinger Collection and many other examples of pop-up and movable books.
Museum collections
[edit]
Cooper-Hewitt, Smithsonian Design Museum has over 1,700 titles in its Pop-Up Book Collection.[22]
Rosenbach Museum and Library in Philadelphia, Pennsylvania includes 643 books from illustrator Maurice Sendak's bequeath of his Lothar Meggendorfer collection of movable books.[23]
Associations
[edit]
Since 1993, the Movable Book Society has provided a forum for artists, book sellers, book producers, collectors, curators, and others to share enthusiasm and exchange information about pop-up and movable books. The organization also awards industry prizes for best paper engineer (trade and artists’ book) and excellence in paper engineering by an undergraduate or graduate student.[24][25]
In popular culture
[edit]
The central plot of the film Paddington 2 (2017) revolves around trying to retrieve 'Mrs. Kozlovas Pop-Up Book', a pop-up book containing clues that lead to a treasure.
The children's animated television series Zack and Quack takes place in a world on the pages of a pop-up book. The nine-year-old boy Zack and his duck friend Quack go on adventures involving paper and pulling tabs to transform scenes.
See also
[edit]
Children's literature portal
Books portal
References
[edit]
Further reading
[edit]
The Elements of Pop Ups by James Diaz and David A. Carter, 1999. ISBN 0689822243
Hinshaw, Craig (November 1999). "Looking into Tunnel Books". Arts & Activities. 126 (3): 34–35. OCLC 425444586.
Pop-Up! A Manual of Paper Mechanisms by Duncan Birmingham, 1997. ISBN 1899618090
The Pocket Paper Engineer, Volume 1, Basic Forms by Carol Barton, 2005. ISBN 0962775207
The Pocket Paper Engineer, Volume 2, Platforms and Props by Carol Barton, 2008. ISBN 0962775223
The Pocket Paper Engineer, Volume 3, V-Folds by Carol Barton, 2012. ISBN 0962775231
Reynolds, Janet M. (2013). Exploring Artistic Learning Through the Creation of Tunnel Books. Boston University College of Fine Arts. hdl:2144/4523.
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Review: Human rights’ importance clear in Amazon “rubber barons” film
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It's our pleasure today to publish this post, which Hannah Coleman (below right), a member of the Georgia Law Class of 2017, wrote during her spring semester course on International Human Rights Law. Reviewing the feature-length, black-and-white drama Embrace of the Serpent (2015), by Colombia filmmaker Ciro Guerra, Hannah writes: Embrace of the Serpent opens…
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https://secure.gravatar.com/blavatar/2ffa9c42a327b96a89feead472e504736fa84a532dca573e8fdec5a1a103b5ae?s=32
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exchange of notes
|
https://deanruskintlaw.com/2016/05/31/hannah/
|
It’s our pleasure today to publish this post, which Hannah Coleman (below right), a member of the Georgia Law Class of 2017, wrote during her spring semester course on International Human Rights Law. Reviewing the feature-length, black-and-white drama Embrace of the Serpent (2015), by Colombia filmmaker Ciro Guerra, Hannah writes:
Embrace of the Serpent opens with the image of an Amazonian shaman, Karamakate, dressed in the authentic dress of his people. The man peers out over the river and quickly stands up as if he senses something. Then, a long boat pulls in between the trees with two men on board. Karamakate urges the two men to turn around and leave, but the boat continues to move closer and closer. Then, Karamakate pulls out a weapon and threatens the strangers to leave this place immediately. The audience can sense Karamakate’s tension and distrust of these travellers. Regardless of his warnings, the men do not stop, and the boat pulls ashore.
One man, Manduca, appears to be a native of the Amazon, but he is dressed in what Karamakate describes as “white man clothes.” Manduca refers to the second man, a white scientist from Germany named Theo, as his travel partner, and describes Theo’s rapidly weakening state. Karamakate is resistant to the new men, but his interest is peaked when Theo tells him there are still members of his tribe alive in another part of the jungle. The three men eventually set out on a journey, to find a sacred healing plant that they believe will rid Theo of his illness, and to find Karamakate’s people.
The audience is unaware of exactly what time period the film is set in, but the director provides clues in the form of discussions about white rubber barons coming into the forest and forcing the indigenous people into slavery in order to capitalize on the forest’s rubber trees.
The director skillfully focuses the audience’s attention on the impact the colonization is having on the indigenous people by concentrating on the journey of the men. Each time the men pull onto a riverbank to collect supplies, take a break, or camp for the evening, they meet someone different. With each interaction, the audience gains more insight into the horrors the indigenous people are facing due to the rubber barons, and we learn more about why Karamakate distrusts everyone. At one point, the three men arrive at a mission. This part was particularly interesting and disturbing because these people were stripped of their culture and forced into European practices. The mission consists only of young boys who are wearing white robes and not allowed to speak their native language. It was extremely sad to see all of these boys, taken from their parents at a young age, and forced to forget about their past.
After a while, a second story is skillfully woven into the movie’s plot. This story takes place several years later and involves Karamakate and another white man named Evan. Evan is following the diaries of Theo in order to find the same sacred plant Theo needed to cure his sickness. This second story is even more gut wrenchingly sad than the first, because Evan finds Karamakate in the same place that Theo and Manduca found him, only many years have passed, and Karamakate is still alone. It is clear that Karamakate’s memory is fading as he cannot tell Evan any details about his first trip with Theo and Manduca. But he agrees to help Evan find his way to the sacred plant.
As these two follow the same pathway that Karamakate took many years before with Theo and Manduca, the audience is horrified to discover the lasting impact that the colonization has had on the Amazonian cultures. The most disturbing part of this story occurred when the two men arrived at the mission. They discover that this tribe of people has gone mad from engaging in cannibalism and likely inbreeding given their segregation from others. There are no Europeans left at the mission, so the tribe has taken some of the traditional Christian practices and interpreted them. This includes one man claiming to be Jesus Christ and tribe members forced to commit suicide. This portion of the film left a very powerful image of the horrors that entail when a group of people come into a community, strip them of their history, provide new practices, and then leave them confused and alone.
Until this movie, I had no knowledge about the European invasions of the Amazon to collect rubber, and the impact that this colonization had on the numerous cultures in that part of the world. The film demonstrates the impact on the indigenous people through Karamakate. He is the last remaining member of his tribe. Now, Karamakate has resolved himself to live in solitude where he is engrossed in loneliness. The impact of his solitude is really felt when the movie enters into the second story where Karamakate is the only man, living in the same place, alone, struggling to remember his past, and believing he is merely a shadow of his former self that walks the earth detached from his body. I can imagine many tribes in this region felt a very similar impact on their cultures during this invasion of their land. As their people are killed off, their traditions begin fading with their memories.
In my opinion, the most impactful statement of the whole movie was the dedication at the very end. While these images of death, destruction, and the loss of entire cultures, the director chose to end the film by dedicating the work to the song of those cultures and the songs we will never know. Those words have resonated with my since I saw the film. I am struck with such sadness that entire tribes have been forgotten; it is almost as if they never existed.
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Christopher and James Lincoln Collier
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Christopher and James Lincoln Collier1930-; 1928- INTRODUCTION PRINCIPAL WORKSAUTHOR COMMENTARYGENERAL COMMENTARYTITLE COMMENTARYFURTHER READINGAmerican authors of juvenile fiction, nonfiction, biographies, and young adult novels and nonfiction. Source for information on Christopher and James Lincoln Collier: Children's Literature Review dictionary.
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https://www.encyclopedia.com/children/academic-and-educational-journals/christopher-and-james-lincoln-collier
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1930-; 1928-
INTRODUCTION
PRINCIPAL WORKS
AUTHOR COMMENTARY
GENERAL COMMENTARY
TITLE COMMENTARY
FURTHER READING
American authors of juvenile fiction, nonfiction, biographies, and young adult novels and nonfiction.
The following entry presents an overview of the Colliers' careers through 2005. For further information on James Lincoln Collier's life and works, see CLR, Volume 3.
INTRODUCTION
The Collier brothers have collaborated on several works of historical fiction and nonfiction for young adults. Christopher, an American history scholar, generally provides the historical framework, while James, an established fiction writer, creates characters who act as representations of various populist responses to historical events. Throughout their canon, the Colliers emphasize that history can be interpreted from many different, viable, and often contradictory perspectives, rejecting the sometimes static recounting of past incidents in school textbooks. The Colliers frequently set their narratives in colonial America and depict major milestones in American history through the experiences of common citizens. Their texts routinely examine such social issues as racism, sexism, personal freedoms, and war within a historical context, suggesting that the past can provide a useful guide to modern social behavior. Their books also fail to gloss over the more unpleasant aspects of American history, which has inspired several censorship challenges against some of their better known works, with small groups of parents accusing the authors with indulging in anti-Americanism, graphic displays of violence, and potentially offensive language. Despite these attempts at censorship, the Colliers have achieved significant recognition within the field of children's literature, having won several prominent honors, most notably, a Newbery Honor citation and National Book Award both for My Brother Sam Is Dead (1974).
BIOGRAPHICAL INFORMATION
James Lincoln Collier was born on June 27, 1928, in New York City, the son of Edmund and Katharine Brown Collier. He married Carol Burrows on September 2, 1952, with whom he had two sons, Geoffrey Lincoln and Andrew Kemp. The couple later divorced, and Collier was remarried to Ida Karen Potash. He earned a B.A. degree from Hamilton College in 1950 and then served in the Army infantry during the Korean War. His first job after the war was working as a magazine editor, a position he held for six years, during which he wrote in his spare time. He quit that position in 1958 and worked as a freelance journalist, specializing in music, particularly jazz, social science reporting, sex education, and related fields. Collier traveled widely in Europe during this period and has lived in Paris and London. An accomplished trombonist as well as writer, Collier has shown a special passion for jazz throughout his career, authoring several books on the subject, including The Making of Jazz: A Comprehensive History (1978), which was nominated for both the London Observer Book of the Year award and the American Book Award. He has worked as a jazz musician for many years, playing with groups in New York and around the world. He is thought to be the only American writer on jazz to gain official acceptance in the former Soviet Union. Collier's journalism and nonfiction have been published in such publications as Playboy, Esquire, The New York Times Magazine, The Village Voice, The Wall Street Journal, and Horn Book Magazine.
James' younger brother, Christopher, was born on January 29, 1930, in New York City. He married Virginia Wright on August 21, 1954, with whom he has two children, Edmund Quincy and Sally McQueen. The couple later divorced, and Collier married Bonnie Bromberger on December 6, 1969, with whom he has one son, Christopher Zwissler. Collier graduated with a B.A. from Clark University in 1951, later earning an M.A. from Columbia University in 1955 and a Ph.D., also from Columbia, in 1964. He served in the Army from 1952 to 1954. Following his stint in the armed services, Collier taught American history to junior and senior high school students in Greenwich and New Canaan, Connecticut, from 1955 to 1961. Since 1961, he has taught history at the University of Bridgeport in Connecticut, where he was quickly promoted through the university's academic ranks, from instructor (1961-1964), to assistant professor (1964- 1967), to associate professor (1967-1971), to professor of American history (since 1971), and chairperson of the history department (since 1977). His 1971 historical examination of New England politics, Roger Sherman's Connecticut: Yankee Politics and the American Revolution, was nominated for that year's Pulitzer Prize.
MAJOR WORKS
The first product of the Collier brothers' literary partnership was the award-winning My Brother Sam Is Dead. In addition to providing an accurate and entertaining rendering of the Revolutionary War, the Colliers' narrative addresses the conflict from several unique perspectives, which are atypical in many young adult historical texts. For example, they present the Revolutionary War—a battle between Great Britain and Colonial America derived from America's desire to free itself of British rule—as an internal war fought between those Americans who were loyal and those who were hostile to British rule. The Colliers construct their story around teenaged Tim Meeker and his family, who raise cattle in a small Connecticut town. When the war enters the Meeker's lives, Tim is torn between siding with his brother Sam, who eagerly joins the American forces to fight the British, and his father, who, fearing the safety of his family and business, staunchly opposes the rebellion. The Colliers followed My Brother Sam Is Dead with several other young adult novels set during the Revolutionary War era. The Bloody Country (1976) tells of the conflict between Pennsylvania and Connecticut for the ownership of the Wyoming Valley, and The Winter Hero (1978) addresses the political and financial hardships brought upon Massachusetts during Shay's Rebellion. Among the Colliers' other works of historical fiction are Jump Ship to Freedom (1981), about a fourteen-year-old boy who is a runaway slave, and War Comes to Willy Freeman (1983), which depicts a young African American girl coping with the loss of her parents. In the Colliers' 1994 Civil War novel, With Every Drop of Blood, Johnny leaves his Virginia farm in the waning days of battle to earn money as a teamster, transporting food to Confederate troops. When he is captured by Cush, an African American who is serving in the Northern army, Johnny must come to terms with his own upbringing and his preconceived knowledge of African Americans.
In addition to their fictional offerings for young readers, the Collier brothers have also written over two dozen nonfiction works in the "Drama of American History" series, tracing American history from the settling of the Americas and the Revolution through the Civil War, the two World Wars of the twentieth century, the Cold War, and to the coming of the new millennium. In so doing, the Colliers have examined a large array of historical topics, including the French and Indian War, the settling of Jamestown, the framing of the Constitution, the importance of cotton to the Southern economy, the rise of industry in America, the situation of Native Americans, immigration to America, and such American political movements as Progressivism.
While the Colliers are best known for their collaborative efforts, James is the more prolific of the two authors and has written several solo works of juvenile fiction and nonfiction. His first solo effort, The Teddy Bear Habit; or, How I Became a Winner (1967), details how teenager George Stable's obsession with his teddy bear leads to his involvement in a jewel theft. Many of James' later juvenile novels deal with young people struggling to overcome adversity, an element that often presents itself in the form of an unsavory parent. Among these books are Give Dad My Best (1976), about a boy forced to care for his family because his father is a down-and-out musician, and Rock Star (1970), which details Tim Anderson's battle to become a successful rock-and-roll guitarist despite his father's disapproval. In Outside Looking In (1987), Collier tells the story of Fergy, a fourteen-year-old boy who runs away after his unscrupulous father steals an expensive motor home. Collier's 1988 offering, The Winchesters, presents a boy caught in the middle of a dispute between his wealthy relatives and a town in economic peril. In My Crooked Family (1991), set in 1910, Collier depicts a young boy's efforts to triumph over poverty and negligent parents. The Jazz Kid (1994) revolves around Paulie Horvath and how his love of jazz transforms his dead-end blue collar existence into a successful career in music. In one of his several solo works of historical fiction, The Corn Raid: A Story of the Jamestown Settlement (2000), Collier constructs the story of yet another youth's efforts to overcome the unfortunate hand that life has dealt out. Twelve-year-old Richard is an indentured servant in colonial Jamestown living in fear of the master who continually beats him. Discovering that the English are planning a raid on the local Indians, he warns the natives, only to feel guilty enough later to tell his master what he has done. When the master subsequently beats Richard, the boy finally stands up to the man and starts planning for the day when he will be free. James Lincoln Collier has also penned several non- fiction series aimed at young audiences, including the "You Never Knew" series of juvenile biographies, which seeks to create unique portraits of such famous historical icons as Abraham Lincoln, George Washington, and Mark Twain, among others, and the "Great Inventions" series, which offers histories of some of the major technological advances of the modern era, including clocks, vaccines, and the automobile.
CRITICAL RECEPTION
Among the most prominent and prolific historical writers for children, the Colliers have been honored by the Newbery committee, the National Council for Social Studies, the Children's Book Council, and the National Foundation for the Humanities, among many others. Sharron L. McElmeel has labelled them "masters of the genre," holding their best known work, My Brother Sam Is Dead, as a classic of children's literature that "has both endured and has been recognized by list makers in the teaching and library professions as a readable, entertaining glimpse into a teenager's life in colonial times." Additionally, the American Library Association has called My Brother Sam Is Dead "a sobering tale that will leave readers with a more mature view of history and war." However, for all its honors and commendations, My Brother Sam Is Dead has been among the most challenged works of young adult historical fiction of the twentieth century, ranking as the twelfth most challenged children's book of 1990 to 2000 by the American Library Association. The school districts that have debated the book's viability as a learning tool include Richmond, Ohio, Greenville, South Carolina, and Gwinnett, Georgia, with its opponents arguing against the text's use of curse words, graphic violence, and depictions of alcohol consumption by minors. In Cheshire, Connecticut, advocates for the book's removal from school libraries have called My Brother Sam Is Dead "inflammatory propaganda," citing it as an inaccurate "un-American" portrait of the American Revolution. Despite such attacks, My Brother Sam Is Dead has remained widely popular with both teachers and students, with critics such as Kathy G. Short asserting that, "the major appeal of the book is its strong literary quality which meets objectives within an English curriculum. This novel is an excellent one for studying character development because Tim, the young narrator, is a dynamic character who undergoes significant, but believable, change through the course of the novel."
PRINCIPAL WORKS
Young Adult Historical Fiction; by Christopher and James Lincoln Collier
My Brother Sam Is Dead (young adult novel) 1974
The Bloody Country (young adult novel) 1976
The Winter Hero (young adult novel) 1978
Jump Ship to Freedom (young adult novel) 1981
War Comes to Willy Freeman (young adult novel) 1983
Who Is Carrie? (young adult novel) 1984
The Clock [illustrations by Kelly Maddox] (young adult novel) 1992
With Every Drop of Blood (young adult novel) 1994
"Drama of American History" Series; by Christopher and James Lincoln Collier
Decision in Philadelphia: The Constitutional Convention of 1787 (young adult nonfiction) 1986
The American Revolution, 1763 to 1783 (young adult nonfiction) 1998
Building a New Nation, 1789 to 1803 (young adult nonfiction) 1998
The Civil War: 1860 to 1866 (young adult nonfiction) 1998
Clash of Cultures, Prehistory to 1638 (young adult nonfiction) 1998
Cotton South and the Mexican War, 1835 to 1850 (young adult nonfiction) 1998
The French and Indian War, 1660 to 1763 (young adult nonfiction) 1998
Hispanic America, Texas, and the Mexican War: 1835 to 1850 (young adult nonfiction) 1998
The Paradox of Jamestown, 1585 to 1700 (young adult nonfiction) 1998
Pilgrims and Puritans, 1620 to 1676 (young adult nonfiction) 1998
Andrew Jackson's America, 1821 to 1850 (young adult nonfiction) 1999
A Century of Immigration: 1820 to 1924 (young adult nonfiction) 1999
Creating the Constitution, 1787 (young adult nonfiction) 1999
The Jeffersonian Republicans: The Louisiana Purchase and the War of 1812, 1800 to 1823 (young adult nonfiction) 1999
Reconstruction and the Rise of Jim Crow, 1864 to 1896 (young adult nonfiction) 2000
The Rise of Industry: 1860 to 1900 (young adult nonfiction) 2000
The Rise of the Cities (young adult nonfiction) 2000
Slavery and the Coming of the Civil War, 1831 to 1861 (young adult nonfiction) 2000
Indians, Cowboys, and Farmers and the Battle for the Great Plains, 1865 to 1910 (young adult nonfiction) 2001
Progressivism, the Great Depression, and the New Deal, 1901 to 1941 (young adult nonfiction) 2001
The United States Enters the World Stage: From Alaska Purchase through World War I, 1867 to 1919 (young adult nonfiction) 2001
The United States in World War Two, 1941 to 1945 (young adult nonfiction) 2001
The Changing Face of America, 1945 to 2000 (young adult nonfiction) 2002
The Middle Road: American Politics, 1945 to 2000 (young adult nonfiction) 2002
The United States in the Cold War: 1945 to 1989 (young adult nonfiction) 2002
Juvenile Fiction by James Lincoln Collier
The Teddy Bear Habit; or, How I Became a Winner [illustrations by Lee Lorenz] (juvenile fiction) 1967
Rock Star (juvenile fiction) 1970
Why Does Everybody Think I'm Nutty? (juvenile fiction) 1971
It's Murder at St. Basket's (juvenile fiction) 1972
Rich and Famous: The Further Adventures of George Stable (juvenile fiction) 1975
Give Dad My Best (juvenile fiction) 1976
Planet Out of the Past (juvenile fiction) 1983
When the Stars Begin to Fall (juvenile fiction) 1986
Outside Looking In (juvenile fiction) 1987
The Winchesters (juvenile fiction) 1988
My Crooked Family (juvenile fiction) 1991
The Jazz Kid (juvenile fiction) 1994
The Corn Raid: A Story of the Jamestown Settlement (juvenile fiction) 2000
The Worst of Times: A Story of the Great Depression [illustrations by David Schweitzer] (juvenile fiction) 2000
Chipper (juvenile fiction) 2001
Wild Boy (juvenile fiction) 2002
The Empty Mirror (juvenile fiction) 2004
Me and Billy (juvenile fiction) 2004
Juvenile Nonfiction by James Lincoln Collier
Battleground: The United States Army in World War II (juvenile nonfiction) 1965
A Visit to the Fire House [photographs by Yale Joel] (juvenile nonfiction) 1967
Which Musical Instrument Shall I Play? [photographs by Yale Joel] (juvenile nonfiction) 1969
Danny Goes to the Hospital [photographs by Yale Joel] (juvenile nonfiction) 1970
Practical Music Theory: How Music Is Put Together from Bach to Rock (juvenile nonfiction) 1970
The Hard Life of the Teenager (juvenile nonfiction) 1972
Inside Jazz (juvenile nonfiction) 1973
Jug Bands and Hand-Made Music (juvenile nonfiction) 1973
The Making of Man: The Story of Our Ancient Ancestors (juvenile nonfiction) 1974
Making Music for Money [illustrations by Robert Censoni] (juvenile nonfiction) 1976
CB (juvenile nonfiction) 1977
The Great Jazz Artists [illustrations by Robert Andrew Parker] (juvenile nonfiction) 1977
Louis Armstrong: An American Success Story (juvenile biography) 1985
Jazz: An American Saga (juvenile nonfiction) 1997
Great Inventions: Clocks (juvenile nonfiction) 2004
Great Inventions: Gunpowder and Weaponry (juvenile nonfiction) 2004
Great Inventions: Vaccines (juvenile nonfiction) 2004
Great Inventions: The Automobile (juvenile nonfiction) 2006
Christopher Columbus: To the New World (juvenile nonfiction) 2006
Great Inventions: Electricity and the Light Bulb (juvenile nonfiction) 2006
Great Inventions: Steam Engines (juvenile nonfiction) 2006
The "You Never Knew" Series; by James Lincoln Collier
The Abraham Lincoln You Never Knew [illustrations by Greg Copeland] (juvenile biography) 2003
The Alexander Hamilton You Never Knew [illustrations by Greg Copeland] (juvenile biography) 2003
The Clara Barton You Never Knew [illustrations by Greg Copeland] (juvenile biography) 2003
The Frederick Douglass You Never Knew [illustrations by Greg Copeland] (juvenile biography) 2003
The George Washington You Never Knew [illustrations by Greg Copeland] (juvenile biography) 2003
The Louis Armstrong You Never Knew [illustrations by Greg Copeland] (juvenile biography) 2004
The Mark Twain You Never Knew [illustrations by Greg Copeland] (juvenile biography) 2004
The Sitting Bull You Never Knew [illustrations by Greg Copeland] (juvenile biography) 2003
The Benjamin Franklin You Never Knew [illustrations by Greg Copeland] (juvenile biography) 2004
The Eleanor Roosevelt You Never Knew [illustrations by Greg Copeland] (juvenile biography) 2004
The Susan B. Anthony You Never Knew [illustrations by Greg Copeland] (juvenile biography) 2004
The Tecumseh You Never Knew [illustrations by Greg Copeland] (juvenile biography) 2004
James Lincoln Collier (essay date winter 1987)
SOURCE: Collier, James Lincoln. "Dancing the Literacy Tango." ALAN Review 14, no. 2 (winter 1987): 1-2.
[In the following essay, James Lincoln Collier discusses the collaborative writing process he and his brother Christopher use to compose their canon of young adult historical fiction and nonfiction.]
One of the questions I am asked most about my work is how do my brother and I possibly manage to make a joint venture out of an activity as obviously private and personal as writing a book. The readers' puzzlement is understandable: writing is personal, and private. A writer works from a point of view that is his own. He is always saying this is how I feel about these things; this is the way it seems to me. Indeed, a great deal of what we get from the best writing is a personal view of the world: the irony of Charles Dickens, Hemingway's sense of the world as an adversary, the rueful sentimentality of Laurence Sterne. How, thus, can two people, however close in point of view, bring a single stamp to one work?
In fact, Kit and I, as brothers are likely to, do share to a considerable extent, a common world view. Our parents had roots deep in New England; but they had left their home culture to move into a somewhat artistic, semi-Bohemian culture in New York. We grew up in this mix of cultures, one side of which valued hard work, human decency and a respect for the privacy of others; the other of which valued high-minded intellectuality, adherence to principle and a concern for the truth. (These virtues of course, when pushed too far, can turn into uncharitable inflexibility and self-righteousness.) As far as our writing is concerned, we thus share a view that what we put onto a page ought to be as truthful as we can make it—carefully researched, clearly thought-out and accurately described.
But our approach to writing differs in other ways. Kit sees himself essentially as a teacher, with all that implies. He began his professional career as a seventh grade social studies teacher, and although he moved into college teaching after a few years because he was drawn to scholarship, he has been a teacher all his life. In the books we do together his goal is to awaken students' curiosity—that is, get them to start asking questions. Readers who know our books will have some idea of what those questions are: Was the Revolution necessary? Who in fact were the patriots in that fight? What is economic freedom, and what is worth sacrificing for it? How did the racism which has been so much a part of the American experience became institutionalized? What has it cost us? I think any teacher who is using our books can mine them for questions like these, and undoubtedly find some of which we are unaware.
My approach to writing is different than Kit's. To me a piece of fiction works in some ways like music—a song, a symphony, an improvised jazz chorus. It is something which works on the emotions, and when I write I try deliberately to catch readers up in my story, to make them feel things, and in the end, if I am very lucky, to change their internal landscape a little by showing them a new way of looking at the world. My brother and I, although we are both addicted to the truth, otherwise have different aims in creating our books. How do we manage this?
To begin with, we have agreed that at some point in the process the entire story must pass uninterrupted through one consciousness. This is so that there is a consistency of language, of feeling, of "tone," a hard-to-define quality that is nonetheless present in most good writing, as for example the aforesaid irony of Dickens and the ruefulness of Sterne. Eventually, thus, I will sit down and write the book from start to finish.
But the book begins in Kit's head with a notion he wants to teach, a question he wants to raise in the minds of readers. He casts about for an historical event, or sequence of events, which can illustrate his point. Or rather, the mind being what it is, these arise simultaneously: that is, at one moment he sees both the event, and how he can illustrate a certain point. He then brings the idea to me: there was a black named Jack Arabus who sued for his freedom after the Revolution in an important case, which we might use to say certain things about race in America; there was an actual war between Pennsylvanians and Connecticutters during the Revolutionary period, which might be used to say something about the economic basis of freedom. He fills me in, and then I make a judgment about the dramatic possibilities in the idea. Some of the questions I must ask are: Is the story compact in time, so that it does not require too many flashbacks in telling? Is there plenty of action? Is there natural conflict between various of the major characters? Would our young protagonist realistically have a role in the events, rather than merely observing them?
I have to be very careful about this, for I know that there can be no doctoring of the events, no shifting them about in time for as much as a minute, no changing the locale for as much as a yard. And I—we—have made mistakes. For example, the action in The Bloody Country was spread out over too long a time, and we struggled mightily to keep the story glued together. For another, any time you are writing about slaves the action is perforce limited, which almost invariably means that a slave story must be built around an escape. However, the first two books in the Arabus family trilogy involved runaways. This was not the commonest black experience, and out of respect to the truth we did not want to show another black young person in flight in the third book. Yet a protagonist must always have a purpose, and those who have read Who Is Carrie? will see how we solved the problem—again, not without struggle.
Actually, all of this comes about a good deal more informally than the foregoing implies. We live some fifty miles apart, and talk to each other frequently on business, social or family matters. We may or may not be looking for an idea for a new book; that of course depends on our other commitments. But as it usually works, if Kit comes up with an idea that we get enthusiastic about, we are likely to find a way to do it. He then works up a fairly detailed outline: here's the basic sequence of events, here are the characters, here is a rough story outline. I look it over, test it for dramatic problems and possibilities. We sit down together and adjust the outline as necessary so that the story will be both gripping and get the pedagogical point across.
Now we see our editor—Judy Whipple, now at Macmillan, for the early books, Olga Litowinsky at Delacourt for the more recent ones. We tell Judy or Olga what we want to do, and so far they've agreed; although both always have suggestions about one or another aspect of the books.
The next step is for Kit to supply me with a heap of research—books on the period, scholarly articles on the ideologies involved, maps, drawings, whatever he can find. In addition, either separately or together, we visit the ground where the action will take place. We photograph period houses or features of the landscape, check old maps against new to see how roads and streams may have moved and visit historical museums where they exist.
Once I have digested the research, I sit down and write—pass the story through a single consciousness. It is agreed that I can go anywhere I want with the story at this point. Although of course I write out of the historical background, I feel free to invent as I like, knowing that my brother will in time have an opportunity to check for historical accuracy. The point is for me not to feel constrained: if I have a scene working the way I want, I want to be able to plunge forward as the drama leads, without having to worry about historical detail.
When I have finished a draft, it goes to Kit. His main task is to check the history, but he will also make suggestions about the story line: this scene seems flat, this seems improbable and so forth. We discuss the whole once more. Concerning questions he has raised about the story line, if I feel confident that I am right, he will accept my view, once he has argued his position. But questions of historical fact and interpretation are his province, and I must abide by his judgment. For example, in My Brother Sam Is Dead I wanted, near the beginning, to have the two boys who are at the center of the story to have a discussion out of earshot of their parents, and I set them to washing the dishes in the kitchen. This, my brother said, would not do; at that time males did not wash dishes. I had the boys instead go out to the barn to tend the animals, where they could talk without being overheard.
Once we have sorted out these problems—and sometimes matching the story we want to tell with historical detail requires a good deal of nimble inventiveness so as to subvert neither—I write a complete new second draft, of course shoring up weak points of which I am aware. (I have a tendency to keep forging ahead in the first draft, leaving weak scenes to be dealt with later.) This second draft then goes back to Kit, who goes over it once again, and after further discussion, we make such changes as are necessary. These ought to be minor; but a couple of times I had to do substantial revision on this second draft.
Then it goes to the editor. She will have comments. In most cases these are minor—we need to know a little bit more about A's background; it isn't quite clear why B did such-and-such; we ought to have a stronger reaction from C at this point. We can, of course, reject these editorial suggestions, and at times we have; but we have a tendency to accept them because she is bringing a fresh eye to material we have by this point begun to get a little fed up with. (Both of us are occupied with new projects, and it is always a little irritating to have to turn back to an old one.)
Then, finally it is done. It is clear that one reason why it all works is that there's a pretty strict division of labor in the process. We each have our bailiwicks, and so long as we continue to respect each other's area of expertise—which we do—we can avoid arguments. And in truth, we have not really ever had a serious argument, although we have come a few times to compromises with which neither of us was very happy.
Perhaps the most interesting of our collaborations, to me at least, was in the writing of our recent study of the Constitutional Convention, Decision in Philadelphia. Here we were not dealing with fiction; my role was solely to make readable material of which Kit was entirely in control. I confess that at the outset—we began thinking about the book in 1979—I knew far less about the Constitution than I ought to have. Once again we agreed that for consistency of tone, the whole book would have to pass through one consciousness. We decided then, that Kit would act as my teacher, and take me step-by-step through the Constitutional Convention, following an outline which he had devised. Chapter by chapter he gave me heaps of assiduously gathered material: biographies, endless abstruse monographs on subjects I didn't know existed, maps, copies of old newspapers, lists of ship tonnages and exports from American ports, and much more of the stuff of which historical research is made. Chapter by chapter I studied this material, digested it and worked it up into some sort of coherent form. When we finally finished we had a seven hundred page manuscript that was hopelessly disjointed, confused and in many cases wildly incorrect. But now I understood the Constitutional Convention, and we could begin. It would be two more complete drafts before we had the book in shape; but we got to where we wanted to go.
Collaboration, I think, is always difficult. I would not attempt it with just anyone. It is important to work with someone who can work out ground rules and stick to them, someone who thinks the way you do about most things and, above all someone with whom you can have a measure of mutual respect.
Christopher Collier (essay date winter 1987)
SOURCE: Collier, Christopher. "Fact, Fiction, and History: The Role of Historian, Writer, Teacher, and Reader." ALAN Review 14, no. 2 (winter 1987): 5-8.
[In the following essay, Christopher Collier discusses how fiction can be used to present historical fact through an analysis of his own literary canon, most notably the works of young adult historical fiction he has co-authored with his brother James.]
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This text has been suppressed due to author restrictions.
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This text has been suppressed due to author restrictions.
This text has been suppressed due to author restrictions.
Christopher Collier (essay date 2002)
SOURCE: Collier, Christopher. "Censored: An Author's Perspective." In Censored Books II: Critical Viewpoints,1985-2000, edited by Nicholas J. Karolides, pp. 311-23. Lanham, Md.: Scarecrow Press, Inc., 2002.
[In the following essay, Christopher Collier discusses the various controversies and censorship challenges that his works of young adult historical fiction—co-authored with his brother James—have faced, most notably, their best-known work, My Brother Sam Is Dead.]
Twelve-year-old Timmy Meeker, struggling with his brother's seventeen-year-old girlfriend over an incriminating piece of paper, slammed her as hard as he could on the side of her head. "You little bastard," shouts Betsy (84). This is a line my brother wrote for one of the climactic moments in My Brother Sam Is Dead. Can it be that all across America ten-year-old girls are sitting in fifth-grade classrooms reading out loud "You little bastard" to their classmates? Judging from the reaction from outraged parents, one would think so. But I doubt it. I haven't yet met a teacher of any experience who would set things up that way. Nevertheless, the use of Brother Sam in classrooms across the country is challenged scores of times every year. In 1996 People For the American Way listed it among America's ten most challenged books—just after Steinbeck's Of Mice and Men.
The use of profanity and obscenity was not the only reason for the challenge, however. Parents complained about graphic descriptions of battlefield scenes, the consumption of alcohol, and an "unpatriotic" view of the American Revolution. At one large protest meeting, which I attended unrecognized, one woman objected to the book because one of the authors once wrote for Playboy (which is true—but it wasn't me). Although the board of education in this last instance decided to keep the book in the library, often enough the decision is the reverse.
We write these books primarily to teach American history. The bottom line is that students will learn nothing from them unless they read them. They won't read them—and if they do they won't remember what they read—unless the story engages, interests, and excites them. For that to happen we must reach our readers on an emotional level. The scenes we draw must have impact: that means not only intellectual engagement with the ideas we present, but also emotional engagement with the characters we depict. Indeed, though history itself holds unending materials for dramatic narrative, it is difficult to capture the actual emotional content of historical figures' characters. It is a lot more honest and literarily feasible to use fictional characters to personify and imbue with emotion the ideas we want kids to understand and remember. Thus strongly connotative, colorful, and striking words are a major literary tool to create character, context, and their interrelationships, all to bring about real historical understanding.
Dealing with censorship is not new to me. My first encounter with attempts to bar books from classroom use came when I, a new untenured teacher of eighth graders, had a panel of six high-level students read and discuss George Orwell's 1984. This was in the mid-1950s, Joe McCarthy's heyday. They were spooky times. It was on this occasion that I learned the first of the Six Lessons about Censors that I describe here.
Lesson One: The censors have not read the book.
When one of my eighth graders carried home a paperback copy of 1984 with a slightly lurid cover—for 1955—depicting a bosomy young woman wearing a sash across which was emblazoned "Anti-Sex League," my principal heard from my student's mother. To his lasting credit and my lasting gratitude, the principal permitted me to meet in his office with the horrified parent, who also happened to be the reigning president of the PTA. I asked her what she objected to. I was degrading her daughter's taste by giving her communist—remember the era—trash. But what was it in the book that was communist or degrading, I was allowed to persist. I wouldn't read this garbage, said Mrs. PTA.—and she hadn't. Nevertheless, I was told to remove the book from my course, and asked to submit all my future reading lists to the principal. How to squelch young enthusiasm for innovation and excitement in the classroom.
Another episode illustrating Lesson One—censors have not read the book—is much more recent: 1993, in fact. Jump Ship to Freedom follows the risky adventures of a young slave who gets mixed up in the writing of the U.S. Constitution in 1787. In the course of the year or so the book covers, Daniel Arabus rejects his view of himself as a stupid nigger and comes to see that he is as brave, smart, honest, and wise as any white person he meets. He grows from "I was black and wasn't as smart as white folks," (2) to "it seems to me that there ain't much difference one way or another … take the skin off of us, and it would be pretty hard to tell which was the white ones and which ones wasn't." (187) A pretty uplifting story, it seems to me. Although readers encounter the word darky as early as page 11, it is not until page 20 that they smash into nigger. One black sixth grader never got past page 2 before complaining to his teacher. The school principal pulled the book from the library shelves; a little tempest brewed and local NAACP officials became involved. In the end, Jump Ship was removed from elementary but not middle-school library shelves, though the teachers "all agreed not to use the book in lessons so as not to offend students."
The fracas generated some interesting comment. "Parents argued," a newspaper account explained, "that the book was dangerous because some students will only flip through the beginning of the book and not read it all." This view raises an intriguing question: Must all books for school use be written so that no single page if read alone will not offend anyone? There is no evidence that any of those objecting to the book ever read it; indeed their comments lead pretty clearly to the conclusion that they did not. I will return to "the N word" later.
Lesson Number Two: Censors are mindless. We often run into situations where editors of anthologized excerpts from our books want to remove words, phrases, whole episodes for whatever editorial reasons—or nonreasons—they might have. Thus the suggestion of one censor to substitute restaurant for the customary 18th-century tavern in a story about the American Revolution. Restaurant is a French word not used in America for two generations after the Revolution. The same censor was told, apparently, to remove all the gods, damns, god damns, etc. In one scene our narrator "began silently to pray, ‘Oh, please God, oh please.’" The censor struck it. That same mindless censor also accepted our substitution of hard cider for wine, apparently wholly unaware that they both have the same alcoholic content. Hard cider is apple wine. The examples of this sort of mindlessness go on and on in uncounted tedium.
Lesson Number Three: Censors don't understand the context of the situation. Much that might appear on first glance to be merely simple mindlessness is often an inability to see the offending element in context. This might, for instance, explain a censor's failure to distinguish profanity from prayer. A common basis for censorship is to strike episodes that appear racist or sexist. Often these episodes are included in order to attack the very attitudes they display. The example of Daniel's racist remarks in Jump Ship to Freedom cited above is a good example. In The Clock we attack raw sexism in the workforce by focusing on a victim of it. We have been challenged for not having Annie stand up to her lecherous supervisor. But that was 1810—which leads me to …
Lesson Number Four: Censors lack historical perspective—even of their own times. Books have been challenged for the use of the word Japs. But anyone who remembers the era of World War II at all knows that Jap was the universally employed term. Read some of the classic books written about that war. In John Hersey's Into the Valley about a battle on Guadalcanal in 1943, not only do the soldiers regularly use the term Jap but Hersey himself uses it in his narrative. Would a battle account of GI dialogue of 1943 ring true if the soldiers referred to their deadly enemies as Japanese? In my other life as a professional historian I work with Indians a good deal. They call themselves Indians. Must we have our frontiersmen in a novel about the expanding west say that the "only good Native American is a dead Native American." Yet I know of a young seventh-grade teacher who says she will not use a book that uses the term Indian. And how do we keep up with what are acceptable terms for Negroes, colored, blacks, African-Americans? Certainly we all agree not to use the word nigger when we can avoid it, but how real would it sound for Confederate troops in 1863 to say Negro—not to mention African-American. Would Huckleberry Finn be the same story if his companion was referred to as African-American Jim?
The lack of historical perspective, however, goes way beyond the use of historically acceptable terms. We have been informally challenged as sexist for having Willy in War Comes to Willy Freeman dress as a boy in order to be able to make her way from place to place through revolutionary era society. Apparently, many parents of young teenagers have so little understanding of the past that they fail to see how difficult—indeed nearly impossible—it would be for a fourteen-year-old black girl to travel alone through New York and Connecticut in 1782. On one occasion we had an editor change a statement made by a Revolutionary Era bandit from "You're acting like a couple of old women" to You're acting like cowards." I think the dialogue loses a lot in that translation. How can youngsters of today ever understand the progress of women over the past generation if they don't know the situation of women in America in the past—indeed the traditional situation of women everywhere?
Lesson Number Five: The concerns of censors change over time. In the 1970s we were not made aware of objections—if there were any—to damns, god damns, even son of a bitches. Objections to profanity (there is virtually no obscenity in our books) rose during the late 1970s and into the 80s. This fits the upward curve of the popularity of fundamentalist Protestantism. In the earlier era, the wake of the Vietnam peace movement, concerns centered on violence as depicted in our battle scenes. More recently, we have encountered objections to depictions of alcohol drinking—indeed, even the word tavern as I have already noted. And even more recently there have been the alleged violations of sex and racial sensitivities. Sometime, if you just wait long enough, the censors will lose interest, though you can be sure that new ones—or the same old ones—will appear with new concerns. They are always there.
Lesson Six: I have met the enemy and I am them.
Historians, of course, study change over time, and Lesson Six is one that time—not any censor—taught me. If an author is lucky enough to see his books still in print and selling briskly a generation after he wrote them, he must confront the very real possibility of a disjuncture between the audience he wrote the books for and the audience that is now reading them. The publishers of the Hardy Boys, Nancy Drew, and Tom Swift routinely update their old tales. It is especially true of the past thirty years that social change has been profound and rapid. The connotations expressed by certain words are not the same in 1998 as they were in 1974.
In 1939 Clark Gable's famous Gone with the Wind "damn!" was a shocker, to today's audiences it doesn't mean a thing. What I have seen over the past decade or so, however, is the reverse of the loss of shock value in certain words. Where damns, god damns, hells, and Jesus Christ were strong shockers for fifth graders, but to their parents quite unexceptionable in 1974, this is no longer the case.
About ten or twelve years ago we began to hear from our middle-school readers complaints about the "swears" in our books. Why did we have to use them? I have already responded to that question. The one I want to deal with now, is what do you do when the social and intellectual climate changes so much that words have a different effect on readers—indeed even mean something quite different to them?
Same words—different meaning. Similarly, in the verbal context of the early 1970s, the full and steamy wake of the free speech movement of the previous decade, it took a damn or a hell to carry any emotional weight. The Bloody Country, for example, is full of them, even on occasion in the mouths of nine-year-olds.
But the free speech waters rose to flood tide and beyond. The filth of speech on television and in films today has become so outrageous that a backwash was sure to come, and the tide ebbed with a rush. Parents are so disgusted with obscenities in the media that they are now much more aware and concerned about their kids' verbal encounters at school. Indeed, even some of the kids are concerned.
Thus a goddamn in 1998 carries a much heavier impact, believe it or not, than it did in 1974—or so, at least, our letters and conversations with young teenagers and their parents tell us. Indeed, that is the Lesson Six that I learned. I recently reread The Bloody Country, and found many of the curse words and especially the use of nigger, unnecessary, even grating on occasion. The lesson, of course, is that if the intellectual or cultural perspective of the readership changes, there can be actual changes in the received meaning of certain words. Thus what is not censorable in one era might certainly well be in another. The great question is, what should an author of a frequently reprinted book do about it? If the words on the page no longer get the intended response—one which they once did, should an author, given a chance, alter the words in his original? Should he, in other words, censor himself?
This gets me to the central authorial question. If you know certain elements of a situation are liable to offend some influential readers, why don't you just omit or change them? Let me tell you a story.
I earlier described the wrestling bout of Timmy and Betsy in My Brother Sam Is Dead over a note Timmy was carrying to Loyalist spies. In this scene Timmy fails in his effort to participate in the war and becomes thereafter an increasingly confused and distressed onlooker. In his political development it is a climactic moment. We had to give it some emotional impact. When the first draft came to me with Betsy's "You little bastard," (84), I called my brother to tell him that the teenage daughter of the town's most respectable family would not have used that word. Not that folks in the olden days didn't—they used every word we do today, not excluding the f— one. But Betsy wouldn't. "OK," says James, "what would she say?" "You little viper; you snake," I suggested. "Oh, come on; we're writing for teenagers in 1974. Those words carry no force at all." I had to agree; the literary needs outweighed the historical ones.
Over the years, I have asked hundreds of middle-school kids to suggest a phrase that their mothers would accept, but that would pack the same wallop. The best they have come up with so far goes like this:
Original Version
Then she jumped me. She caught me completely by surprise. She just leaped onto me and I fell down backwards and she was lying on top of me, trying to wrestle her hands down inside of my shirt. "Goddamn you, Betsy," I shouted. I grabbed her by her hair and tried to pull her head back, but she jerked it away from me. I began kicking around with my feet trying to catch her someplace where it would hurt, but she kept wriggling from side to side on top of me and I couldn't get in a good kick. I hit her on the back but in that position I couldn't get much force. "Get off me, Betsy."
"Not until I get that letter," she said. She jerked at my shirt, trying to pull it up. I grabbed at her hands and twisted my body underneath her to turn over so I would be on top, but she pushed her whole weight down on me, grunting. So I slammed her as hard as I could on the side of the head.
"You little bastard," she shouted. She let go of my shirt with one hand and slapped me as hard as she could across my face. My nose went numb and my eyes stung and tears began to come.
Sanitized Version
Then she jumped me. She caught me completely by surprise. She just leaped onto me and I fell down backwards and she was lying on top of me, trying to wrestle her hands down inside of my shirt. "Curse you, Betsy," I shouted. I grabbed her by her hair and tried to pull her head back, but she jerked it away from me. I began kicking around with my feet trying to catch her someplace where it would hurt, but she kept wriggling from side to side on top of me and I couldn't get in a good kick. I hit her on the back but in that position I couldn't get much force. "Get off me, Betsy."
"Not until I get that letter," she said. She jerked at my shirt, trying to pull it up. I grabbed at her hands and twisted my body underneath her to turn over so I would be on top, but she pushed her whole weight down on me, grunting. So I slammed her as hard as I could on the side of the head.
"You bloody skunk," she shouted. She let go of my shirt with one hand and slapped me as hard as she could across my face. My nose went numb and my eyes stung and tears began to come.
A third version of the same episode was presented in an expurgated edition of the book that Scholastic put out (without consulting us) for its club distribution. I goes like this (96-97):
Then she jumped me. She caught me completely by surprise. She just leaped onto me and I fell down backwards and she was lying on top of me, trying to wrestle her hands down inside of my shirt. I grabbed her by her hair and tried to pull her head back, but she jerked it away from me. I began kicking around with my feet trying to catch her someplace where it would hurt, but she kept wriggling from side to side on top of me and I couldn't get in a good kick. I hit her on the back but in that position I couldn't get much force. "Get off me, Betsy."
"Not until I get that letter," she said. She jerked at my shirt, trying to pull it up. I grabbed at her hands and twisted my body underneath her to turn over so I would be on top, but she pushed her whole weight down on me, grunting. So I slammed her as hard as I could on the side of the head.
She let go of my shirt with one hand and slapped me as hard as she could across my face. My nose went numb and my eyes stung and tears began to come.
Perhaps opinion will differ as to which version makes the most memorable impression. My brother and I often disagree. But on this one, we do not.
When kids ask why we use all the "swears" in our books, I try to explain that you just can't have soldiers in battle saying "Goll ding it, I've been hit," or "I'm shot, good gracious." Readers know that is not what they said; the story would lose credibility and we would lose readers. Look again, for instance at John Hersey's 1943 battle account I mentioned earlier. The much lesser public tolerance for profanity at mid century forced writers into pallid representations of dialogue.
Hersey's battle hardened GIs use phrases like "You can bet your shirt." One Marine captain, in rallying his scattering troops in the heat of deadly combat, says "Gosh, and they call you marines." Now we know he didn't say "gosh," and the use of the word in this context fails utterly to capture the spirit and emotion of the moment and casts an aura of unbelievability over the whole account.
Finally, let's confront the N word. The Bloody Country —on one level about interstate relations during the Confederation years—is on another level about the relative balance of property values and human values in the formative era of United States history. Ben Buck is the son of a mill owner—property values obviously symbolized by both the mill and the name Buck. His closest friend is the family slave, Joe Mountain. In the course of the story Ben realizes that if he loses the mill, he will end up a wage slave working for someone else and with little freedom of action or independent control over his life. Joe, on the other hand, learns that the only way he can gain his freedom is to get away from the mill. Ultimately he runs away.
We first encounter the N word on page 3. Joe was half Mohegan, and Ben says, "You're an Indian yourself." "Hell, I'm not an Indian," Joe Mountain says, "I'm a nigger." "Besides, if I'm not a nigger, how come I belong to your father? Indians can't be slaves, only niggers." (4) This begins the development of our theme of the universal need for individual freedom. In the era of American slavery from the mid-17th century to 1865, whites—North and South—did not like to use the word slave. Note, for instance, that the U.S. Constitution written in 1787 condones the institution by referring to slaves as "persons … held to service or labor" and "persons imported." Nigger was a less embarrassing euphemism for slave. It was universally used that way. But let's try our dialogue again. Ben says "You're an Indian yourself." "Hell, I'm not an Indian," Joe Mountain says, "I'm a Negro." "Besides, if I'm not a Negro, how come I belong to your father? Indians can't be slaves, only Negroes." Try it again substituting African-American for Negro. Do you see what I mean?
Our use of the N word is intended to deepen the depiction of the misery of slavery and of the degraded status of free blacks as well. Most of our readers are white. It is our effort to convey to them the trials of people of African ancestry in North America. We want youngsters to understand the difficulties of growing up black in America. We think this is necessary for them to think knowledgeably and wisely about contemporary conditions about which they, as adult citizens, will have to make decisions affecting their own and others' lives. Without knowledge of the horrors and misery of the black—especially, slave—experience that has embarrassed America for centuries, future citizens cannot confront intelligently the racism that so degrades the nation. And without confronting it, they cannot rectify it.
This is our fundamental objective in the Arabus Trilogy. In War Comes to Willy Freeman we try to show the problems faced by the most powerless people—young, black, female, and slave. But in the end Willy struggles through, not happily, but free, at least. In Jump Ship to Freedom, Daniel learns firsthand the searing ambiguity of a Constitution for white freedom and black slavery. And in Who Is Carrie? our little black girl faces the awful future of never knowing if she is slave or free. In all of these novels the word nigger is unavoidable if anything close to historical verisimilitude is to be drawn. But beyond that, the word is necessary in order to portray the horrible condition of enslaved African-Americans in a way that evokes an emotional response that draws the reader into the story.
We know that our approach to the historical roots of the nation's race problem works. These books are used in largely black-populated inner city schools. We get approving fan letters from students there. One eighth grader wrote from New Jersey, "This week I picked up the book Jump Ship to Freedom and I could not put it down. I am a black girl who of course has heard many things about the black situation but I've never really got into it. When I read this book, a whole new world opened up to me. My mother is buying the other two volumes today.
"Thank you for writing these books. Sometimes children my age with all the things I have and my beautiful home need to experience other things." Indeed, an eighth-grade teacher wrote from Austin, Texas, after having read Willy and Jump Ship asking for a photo: "I really do think that many of my students will be surprised to discover that you are of African-American descent." After seeing my picture, she wrote, "I still plan to use your books during Black History month"
It should be clear by now that as we write we use neither curse words nor racial slurs without giving them thorough consideration. We do not use nigger when some other term will do as well. Nor do we say goddamn when we could say gosh with just as great an effect. As a matter of fact, the number of complaints we received from middle schoolers about "swears" in our books caused us to write our last two books with almost none. It was not easy. A partial solution was to make the two fourteen- or fifteen-year-old protagonists in With Every Drop of Blood old-fashioned fundamental Christians, given to quoting the Bible rather than spouting profanity. In that book we got rid of much of the profanity that would have been standard among soldiers, and we tried to use the N word only when absolutely necessary. In this scene fourteen-year-old Johnny has just been cap- tured by a black Union soldier, Cush, and wrestles with his world turned upside down. "Taking orders from a darky was another shock, especially one my own age. It was just the strangest thing, for I'd never heard a darky even speak back to a white person, much less give them orders." This works, but wouldn't the sense of shock and role reversal be a lot more intense if the N word was used instead of darky? And, in any event, are 20th-century African-Americans any less offended by darky than nigger?
The American Library Association Office for Intellectual Freedom has all sorts of guides and other materials to help deal with efforts at school and library censorship—more especially how to head it off at the pass before it erupts into a major community battle. But I have a few suggestions that might help avoid even the thought of challenging the books you choose to use in class. Make sure your books are grade level appropriate. Consider carefully whether you should read them to students, have students read out loud in class, silently in class, or at home. Communities differ radically in their tolerance for obscenity, profanity, and racial and gender slurs. Be sensitive to those levels of tolerance. But in the end, the choice of classroom materials belongs to the professional, not the parents. Parents may know what is best for their own children, but teachers are better judges of what's best for the whole class.
Works Cited
Collier, James L. and Christopher Collier. The Bloody Country. New York: Macmillan. 1976.
———. The Clock. New York: Delacourt, 1992.
———. Jump Ship to Freedom. New York: Dell, 1981.
———. My Brother Sam Is Dead. New York: Four Winds Press, 1974.
———. War Comes to Willy Freeman. New York: Dell, 1987.
Hersey, John. Into the Valley. New York: Knopf, 1943.
Orwell, George. 1984. New York: Harcourt Brace, 1949.
Steinbeck, John. Of Mice and Men. New York: Viking, 1963.
Sharron L. McElmeel (essay date September-October 1996)
SOURCE: McElmeel, Sharron L. "Author Profile: Christopher Collier and James Lincoln Collier." Book Report 15, no. 2 (September-October 1996): 28-30.
[In the following essay, McElmeel provides a profile of the Collier brothers, with particular emphasis on their collaborative historical fiction for young adults.]
The brothers Christopher and James Lincoln Collier have been writing historical fiction for young people since the early 1970s and are generally recognized as masters of the genre. Their first collaboration, My Brother Sam Is Dead (Four Winds, 1974), was named a Newbery Honor Book in 1975. Just two years ago it received a Phoenix Award, given to a book over 20 years old that has endured even if it wasn't an award winner when it was first published.
My Brother Sam … has both endured and has been recognized by list makers in the teaching and library professions as a readable, entertaining glimpse into a teenager's life in colonial times. It also launched the Collier bothers on a collaborative career that gives middle school and junior high readers fictional young people to remember among the dates and places studied in history classes.
One other indication that the book "endures" is its appearance in the 1990s on the list of titles that have been challenged by would-be book banners. The brothers were born in New York City, where their father was a writer of short stories about the Old West, who also wrote several biographies of western heroes for young adults. Both brothers gravitated toward their father's profession as a writer although their subjects were different.
Christopher, the younger brother shared his father's interest in history. After college he taught social studies in Connecticut Junior and senior high schools. Later he earned a Ph.D. from Columbia University and has taught American history at the college level since 1961. In 1985, he was named Connecticut State Historian.
As a professor and historian, Christopher writes scholarly articles, monographs, and books. His book Roger Sherman's Connecticut: Yankee Politics and the American Revolution (Wesleyan University Press, 1971) was nominated for a Pulitzer Prize.
In his separate writing career, James Collier was editing a magazine, writing articles, adult novels, and nonfiction children's books, often about music and musicians, and playing the trombone in a New York City jazz band. His books have been nominated for National Book Awards and the American Book Award. One of his most acclaimed titles is The Making of Jazz: A Comprehensive History (Houghton Mifflin, 1978).
James's books for children and teenagers range from a photo essay on fire houses to comic novels to books on musical theory: One of his first books for young readers explained military maneuvers in World War II, Battleground (Norton, 1965). He has also written biographies of jazz musicians for both young readers and for an adult audience. His books for adults includes one novel, published in 1960.
For years the two writers talked of writing a book for young readers together. Christopher notes, "After about 15 years of hounding, he [James] finally agreed to help me out."
Nine novels later, the brothers' collaboration process has evolved into a standard pattern of interaction. Christopher starts the exchange with an idea for teaching a historical period or a concept to their readers. "When I was teaching eighth grade, I thought that kids would learn better and remember more if they learned history through really exciting—but true—novels."
After identifying the event and the general setting, Christopher researches every aspect of the time period, from the terrain and weather to the foods, clothing, and household utensils. He also creates profiles of the characters who might be included in the story. He researches names (to be sure they are authentic for the time), writes descriptions of the characters, fleshes out the details of the setting, and makes notes about everything that might be needed to make the story authentic.
"Almost everything that we put in our books really did happen to someone—though not always to the people who live in our stories," says Christopher. Some of the incidents are made up, but, according to the author, they "are easy to believe," because they are based on the careful research into time and place. Some episodes that are "harder to believe" are true. As an example, he points to one scene in which "two men are swept off an 18th century brigantine-and with the next wave one of them is swept back on again. Amazing, but it really happened."
Once Christopher has done the research, from his home in Connecticut, and outlined the story, he sends the outline to James in New York City. As James writes the first draft, he may need yet more facts from Christopher. For example, if the characters are leaving their home to go to a nearby town, James might need a description of the countryside and a route the characters would likely take. A mealtime scene might require some details about the type of food available in that season or the type of tableware, if any.
The Colliers are meticulous about the facts in their books. A manuscript will be passed back and forth until each is comfortable that it is both accurate in every detail and exciting in plot and action. James says his job is to make the book "very exciting so kids are going to stay with it," and Christopher views the stories as a "better way to teach history." Both keep those points in mind as they review the drafts.
After James produces the final draft Christopher gives it a final, extensive facts check before it goes to the publisher. When the brothers were writing about the decapitation of the slave Ned in My Brother Sam Is Dead, Christopher visited the site and measured distances so that every move and action would be portrayed as accurately as possible. They even used the exact words reportedly said by the British officers.
Their insistence on accuracy sometimes portrays a past that offends popular notions about our forbearers or current "political correctness." Their research shows that the colonial period was characterized by heavy drinking, families broken by death, and the subordination of women, children, and slaves.
The books have been challenged by some groups for profane and derogatory language. The brothers defend their accurate depiction of the attitudes and social mores of the eras they write about by pointing out, for example. that "during the American Revolution, African Americans were referred to as ‘niggers.’" To have avoided using the term would have rendered their writing less than credible, they believe. In the same vein, empowering their female characters would have created a false picture of the times.
One of the most difficult aspects of writing about a time before sound recordings were possible is determining how people spoke. The characters in their books speak in modern English. That decision was made by the Colliers partly to make the story easier to read and partly because they had no way to verify speech patterns or dialects.
In each book, a feature that should delight history teachers and report writers is the end-of-the-novel section called How Much of This Book Is True? In a page or two, the brothers tell readers which characters are based on real people found in their searching of primary sources (government records, newspapers, and even gravestones) and which characters and events are "their inventions" based on their study of the times.
Christopher adds, "Truth is often more interesting than fiction. A combination of both is what makes our books historical fiction."
The first three of the Colliers' novels are set during the American Revolution. Each focuses on a distinct conflict that grew out of the convictions and attitudes held by the people of the times. My Brother Sam Is Dead deals with the divided loyalties within families and among the residents of the colonies. The Bloody Country exposes a conflict between two of the new states—Connecticut and Pennsylvania. The Winter Hero deals with the factors that led to the Shays' Rebellion.
Three more books form a second trilogy that follows the black Arabus family in post-Revolutionary days. These novels describe the perilous line between freedom and slavery for blacks who lived in the North from 1781 to 1790. In War Comes to Willy Freeman, even African Americans who had "bought" their freedom were always dangerously close to being returned to slavery by the greedy and dishonest. Willy's father fought, and died, in the Revolutionary War, which should have ensured the freedom of his daughter. In their novel, the Colliers put Willy at the heart of a real court decision that was the basis to assure the freedom of some 300 African-American soldiers in Connecticut. In Jump Ship to Freedom, slaves are used as bargaining chips in the drafting of the Constitution. Who Is Carrie? portrays the most powerless people in post-revolutionary America—a female slave child.
Both Jump Ship to Freedom and War Comes to Willy Freeman were named a Notable Children's Trade Book in the Field of Social Studies by the National Council for Social Studies and the Children's Book Council.
The next two novels move forward to the industrial revolution and the Civil War. The Clock is set in 1810 Connecticut and deals with the exploitation of workers in the early textile mills. The Colliers' only book set in the Civil War era is also their most recent, With Every Drop of Blood: A Novel of the Civil War (Delacorte). In this tale a 14 year old who is attempting to get food to the Rebel forces in Richmond, Virginia, is captured by a black Union solider.
The brothers have collaborated on one history written for adult readers, which is certainly accessible to and informative for high school readers, Decision in Philadelphia: The Constitutional Conventional of 1787 (Random House, 1986). While co-authoring historical fiction for middle school readers, the Colliers have also continued their own individual pursuits.
Phyllis Graves (review date April 1999)
SOURCE: Graves, Phyllis. Review of Hispanic America, Texas, and the Mexican War: 1835 to 1850 and The Jeffersonian Republicans: The Louisiana Purchase and the War of 1812, 1800 to 1823, by Christopher and James Lincoln Collier. School Library Journal 45, no. 4 (April 1999): 145.
Gr. 5 Up—The Colliers preface both of these books [Hispanic America, Texas, and the Mexican War: 1835 to 1850 and The Jeffersonian Americans: The Louisiana Purchase and the War of 1812, 1800 to 1823 ] with their clearly outlined views on historical studies for this audience. Rather than provide numerous details, they would rather "draw in bold strokes, providing enough information, but no more than is necessary, to bring out the basic themes of the American story, and what they mean to us now." This perhaps explains the lack of quotations, footnotes, and other references usually found in more scholarly works. The authors believe that "it is surely more important for students to grasp the underlying concepts and ideas … than to memorize an array of facts and figures." Their emphasis seems to be on telling the story in a smoothly flowing, carefully constructed narrative that conveys certain generalized conclusions about events of the period. In that, they do succeed. The books have a highly appealing format, with colors used to set off chapter headings. Full-color illustrations, including engravings, photos, original paintings, portraits, and cartoons of the time period, clarify cultural and historical events. Both titles have extensive indexes and separate bibliographies for students and teachers. They also have colorful maps. Unfortunately, some of those in Hispanic America are inaccurate or unclear. In one, the Gads- den Purchase is incorrectly labeled as the Louisiana Purchase. In another, the colors in the key do not exactly match the colors on the map, reducing its clarity and effectiveness. In the map showing "Spanish Explorers in the American South," the colors of the lines representing each explorer's route are similar, requiting effort on the part of readers to distinguish who went where. The dates given for the Utah Territory are 1890-1861. Attractive but flawed introductory volumes.
Coop Renner (review date March 2000)
SOURCE: Renner, Coop. Review of A Century of Immigration: 1820 to 1924 and The Rise of Industry: 1860 to 1900, by Christopher and James Lincoln Collier. School Library Journal 46, no. 3 (March 2000): 249.
Gr. 5-8—Although many history books for children aim only at an objective presentation of the facts, the Colliers have opted for interpretational history [with A Century of Immigration: 1820 to 1924 and The Rise of Industry: 1860 to 1900 ]. As the series preface states, the authors are interested in "citizenship education" and in presenting "the basic themes of the American story, and what they mean to us now." In Immigration, they explain that conditions in the immigrants' homelands and in the U.S., including racial and ethnic prejudice, class distinctions, and maltreatment of the powerless by the powerful, created the vast waves of movement that had such an impact on this country in the 19th century. Yet, only a generation or two later, immigrants or their children often expressed anti-immigrant sentiments against new arrivals. Likewise, in Industry, the tremendous economic boon to the U.S. is not trumpeted to the exclusion of the abuse of workers—including children—by early industry giants, and the deep philanthropy of some figures is explicitly tied to the wealth gained by owners at the expense of employees. By focusing on broad themes, the Colliers are able to show cause and effect over several decades and to make the sweep of time "bite-sized" and intelligible. The frequent full-color and black-and-white period photographs and engravings effectively supplement and enrich the texts.
Rita Soltan (review date January 2004)
SOURCE: Soltan, Rita. Review of The Abraham Lincoln You Never Knew and The George Washington You Never Knew, by James Lincoln Collier, illustrated by Greg Copeland. School Library Journal 50, no. 1 (January 2004): 143.
Gr. 4-6—Dispelling some of the myths and legends about each man [in The Abraham Lincoln You Never Knew and The George Washington You Never Knew ], Collier offers biographical and historical accounts in a free-flowing style that elicits compassion, understanding, and awareness through each president's feelings, beliefs, and child/adult circumstances. The story of each man's life is enhanced by a compelling narrative about contemporary historical events and a clear rationale for the lifestyle and politics of each period. Lincoln presents an excellent summary of the Civil War period in an unbiased fashion, explaining the economic advantages and disadvantages for both the Northern and Southern states, key players, and Lincoln's evolving opinion on slavery. Washington recounts the incidents leading up to the Revolutionary War and offers a lucid explanation of the development of our present government structure with its separation of powers. Both texts are enhanced with original drawings and reproductions of photographs and art pieces. The one unfortunate omission is the absence of source notes for the feelings, thoughts, and dialogue. Succinct, interesting, and impressive additions.
Jean Gaffney (review date April 2005)
SOURCE: Gaffney, Jean. Review of The Louis Armstrong You Never Knew, The Mark Twain You Never Knew, and The Tecumseh You Never Knew, by James Lincoln Collier, illustrated by Greg Copeland. School Library Journal 51, no. 4 (April 2005): 148.
Gr. 4-8—Collier adds three titles [The Louis Armstrong You Never Knew, The Mark Twain You Never Knew, and The Tecumseh You Never Knew ] to this inviting series. The style is traditional, beginning with the childhoods of the featured men and covering their lifetime achievements. The author includes the forces that shaped each individual, as well as his strengths and weaknesses. Source notes and suggested titles for further reading are surprisingly scant. Information about personal lives is abbreviated. For example, readers learn about Armstrong's first wife but no others are mentioned except for a picture of his fourth wife near the end. Excellent photographs bring Armstrong and Twain to life. A mix of realistic paintings and reproductions depict Tecumseh's life. Easy-to-read type on spacious white pages may tempt children into reading biographies.
MY BROTHER SAM IS DEAD (1974)
Herbert N. Foerstel (essay date 1994)
SOURCE: Foerstel, Herbert N. "My Brother Sam Is Dead." In Banned in the U.S.A.: A Reference Guide to Book Censorship in Schools and Public Libraries, pp. 194-96. Westport, Conn.: Greenwood Press, 1994.
[In the following essay, Foerstel details the various censorship challenges that have been brought against My Brother Sam Is Dead, primarily objections to the novel's profanity and violence.]
Synopsis and Background: James Collier is a professional writer with many juvenile titles to his credit, while his brother Christopher is a professor of history specializing in the American Revolution. The authors state that the Meeker family depicted in the book [My Brother Sam Is Dead ] is fictitious, but most of the other events and characters are real. The setting for this Newbery Honor Award-winning novel is Redding, Pennsylvania, during the tense period preceding the bloody American Revolution. Eleven-year-old Tim Meeker has confused loyalties. Although his parents feel no strong loyalty to England's King George III, they are strongly opposed to revolutionary violence. On the other hand, Tim's sixteen-year-old brother Sam is caught up in the clamor for liberation and independence, and he joins the rebel army to serve under Captain Benedict Arnold. Sam later returns to the Meeker home to steal his father's musket, and Tim tries unsuccessfully to talk him out of it. As the violence of the war grows, Tim's father is taken prisoner, and he subsequently dies on a prison ship. Tim becomes sickened by the wanton destruction and death of war. In late 1778, Sam's regiment encamps near Redding, and he steals away from his post to visit his family. Sam is subsequently court-martialed and sentenced to death, and despite pleas for leniency from Tim and his mother, Sam is executed by firing squad. Years later, Tim looks back on the revolution and the way it destroyed his family. We share his doubts about whether the same ends could have been achieved without war.
Selected Challenges in the 1990s: In 1990, the Richmond, Ohio, Board of Education removed My Brother Sam Is Dead from the curriculum of fifth-grade classes after a parent complained that the book contained words such as bastard, goddamn, and hell. The school board president said the books were removed from the curriculum because the board heard from no supporters of the book, but a fifth-grade teacher said she had been advised to express her support through the school principal. The elementary school librarian who had recommended the book to teachers asked, "Is the next step going to be that they want me to take the book from the library? That frightens me."1
In 1991, a parent in Greenville, South Carolina, objected to My Brother Sam Is Dead and four other books being taught in the district schools. In January 1991, a petition signed by 864 people asked the school board to take the five books off the district's approved reading list. However, a materials review committee recommended that the books be maintained on the list, and the board accepted that recommendation, stating that approving or disapproving of individual books was not the board's function. The policy upheld by the board allowed parents to request that alternative books be assigned to their children.
In 1992, parents in Cheshire, Connecticut, objected to My Brother Sam Is Dead, used in fifth- and sixth-grade classrooms and available in the school library, alleging that the book contained graphic violence and an inaccurate depiction of the Revolutionary War—this despite the fact that the author is Connecticut's state historian and an authority on the Revolutionary War. Objectors claimed that the book's violent passages were inappropriate for elementary school students and described the book as inflammatory propaganda. The objectors complained about the book at several school board meetings and circulated a petition against it at a local church. However, they failed to follow the district's reconsideration procedure and never filed a formal complaint. The book therefore remained on the library shelf and in use in the classroom.
Note
1. Reprinted with permission of the American Library Association from the Newsletter on Intellectual Freedom, March 1990, p. 48.
Sharon Scapple (essay date 1996)
SOURCE: Scapple, Sharon. "Divided Loyalties: Why Is My Brother Sam Dead?" In The Phoenix Award of The Children's Literature Association 1990-1994, edited by Alethea Helbig and Agnes Perkins, pp. 269-72. Lanham, Md.: Scarecrow Press, Inc., 1996.
[In the following essay, Scapple characterizes My Brother Sam Is Dead as a young adult novel meant to engender questions about the cost of war, even when such conflicts are waged for seemingly important reasons.]
In response to the numerous comments he had received regarding how My Brother Sam Is Dead had finally offered something "new" on the American Revolution for young readers, Christopher Collier asserted that what was perceived as novelty was really a presentation of complex issues, something then lacking in juvenile literature. His intent was to incorporate elements of both the Whig and Progressive interpretations, "with strong emphasis on the latter," because he believed that a one-sided view commonly prevailed. He has cited Johnny Tremain as a text to reckon with, which is predominantly Whig, nineteenth-century Bancroftian. Collier wanted to "fill an historiographic gap …" (Horn Book 132). And he wanted to introduce the Progressive interpretation which views the war for Independence as "only part of a civil war that pitted brother against brother as aristocratic and popular interests struggled to control the policy-making machinery of their respective colonies" (Horn Book 135).
According to Collier, Brother Sam (written in collaboration with his brother, James Lincoln Collier) moved well beyond other children's books which, "for the most part … [were] merely stories laid in the period and given verisimilitude by incorporating authentic detail" (Horn Book 136). Arising from Collier's commitment to provide readers with "some raw reality to chew on," Brother Sam was born (Horn Book 138). And, for readers, quite naturally arise questions of why brother Sam is dead. What were the complexities the Colliers addressed that gave this text its notoriety and singularity? What were the aspects of Revolutionary life which led to political choices and divided loyalties?
Three voices are distinct in expressing the trials and betrayals of those war years; three voices all from one family living in Redding, Connecticut, each speaking about different loyalties: to Family, God, King, Nation, Brethren. One voice, that of young Tim Meeker, the narrator, is confused and cannot make sense of the other two: his Patriot brother and his father, who is loyal to the King, but who does not proclaim himself a Tory.
Quite early in the story, Tim admits that all his life he had heard arguments about whether the colonists ought to rebel or obey the King. What confuses him the most is that the conflict does not have two sides as arguments should, but "about six sides" (25). Some people say the King is King and should be obeyed; others believed people are to be free and the Lobster-backs should be driven out of the country. Still others believe that being born English they will die English; yet, they think they should have more say about how they are to be governed. Some want New Englanders to join together, and some want all the colonies to unite. Tim's statement that Sam's side is sometimes called Patriot and sometimes called Rebel encapsulates his confusion (25-26).
Tim is young and so is his view of war. He is impressed by Sam's uniform and envies him for the glory of soldiering. Sometimes after Patriot officers drink at the tavern, he watches them leave, wondering which side he would choose if he were to become a soldier. He concludes that the "British had the best uniforms and the shiny new guns, but there was something exciting about the Patriots—being underdogs and fighting off the mighty British army" (65). On more than one occasion he wonders what it would be like to shoot someone. He does realize, though, that if he were to fight Loyalist, his target could someday be Sam, his own brother.
Quite often and, in fact, throughout most of the novel, Tim is confused about the war, about who is on what side and why. He tries not to worry about it, but when his father is struck by a Rebel soldier searching for weapons, Tim realizes war has come to Redding. It is beginning to touch him personally. Later, after his father is captured by the cowboys (Rebel troops looking for beef), Tim is prompted to call himself a Tory.
Within a few months, however, Tim's allegiance switches to the Patriot cause. Quite understandably he is impressed when the British troops march into Redding "as if nothing in the world could stop them" (136). Yet he is uncomfortable knowing that while Mr. Heron, a surveyor and supposed Tory, has invited the British officers into his house, some hundred yards away Patriots are planning to kill them. When the British strike Captain Starr's house and Tim witnesses the black slave's decapitation—"Ned's head jumped off his body and popped into the air"—he … "[doesn't] feel much like being a Tory any more" (145).
After another year and half, the hazards of war have diminished his spirit; at age fourteen Tim hates the war and regrets not doing what would have been normal, going to school and making his way in the world. When Sam is arrested for stealing the family's cattle, Tim is "angry and bitter and ready to kill somebody. If … [he] only knew who" (200). In the end, he is loyal to his brother, Sam, and tries to save Sam's life while nearly losing his own. Sam dies; Tim's shoulder is grazed by gunshot; and, for the rest of his life the thought lingers as to whether there could have been ways other than war to be free of British governance.
The bid for no war is a message the Colliers iterate throughout the text. One Patriot, Colonel Read, a leader of men, quits the war because he disapproves of it. Another, the Anglican minister, Mr. Beach, hopes common sense will prevail—"Nobody wants rebellion except fools and hotheads," he claims (6). And of course, Life Meeker speaks directly against war. He addresses words and actions of sedition with rage, even ousting a customer in his tavern for talking about rebellion, and he tries to order his son Sam to strip himself of the Rebel uniform and stop such nonsense. He is an Englishman who holds to King-allegiance, obedience to the Fatherland.
Life Meeker knows war, and he will not have any part of it. When Sam professes that he is fighting for freedom and will willingly die for the cause, Life shouts: "Free? Free to do what, Sam? Free to mock your King? To shoot your neighbor? To make a mess of thousands of lives?" (7). The bottom line for Mr. Meeker is: Free, Sam, to bring your buddy home in a sack? Life tells Tim later that injustices do indeed exist in the world. This can't be helped, but injustices are not eliminated by fighting.
Sam, a young rebel, sixteen, charmed by the soldier's life, and motivated by principle, joins the Continental army and later reenlists because he feels a part of something big, something important. At least this is Tim's view. Sam identifies himself as an American, and he will fight until the finish, as will his friends, for they have made a pact to do so. His end is dreadful, the guns so close that his clothes are set afire, and a second shot is necessary to kill him. How true is Mrs. Meeker's frequent lament: war turns men into beasts.
Quite ironically, as are the vagaries of war, Life Meeker dies on a British prison ship, and his son is shot because a General wants to set an example to control his troops. Sam's life becomes sacrificial and his father's satirical. Life Meeker pronounces at his death that he is then going to "enjoy the freedom war … [had] brought … [him]" (165).
Why is brother Sam dead? Did he bring the wrath of God upon himself for not obeying his elders? Was he killed by his brothers to prompt a quicker end to the struggle? Was he a victim of idealism? Had "common decency between people" disappeared, as Mr. Platt feared and had "every man … [armed himself] against his neighbor?" Rebel and Tory in "open warfare?" (101). Had the beast in man been excused in the name of justice?
In My Brother Sam Is Dead, the Colliers readily engage readers in the dilemmas and hazards of Revolutionary life. We readers have much to "chew on," issues of survival, manhood, loyalties, dominion. And always the most difficult question: Can the cost of life be measured, weighed?
Work Cited
Collier, Christopher. "Johnny and Sam: Old and New Approaches to the American Revolution," The Horn Book Magazine, 52 (1976): 132-138.
Kathy G. Short (essay date 2002)
SOURCE: Short, Kathy G. "My Brother Sam Is Dead: Embracing the Contradictions and Uncertainties of Life and War." In Censored Books II: Critical Viewpoints, 1985-2000, edited by Nicholas J. Karolides, pp. 305-10. Lanham, Md.: Scarecrow Press, Inc., 2002.
[In the following essay, Short summarizes the various thematic issues that have made My Brother Sam Is Dead a controversial book in some quarters and seeks to promote its value as an enduring work of young adult historical fiction.]
My Brother Sam Is Dead consistently appears on recommended reading lists for upper elementary and middle school students. English and language arts educators promote the book because of its high literary quality, particularly in relation to strong character development and use of setting. Social studies educators recommend this historical fiction novel because it offers alternative perspectives on the American Revolution and raises controversial questions and issues for students to consider.
Another type of list on which My Brother Sam Is Dead has consistently appeared throughout the years is lists of the most frequently banned books in the United States. Clearly there is something beyond literary merit and historical perspectives that has caught the attention of the public.
So what is it about this historical fiction novel that captures both praise and condemnation? After describing the plot and themes of the book, I will overview the major criticisms that have led to censorship challenges and then discuss the literary and historical qualities that have led to awards and frequent use of the book in English and social studies classrooms.
My Brother Sam Is Dead was the first children's book written by James and Christopher Collier, two brothers who have since collaborated on other historical novels for children. In their collaborative writing process, Christopher is primarily responsible for the plot outline and the research needed to verify historical accuracy and authenticity. James crafts this research into a powerful piece of fiction. Written in 1974, the book received immediate acclaim by being named a Newbery Honor book, quite an accomplishment for a first novel.
The novel explores the complexity of the issues surrounding the American Revolution and war in general through the story of a Connecticut family torn apart by divided loyalties. The father is a Tory, a loyalist who wants to maintain his business and protect his family, while older brother Sam has decided to leave college and join the rebel forces. The story is told in first person through the eyes of Tim, the younger brother who must remain at home and deal with conflicting loyalties within his family and community. Tim idolizes Sam but, at the same time, loves and respects his father.
While the American Revolution is often portrayed in history textbooks as a battle between the Americans and the British, the Colliers based their novel on the fact that all people living in America at that time were British subjects. The war was thus between various groups of Americans whose loyalties were different and whose positions were much more complex than simply Tory or Patriot. The Colliers portray the war as a civil war which divided families and communities rather than "good guys versus bad guys."
For example, while Tim's father is a Tory, he chooses not to become involved in the war while other neighbors actively support the conflict or join armies for one side or the other. A continuum between the two opposing positions was filled with many individuals, including those whose loyalties were unclear, neutral, or shifted according to whichever side appeared to be winning. The complexity of why various Americans did and did not get involved in the war is reflected through the range of characters that Tim encounters.
The novel begins with Tim witnessing an argument between Sam and his father over Sam's participation in a rebel uprising. Sam has come home to steal his father's gun in order to have the needed credentials to enlist in the rebel forces, an action that leaves the family without protection.
The war comes closer to Tim when he and his father take a trip to sell cattle and get supplies for the family tavern. While he and his father are given safe passage by local protection units sympathetic to the loyalists, on the way home his father is taken captive and only through trickery is Tim able to safely return home. The rebel bands that Tim and his father encounter are criminals who use the excuse of war to rob and kill, and they increase Tim's ambiguity and confusion about who really are the "good guys" in this war.
Tim takes over his father's work in their tavern and is soon so tired he has no time to think about war. The ugly reality of war again invades Tim's life when he sees a neighbor decapitated by loyalist forces and another young boy taken away to prison camp during a local skirmish.
When Sam's company returns to the area to winter, Tim and his mother are able to see Sam more frequently, and Tim becomes troubled by his brother's motivations in joining the rebel forces. Tim realizes that his brother remains in the army, not because of duty, but because he likes the excitement of being part of something big. Ultimately, Tim's family pays a terrible price when Sam and his father both lose their lives in the war. The father dies because of the terrible conditions on a prison ship, and Sam is executed as an "example" to other troops when he is falsely accused of stealing his own family's cattle.
In the epilogue, Tim writes fifty years after the war about the events in his life since that time and reflects on the terrible price his family paid. While he notes that the United States has prospered as an independent nation, he also remembers his father's words, "In war, the dead pay the debts of the living." He ends with this statement, "I keep thinking that there might have been another way, besides war, to achieve the same end" (245).
The Colliers also include a section entitled "How much of this book is true?" where they note which details in the book are factually based on actual individuals and events and which are fictionalized. The historical details and sources provided by the Colliers indicate their commitment to the accurate portrayal of historical events, although telling the story of history always involves interpretation by the historian.
Clearly, My Brother Sam Is Dead is a novel that deals with difficult issues through its focus on the devastating effects of war on one particular family, a focus that immediately raises the concern of censors. In particular, censorship challenges have arisen for a number of reasons. One is the use of profanity by several soldiers. Another is the graphic descriptions of physical violence when a neighbor is decapitated and another is shot. When the mother can no longer cope with her problems after losing her husband and realizing that her older son is likely to be executed, she resorts to drinking for a time. Tim uses alcohol at one point to survive the cold when he is trapped alone in a bitter snowstorm. Finally, some critics have noted that the book, written during the height of the Vietnam controversy, takes a general stance against war and specifically questions the American Revolution.
Despite these censorship challenges, English, language arts, and social studies educators have continued to use and recommend this book. For English and language arts educators, the major appeal of the book is its strong literary quality which meets objectives within an English curriculum. This novel is an excellent one for studying character development because Tim, the young narrator, is a dynamic character who undergoes significant, but believable, change through the course of the novel. Sam remains a relatively static character who loses some of his enthusiasm for fighting but still remains dedicated to his army. At the same time, Tim's perspectives and priorities gradually shift in complexity as he lives through difficult life events and matures from a naive young boy to a mature young man. The authenticity of the characterization provided by the Colliers is one reason why profanity is used several times by soldiers involved in battle.
Related to the strong characterization is the authors' effective use of setting to influence character and plot. Tim's ambiguity about the war shifts as he moves from place to place; this is particularly apparent during the supply trip, which parallels his confusion over which side of the war he personally wants to support. Whereas the town where Tim's family lives is primarily Tory sympathizers, Sam encounters strong Patriot views when he is away at college, which leads him to make his life-changing decision to join the rebel forces. Each setting reflects different perspectives on the conflict that shift the plot and influence the characters' actions and views.
The novel also encourages explorations of many different possible themes as well as provides an ending that invites further dialogue about the necessity of war. The authors invite response instead of neatly tying up loose ends. As readers discuss this novel, themes of the realities of war as they affect individuals and communities will likely be raised as well as themes regarding family relationships and responsibilities. Readers are immediately struck by the harsh realities of war through the deaths of the father and brother, and these realities are contrasted thematically with Sam's romantic view of war as heroism and the fight for freedom. The mother's anguish at the loss of her husband and son and Tim's reflections on whether the cause of freedom might have been gained in another manner can support readers in exploring the theme of war in a complex manner. History textbooks accept the necessity of war without question, and this novel asks readers to stop and think about whether war is really always the only way to accomplish our goals as a country. Readers are encouraged to explore this theme from a range of perspectives, including the causes of a war, individual reasons for fighting in a war, and the costs of war at different levels within a country, community, and family.
The book focuses less on details about where and when certain battles were fought and more on the values of family love, responsibility, respect, honest work, and the value of human life. The tensions between father and son, the mother's attempts to hold the family together despite their differences, the necessity of assuming responsibilities for absent family members, and the death of a parent are issues that today's students can relate to in powerful ways. The difficulty of family relationships is especially expressive in the portrayal of how Tim is torn between obeying his father and respecting his brother, particularly given his love for both.
Finally, the novel can be related to a study of historical fiction as a genre that goes beyond facts in order to personalize history and that uses the past to help explain the present. This novel is also an excellent way to connect the study of literature and history and to distinguish between fiction and fact by using the authors' note at the end of the book.
Within a social studies class, the use of novels such as this one serves to bring history alive as a story of the people who lived during a particular time period and made decisions that affect our lives and country today, not just a recounting of dates, people, and battles. Historical fiction brings history to life for today's students. Historical fiction also provides multiple perspectives on historical events that have too frequently been presented unidimensionally in textbooks. History textbooks have typically presented the American Revolution through a singular perspective on the necessity of the war to achieve freedom from England. By using this novel along with other novels set duri
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1953-06-01T04:00:00+00:00
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The Seven Deadly Sins (Franco-London; Arthur Davis) is a French-Italian production which enlists seven sets of prominent actors, directors and writers in an episodic anatomy of sin. It promises a...
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The Seven Deadly Sins (Franco-London; Arthur Davis) is a French-Italian production which enlists seven sets of prominent actors, directors and writers in an episodic anatomy of sin. It promises a lot, but never quite lives up to the expectations of its theme and interpreters.
Within the rather contrived framework of a sideshow stand, where the customers try to knock down figures of assorted sins, the picture illustrates each transgression in turn. Avarice and Anger are embodied in a vignette about a greedy landlord, his wife and a poor tenant. Sloth tells how St. Peter dispatches a female emissary from heaven to slow down the feverish life on earth. In Lust, an adolescent girl is disillusioned when her mother has an affair with a roving artist. All three episodes are commonplace in writing and direction.
Some of the other sequences are much better. Envy, adapted by Director Roberto Rossellini from a Colette story, is the intriguing yarn of a newlywed wife, who is jealous of her husband’s affection for his pet cat. Pride, directed by Claude (Devil in the Flesh) Autant-Lara, is a mordant study of an impoverished, aristocratic mother and daughter (well played by Franchise Rosay and Michele Morgan). The best episode is Gluttony, a Rabelaisian sketch written and directed by Carlo Rim, about a handsome doctor, who seeks shelter during a storm in the home of a peasant. There he is taken with the peasant’s tasty cheese as well as with his pretty wife. The ending, in which he chooses between the two, is typically French.
Strange Deception (Excelsa Films; Casino Film Exchange) opens with a striking sequence: a vast, uninterrupted aerial shot as the camera, slowly swooping down for several miles over the bare, cradling hills of Tuscany, finally comes to rest on the figures of two men on a mountaintop.
This camera feat is only one of many extraordinary things about an extraordinary movie. Strange Deception is the first film effort of a highly controversial literary figure: 54-year-old Italian Journalist Curzio (Kaputt, The Skin) Malaparte, notorious in recent times for his shifting and often unsavory political alliances with both Fascist and Communist causes. In Strange Deception, Malaparte, who now claims to have renounced all forms of politics, has made a completely unpolitical movie which he describes as “a Christian film.” It is neither pro-nor antiFascist, neither pro-nor antiCommunist; instead, with an almost religious fervor, it voices a profound compassion for the sorrow of man.
Inspired by a news story of an actual incident that took place in a Tuscan village, the picture tells of an Italian soldier (Raf Vallone) who, after ten years of war and Russian captivity, returns to his native village. There he encounters the tragic backwash of war. His younger brother is dead, betrayed as a partisan to the Nazis by a friend. When the soldier announces that he is out to avenge the death of his brother, the villagers, weary of bloodshed, shun him and refuse to identify the betrayer. The soldier’s best friend, a pious carpenter (Alain Cuny), falsely confesses to the crime in order to put an end to slaughter. The soldier kills him and, in the act of killing the wrong man, is left impotent for further slaying. In the Christ-like figure of the carpenter who sacrifices himself to save another, Malaparte seems to be embodying his allegorical message of guilt and expiation.
One-man Moviemaker Malaparte, who wrote, directed and composed the music for the film, has clothed his theme in vivid imagery. The picture is one long, visual lament, beginning and ending in the mountains among the crosses of Allied soldiers who died fighting in Italy. The images of death are everywhere: in the head of a butchered calf, in skeletons in glass-walled burial crypts, in the traditional Game of the Cross, with its procession of masked and black-robed figures. Malaparte uses sounds as freshly as sights: dramatically, the funereal, off-screen beating of drums dominates an entire dialogue sequence.
At times the picture becomes overdramatic; at other times its philosophizing gets somewhat diffuse. But in Strange Deception, Malaparte has wrought a powerful, impassioned manhunt that is the product of genuine new screen talent. Undisturbed by some of the criticisms leveled against the picture—the Roman Catholic Church in Italy condemned it, and the Communists distributed handbills attacking it—Malaparte is now going ahead with his next film. It will be a movie version of Robinson Crusoe, which he plans to shoot this fall on the Juan Fernandez Islands, 400 miles off the coast of Chile, the scene of the actual story that inspired Defoe. As with Strange Deception, he sees the theme of his next picture as an expression of “how people . . . can reconstruct, outside of existing institutions and helped only by their own moral instinct and by their own experience of good and bad, their own moral life, to solve the main problems of mankind—those of justice and freedom.”
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Keystone Film Company born in 1912
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July 30, 1912. Mutual Film Corporation have procured exclusive United States and Canadian rights on the original One hundred one Bison, also Bison Broncho and Keystone films, effective two weeks from date. You can commence to buy immediately. August 3, 1912. Keystone Films. Ready for release week of August 12th. Two releases weekly, Wednesdays and…
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July 30, 1912. Mutual Film Corporation have procured exclusive United States and Canadian rights on the original One hundred one Bison, also Bison Broncho and Keystone films, effective two weeks from date. You can commence to buy immediately.
August 3, 1912. Keystone Films. Ready for release week of August 12th. Two releases weekly, Wednesdays and Saturdays.
Wednesdays: A split-reel comedy and always a feature, supported and made by Mr. Mack Sennett, Mr. Fred Mace, and Miss Mabel Normand, the greatest comediennes, all well known and popular players in motion pictures throughout the world.
Saturdays: A feature dramatic in one and two reels played by a strictly “All Stab” Stock Company, consisting only of “Stabs”, and only of the most prominent and popular “Stars” in motion pictures playing all parts in the cast.
August 10, 1912. Mutual Gets Empire Film Exchanges
Will Also Handle’ Bison-101 Pictures — Acquisition of Great Importance to Film Supply and Mutual Interests.
Developments of the greatest importance to exchange men and exhibitors allied with the Film Supply Company and the Mutual Film Corporation occurred during the past week. It had been rumored for some time since the Baumann and Kessel interests deserted the Universal Film Manufacturing Company, that an alliance with the Film Supply Company was a possible alternative outlet for the product of the New York Motion Picture Company. Negotiations were opened which culminated in an agreement between the Mutual Film Corporation and the New York Motion Picture Company whereby the Mutual will market the product of the New York company under the trade marks ‘”Bison-101,” “‘Keystone” and “Broncho” pictures.
The Mutual Film Corporation has also purchased the Empire Film Exchange, which operated four distributing offices, and the stock and equipment of these exchanges will be merged into branches of the Mutual.
The negotiations in these transactions were finally concluded on Monday, July 29, and are the most recent in a long series of steps initiated by a group of Western investors, under the leadership of Mr. H. E. Aitken, for the purpose of improving the organization and increasing the efficiency of the Independent film service.
Mr. Aitken came to New York in the Spring of 1911 and took over the old Hudson Film Company, changed it into the Western Film Exchange of New York, and improved the quantity and quality of its business. He then organized the Majestic Motion Picture Company, and that Company’s energetic assertion of its right to do business has been a great factor in the re-organization of the Independent film manufacturers. Having, in the meanwhile, acquired valuable patent rights through Precision Camera Company, these interests then purchased control of the Carlton Motion Picture Laboratories, making the “Reliance” pictures, from Baumann and Kessel.
The next step was the organization of Mutual Film Corporation, which took over, upon its organization, the Western exchanges in New York, Milwaukee and Kansas City, Majestic exchange in Chicago, the H. & H. Exchanges in Chicago and Des Moines, Lake Shore Exchange in Cleveland, and Cadillac Exchange in Detroit. Shortly thereafter the Mutual Film Corporation acquired the Michigan Film & Supply Company of Detroit, the Buckeye Lake Shore Exchange of Columbus, Ohio, and Progressive Exchange in Omaha.
Since its organization in February, the Mutual Film Corporation has opened exchanges in Boston, Indianapoli.-. Philadelphia, Toledo. Washington, D. C, Atlanta, New Orleans, Dallas and Cincinnati.
After the organization of the Mutual was well under way. Mr. Aitken, in co-operation with Mr. Charles J. Hite and others, negotiated Mr. Hite’s purchase of the Thanhouser Company.
In the meanwhile the suits brought by the Majestic Motion Picture Company against the Sales Company and its officers and constituents caused the disruption of the Sales Company, with the result that the Film Supply Company of America with its extensive programme was organized.
Most recently the Mutual Film Corporation, as before mentioned, made arrangements for the acquisition of the four Baumann and Kessel film exchanges in New York, and for the control of the Bison No. 101 film, and it is said that negotiations are on for other valuable film enterprises.
The results outlined above, have been achieved only after years of unremitting effort, and the present strong financial backing of Mutual Company gives great promise of achievements in the future.
The consistent purpose of this group of men has been to improve the character of the Independent film and to afford exhibitors an opportunity to purchase film of the highest quality manufactured.
It should be noted in this connection that the Mutual has moved its executive offices from 145 West 45th Street to 60 Wall Street, where a handsome suite has been engaged.
Baumann & Kessel Eliminate Politics
For many years aggressive leaders in the film business. C. O. Baumann and his partner, Addie Kessel, are divorcing themselves from the politics of the trade and henceforth will devote all their energy and attention to the production of film. This is made possible by the contract entered into with the Mutual Film Corporation, whereby the latter company has purchased outright the Baumann-Kessel exchanges in New York City, and has taken the agencies for the United States and Canada of “101-Bison,” “Broncho” and “Keystone” films.
Mr. Baumann stated to a representative of The World that he was much pleased with the arrangement made with the Mutual Film Corporation, which is composed of men of high standing in the business world and of undisputed integrity as well as possessed of tremendous financial support.
“‘We will deliver to the Mutual every week a minimum of six reels per week, consisting of 101 Bison one, two and three-reel subjects; Broncho films, which are similar subjects produced by different stock companies, and Keystone films, split-reel comedies and dramatic subjects in which appear many popular players. Mr. Max Sennett is the director of Keystone films, in which he will take part, supported by Miss Mabel Normand. Fred Mace and others.
“I am gratified at the reception the exhibitors of the world have given 101 Bisons, and with my mind now free from the perplexing worries which have hitherto prevented my giving my entire time and attention to the manufacture of films, I can promise even better subjects than have been previously released.”
The amount of cash involved in the deal between Messrs. Baumann & Kessel and the Mutual Film Corporation runs into high figures, making it one of the most important transactions that have taken place in the trade for years.
August 24, 1912. Keystone Films are new in name only. They are produced by the company heretofore with the Biograph Co., and directed by the same man Mr. Mack Sennett. The quality of these films is well known to exhibitors.
August 28, 1912. Mack Sennet, director, and Mabel Normand, leading woman, of the Keystone company of the New York Motion Picture Company, arrived in Los Angeles August 28 as the advance guard of a new company which is to be located in the old Bison plant at Edendale. Both were formerly with the Biograph Company, and others from the same company are said to be coming later. The Keystone brand of films, according to report, are to be produced from Los Angeles hereafter.
September 14, 1912. The Mutual Film Corporation will make the first release of Keystone films, for which it holdes the exclusive agency for the United States and Canada, on Monday, Sept. 25, with a split-reel comedy, “Cohen Collects a Debt” and “The Water Nymph.”
The leading parts in Keystone films are played by Mack Sennett, Mabel Normand, Ford Sterling and Fred Mace, supported by a strong cast. This quartet comes to the Keystone Co. from the Biograph, and their work is well known throughout the world. Mr. Sennett continues as director.
Shortly after Sept. 25 two reels of Keystone will be released, the reel made by Mr. Sennett and a dramatic production by another stock company, of which full particulars will be given when release dates are fixed. The Keystone comedy on Monday will always consist of two snappy subjects.
September 21, 1912. Doings at Los Angeles
Many Extensive Improvements Being Made in Picture Studios
Extensive improvements are in progress at three of the motion picture studios in this city. A large force of workmen is now engaged in erecting the new buildings at the plant of the Brand Advanced Motion Picture Co., located on a 40-acre tract in the San Fernando valley near the town of Burbank. The Universal people are spending a great deal of money on their new outdoor studio at Oak Crest near Los Angeles, where they have bought and leased a tract consisting in all of about 20,000 acres and are planning to build the largest motion picture plant in the world. James Young Deer, director of the Pathe Western company, has practically concluded the negotiations for the purchase of 35 acres of land at Edendale and architects are now at work on the plants for his studio, which if it will not be the largest in the world will be one of the most modern and one of the best equipped.
Preparations are also being made at Edendale for radical changes and extensions of the old Bison plant of the New York Motion Picture Co. Charles O. Baumann and A. Kessel are here from New York for a personal inspection of the plant and Mack Sennet, the director of the new Keystone company, preceded them by a couple of days. Sennet, with the assistance of Mabel Normand, Henry Lehrmann and Ford Sterling, who came from New York with him, and Fred Mace, former director of Imp comedies, is already at work at the Edendale plant making comedies for future release. The balance of the company was employed here, being recruited from the ranks of other companies on the ground. Fred Balshofer has announced that there are to be two Western releases a week by Ince and Ford, two split reel comedies, one by Sennet and the other by Mace, and one dramatic by a director who is coming on in a few days, but whose identity is not to be revealed at this time. It is reported that Baumann and Kessel, before they return to New York, may have other important revelations to make.
(news & images from The Moving Picture World July-September 1912)
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https://rocketreach.co/christopher-pelham-email_17021460
|
en
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Christopher Pelham Email & Phone Number
|
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"Christopher Pelham email address",
"Christopher Pelham phone number",
"email search",
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Get Christopher Pelham's email address (c******@nortonrosefulbright.com) and phone number (917520....) at RocketReach. Get 5 free searches.
|
en
|
//static.rocketreach.co/images/favicons/apple-icon-57x57.png?v=2020120
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RocketReach
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https://rocketreach.co/christopher-pelham-email_17021460
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Redirecting you to the search page.
If you're not automatically redirected, please click here
|
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3509
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dbpedia
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0
| 45 |
https://sjuhawks.com/sports/womens-basketball/roster/coaches/chris-koclanes/338
|
en
|
Chris Koclanes - Video Coordinator - Women's Basketball Coaches
|
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Beginning his second season with the Hawks is video coordinator Chris Koclanes.
Joining Cindy Griffin's staff in August of 2013, Koclanes came to Hawk Hill after
|
en
|
Saint Joseph's University
|
https://sjuhawks.com/sports/womens-basketball/roster/coaches/chris-koclanes/338
|
Beginning his second season with the Hawks is video coordinator Chris Koclanes.
Joining Cindy Griffin's staff in August of 2013, Koclanes came to Hawk Hill after serving as a volunteer assistant coach at Dartmouth. While with the Big Green, he was an integral part of helping the new coaching staff with recruiting.
Prior to his time at Dartmouth, Koclanes spent the 2012-13 season as director of basketball operations at William and Mary. With the Tribe, he was responsible for travel coordination, managing opponent film exchange, organizing and maintaining recruiting databases, coordinating community service events, and overseeing team managers. Off the court, Koclanes served as primary contact for alumni, family, friends and fans of William and Mary women's basketball, while directing the team's ball kid program.
A 2010 graduate of Old Dominion, Koclanes served as a scout team player with the Monarchs from 2008-10. Also assisting with managerial responsibilities, he helped Old Dominion post a 36-27 record over two seasons, including a WNIT Second Round appearance in 2010.
Additionally, Koclanes led the Monarchs' club tennis team to the 2010 Club Tennis National Tournament and a national ranking.
After graduation, Koclanes spent two years working as a financial advisor in New York City. During those two years, he remained active in basketball, working as a volunteer coach at the New Rochelle Boys and Girls Club in the summer of 2010, and as head coach of the Hooperstown Huskies AAU team in 2011.
Earning a finance degree from Old Dominion, he is currently working towards a master's degree in organization development and leadership. A native of Pelham, N.Y., Koclanes currently resides in Philadelphia.
|
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dbpedia
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1
| 48 |
https://supreme.justia.com/cases/federal/us/236/230/
|
en
|
Mutual Film Corp. v. Industrial Comm'n of Ohio, 236 U.S. 230 (1915)
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Mutual Film Corp. v. Industrial Comm'n of Ohio: Later overruled, this decision held that motion pictures are business rather than art and are not subject to First Amendment protections.
|
en
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//justatic.com/v/20240826101229/branding/favicon.ico
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Justia Law
|
https://supreme.justia.com/cases/federal/us/236/230/
|
Mutual Film Corp. v. Industrial Commission of Ohio
No. 456
Argued January 6, 7, 1915
Decided February 23, 1915
236 U.S. 230
Syllabus
Where provisions for censorship of moving pictures relate only to films intended for exhibition within the state and they are distributed to persons within the state for exhibition, there is no burden imposed on interstate commerce.
The doctrine of original package does not extend to moving picture films transported, delivered, and used as shown in the record in this case, although manufactured in, and brought from, another state.
Moving picture films brought from another state to be rented or sold by the consignee to exhibitors are in consumption and mingled as much as from their nature they can be with other property of the state, and subject to its otherwise valid police regulation, even before the consignee delivers to the exhibitor.
The judicial sense, supporting the common sense of this country, sustains the exercise of the police power of regulation of moving picture exhibitions.
The exhibition of moving pictures is a business, pure and simple, originated and conducted for profit like other spectacles, and not to be regarded as part of the press of the country or as organs of public opinion within the meaning of freedom of speech and publication guaranteed by the Constitution of Ohio.
This Court will not anticipate the decision of the state court as to the application of a police statute of the state to a state of facts not involved in the record of the case before it. Quaere whether moving pictures exhibited in places other than places of amusement should fall within the provisions of the censorship statute of Ohio.
While administration and legislation are distinct powers and the line that separates their exercise is not easily defined, the legislature must declare the policy of the law and fix the legal principles to control in given cases, and an administrative body may be clothed with power to ascertain facts and conditions to which such policy and principles apply.
It is impossible to exactly specify such application in every instance, and the general terms of censorship, while furnishing no exact standard
Page 236 U. S. 231
of requirements may get precision from the sense and experience of men and become certain and useful guides in reasoning and conduct. Whether provisions in a state statute clothing a board or Congress composed of officers from that and other states with power amount to such delegation of legislative power as to render the provisions unconstitutional will not be determined by this Court in a case in which it appears that such Congress is still nonexistent.
The moving picture censorship act of Ohio of 1913 is not in violation of the federal Constitution or the Constitution of the State of Ohio either as depriving the owners of moving pictures of their property without due process of law or as a burden on interstate commerce, or as abridging freedom and liberty of speech and opinion, or as delegating legislative authority to administrative officers.
215 F. 138 affirmed.
Appeal from an order denying appellant, herein designated complainant, an interlocutory injunction sought to restrain the enforcement of an act of the General Assembly of Ohio passed April 16, 1913 (103 Ohio Laws 399), creating under the authority and superintendence of the Industrial Commission of the state a board of censors of motion picture films. The motion was presented to three judges, upon the bill, supporting affidavits, and some oral testimony.
The bill is quite voluminous. It makes the following attacks upon the Ohio statute: (1) the statute is in violation of §§ 5, 16 and 19 of Article 1 of the constitution of the state in that it deprives complainant of a remedy by due process of law by placing it in the power of the board of censors to determine from standards fixed by itself what films conform to the statute, and thereby deprives complainant of a judicial determination of a violation of the law; (2) the statute is in violation of Articles I and XIV of the amendments to the Constitution of the United States, and of § 11 of Article 1 of the Constitution of Ohio in that it restrains complainant and other persons from freely writing and publishing their sentiments; (3) it attempts to give the board of censors legislative power,
Page 236 U. S. 232
which is vested only in the general assembly of the state, subject to a referendum vote of the people, in that it gives to the board the power to determine the application of the statute without fixing any standard by which the board shall be guided in its determination, and places it in the power of the board, acting with similar boards in other states, to reject, upon any whim or caprice, any film which may be presented, and power to determine the legal status of the foreign board or boards, in conjunction with which it is empowered to act.
The business of the complainant and the description, use, object, and effect of motion pictures and other films contained in the bill, stated narratively, are as follows: complainant is engaged in the business of purchasing, selling, and leasing films, the films being produced in other states than Ohio, and in European and other foreign countries. The film consists of a series of instantaneous photographs or positive prints of action upon the stage or in the open. By being projected upon a screen with great rapidity, there appears to the eye an illusion of motion. They depict dramatizations of standard novels, exhibiting many subjects of scientific interest, the properties of matter, the growth of the various forms of animal and plant life, and explorations and travels; also events of historical and current interest -- the same events which are described in words and by photographs in newspapers, weekly periodicals, magazines, and other publications, of which photographs are promptly secured a few days after the events which they depict happen, thus regularly furnishing and publishing news through the medium of motion pictures under the name of "Mutual Weekly." Nothing is depicted of a harmful or immoral character.
The complainant is selling and has sold during the past year for exhibition in Ohio an average of fifty-six positive prints of films per week to film exchanges doing business in that state, the average value thereof being the sum of
Page 236 U. S. 233
$100, aggregating $6,000 per week, or $300,000 per annum.
In addition to selling films in Ohio, complainant has a film exchange in Detroit, Michigan, from which it rents or leases large quantities to exhibitors in the latter state and in Ohio. The business of that exchange and those in Ohio is to purchase films from complainant and other manufacturers of films and rent them to exhibitors for short periods at stated weekly rentals. The amount of rentals depends upon the number of reels rented, the frequency of the changes of subject, and the age or novelty of the reels rented. The frequency of exhibition is described. It is the custom of the business, observed by all manufacturers, that a subject shall be released or published in all theaters on the same day, which is known as release day, and the age or novelty of the film depends upon the proximity of the day of exhibition to such release day. Films so shown have never been shown in public, and the public to whom they appeal is therefore unlimited. Such public becomes more and more limited by each additional exhibition of the reel.
The amount of business in renting or leasing from the Detroit exchange for exhibition in Ohio aggregates the sum of $1,000 per week.
Complainant has on hand at its Detroit exchange at least 2,500 reels of films which it intends to and will exhibit in Ohio, and which it will be impossible to exhibit unless the same shall have been approved by the board of censors. Other exchanges have films, duplicate prints of a large part of complainant's films, for the purpose of selling and leasing to parties residing in Ohio, and the statute of the state will require their examination and the payment of a fee therefor. The amounts of complainant's purchases are stated, and that complainant will be compelled to bear the expense of having them censored because its customers will not purchase or hire uncensored films.
The business of selling and leasing films from its offices
Page 236 U. S. 234
outside of the State of Ohio to purchasers and exhibitors within the state is interstate commerce, which will be seriously burdened by the exaction of the fee for censorship, which is not properly an inspection tax, and the proceeds of which will be largely in excess of the cost of enforcing the statute, and will in no event be paid to the Treasury of the United States.
The board has demanded of complainant that it submit its films to censorship, and threatens, unless complainant complies with the demand, to arrest any and all persons who seek to place on exhibition any film not so censored or approved by the censor congress on and after November 4, 1913, the date to which the act was extended. It is physically impossible to comply with such demand and physically impossible for the board to censor the films with such rapidity as to enable complainant to proceed with its business, and the delay consequent upon such examination would cause great and irreparable injury to such business, and would involve a multiplicity of suits.
There were affidavits filed in support of the bill and some testimony taken orally. One of the affidavits showed the manner of shipping and distributing the films, and was as follows:
"The films are shipped by the manufacturers to the film exchanges enclosed in circular metal boxes, each of which metal boxes is in turn enclosed in a fiber or wooden container. The film is in most cases wrapped around a spool or core in a circle within the metal case. Sometimes the film is received by the film exchange wound on a reel, which consists of a cylindrical core with circular flanges to prevent the film from slipping off the core, and when so wound on the reel is also received in metal boxes, as above described. When the film is not received on a reel, it is, upon receipt, taken from the metal box, wound on a reel, and then replaced in the metal box. So wound and so enclosed in metal boxes, the films are shipped by the film
Page 236 U. S. 235
exchanges to their customers. The customers take the film as it is wound on the reel from the metal box, and exhibit the pictures in their projecting machines, which are so arranged as to permit of the unwinding of the film from the reel on which it is shipped. During exhibition, the reel of film is unwound from one reel and rewound in reverse order on a second reel. After exhibition, it must be again unwound from the second reel from its reverse position and replaced on the original reel in its proper position. After the exhibitions for the day are over, the film is replaced in the metal box and returned to the film exchange, and this process is followed from day to day during the life of the film."
"All shipments of films from manufacturers to film exchanges, from film exchanges to exhibitors, and from exhibitors back to film exchanges, are made in accordance with regulations of the Interstate Commerce Commission, one of which provides as follows:"
" Moving picture films must be placed in metal cases, packed in strong and tight wooden boxes of fiber pails."
Another of the affidavits divided the business as follows:
"The motion picture business is conducted in three branches -- that is to say, by manufacturers, distributors, and exhibitors, the distributors being known as film exchanges. . . . Film is manufactured and produced in lengths of about 1,000 feet, which are placed on reels, and the market price per reel of film of a thousand feet in length is at the rate of 10 cents per foot, or $100. Manufacturers do not sell their film direct to exhibitors, but sell to film exchanges, and the film exchanges do not resell the film to exhibitors, but rent it out to them."
After stating the popularity of motion pictures, and the demand of the public for new ones, and the great expense their purchase would be to exhibitors, the affidavit proceeds as follows:
"For that reason, film exchanges came into existence, and film exchanges such as the Mutual Film Corporation are like clearing houses or circulating libraries, in that they purchase the film and rent it out to different exhibitors. One reel of film being made today serves in many theaters from day to day until it is worn out. The film exchange, in renting out the films, supervises their circulation."
An affidavit was filed, made by the "general secretary of the national board of censorship of motion pictures, whose office is at No. 50 Madison Avenue, New York City." The "national board," it is averred, "is an organization maintained by voluntary contributions, whose object is to improve the moral quality of motion pictures." Attached to the affidavit was a list of subjects submitted to the board which are "classified according to the nature of said subjects into scenic, geographic, historical, classical, and educational and propagandistic."
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dbpedia
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https://swashbuckler332.livejournal.com/
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Monsters from the Id
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In CinemaScope - The Modern Miracle You See Without Glasses
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https://swashbuckler332.livejournal.com
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3509
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dbpedia
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https://www.wyzant.com/Pelham_AL_ACT_tutors.aspx
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en
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25 Highest Rated ACT Tutors Near Pelham, AL
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Shop from the nation’s largest network of ACT tutors to find the perfect match for your budget near Pelham or online. Trusted by 3 million students with our Good Fit Guarantee.
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en
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Kedran W.
21 ACT lessons
John tutored our son, who attends a prestigious high school, on all of the ACT Subjects: ACT Math, ACT Science, ACT English, ACT Reading. John also provided ACT Test Taking Skills, Time Management, Good and Best Practices. My son felt extremely confident in his preparedness for the ACT Test. John has a mentoring and calm approach that instills a sense of confidence in his students. John was also flexible and accommodating in scheduling the tutoring appointments.
Jakob K.
12 ACT lessons
We are using him for ACT prep and can already see the confidence in my son's test taking during ACT practice tests. I know by the time the ACT is taken he will have the confidence to do well. We received our son's ACT test results today and because of all the work James did to help my son, he increased his ACT score from a 23 on the practice ACT to a 27 on the actual ACT. Preparing for round 2 of testing to see if second time does even better.
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3509
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dbpedia
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| 89 |
https://www.nashuatelegraph.com/sports/high-schools/2024/05/14/cougars-rally-but-fall-short-in-overtime-vs-pelham-9-8/
|
en
|
Cougars rally but fall short in overtime vs. Pelham, 9-8
|
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2024-05-14T00:00:00
|
LITCHFIELD – Never on Monday. That's what Campbell High School boys lacrosse coach Josh Knight feels should be the rule for games, especially big ones, becau
|
en
|
https://www.nashuatelegraph.com/wp-content/themes/oni_weekly_2020_v1/favicon.ico
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nashuatelegraph.com
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https://www.nashuatelegraph.com/sports/high-schools/2024/05/14/cougars-rally-but-fall-short-in-overtime-vs-pelham-9-8/
|
LITCHFIELD – Never on Monday.
That’s what Campbell High School boys lacrosse coach Josh Knight feels should be the rule for games, especially big ones, because his team responds better later in the week.
Hard to argue with him, as both the 10-2 Cougars and fellow Division III contender Pelham played a sloppy but entertaining contest on Monday. It was one that the Cougars played catchup throughout, but dominated the fourth quarter only to lose 9-8 with nearly two minutes left in sudden death OT on a goal by Python freshman Chris Swiniarski.
“There’s always this Monday lull,” Knight said. “We’ve got to get out of this Monday lull thing. But it’s not an excuse that it’s Monday. We’ve just got to come ready to play.”
The Cougars recovered from giving up a goal just 32 seconds in and scored twice for a 2-1 lead, but Pelham (10-1) took control with four straight scores and led 5-3 at the half and 7-4 at one point in the third quarter. But the Cougars, sparked by Andrew Willnus’ goal with 44.5 seconds left in the third quarter,went on a run of four straight, playing more like themselves. They eventually regained the lead 8-7 on a goal by Brandon Portillo with 2:07 left and it looked like that would be the difference.
“It was a good battle today,” Knight said, “but we made a good amount of just silly mistakes, either not thinking or reacting the way we’re supposed to. It’ll be a good film for us.”
And likely the same for the Pythons, who simply couldn’t hang onto the ball. But they were also resilient, getting the tying goal by Russell Leonard with just 17.9 seconds left and being a man down to send it into overtime.
“It was definitely a great game, but we struggled a bit through the third and fourth quarter, we just turned it over like 15 times in a row,” Pythons coach Brian Johnson said. “It was ridiculous. We played good enough, but we just kept giving the ball away.
“I tell you, though, this team, they don’t give up.They were down five against Laconia with five minutes left and came back and won. Same thing here. They don’t let it bother them. And they believe in each other. They’re a gritty group of kids who just believe.”
Campbell came up empty in the OT on three possessions, the last thanks to a save by Pythons goalie Jacob Jafe, who had seven saves. This time the Pythons, who had given the ball away earlier in OT on a too many men infraction, got the ball downfield quickly and got it to Swiniarski. All he did was blister a shot past Cougars goalie Will O’Brien (good in his own right with nine stops) to end it.
Willnus and Portillo each had three goals while C. Sandquist and H. Grant had a goal apiece. Pelham was paced by three each by Swiniarski and Leonard, plus two by Mason Fredette and one by Cam Cook.
Pelham faceoff man Matthew Sprague tries to scoop up the ball while being pressured by Campbell’s Lucas Craig during Monday’s Division III clash in Litchfield. (Telegraph photo by TOM KING)
The battle between these two evenly matched teams started, though, with a great faceoff war between Campbell’s Lucas Craig and Pelham’s Matthew Sprague, who know each other well. “It starts there, two of the best in the state,” Knight said.
“I can’t say enough about Matthew,” Johnson said. “Lucas for Campbell and Matthew are the two best faceoff guys in the state. They go to training together. For (Sprague) to come up with (a slightly higher percentage) was great.”
The significance of yesterday? It puts Pelham atop the standings, but Johnson feels there are about seven legitimate contenders. “It’s been pretty competitive this year,” he said.
Campbell, meanwhile, had a taste of what it was like to make the title bout last June, falling to Hopkinton. Now they want to come home with the belt.
“We have a good core group of guys that were in that final last year,” Knight said. “They know what it takes. The overtime game last week kind of helped. Now we’ve been on both sides of it, which will benefit us in the long run.”
These two teams could certainly see each other again.
“One hundred percent,” Knight said.
The good news for the Cougars is if they get that far, the finals are on a Saturday.
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https://www.microsoft.com/en-us/p/xchange/8d6kgwzx0cb3
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Microsoft Store
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https://musicimage.xboxlive.com/catalog/video.movie.8D6KGWZX0CB3/image?locale=en-us&mode=scale&purposes=BoxArt&w=120&h=120&q=60
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In the future, the Xchange corporation offers instantaneous travel by allowing clients to exchange bodies at their destination. But when a public relations man (Stephen Baldwin) has his body stolen by a terrorist, his only option is to live in a limited lifespan clone that will expire in two days. Now he must race against time to find the terrorist and get his body back—before it's too late. Also starring Kyle MacLachlan and Kim Coates ("Sons of Anarchy").
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en
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//www.microsoft.com/favicon.ico?v2
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Microsoft Store
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https://www.microsoft.com/en-us/p/xchange/8d6kgwzx0cb3
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In the future, the Xchange corporation offers instantaneous travel by allowing clients to exchange bodies at their destination. But when a public relations man (Stephen Baldwin) has his body stolen by a terrorist, his only option is to live in a limited lifespan clone that will expire in two days. Now he must race against time to find the terrorist and get his body back—before it's too late. Also starring Kyle MacLachlan and Kim Coates ("Sons of Anarchy").
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3509
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dbpedia
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https://www.britannica.com/art/history-of-the-motion-picture/Melies-and-Porter
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en
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History of film - Melies, Porter, Cinematography
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History of film - Melies, Porter, Cinematography: The shift in consciousness away from films as animated photographs to films as stories, or narratives, began to take place about the turn of the century and is most evident in the work of the French filmmaker Georges Méliès. Méliès was a professional magician who had become interested in the illusionist possibilities of the cinématographe; when the Lumières refused to sell him one, he bought an animatograph projector from Paul in 1896 and reversed its mechanical principles to design his own camera. The following year he organized the Star Film company and constructed a small glass-enclosed studio on the grounds
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/favicon.png
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Encyclopedia Britannica
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https://www.britannica.com/art/history-of-the-motion-picture/Melies-and-Porter
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The shift in consciousness away from films as animated photographs to films as stories, or narratives, began to take place about the turn of the century and is most evident in the work of the French filmmaker Georges Méliès. Méliès was a professional magician who had become interested in the illusionist possibilities of the cinématographe; when the Lumières refused to sell him one, he bought an animatograph projector from Paul in 1896 and reversed its mechanical principles to design his own camera. The following year he organized the Star Film company and constructed a small glass-enclosed studio on the grounds of his house at Montreuil, where he produced, directed, photographed, and acted in more than 500 films between 1896 and 1913.
Initially, Méliès used stop-motion photography (the camera and action are stopped while something is added to or removed from the scene; then filming and action are continued) to make one-shot “trick” films in which objects disappeared and reappeared or transformed themselves into other objects entirely. These films were widely imitated by producers in England and the United States. Soon, however, Méliès began to experiment with brief multiscene films, such as L’Affaire Dreyfus (The Dreyfus Affair, 1899), his first, which followed the logic of linear temporality to establish causal sequences and tell simple stories. By 1902 he had produced the influential 30-scene narrative Le Voyage dans la Lune (A Trip to the Moon). Adapted from a novel by Jules Verne, it was nearly one reel in length (about 825 feet [251 meters], or 14 minutes).
The first film to achieve international distribution (mainly through piracy), Le Voyage dans la Lune was an enormous popular success. It helped to make Star Film one of the world’s largest producers (an American branch was opened in 1903) and to establish the fiction film as the cinema’s mainstream product. In both respects Méliès dethroned the Lumières’ cinema of actuality. Despite his innovations, Méliès’s productions remained essentially filmed stage plays. He conceived them quite literally as successions of living pictures or, as he termed them, “artificially arranged scenes.” From his earliest trick films through his last successful fantasy, La Conquête du pole (“The Conquest of the Pole,” 1912), Méliès treated the frame of the film as the proscenium arch of a theater stage, never once moving his camera or changing its position within a scene. He ultimately lost his audience in the late 1910s to filmmakers with more sophisticated narrative techniques.
The origination of many such techniques is closely associated with the work of Edwin S. Porter, a freelance projectionist and engineer who joined the Edison Company in 1900 as production head of its new skylight studio on East 21st Street in New York City. For the next few years, he served as director-cameraman for much of Edison’s output, starting with simple one-shot films (Kansas Saloon Smashers, 1901) and progressing rapidly to trick films (The Finish of Bridget McKeen, 1901) and short multiscene narratives based on political cartoons and contemporary events (Sampson-Schley Controversy, 1901; Execution of Czolgosz, with Panorama of Auburn Prison, 1901). Porter also filmed the extraordinary Pan-American Exposition by Night (1901), which used time-lapse photography to produce a circular panorama of the exposition’s electrical illumination, and the 10-scene Jack and the Beanstalk (1902), a narrative that simulates the sequencing of lantern slides to achieve a logical, if elliptical, spatial continuity.
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It was probably Porter’s experience as a projectionist at the Eden Musée theater in 1898 that ultimately led him in the early 1900s to the practice of continuity editing. The process of selecting one-shot films and arranging them into a 15-minute program for screen presentation was very much like that of constructing a single film out of a series of separate shots. Porter, by his own admission, was also influenced by other filmmakers—especially Méliès, whose Le Voyage dans la Lune he came to know well in the process of duplicating it for illegal distribution by Edison in October 1902. Years later Porter claimed that the Méliès film had given him the notion of “telling a story in continuity form,” which resulted in The Life of an American Fireman (about 400 feet [122 meters], or six minutes, produced in late 1902 and released in January 1903). This film, which was also influenced by James Williamson’s Fire!, combined archival footage with staged scenes to create a nine-shot narrative of a dramatic rescue from a burning building. It was for years the subject of controversy because in a later version the last two scenes were intercut, or crosscut, into a 14-shot parallel sequence. It is now generally believed that in the earliest version of the film these scenes, which repeat the same rescue operation from an interior and exterior point of view, were shown in their entirety, one after the other. This repetition, or overlapping continuity, which owes much to magic lantern shows, clearly defines the spatial relationships between scenes but leaves temporal relationships underdeveloped and, to modern sensibilities, confused. Contemporary audiences, however, were conditioned by lantern slide projections and even comic strips; they understood a sequence of motion-picture shots to be a series of individual moving photographs, each of which was self-contained within its frame. Spatial relationships were clear in such earlier narrative forms because their only medium was space.
Motion pictures, however, exist in time as well as space, and the major problem for early filmmakers was the establishment of temporal continuity from one shot to the next. Porter’s The Great Train Robbery (1903) is widely acknowledged to be the first narrative film to have achieved such continuity of action. Comprising 14 separate shots of noncontinuous, nonoverlapping action, the film contains an early example of parallel editing, two credible back, or rear, projections (the projection from the rear of previously filmed action or scenery onto a translucent screen to provide the background for new action filmed in front of the screen), two camera pans, and several shots composed diagonally and staged in depth—a major departure from the frontally composed, theatrical staging of Méliès.
The industry’s first spectacular box-office success, The Great Train Robbery is credited with establishing the realistic narrative, as opposed to Méliès-style fantasy, as the commercial cinema’s dominant form. The film’s popularity encouraged investors and led to the establishment of the first permanent film theaters, or nickelodeons, across the country. Running about 12 minutes, it also helped to boost standard film length toward one reel, or 1,000 feet (305 meters [about 16 minutes at the average silent speed]). Despite the film’s success, Porter continued to practice overlapping action in such conventional narratives as Uncle Tom’s Cabin (1903) and the social justice dramas The Ex-Convict (1904) and The Kleptomaniac (1905). He experimented with model animation in The Dream of a Rarebit Fiend (1906) and The Teddy Bears (1907) but lost interest in the creative aspects of filmmaking as the process became increasingly industrialized. He left Edison in 1909 to pursue a career as a producer and equipment manufacturer. Porter, like Méliès, could not adapt to the linear narrative modes and assembly-line production systems that were developing.
Early growth of the film industry
Méliès’s decline was assisted by the industrialization of the French and, for a time, the entire European cinema by the Pathé Frères company, founded in 1896 by the former phonograph importer Charles Pathé. Financed by some of France’s largest corporations, Pathé acquired the Lumière patents in 1902 and commissioned the design of an improved studio camera that soon dominated the market on both sides of the Atlantic (it has been estimated that, before 1918, 60 percent of all films were shot with a Pathé camera). Pathé also manufactured his own film stock and in 1902 established a vast production facility at Vincennes where films were turned out on an assembly-line basis under the managing direction of Ferdinand Zecca. The following year, Pathé began to open foreign sales agencies, which would soon become full-blown production companies—Hispano Film (1906), Pathé-Rouss, Moscow (1907), Film d’Arte Italiano (1909), Pathé-Britannia, London (1909), and Pathé-America (1910). He acquired permanent exhibition sites, building the world’s first luxury cinema (the Omnia-Pathé) in Paris in 1906. In 1911 Pathé became Méliès’s distributor and helped to drive Star Film out of business.
Pathé’s only serious rival on the Continent at this time was Gaumont Pictures, founded by the engineer-inventor Léon Gaumont in 1895. Though never more than one-fourth the size of Pathé, Gaumont followed the same pattern of expansion, manufacturing its own equipment and mass-producing films under a supervising director (through 1906, Alice Guy, the cinema’s first female director; afterward, Louis Feuillade). Like Pathé, Gaumont opened foreign offices and acquired theater chains. From 1905 to 1914 its studios at La Villette, France, were the largest in the world. Pathé and Gaumont dominated pre-World War I motion-picture production, exhibition, and sales in Europe, and they effectively brought to an end the artisanal mode of filmmaking practiced by Méliès and his British contemporaries.
In the United States a similar pattern was emerging through the formation of film exchanges and the consolidation of an industrywide monopoly based on the pooling of patent rights. About 1897 producers had adopted the practice of selling prints outright, which had the effect of promoting itinerant exhibition and discriminating against the owners of permanent sites. In 1903, in response to the needs of theater owners, Harry J. Miles and Herbert Miles opened a film exchange in San Francisco. The exchange functioned as a broker between producers and exhibitors, buying prints from the former and leasing them to the latter for 25 percent of the purchase price (in subsequent practice, rental fees were calculated on individual production costs and box-office receipts). The exchange system of distribution quickly caught on because it profited nearly everyone: the new middlemen made fortunes by collecting multiple revenues on the same prints; exhibitors were able to reduce their overheads and vary their programs without financial risk; and, ultimately, producers experienced a tremendous surge in demand for their product as exhibition and distribution boomed nationwide. (Between November 1906 and March 1907, for example, producers increased their weekly output from 10,000 to 28,000 feet [3,000 to 8,500 meters] and still could not meet demand.)
The most immediate effect of the rapid rise of the distribution sector was the nickelodeon boom, the exponential growth of permanent film theaters in the United States from a mere handful in 1904 to between 8,000 and 10,000 by 1908. Named for the Nickelodeon (ersatz Greek for “nickel theater”), which opened in Pittsburgh in 1905, these theaters were makeshift facilities lodged in converted storefronts. They showed approximately an hour’s worth of films for an admission price of 5 to 10 cents. Originally identified with working-class audiences, nickelodeons appealed increasingly to the middle class as the decade wore on, and they became associated with the rising popularity of the story film. Their spread also forced the standardization of film length at one reel, or 1,000 feet (305 meters), to facilitate high-efficiency production and the trading of products within the industry.
By 1908 there were about 20 motion-picture production companies operating in the United States. They were constantly at war with one another over business practices and patent rights, and they had begun to fear that their fragmentation would cause them to lose control of the industry to the two new sectors of distribution and exhibition. The most powerful among them—Edison, Biograph, Vitagraph, Essanay, Kalem, Selig Polyscope, Lubin, the American branches of the French Star Film and Pathé Frères, and Kleine Optical, the largest domestic distributor of foreign films—therefore entered into a collusive trade agreement to ensure their continued dominance. On September 9, 1908, these companies formed the Motion Picture Patents Company (MPPC), pooling the 16 most significant U.S. patents for motion-picture technology and entering into an exclusive contract with the Eastman Kodak Company for the supply of raw film stock.
The MPPC, also known as the “Trust,” sought to control every segment of the industry and therefore set up a licensing system for assessing royalties. The use of its patents was granted only to licensed equipment manufacturers; film stock could be sold only to licensed producers; licensed producers and importers were required to fix rental prices at a minimum level and to set quotas for foreign footage to reduce competition; MPPC films could be sold only to licensed distributors, who could lease them only to licensed exhibitors; and only licensed exhibitors had the right to use MPPC projectors and rent company films. To solidify its control, in 1910—the same year in which motion-picture attendance in the United States rose to 26 million persons a week—the MPPC formed the General Film Company, which integrated the licensed distributors into a single corporate entity. Although it was clearly monopolistic in practice and intent, the MPPC helped to stabilize the American film industry during a period of unprecedented growth and change by standardizing exhibition practice, increasing the efficiency of distribution, and regularizing pricing in all three sectors. Its collusive nature, however, provoked a reaction that ultimately destroyed it.
In a sense, the MPPC’s ironclad efforts to eliminate competition merely fostered it. Almost from the outset there was widespread resistance to the MPPC on the part of independent distributors (numbering 10 or more in early 1909) and exhibitors (estimated at 2,000 to 2,500), and in January 1909 they formed their own trade association, the Independent Film Protective Association—reorganized that fall as the National Independent Moving Picture Alliance—to provide financial and legal support against the Trust. A more effective and powerful anti-Trust organization was the Motion Picture Distributing and Sales Company, which began operation in May 1910 (three weeks after the inception of General Film) and which eventually came to serve 47 exchanges in 27 cities. For nearly two years, independents were able to present a united front through the company, which finally split into two rival camps in the spring of 1912 (the Mutual Film Corporation and the Universal Film Manufacturing Company).
By imitating MPPC practices of joining forces and licensing, the early independents were able to compete effectively against the Trust in its first three years of operation, netting about 40 percent of all American film business. In fact, their product, the one-reel short, and their mode of operation were initially fundamentally the same as the MPPC’s. The independents later revolutionized the industry, however, by adopting the multiple-reel film as their basic product, a move that caused the MPPC to embrace the one-reeler with a vengeance, hastening its own demise.
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Members who read books by David Pelham also read
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Find authors like David Pelham from the world’s largest community of readers. Goodreads members who like David Pelham also like: Kevin Henkes, Judith Vio...
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https://en.wikipedia.org/wiki/Peter_Pelham
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Peter Pelham
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2007-08-19T18:32:16+00:00
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https://en.wikipedia.org/wiki/Peter_Pelham
|
English painter and engraver
For the English-born American organist and composer, see Peter Pelham (composer).
Peter Pelham ( ;[2] c. 1695 – December 1751) was an American portrait painter and engraver, born in England.
London
[edit]
Born c. 1695[3] in London, Pelham was one of several London artists who learned the then new technique of the mezzotint engraving. Of his use of the medium one writer has said: "Pelham handled the rocker heavily, and so gave to his prints a darker appearance than usual".[4] His father, who died in Chichester, Sussex, in 1756, is revealed in letters to his son in America as a man of some property.[5]
He was well trained as a portrait painter, and had influential connections, and between 1720 and 1726 he produced portrait plates of Queen Anne, George I, the Earl of Derby, Lord Wilmington, Lord Carteret, Lord Molesworth, Edmund Gibson, and others. Why, amidst such engagements, Pelham should have emigrated is mysterious, if, as seems quite certain, the poor schoolmaster, limner and engraver of Boston, Massachusetts, is identical with the well-employed mezzotinter of London. It is possible that he left in disgrace.[6] His portrait of Massachusetts Governor Samuel Shute, painted at London in 1724, was brought, according to plausible family tradition, to Boston to serve as introduction to local celebrities.
Boston
[edit]
Though various dates for his emigration have been suggested, the record of Peter Pelham's activities at Boston is well established. His portrait of the Rev. Cotton Mather, now at the American Antiquarian Society in Worcester, was painted as copy for the very familiar mezzotint engraving, reproduced frequently. "Proposals" for printing this engraving were published in the Boston News-Letter on February 27, 1728. Portraits of several other New England clergymen followed. Pelham was seemingly intimate with John Smibert, who settled in Boston in 1730, for he painted Smibert's portrait and made several engravings after Smibert's works. Such professional labors did not produce a sufficient living for an ever-growing family, and Pelham opened a school at which he taught dancing, arithmetic, and other subjects. His first wife Martha dying in Boston, he married on October 15, 1734, Margaret Lowrey, and after her death he married, on May 22, 1748, Mary (Singleton) Copley, widow of Richard Copley, a recently deceased tobacconist originally from Limerick, Ireland. Their home, school, studio, and tobacco shop were on Queen Street (ca.1747)[7] and Lindall Street.[8] In this household were reared the future artists John Singleton Copley (son of Mary's first husband Richard Copley) and Henry Pelham. Peter Pelham died without a will.
Pelham's descendants included grandson William Pelham (1759-1827), a bookseller in Boston.[9]
Gallery
[edit]
Notes
[edit]
Further reading
[edit]
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https://www.linkedin.com/pulse/stand-out-from-crowd-your-champagne-sparkling-wine-label-walkey
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Stand out from the crowd with your Champagne / Sparkling Wine label:
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"Christopher Walkey"
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2017-05-02T14:40:28+00:00
|
I believe that the title image for this piece is very much how the industry is for Champagne and Sparkling Wine, you are merely one of a very large number of other labels out there trying to get seen, trying to find the right connections and ultimately trying to win new business. This is the case fo
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en
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https://static.licdn.com/aero-v1/sc/h/al2o9zrvru7aqj8e1x2rzsrca
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https://www.linkedin.com/pulse/stand-out-from-crowd-your-champagne-sparkling-wine-label-walkey
|
Christopher Walkey
Christopher Walkey
Champagne / Sparkling Wine Consultant. Increasing Brand Awareness and Sales for clients globally.
Published May 2, 2017
I believe that the title image for this piece is very much how the industry is for Champagne and Sparkling Wine, you are merely one of a very large number of other labels out there trying to get seen, trying to find the right connections and ultimately trying to win new business.
This is the case for most industry sectors out there, it's nothing new and certainly not a challenge that is unique to the wine industry, you would not be in the right business if there was not a degree of competition out there!
So just what exactly can you do to stand out from the crowd? What does it take to get the edge on your competitors, to build a reputation, brand awareness, recommendations and more?
I thought I would list some key ways for smaller labels (many grand marques may read this piece I have written, but really we must take them out of the equation as their global brand awareness and extensive teams and expertise means that marketing / brand awareness is at a totally different level to anyone else in the industry) to get in front of the people that matter for your business and describe how within each you can make positive steps towards growing sales for your Champagne / Sparkling Wine labels:
Branding / Design. As soon as the wine is produced and ready to be sold in their bottles it is over to the branding and marketing side of things. Have you studied your branding over your local competitors? Is it time for an update? Would you pick your wine out from a row of other similar producers as we must fully appreciate that people still choose on name / branding over what exactly might be in the bottle - Just like choosing a book at the local library based on it's cover. I agree and sympathise that going outside of the ordinary can mean more costs be it shape of bottle or design of label, but is there room for improvement in your current way you encase your wines? There are many companies / artists out there who regularly design new labels for wine producers, many branding agencies who offer a completely new look and even those who research the ideal wine label names if you are looking for a totally new direction.
How does your wine label compare to both local competitors, but also to other sparkling wines from across the globe and also compare to grand marques to gather ideas.
Wine Professionals. Now I want to be clear on this in that wine professionals are not just the people with MW's, WSET's or have written a book on wines a few decades ago, I include new comers to the world of wine, those with big audiences on social media, users of Vivino, lifestyle writers and more ie the kind of people who have big target and importantly current audiences you can tap in to. Being able to network with these people usually takes you to wine tasting events as this is where most gather so it is important to consider not only exhibiting at relevant events though also consider attending to taste wines where you will be able to network face to face with key individuals and of course share what you do, who you are looking to connect with and exchange business cards etc. We must also consider networking in the virtual world also, which is where most of my networking takes place and this evolves mostly around social media.
Social Media. The almighty topic within marketing, the holy grail for many, businesses launch on it and build into international empires thanks to tweets, likes, posts and updates. In my mind there is no excuse not to be on the likes of Twitter, Instagram, Facebook, Youtube and believe me that much business and brand awareness takes place on them, it is not just a modern way of communicating for teenagers or bored people updating you on their holiday photos. If you are clever with social media you can build target audiences who will follow your updates and engage with what you share, you can grow groups which can contain 1,000's of chefs, sommeliers, hotel owners, wine buyers and more so you have a 24/7 shop window for your wines. Social media in itself is a full time course and should really be something you are prepared to study in length so not to waste your time with ineffective actions as yet again it is a crowded market with many people desperately trying to grab peoples attention. I suggest you also research who of your competitors are using social media and what their techniques are - Find yourself a social media platform you are comfortable using and start updating news, sharing information, running competitions, commenting, liking and more. Remember that visual is very important in marketing of wines, so be tempted to use photos and videos in your updates as it will lead to more engagement.
Wine Merchants. Well OK, not so much marketing and branding, but still part of getting your wines seen and sold. Once again we hit the saturated market wall as the good wine merchants out there, the ones who can get your wines out to hotels, restaurants and bars will no doubt already have a list of wines to sell and many, many more on their 'waiting list'. You can go for smaller more bespoke wine merchants which is a smart smooth, but finding the ones which will not time waste is not easy, sometimes building a relationship via social media or networking at tasting events can be the best way to split the better merchants from the weaker ones.
Website. Still very important today and the opportunity exists to become a real authority in your industry sector if you use your website to not only list the wines you have for sale, but also for it to contain educational content such as blogs to increase your chances of being found. A perfect website for me is something easy to use, clear usage of buttons to get people to their preferred pages via the one click only route, plenty of to the point facts and images. It should also contain sections dedicated to latest news, educational content, food pairings, guest writers and more. Website designing is evolving all the time, but do consider that sometimes a flashy website that has the likes of background music, intro videos and more can be less effective than a neat and simple to use website containing factual content.
Events. There are many to choose from out there these days from attending national tasting events to organising a pop up bar, a dedicated vertical tasting of your wines over lunch or attaching your wines to a specific event such as a music festival, product launch or awards evening etc.Champagne and Sparkling Wine tasting events are great, though there are many around and some which get great target attendees whereas other are just a money making exercise and no real care to who attends, but how many attend. London is always a great place to be involved with tasting events, many wine professionals live in the region and many people from outside the area of London accept they have to visit the capital in order to taste the best wines throughout the year. Holding a private dinner / lunch for a select group of wine professionals is also a great idea, but do not simply think about inviting the usual people as they are usually attending countless tastings weekly, never refuse an invitation, and your wine will soon be forgotten as they bounce from once invite to another. Instead of usual wine folk, think of fresh people to the industry, those with news columns online, large social media numbers, great photography / videography skills etc. You can also look to join forces with other events taking place, I am always asked if I know of any Champagne / Sparkling Wine labels who would donate bottles of bubbly in return for being a media sponsor to some event or another from weddings to a new watch release - This can be a great way of getting your brand out there and wines tasted, but do research who is asking, what exposure you will receive, the quality of guest list and the amount of wine you will be required to offer - People can be very thirsty at these kind of events!
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https://musings.oscilloscope.net/
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Oscilloscope Labs
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https://64.media.tumblr.com/avatar_30eab32fa333_128.pnj
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The following writings are wholly the creations of their respective writers. Oscilloscope has not edited or altered the content in any way, shape, or form. We hope you enjoy and we hope you come back...
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Isn’t Everything Autobiographical?: Ethan Hawke In Nine Films And A Novel by Marya Gates
When asked during his first ever on-camera interview if he’d like to continue acting, a young Ethan Hawke replied, “I don’t know if it’s going to be there, but I’d like to do it.” He then gives a guileless shrug of relief as the interview ends, wiping imaginary sweat off his brow. The simultaneous fusion of his nervous energy and poised body language will be familiar to those who’ve seen later interviews with the actor. The practicality and wisdom he exudes at such a young age would prove to be a through-line of his nearly 40-year career. In an interview many decades later, he told Ideas Tap that many children get into acting because they’re seeking attention, but those who find their calling in the craft discover that a “desire to communicate and to share and to be a part of something bigger than yourself takes over, a certain craftsmanship—and that will bring you a lot of pleasure.”
Through Hawke’s dedication to his craft, we’ve also seen his maturation as a person unfold on screen. Though none of his roles are traditionally what we think of when we think of autobiography, many of Hawke’s roles, as well as his work as a writer, suggest a sort of fictional autobiographical lineage. While these highlights in his career are not strictly autofiction, one can trace Hawke’s Künstlerromanesque trajectory from his childhood ambitions to his life now as a man dedicated to art, not greatness.
Hawke’s first two films, Joe Dante’s sci-fi fantasy Explorers with River Phoenix and Peter Weir’s Dead Poets Society with Robin Williams, set the tone for a diverse filmography filled with popcorn fare and indie cinema in equal measure, but they also served as touchstones in his development as person drawn to self-expression through art. In an interview with Rolling Stone’s David Fear, Hawke spoke about the impact of these two films on him as an actor. When River Phoenix, his friend and co-star in Explorers, had his life cut short by a drug overdose, it hit Hawke personally. He saw from the inside what Hollywood was capable of doing to young people with talent. Hawke never attempted to break out, to become a star. He did the work he loved and kept the wild Hollywood lifestyle mostly at arm’s length.
Like any good film of this genre, Dead Poets Society is not just a film about characters coming of age, but a film that guides the viewer as well, if they are open to its message. Hawke’s performance as repressed schoolboy Todd in the film is mostly internal, all reactions and penetrating glances, rather than grandiose movements or speeches. Through his nervy body language and searching gaze, you can feel both how closed off to the world Todd is, and yet how willing he is to let change in. Hawke has said working on this film taught him that art has a real power, that it can affect people deeply. This ethos permeates many of the characters Hawke has inhabited in his career.
In Dead Poets Society, Mr. Keating (Robin Williams) tells the boys that we read and write poetry because the human race is full of passion. He insists, “poetry, beauty, romance, love—these are what we stay alive for.” Hawke gave a 2020 TEDTalk entitled Give Yourself Permission To Be Creative, in which he explored what it means to be creative, pushing viewers to ask themselves if they think human creativity matters. In response to his own question, he said “Most people don’t spend a lot of time thinking about poetry, right? They have a life to live and they’re not really that concerned with Allen Ginsberg’s poems, or anybody’s poems, until their father dies, they go to a funeral, you lose a child, somebody breaks your heart, they don’t love you anymore, and all of the sudden you’re desperate for making sense out of this life and ‘has anyone ever felt this bad before? How did they come out of this cloud?’ Or the inverse, something great. You meet somebody and your heart explodes. You love them so much, you can’t even see straight, you know, you’re dizzy. ‘Did anybody feel like this before? What is happening to me?’ And that’s when art is not a luxury. It’s actually sustenance. We need it.”
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This is Serious Business You’re Fucking with Here: The Films of William Friedkin by Bill Ryan
The way things currently stand, it’s probably safe to say that William Friedkin has retired. Not that there isn’t still a market for his brand of hilarious, opinionated coarseness—as two recent documentaries, Francesco Zeppel’s Friedkin Uncut, and Alexandre O. Philippe’s Leap of Faith: William Friedkin on The Exorcist can attest—but as a filmmaker, as a director of movies of all kind, movies that are often idiosyncratic, sometimes nakedly commercial, not infrequently provocative, even deeply shocking, he appears to have packed it in. Friedkin is 85 now, so who can blame him, especially when you consider how much longer the gaps between his films had become? He’s made just three in the last fifteen years.
One of those, the last one, is a documentary called The Devil and Father Amorth, which purports to document the genuine exorcism of a woman actually possessed by an evil spirit. I have my doubts about this, but regardless, if that film does indeed turn out to be Friedkin’s last, there’s a neat symmetry to it, as his first picture was also a documentary. The People vs. Paul Crump was made for television, and combines noirish reenactments and interviews with the key subjects to tell the case of Paul Crump, a black man on Death Row for the murder of a security guard during an attempt to rob the payroll office of a Chicago meatpacking plant. The crime occurred in 1953, and Friedkin’s film—which in addition to suggesting Crump was innocent, also asserts that even if he’s guilty, he was rehabilitated—aired in 1962.
The People vs. Paul Crump was very successful, and allowed Friedkin to pick up more TV work until, in the late 60s, he was finally able to begin his career in features. It’s one hell of a wild career, too, one that can be divided into sections that show both the occasionally scattershot nature of his subject matter and the years when his focus on theme and his own specific style was much sharper, which I’ve done. Let’s get started:
I. Do You Recognize an External Force?
There is no better evidence that Friedkin’s life as a filmmaker has been a unique one than the fact that his first feature was Good Times, a kind of sketch comedy film starring Sonny & Cher (and quite frankly starring Sonny more than Cher) that was ultimately kind of a dry-run for their eventual TV variety shows. It co-stars, naturally enough, George Sanders as a movie executive whose pitch to Sonny about getting him and his wife into the movie business leads to a series of fantasies in which Sonny plays the bumbling hero in different genre movies— a Western, jungle adventure, and so on.
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‘America’s Not a Country, It’s Just a Business’: On Andrew Dominik’s ‘Killing Them Softly’ By Roxana Hadadi
“Shitsville.” That’s the name Killing Them Softly director Andrew Dominik gave to the film’s nameless town, in which low-level criminals, ambitious mid-tier gangsters, nihilistic assassins, and the mob’s professional managerial class engage in warfare of the most savage kind. Onscreen, other states are mentioned (New York, Maryland, Florida), and the film itself was filmed in post-Hurricane Katrina New Orleans, though some of the characters speak with Boston accents that are pulled from the source material, George V. Higgins’s novel Cogan’s Trade. But Dominik, by shifting Higgins’s narrative 30 or so years into the future and situating it specifically during the 2008 Presidential election, refuses to limit this story to one place. His frustrations with America as an institution that works for some and not all are broad and borderless, and so Shitsville serves as a stand-in for all the places not pretty enough for gentrifying developers to turn into income-generating properties, for all the cities whose industrial booms are decades in the past, and for all the communities forgotten by the idea of progress._ Killing Them Softly_ is a movie about the American dream as an unbeatable addiction, the kind of thing that invigorates and poisons you both, and that story isn’t just about one place. That’s everywhere in America, and nearly a decade after the release of Dominik’s film, that bitter bleakness still has grim resonance.
In November 2012, though, when Killing Them Softly was originally released, Dominik’s gangster picture-cum-pointed criticism of then-President Barack Obama’s vision of an America united in the same neoliberal goals received reviews that were decidedly mixed, tipping toward negative. (Audiences, meanwhile, stayed away, with Killing Them Softly opening at No. 7 with $7 million, one of the worst box office weekends of Brad Pitt’s entire career at that time.) Obama’s first term had been won on a tide of hope, optimism, and “better angels of our nature” solidarity, and he had just defeated Mitt Romney for another four years in the White House when Killing Them Softly hit theaters on Nov. 30. Cogan’s Trade had no political components, and no connections between the thieving and killing promulgated by these criminals and the country at large. Killing Them Softly, meanwhile, took every opportunity it could to chip away at the idea that a better life awaits us all if we just buy into the idea of American exceptionalism and pull-yourself-up-by-your-bootstraps ingenuity. A fair amount of reviews didn’t hold back their loathing toward this approach. A.O. Scott with the New York Times dismissed Dominik’s frame as “a clumsy device, a feint toward significance that nothing else in the movie earns … the movie is more concerned with conjuring an aura of meaningfulness than with actually meaning anything.” Many critics lambasted Dominik’s nihilism: For Deadspin, Will Leitch called it a “crutch, and an awfully flimsy one,” while Richard Roeper thought the film collapsed under the “crushing weight” of Dominik’s philosophy. It was the beginning of Obama’s second term, and people still thought things might get better.
But Dominik’s film—like another that came out a few years earlier, Adam McKay’s 2010 political comedy The Other Guys—has maintained a crystalline kind of ideological purity, and perhaps gained a certain prescience. Its idea that America is less a bastion of betterment than a collection of corporate interests, and the simmering anger Brad Pitt’s Jackie Cogan captures in the film’s final moments, are increasingly difficult to brush off given the past decade or so in American life. This is not to say that Obama’s second term was a failure, but that it was defined over and over again by the limitations of top-down reform. Ceaseless Republican obstruction, widespread economic instability, and unapologetic police brutality marred the encouraging tenor of Obama’s presidency. Donald Trump’s subsequent four years in office were spent stacking the federal judiciary with young, conservative judges sympathetic toward his pro-big-business, fuck-the-little-guy approach, and his primary legislative triumph was a tax bill that will steadily hurt working-class people year after year.
The election of Obama’s vice president Joe Biden, and the Democratic Party securing control of the U.S. Senate, were enough for a brief sigh of relief in November 2020. The $1.9 trillion stimulus bill passed in March 2021 does a lot of good in extending (albeit lessened) unemployment benefits, providing a child credit to qualifying families, and funneling further COVID-19 support to school districts after a year of the coronavirus pandemic. But Republicans? They all voted no to helping the Americans they represent. Stimulus checks to the middle-class voters who voted Biden into office? Decreased for some, totally cut off for others, because of Biden’s appeasement to the centrists in his party. $15 minimum wage? Struck down, by both Republicans and Democrats. In how many more ways can those politicians who are meant to serve us indicate that they have little interest in doing anything of the kind?
Modern American politics, then, can be seen as quite a performative endeavor, and an exercise in passing blame. Who caused the economic collapse of 2008? Some bad actors, who the government bailed out. Who suffered the most as a result? Everyday Americans, many of whom have never recovered. Killing Them Softly mimics this dynamic, and emphasizes the gulf between the oppressors and the oppressed. The nameless elites of the mob, sending a middle manager to oversee their dirty work. The poker-game organizer, who must be brutally punished for a mistake made years before. The felons let down by the criminal justice system, who turn again to crime for a lack of other options. The hitman who brushes off all questions of morality, and whose primary concern is getting adequately paid for his work. Money, money, money. “This country is fucked, I’m telling ya. There’s a plague coming,” Jackie Cogan says to the Driver who delivers the mob’s by-committee rulings as to who Jackie should intimidate, threaten, and kill so their coffers can start getting filled again. Perhaps the plague is already here.
“Total fucking economic collapse.”
In terms of pure gumption, you have to applaud Dominik for taking aim at some of the biggest myths America likes to tell about itself. After analyzing the dueling natures of fame and infamy through the lens of American outlaw mystique in The Assassination of Jesse James by the Coward Robert Ford, Dominik thought bigger, taking on the entire American dream itself in Killing Them Softly. From the film’s very first second, Dominik doesn’t hold back, equating an easy path of forward progress with literal trash. Discordant tones and the film’s stark, white-on-black title cards interrupt Presidential hopeful Barack Obama’s speech about “the American promise,” slicing apart Obama’s words and his crowd’s responding cheers as felon Frankie (Scoot McNairy), in the all-American outfit of a denim jacket and jeans, cuts through what looks like a shut-down factory, debris and garbage blowing around him. Obama’s assurances sound very encouraging indeed: “Each of us has the freedom to make of our own lives what we will.” But when Frankie—surrounded by trash, cigarette dangling from his mouth, and eyes squinting shut against the wind—walks under dueling billboards of Obama, with the word “CHANGE” in all-caps, and Republican opponent John McCain, paired with the phrase “KEEPING AMERICA STRONG,” a better future doesn’t exactly seem possible. Frankie looks too downtrodden, too weary of all the emptiness around him, for that.
Dominik and cinematographer Greig Fraser spoke to American Cinematographer magazine in October 2012 about shooting in post-Hurricane Katrina New Orleans: “We were aiming for something generic, a little town between New Orleans, Boston and D.C. that we called Shitsville. We wanted the place to look like it’s on the down-and-down, on the way out. We wanted viewers to feel just how smelly and grimy and horrible it was, but at the same time, we didn’t want to alienate them visually.” They were successful: Every location has a rundown quality, from the empty lot in which Frankie waits for friend and partner-in-crime Russell (Ben Mendelsohn)—a concrete expanse decorated with a couple of wooden chairs, as if people with nowhere else to go use this as a gathering spot—to the dingy laundromat backroom where Frankie and Russell meet with criminal mastermind Johnny “Squirrel” Amato (Vincent Curatola), who enlists them to rob a mafia game night run by Markie Trattman (Ray Liotta), to the restaurant kitchen where the game is run, all sickly fluorescent lights, cracked tile, and makeshift tables. Holding up a game like this, from which the cash left on the tables flows upward into the mob’s pockets, is dangerous indeed. But years before, Markie himself engineered a robbery of the game, and although that transgression was forgiven because of how well-liked Markie is in this institution, it would be easy to lay the blame on him again. And that’s exactly what Squirrel, Frankie, and Russell plan to do.
The “Why?” for such a risk isn’t that hard to figure out. Squirrel sees an opportunity to make off with other people’s money, he knows that any accusatory fingers will point elsewhere first, and he wants to act on it before some other aspiring baddie does. (Ahem, sound like the 2008 mortgage crisis to you?) Frankie, tired of the crappy jobs his probation officer keeps suggesting—jobs that require both long hours and a long commute, when Frankie can’t even afford a car (“Why the fuck do they think I need a job in the first place? Fucking assholes”)—is drawn in by desperation borne from a lack of options. If he doesn’t come into some kind of money soon, “I’m gonna have to go back and knock on the gate and say, ‘Let me back in, I can’t think of nothing and it’s starting to get cold,’” Frankie admits. And Australian immigrant and heroin addict Russell is nursing his own version of the American dream: He’s going to steal a bunch of purebred dogs, drive them down to Florida to sell for thousands of dollars, buy an ounce of heroin once he has $7,000 in hand, and then step on the heroin enough to become a dealer. It’s only a few moves from where he is to where he wants to be, he figures, and this card-game heist can help him get there.
In softly lit rooms, where the men in the frame are in focus and their surroundings and backgrounds are slightly blown out, slightly blurred, or slightly fuzzy (“Creaminess is something you feel you can enter into, like a bath; you want to be absorbed and encompassed by it” Fraser told American Cinematographer of his approach), garish deals are made, and then somehow pulled off with a sobering combination of ineptitude and ugliness. Russell buys yellow dishwashing gloves for himself and Frankie to wear during the holdup, and they look absurd—but the pistol-whipping Russell doles out to Markie still hurts like hell, no matter what accessories he’s wearing. Dominik gives this holdup the paranoia and claustrophobia it requires, revolving his camera around the barely-holding-it-together Frankie and cutting every so often to the enraged players, their eyes glancing up to look at Frankie’s face, their hands twitching toward their guns. But in the end, nobody moves. When Frankie and Russell add insult to injury by picking the players’ pockets (“It’s only money,” they say, as if this entire ordeal isn’t exclusively about wanting other people’s money), nobody fights back. Nobody dies. Frankie and Russell make off with thousands of dollars in two suitcases, while Markie is left bamboozled—and afraid—by what just happened. And the players? They’ll get their revenge eventually. You can count on that.
So it goes that Dominik smash cuts us from the elated and triumphant Russell and Frankie driving away from the heist in their stolen 1971 Buick Riviera, its headlights interrupting the inky-black night, to the inside of Jackie Cogan’s 1967 Oldsmobile Toronado, with Johnny Cash’s “The Man Comes Around” providing an evocative accompaniment. “There’s a man going around taking names/And he decides who to free, and who to blame/Everybody won’t be treated all the same,” Cash sings in that unmistakably gravelly voice, and that’s exactly what Jackie does. Called in by the mob to capture who robbed the game so that gambling can begin again, Jackie meets with an unnamed character, referred to only as the Driver (Richard Jenkins), who serves as the mob’s representative in these sorts of matters. Unlike the other criminals in this film—Frankie, with his tousled hair and sheepish face; Russell, with his constant sweatiness and dog-funk smell; Jackie, in his tailored three-piece suits and slicked-back hair; Markie, with those uncannily blue eyes and his matching slate sportscoat—the Driver looks like a square.
He is, like the men who replace Mike Milligan in the second season of Fargo, a kind of accountant, a man with an office and a secretary. “The past can no more become the future than the future can become the past,” Milligan had said, and for all the backward-looking details of Killing Them Softly—American cars from the 1960s and 1970s, that whole masculine code-of-honor thing that Frankie and Russell break by ripping off Markie’s game, the post-industrial economic slump that brings to mind the American recession of 1973 to 1975—the Driver is very much an arm of a new kind of organized crime. He keeps his hands clean, and he delivers what the ruling-by-committee organized criminals decide, and he’s fussy about Jackie smoking cigarettes in his car, and he’s so bland as to be utterly forgettable. And he has the power, as authorized by his higher-ups, to approve Jackie putting pressure on Markie for more information about the robbery. It doesn’t matter that neither Jackie nor the mob thinks Markie actually did it. What matters more is that “People are losing money. They don’t like to lose money,” and so Jackie can do whatever he needs. Dominik gives him this primacy through a beautiful shot of Jackie’s reflection in the car window, his aviators a glinting interruption to the gray concrete overpass under which the Driver’s car is parked, to the smoke billowing out from faraway stacks, and to the overall gloominess of the day.
“We regret having to take these actions. Today’s actions are not what we ever wanted to do, but today’s actions are what we must do to restore confidence to our financial system,” we hear Treasury Secretary Henry Paulson say on the radio in the Driver’s car, and his October 14, 2008, remarks are about the Emergency Economic Stabilization Act of 2008—the government bailout of banks and other financial institutions that cost taxpayers $700 billion. (Remember Will Ferrell’s deadpan delivery in The Other Guys of “From everything I’ve heard, you guys [at the Securities and Exchange Commission] are the best at these types of investigations. Outside of Enron and AIG, and Bernie Madoff, WorldCom, Bear Stearns, Lehman Brothers …”) Yet the appeasing sentiment of Paulson’s words applies to Jackie, too, and to the beating he orders for Markie—a man he suspects did nothing wrong, at least not this time. But debts must be settled. Heads must roll. “Whoever is unjust, let him be unjust still/Whoever is righteous, let him be righteous still/Whoever is filthy, let him be filthy still,” Cash sang, and Jackie is all those men, and he’ll collect the stolen golden crowns as best he can. For a price, of course. Always for a price.
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Christopher Nolan: The Man Who Wasn’t There by Daniel Carlson
1.
So, we’ll start with the fact that all movies are make-believe. It’s a bunch of actors on a set, wearing costumes and standing with props picked out by hordes of people you’ll never see, under the guidance of a director, saying things that have been written down for them while doing their best to say these things so that it sounds like they’re just now thinking of them. We all know this—saying it feels incredibly stupid, like pointing out that water is wet—but it’s still worth noting. There is, for example, no such person as Luke Skywalker. Never has been, never will be. He was invented by a baby boomer from Modesto. He is not real.
And we know this, and that’s part of the fun. We know that Luke Skywalker isn’t real but is being portrayed by an actor (another boomer from the Bay Area, come to think of it), and that none of the things we’re seeing are real. But we give ourselves over to the collective fiction for the greater experience of becoming involved in a story. This is one of the most amazing things that we do as humans. We know—deep down, in our bones, without-a-doubt know—that the thing we’re watching is fiction, but we enter a state of suspended reality where we imagine the story to be real, and we allow ourselves to be moved by it. We’ve been doing this since we developed language. The people telling these stories know this and bring the same level of commitment and imagination and assurance that we do as viewers, too. The storyteller knows that the story isn’t real, but for lack of a better way to get a handle on it, it feels real. So, to continue with the example, we’re excited when Luke Skywalker blows up the Death Star because he helped the good guys win. For us viewers, in this state of mutually reinforced agreement, that “happened.” It’s not real, but it’s “real”—that is, it’s real within the established boundaries of the invented world that we’ve all agreed to sit and look at for a couple of hours. Every viewer knows this, and every filmmaker acts on it, too. Except:
Christopher Nolan does not do this.
2.
There’s no one single owner or maker of any movie, and anyone who tells you different has their hand in your pocket. But there’s an argument to be made that when somebody both writes and directs the movie, it’s a bit easier to locate a sense of personhood in the final product. (This is all really rough math, too, and should not be used in court.) Christopher Nolan has directed 11 films to date, and while his style can be found in all of them, his self is more present in the ones where he had a hand in the shaping of the story—and crucially, not just that, but in the construction of the fictional world. Take away the superhero trilogy, the remake of a Norwegian thriller, the adaptation of a novel, and the historical drama, and Nolan’s directed five films that can reasonably be attributed to his own creative universe: Following (1998), Memento (2000), Inception (2010), Interstellar (2014), and Tenet (2020). These movies all involve themes that Nolan seems to enjoy working with no matter the source material, including identity, memory, and how easily reality can be called into question when two people refuse to concede that they had very different experiences of the same event. Basically, he makes movies about how perception shapes existence. How he does this, though, is unlike pretty much everybody else.
Take Inception. After a decade spent going from hotshot new talent to household name (thanks to directing the two highest-grossing Batman movies ever made, as well as the first superhero movie to earn an Oscar for acting), he had the credit line to make something big and flashy that was also weird and personal. So we got an action movie that, when first announced in the Hollywood trades, was described as being set within “the architecture of the mind.” Although this at first seemed to be a phrase that only a publicist could love, it turned out to be the best way to describe the film. This is a film, after all, about a group of elite agents who use special technology to enter someone’s subconscious dream-state and then manipulate that person’s memories and emotions. The second half of the film sees team leader Dom Cobb (Leonardo DiCaprio) and the rest of the squad actually descend through multiple nested subconsciouses to achieve their goal, even as they’re chased every step of the way by representations of Mal (Marion Cotillard), Dom’s late wife, who committed suicide after spending too much time in another’s subconscious and lost the ability to discern whether she was really alive or still in the dream-world.
I say “representations” because that’s what they are: Mal is long dead, but Dom still feels enormous guilt over his complicity in her actions, and that guilt shows up looking like Mal, whose villainous actions (the representation’s actions, that is) are just more signs of Dom not being able to come to grips with his own past. It’s his own brain making these things up and attacking itself, and it chases his entire crew down three successive layers of dream worlds. You get caught up in the movie’s world as a viewer, and you go along because Nolan is pretty good at making exciting movies that feel like theme-park rides. You accept that Dom and everybody else refer to Mal as Mal and not, say, Dom. Dom even addresses her (“her”) when her projection shows up, speaking to her as if she’s a separate being with her own will and desires and not a puppet that he’s pretending not to know he’s controlling. It’s only later that you realize that the movie is in some ways just a big-budget rendition of what it would look like to really, really want to avoid therapy.
Which is what makes Nolan different from other filmmakers:
None of this is actually happening.
Again, yes, it’s happening in the sense that we see things on screen—explosions, chases, a fight scene in a rotating hallway that’s still some of the best practical-effects work in modern action movies—but within the universe of the film, none of what’s going on is taking place in the real world. It’s all unfolding in the subconsciouses of Dom’s teammates. In the movie’s real world, they’re all asleep on a luxury jet. They’re “doing” things that have an outcome on the plot, but Nolan sets more than half the movie inside dreams. It’s a movie about reality where we spend less time in reality than in fantasy. Half the movie is pretend.
For Nolan, filmmaking is about using a dazzling array of techniques to create a visual spectacle that distracts the viewer from the fact that the real and true story is happening somewhere else: in the fringes we can’t quite see, in the things we forget to remember, or even in the realm of pure speculation.
3.
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The Exterminating Angel: On the Wrongness and Righteousness of Abel Ferrara’s “Ms. 45″ by Scott Tobias
The most famous shot in Woody Allen’s Manhattan was photographed in the early light near the Queensboro Bridge, with Allen and Diane Keaton sitting on a bench in Sutton Place Park at East 58th Street. The bench occupies the far-right corner of Gordon Willis’ widescreen, black-and-white frame, with the bridge itself, illuminated by two sets of necklace lights, stretching from end to end. Folding this romantic moment into an unabashed love letter to the city itself, the shot was such a perfect distillation of the film’s spirit that it was used for the poster.
Two years later, on the same bench with the same view of the Queensboro Bridge, Thana, the mute heroine of Abel Ferrara’s rape/revenge exploitation movie Ms. 45, pulls a gun on another in a series of lowlifes she’s murdered in the wake of two sexual assaults in a single afternoon. Surely, Ferrara was cackling at the juxtaposition: Woody Allen’s New York is a magical place, “a town that existed in black-and-white, and pulsated to the great tunes of George Gershwin.” Ferrara’s New York is grimy and loud and violent, a hunting ground for cat-calling lotharios and lowlife predators. Defiling the famed Manhattan bench is Ferrara’s way of thumbing his nose at Allen’s romanticism.
Back when Allen was releasing Manhattan, still riding high off his Best Picture win for Annie Hall, Ferrara was in the exploitation-movie trenches with The Driller Killer, a horror movie that Variety found so risible that its critic wrote “Abel Ferrara makes Tobe Hooper look like Federico Fellini.” (Ferrara and his team were thrilled by the notice.) Though Ms. 45 was a huge leap forward in ambition and sophistication, it wasn’t so far removed from the grindhouse aesthetic of The Driller Killer, with an all-the-animals-come-out-at-night vibe that outsleazed the likes of Taxi Driver and Death Wish. 40 years later, Ms. 45 still feels like a powder keg of a movie, notable for how much it subverts the rape/revenge story without trying to transcend it. It’s full of fascinating contradictions, tied to a character whose mission of vengeance is righteous and cathartic in some respects, and messy and disproportionate in others.
Ferrara wastes not a second of his 80-minute running time in establishing New York as a hostile place for an attractive young woman like Thana (Zoë Lund, then credited as Zoë Tamerlis), who walks through a gauntlet of harassment to her job as a seamstress in the Garment District. She doesn’t have the voice to put these men in their place, and she certainly doesn’t have the voice to scream when a mugger snatches her off the sidewalk and rapes her in a back alleyway. Her powerlessness is cruelly reinforced when she gets back to her apartment and a burglar seizes the opportunity to assault her a second time. Getting raped twice in the same day may sound like a wild coincidence, but through Ferrara’s lens, it seems more like a silent conspiracy, like a pack of wolves circling a wounded gazelle. Thana gets the upper hand by clocking her second attacker in the head with a blunt object—specifically a red apple made of glass, the Catholic Ferrara’s nod to Eve in the Garden—and Thana suddenly emerges as an avenging angel.
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It’s Arrested Development: How ‘High Fidelity’ Has Endured Beyond Its Cultural Sell-By Date by Vikram Murthi
It’s easy to forget now that at the beginning of 2020, before the pandemic had taken hold of our consciousness, for a brief moment, High Fidelity was back. Not only did Nick Hornby’s debut novel and Stephen Frears’ film adaptation celebrate major milestones this year — 25th and 20th anniversaries, respectively — but a TV adaptation premiered on Hulu in February. In light of all of these arbitrary signposts, multiple thinkpieces and remembrances litigated Hornby’s original text on familiar, predictable grounds. Is the novel/film’s protagonist Rob actually an asshole? (Sure.) Does Hornby uphold his character’s callous attitudes towards women? (Not really.) Hasn’t the story’s gatekeeping, anti-poptimist approach to artistic taste culturally run its course? (Probably.) Why do we need to revisit this story about this person right now? (Fair question!)
Despite reasonable objections on grounds of relevancy, enough good will for the core narrative—record store owner seeks out a series of exes to determine a pattern of behavior following a devastating breakup—apparently exists to help produce a gender-flipped streaming show featuring updated musical references and starring a decidedly not-middle-aged Zoë Kravitz. I only made it through six of ten episodes in its first (and only) season, but I was surprised by how closely the show hewed to High Fidelity’s film adaptation, to the point of re-staging numerous scenes down to character blocking and swiping large swaths of dialogue wholesale. (Similarly, the film adaptation hewed quite close to the novel, with most of the dialogue ripped straight from Hornby.) Admittedly, the series features a more diverse cast than the film, centering different experiences and broadly acknowledging some criticisms of the source material regarding its ostensibly exclusionary worldview. Nevertheless, it seemed like a self-defeating move for the show to line itself so definitively with a text that many consider hopelessly problematic, especially considering the potential to repurpose its premise as a springboard for more contemporary ideas.
High Fidelity’s endurance as both a piece of IP and a flashpoint for media discourse is mildly baffling for obvious reasons. For one thing, its cultural milieu is actually dated. Even correcting for vinyl’s recent financial resurgence, the idea of snooty record store clerks passing judgment on customer preferences has more or less gone the way of the dodo. With the Internet came the democratization of access, ensuring that the cultivation of personal taste is no longer laborious or expensive, or could even be considered particularly impressive (if it ever could have been). Secondly, as one might imagine, some of Hornby’s insights into heterosexual relationships and the differences between men and women, even presented through the flawed, self-deprecating interiority of High Fidelity’s main character, are indeed reductive. Frears’ film actually strips away the vast majority of Hornby’s weaker commentary, but the novel does include such cringeworthy bits like, “What’s the deal with foreplay?” that are best left alone.
Accounting for all of that, though, it’s remarkable how many misreadings of Hornby’s text have been accepted as conventional wisdom. It’s taken as a given by many that the novel and film earnestly preach the notion that what you like is more important than what you are like when, in fact, the narrative arc is constructed around reaching the opposite conclusion. (The last lines of the novel and film are, literally, “…I start to compile in my head a compilation tape for her, something that’s full of stuff she’s heard of, and full of stuff she’d play. Tonight, for the first time ever, I can sort of see how it’s done.”) That’s relatively minor compared to the constant refrain that Rob’s narcissism goes uncriticized, even though the story’s thematic and emotional potency derives from what the audience perceives that Rob cannot. To put it bluntly, High Fidelity’s central irony revolves around a man who listens to music for a living being unable to hear the women in his life.
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Unbroken Windows: How New York Gentrified Itself On Screen by Jason Bailey
It was 1972, and Lewis Rudin had a problem—specifically, a Johnny Carson problem. Rudin, a real estate developer and committed New Yorker, had founded the Association for a Better New York (ABNY), an organization dedicated to cleaning up the city’s image (and thus, its attractiveness to corporate clients) via aggressive campaigning and spit-shine marketing; the organization was, for example, instrumental in the development of the iconic I ❤ NY campaign.
But all the good work ABNY was doing, Rudin fumed to the organization’s executive director Mary Holloway, felt like pushing Sisyphus’ boulder when he switched on NBC late at night: “How can we change the image of New York when Johnny Carson’s opening monologue every night is about people getting mugged in Central Park?”
As reported by Miriam Greenberg in her book Branding New York: How a City in Crisis Was Sold to the World, Rudin went to the trouble of meeting with network heads, imploring them to pressure personalities like Carson to lighten up on the “New York City is a crime-ridden cesspool” jokes. In 1973, Mayor John Lindsay himself called network executives and even some comedians to a City Hall meeting where he made a similar plea. This was in stark contrast to the usual modus operandi of the Mayor’s Office of Film, Theatre, and Broadcasting, which prided itself on avoiding censorship or editorial interference in the making of motion pictures in the city—indeed, several of the grimmest, grimiest portraits of life in New York (Death Wish, Panic in Needle Park, Little Murders, The French Connection) were borne of this period. But people had to go out to see those. Johnny Carson came into their living room every night to tell them what a shithole New York was.
Rudin and Lindsay’s efforts were ultimately unsuccessful. Johnny Carson continued to roast the city—especially after escaping it when The Tonight Show relocated to Burbank, California in 1972—and prime-time comedies like All in the Family, Taxi, and Welcome Back, Kotter mined similar veins of urban unrest. Meanwhile, gritty crime series from Kojak to Cagney & Lacey to The Equalizer presented a similar picture of the city—dirty, grimy, and dangerous—to that of films like Taxi Driver, The Taking of Pelham One Two Three, The Warriors, and Fort Apache, The Bronx.
But in the 1990s, that all changed. And there’s a compelling case to be made that the change began with Jerry Seinfeld.
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The Murder Artist: Alfred Hitchcock At The End Of His Rope by Alice Stoehr
“Rope was an interesting technical experiment that I was lucky and happy to be a part of, but I don’t think it was one of Hitchcock’s better films.” So wrote Farley Granger, one of its two stars, in his memoir Include Me Out. The actor was in his early twenties when the Master of Suspense plucked him from Samuel Goldwyn’s roster. He’d star in the first production from the director’s new Transatlantic Pictures as Phillip Morgan, a pianist and co-conspirator in murder. John Dall would play his partner, homicidal mastermind Brandon Shaw. Granger had the stiff pout to Dall’s trembling smirk.
The “interesting technical experiment” was Hitchcock’s decision to shoot the film, adapted from a twenty-year-old English play, as a series of 10-minute shots stitched together into a simulated feature-length take. This allowed him to retain the stage’s spatial and temporal unities while guiding the audience with the camera’s eye. In the process, he’d embed a host of meta-textual and erotic nuances within the sinister mise-en-scène. Screenwriter Arthur Laurents (Granger’s boyfriend, for a time) updated the play’s fictionalized account of Chicagoan thrill killers Leopold and Loeb to a penthouse in late ‘40s Manhattan. There, Phillip strangles the duo’s friend David—his scream behind a curtain opens the film—immediately prior to a dinner party where they’ll serve pâté atop the box that serves as his coffin. It’s a morbid premise for a comedy of manners, and Brandon taunts his guests throughout the evening. (Asked if it’s someone’s birthday, he coyly replies, “It’s, uh, really almost the opposite.”)
Granger deemed the film lesser Hitchcock due to two limitations. One was the sheer repetition and exact blocking demanded by its formal conceit, the other the Production Code’s blanket ban on “sex perversion,” which meant tiptoeing around the fact that Brandon and Phillip—like their real-life inspirations and, to some degree, Rope’s leading men—were gay. That stringent homophobia forced Hitchcock and Laurents to convey their sexuality through ambiguity and implication; the director would use similar tactics to adapt queer writers like Daphne du Maurier and Patricia Highsmith. (“Hitchcock confessed that he actually enjoyed his negotiations with [Code honcho Joseph] Breen,” notes Thomas Doherty in the book Hollywood’s Censor. “The spirited give-and-take, said Hitchcock, possessed all the thrill of competitive horse trading.”) The nature of the characters’ relationship is hardly subtext: Rope starts with their orgasmic shudder over David’s death, then labored panting after which Brandon pulls out a cigarette and lets in some light. A few minutes later, Brandon strokes the neck of a champagne bottle; Phillip asks how he felt during the act, and he gasps “tremendously exhilarated.”
Like Brandon’s hints about the murder, the homosexuality on display is surprisingly explicit if an audience can decode it. The whole film pivots around their partnership, both criminal and domestic. In an impish bit of conflation, their scheme even stands in for “the love that dare not speak its name,” with David’s body acting as a fetish object in a sexual game no one else can perceive. The guests, as Brandon puts it, are “a dull crew,” “those idiots” who include David’s father and aunt, played by London theater veterans Cedric Hardwicke and Constance Collier. Joan Chandler and Douglas Dick, both a couple years into what would be modest careers, play David’s fiancée Janet and her ex Kenneth. Character actress Edith Evanson appears as housekeeper Mrs. Wilson, a prototype for Thelma Ritter’s Stella in Rear Window, and a top-billed James Stewart is Rupert Cadell, who once mentored the murderers in arcane philosophy.
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Telling Lies In America 1985-1995: The Joe Eszterhas Era by Jessica Kiang
“Written by Joe Eszterhas” is a phrase that has not had much of a workout on US cinema screens in over twenty years—and it’s arguable whether the 1997, 19-screen nationwide release of certifiable shitshow Burn Hollywood Burn: An Alan Smithee Film exactly qualifies as “a workout.” But for those of us who had the parental training wheels come off our theatrical filmgoing in the late ‘80s or early ‘90s, there were few individuals more central to our cinematic coming-of-age. And with perhaps the sole exception of Shane Black, a different animal in any case, none of the others—the Spielbergs, Camerons, Tarantinos—were exclusively screenwriters. For over a decade, the Hungarian-born, Hollywood-minted superstar writer of Basic Instinct bestrode the adult-oriented commercial screenwriting mainstream like a smirking colossus in a tight dress wearing no underwear. And given that Hollywood is primarily how the USA, the most loudly, proudly self-created of nations, expresses itself to itself and to the rest of the world, by the man’s own bombastic standards it’s only a slight exaggeration to suggest that America, between the years of 1985 and 1995, was written by Joe Eszterhas.
But for all the dominance he exerted, the rules he rewrote and the sheer money he made, examining Eszterhas’ heyday today feels like an act of paleontology, even for those of us who lived through it. 1992 is not so very distant; in a variety of ways it is still with us. It was the year Quentin Tarantino, whose latest film is in theaters right now, broke out with his first, Reservoir Dogs. It was the year the current loathsome, racist, tinpot President of the United States made a cameo appearance in Home Alone 2: Lost in New York, back when he was merely a loathsome, racist, tinpot property tycoon. It was the year that the number one box office spot was taken by Disney’s animated Aladdin, which felt close enough in time that the live-action remake which—and I’ve checked my notes on this, apparently was a thing that happened to us in 2019—felt entirely too soon.
But it was also the year of Paul Verhoeven’s Basic Instinct, the sine qua non of Eszterhas-penned films. And if Sharon Stone’s lascivious leg-cross (Verhoeven’s invention, incidentally, not Eszterhas’) provided posterity with the most iconic upskirt of a blonde in a white dress since Marilyn Monroe’s encounter with a subway grate, that is largely all that remains to us of it today. Well, that and the instantly forgotten sequel (sans Eszterhasian involvement) that already seemed wildly anachronistic in 2006. The original film, its writer, the erotic thriller genre it exemplified, the dunderheaded sexual politics it upheld while attempting to subvert, the whole idea of a mainstream screenwriter having a brand at all (even one as loosely defined as “writer of films you don’t tell your parents you snuck into”), all seem like ancient relics. These are the artifacts not only of a bygone age but of an extinct genus, a whole evolutionary branch that was nipped in the bud so comprehensively that even now scientists might argue over how closely the skeletons of certain bird species resemble the bones of Basic Instinct.
This containment, however, is what makes looking back at the Eszterhas era so fascinating. His brief Hollywood hegemony is a microcosmic event in cinematic history, one with a beginning, middle, and an end (barring some late-breaking epilogue, or a post fade-to-black pan down to an ice pick under the bed). And it didn’t start with his first produced screenplay, for the leaden Sylvester Stallone truckers-union drama F.I.S.T. (Norman Jewison, 1978), although the glimmer of future feats of financial alchemy was already present in the reported $400,000 he received for the novelization. Dawn really broke for Eszterhas, as it did for three of the only other people who could legitimately be termed his peers as purveyors of massively popular, high-concept, low-brow ‘80s sensationalism (producers Don Simpson and Jerry Bruckheimer, director Adrian Lyne), with 1983’s Flashdance.
It was an improbable success, less a film than an aerobics video occasionally interrupted by some awkward sassy banter and Jennifer Beals’ popping-flashbulb smile. Its vanishingly thin story, which Eszterhas co-wrote, is of an 18-year-old welder in a steel mill, who moonlights as an exotic dancer while aspiring to become a ballerina—a logline that sounds like a hoot of derision even as an unadorned description—and is full of Eszterhasian hallmarks. There’s the high degree of preposterousness. There’s the gym scene, during which the ladies of the cast grimace and lift weights in full makeup, and while here the frictionless unreality of Lyne’s TV-commerical aesthetic makes the sequence abstract, the peculiar faith in the erotic potential of a workout would recur in the squash sequence in Jagged Edge (Richard Marqund, 1985) and the ludicrous gym date in Sliver (Phillip Noyce, 1993).
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Monster In A Box: What ‘Wonder Boys’ Says About The Writing Process by Daniel Carlson
“A picture used to be a sum of additions. In my case a picture is a sum of destructions. I do a picture—then I destroy it. In the end though, nothing is lost: the red I took away from one place turns up somewhere else.” — Pablo Picasso
///
Writing is boring. Not the act itself—actually doing it can be exhilarating, your head “vibrant with the static of unelaborated thought,” as Philip Roth once described the onset of the creative process. No, it’s watching someone write that’s boring. Next time you see someone in your office crafting an email, look at the way they just kind of stare at nothing for a while, then peck at keys, then shrug and repeat the whole thing before hitting Send and going to the bathroom. It’s always like that. Half of writing is just looking off into space, trying to get ideas to come to you, which is pretty challenging to dramatize on screen. You’re watching someone think, which means you’re trying to watch something invisible.
This is why most movies about writing are actually about typing: a character banging away at a keyboard, usually during a montage, with the finished work appearing as if wished into existence. The actual process of creating—the work of mentally panning through dirt and mud and silt to find jewels worth sharing—is an internal one, which means most films focus on the product, not the process.
Curtis Hanson’s Wonder Boys, though, manages to capture the feeling of the creative process in a way that most movies don’t, and it does so by ingeniously turning that process inside out: instead of a solitary mental experience, it’s an expressive, often public one. Instead of creating silently, we hear people thinking out loud. We get a chance to see people’s creativity fire up because we can actually hear them expressing their thoughts as they come, bouncing from one to another. “Writing” becomes “creating,” and as a result, we’re able to see new things being born, words and ideas breathed into life right in front of us.
///
Wonder Boys, directed by Curtis Hanson and released to theaters in February 2000, is based on Michael Chabon’s 1995 novel, which was in turn inspired by the life of novelist Chuck Kinder. Kinder was a professor at the University of Pittsburgh, where Chabon was one of his students, and he was working on a manuscript for a novel that, at one point, stretched to three volumes of 1,000 pages each. That idea—of a writing professor pouring himself into a monster of a book with no end in sight—became the inspiration for Chabon’s character of Grady Tripp, a literature professor who hasn’t published a book in years but who’s working on a massive novel that he can’t seem to corral. Grady, played by Michael Douglas in the film, finds himself at a crossroads as he works on his bloated book, balances his relationship with a married colleague (Frances McDormand), nurtures a pair of students (Tobey Maguire and Katie Holmes), and fends off the predatory capitalistic advances of his agent (Robert Downey Jr.), all while navigating a weekend-long book festival hosted by his university.
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Jonathan Demme’s ‘A Master Builder’ and the Elusive Magic of Bringing Stage to Screen by Tina Hassannia
Criterion’s three-film box-set of the works of Wallace Shawn and Andre Gregory—My Dinner With Andre, Uncle Vanya, and A Master Builder—features several supplements, including an interview between the theater artists and writer Fran Lebowitz. She makes a frank confession: “I don’t like watching theater.” Gregory, a man who’s spent his entire life in the theater, says he feels the same way.
Lebowitz explains that she loves to be drawn into a good film or novel, but, with the exception of Shawn’s work, she’s never experienced the same with theater. She’s not alone. While theater may not exactly be a dying art form, it was long ago upstaged by cinema and television as our de-facto entertainment, and our appreciation for it has dwindled in kind. Theater requires us to suspend disbelief that we’re watching mere make believe, more forcefully than film, which benefits from a metaphysical distance from the viewer. Why sit through 2-3 hours of physical artifice just to see actors move through the spectrum of human emotion when there are so many easier and supposedly better options?
Those lucky enough to have witnessed really good theater know this a philistine’s line of thinking, but even so, its cultural relevance is tightly bound to its usurper, cinema: film adaptations of plays are usually better known than famous productions. (Consider the populist understanding of A Streetcar Named Desire without Marlon Brando—it doesn’t exist.) But adaptations are in essence, films, not theater. Transmitting the visceral pleasures of actual theater is nigh-impossible. If you’ve ever made the mistake of watching a recorded stage performance, you know you’re missing an essential thing privy to members of the audience. No matter the quality of the performance or camerawork, filming a play cheapens the experience. Theatricality is transmogrified into an over-exaggerated mess onscreen. The chemistry unique to each performer and audience, which gives birth to an atmospheric energy that changes with every performance, is lost.
A Master Builder director Jonathan Demme tries to describe a similar sentiment in another Criterion supplement, an interview between himself, Shawn, Gregory, and critic David Edelstein. Having seen the duo’s final production of A Master Builder —which Demme calls “literally spell-binding” and “very emotionally intense”— the director chronicles in the interview his experience watching Gregory watch the play. Having finished his part as Brovik, Gregory joined the audience, but, according to Demme, appeared to subconsciously direct the performers as if through an “energy field.”
“I remember seeing his face responding to everything that was going on there and feeling the connection,” he says. Edelstein follows up with questions, as what he’s hearing sounds too “woo woo”: Were the performers looking at Gregory? Was he in their peripheral vision? … What, exactly? It’s not Demme’s fault he can’t eloquently explain the phenomenon, because words rarely do the experience of live theatre justice. It’s an inexplicable sensation that can only be experienced to be understood.
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Mirror, Mirror: When Movie Characters Look Back at Themselves by Sheila O’Malley
“I always feel it behind me. It’s myself. And I follow me. In silence. But I can hear it. Yes, sometimes it’s like I’m chasing myself. I want to escape from myself. But I can’t!” —Peter Lorre as child-murderer, M (1931)
There was a period in the ‘60s and ‘70s when you could barely call yourself a male movie star if you didn’t do a scene where you stared at yourself in the mirror, doing various “private” things. The device shows up before then, too, but the floodgates opened in the ‘60s and ‘70s. Meryl Streep has observed, “Often the scenes that are the most exciting, and most illuminating in film, are the ones with no dialogue…where a character is doing something alone, where the deepest most private self is revealed or explored. Exposed.”
Mirrors have multiple thematic uses (as well as the obvious directorial choice to add visual interest to the frame). But if a character is inarticulate, then seeing him “deal with” his reflection can fill in some gaps. It’s a great storytelling shortcut. If the character has a firm public “mask,” a “mirror scene” can let us see who he is when no one is watching. We all lie, to some degree, out there in the world (or on social media). We construct a “self” and a mirror scene allows the character to strip that away.
Speaking stereotypically (or, in archetypes), what is expected of male characters in terms of public persona is different from the pressures on female characters. Not better or worse, just different. Crying, showing uncertainty, weakness, vulnerability … can be a minefield. This is why the glut of male mirror scenes in the 70s makes a kind of sense: as the women’s movement rose, men began to wonder about their place, as well as buck against some of the gender norms imposed on them (or, in some cases, re-entrench said gender norms, Travis Bickle’s “You talkin’ to me” the most classic example).
Shakespeare’s use of the soliloquy—in particular for Kings and prospective Kings—could be seen as mirror scenes, with the audience as the mirror. A man goes into a private space, showing the audience things he cannot show on the battlefield or in the court. Hamlet, one of the most introverted of Shakespeare’s characters, showing non-gender-norm qualities of uncertainty and sensitivity, has a massive six soliloquies. (“O that this too too solid flesh would melt”, “O what a rogue and peasant slave am I”, “To be or not to be”, “Tis now the very witching time of night”, “Now might I do it pat” and “How all occasions do inform against me.”) It is impossible to imagine the play—or Hamlet—without them. In Richard II, after Richard is forced to surrender his crown, what is the first thing he does? Like a true narcissist, he calls for a mirror. As he stares at himself, he wonders,
“Was this face the face
That every day under his household roof
Did keep ten thousand men?”
and throws the mirror on the ground.
Mirrors are powerful and mysterious symbols. The doubling-up can mean all kinds of things. Alice steps through the looking glass into another world. Goethe’s Faust looks into the witch’s mirror and sees a beautiful woman staring back. Dorian Gray takes a mirror to compare his face with the one in the attic portrait. (Like Richard III, Dorian smashes the mirror.) A mirror is crucial in Tennyson’s “The Lady of Shalott,” where “The Lady” is cursed to view the world only through a mirror. But then Lancelot rides by and she can’t help it, she has to sneak a peek. Maybe the most famous fictional mirror is the Evil Queen’s in “Snow White,” the one she asks every day, “Mirror, mirror, on the wall, who’s the fairest of them all?” Richard III doesn’t look for a reflection of his beauty. He wonders where his “self” even is, without the crown.
An early male mirror scene—and one of the best—is Peter Lorre’s in Fritz Lang’s M (1931). Our first glimpse of Lorre’s face comes without warning. As a handwriting-analyst theorizes in voiceover about the child-killer’s psychology, we see him, staring at himself in the mirror. He pulls at his face, slowly, manipulating his mouth into a smile, trying it on for size, maybe seeing what it looks like to the children he seduces. He bugs his eyes out, turning this way, that, a maniacal presence, almost like a shark rolling its eyes backwards as it attacks. He has no sense of what human beings feel like, of what he looks like, of how to even make a facial expression. It’s one of the most chilling private moments in cinema.
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Paris sans Agnès by Andrew Lapin
It was morning in Paris when news of Agnès Varda’s death reached the world. On a hunch, I left the apartment I shared with my girlfriend in the city’s 5th arrondissement and walked the 30 minutes, past the hordes of tourists cramming into the skull-stacked Paris Catacombs, to reach Rue Daguerre in the Montparnasse neighborhood, where Varda had lived since 1951.
This is where Varda and her husband, fellow French New Wave filmmaker Jacques Demy, had purchased a derelict pink storefront and turned it into the production house Tamaris Films, later renamed Ciné-Tamaris, so they could produce Varda’s first film La Pointe Courte in 1954. The pair moved into the tucked-away apartment/studio complex and quickly became fixtures of the neighborhood, spreading art, whimsy, and cats around their tiny world (although the building’s exterior remained in poor shape, with paint perpetually peeling and the roof leaking). For the next nearly seven decades, Varda sightings on Rue Daguerre were an everyday occurrence: “the funny little woman in the red-and-white hair,” as one Parisian described her to me. It was fitting that Varda had inherited the spirit of this street from its original namesake Louis Daguerre: inventor of the daguerreotype, the first commercially available form of photographic imagery and the predecessor to the medium that Varda changed forever.
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3D, Part 2: How 3D Peaked At Its Valley by Vadim Rizov
I didn’t expect to spend Thanksgiving Weekend 2018 watching ten 3D movies: marathon viewing is not my favorite experience in general, and I haven’t spent years longing to see, say, Friday the 13th Part III, in 35mm. But a friend was visiting, from Toronto, to take advantage of this opportunity, an impressive level of dedication that seemed like something to emulate, and it’s not like I had anything better to do, so I tagged along. Said friend, Blake Williams, is an experimental filmmaker and 3D expert, a subject to which he’s devoted years of graduate research and the bulk of his movies (see Prototype if it comes to a city near you!); if I was going to choose the arbitrary age of 32 to finally take 3D seriously, I couldn’t have a better Virgil to explain what I was seeing on a technical level. My thanks to him (for getting me out there) and to the Quad Cinema for being my holiday weekend host; it was probably the best possible use of my time.
The 10-movie slate was an abridged encore presentation of this 19-film program, which I now feel like a dink for missing. What’s interesting in both is the curatorial emphasis on films from 3D’s second, theoretically most disreputable wave—‘80s movies with little to zero critical respect or profile. Noel Murray considered a good chunk of these on this site a few years ago, watching the films flat at home, noting that when viewed this way, “the plane-breaking seems all the more superfluous. (It’s also easy to spot when these moments are about to happen, because the overall image gets murkier and blurrier.)” This presumes that if you can perceive the moments where a 3D film expands its depth of field for a comin’-at-ya moment and mentally reconstruct what that would look like, that’s basically the same experience as actually seeing these effects.
Blake’s argument, which I wrestled with all weekend, is that these movies do indeed often look terrible in 2D, but 3D literally makes them better. As it turns out, this is true surprisingly often. Granted, all concerned have to know what they’re doing, otherwise the results will still be indifferent: it turns out that Friday the 13th Part III sucks no matter how you watch it, and 3D’s not a complete cure-all. This was also demonstrated by my first movie, 1995’s barely released Run For Cover, the kind of grade-Z library filler you’d expect to see sometime around 2 am on a syndicated channel. This is, ostensibly, a thriller, in which a TV news cameraman foils a terrorist plot against NYC. It features a lot of talking, scenes of Bondian villains eating Chinese takeout while plotting and/or torturing our ostensible hero, some running (non-Tom Cruise speed levels), and one The Room-caliber sex scene. Anyone who’s spent too much time mindlessly staring at the least promising option on TV has seen many movies like these. The 3D helps a little: an underdressed TV station set takes on heightened diorama qualities, making it interesting to contemplate as an inadvertent installation—the archetypal TV command room, with the bare minimum necessary signifiers in place and zero detail otherwise—rather than simply a bare-bones set. But often the camera is placed nowhere in particular, and the resulting images are negligible; in the absence of dramatic conviction or technical skill, what’s left is never close enough to camp to come back out the other side as inadvertently worthwhile. I’m glad I saw it for the sheer novelty of cameos from Ed Koch, Al Sharpton and Guardian Angels founder Curtis Sliwa—all doing their usual talking points, but in 3D! But it’s the kind of film that’s more fun to tell people about than actually watch.
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3D, Part 1: James Cameron and the Broken Promise of the Third Wave by Vadim Rizov
[Note: This essay is the first in a two-part series on 3D. Part 2, coming soon, will discuss the unexpected peak of 3D as an artistic form. —ed.]
It’s not fair to say that James Cameron ruined projection standards by pushing for a digital changeover—the industry impetus was already under way—but Avatar left less of an impression as a movie than as technological advocacy, resulting in unintended, still-lingering side effects. Cameron dreamed of 3D cinema arriving, finally, at what he viewed as its overdue narrative fruition; he couldn’t have imagined compromising projection standards or undermining film archiving in the process. This is a two-part essay: The first is a grim recap of the Third Wave of 3D, which has unfolded over the last decade. The second will advocate for a secret classic of 3D cinema at its inadvertently experimental peak.
****
The not-too-reductive standard narrative goes like this: 3D was popularized contemporaneously with widescreen in the ‘50s as half of a two-pronged initiative to lure audiences away from their TV screens by giving the theatrical experience something unavailable at home. By decade’s end, widescreen was normalized; ’60s and ‘70s one-offs excepted, 3D wasn’t. 1980’s Comin’ at Ya! kicked off its second wave, which had a similarly short lifespan. In both runs, 3D failed to transition from passing gimmick to standard filmmaking option, mostly due to the diminishing thrill of seeing things flying at you, but also due to technological flaws that made the results physically difficult to watch. This history’s a bit of an oversimplification: like sound, color, and widescreen (all of which were experimented with long before they became standard options), 3D had test-run incarnations well before its ‘50s boom. Still, this story is largely accurate. So what makes the third wave different?
Cameron’s ideal 3D would be to create totally immersive worlds, refusing to throw objects at viewers the way the first two 3D waves had done. These effects were presumably cheap grabs for attention, while Cameron was focused more on depth rather than breaking the proscenium. In a (troublesomely unattributed) quote from 2009, a collaborator summed up his approach: “There’s a scene early in [Avatar] where something jumps out of the screen. Jim said, `I just did that so that they would know I know how to do it. But then I stopped doing it because that’s not what 3D is; 3D is bringing the audience completely into the environment of the movie.’” Narrative disruption was not on the agenda; Cameron’s films have always followed conventional dramatic arcs, and Avatar has a particularly unchallenging (“archetypal”) story. This meant yoking 3D to digital projection, which would straighten out the format’s numerous problems once and for all by eliminating both the visual eyestrain and eyeline problems of watching 3D, either polarized (the default standard until digital) or in anaglyph (the infamous red-and-blue glasses format that became a stand-in image for the format, despite being relatively rare) and the double potential for error caused by an incompetent projectionist. Cameron had spent years preparing audiences—and, more importantly, the industry—for a digital conversion. In 2005, he, George Lucas, and Peter Jackson appeared at ShoWest, the trade theater convention to boost for 3D and, by association, digital projection. “I’m giving you guys plenty of warning,” Cameron said. “You’ve got two years to get ready.” His timeline was off, the larger idea was not: In 2009, 16,000 screens worldwide were digital-ready. The next year, that had shot up to 36,000.
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Explore the filmography of Christopher Pelham on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!
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Murray Alpert Obituary 2016
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2022-11-04T15:15:58
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Murray Alpert of Pelham Manor, NY passed away on Sunday, July 10th. He was 87 years old. Born in New York City to Anna and Louis Alpert, he was the youngest of four boys. Mur...
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Dr Kingsley Marshall is Head of Film and Television at the CILECT and ScreenSkills accredited Sch
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https://www.falmouth.ac.uk/staff/dr-kingsley-marshall
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Head of Film & Television
Dr Kingsley Marshall is Head of Film and Television at the CILECT and ScreenSkills accredited School of Film and Television, based within Falmouth University, UK. The department consists of over 40 staff working with over 700 undergraduate students across four degrees (BA Animation, BA Film, BA Post Production & Visual Effects, BA Television and Film Production), supplemented by a postgraduate community studying from MA level through to PhD, delivered online and on campus. He is an external examiner for the MA International Creative Enterprise at Edge Hill University, in addition to the online BA and MA filmmaking courses at Raindance Film School (DMU) and the on-campus filmmaking courses at Edinburgh Napier University.
As the RKE lead for Screen Practice: Research and the Development Lead and a Producer in the Sound/Image Cinema Lab, a research and film production centre at Falmouth University, Kingsley is involved in short and feature film production with partners including Bosena, Film4, o-Region, Early Day Films, BBC Films, and Storm Force Films. He was executive producer on the feature films "Wilderness" (Director: Justin John Doherty) and "The Tape" (Director: Martha Tilston), both commercially released in 2021, "Long Way Back" (Director: Brett Harvey) released in cinemas in 2022, and "Enys Men" (Director: Mark Jenkin), which premiered in Cannes and was released in 2023 through the BFI in the UK and Neon in the US. Kingsley contributed to the ScreenSkills public-facing report Hybrid Work Experience Guidelines for UK Educators (FE and HE) and Screen Industry Employers published in 2022, and to the Catalysing the Cornwall Screen Sector report, which received national press attention in 2023 in its provision of a roadmap that furthered the part that universities can play in screen production.
With his own company Myskatonic, Kingsley produced "Backwoods" (Director: Ryan Mackfall), included in the BluRay release of definitive horror documentary "Woodlands Dark and Days Bewitched: A History of Folk Horror" (Dir. Kier-La Janisse, 2021) and completed production of "The Birdwatcher" (Director: Ryan Mackfall) in 2024, in addition to line producing music videos for Amon Amarth in 2022 and Bruce Dickinson in 2023. He has a number of feature film projects and a TV documentary series in development. As a composer Kingsley worked with director Mark Jenkin ("Bait", "Enys Men"), writing the score for "Hard, Cracked the Wind" (2019), with Rachael Jones on "Dean Quarry" (2021), and with Paul Mulraney on the documentaries "From the Culch" (2023) and the forthcoming "Redfish".
Kingsley's academic research focuses on film and television production, music and sound in film and TV, and the representation and use of emergent technologies in screen media, including Artificial Intelligence. He has published widely and speaks regularly at international conferences, including events at University of Oxford, New York University, and as an invited speaker for Screenskills, Birmingham University and the School of Advanced Studies, University of London.
Kingsley co-edited the collection "Philosophical Reflections on Black Mirror", published by Bloomsbury in 2022.
Forthcoming are a chapter on film music in "Call Me By Your Name" for a collection edited by Edward Lamberti and Michael Williams for Intellect Books, a chapter on music use for a new collection on George A. Romero, and two pieces on Enys Men, for The Soundtrack journal and a collection on climate change for Peter Lang Publishing.
Kingsley regularly interviews filmmakers, most recently publishing pieces on Anna Biller ("The Love Witch", "Diva") and Ukrainian filmmaker Iryna Tsilyk ("The Earth is as Blue as an Orange") for the MAI Journal. Prior to joining Falmouth University, Kingsley served as a critic and has written about popular culture - from film and music through to video games, the internet and literature - for over 30 publications. His writing has featured on the BBC and MTV, in Little White Lies, anthologies on hip hop and soul, and countless sleeve notes and biographies.
External Links
LinkedIn: Kingsley Marshall
IMDb
Twitter: Kingsley Marshall
Contact details
Kingsley Marshall 1
Kingsley Marshall 2
philosophical_reflections_on_black_mirror_-_vis02.jpg
bigelow_interviews_1000.jpg
eno_obliquemusic_1000.jpg
Reading Westworld book cover
Twin Peaks - Kingsley Marshall
Qualifications
Qualifications
Year Qualification Awarding body 2023 PGCert Strategic Management & Leadership Chartered Management Institute 2018 PhD in Film: The Gulf War Aesthetic? University of East Anglia 2009 PGDip Higher Education Plymouth University 2006 MA History of Art & Design Plymouth University 2005 Certificate in Education (PCET) Plymouth University
Honors and awards
Year Description
Membership of external committees
Royal Television Society
Research Interests
Research interests and expertise
Kingsley's academic research focuses on film and television production cultures, music and sound in film & TV, and the representation and use of emergent technologies in screen media. As a film practitioner, Kingsley focuses on the relationship between sound design and music composition for film, and film and television production.
Research Topics
Film & Television studies
Screen music & sound design
Screen production studies and cultures
Representation of history on screen
Use of and representation of emergent technologies in screen media
Horror on screen
Short and feature film development and production
Representations of conflict and violence on Screen
Research Outputs
Publications and research outputs
Marshall, Kingsley
Loydell, Rupert, (2024), ‘David Lynch Constrained on Dune’., In: A Critical Companion to David Lynch, Lexington Books, Lanham, US, ISBN: 978166691, (Submitted), Item availability may be restricted.
Marshall, Kingsley
(2024), Marshall, Kingsley. 2024. 'The New Weird: Independent Cinema as an Ecosophical Response to Climate Change' In Cottle, Simon. 2004. Communicating a World-in-Crisis (Peter Lang), In: Communicating a World-in-Crisis, Peter Lang, Oxford, ISBN: N/A, (Submitted), Item availability may be restricted.
Marshall, Kingsley
(2023), Kingsley Marshall, Kingsley. 2024. ‘Music as Narrator in Call Me by Your Name’. In Lamberti, Edward and Williams, Michael (Eds.). 2024. Call Me by Your Name: Perspectives on the Film. Bristol, UK: Intellect Books. ISBN: 9781789389425, In: Call Me by Your Name: Perspectives on the Film, Intellect, Bristol, ISBN: 9781789389425, Item availability may be restricted.
Marshall, Kingsley
(2023), Who Makes the Hood?: The City, Community And Contemporary Folk Horror in Nia Dacosta’s Candyman, In: Future Folk: Contemporary Anxieties and Possible Futures, Lexington Books, Lanham, US, ISBN: 978-1-66692-123-6
Marshall, Kingsley
(2022), Marshall, Kingsley. 2022. ‘Mere Data Makes A Man: Artificial Intelligence in Bladerunner 2049’, in English, Jeri and Pascal, Marie. 2022. Refocus: The Films of Denis Villeneuve. Edinburgh: Edinburgh University Press. ISBN: 9781474497381, In: The Films of Denis Villeneuve, Edinburgh University Press, Edinburgh, pp. 178-193, ISBN: 9781474497381
Marshall, Kingsley
(2022), Marshall, Kingsley. 2022. ‘The Aesthetics of Asymmetrical Warfare. Cinema’s representation of Conflict in the Twenty-First Century’. In Choe, Steve and Aboujieb, Lina (Eds). 2022. The Palgrave Handbook of Violence in Film & Media. London, UK: Palgrave Macmillan, In: The Palgrave Handbook on Violence in Film & Media, Palgrave Macmillan., London, pp. 257-273, ISBN: 978-3031053894, Item availability may be restricted.
Marshall, Kingsley
Loydell, Rupert, (2021), Sound Design, Music and The Birth of Evil in Twin Peaks: The Return, In: Music in Twin Peaks: Listen To The Sounds, Routledge, London, ISBN: 9783030047979
Loydell, Rupert
Marshall, Kingsley, (2021), Sound Design, Music and The Birth of Evil in Twin Peaks: The Return, In: Music in Twin Peaks: Listen to the Sounds (Co-edited Reba Wissner, Katherine Reed), Routledge, London, ISBN: 9780367423131, (Submitted), Item availability may be restricted.
Marshall, Kingsley
(2021), Marshall, Kingsley. 2022. ‘Introduction: Charlie Brooker’s Artistic Vision’, ‘You Were Never Really Here: Representations of Artificial Intelligence in Black Mirror’ and ‘Conclusion’. In Marshall, Kingsley and Rocha, James (Eds.). 2022. Philosophical Reflections on Black Mirror. London, UK: Bloomsbury., In: Philosophical reflections on Black Mirror, Bloomsbury, London, pp. 114-128, ISBN: 9781350162198, Item availability may be restricted.
Marshall, Kingsley
(2020), Marshall, Kingsley. 2020. ‘Allied: Zemeckis and Silvestri. Longstanding Relationships Between Composers and Directors’. In Barkman, Adam and Sanna, Antonio (Eds.). 2020. A Critical Companion to Robert Zemeckis. Lanham, US: Lexington Books, In: A Critical Companion to Robert Zemeckis, Lexington Books, Lanham, US, pp. 75-89, ISBN: 9781793623454, Item availability may be restricted.
Marshall, Kingsley
(2019), Music as a source of narrative information in HBO's Westworld, In: Reading Westworld, Palgrave Macmillan, London, pp. 97-118, ISBN: 978-3-030-14514-9, Item availability may be restricted.
Marshall, Kingsley
Loydell, Rupert, (2019), 'Listen to the Sounds': Sound and Storytelling in Twin Peaks: The Return, In: Critical Essays on Twin Peaks: The Return, Palgrave Macmillan, London, pp. 269-280, ISBN: 9783030047979
Marshall, Kingsley
Loydell, Rupert, (2019), ‘Listen to the Sounds’: Sound and Storytelling in Twin Peaks: The Return, In: Critical Essays on Twin Peaks: The Return, Palgrave Macmillan, New York, pp. 269-280, ISBN: 978-3-03-004797-9
Marshall, Kingsley
Loydell, Rupert, (2016), Control & Surrender: Eno Remixed: Collaboration and Oblique Strategies, In: Brian Eno: Oblique Music, Bloomsbury Academic, London, ISBN: 9781441117458
Marshall, Kingsley
Loydell, Rupert, (2016), Eno Remixed: Collaboration & Oblique Strategies, In: Brian Eno: Oblique Music, Bloomsbury, London, ISBN: 978-1441155344, Item availability may be restricted.
Marshall, Kingsley
(2013), The Hurt Locker: Kathryn Bigelow and Mark Boal, In: Kathryn Bigelow: Conversations, University of Mississippi Press, Mississippi, USA, ISBN: 978-1617037740
Marshall, Kingsley
(2012), The Cinematic Watergate: From All the President's Men to Frost/Nixon, In: Watergate Remembered, Palgrave Macmillan, London, ISBN: 978-0230116504
Marshall, Kingsley
(2011), Oliver Stone's Improbable W, In: Presidents in the Movies: American History and Politics on Screen, Palgrave Macmillan, London, ISBN: 978-0230113282
Marshall, Kingsley
(2022), Shaw, Daniel; Marshall, Kingsley and Rocha, James (Eds.). 2022. Philosophical Reflections on Black Mirror. London: Bloomsbury., Bloomsbury, London, ISBN: 9781350162167, Item availability may be restricted.
Marshall, Kingsley
(2024), Marshall, Kingsley. 2024. ‘Can you hear me?” ‘Son sur le scenario’ - the act of writing sound in the script of Mark Jenkin’s Enys Men (2023)’. In The Soundtrack, Special Edition: Screenwriting Sound and Music. Intellect. ISSN: 1751-4193, In: The Soundtrack, Intellect Books, UK, Screenwriting Sound: Expanding the Creative Vocabulary of Sound in the Screenplay (15), pp. 45-59, ISSN: 17514193, Item availability may be restricted.
Marshall, Kingsley and Harvey, Simon
(2024), The Sound/Image Cinema Lab, Long Way Back (dir. Brett Harvey): developing working principles for crewing feature film production with higher education students, In: Film Education Journal, UCL Press, UK, 6 (1), pp. 17-29, ISSN: 2515-7086
Marshall, Kingsley
(2023), Frontline: Writer/Director Iryna Tsilyk on filmmaking in Ukraine during the Russo-Ukrainian War (2014-), In: MAI: Feminism and Visual Culture Journal, MAI, UK, ISSN: 2003-167x
Marshall, Kingsley and simon harvey, O-Region
(2023), The Sound/Image Cinema Lab, Long Way Back. Developing working principles for crewing feature film production with higher education students., In: Film Education Journal, UCL Press, London, Educating Independent Filmmakers (7.1), ISSN: 2515-7086, (Submitted), Item availability may be restricted.
Marshall, Kingsley
(2021), ‘Witchcraft is Just a Way of Concentrating Energy': An Interview with Anna Biller, In: MAI: Feminism and Visual Culture Journal, University of Gothenburg, Online, ISSN: 2003-167x
Loydell, Rupert
Marshall, Kingsley, (2017), Sound Mirrors: Brian Eno & Touchscreen Generative Music, In: Musicology Research, Musicology Reserach, online, pp. 27-50, ISSN: 2515-981X
Marshall, Kingsley
Loydell, Rupert, (2016), Thinking Inside the Box: Brian Eno, music, movement and light, In: Journal of Visual Art Practice, Routledge, Abingdon, Oxon, 16 (2), pp. 104-118, ISSN: 1470-2029, Item availability may be restricted.
Marshall, Kingsley, Shear, Tim and Truran, Chris
(2009), AltDiss: Creativity, Reflection and TV Production Practice, In: Media Education Research Journal, Auteur Publishing, Leighton Buzzard, 1 (1), pp. 79-84, ISSN: 2040-4530
Marshall, Kingsley
Mulraney, Paul, (2023), From The Culch (Documentary, Original Soundtrack)
Jones, Rachael and Marshall, Kingsley
(2021), Dean Quarry / with eyes that are not seen are quickly forgotten, (Submitted)
Marshall, Kingsley
(2019), Original Film Soundtrack to Hard, Cracked the Wind (Director, Mark Jenkin, 2019), Hard, Cracked the Wind (Short Film), Early Day Films
Marshall, Kingsley
(2023), WHO MAKES THE HOOD?: THE CITY, COMMUNITY AND CONTEMPORARY FOLK HORROR IN NIA DACOSTA’S CANDYMAN, In: HAUNTED LANDSCAPES 2023: Nature, Super-Nature, and Global Environments, 4-6 July 2023, Falmouth University
Fox, Neil
Annesley, Angela and Marshall, Kingsley, (2019), Making Strange: Adapting H. P. Lovecraft for the Screen, In: Folk Horror In The 21st Century, 4-6 September, 2019, Falmouth University
Marshall, Kingsley
(2019), The Gulf War Aesthetic? Sound design, and the representation of asymmetrical warfare., In: Music and Sound Design for the Screen, 6-7 September 2019, Maynooth University
Loydell, Rupert
Marshall, Kingsley, (2018), ‘Listen to the Sounds': Sound and Storytelling in Twin Peaks: The Return, In: Mapping Spaces, Sounding Places: Geographies of Sound in Audiovisual Media, 19-22 March 2019, Mapping Spaces, Sound Spaces, Cremona, Italy, 22 March 2019, (Unpublished)
Marshall, Kingsley
(2018), These Violent Delights Have Violent Ends: Representing Artificial Intelligence in HBO’s Westworld, In: Popular Culture Association/American Culture Association Conference, 19 April 2019, Marriot Wardman Park, Washington DC
Loydell, Rupert
Marshall, Kingsley, (2018), Sound Design, Music and the Birth of Evil in Twin Peaks: The Return, In: Music and the Moving Image, 24-27 May 2018, NYU Steinhardt, New York, (Unpublished)
Marshall, Kingsley
Loydell, Rupert, (2018), Sound Design, Music and The Birth of Evil in Twin Peaks: The Return, In: Music & The Moving Image, 27 May 2018, NYU, New York
Marshall, Kingsley
(2018), Sound and Music Use in Twin Peaks: The Return, Dodge College, Chapman University, Los Angeles, USA
Loydell, Rupert
Marshall, Kingsley, (2014), Thinking Outside the Box: Brian Eno, music, movement and light, Steinhardt, New York University
Loydell, Rupert
Marshall, Kingsley, (2014), Control & Surrender: Eno Remixed: Collaboration and Oblique Strategies, Roehampton University
Marshall, Kingsley
(2013), Stone/Dubya: The Improbable President, In: The Films of Oliver Stone Conference, November 2013, Rider University, USA, (Unpublished)
Marshall, Kingsley
Fox, Neil, (2019), Backwoods (Dir. Ryan Mackfall, 2019) - Short Film, Item availability may be restricted.
Fox, Neil
(2017), 'Wilderness'
Fox, Neil
Llinares, Dario and Marshall, Kingsley, (2015), The Cinematologists, Item availability may be restricted.
Mulraney, Paul
Marshall, Kingsley, Edney, Andrew and Seamonster Media, (2023), From the Culch: Film, In: Tides of Connection, Cornwall Film Festival, 19/11/23, Flushing, Falmouth
Events
2019
Marshall, Kingsley. 2019. "A Gulf War Aesthetic? Certain Tendencies in Image, Sound and the Construction of Space in Representations of Conflict" Presented at: Music and Sound Design for the Screen Conference Maynooth University, September 2019
Events
2019
Marshall, Kingsley. 2019. "These Violent Delights Have Violent Ends: Representations of Artificial Intelligence in HBO's Westworld" Presented at: Popular Culture Association/American Culture Association Conference Washington DC, May 2019
Events
2019
Marshall, Kingsley & Loydell, Rupert. 2019. "Listen To The Sounds: Music and Sound Design in Twin Peaks: The Return" Presented at: Mapping Spaces/Sounding Places Conference University of Pavia, Cremona, Italy, April 2019
Events
2019
Q&A: Developing and Producing Features: Mark Vennis (Producer: Funny Cow) Falmouth University, March 2019
Events
2018
BFI: Comedy Genius Season Introduction, Duck Soup (McCarey, 1933) The Poly, Falmouth, December 2018
Events
2018
Dialogues Between Art and Film Panel Chair, Aesthetica Film Festival, Theatre Royal, York, November 2018
Events
2018
Royal Television Society: Public Event Bringing the Funny with Producers Izzy Mant (Toast of London, Peep Show, The Windsors) and James Dean (This is Jinsy) Panel Chair, Theatre Royal, Plymouth, November 2018
Events
2018
Royal Television Society: Public Event Black Mirror: USS Callister, Anatomy of a Show with director Toby Haynes Panel Chair, May 2018
Events
2018
Marshall, Kingsley & Loydell, Rupert. 2018. "Sound, Music and The Birth of Evil in Twin Peaks: The Return" Presented at: Music & The Moving Image Conference, New York University, June 2018
Events
2018
Q&A: Line Producing: Michael S Constable & Filiz-Theres Erel (Make Up, Freefire) Falmouth University, May 2018
Events
2018
Marshall, Kingsley. 2018. "Sound and Music Use in Twin Peaks: The Return" Sound and Storytelling Conference, CNA Presented at: Dodge College, Chapman University, Los Angeles, April 2018
Events
2017
Royal Television Society Public Event Delicious: Anatomy of a Show with Dan Sefton (Writer, Producer) & Phillippa Giles (Producer) Panel Chair Royal Television Society: Breaking into Media
Events
2017
Wilderness (Doherty, 2017) Introduction/Q&A, WTW Cinema, Truro, November 2017 Introduction/Q&A, Newlyn Filmhouse, Newlyn, November 2017 Introduction/Q&A, Cornwall Film Festival, November 2017
Events
2017
Supporting Independent Feature Film Production Panel Chair, Aesthetica Film Festival, York, November 2017
Events
2017
ICA Crossings Film Season: Blackboards Introduction/Q&A, WTW Cinema, Truro, September 2017 https://www.ica.art/whats-on/season/crossings-stories-migration
Events
2017
ICA Crossings Film Season: Fire at Sea Introduction/Q&A, Newlyn Filmhouse, September 2017 Newlyn Filmhouse, September 2017 https://www.ica.art/whats-on/season/crossings-stories-migration
Events
2017
Q&A: Alice Lowe (Director: Prevenge) Falmouth University, May 2017
Events
2016
Royal Television Society Public Event Q&A: Toby Haynes (Director: Jonathan Strange & Mr Norrell, Sherlock, Doctor Who) TR2, Plymouth, November 2016
Events
2014
BFI: Days of Fear and Wonder Season Introduction, THX1138 (George Lucas, 1971) & Primer (Shane Carruth, 2004) The Poly, Falmouth, November 2014
Events
2014
Introduction: Patrick Hurley, Distribution Manager, Dogwoof Panel Chair World Documentary Conference Falmouth University, September 2014 Falmouth University
Events
2014
Marshall, Kingsley & Loydell, Rupert. 2014. "Thinking Inside The Box: Brian Eno, Music, Movement & Light" Presented at: Music & The Moving Image Conference New York University, New York, May 2014
Events
Events
Events
2013
Malady & Mortality Conference Panel Chair Falmouth University, September 2013
Events
Events
2012
Marshall, Kingsley & Jones, Russ. 2012. "Cinematic Spatiality & Sonic Branding" Presented at: Music & The Moving Image Conference New York University, New York, June 2012
Events
2011
Ethnomusicology Conference Panel Chair Falmouth University, September 2011
Events
2009
Invited Speaker Marshall, Kingsley. 2009. "Frost/Nixon: Looking for a Way Back Into the Sun" Presented at: Remembering Watergate Conference Institute for the Study of the Americas, University of London, November 2009
Events
2009
Marshall, Kingsley, Shear, Tim & Truran, Chris. 2009. "AltDiss: Creativity, Reflection & TV Production Practice" Presented at: Media Education Summit Liverpool John Moores University, September 2009
Events
2009
Marshall, Kingsley. 2009. "Frost/Nixon: Looking for a Way Back Into the Sun" Presented at: Nixon and the Making of Modern America Conference Rothermere American Institute, University of Oxford, May 2009
Research Students
Research degrees examined
I have examined one PhD student at Exeter University.
Number of research degree examinations
1
Teaching
Areas of teaching
dissertation
Film Journalism/Criticism
film production
Film Sound
Philosophy
Production Studies
Screenwriting
Sound Design
Courses taught
MA Film & Television
BA(Hons) Film
Television & Film Production BA(Hons)
Film & Television MA (Online)
Policy engagement within Cornwall
Engagement with organisations which contribute to the development of educational, cultural or socio-economic policies in Cornwall
Royal Society for the encouragement of Arts, Manufacturers and Commerce
Royal Television Society
NAHEMI
Rebel Film Festival
Celtic Film Festival
Cornwall Film Festival
Screen Cornwall
Business Engagement
Intellectual property
Enys Men (2021, Dir: Mark Jenkin) - Executive Producer - Narrative Feature, Film4/Bosena
Long Way Back (2021, Dir: Brett Harvey) - Executive Producer - Narrative Feature, o-Region
Tape (2021, Dir: Martha Tilston) - Executive Producer - Narrative Short, Stormforce Films
Mr Whippy (2019, Dir: Rachna Suri) - Executive Producer - Narrative Short, Elation Pictures/Pia Pressure
Hard, Cracked the Wind (2019, Dir: Mark Jenkin) - Composer - Narrative Short, Early Day Films
Backwoods (2018, Dir: Ryan Mackfall) - Producer - Narrative Short, Myskatonic Films
Wilderness (2016, Dir: Justin Doherty) - Executive Producer - Narrative Feature, Baracoa Pictures
Music Composition for Film
In production
Redfish (In production, Dir: Paul Mulrnaey) - Documentary Short, Seamonster Media
St Agnes Beacon (In production, Dir: Charlie Fripp) - Experimental Short, Fieldgaze Films
Completed
From The Culch (2023, Dir: Paul Mulraney) - Documentary Short, Seamonster Media
Dean Quarry (2021, Di: Rachael Jones) - Experimental Short, Rachael Jones Films
Hard, Cracked the Wind (2019, Dir: Mark Jenkin) - Narrative Short, Early Day Films
Film & Television Production
Completed
The Birdwatcher (Dir. Ryan Mackfall) - Narrative Short Film, Myskatonic
Backwoods (Dir. Ryan Mackfall) - Narrative Short Film, Myskatonic
In development
Nevermade - 6 x episode documentary series
C-H-A-I-N (Writer Ryan Mackfall) - Feature Film
Whisperer (Writer Lachlan Marks) - Feature film
Horse Piss for Blood (Writer Carl Grose) - Feature Film
Business start ups
Myskatonic Films
https://www.myskatonic.co/
Business engagement case studies
Feature Films
Theatrical Release 2023
Enys Men (2022, Dir: Mark Jenkin) - Narrative Feature, Film4/Bosena, Distributed by BFI in UK/Ireland, Neon in US
Theatrical Release 2022
Long Way Back (2022, Dir: Brett Harvey) - Narrative Feature, o-Region
Theatrical Release 2021
Tape (2021, Dir: Martha Tilston) - Narrative Feature, Stormforce Films
Streaming Release 2021
Wilderness (2016, Dir: Justin Doherty) - Narrative Feature, Baracoa Pictures
Theatrical Release 2020
Make Up (2020, Dir: Claire Oakley) - Narrative Feature, Creative England/BBC Films
Theatrical Release 2019
Bait (2017, Dir: Mark Jenkin) - Narrative Feature, Early Day Films
Theatrical Release 2016
Brown Willy (2015, Dir: Brett Harvey) - Narrative Feature, o-Region
Short Films
The Birdwatcher (2023, Dir: Ryan Mackfall) - Narrative Short, Myskatonic Films
From The Culch (2023, Dir: Paul Mulraney) - Documentary Short, Seamonster Media
Mr Whippy (2019, Dir: Rachna Suri) - Narrative Short, Elation Pictures/Pia Pressure
Hard, Cracked the Wind (2019, Dir: Mark Jenkin) - Narrative Short, Early Day Films
Backwoods (2018, Dir: Ryan Mackfall) - Narrative Short, Myskatonic Films
Bronco's House (2014, Dir: Mark Jenkin) - Narrative Featurette, Western Light Pictures
To The Sea (2013, Dir: Corin Taylor) - Narrative Short
Work Placement Schemes
DMS Work Placement Programme (2022-)
BBC Talent Pool (2020-)
Beagle Graduate Placement Scheme (2018-)
DRG Work Placement Programme (2017-)
Envy Academy Post Production Placement Programme (2017-)
Screen Cornwall Graduate Shorts Scheme (2017-)
NBC/Universal Hothouse Placement Programme (2014-2022)
Big Screen Placement Programme
Little White Lies Placement Programme
Warp Films Work Placement Programme
BFI Film Academy (Delivery partner) Screen Cornwall
Consultancy and facility services
Contributor
Screen Cornwall "Catalysing the Cornwall Screen Sector", 2023
ScreenSkills "Hybrid Work Experience Guidelines for UK Educators (FE & HE) and Screen Industry Employers", 2022
Professional Engagement
Independent professional practice
Podcasts
The Cinematologists
Cinematologists, Episode 143: Cannes 2022
Cinematologists, Episode 100: 5 Years and One Hundred Episodes
Cinematologists, Episode 74: Duck Soup (part of BFI Comedy Season)
Cinematologists, Episode 68: Juice
Cinematologists, Episode 53: A New Leaf
Cinematologists, Episode 52: Fire At Sea
Cinematologists, Episode 38: Robocop
Cinematologists, Episode 34: The War Room
Cinematologists, Episode 23: Blue Steel
Cinematologists, Episode 12: Planes, Trains and Automobiles
Cinematologists, Episode 10: 12 Angry Men
Print Journalism
Wild Style: Looking for the Perfect Beat: Charlie Hearn Interview. In Clash magazine.
Rio Breaks: Surfing and Surviving in the Favela: Vince Medeiros Interview. In Sabotage Times.
The Sound Designer: Greg Hedgpath Interview. In Sabotage Times.
Trust Me: Music, Movies, Marvin Hamlisch and Me. In Clash magazine.
Fear is the Mindkiller: John Carpenter Interview. In Clash magazine.
Radio, On: Coldcut Interview. In Clash magazine.
The Editors: Interviews with Walter Murch, Julian Clarke, Chris Innis and Joe Klotz. In Little White Lies magazine
We Took Pelham: David Shire Interview. In Shook magazine.
Music Supervisers: Jon Stewart Interview, In Clash magazine.
Sound Designers: Ben Burtt Interview. In Clash magazine.
The Sounds of Sci-Fi: Lalo Schifrin Interview. In Little White Lies magazine.
Composers: Interviews with Lalo Schifrin, John Cameron, David Shire, Leah Curtis. Amon Tonin. In Clash magazine.
On Joe Meek: Music Biopics: Nick Moran Interview. In Clash magazine.
Inside The Hurt Locker: Kathryn Bigelow & Mark Boal Interview. In Little White Lies magazine.
The Library of Forgotten Anguish: Walter Murch Interview. In Little White Lies magazine.
Social, community and cultural engagement
Screenskills Congress, 2023
Invited Speaker: Broadening Student’s Thinking and Opportunities
Birmingham University, 2023
Invited Speaker: Safe Management of Student Film Production
Screenskills Congress, 2022
Invited Speaker/Chair: Building a Supportive Community for Talent
Royal Television Society Public Event, 2021
Joel Collins: Production Design in BBC/HBO’s His Dark Materials.
BBC Radio/BBC Sounds, 2021
Mel Osborne: Interview, Wilderness Feature Film.
BBC Radio/BBC Sounds, 2020
Jack Murley: Interview, What Makes a Great Movie Soundtrack?
ICA: Frames of Representation, 2020
Aesthetica Film Festival, 2019
Panel: Dialogues Between Art and Film.
BFI: Comedy Genius Season, 2018
Introduction, Duck Soup (McCarey, 1933)
The Poly
Royal Television Society Public Event, 2018
Black Mirror: USS Callister - Anatomy of a Show
with Director Toby Haynes
Royal Television Society Public Event, 2018
Bringing the Funny
with Producers Izzy Mant (Toast of London, Peep Show, The Windsors) and James Dean (This is Jinsy)
Aesthetica Film Festival, 2017
Supporting Independent Feature Film Production
Engagement with professional associations and societies
British Academy of Film & Television Arts (BAFTA Connect)
Royal Television Society
Media, Communication and Cultural Studies Association (MECCSA)
British Association of Film, Television and Screen Studies (BAFTSS)
Popular Culture Association
The International Association of Film and Television Schools (CILECT)
National Association for Higher Education in the Moving Image (NAHEMI
Kodak, Educational Partner
Producers Guild of Great Britain, Educational Partner
Professional esteem indicators
Year Description
Related Courses
Film dubbing suite
Film BA(Hons)
Immerse yourself in the world of film, where time, space, form and creative ideas translate into mea...
Film BA(Hons)
Television - 2023
Television & Film Production BA(Hons)
Discover how to create everything from high-end dramas with full scale crews through to fast moving ...
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Based in our world-class film school and supported by specialist, award-winning staff, you’ll hone...
Film & Television MA
Film & Television MA (Online)
Film & Television MA (Online)
Establish your unique voice and develop the skills and knowledge needed to establish an impactful an...
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|
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|
dbpedia
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| 11 |
https://www.amazon.com/Sandcastle-Girls-Chris-Bohjalian/dp/161637652X
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en
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The Sandcastle Girls: Bohjalian, Christopher A., Campbell, Cassandra, Fraser, Alison: 9781616376529: Amazon.com: Books
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[
""
] | null |
[] | null |
The Sandcastle Girls [Bohjalian, Christopher A., Campbell, Cassandra, Fraser, Alison] on Amazon.com. *FREE* shipping on qualifying offers. The Sandcastle Girls
|
en
|
https://www.amazon.com/Sandcastle-Girls-Chris-Bohjalian/dp/161637652X
|
Over the course of his career, New York Times bestselling novelist Chris Bohjalian has taken readers on a spectacular array of journeys. Midwives brought us to an isolated Vermont farmhouse on an icy winters night and a home birth gone tragically wrong. The Double Bind perfectly conjured the Roaring Twenties on Long Islandâand a young social workers descent into madness. And Skeletons at the Feast chronicled the last six months of World War Two in Poland and Germany with nail-biting authenticity. As The Washington Post Book World has noted, Bohjalian writes âthe sorts of books people stay awake all night to finish. â In his fifteenth book, The Sandcastle Girls, he brings us on a very different kind of journey. This spellbinding tale travels between Aleppo, Syria, in 1915 and Bronxville, New York, in 2012âa sweeping historical love story steeped in the authors Armenian heritage, making it his most personal novel to date. When Elizabeth Endicott arrives in Syria, she has a diploma from Mount Holyoke College, a crash course in nursing, and only the most basic grasp of the Armenian language. The First World War is spreading across Europe, and she has volunteered on behalf of the Boston-based Friends of Armenia to deliver food and medical aid to refugees of the Armenian genocide. There, Elizabeth becomes friendly with Armen, a young Armenian engineer who has already lost his wife and infant daughter. When Armen leaves Aleppo to join the British Army in Egypt, he begins to write Elizabeth letters, and comes to realize that he has fallen in love with the wealthy, young American woman who is so different from the wife he lost. Flash forward to the present, where we meet Laura Petrosian, a novelist living in suburban New York. Although her grandparents ornate Pelham home was affectionately nicknamed the âOttoman Annex,â Laura has never really given her Armenian heritage much thought. But when an old friend calls, claiming to have seen a newspaper photo of Lauras grandmother promoting an exhibit at a Boston museum, Laura embarks on a journey back through her familys history that reveals love, lossâand a wrenching secret that has been buried for generations.
|
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dbpedia
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0
| 13 |
https://www.themoviedb.org/movie/26446-xchange%3Flanguage%3Dfr-CA
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en
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Xchange
|
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In nicht allzu ferner Zukunft erledigen reiche Geschäftsleute dank der ausgefeilten Technologie der Xchange-Company ihre Reisen via Körpertausch. Ihr Bewusstsein schlüpft einfach in einen anderen Körper am Zielort.Stefan Toffler nach New York in seinen eigenen Körper zurückkehren will, eröffnet ihm Xchange, dass dieser bedauerlicherweise von einem Terroristen gestohlen wurde. Leider kann man Toffler als Ersatz nur einen künstlichen Klonkörper zur Verfügung stellen, da sein jetziger Körper von seinem rechtmäßigen Besitzer zurückgefordert wird.Doch die Haltbarkeit von Klonkörpern ist sehr begrenzt. Genau 48 Stunden bleiben Toffler, um in seinen eigenen Körper zurückzugelangen. Sonst wird er sich einfach auflösen.
|
de
|
/assets/2/apple-touch-icon-57ed4b3b0450fd5e9a0c20f34e814b82adaa1085c79bdde2f00ca8787b63d2c4.png
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The Movie Database
|
https://www.themoviedb.org/movie/26446-xchange
|
You need to be logged in to continue. Click here to login or here to sign up.
|
||||
3509
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dbpedia
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2
| 0 |
https://www.imdb.com/name/nm0670832/
|
en
|
Christopher Pelham
|
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] | null |
[
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Christopher Pelham. Writer: Xchange. Christopher Pelham is known for Xchange (2001).
|
en
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IMDb
|
https://www.imdb.com/name/nm0670832/
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You have no recently viewed pages
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3509
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dbpedia
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https://www.seattlestar.net/2022/01/alfred-hitchcock-and-me/
|
en
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Alfred Hitchcock and Me
|
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[
"Dennis Nyback"
] |
2022-01-11T08:25:57-08:00
|
Dennis Nyback watches Hitchcock.
|
en
|
The Seattle Star
|
https://www.seattlestar.net/2022/01/alfred-hitchcock-and-me/
|
On November 19th I took the train from Portland to Olympia. That night as a guest of the Olympia Film Festival I showed a program of films I had rescued from trash cans. I had also been asked to introduce the screening of the recently found Alfred Hitchcock related film The White Shadow. In the introduction it would have taken much too long to tell the story Mr. Hitchcock and me. Instead I gave some brief biographical information and then told the story of how Werner Herzog was introduced to the crowd at the 2rd Seattle International Film Festival in Seattle in 1977 to illustrate just how dangerous introducing a film at a festival could be. Since there is no time limit here, I now can tell the not as exciting story of my long relationship with the great film maker Alfred Hitchcock.
I was six years old when the film Psycho came out. You had to be there to understand just how exciting it was to just about every sentient being in the world. For what seemed ages it was Psycho, Psycho and more Psycho. At that time my mother was keeping a boarding house where college girls at nearby Clark Jr. College studying nursing lived. It seemed that every one of those girls, and their various boyfriends, had an opinion on Psycho, whether they had seen it or not. Since there was no such thing as the IMDB, and the word “spoiler” was just another word, exactly what happened in the film seemed a big mystery to everyone talking about it. The general consensus was that it was the most terrifying film ever made and very possibly the watching of it might result in death by fright. In other words it was even scarier than the scariest film ever, that had appeared the year before, House On Haunted Hill.
Not much later I met Mr. Hitchcock in person. Or at least as in person his weekly TV show Alfred Hitchock Presents could bring him into our home. His introduction would be preceded by the Charles Gounod music “Funeral March of a Marionette” over a profile line drawing consisting of of just nine strokes that Mr. Hitchcock himself had drawn. He then would come from the left of the screen and fill in the drawn profile. From there he would personally introduce that night’s show with droll comments such as, as well as I remember, “This is a revolver. It can be used to atttain money in towns where one is not well known.” The shows were routinely good, but could never top Mr. Hitchcock’s personal appearances.
A few weeks ago I had to give a deposition in regard to a traffic accident. The one attorney said to the other attorney “I assume you’ve filed a general denial?” I waited a while and then said “You know that he’s not a military man.” The attorney said “Huh?” I said “General Denial.” He just stared at me. Funny guys, attorneys. He laughed nervously after I explained the joke. It was a variation on a joke I got from from Alfred Hitchcock on The Dick Cavett Show.
While still in my teens I saw his 1972 film Frenzy at the Blue Mouse Theater in Portland, Oregon upon its intitial release.
I don’t recall ever watching an Alfred Hitchock film on TV or on video or digitally. I have either seen or shown the large majority of his films in theaters. I began working as a projectionist at the Movie House, an art and revival theater in the University District of Seattle, in 1973. I lived in an apartment above the theater and attended the nearby University of Washington. Early in my projectionist career I ran The 39 Steps. It was a great time for revival screenings with old films being available on the big screen in more than a dozen theaters in the Seattle area. Due to my being a projectionist I got into all of them for free via professional courtesy. I was able to see the more famous of his films; Psycho, Vertigo, North by Northwest, Rebecca, Strangers On a Train, and others in various Seattle theaters. I saw Shadow of a Doubt in a film class at the UW taught by Richard T. Jameson. This was before video. It and other films in the class were screened in 16mm.
After the screening of Shadow of a Doubt I wrote the only fan letter I ever did. It was to Teresa Wright in New York. She was appearing there in a play. I told her I would be taking Spring quarter off from school to ride freight trains around the country and would like to meet her when I got to New York. She sent a very nice reply which did not state out loud she thought I was nuts. I embarked on the freight train riding trip in April of 1976. I spent time in San Francisco, Los Angeles and Chicago but didn’t make it to New York. The security in rail yards increased the farther East I got. I was taken to jail in North Platte, Nebraska, and narrowly avoided the same in Salt Lake City and Laramie, Wyoming.
On that trip I did not see a single Hitchcock film. I should add here that he was not a large interest with me. He was just part of the great history of film I was interested in. In San Francisco I saw Maytime with Jeanette MacDonald and Nelson Eddy at a nickolodeon era theater on Powell Street near Market. In Los Angeles I saw a great double feature of The Old Dark House and She (Who Must Be Obeyed) at the Nuart Theater in Santa Monica. I saw a Bette Davis double feature of The Letter and Now Voyager.
Back in Seattle I was able to see Dial M For Murder in 3-D. It was included in a 3-D festival in Ballard. Ballard is a neighborhood in Seattle that is most well known for a large Scandinavian population and the most profitible liquor store in the state. I saw a bunch of his somewhat less famous movies in a series at the Seattle Art Museum that included Saboteur, Notorious, Life Boat, Rope, and others.
When I took over operation of the Rose Bud Movie Palace in Seattle in 1979 one of the first films I rented to show was Foreign Correspondent. Soon after that I showed Jamaica Inn. I got them either from Films Incorporated or Kit Parker Films.
In the late eighties I showed films in the Jewel Box Theater, located inside the Rendevous Restaurant, in Seattle. Nearby was the Film Exchange Building. It had been built in 1928 to house the offices of many Hollywood studios including Universal, Columbia, RKO, and others. MGM had its own small building across the street. Paramount Pictures was up the street. The area was called Film Row and through it passed almost all the Hollywood movies that were shown in Washington, Idaho and Montana for the next fifty years. In an effort to save the Film Exchange Building, I employed Mr. Hitchcock in an event. We announced that there would be the public trial and execution of a television set for the crime of murder of the nearby building.
The event involved the slow hoisting of a working TV set to the top of a not very tall building as scenes of detruction were shown on it through a video of Koyaanisqatsi. At the top of the improvised gibbet we changed the video to the climactic scene of Saboteur starting where Norman Lloyd, as the character Fry, is hanging off the edge of the hand of the Statue of Liberty. Barry, played by Robert Cummings, tries to save him but is left just holding Fry’s empty sleeve. As Fry fell we dropped the TV.
It was a sunny day so it was darned hard to see anything on the TV set. In hindsight I can see how that made the point of how crummy a TV image is in comparison to the big screen. We gave away free popcorn and everyone had a good time. One defender of the TV set did appear, a drunken man who said he didn’t own a TV and wanted to give it home. He was ignored.
At the Pike Street Cinema, a storefront movie theater that was created for six hundred dollars with the help of Beth Rozier and Doug Stewart in 1992 in Seattle, I showed as many of Hitchock’s British films as I could find to rent. Most of them came from The Em Gee Film Library in Reseda, California. Among them were The Lodger, Easy Virtue, The Manxman, Blackmail, and most of the sound British films that followed.
In 1995 I dismantled the Pike Street Cinema and loaded it into a truck that I drove to New York. There in 1996 I created The Lighthouse Theater for somewhat more than six hundred bucks and the help of several friends. During the short life of the Lighthouse I did not show a single Hitchcock film. Living in New York on and off over the next ten years I did see more Hitchcock films, many for the second or third time, at the Film Forum and other venues.
Now the ability to see Hitchcock on the big screen has pretty much vanished. It is piquant to consider that I first saw his work from the end of his career as new product and then was able to watch the earlier films as revivals until the revial business was replaced by home theater systems. (This may be off-topic, but I saw an outdoor screening of The Wizard of Oz last year on a huge screen in a park. Unfortunately the image had been stretched to wide screen making poor Judy Garland and all the others look like they had put on forty pounds. I wonder how much more of that will occur with Jimmy Stewart in Rear Window looking more like Laird Cregar than himself.)
Which at last gets us to last fall and me standing on the stage of the Capitol Theater in Olympia to introduce The White Shadow to the packed house. I hope you are wondering just what happened to Werner Herzog in a similar situation in 1977. Here is that story.
The 2rd Seattle International Film Festival was the biggest ever and could not have been successful without the hard work of dozens of people. One of the most important was a young man named James. He was an unpaid intern who was always available to do any task asked of him, and do it well. During the festival he spent many nights sleeping on a sofa in the basement of the theater. He worked himself into a position of hierarchy just below Darryl MacDonald and Dan Ireland who had come from Canada three years earlier to turn the old Moore Theater (1907) into the 1975 Moore Egyptian Theater and the first home of the SIFF.
On the night of Werner Herzog’s appearance at the festival he asked for his reward. All he wanted was to introduce Werner Herzog to the audience. Dan Ireland denied the request. He told James that Rajeev Gupta would introduce Werner. Rajeev was the third wheel of the Moore Egyptian tricycle that included Dan and Darryl. He had come to Seattle earlier to attend the University of Washington. As a child he had appeared in Satyajit Ray films. He had international contacts with filmmakers and was responsible for a large part of the success of the first festivals. James stood stunned as Dan walked off. After a minute or so he walked to the concession bar and filled a large cup up with Coke, no ice.
The lobby of the Moore can correctly be called cavernous. Where Werner was standing at the door to the stage he could not see Rajeev standing thirty feet away around a corner. James walked up behind Rajeev and called his name. As Rajeev turned, James threw the large cup of Coke at him. The Coke caught Rajeev in the face and chest and seemed to enevelope him in sticky carbonated wetness. James left the astonished Rajeev gasping and walked to the stage door. He took Werner by the arm and escorted him onto the stage. The audience greeted them warmly with James giving a very good introduction. He then walked Werner back to the lobby, left him there, and exited through the front doors, never to be seen again.
After telling this story to the crowd I sat down to watch The White Shadow.
Just how Hitchcockian was it? Not a lot. He was credited as a writer, production designer, art director, and set designer. The direction by Graham Cutts showed nothing of originality, much less Hitchock’s flair. Betty Compson appears in a duel role with Clive Brook as the man caught between. The story is told competently for a couple of reels and then a couple of reels are missing and then there is most of the ending, which finally reveals something of Hitchcock’s genius. A long scene takes place in a nightclub. Here is where Hitchcock the set designer could shine. The nightclub is a crackerjack wonderful art deco place. In it are dozens of characters in fabulous outfits. It is too bad the creaky plot gets in the way of enjoying Hitchock’s vision of what decadent night clubbing could be. Putting that aside one can just revel in the vision and realize it is just the beginning of a long career of thrilling cinema yet to come by one of the greatest practitioners. I am so happy I was able to know him.
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0
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https://alchetron.com/XChange-(film)
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en
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Alchetron, The Free Social Encyclopedia
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2017-08-18T08:30:48+00:00
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XChange (also spelled Xchange and X Change) is a 2000 Canadian science fiction thriller film directed by Allan Moyle. In the future, where it's faster to travel by exchanging bodies with someone at the destination, a man's body is hijacked by a ruthless terrorist. Toffler (Kim Coates), a member of
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en
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/favicon.ico
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Alchetron.com
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https://alchetron.com/XChange-(film)
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Plot
In the future, where it's faster to travel by exchanging bodies with someone at the destination, a man's body is hijacked by a ruthless terrorist.
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https://www.thetheatreco.org/california
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en
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CALIFORNIA — The Theatre Company
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en
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The Theatre Company
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https://www.thetheatreco.org/california
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Trish Harnetiaux is a playwright, filmmaker, and podcast creator. Her plays include California, Tin Cat Shoes, How to Get into Buildings, If You Can Get to Buffalo and Welcome to the White Room. Her six-part narrative podcast, The MS Phoenix Rising, is available on Playwrights Horizons Soundstage. She’s developed and presented work at Clubbed Thumb, Playwright’s Horizons, Soho Rep, Ars Nova, The Mercury Store, MTC, The Orchard Project, New Georges (affiliated artist), Incubator Arts Project, and more.
Her short film – You Wouldn’t Understand – (director/co-writer/producer) was an Official Selection at the 2021 Sundance Film Festival and her recent short – A Significant Problem – (director/EP) was part of Dances With Films 2022 and the Florida Film Festival.
Harnetiaux has been in residency at MacDowell, Millay, SPACE at Ryder Farm and Yaddo. She has her MFA in playwriting from Brooklyn College and teaches in the Queens University of Charlotte Low Residency M.F.A. program.
ADX PORTLAND - ART DESIGN XCHANGE
is where artists, designers, makers, builders, thinkers, and innovators come together to create, connect, and collaborate. This concept of creative Xchange is fundamental to everything ADX does.
They offer a variety of opportunities to get involved including classes, exhibits, makers markets and studio rental space. They’re here to empower creative Xchange for everyone who wants to participate.
Check out membership options, classes, and public events by clicking the ART DESIGN XCHANGE Button on this page.
We love learning about what people bring to the ADX community and the breadth of artistry born out of the Xchange. We’re thrilled to be welcomed to make use of their epic space. And we’re honored to contribute to this energy with The Theatre Company’s production of CALIFORNIA by Trish Harnetiaux.
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https://www.historylink.org/File/20456
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en
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Seattle's Film Row and its Rendezvous Cafe and Jewel Box Theater
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Seattle's Belltown neighborhood just north of downtown was home to the Northwest's Film Row even before the dawn of "talkies" in the late 1920s. Hollywood's major movie studios based regional distrib
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https://www.historylink.org/File/20456
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Seattle's Belltown neighborhood just north of downtown was home to the Northwest's Film Row even before the dawn of "talkies" in the late 1920s. Hollywood's major movie studios based regional distribution outposts there and several historic sites survive. Among them are the Rendezvous Cafe and the adjacent Jewel Box -- the former the place where movie-biz bigwigs met to eat, drink, and strike deals; the latter one of the row's private screening rooms where theater owners previewed new Hollywood films. Both are located in a building that also housed the factory of the B. F. Shearer Company, a provider of theater seating, curtains, and lights, which it supplied to theaters including the 5th Avenue, the Embassy, the Orpheum, and the Paramount. The film industry eventually vacated Belltown and by the 1970s the Jewel Box was being used for more diverse programming, including foreign films and indie-theater groups. In the 1980s rock bands began performing there, and the building provided rehearsal spots. By the 1990s the Rendezvous was a dive treasured by the grunge-rock crowd, and today the cafe is a popular touchstone of bygone days, while the theater presents films, music, comedy and burlesque shows.
Bell's Town
On November 13, 1851, the Denny Party of pioneers arrived from Portland, Oregon, by ship at Alki in what is now West Seattle. Among that group of settlers was William Nathaniel Bell (1817-1887). Toward the end of the following winter, a few of the men decided to scout out other spots across Elliot Bay to make their land claims. Carson D. Boren (1824-1912) and Arthur Denny (1822-1899) grabbed sections bordering what would develop into Seattle's old-town Pioneer Square neighborhood -- Bell went northward. Bell's claim was on a narrow bayside shelf that backed up to one of Seattle's steepest hills, Denny Hill, which would be flattened beginning in 1897 in the Denny regrade project initiated by city engineer R. H. Thomson (1856-1949).
Relatively isolated because of this terrain, Bell's property didn't enjoy the rapid and profitable development that saw a central business district arise on Boren and Denny's land to the south, and Bell left for California in 1855, returning in 1870 to a much-grown Seattle. Indeed, the low demand for real estate in "Bell's Town" caused it to remain a modest semi-industrial area for the following century. In between, it garnered a reputation as a rather sketchy area. Indeed, in a 1902 article about curfew laws sub-headlined "Young Girls and Boys Roam About Streets," The Seattle Times noted that "North Seattle, particularly the district known as Belltown, seems to be the rendezvous of all the young thieves in the city" ("Curfew Law ..."). In later decades the low-rent area was favored by seamen and dockworkers, the struggling elderly, and artists and musicians, but it also eventually became the scene of open-air drug markets for a time. By the second decade of the twenty-first century, however, the Belltown neighborhood, by then the most densely populated in Seattle, was crowded with upscale condos. But a lot occurred in the years between
Film Row (1)
It was Seattle's new land-use zoning rules in 1923 that caused Belltown to become the Pacific Northwest's center of the film industry. Due to the extreme flammability of the nitrocellulose film then in use, its storage was restricted to the under-populated Belltown area and Seattle's first "Film Row" began to be established along 3rd Avenue at Virginia Street (named for Bell's daughter). At the time the silent-film industry used distribution centers -- called film exchanges -- where the region's theater owners could visit and preview new movies to select those they wanted to screen back in their towns. Prints of the chosen films would then be shipped by rail from Hollywood and delivered to local theaters.
It seems that this all began with the arrival of the French firm Pathé, then the largest film-equipment and movie-production company in the world, which opened the Pathe Theatre at 717 1st Avenue around 1910, and established the Pathe Exchange, Inc. at 2113 3rd Avenue. Then in August 1916 the Mutual Exchange opened in a building with an auditorium at 3rd and Virginia. In 1922, Pathé moved into the handsome new Pathe Building at 2025 3rd Avenue (which was razed in 2016-2017). "The Pathe Building included office, clerical, inspection and shipping spaces as well as two fireproof and well-ventilated storage vaults, a viewing booth, a rotation room and a large poster storage space" ("Summary for 2025 3rd Ave"). The following year's Polk Seattle City Directory listed 26 firms under the "Motion Picture Machines and Supplies" category -- all clustered near Mutual and Pathé.
Film Row (2)
The late 1920s saw the emergence of movies with soundtracks and the arrival of additional film exchanges in Seattle, where the locus of the biz drifted over to 2nd Avenue between Battery and Wall Street. Among the film studios that saw the benefit of having a shop in Seattle to service the 50-plus theaters in town and the more than 420 commercial movie theaters across Washington, Alaska, Idaho, and Montana were Columbia Pictures, De Luxe Feature Film Company, Metro Goldwyn Mayer, Paramount Pictures, RKO, 20th Century Fox, United Artists, Universal, Vitagraph, and Warner Brothers.
In 1928, Columbia opened an exchange at 1st Avenue and Battery (as of 2017 the location of the Belltown Court Condominiums). Also in 1928, the block-long art-deco Film Exchange Building (aka the Canterbury Building), designed by Seattle architect Earl W. Morrison, was built on the west side of 2nd Avenue. Its "offices, storage vaults, editing suites, and screening rooms" were used by "major studios, along with independent distributors and publicity firms" (Humphrey, 40). MGM/Loews was based in the ca. 1930 McGraw-Kittenger-Case building at 2331 2nd Avenue, in the space occupied in 2017 by Buckley's Restaurant.
Next door to MGM was the Lorraine Hotel at 2327 2nd Avenue, built in 1925 by noted modernist architect J. Lister Holmes (1891-1986). The hotel's location made it the film industry's favorite. "Managers, studio representatives and movie stars on publicity tours all reportedly stayed at the Lorraine" (Pryne), Jimmy Stewart reputedly among them. (Later renamed the William Tell Hotel, the building became low-income housing for a time; in 2017 it was being operated as the City Hostel.)
Directly across the street from the Lorraine was Film Row's most popular restaurant, the Rendezvous Cafe at 2320 2nd Avenue. Just south of the cafe was the 1928 RKO Distributing Company building at 2312 2nd Avenue, described in a 2010 report on potential historic-landmark designation:
"[Its] film storage vaults and the film examination room (for quality control) were at the rear of the first story, with the film exhibition room (to screen films for theater representatives) was above the second floor. The middle section of the first floor was the poster room, where the film advertising posters were stored and packed for distribution. The basement, under the rear third of the building, had storage areas and two darkrooms next to the alley" (Gordon, 2-3).
The final exchange to be built, Paramount's 1937 building at 2332 1st Avenue, became the Catholic Seaman's Club in 1955 and as of 2017 the ground floor was the Sarajevo Restaurant. Surrounding all these firms on Film Row were a galaxy of additional film- or theater-related companies, including poster companies, theater-equipment dealers, and theater-furnishing suppliers. Most notable was the firm founded in 1926 by Benjamin F. Shearer (ca. 1890-1972).
B. F. Shearer Company
B. F. Shearer was born in Decatur, Illinois, around 1890. In his teens he moved to a Billings, Montana, wheat ranch and began working at the Luna and Regent motion-picture theaters in Billings. In 1919 he met a redhead from Idaho named Florence "Reddy" Shannon (ca. 1898-1990). They married and he worked as a salesman for a theater-equipment company in Minneapolis, and then selling theater chairs in Montana. While serving in World War I he was stationed at Camp Lewis in Pierce County, where he attended Officers Training School and was in the 75th Infantry there at war's end. He returned to Montana and began his own business, but in 1924 the couple moved to Seattle. Shearer initially took a job as a factory rep for Seattle's Heywood-Wakefield Company at 210 Virginia Street, and in 1926 he cut a deal for the company to supply 1,000 opera chairs to Seattle's newest grand movie theater, the Embassy at 216 Union Street (in the twenty-first century that space would become home to The Triple Door dinner theater).
Simultaneously Shearer and his brother Tom founded B. F. Shearer Company, Inc., which scored the contract to install the Embassy's projection-room equipment. The "firm also provided the carpets, drapes, the motion picture booth and stage equipment, stage curtains and drops. This firm specializes in complete theatre equipment and is in a position to install virtually everything in the house" ("Shearer Co. Provides ..."). Shearer also supplied the swanky 5th Avenue Theater that opened in August 1926.
Shearer opened an impressive factory in the 2300 block of 2nd Avenue, with his main office at 2318 2nd. The building had been designed by local architect Earl W. Morrison (d. 1955) in 1925 for Edmond N. Canedy (1867-1950), a former shingle-mill owner and then a general contractor and real-estate investor. Morrison and Canedy also built the adjacent RKO building. Shearer quickly found success by supplying theaters with everything from seats to carpets, curtains, and lighting fixtures. His factory boasted a complete woodshop, electrical shop, research library, and a multistory tower for manufacturing stage curtains. The plant's motto highlighted the ability provide it all: "From the basement to the roof, everything but the audience" ("How Seattle Is Becoming ...").
By 1928 Shearer's firm was touted as "the only complete theater furnishing and equipping plant in America" -- one that "started from nothing, but is now recognized as one of the most important in the theatrical business in the West" ("How Seattle Is Becoming ..."). In 1928 the company handled an upgrade at the Orpheum at 506 Stewart Street and furnished the new Music Box Theater at 1414 5th Avenue. In time it would also outfit the Paramount at 911 Pine Street.
Shearer hired an entire "corps of artists, designers, cabinetmakers, scenery painters, upholsterers, architectural decorators, precision mechanics, seamstresses, drapers -- skilled workers in silks, paints, wood and iron" ("How Seattle Is Becoming ..."). With a workforce that large, and a payroll to match, Film Row was thrumming with activity. "It is an industry which is annually drawing hundreds of thousands dollars into Seattle, a large portion of which flows back through payroll channels into the stores and markets of the city" ("How Seattle Is Becoming ..."). Interestingly, at some point the Heywood-Wakefield firm's "Public Seating Division" was also based out of Shearer's factory at 2318 2nd Avenue.
Rendezvous Cafe and Jewel Box Theater
Happily, also occupying a storefront in the factory building was George Blair's Rendezvous Cafe at 2320 2nd. Blair ran his place with flair, and Hollywood studio magnates, movie stars, local entertainment luminaries, newspaper reporters -- and Shearer's employees -- all took to hanging out there. This was right at the midpoint of the Prohibition Era (1916-1933), so tales that an illicit speakeasy nightclub operated in the basement have some credibility. Regardless, dining at, and more importantly being seen at, the Rendezvous, became a thing and the Seattle Post-Intelligencer took to regularly reporting on such sightings.
Beginning in 1932, the Rendezvous had yet another attraction for film-industry folks, because that year B. F. Shearer opened the Jewel Box Theater next door in his building at 2318 2nd Avenue. The Jewel Box was a private preview studio, a place where distributors could screen their films for theater managers and owners. Now they could enjoy a dinner, cigars -- and perhaps some cocktails in the basement -- and then step into the Art Deco-styled Jewel Box to preview the new-movie options. The cozy den's interior was designed for Shearer by local architect Bjorn Moe with seating for seventy, a projection booth, and a quality sound system. Moe subsequently made some modifications to the venue and the Northwest Film Club was based in the Jewel Box by 1936.
Interestingly, during this period the film industry was consolidating and Film Row could now only boast about 18 film exchanges. Conversely, Shearer's company was excelling and eventually expanded, opening branches in Portland, San Francisco, and Los Angeles.
Storms and War
In August 1940 George Blair stepped aside and leased the Rendezvous to Harry Bender, but by 1943 Blair was back. When a storm hit Seattle that January and much of the town lost electrical power, Blair opened his cafe sans wait staff:
"[People] living in downtown apartments, dressed in the dark in cold rooms, and made their way to The Row for breakfast. The Row was dark too, but inside the cafe that serves the majority of the workers in the film exchanges, was a glow of light cast by rows of candles on the counter, and coffee, brewed on a gas stove, was being served by George Blair ... Patrons waited on themselves and when they had eaten, carried their dishes to the kitchen. ... Instead of a breakfast check, they were told by Blair: 'You know what you had, you can pay for it as you go out'" (Hays, "Amusements Along Film Row").
With World War II underway, the Jewel Box played a role as the site for some of the Seattle Savings and Loan Bank's war-bond drives. On December 8, 1944, a public screening of For Whom the Bell Tolls was held at $2,500 per seat with a goal of selling $250,000 in bonds. Then on December 13, Hollywood Canteen was shown at $2,000 per seat toward a goal of $150,000.
Rendezvous Revival (1)
On October 16, 1947, The Seattle Times reported that "George Blair yesterday sold his Rendezvous Cafe on Film Row to Bill Scavotto. It has been the meeting place of film folk and the center of activities on Film Row for the past 22 years" (Hays, "Along Film Row," 1947). By mid-December Blair resurfaced with his own theater-brokerage office at 2312 3rd Avenue.
Then, on June 9, 1949, the Times noted:
"Completely remodeled and beautifully decorated, Seattle's famous Film Row cafe, The Rendezvous, is being reopened tomorrow by William Scavatto. B. Marcus Priteca designed and supervised the remodeling and the decoration was done by Hal Mushkin, formerly with the B. F. Shearer Company. Scavatto has engaged Vic Schodak, as head chef. Schodak, who was trained in Vienna, is a former chef of the Palmer House and Little Jack's, in Chicago" (Hays, "Along Film Row," 1949).
Changing Times
With the emergence of Seattle's first TV station, KRSC, in late 1948, the television era had arrived. And, as elsewhere, the theater industry took a hit, so the B. F. Shearer Company had to adapt its services. One way Shearer coped was to refocus his team's efforts on furnishing auditoriums for schools and other locations. By 1951 the Paramount Film Distribution Company was based in the RKO building (that structure, just south of Shearer's factory, had also at times housed 20th Century Fox, the Gaumont British Picture Corporation of America, and Eagle Lion Films, Inc.) and Paramount upgraded the manager's office and built a new film vault. But many of the other exchanges were moving out and Film Row as a whole had lost much of its exciting vibrancy. The Jewel Box saw much less action, and in 1956 the Rendezvous was sold to the Los Angeles-based Lake Theater Company and recast as the Rendezvous Restaurant. By the late 1960s the old speakeasy basement spot was converted into a card room by co-owner Bill Rausch -- the famous comedian Jimmy Durante reputedly enjoyed playing cards there.
Then Seattle experienced a major economic and cultural uplift as a result of the Century 21 World's Fair in 1962. Just building the fair's infrastructure at what subsequently became the Seattle Center campus created a lot of good business, and the B. F. Shearer Company's factory manufactured all the seating for the new Seattle Opera House. After the fair's end in October things quieted back down a bit. The Rendezvous was now being managed by Nick Demco, a businessman who was also involved in the dry-cleaning and mobile-home businesses. For a few years Seattle's Variety Club held meetings at the restaurant.
Meanwhile Shearer had built a business empire that at its peak included ownership of a chain of 11 independent theaters, including two in Seattle -- the Varsity at 4329 University Way NE and the Green Lake Theater at 7107 Woodlawn Ave NE -- and others ranging from Alaska to California. In addition, the B. F. Shearer Company had expanded. With offices in San Francisco and Los Angeles, Shearer and his wife bought a winter home in Palm Springs, and he counted Bing Crosby, Bob Hope, and Arnold Palmer among his golfing buddies. His last hurrah in Seattle was getting a big job in 1963 revamping the Orpheum -- which, sadly, would be razed in 1967, one year prior to his retirement. Upon Shearer's death in 1972, all his businesses were sold.
Film Row's Final Days
In the 1970s the Seattle City Council chose to up-zone the then-sleepy Belltown neighborhood, kicking off a decades-long process of transforming it into a high-rise residential district. In addition, a string of cafes, art galleries, and dance clubs appeared, with artists and rock bands renting old industrial lofts as apartments, studios, and rehearsal spaces. The Rendezvous won a new younger clientele who appreciated its authentic rundown atmosphere of glamorous decadence. And the Jewel Box -- which had devolved into a porn theater at one point -- launched a new era of screening foreign films and providing space to upstart live-performance groups including the Brass Ring Theater. In addition, legal gambling was introduced and became a significant part of the overall business.
At the same time, Seattle's dwindling Film Row was in its final days:
"Changes in transportation, technology and marketing rendered film exchanges of this type obsolete by the 1960s. Modern film did not require special handling and transportation and distribution systems were much more efficient. Universal Studios was the last film business in the Film Exchange Building, leaving in 1980" (Gordon, 4).
The Jewelbox Rocks
Slightly renamed, the Jewelbox eventually began to be appreciated as the last remaining screening room from the old Film Row days, and the theater community began to hold champagne parties there. Other groups began holding meetings in the space, including the Northwest Scriptwriters' Alliance. Upstairs, B. F. Shearer's old offices also found renters, including Roger Husbands, the first manager to take on a local punk-rock band, The Enemy. Then across the hall, between 1981 and 1986, were the offices of Seattle music magazine The Rocket.
The Seattle Theater Project produced shows in the Jewelbox beginning in 1986. The room was also the site for the premiere of P. S. O'Neil's film Fertilichrome Cheerleader Massacre -- which included the acting debut of Mark Lanegan, singer with Ellensburg's Screaming Trees -- and screened edgy experimental films including William S. Burroughs's infamous Towers Open Fire.
Around 1987 the Rendezvous was purchased by Fritz Zabwa. He cleared out the basement, making room for three band-rehearsal spaces. The Blood of the Lamb was among the first bands to move in, and one member, Earl Brooks, also began booking bands to perform in the Jewelbox. In 1988 the band Wigglin' Taters began a regular run of Saturday night shows there.
Belltown Rocks
As Seattle's grunge-rock scene arose, Belltown emerged as a locus, and the neighborhood positively hummed with creative energy. The Rendezvous became even more popular as a late-night watering hole and, along with the Jewelbox, participated in all sorts of new happenings, including First Friday Belltown Art Walks, the Belltown Film Festival, and various Northwest Film Club events. Old spaces were now filling with interesting new businesses, including the Galleria Potato Head and later the Roq la Rue art gallery, while a collective of blacksmiths operated Black Dog Forge, entered from the alley between 2nd and 3rd avenues, where the basement also provided rehearsal space to a few notable hit-making bands from the grunge era, including Pearl Jam, Soundgarden, and then the Presidents of the United States of America.
The Rendezvous basement and old upstairs offices also went on to serve as practice pads for numerous bands, including Hammerbox and the Walkabouts. Along the way countless bands rocked the Jewelbox, where some also recorded live shows and/or video shoots and others held album-release parties. One of the attractions was a beloved longtime bartender named Dodi who mixed strong drinks and took no guff -- she was so iconic that a local band even named itself in her honor.
But by the end of the twentieth century, both spaces were in decline.
Rendezvous Revival (2)
In 2002 new owners stepped in, buying the Shearer Building, and thus the Rendezvous and Jewelbox -- which "had slowly sunk into a seedy pit, dirty, dank, smelling like a New Year's Day hangover" -- and embarked on a new chapter in what The Seattle Times described as a "riches-to-rags-to-riches roller-coaster ride" (Scanlon). These owners had considerable backgrounds in the local entertainment biz. They included Jerry Everard, an original co-owner of the Crocodile Cafe (located a block away at 2200 2nd Avenue), and his theater-veteran wife Jane Kaplan, in partnership with Tia Matthies and Steve Freeborn, who had run another fabled grunge-era nightspot, the OK Hotel in Pioneer Square.
Treasuring the joint's history, they embarked on a major remodeling effort, with an eye to retaining as many vintage features as possible, including the theater's light fixtures and brocade-fabric wall treatment. Under Kaplan's leadership, programming in the Jewelbox became ever more diverse, with a stated goal of providing "a safe, inexpensive and supportive facility for artists of all disciplines to experiment" ("The Jewelbox Theater"). The beginnings of Seattle's modern burlesque revival took place there around 2002, with performances by the Rollvulvas and the Burning Hearts, and the theater also served as a site for Academy of Burlesque recitals.
In time Everard and Kaplan bought out their partners, and the revamped Rendezvous included the opening of the Grotto basement lounge in the old speakeasy spot. Meanwhile, the population of Seattle exploded, and the whole enterprise was rewoven back into the Belltown neighborhood's cultural fabric. By 2004 The Seattle Times wrote:
"Now, on most weekends, the Rendezvous is a crowded, busy, multitasking space, with three distinct areas (bar, lounge, theater). The Rendezvous is quite a hangout for the suave-on-a-budget crowd, with some of the most fascinating (if erratic) entertainment around" (Scanlon).
Indeed, the wide-ranging bookings would include rock bands and jazz combos, fringe-theater productions, film nights, "Cineoke" events (where patrons sang live in front of projected musical movies), regular karaoke nights, cabaret, burlesque shows, and comedy nights. In the 2010s new events were launched, including Naked Brunch (an all-improvised comedy open mic) and, down in the Grotto, Emmett Montgomery's Magic Hat nights and Danielle Gregoire's Comedy Womb (a female-focused comedy show and open mic).
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https://www.amazon.com/Last-Exchange-Charles-Martin/dp/0785255974
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Amazon.com
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https://thehdi.org/international-film-exchange/
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International Film Exchange
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These include locations in New York, Los Angeles and Philadelphia.
In 1981, Cosmo and his wife Janet co-founded Amtech Software, which provides software solutions to over 30,000 business users throughout North America. In 1992, Cosmo assisted Janet in the creation and business development of Futura Services and later Futura Mobility, both national companies in the Healthcare and Enterprise Mobility space. They went on to acquire technology companies Zytek Software (Los Angeles, CA) and Hyperware Software (St. Louis, MO) in 2001 and 2003, respectively.
In 2001, Cosmo co-founded InfoLogix Inc., a leading Enterprise Mobility Solutions provider of Wireless and RFID technology solutions in the healthcare and commercial markets. He was Chairman of the company, helping take InfoLogix public in 2006. In 2011, Cosmo co-founded LogiStar Solutions, a specialized SAP services company focused on helping international SAP customers maximize their operational efficiencies and distribution velocity.
In 2006, Cosmo first entered the sports and entertainment industries, acquiring an interest in the Wilkes-Barre/Scranton Pioneers Arena Football (AF2) team. Cosmo became the sole owner from 2007 to 2009, and under Cosmo’s leadership the Pioneers won 57 games over four seasons and participated in two Arena Cup Title Games. In 2010, Cosmo acquired an ownership stake in the Philadelphia Soul of the Arena Football League. In 2008 Cosmo invested with a group of well known media executives to acquire the brand and related assets of “Chicken Soup for the Soul”. Chicken Soup is a worldwide integrated media and merchandising company providing consumers with inspiring life improvement content, programming, and products.
In early March 2011, Cosmo acquired an interest in the long standing talent management firm J. Mitchell Management (JMM), and formed with Jeff Mitchell, the venture, Mitchell, Koseff, Schuster & DeNicola (MKS&D). The firm, based in New York City, has served the enter¬tainment industry for 25 years, and with the new partnership, MKS&D opened a west coast office on Wilshire Boulevard in Beverly Hills, California to expand the company’s services in the heart of the film and television industries.
Notable past and present clients include James Gandolfini (“The Soprano’s); Robert Iler (“The Soprano’s); Bryan Greenberg (“How to Make It In America”); Molly Shannon (“Saturday Night Live”); Yin Chang (“Gossip Girl” and the Disney film “Prom”); Tristan Wilds (George Lucas’ “Red Tails [2012], “90210” and “The Wire”); Alexandra Chando (“As The World Turns” and the ABC Family series “The Lying Game”); E. J. Bonilla (“The Guiding Light” and the movie “Mamitas” ); Emma Kenney (Show¬time’s “Shameless”) Lily Pilblad (“Lights Out” on FX and “Fringe”); and many others.
The firm also represents Nikki M. James, one of the stars of the Broadway smash hit musical “The Book of Mor¬mon”. The role earned her a Tony award for Best Performance by an Actress in Featured Role in a Musical at the 2011 Tony Awards.
Cosmo has held many civic and trade Association board positions. He currently resides in Montgomery County, PA with his wife Janet and has two adult children, Michael and Morgan.
Perfect World has over 10 subsidiaries in Europe, Asia and North America. Previously, he served as SVP, COO and co-CEO until he was appointed by the board as CEO of Perfect World in March, 2013. Prior to this, he held key positions in strategy and talent management functions of multinational companies including Motorola, Cisco System, Philips and Dell where he managed key executive areas including strategic management, leadership development, human resource development, organizational efficiency improvement, staff training, recruitment of strategic talent, employer branding, employee commitment enhancement, and organizational change management. He also provided consulting services in technical applications, management skill enhancement, human resources management and business development to clients from both the United States and China.
Dr. Xiao participated in the leadership of many large consultation research projects on talent strategy and organizational reengineering oriented to Chinese companies, mainly including the planning and implementation of MOTO's China Accelerated Management Program (CAMP) and LEAD program, Cisco's local manager development program CHAMP, Philips' advanced local manager development program TOTAL, Dell China's leadership development program CLDP and other flagship talent development programs.
His cooperation with many international and domestic companies in multiple fields equipped him with first-hand experience in successful strategies and operations of private and international companies in China. These experiences became the foundation for Dr. Xiao in joining a newly rising Chinese internet company - Perfect World -- in May 2008. It also helped him successfully lead the change and optimization of corporate culture and internal management system. This, in turn, led to the honor of "best employer" in online game industry from 2009 to 2012.
Since he became CEO of Perfect World, Dr. Xiao has been building Perfect World from an ordinary Chinese public company into a global enterprise representing the highest level of online games in China. The concept of "global development, global publishing and global partner" long advocated by Dr. Xiao has become the company’s leading philosophy recognized by the online game industry in China. PWIE and ARC of Perfect World, a global trading platform for online games and a global standardized online game publishing platform respectively, as well as the global investment plan PWIN, etc., each play important roles in the implementation of the concept of "Perfect entertainment for World sharing".
Dr. Xiao has also proposed four possible future dimensions of next-generation internet entertainment including multi-dimensional display, vertical integration, technology revolution and global innovation. Currently, Perfect World is in the process of establishing a series of innovative research centers including a next-generation internet entertainment technology research institute, a digital arts institute, a global digital entertainment development research center and a China digital arts association. These research centers will move forward under a division of the company called Guangdong Perfect World Educational Investment Co. Ltd., a subsidiary in Zhuhai City of Guangdong Province. The purpose of these new centers of digital innovation is to train new talent in digital entertainment and promote industrial and technological revolution and innovation in digital entertainment. Under Dr. Xiao’s leadership, Perfect World is committed to developing special global strategies in an effort to become China's most competitive digital entertainment industry group, as well as an effective envoy for global cultural exchanges.
Perfect World places high priority on fulfilling its corporate social responsibility. The Perfect World Employee Foundation, officially established in 2013, makes charitable contributions to public welfare works and projects including disaster relief, helping “drop out” and disabled children and building "Perfect World” villages in the poor areas of Yunnan Province.
The Perfect World brand also enjoys strong “word-of-mouth” in China due to its contributions to the country’s national economic and social development. Dr. Xiao is often invited to visit other countries with other state leaders to deliver speeches and contribute ideas international economic development and social harmony and stability at significant international conferences such as the Davos Forum, the Boao Forum in Asia, the World Knowledge Forum, and the APEC CEO Summit etc… Dr. Xiao was named one of the "Top 10 Influential Figures within China's Game Industry In 2013" by State Administration of Press, Publication, Radio, Film and Television of China, and "Outstanding Entrepreneur of the Year 2013" by the China Software Industry Association.
Mr. Xiao received his bachelor’s degree in physics in 1989 from Beijing’s influential Tsinghua University. He then earned a Masters degree and a Ph.D in engineering from the University of Southern California in 1991 and 1995 respectively.
As an Ogden CAP principal, she assists in guiding the company’s operations in New York and Washington, DC, including overseeing the three-year renovation of The Jefferson, an historic Washington hotel and landmark.
Ms. Milstein has translated her entrepreneurial skills and success into creating innovative and sustainable philanthropic projects, and her devotion to public-spirited causes such as job creation and education, medical research, the arts, and supporting veterans of the US Armed Forces and their families, is widely recognized.
In 2004, she founded Connie’s Corp., which operated Connie’s Bakery & General Store. The bakery was a socially responsible enterprise committed to empowering individuals who were homeless, unemployed or had special needs by giving them an opportunity to work and learn new culinary and business skills, with all profits going to charitable causes through her Foundation Sweet Success. Ms. Milstein is a founding Board Member of Blue Star Families, the nation’s largest support organization for US military spouses and families. Connie’s Bakery and Blue Star Families are proud to host annual holiday events for wounded warriors at the Walter Reed National Military Medical Center in Bethesda, MD.
Ms. Milstein believes no military veteran who wants to work should be unemployed. So in 2013, Foundation Sweet Success formed a joint venture with the newly-launched non-profit Dog Tag Bakery organization (DTB), based in Washington, DC, that will feature Connie’s baked goods. In addition to providing employment for disabled military veterans and their spouses, DTB - through a cooperative arrangement with the School of Continuing Studies at Georgetown University - will provide practical education and training in the culinary arts and entrepreneurship so participants can later pursue jobs and business ventures on their own. DTB will commence full operation in 2014 with a production, training and retail facility in Georgetown, Washington DC.
Ms. Milstein is actively engaged in global education and international humanitarian efforts, and is a longtime supporter of the United Nations. She is a former board member of UN Watch based in Geneva, Switzerland, serves as a Board Member Emeritus of Refugees International, and is a member of the Board of Overseers of the Seton Hall University School of Diplomacy. A decade ago, as a member of the United Nations Association of the United States of America (UNA-USA), Ms. Milstein conceived and underwrote the Global Classrooms project of the United Nations Association, providing conflict resolution skills to underprivileged children in high schools around the New York City metro area.
She co-founded the Humpty Dumpty Institute (HDI), a non-profit organization that works with the United Nations and public-private partnerships to implement large-scale humanitarian projects in developing countries. During her tenure with HDI, she pioneered programs to foster Congressional relationships with senior level UN Representatives and Ambassadors - with an emphasis on bringing women leaders to the table - in order to create greater dialogue and understanding of how to work together to address major global issues. HDI has a Congressional Advisory Board of more than 20 sitting Members of the US Congress and has worked with governments all over the world since 2005 on projects ranging from literacy to hunger relief to landmine excavation and removal.
Ms. Milstein has worked in cooperation with the Third Way Foundation and other partners to orchestrate and coordinate conferences that broadened the global political conversation on how governments can advance progressive goals within the reality of the new economy. In 2002, Ms. Milstein personally chaired an historic gathering of current and prospective transatlantic leaders at Hartwell House in the United Kingdom to discuss global political challenges and cooperation; participants included President William J. Clinton, then - Prime Minister Tony Blair and Chancellor of the Exchequer Gordon Brown, as well as many other European and American political leaders. She has served as Treasurer and as Counselor to the Chairman of the Democratic Governors Association (DGA) and as a former Board Member of the National Democratic Institute.
Ms. Milstein’s humanitarian efforts expand into the fields of medicine and healthcare, as well. She is a staunch supporter of heart research dating back to her first job working for the North Carolina Heart Association. She was the driving force behind the creation of the Vivian and Seymour Milstein Family Heart Center, a world-renowned facility which opened in 2010 that offers comprehensive, interdisciplinary cardiovascular care at New York - Presbyterian Hospital. Ms. Milstein has been an active member of the hospital’s Board of Trustees since 2000 and sits on the Quality and Performance Improvement Committee as well as the Real Estate and Major Facilities Committee, and the Joint Conference Committee.
Ms. Milstein helped launch Medical Missions for Children, a charity located on the campus of St. Joseph's Children's Hospital in Paterson, NJ which provides healthcare via telemedicine and teaching networks to young critically-ill patients in more than 100 developing countries. She also provides considerable support to LUNGevity Foundation, an organization committed to combatting lung cancer and serves on the Board of Directors of Citizens United for Research in Epilepsy (CURE), a non-profit organization dedicated to finding a cure for epilepsy.
Ms. Milstein earned her undergraduate degree from New York University (NYU) and her J.D. cum laude from the North Carolina Central University Law School, where she served as Comment Editor of the North Carolina Central Law Journal (in 2007 the name was changed to NC Central Law Review). She currently serves as a Trustee of New York University, which conferred upon her the 2009 College of Arts and Science Distinguished Service Award and the Albert Gallatin Medal for Outstanding Contributions to Society in 2010.
Devoted to helping develop young minds, Ms. Milstein conceived of a program to promote 21st century education, and provided critical guidance and support for the expansion of NYU into the nation’s capital. The Constance Milstein and Family Global Academic Center at New York University’s Washington, DC campus prepares future leaders by supplementing academic training with job and internship opportunities in government, politics, public administration, and journalism education and research.
A supporter of and contributor to the arts, Ms. Milstein serves as a member of the Kennedy Center International Committee on the Arts, an advisory board comprised of arts advocates from the US and overseas who support the international exchange of ideas and cultural programming at The Kennedy Center. She is a member of the National Symphony Orchestra Board of Directors, serves as a Trustee of the Washington National Opera and was Chair of the 2013 National Opera Ball. She has also served as Board member of the historic Ford’s Theater in Washington, DC.
Ms. Milstein has been honored for her service and generosity with many awards, including the prestigious 2000 National Human Relations Award by UN Watch and its parent organization, the American Jewish Committee. In 2004, Ms. Milstein received the Celine Marcus Award from the New York Neighborhood Coalition for Shelter for her long-time advocacy for the homeless. Other honors include YWCA’s 2006 Salute to Women and Racial Justice Award for outstanding achievement in business and the 2007 Urban Visionary by Cooper Union for outstanding urban citizenship.
Ms. Milstein is the proud mother of two daughters and a granddaughter. She is married to the The Count de La Haye Saint Hilaire and carries the title of The Countess de La Haye Saint Hilaire. The couple resides in Washington, DC, as well as Old Greenwich, CT and Normandy, France. She speaks French and conversational Italian and Spanish.
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https://discover.midhudsonlibraries.org/search/card%3Fid%3D2f46982e-bd09-5110-8777-8a631b01d596%26entityType%3DFormatGroup
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https://discover.midhudsonlibraries.org/search/favicon.ico
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https://discover.midhudsonlibraries.org/search/favicon.ico
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https://www.christopherfowler.co.uk/blog/2012/08/25/the-wonder-of-wodehouse
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The Wonder Of Wodehouse
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https://www.christopherfowler.co.uk/blog/2012/08/25/the-wonder-of-wodehouse
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https://www.slantmagazine.com/film/understanding-screenwriting-28/
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Understanding Screenwriting #28: The Hangover, The Brothers Bloom, The Taking of Pelham 1 2 3, & More
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"Tom Stempel"
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2009-07-13T08:10:05+00:00
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Wait a minute, isn’t success supposed to have a thousand fathers?
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en
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Slant Magazine
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https://www.slantmagazine.com/film/understanding-screenwriting-28/
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Coming Up In This Column: The Hangover, The Brothers Bloom, The Taking of Pelham 123 (2), The White Sister, Ten Wanted Men, Night Train to Munich, Berlin Express, but first…
Fan Mail: Since there were as of this writing no comments on US#27, let me just throw in a promotion for any fans of the column who may be in or around Bloomington, Indiana on Saturday, August 1st. I will be doing a discussion and book signing that day from 2 to 4 p.m. at the Borders Bookstore in Bloomington. The address is 2634 E. Third Street. I would love to meet any of the column’s readers who can drop by.
The Hangover (2009. Written by Jon Lucas & Scott Moore. 100 minutes): A thousand fathers…
As I have mentioned, I am not a fan of movies about men behaving like little boys, but I like the team of Lucas & Moore as writers. In addition, the first weekend exit polls were showing that a lot of women were going to see the film, and the weekday business was staying high. So off I went to see it on June 11th, the Thursday after it opened.
Lucas & Moore have set the situation up nicely. We learn at the beginning that Phil, Stu and Alan have somehow misplaced the groom during a weekend bachelor party in Las Vegas. Then we get nearly twenty minutes of flashback setup as the guys go to Vegas. This establishes their characters, which is crucial to the film working. We LIKE these guys, even if they are crude. And each one is different. Phil is the horndog, Stu the uptight one and Alan is only semi-housebroken. Doug, the groom, is rather bland, but we lose him fairly quickly. Lucas & Moore then cut from their arrival in Vegas to the next morning, when they discover not only that Doug is missing, but their suite now has baby, a chicken and a live tiger in the bathroom, among other things. So we have likable characters, some mysteries and a quest, if not quite a Hero’s Journey. The writers come up with some funny gags and a couple of very nice scenes including one with that old charmer, Mike Tyson. Tyson’s scene is a great change of pace in the middle of the film. Needless to say, all works out well in the end.
There are downsides. The characterization, while adequate, is not up to the usual Lucas & Moore standard. The one older character, the bride’s father, is standard issue. The real downside in characterization is the women. Jade, the hooker, is about as standard issue heart-of-gold as you can get, and it does not help that she is played by Heather Graham, who has done many better versions of this part over the last fifty years. The bride here is not as interesting as the bride in Lucas & Moore’s Ghosts of Girlfriends Past. And Stu’s girlfriend is about as obnoxious a woman as we have seen lately in the movies. What happened?
In the interview with Danny Munso in the May/June issue of Creative Screenwriting, written and published before the film opened, Lucas & Moore talk about how they developed the idea on their own, with no mention of other writers or producers working on it. The day I saw the film, Patrick Goldstein’s regular column The Big Picture appeared in the Los Angeles Times. He was reporting that Todd Philips, the director of The Hangover, “checked in the other day, calling from London.” Why would a director call the Times from London? Philips told Goldstein that the Lucas & Moore script was really intended as a PG-13 film and he and Jeremy Garelick had done an uncredited rewrite in which “we really pushed the limits and turned it into an R comedy.”
There is a longstanding Hollywood tradition that when a picture opens really well, as The Hangover did, any number of writers come out of the woodwork to claim they did “uncredited rewrites” on the film. When Speed opened well in 1994, there were at least two writers who claimed to have written the final drafts, although the script I saw, which was essentially the film, only had the name of the credited writer, Graham Yost, on it. When Erin Brockovich was released in 2000, suddenly the word on the street was that Richard LaGravenese had actually done the final drafts. That may have caused the credited writer, Susannah Grant, to lose the Oscar. Thanks, Richard.
When I was walking home from seeing The Hangover, I picked up a copy of the freebie LA Weekly, which includes a column, Deadline Hollywood, by Nikki Finke. She is a very snarky writer, but her batting average for accuracy is fairly high. Her column in this issue was all about not only the writers who were claiming to have worked on The Hangover, but the assorted producers who claim to have contributed to the story, none of whom were mentioned by Lucas & Moore. Success has a thousand fathers…I assure you that the same week there were no writers coming out of the woodwork to claim to have done “uncredited rewrites” on Land of the Lost.
When Finke mentions Philips and Gerelick’s rewrites, she says, “Some say the duo was ‘robbed’ of a credit by the WGA arbitration.” Probably not, although they may not see it that way. Time for a brief—I hope—discussion of the Writers Guild of America arbitration process. Take out your crayons and notebooks children, there will be a quiz later. Back in the thirties, before the Guild, the studios assigned the screenwriting credits. Favoritism abounded, and the tendency was to give credit to whoever worked on the film last. Writers felt this was unfair, since the hard work of “breaking” the story defined the film more than a few additional dialogue bits. So when the studios finally recognized the Guild, the Guild wanted to establish an arbitration process. The studios fought it, as they saw it as giving up their power, but as screenwriter Philip Dunne said to me in the early seventies, “Now of course the studios couldn’t agree with you more. This takes a big headache off them and puts it on the Guild.”
The arbitration process works this way. When a film is completed, the producer submits to the Guild his suggestion of what the writing credits should be. Every writer who ever worked on the project is then informed of the suggested credits. If everybody agrees (and it does happen. Really), those are the credits. If a writer disagrees, then the credits go to arbitration. Every writer involved submits the material he thinks shows his contributions to the film. (This is why I always tell my screenwriting students to save EVERYTHING.) Three panelists for the Guild, working screenwriters, read through the material without, in theory at least, knowing who the writers actually are. The panel then decides on the credits, with writers having to have written specific percentages of the script to get credit. Usually the writer or writers who worked on the material first are given the first credit. As Winston Churchill said of democracy, it’s the worst system ever invented, except for all the others. Every writer sometimes feels he gets screwed. Some writers even feel they get credits they are not sure they deserve. But generally writers accept the system as a necessary evil and figure if they lose this one, they will win on the next one.
The people who complain about the arbitration system the most are directors. William Wyler was upset that Christopher Fry, who was on the set of Ben-Hur constantly rewriting the dialogue, did not get a credit. Barry Levinson threw one of his patented hissy fits when the Guild awarded top credit on Wag the Dog to Hilary Henkin with David Mamet only sharing the credit. Directors, like the studio producers of the thirties, tend to favor their little pet writers, whose work, when looked at (more or less) objectively was not as big a contribution to the film as the directors thought.
There is nothing, alas, in the Guild rules that say that the contributions of the additional writers have to be improvements. Which leads me to suspect that the problems I had with the script of The Hangover came from the uncredited rewrites. Those problems may have also come from the development process. Producer Chris Bender worked with Lucas & Moore and the material was submitted to New Line, which has released such “chick flicks” as Ghosts of Girlfriends Past and My Sister’s Keeper. New Line passed, and the film ended up at Warner Brothers. Warner Brothers Group President Jeff Robinov, whom Finke describes as “little-liked,” was quoted last year as saying that there would no longer be any films at Warners starring women, since he did not think they could carry a picture. He sort of denied saying it, but the fact that industry people believe he did say it tells you something. Finke includes a quote from Warners studio chairman Alan Horn, Robinov’s boss, giving all credit to Robinov for shepherding The Hangover to its great success. Wait a minute, isn’t success supposed to have a thousand fathers? Finke did not seem to realize that what Horn may have been doing was telling people in Hollywood that the partial reason the women in the film were so misogynistically portrayed was Robinov’s stewardship of the film. Welcome to Hollywood, Jeff.
The Brothers Bloom (2008. Written by Rian Johnson. 113 minutes): I like the movie it started out to be.
As you can tell from the trailers to this film, it is a con-man movie, with lots of charm from Rachel Weisz as a madcap heiress and Rinko Kikuchi as the “muscle” in the con. The film starts quirky: we see the two brothers Bloom, the older one called Stephen, the younger one just Bloom—uh-oh, cuteness alert—as kids running their first con. It’s fun, as is the next one we see now that they are grown up. But Bloom wants to get out of the business. Stephen pulls him back in for one more, this one involving Penelope, the aforementioned heiress. Except Penelope, who has been locked up in her family’s mansion, LOVES the idea of being part of a con. She pushes them further and Bloom of course falls in love with her. OK, it’s not Lubitsch’s (and Samson Raphelson’s) Trouble in Paradise, but what is? Still, we are with it. But remember that the story started with the two brothers. And it keeps getting serious about them. Now if there is one thing I do NOT want in a con-man movie, it is for it to get serious. Especially when, as in this case, it begins to lose the charm that pulled us into it in the first place. I am not saying you cannot change tone in the middle of a film (Psycho, enough said), but we had better want to go where the tonal shift is taking us. In the case of The Brothers Bloom, it is taking us away from what we like in the film. Not a smart move. I kept expecting Johnson to pull off another con or two, either on the characters or on us, but what I take to be his final con is not all that interesting, or much of a surprise.
Still you do get Weisz and Kikuchi, who are terrific. This is a very different part for Weisz and her performance should inspire someone to write a great screwball comedy for her.
The Taking of Pelham 1 2 3: (Two versions: 1974. Screenplay by Peter Stone, based on the novel by John Godey. 104 minutes. 2009. Screenplay by Brian Helgeland, based on the novel by John Godey. 106 minutes): Directors, can’t kill ‘em, can’t make a movie without ‘em.
The 1974 version is one of those gritty, New York City crime dramas that multiplied like alligators in the sewers in the early seventies as a result of the huge success of The French Connection in 1971. The setup is simple: Four guys take a car of the New York subway hostage and the good guys try to figure out how to stop them. The idea of taking a subway car hostage is at the ingenious heart of the story. Peter Stone’s screenplay plays like a procedural, following the mechanics of the heist and the efforts to stop it. Since Stone is also the screenwriter of Charade, one of the two best Hitchcock movies Hitchcock did not make, there is a certain amount of wit in the dialogue and characterization (I love the mayor in bed with the flu), which are a nice counterpoint to the suspense. The actors are all journeyman actors who look like New Yorkers, and those that are still alive work on the various Law & Orders. The director is the competent journeyman Joseph Sargent and he gives it speed and a New York attitude, making it the best Sidney Lumet movie Lumet did not make.
So why bother to remake it?
Well, it is highly thought of, and the setup is still ingenious. The writer this time is Brian Helgeland, who did the screenplays for L.A. Confidential and Mystic River. I don’t know what the budget was on the 1974 version, but it probably was not much over $5 million, if that. The budget for this version is reported to be in the $100 million range. For a gritty little thriller? No, for a star vehicle. The two leads of the ’74 version were played by Walter Matthau and Robert Shaw, who were terrific actors and gave excellent performances, but for a Major Studio Motion Picture today, you need STARS. Matthau’s Garber was a New York City Transit Inspector, Denzel Washington’s Garber is a shlub of a guy who is working the phones in the situation room. In the ’74 version Garber was more of an everyman, in spite of his position. In the ’09 version Garber is an EveryMan Played by A Star. In ’74, the methodical and efficient head crook was coolly played by Robert Shaw. In ’09, Ryder is a raging psychopath overacted by John Travolta. Helgeland has focused on the relationship of the two, while Stone focused on the mechanics of the two men’s story. Helgeland has Ryder come to like Garber and to demand he talk only to him. Garber also gets an elaborate backstory that plays into the situation. Scenes of the mechanics of the story in ’74, such as a look at how the ransom money is counted and packaged, are dropped so we can get more of the two stars.
While the sick mayor in ’74 is fun, Helgeland’s ’09 mayor is even more fun, more of a tough guy and more involved in the story. Which means scenes and lines for James Gandolfini, who reminds us he is a lot more than Tony Soprano. Helgeland has also added a hostage negotiator, Camonetti (John Tuturro), who comes to respect Garber. Wit is not Helgeland’s strong suit, so we don’t get Stone’s zingers spread out among the more minor supporting roles. Helgeland has also had to drop the original’s naming of each of the hijackers with colors: Blue, Green Grey, since Tarantino stole that and made it his own in Reservoir Dogs. I don’t know how much Washington was paid, but it was probably a lot, which means that Helgeland has to turn him into something of an action hero in the last twenty minutes. Since Washington put on weight for the character, he is not quite believable running around the streets and bridges of New York without appearing to be winded.
So. Helgeland’s script is not awful and has some nice moments. Then they got Tony Scott to direct it. The credit sequence alone has more cuts than in the entire ’74 version. The camera whips around a LOT, and various film speeds are used, too often. When Scott gets into the scenes with Washington and Travolta, the camera slows down and we watch the stars. In very big closeups. This may be one of those films that plays better on television than on a big theater screen, since the jerky-cam shots and the huge closeups will be a little less obnoxious.
I’ve been thinking about why Washington has now done three films with Scott. The closeups may be the answer. Scott, for all his flashy style, appears to love his stars and gives them their head. Washington is better than Travolta here, though the scenes where they finally meet in person are rather nice. But that is Scott getting out of the way of the script and the stars. The rest of the time he is just showing off. Joseph Sargent, by the way, shot the original in not-as-casual-as-they-seem medium shots, and the performances work just as well, if not better.
The White Sister (1923. Scenario by George V. Hobart and Charles E. Whittaker, titles by Will M. Richey and Don Bartlett, based on the novel by Francis Marion Crawford. 135 minutes): They had FACES then.
This is the second of at least four different films made from this novel. I cannot recommend it as an example of great screenwriting for silent films, particularly in terms of plotting, although the problems there may come from the potboiler novel it was based on. Angela, the daughter of an Italian nobleman, is done out of her inheritance by her wicked sister in ways that defy any kind of reality but at least get the story going. Angela falls in love with the dashing officer, Giovanni, but before they can be married, he is sent off to Africa, where he is reported killed. What’s a girl to do? She becomes a nun. Guess who’s not dead? And he shows up just as she is taking her final vows, and the writers really have to twist and turn the action to keep him away from her until after she has taken her vows. In the novel, apparently, he persuades her to renounce her vows and run away, but being an expensive picture, this was changed so they don’t run away. He dies a noble death trying to save people from an eruption of Mount Vesuvius, placating the Catholic Church, which in those days had a certain power over which movies its flocks would attend. The Church in return loaned director Henry King the director of ceremonies at the Vatican to stage the taking of Angela’s vows.
So why bring this movie up in a column on screenwriting? Because it shows you how much story you can tell and how much emotion you can get without dialogue. Unlike a lot of middle-to-late silent films (such as King’s Romola, which like this film was shot in Italy), there is not an overabundance of titles to disrupt the flow of the film. King has been an underrated director, but if great film historians like Kevin Brownlow and David Shepard tell you he was good, pay attention. King understood emotion. Lillian Gish is Angelina and more restrained and subtle here than in many of her Griffith films. Her brilliant leading man was a young actor who had done small parts in a few films. I wrote in US#19 how screenwriter Casey Robinson had created the definitive Errol Flynn part for Flynn. In this case I think the credit for this actor’s impact goes to Henry King for realizing and using the way the camera loves him. A few years later when sound came in, at least some people worried that the actor, who was by then sort of a junior-varsity John Gilbert, would not make the transition to sound. They thought he had a strange voice. If you ever see The White Sister, try NOT to hear Ronald Colman’s voice as you watch him.
Ten Wanted Men (1955. Screenplay by Kenneth Gamet, story by Irving Ravetch & Harriet Frank. 80 minutes): Not quite one of the Ranown westerns, but you can see them coming.
IN US#13, 17 and 18, I wrote about the Budd Boetticher DVD box set and the films in them, which are known as the Ranown films, Ranown being the name of the company formed by producer Harry Joe Brown and actor Randolph Scott. The films in the box set are considered the classics, but Brown and Scott had been making films before those. This is one of them, and its cast includes not only Scott, but Richard Boone and Skip Homeier, all three of whom appear to better effect in other Ranown films.
The story is by Ravetch & Frank before they became famous. He had been writing westerns for several years, and he did two before this one that were particularly good, Vengeance Valley and The Outriders, both from 1950. He did the screenplays as well as the stories for them. In this case, the screenplay was done by Kenneth Gamet, whose credits are mostly run-of-the-mill westerns. The ending of this is such a mess that I suspect it came from Gamet rather than Ravetch & Frank. Ravetch & Frank were about to do a couple of adaptations of Faulkner (The Long Hot Summer [1958] and The Sound and the Fury [1959]), and you can see a hint of that in here with Wick Campbell’s lusting after his Mexican ward. The characterization is not as sharp as in the Burt Kennedy or Charles Lang scripts for the later films.
The director is H. Bruce “Lucky” Humberstone, who directed films from the twenties through the early sixties without making a good film. Why did he work so much, other than being “Lucky”? To use Nunnally Johnson’s phrase, he got the stuff. Not great stuff, sometimes not very good stuff, but the stuff. He got the action and the acting, which is not all that good here, on the screen. He shot Ten Wanted Men in the Arizona desert, in and around the classic western town set at Old Tucson. He’s no Budd Boetticher, but he gives good cactus for the money.
Night Train to Munich (1940. Screenplay by Sidney Gilliat and Frank Launder, based on a story by Gordon Wellesley. 90 minutes): Train Day on Turner Classic Movies, Track One.
In US#3 I wrote that The Lady Vanishes was the granddaddy of all train thrillers, but I had fogotten that Sidney Gilliat wrote the real granddaddy of all train thrillers, Rome Express, in 1932. His regular partner was Frank Launder and in 1938 they wrote The Lady Vanishes. As a result of the enormous success of that, they got hired to do this one. Boy, experience tells. A world at war helps to. The Lady Vanishes is very much a between-the-wars thriller, with very general details about spies and their ilk. By the time they came to write this one, the war in Europe had started, and it gives the film a little more weight. The film begins with a newsreel montage of the events leading up to the war. Then we are in Czechoslovakia as the German invasion is about to begin. We are in a munitions plant that the Nazis are aiming for, and as planes fly over, one of the executives says, “Ours?” Another replies, “No, theirs.” See what I mean about experience counting? That is simple and effective screenwriting. The scientist/technician the Nazis want manages to escape to England, but his daughter is left behind and thrown into a concentration camp. Her escape is the model of efficient screenwriting: a searchlight is turned off by a mysterious hand, the light comes back on, the camera pans to a hole in the fence. We know she’s gone.
Watching this today, we know she is in good hands because the man who helped her escape is identified as “Karl Marsen,” but we know he is really Victor Laszlo in disguise, since he is played by Paul Henreid. Look at the date of the film again. If you don’t know the film, it’s a shock to learn Victor Laszlo is a Nazi. He has been assigned to get her to England to find her father, so Marsen can kidnap him and take him back to Germany, which he does. Look at the exchange of closeups between Anna and Marsen at the submarine when she realizes he’s not a nice man. That’s depending on your actors and not your dialogue.
So now the father is back in Germany, and how are we going to get him out? Gus Bennett (and look at how inventively Gilliat and Launder set up him up), part of British Intelligence, pretends to be a Nazi officer, finds the father and soon we are on the train of the main title. How can you believe a Britisher as a Nazi officer? Well, he’s played by Rex Harrison, whose natural imperiousness seems perfectly at home in a Nazi uniform.
Two of the more amusing characters that Gilliat and Launder created for The Lady Vanishes show up here, again touring Europe. There are two very obtuse Englishmen, Charters and Caldicott. In the first film they were comedy relief, constantly worried more about the England-Australia Test Match results than the intrigue. Here they are involved in the final rescue, and because they are so obtuse, we are not confident they will not mess things up. This is a perfect example of taking characters from an earlier film and using them in inventive ways. Experience tells.
And in answer to the question you want to ask, yes, I do think it is better than The Lady Vanishes, even if the director is “only” Carol Reed. This is the other best Hitchcock movie that Hitchcock did not make.
Berlin Express (1948. Screenplay by Harold Medford, story by Curt Siodmak. 87 minutes): Train Day on Turner Classic Movies, Track Two.
TCM was running these together in the middle of the night, so since I was DVR-ing the first one… As Ernie Banks used to say, “It’s great day. Let’s play two.” Alas, this is not quite up to Night Train to Munich.
The earlier film was almost entirely studio bound, but this is very much one of those late forties films where the studios sent the cast and crew to foreign countries to use up the theatrical revenues that were frozen by those countries. So we get scenes shot in Paris, Frankfurt, and Berlin. Boy, did our bombers do some damage on those last two. It also has the late forties documentary style of narration. Too much narration. Way too much narration.
A group of multi-national passengers on a train from France to Germany are sort-of witnesses to the killing of a peacemaker who has a plan for the unification of Germany. Except that it was someone pretending to be him on the train and not the main guy himself. OK, I realize this was only the late forties, but wouldn’t a politician/statesman as important as this guy have had his photograph in the newspaper at least a couple of times? And wouldn’t one of the passengers realize it was not him on the train?
Well, since he is still alive, he almost immediately gets kidnapped. Why didn’t they just kidnap him at first? And why is it so crucial to the neo-Nazis (who are interestingly portrayed as thugs, not suave villains) that they learn his plan? After all, it is just a political plan, not the specs for an atomic bomb.
So he is kidnapped and several of the passengers join in the hunt for him. This being a late forties film supervised at RKO by Dore Schary (see the item on Millard Kaufman in US#22 for more on Schary), each of the passengers is from one of the four countries running Germany. The film becomes a message-y model for international cooperation. It was released in May 1948, which means it was probably written before the famous October 1947 HUAC hearings in Washington. This may explain why the Russian soldier in the group is not portrayed as the epitome of evil. Everybody connected with this film wants us all to get along, which is not quite how it all worked out in the years following 1948.
This article was originally published on The House Next Door.
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https://www.verdexchange.org/sites/all/themes/custom/vxn/favicon.ico
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https://www.verdexchange.org/profile/zaib-shaikh
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Zaib Shaikh began his mandate as Consul General of Canada in Los Angeles in December 2018. He is the Government of Canada’s senior representative in Southern California, Arizona and Nevada.
He comes to the posting after an extensive career in the media and entertainment industries, having worked as an actor and producer in theatre, film and television. His work includes acting roles in Deepa Mehta’s film Midnight’s Children, as well as starring in the CBC comedy series Little Mosque on the Prairie, which has been seen in more than 80 countries. Mr. Shaikh co‐produced the special Long Story Short: CBC Turns 75 and co‐wrote, directed and co‐produced the film Othello: The Tragedy of the Moor. He also co-founded and served as an artistic producer of the Whistler Theatre Project in British Columbia.
From 2014 until his appointment in 2018, Mr. Shaikh was the Film Commissioner and Director of Entertainment Industries for the City of Toronto. In that role, he oversaw and grew the city’s screen, music, live festival, sporting event and tourism sectors, helping to double the value of film production in Canada’s largest city, which surpassed $2 billion in 2016.
Mr. Shaikh has served as a board member for the Institute for Canadian Citizenship, the Canadian Centre for Diversity and Inclusion and, most recently on the board of AFC (formerly the Actors Fund of Canada). He has served on juries and committees for the Gemini Awards, ACTRA Awards, Ontario Arts Council, and Theatre Ontario Youth Program as well as an ambassador for the Centre for Addiction and Mental Health and for Amnesty International Canada.
Mr. Shaikh is married to Ms. Kirstine Stewart. They have two children.
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3509
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dbpedia
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https://www.amazon.co.uk/Xchange-VHS-Stephen-Baldwin/dp/B00149QMVC
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Select your cookie preferences
We use cookies and similar tools that are necessary to enable you to make purchases, to enhance your shopping experiences and to provide our services, as detailed in our Cookie notice. We also use these cookies to understand how customers use our services (for example, by measuring site visits) so we can make improvements.
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3509
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dbpedia
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2
| 87 |
https://www.pelhamfuneralhome.ca/memorials/ryan-bonin/5466373/index.php
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en
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Ryan Bonin Obituary - Fonthill, ON
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Share Memories of Ryan & Support the Bonin Family
|
en
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https://irp-cdn.multiscreensite.com/372ef989/site_favicon_16_1595858250072.ico
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https://www.pelhamfuneralhome.ca/memorials/ryan-bonin/5466373/
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PLEASE READ THE FOLLOWING TERMS AND CONDITIONS CAREFULLY BEFORE USING THIS WEBSITE (AS DEFINED HEREIN). By using this Website, you signify your acknowledgment and agreement to these Terms and Conditions. If you do not agree with these Terms and Conditions, DO NOT use this Website (as defined herein).
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3509
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dbpedia
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2
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https://www.wtvm.com/2024/08/08/alabama-approved-medical-marijuana-program-2021-patients-are-still-waiting-it/
|
en
|
Alabama approved a medical marijuana program in 2021. Patients are still waiting for it.
|
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[
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[
"KIM CHANDLER"
] |
2024-08-08T00:00:00
|
Medical marijuana remains unavailable in Alabama amid an ongoing legal fight over licenses.
|
en
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https://www.wtvm.com
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https://www.wtvm.com/2024/08/08/alabama-approved-medical-marijuana-program-2021-patients-are-still-waiting-it/
|
MONTGOMERY, Ala. (AP) — When Amanda Taylor lived in Arizona, she used medical cannabis to relieve the symptoms of her multiple sclerosis, gastroparesis and other ailments. She returned to Alabama to advocate for medical cannabis in her home state.
Taylor thought victory was in view in 2021 when Alabama overcame years of resistance in the Deep South and approved a medical cannabis program. But three years later, medical marijuana remains unavailable in Alabama because of an ongoing legal fight over some of the licenses to grow and sell the products.
While licensed cultivators have marijuana plants nearing maturity, cannabis products can’t be recommended or sold to patients in Alabama while the entire program remains on hold. The delay is exasperating for patients like Taylor.
“It’s beyond frustrating," Taylor said. “I’m a very calm person and ... I’m always hoping for the best. But at this point, it’s anger because greed is causing so much more suffering.”
The Alabama Medical Cannabis Commission has issued licenses to cultivators, processors, and others, but licenses are on hold for five potentially lucrative integrated “seed-to-sale” licenses where companies grow, process, and sell cannabis as well as licenses for dispensaries that will sell the cannabis products. The entire program remains stalled while the dispute plays out in state court.
“We want to see the products out there for patients. Almost daily, we get phone calls from those concerned,” said John McMillan, director of the Alabama Medical Cannabis Commission. “That is the No. 1 question we get on our website by far. When are the products going to be available? And everywhere I go, if I speak to civic clubs, that’s the first question.”
The commission began accepting applications for licenses in 2022 and has attempted to award the licenses three times. The commission rescinded the awards twice after losing applicants raised concerns about the selection process. The panel adopted new rules and awarded licenses for a third time last December. But companies challenged the awards, arguing, among other things that the commission failed to follow the Alabama Administrative Procedures Act.
Montgomery Circuit Judge James Anderson on July 11 issued a temporary restraining order blocking the issuance of the five integrated licenses, saying there was a “serious question” whether the third round of awards was also invalid.
An attorney for Alabama Always, one of the companies that has pursued litigation after not winning an integrated license, said the commission by law should allow denied companies an opportunity to challenge the qualifications of winning companies.
“That’s why this has gone on for so long. They just simply refuse to do it the way it is supposed to be done,” Will Somerville, an attorney for Alabama Always, said of the commission.
But for companies that received licenses, the delay is frustrating after they have invested millions of dollars into operations that can't get fully underway.
In an unassuming agriculture building, cloaked by fences and security cameras, 1,500 marijuana plants sprout skyward at a south Alabama facility operated by CRC of Alabama. The plants are about 60 days from harvest, said Rob Levy, chief operations officer for CRC of Alabama.
The plants, grown from varieties with names like apple blossom, hella jelly and blueberry pancakes, are moved through a series of rooms designed to mimic the growing season. The company has invested more than $2 million into the operation, including substantial security costs.
CRC plans to sell their product to one of the state’s licensed processors who will turn it into cubes and other products. But with the uncertainty surrounding Alabama’s program, it’s unclear when the products can get to patients.
“We are all dressed up with nowhere to go,” Grady Reeves one of the owners of CRC said. “But the ones that are really suffering are the patients."
Dr. Marshall Walker, an interventional radiologist, said he believes medical cannabis could be beneficial for some of his patients with chronic pain. He said it’s “inhumane” that manmade problems are blocking its availability.
“The way I conceive of it, it really is just another tool for the toolbox,” Walker said. Walker said he became convinced of the potential benefit after seeing his mother use cannabis when she had esophageal cancer. It controlled her pain enough to allow her to eat.
A similar fight played out several years ago in Florida. Florida voters in 2016 voted to create a medical marijuana program, but litigation followed over a license cap.
As patients in Alabama remain waiting, more states have moved on to allowing recreational use. Twenty-four states have legalized recreational use of marijuana, according to the Pew Research Center. Florida voters will decide the issue this November.
When medical cannabis will become available in Alabama depends on what happens with the litigation, McMillan said. He said the issue will “hopefully” be settled by the end of the year.
“I don’t even use the word optimistic anymore. I just use the word hopeful because we don’t know how long these delays are going to continue,” McMillan said.
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] |
[] |
[] |
[
"Reviews",
"Showtimes",
"DVDs",
"Photos",
"User Ratings",
"Synopsis",
"Trailers",
"Credits"
] | null |
[] |
2009-01-22T00:00:00
|
Der fremde Sohn: Directed by Clint Eastwood. With Angelina Jolie, Gattlin Griffith, Michelle Gunn, Jan Devereaux. After Christine's son goes missing, she reaches out to the LAPD to find him, but when they try to pass off an impostor as her son to quiet public protests, she refuses to accept him or give up hope.
|
en
|
IMDb
|
https://www.imdb.com/title/tt0824747/
|
After Christine's son goes missing, she reaches out to the LAPD to find him, but when they try to pass off an impostor as her son to quiet public protests, she refuses to accept him or give ... Read allAfter Christine's son goes missing, she reaches out to the LAPD to find him, but when they try to pass off an impostor as her son to quiet public protests, she refuses to accept him or give up hope.After Christine's son goes missing, she reaches out to the LAPD to find him, but when they try to pass off an impostor as her son to quiet public protests, she refuses to accept him or give up hope.
|
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3509
|
dbpedia
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2
| 52 |
https://berlin.wolf.ox.ac.uk/writings_on_ib/hhonib/openletter.html
|
en
|
openletter
|
[
"https://berlin.wolf.ox.ac.uk/image_library/photos/photos_of_ib/pelhambookfinal.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null | null |
[before ‘editing’ by The THES …]
An open letter to Isaiah Berlin
Henry Hardy
Dear Isaiah,
At last the first volume of your letters is finished. Working on it was quite an experience, and I thought you might enjoy hearing about one or two of the high points. I’m not sure what address to write to, but I hope the letter will be forwarded if I’ve guessed wrong.
Perhaps the most serendipitous find was of two letters you wrote to Adam von Trott in the mid-1930s. You told me these had been lost by Christopher Sykes after he borrowed them for his biography of Adam, where he tantalizingly quotes brief excerpts. With my usual obstinacy I was reluctant to accept that they had disappeared, and badgered various relevant people about where they might be: no joy.
Then my friend Joshua Cherniss at Balliol (Adam’s College, of course) was kindly checking various works on Adam for me, and discovered that parts of the same passages were quoted in a thesis completed later by one Henry O. Malone. He was electrified (as was I) to discover that Malone’s quotations differed in crucial details from Sykes’s, in ways that couldn’t be put down to miscopying.
So might Malone have texts of the complete letters? Was he still alive? I eventually tracked him down to his home in Virginia. His memories of his work on Adam were unreliable after the intervening years, but he didn’t think he had ever had the letters. However, his remaining Trott papers were in his garage, and he’d look through them. At last he gloriously announced that he did have the letters, in a folder borrowed many years before from Trott’s widow, to whom it had after all been returned by Sykes. Later one of Malone’s daughters brought the letters over on a trip to Oxford. I took copies and sent them to join the Trott archive in Koblenz. How careless people were with irreplaceable originals in the days before photocopying became universal!
Another episode I relish concerns a wonderful photograph of you shaving in a mirror held by the attractive Lady Prudence Pelham. Again this came to light in a deliciously roundabout way. A copy was listed among the Harman Grisewood papers at Georgetown University in Washington, but it was of poor quality. Where was the original? Georgetown didn’t know, but suggested that I ask Thomas Dilworth, an authority on Prudence’s friend David Jones, the Welsh poet. Incidentally, you mention Prudence in 1937 in a letter written from Ashton Wold, when you were staying there with Rozsika Rothschild: ‘The house is full of vicious members of the aristocracy: e.g. Lady Prudence Pelham, friend of the Hodgkins.’ Maybe you were being ironical, or didn’t you get to know Prudence properly till later?
Social shaving at Mill House, Falmer, Sussex, 1936
Anyway, Dilworth thought the photo might be in the National Library of Wales, which houses Jones’s papers. It wasn’t. Next he suggested that he might have been shown it by Teddy Hodgkin, friend of both Jones and Prudence. Bingo! Hodgkin not only had the photo, but thought that he had taken it himself in about 1936. His original print was far clearer than the Georgetown copy. He understandably didn’t want to risk losing it by sending it to me for scanning, but his daughter, the novelist Joanna Hines, kindly took it to a local photographic shop. It’s a magical photo, and its emergence from oblivion seems to me magical too. I do hope you like it as much as I do.
Also magical are the people who hear of the project and write out of the blue. One of these, James Douglas, emailed me his evocative memories of being tutored by you at New College before the war:
He was much the most brilliant and stimulating teacher I ever met … he kept an odd collection of things which he had bought off the street traders who in those days sold things from the pavement in Regent Street, and also a magnificent gramophone with a hand-made papier mâché trumpet, the then current equivalent of today’s high fidelity equipment. As I would read my essay to him, he would wander round the room toying with his collection: a toy cow would fall off an inclined plane – ‘I am so sorry! Please continue’; a blast of Verdi would emerge from the gramophone’s trumpet as he accidentally dropped the needle on the disc – ‘I am so sorry! Please continue.’ Until I got used to it, I would be firmly convinced that he had not heard a word. This was a fatal illusion. ‘At one point you say …’ – and a careful exhaustive cross-examination of the whole argument would develop. At the end of the tutorial, I would be exhausted but also stimulated and interested.
By far the greatest portion of the years it has taken to get to the point of publication has been filled by research for the footnotes and connective tissue. I repeatedly kick myself for not having been sufficiently organized to ask you more questions while you were still available; I should have known how many obscurities there would be that only you could elucidate. Where on earth, for instance, does the quotation you use about Roy Harrod’s mother come from – ‘the woman whom Pater loved & in whose company Swinburne & Meredith delighted’? Where did Curtius say that the barometers of culture in England were in Oxford and Cambridge and not in London? What is the ‘charming French word ‘life-struggler’’? Who is ‘Pearly Twig’, or is that a typo? And so on and on.
Most of the time we got there in the end, even if more slowly than if you had been around to help. But my hunch is that sometimes we turned up something even you might have been surprised by. Investigations by the remarkable genealogist Jennifer Holmes suggested that the date of birth claimed by your father (1883) might be wrong. Jennifer got hold of an official copy of his birth-certificate from Lublin in Poland, which confirmed that he was born in 1884. (Presumably he wanted to reduce the apparent age-gap between himself and your mother, since she was older than him; perhaps not as much older as she claimed, but that’s another, unresolved, story.)
One nice breakthrough enabled us to identify the Mrs Walton who poured out her sad life-story to you on a train in Ireland in 1938. We started with the nearby Walton Court Hotel, but this proved to be a red herring. Then Kate Payne, the other principal researcher working on the book, contacted the organizer of the Elizabeth Bowen conferences at University College Cork, who turned out to be a friend of Mrs Walton’s son Julian. Julian and his siblings produced all the relevant family background, as well as extra titbits. One brother remembers his mother talking about a train journey with you from Fermoy. ‘Isaiah Berlin’, he added cryptically, ‘resolutely disdained any interest in looking through the window.’ Absolutely in character, you must admit. ‘People are my landscape,’ you used to say (was that one of your own?).
I could go on like this indefinitely, but enough! As you once said of me to Michael Ignatieff, ‘He always writes at length.’ I fear you were right, though I am improving as the years go by. At all events, I’ll now draw to a close. But not before telling you that I was lying in my bath one Sunday listening to your favourite radio channel, Classic FM, when I suddenly heard an Irving Berlin song I’d never heard before, and the lyrics immediately spoke to me: ‘My British buddy, / We’re as diff’rent as can be; / He thinks he’s winning the war, / And I think it’s me.’ This summed up the whole business of bringing America into the war, as well as echoing Churchill’s Irving/Isaiah confusion, and it now stands as an epigraph to the Washington section of your letters, together with your own remark to Maire Lynd: ‘I wish to help to win the war.’ And you did.
We do miss you, Isaiah. It’s been more than six years, after all. But working on your letters is a marvellous analgesic: it enables me to spend much of each day in your company, so vividly do the letters bring you to life. Your Russian-Jewish-British light-hearted seriousness, intelligence and wisdom are models to us all. The other day I was rung up by Angela Huth, who is editing a book of eulogies, including yours of Maurice Bowra. She had been asked, somewhat absurdly, to describe each of the contributors in not more than three words, for the book’s contents page, and wanted to know what to say about you. The best I could come up with was ‘historian of ideas’ – dull enough, but at least, I hope, not misleading. This set me thinking what I should say to you now if I too were allowed only three words. The answer flashed into my mind straightaway:
Thanks for writing.
Yours ever,
Henry
Isaiah Berlin, Flourishing: Letters 1928–1946, edited by Henry Hardy, is published by Chatto & Windus at £30
|
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3509
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dbpedia
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2
| 72 |
https://emergingcivilwar.com/2019/08/08/a-walk-to-the-site-of-pelhams-death/
|
en
|
Emerging Civil War
|
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[
""
] | null |
[
"Chris Mackowski"
] |
2019-08-08T00:00:00
|
At the Symposium over the weekend, one of the attendees asked me how to get to the John Pelham marker at Kelly’s Ford. “Keep walking out the trail, and when you think you’ve gone too far, keep going,” I told him. “You’ll eventually come to a fork. Take the right, and it’s off in the […]
|
en
|
Emerging Civil War
|
https://emergingcivilwar.com/2019/08/08/a-walk-to-the-site-of-pelhams-death/
|
At the Symposium over the weekend, one of the attendees asked me how to get to the John Pelham marker at Kelly’s Ford. “Keep walking out the trail, and when you think you’ve gone too far, keep going,” I told him. “You’ll eventually come to a fork. Take the right, and it’s off in the bushes on the left-hand side down the trail.”
“I kept going all the way to the river,” he said.
“It’s out there,” I assured him.
I later heard that he asked someone else. “Chris apparently doesn’t know where it is,” he told that person.
Except I do. I just didn’t have exact directions to give him, that’s all. (I admit, “It’s out there” doesn’t really pinpoint much.)
On Tuesday, I had the opportunity to take Sarah Kay Bierle and some other folks out to the site (including my 2-year-old battlefield buddy, Maxwell). While we were out there, Sarah shot a quick video for ECW’s YouTube channel. I, meanwhile, measured the trip so I could provide, here on the blog, more exact directions to the site of the marker for all those who try to make the trek and can’t find their way.
The marker is located in the C. F. Phelps Wildlife Management Area on the south bank of the Rappahanock River. There’s a parking area just off Route 674, 0.9 miles from the intersection to Kelly’s Ford Bridge.
From the yellow gate at the parking area, it’s .38 miles to the marker. My Fitbit told me I took 806 steps to get there.
Past the yellow gate, a gravel road stretches into the woods. The remains of a stone wall are visible in the woods to the right of the path; this is the stone wall Federal troops hunkered down behind during the first phase of the battle.
The gravel road eventually narrows to a pathway. Farther along, it will wind beneath a large fallen tree that leans over low enough to force hikers to crouch beneath it. The tree is crawling with poison ivy, so be careful not to brush against it as you duck under.
About 0.05 miles farther, the path forks. The fork isn’t easy to see unless you’re looking for it. Go right.
More fallen brush across the path forces a hiker to do a little weaving.
And then suddenly, past the foliage of a fallen tree, there’s the marker, standing like a creature of the forest, still but vigilant, watching, waiting, wondering if you’ll see it.
We did.
And now you can, too.
|
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3509
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0
| 84 |
https://watch.pbsreno.org/video/on-writing-action-ambulance-with-chris-fedak-nj5rry/
|
en
|
On Writing Action: Ambulance with Chris Fedak
|
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[] |
2024-08-13T20:00:00-07:00
|
The writer of Michael Bay’s film Ambulance discusses writing compelling action.
|
en
|
PBS Reno Video
|
https://watch.pbsreno.org/video/on-writing-action-ambulance-with-chris-fedak-nj5rry/
|
[lounge music] ♪ ♪ ♪ ♪ [Narrator] On Story is brought to you in part by the Alice Kleberg Reynolds Foundation, a Texas family providing innovative funding since 1979.
"On Story" is also brought to you in part by the Bogle Family Vineyards, six generation farmers and third generation winemakers based in Clarksburg, California.
Makers of sustainably grown wines that are a reflection of the their family values since 1968.
[waves] [kids screaming] [wind] [witch cackling] [sirens wail] [gunshots] [dripping] [suspenseful music] [telegraph beeping, typing] [piano gliss] From Austin Film Festival, this is "On Story."
A look inside the creative process from today's leading writers, creators, and filmmakers.
This week's "On Story," Chris Fedak discusses "Ambulance" and the art of writing the action sequence.
- The action movie is related to musicals and comedies, especially silent comedies.
And so when you think about the way movies worked back in the day, it's that they worked in 1,000-foot reels and that's 10 minutes.
I think that there's still something in that kind of natural evolution of what makes a movie is that like if a movie kind of works within like these 10-minute kind of intervals, it keeps the audience's attentions, they're involved.
[paper crumples] [typing] [carriage returns, ding] [Narrator] In this episode, Chris Fedak uses his feature screenplay "Ambulance," which he wrote for Universal Pictures and which was directed by Michael Bay, as a case study on writing complex action sequences that drive the plot forward.
[carriage returns, ding] It feels like it should have had a warning card at the beginning of the movie- - Why?
- About the adrenaline.
Like it's the ultimate, ultimate car chase, sort of that who knew you could do it for, what was the run time?
- It's over two hours, yeah.
- Right.
I'd love to hear sort of the beginnings of the development of how, you know, this script came about.
- It actually took about 10 years.
I was finishing "Chuck" and it was the final season of the show and I have a Danish manager and Mikkel calls me, he says, "I just saw a movie" and this is how he talks.
"I saw something you have to, you have to watch it."
And it was like, "Okay."
And it was this small movie, a European film, "Ambulancen" from Denmark.
And it is a taut 80-minute thriller with also a lot of like really cool European touches, like ethereal touches.
It's like it actually has an angelic EMT character and it's these two brothers and it was a very interesting thing.
And what I liked about this movie was it was this tight little thriller, was really three characters inside a van.
And then my thought was, "What if you take that van, you put it in Los Angeles and you just [bleep] blow up half of the city?"
[audience laughing] You know, just like lay waste to the city 'cause like it's also one of those things, like every time I sit in traffic, I'm like, "What the [bleep] keeping me from getting to where I want to go?
It better be something good."
So I want bodies, I want blood.
Now, I take that idea and I go meet with my friend Jamie Vanderbilt.
And I had this notion of, it was a fusion of a bunch of things that had happened back when we were in school.
There was a number of robberies in Los Angeles.
Then there was another robbery, it was a giant, it was a big, it wasn't as dramatic, but it was a giant robbery where $32 million were stolen.
So I was like, "I wanna fuse all those things together and I wanna take a bunch of these pieces of this and that."
And also at the end of the North Hollywood shootout, there was a picture in "The L.A. Times" the next morning and it was of one of the robbers bleeding out on the ground.
His eyes open.
Now, he might have been dead, but the story was did they let him bleed out 'cause of what had just happened?
And so I was like, "I want a story where the EMT, who spent this entire movie trying to save this cop in the back and these two guys have [bleep] you know, I wanna see her try to have to save him.
I want to get to that point, where we're all the way through the looking glass emotionally, we've gone through all these crazy, you know, moves and that she now has to do simply her job."
'Cause I love that notion of it's like when you get out into the world, it's like fireman's got one job, cops got another job, EMTs got another job, doctors got a different job.
And I love when they all run into each other.
And I think that's so cool.
That feels like Los Angeles.
It feels like the world we live in.
And I love when they don't quite agree.
So I pitched that to Jamie.
He's like, "Cool" 'cause like we're just all writers now.
So instead of it being like executives and you gotta go convince people, it's just like "Cool."
I was like, "Great.
It'll be great."
And so I kind of got to a point years later, "Jamie, I got the script."
"What?"
Send it to him and then he's like, "Oh wow, okay, yeah."
And then we started just, you know, we started and I developed it with a number of different directors over the years.
And I was always working on other TV shows.
And it was fun though 'cause like, okay, I'll go sit down with this director and we would talk about it and we'd work on the script.
Everyone had their own kind of influence of what they wanted to do with it and we'd get close and then something would happen.
But the pandemic rolls around and I was doing the second season of "Prodigal Son," but I got a call, which was like, "Michael Bay needs a movie and he needs a movie that's COVID-friendly."
Like something that they could do with the protocols.
And we were thinking "Ambulance."
I'm like, "Really?
We blow up half of Los Angeles with the ambulance?
But it was like, but there was, but the fact that we shot so much of it inside of a contained location, it was actually kind of made a bit of sense.
So Jamie, my friend, we send off the script to Michael Bay and then you'd go like, "That's not gonna [bleep] happen, that's crazy."
Well, next thing I know it's like, "Oh, he read it, he's in."
And then it's like, "All right, well let's see what in looks like."
"Jake's signing on too."
"What the [bleep] is going on here?"
[typewriter dings] - So we're actually gonna be starting to look at some of the clips- - Oh, God forbid.
- That you have chosen.
This is one of my favorite scenes in the movie.
The one, the bank scene, walking into the bank scene.
Which because of so much that's in it, that gives you the stuff for later, the payoff part.
- Kim, you have a visitor.
But make it quick.
- Hi.
Hello.
This is gonna sound a little crazy.
- What is it?
- Well, I, I've, I've been in here, in the bank a few times.
Wow, it's really just me in here.
I, I was personally gonna, gonna try and play it a little cooler, but my, my partner in there, he's, he's right out there in this, in the car.
He just wanted me to come and say something to you.
'Cause I told myself that if I ever got the chance to that I would ask you out on a date.
- Like right now?
- Doesn't have to be.
- It's the worst timing on the planet for that guy, right?
All he wants to do is hook up.
- In the original movie "Ambulancen," it's like one shot where the guys just rush out of a bank and they get into an ambulance and there's a person having a heart attack in the back.
And I was like, "I know it has to be a police officer in the back of the ambulance and that's gonna make it much more like it's going to, it's important."
I remember knowing that this scene would be in this part of the story and that a coincidence, a small thing of like, just like a guy wants to go ask a girl out on a date is gonna literally lead to so much freaking chaos.
That's what I love.
Like your inciting incident doesn't always have to be like, you know, some huge thing or like, you know, pulling a sword out of a stone.
That's fine.
But like, it can be a guy just wants to go out on a date.
'Cause like this movie was also going to pull from a lot of the films that I grew up loving, you know, being "Die Hard" or another really important one is the original "Taking of Pelham 123."
And so when you look at those movies, there's always these small incidents, these small things, these little twists and turns.
And so, the tension is like, like you can do all these different things and we do a lot of explosions and whatnot and that's all in there.
But like I love that tension is you don't know what movie you're in yet.
Like, there's a moment early in "Die Hard" where I remember watching like the truck pull up and it's the first time I, when I was a little kid and I just remember watching that.
I was like, "I bet this is a movie where someone's gonna get run over by that truck."
And I was like, "No, no, no."
At a certain point you realize that's not what this movie is going to do.
- Let's go, let's go, let's go.
Let's go, Will, come on.
- Move.
[dramatic music] [guns firing] [dramatic music] [people screaming] [bleep]!
- What'd you do, man?
[guns firing] [dramatic music] ♪ ♪ - You so quickly got rid of a bunch of people in a really gruesome way that I was honestly not expecting.
There's so many formulaic action films that get made and it was like, "Whoa, whoa.
I wasn't expecting that guy to go and that guy to go."
The feeling that I had when I was watching this was Michael Bay was saying, "These guys are getting assaulted.
I want you to feel assaulted too."
- It's all about maximum impact.
It's all about like, how do we take this thing on the page?
You know, you're trying to like tell a story.
So that's, there's a difference between you're trying to sell the script and then when you're in it with your director, now you're in like, it's almost like you're speaking a language that only he or she needs to really understand.
It's like you're trying to make it their movie.
You're trying to, so when they're looking at it, they know what they're going to do with it.
It was really about translating it into like this movie which could have been directed by a number of different people had to turn into a movie that was going to be directed by a very specific filmmaker who thinks about action in a very specific and knowledgeable way in regard to "I know how to do this, I know how to shoot this, and I know how to do it in the smallest amount of time."
But the genius of Michael is that he knows exact, he's been doing this for so long and has made so many of these types of movies.
He's like, "I can take all that and I can put it into these days."
And so the script began to reflect that, which is like, that's how you take the, you know, what was, you know, them escaping from the bank robbery and turn it into this kind of compressed action sequence where you could have, it was all these things kind of working together to kind of maximize, you know, what was actually gonna show up on screen, you know?
And also that it was important that Will shoot the cop.
That had to be him having made this terrible mistake.
The thing he could, like his worst day was compounding on top of itself.
Everything's compounding constantly.
So for Will, it had to be him, you know, 'cause for Danny, I'm gonna go back to the holy text, "Die Hard."
[audience laughing] There is one holy text, I go back to it often.
The first time John McClane comes up against a terrorist, what does he do?
He tries to arrest him.
You're under arrest.
It's so important because it means he's not an action star yet.
He's not like in, you know, in like one of the sequels.
It's like, "I'm gonna try to do my job."
And so for here, it was important to watch Will's beginning his evolution from home, trying to, you know, save his wife to now having done this terrible thing.
- We got it, baby.
Insurance coming through.
- I lose faith in this world on a daily basis.
Not in you though.
- I mean, we gonna be all right.
You think you can handle him for a few hours?
- Oh yeah, we're gonna sleep, right?
[baby crying] Maybe not.
Another interview?
- Yeah, a warehouse job.
Forklift driver.
- That's good, baby.
You can drive anything.
[soft music] [door creaking] [door shutting] Celebrate when you get back.
Somebody called from a blocked number earlier.
- I know what you're thinking.
It's not Danny.
- Good.
I know you love him.
I know why.
But we don't need your brother.
- I got all I need right here.
Turn on the alarm.
- I wanna backtrack for a real quick second and ask about the relationship of the brothers and how that is really this architectural piece of the whole film, they're so opposite each other.
- There was brothers in the original movie.
In 2011, when I first heard the idea, somewhere it fused into my mind the VA was going through this terrible, you know, bureaucratic problems, and we had servicemen not getting, you know, medical care.
And I was like, "But that's [bleep] up."
And for me, that realness of like some real thing that like is happening in the world is like usually you don't put that into an action movie for a mass audience.
I was like, "That's a perfect setup for a character who we are are going to identify with."
You go and you serve for your country and then you come back and your wife isn't gonna get the medical care that she needs.
Will did come up, you know, on the wrong side of the tracks.
And that you know, that he had a brother who he wasn't supposed to be talking to.
And it's one of those things that like as you're working on your story and there was always a scene where his wife would say, "I got a call from a blocked number" and we know it's the older brother that he's not supposed to be talking to.
And it's like, even as you write it, the mystery in your head is you're starting to fill in like, "Well, why wouldn't you talk to your brother?
And who is that, you know, what is that dynamic between the two of them?"
And then Michael included like this notion of like, "Well, let's seek glimpses of their past."
And it's one of those examples, like as a writer I'm like, "Scenes are scenes" and you know, I didn't see that, I didn't think to include that.
But when you're a director who's done as much as, you know, it's like he knows what he can do and it works.
It's like it's this neat kind of ethereal element kind of infused into the story.
- Well, but when you go back to the Bible, John McClane is clearly our protagonist.
- Right.
- In here, I would not go into this and say that any one of them is clearly our protagonist, right?
You may.
I didn't watch it that way.
It was like- - No, I like it, I like criticism here up on stage, it's great.
[audience laughing] No, it's great.
Here's the thing, it's like this was, this movie was designed to be messy.
It's not here to say it's like "Will's a good guy and he does everything the right way."
No, he shoots a police officer.
It's like, this is not okay.
The notion that the good guys show up and they shoot the bad guy and then everybody succeeds and wins and walks away, that doesn't always happen, you know?
And I thought that was such an interesting thing to explore is like sometimes when the cops show up, it's like, you know, it's bad, more bad things happen.
And it's not because they're not trying to do something, it's just because they don't have the information.
They don't know who is, who's dangerous or if even if the cop's alive in the back of the ambulance.
I think that's what's neat.
John McClane though is like, going back to the holy text, but in that movie it's like, behind it is the husband-wife relationship.
It's about a guy trying to get back to his wife to apologize for being a [bleep].
Whereas in this one, it is about Will trying to get back to his wife, but he's doomed.
- So let's go into this, which should have almost gotten an X rating, I think.
- Skin is open.
- Then you and your criminal friend right there put both of your hands in the wound and I need you to spread the muscle apart.
- Man, the way people drive in this city.
- Stop yelling.
- Slow down.
You cannot do this at 60 miles an hour.
- That was just an amazing, amazing layered like something.
So again, also rewound that one a couple of times when I watched it 'cause it was like so much stuff in there, the whole layering of the guys on the cell phone.
- I always go back to Elmer Leonard and I went to see him speak at the WGA a million years ago and he was just like, "You know, people are always asking like how do I come up with this stuff?
Or how am I funny or witty?"
It's just like, or quick.
And I'm like, "I'm not," but I write it and then I come back to it when I have that quick thing and I put it in there.
So what happens in this story is that this scene was always in the script, but then what you realize is that as you kind of lay the thing out, you start to compound it and compress it and then you can have three or four things going on.
Because not only is this the coolest scene where she saves the guy, but it's also because the doctors don't see it, it's the inciting incident for the next sequence.
If you're thinking about 10-inute reels, the next sequence will be the sniper sequence where the cops think he's dead.
We're also setting up our next 10-minute problem, which is, you know, how we're gonna get into that.
And this also would speak to Cam, it would speak to her character, it would speak to who she wanted to be.
Originally, she wanted to be a doctor, you know, and she's good at it.
And there was a moment in the script, it's not in the movie, but it was where it was like the surgeons are watching and they're like, "She's got good hands.
Because this is the type of thing that only some people can do.
I can't pull somebody's guts out of them.
And now it's, what's interesting is the criminal friend, that line is improv by the guy on the golf course who's a real surgeon.
Those are real surgeons.
And it was shot in Florida.
So Michael had gone back to Florida and we were like, "Okay, we'll pick up this scene in a hospital somewhere in Florida."
But of course, it's COVID.
So I'm like, "Why don't we just put it on a golf course?
You know, doctors are there too, you know?"
And so he had his, he had, you know, friends who were surgeons.
So they were like, "Well, yeah, we can do this."
And so it's the two of them out there on a real golf course.
And then, you know, and everything happening inside the van is that kind of contained thriller.
That's the original contained thriller that was COVID-friendly.
So it's about compacting and taking tensions and kind of putting them all on top of themselves and setting up your next problem that is gonna be coming down the road.
- Well, so let's talk about that part, that 10-minute thing you're talking about.
This 10-minute reel.
I mean, is this how you approached the entire film?
It's like in these modules.
- The action movie is related to musicals and comedies, especially silent comedies.
And so, when you think about the way movies worked back in the day, it's that they worked in 1,000-foot reels and that's 10 minutes.
So one reeler would be 10 minutes.
So I think that there's still something in that kind of natural evolution of what makes a movie is that like, if a movie kind of works within like these 10-minute kind of intervals, you know, like how Charlie Chaplin would've like learned how to make a movie, then it keeps the audience's attention sitting in a theater, especially in more painful seats back in the day, is like they're involved.
They know that you have to keep kind of moving the problem and changing the story and also kind of like, you know, twisting it, you know, twisting it constantly along the way.
So I do sometimes view things in ten-minute intervals.
- You know, I mean, you really are always setting something else up that's crucial to the rest of the story, right?
- But I think one of the things that you notice with writers that write scripts that are, that you wanna read, that you find yourself enjoying as you're going through them is that they're doing a lot of setup, especially at the beginning of the story.
But then, you know, they probably have written the 200 page draft of this thing and then what what they do is they start to shrink it and they start to kind of know that if I'm gonna keep somebody's interest, if I'm going to kind of drive that story along, then you're kind of like, oh, all the layers can kind of be on top of themselves.
You can be doing two, three, four things at the same time in a scene.
- Let's take scene five.
- Green to go.
Take, take the shot if you got it.
[suspenseful music] [Man] Target one green.
- Kill shots.
Nothing gets in the back.
We've got friendlies.
- On my call.
[Man] Target two red.
Target two not clear.
- What about Zach?
I can't protect him.
Can you?
- What are you talking about?
He's alive?
- Yes, he's alive.
- Hey, he's alive.
Our cop's alive.
- God.
- Three.
- No.
[Danny] Cam.
- No.
- Two.
[suspenseful music] - Snipers.
[Driver] What?
- Snipers.
- Where?
- Black building.
- One.
Engage.
[guns firing] [tires screeching] [cars exploding] - That's also just one of those moments where it feels like everybody is just trying to do their job, but nobody really knows what's going on.
- There's no bad guys.
- Yeah, there's no bad guys.
- I mean, there are bad guys, but there's also no bad guys, in the sense that, well, there are bad guys.
I'm not saying it's okay to rob banks.
I'm not not saying it's okay to rob banks.
But just like, just think about your problems that the scene before leads to the sniper sequence.
Now the sniper sequence leads to Danny losing it.
And so now the guy who is emotionally volatile, psychopathic, he is in a bad state.
So now it leads to the next sequence.
Now it's pushing us back to Cam's gonna become the possible victim.
That Cam is now, even though she saved them, she becomes the representation of authority for Danny and now he's gonna focus on her.
So we're now going into an even darker place of like, "Is he gonna lose it?"
Because we've set up in the dynamic of the brothers, there's one brother who left.
Going to the military was Will getting out, getting away from their poisonous father.
Danny stayed, he's a criminal.
He was destroyed by his father.
He's the powder keg now.
So now the story kind of folds back inside into the ambulance and it's about the powder keg is gonna blow, it's gonna be an emotional thing.
It's gonna be about Danny and Jake and his incredible performance.
But all those things are set up.
They're all moving and causing new problems to form.
- Will!
Somebody help him.
- Ma'am.
- Will!
Will!
- Come on.
- Don't let him die.
Please, don't let him die.
Will!
Will!
Somebody help him.
Will!
Please somebody help my husband.
- You need to forget him.
- No.
I didn't finish the job.
- He's gonna die.
He's my husband, please.
[man gasping] - Hey, stop, this is a crime scene.
- Get off of me.
Back up.
Back off.
[dramatic music] Will.
Come on, Will, come on.
Come on.
Hey, look at me.
Look at me.
Your wife is right here.
You can do this.
You can do this, Will.
Will, you got this.
What is wrong with you?
Oh my God.
- We'll get to him soon.
- He'll be dead soon.
Help me now.
- All right, it's the teary part of the action film.
- It's an action film with emotions.
- Yes, I'm actually even worried about how long he's going to jail and when the kid will see him again and stuff, so.
- Yeah.
Or is he is even gonna survive?
It's like, and it's interesting because there was iterations of the story where it ended pretty much here.
A lot of the things that were added, even the money, like in the first drafts of the script, there was no money being placed into a baby carrier.
You know, those were all things that as I worked on it with different directors, you know, we found opportunities for like there to be these, it's not like we're saying everything's okay, but we're just saying that there's a part of this story which is there can be some reconciliation, there can be some hope.
And it was interesting, especially with Michael that in our first conversation, like, you know, talking to him, he had like a couple of ideas and one of the ideas was "I want to go back to the six-year-old girl at the end of the story."
And it's an emotional thing.
Your gut says, "I know what the story is, I know how to tell that story."
I didn't know how to tell this story until I figured out Cam.
And when Cam, in the original "Ambulancen" the Cam is a almost an angelic character.
It's very cool, but it wouldn't work for this story.
And then once I realized that Cam was the best EMT in that she had this drive that she could keep anybody alive for 15 minutes.
And once I had that, I knew that, you know, her saving Will was the north star of the movie.
I was gonna head toward that.
And then what's great is that that's her technical, like I can physically do this thing, but then going back to see the little girl at the end of the movie, it means she cares.
Like she is touched emotionally.
You know, she does have this heart that she hides from everyone.
'Cause like even if we can kind of intellectually say to ourselves that like, "You know, I don't, I'm fine, I'm fine.
I don't have feelings or emotions, stuff like that.
You do.
They're beneath there.
And that's what I loved about it.
So Michael was like another addition where you're just like, "That's great."
You know, it's like it allows you to have hope and it also tells you something about the character.
- But so that would be my argument as to the conflict over the protagonist because I would call her the protagonist.
- Yes.
But, and I agree with that and I think that was also one of the reasons why the movie didn't get made originally.
Because when you go out to kind of like put together a movie, you usually start with your leads.
And I think a lot of actors looked at that script and they were like, "I think Cam's the main character."
And what's so awesome about Yahya and Jake is that they fully commit to characters who are flawed.
And that's the kind of amazing thing for me is to hand the script over and to watch, like these people all at the top of their game, fully commit to characters who are flawed and then secretly, the female lead is the hero of the story.
You know, and that for me, is awesome.
There's a lot of action movies and I love action movies, all of them.
Not all of them.
But you know what's gonna happen.
And I think that, hope that anyone who went into the theater, you don't know how this movie's gonna end.
[typewriter dings] [Narrator] You've been watching "On Writing Action: Ambulance with Chris Fedak" on "On Story."
On Story is part of a growing number of programs in Austin Film Festival's On Story project that also includes the "On Story" radio program, podcast, book series, and the "On Story" archive accessible through the Wittliff Collections at Texas State University.
To find out more about On Story and Austin Film Festival, visit onstory.tv or austinfilmfestival.com.
♪ ♪ ♪ ♪ [projector clicking] [typing] [typewriter ding] [projector dies]
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Harry Gregson-Williams is one of Hollywood's most sought-after and prolific composers whose long list of film and television credits underscore the diverse range of his talents. He most recently wrote the music for "The Last Duel" and "House of Gucci" both directed by Ridley Scott. In addition, he wrote the music for Disney's live action feature film "Mulan" which was directed by Niki Caro with whom he worked previously having scored her film "The Zookeeper's Wife." Gregson-Williams also co-wrote the original song "Loyal Brave True" for "Mulan" performed by Christina Aguilera. He and his brother, composer Rupert Gregson-Williams, wrote the original score for both seasons 1 & 2 of the HBO drama series "The Gilded Age". He also co-wrote the original score for the Netflix documentary "Return to Space" with his friend Mychael Danna, directed by Oscar-winning directors Elizabeth Chai Vasarhelyi and Jimmy Chin for which he received an Emmy nomination.
Upcoming 2023 releases include "Meg 2: The Trench" starring Jason and directed by Ben Wheatley and Aardman's animated feature "Chicken Run: Dawn of the Nugget" directed by Sam Fell and the action thriller "Retribution" directed by Nimród Antal and starring Liam Neeson. Gregson-Williams was the composer on all four installments of the animated blockbuster "Shrek" franchise, garnering a BAFTA Award nomination for the score for the Oscar-winning "Shrek." He received Golden Globe and Grammy Award nominations for his score for Andrew Adamson's "The Chronicles of Narnia: The Lion, the Witch and the Wardrobe." He has collaborated multiple times with a number of directors including Ben Affleck on "Live by Night," "The Town" and "Gone Baby Gone", Joel Schumacher on "Twelve," "The Number 23," "Veronica Guerin" and "Phone Booth", Tony Scott on "Unstoppable," "The Taking of Pelham 1 2 3," "Déjà Vu," "Domino," "Man on Fire," "Spy Game" and "Enemy of the State", Ridley Scott on "The Martian," "Prometheus," "Exodus: Gods and Kings," "Kingdom of Heaven," "The Last Duel" and "House of Gucci", Bille August on "Return to Sender" and "Smilla's Sense of Snow", Andrew Adamson on the "Shrek" series, "Mr. Pip" and the first two "Narnia" movies, and Antoine Fuqua on "The Replacement Killers," "The Equalizer," The Equalizer 2" and "Infinite". Some of his more recent film projects include Disney Nature's feature film "Polar Bear" which streamed exclusively on Disney+ in 2022, "The Ambush" directed by Pierre Morel, "Life in a Day 2020" directed Kevin Macdonald, "The Meg" directed by Jon Turteltaub, Aardman's "Early Man" directed by Nick Park for which he received an Annie Award nomination and Disney Nature's "Penguins." His television credits include "Whiskey Cavalier," the miniseries "Catch-22" co-composed with his brother Rupert Gregson-Williams and additionally he wrote the main title theme for "Electric Dreams" and earned an Emmy nomination for the episode entitled "The Commuter." Over the past two decades he has scored three of the five games in the highly successful "Metal Gear Solid" franchise for Konami as well as "Call of Duty: Advanced Warfare" for Activision, which became the top-selling video game of 2014 and earned him various music gaming awards. Throughout his illustrious and successful career, Gregson-Williams has also collaborated with a diverse array of recording artists such as Regina Spektor, Imogen Heap, Tricky, Peter Murphy, Flea, Hybrid, Paul Oakenfold, Sasha, Trevor Horn, Trevor Rabin, Lebo M., Perry Farrell and Tony Visconti.
Born in England to a musical family, Gregson-Williams earned a music scholarship to St. John's College, Cambridge, at the age of 7 and later gained a coveted spot at London's Guildhall School of Music & Drama, from which he recently received an honorary fellowship. He started his film career as assistant to composer Richard Harvey and later as orchestrator and arranger for Stanley Myers, and then went on to compose his first scores for director Nicolas Roeg. His subsequent collaboration and friendship with composer Hans Zimmer led to Gregson-Williams providing music for such films as "The Rock," "Armageddon" and "The Prince of Egypt" and helped launch his career in Hollywood.
In 2018, Gregson-Williams received the BMI Icon Award, in recognition of his unique and indelible influence on generations of music makers, as well as the Society of Composers & Lyricists' prestigious Ambassador Award.
Jan A. P. Kaczmarek is a composer with a tremendous international reputation that continues to grow. As a successful recording artist and touring musician, Jan turned to composing film scores as his primary occupation. Jan's first success in the United States came in theater. After composing striking scores for productions at Chicago's Goodman Theatre and Los Angeles' Mark Taper Forum, Jan won an Obie and a Drama Desk Award for his music for the New York Shakespeare Festival's 1992 production of John Ford's "Tis Pity She's A Whore," directed by JoAnne Akalaitis, starring Val Kilmer and Jeanne Tripplehorn. Newsday wrote that Jan's score "undulates with hypnotic force that gets under your skin," while Frank Rich of the New York Times found it worthy of the films of Bernardo Bertolucci and Luchino Visconti. Educated as a lawyer, he abandoned his planned career as a diplomat, for political reasons, to write music in order to finally gain freedom of expression. First he composed for the highly politicized underground theater, and then for a mini-orchestra of his own creation, "The Orchestra of the Eighth Day". The major turning point in his life, he says, was a period of intense study with avant-garde theater director, Jerzy Grotowski. "Playing and composing was like a religion for me," Kaczmarek explains, "and then it became a profession." "The Orchestra of the Eighth Day" began touring Europe in the late 1970's and to date, has completed eighteen major tours. They appeared at the Queen Elizabeth Hall in London, the VPRO Radio International Contemporary Music Festival in Amsterdam,the Venice Biennale, and the International Music Festival in Karlovy Vary, Czechoslovakia, where Jan won the Golden Spring Prize for the Best Composition. He is a five-time winner in Jazz Forum's Jazz Top Poll. At the end of the Orchestra's first American tour in 1982, Kaczmarek recorded his debut album, Music for the End, for the Chicago-based major independent Flying Fish Records. Jan returned to America in 1989 to find a label for his latest composition for the Orchestra. Jan stayed in the United States where he expanded his horizons by composing for theater as he had already done in Poland with great success, capped by two prestigious New York theater awards in 1992. Having also composed music for films in Poland, he focused his attention to that medium, achieving recognition as a film composer with scores to such films as "Total Eclipse", "Bliss", "Washington Square", "Aimée & Jaguar", "The Third Miracle", "Lost Souls", "Edges of the Lord", "Quo Vadis" and Adrian Lyne's "Unfaithful."
February 2005, Jan won his first Oscar for Best Original Score on Marc Forster's highly acclaimed film, "Finding Neverland."
Jan also won The National Review Board's award for Best Score of the Year, and was nominated for both a Golden Globe and BAFTA's Anthony Asquith Award for Achievement in Film Music.In addition to his work in films, Jan is also setting up an Institute inspired by the Sundance Institute, in his home country of Poland, as a European center for development of new work in the areas of film, theatre, music and new media. The Institute website (currently under construction) is: www.rozbitek.org. It is anticipated that Rozbitek will begin accepting students in 2006.
As a child in Cape Town, Trevor Jones lived opposite the Gem Cinema. The theater was so old and worn out that there was often a loss of the soundtrack, which caused him to realize its power. The fact that everyone in his family worked in film or the theater made it easy to get support in his career choice, but it was the cinema across the street that truly inspired him. At 17, Jones won a scholarship to the Royal Academy of Music, which his mother was fully behind. Not being from England, he could only stay four years, but he did not wish to return due to lack of industry and South African politics. In his third year, he won an award which brought him to the attention of the BBC, where he worked four years as a classical music reviewer, the time allowing him to become a naturalized British citizen. One day there he met Dr. Wilfrid Mellers, a professor at York Universiy, who helped him design a four-year course plan studying all types of music, from the ethnic to the avant garde, music concrete, and electronic. He then went to the British National Film School for an M.A. in film music, and he learned all aspects of filmmaking, directing, writing, and photographing many student films, and composing the music for most everybody at the university. His education in the field took twelve years.
His use of professional musicians allowed him to go straight into the industry. He initially scored shorts with Roger Christian, and was discovered by John Boorman after working on an Irish TV show. Boorman allowed him to write 55 minutes of music for Excalibur (1981) in addition to the classical pieces of Wagner and Orff that were used. Jim Henson called him for Der dunkle Kristall (1982) even before he had a script, and he would work on Henson projects, along with others, until Henson's death. Jones was nominated for a Golden Globe for his work on Der letzte Mohikaner (1992). This success makes him frequently on call, particularly when he is in Los Angeles (where his wife and four children like to accompany him), but he wants to do small, low budget films as well as large, taking small salaries to work on film in which he is really interested. He cites Mark Herman and John Henderson among his favorite directors to work with. He has also worked well with Barbet Schroeder and Richard Loncraine. His attention to the film as an art form is indicative in his work ethic: only one at a time. He once talked himself out of work on a film he thought needed no music. They took his suggestion and won an award. Die Tage von Pompeji (1984) was a film in which he was brought in very late and did not meet the director or the dubbing mixer. "That was the first and only time on a film that I'd never met the director", Jones says. Jones tries to keep from becoming typecast, wanting to work on all types of films, and not do films of the same kind all together, when composers are among the most typecast artists in the industry. His style has worked well, as he has had more films in 1997 and 1998 than in any other single year.
Composer and conductor Alexandre Desplat, Oscar winner and seven-time Academy Award nominated, for his prolific filmography and his collaborations with Stephen Frears, Terrence Malick, Ang Lee, Kathryn Bigelow, Jacques Audiard, Wes Anderson, Roman Polanski, George Clooney or Matteo Garrone is one of the most worthy heirs of the French masters of film music.
Brought up in a cultural and musical mix thanks to his Greek mother and his French father who studied and got married in California, he grew up listening to French symphonists, Ravel or Debussy , world music and jazz.
He studied piano and trumpet before choosing the flute as the main instrument. As a free auditor in Claude Ballif's analysis class at the CNSM, he enriches his classical musical education by studying Brazilian and African music. He will record later with Carlinhos Brown or Ray Lema.
Passionate about film music, it's as much his musical sensitivity as his intimate approach to cinematographic language that will allow his privileged relationship with filmmakers. Inspired by the scores of Maurice Jarre, Bernard Herrmann, Nino Rota or Georges Delerue, it is after hearing the score of John Williams for Star Wars: Episode IV - Eine neue Hoffnung (1977) that he decides to compose exclusively for the big screen.
During the recording of his first feature film he meets violinist Dominique Lemonnier. This is the beginning of an exceptional artistic exchange as she becomes her favorite soloist, artistic director and wife. With his strong sense of interpretation, his creative spirit and his singular violin playing, Solré inspired Alexandre's compositions, influencing his music in depth, initiating a new way of writing for the strings in the cinema.
Collaborator of Jacques Audiard since his first film, he creates for his works strong and singular compositions and he won in 2005 for Der wilde Schlag meines Herzens (2005) the Silver Bear of the Berlinale, and his first Caesar. He works in France with Philippe de Broca and Francis Girod but Das Mädchen mit dem Perlenohrring (2003) of Peter Webber, his 50th score for the film, he gets a first Golden Globe nomination and BAFTA and began his rise in Hollywood. Leading American career and European collaborations and remaining faithful to his directors, he composes among others Syriana (2005)'s scores of Stephen Gaghan, Birth (2004) of Jonathan Glazer, Coco Chanel: Der Beginn einer Leidenschaft (2009) by Anne Fontaine, L'armée du crime (2009) by Robert Guédiguian, Largo Winch (2008) by Jérôme Salle, Der Feind in den eigenen Reihen - Intimate Enemies (2007) or Hostage - Entführt (2005) by Florent-Emilio Siri.
Prizes and collaborations with the greatest directors follow one another. In 2007, he received his first Oscar nomination for Stephen Frears's Die Queen (2006) and won his first European Film Award. The same year, he won the Golden Globe, the Los Angeles Film Critics Association Award, and the World Soundtrack Award for John Curran's score Der bunte Schleier (2006), performed by pianist Láng Lang. He composed in 2008 for Gefahr und Begierde (2007) by Ang Lee and Der seltsame Fall des Benjamin Button (2008) by David Fincher which will earn him a second Oscar nomination and a fourth Golden Globes and BAFTA nomination.
With his score for Der Ghostwriter (2010) by Roman Polanski, he won in 2010 a second César and a second European Film Award. The same year he wrote the music of New Moon - Biss zur Mittagsstunde (2009) by Chris Weitz, whose album was a platinum record, and Tom Hooper's The King's Speech - Die Rede des Königs (2010) for which he won the BAFTA, the Grammy Award, and was nominated for the fourth time at the Oscars and for the fifth time at the Golden Globes.
In 2010-2011 he wrote the music of Harry Potter und die Heiligtümer des Todes - Teil 1 (2010) and Harry Potter und die Heiligtümer des Todes - Teil 2 (2011) which became the third greatest success of all time. He composed in 2011 nine partitions, The Tree of Life (2011) of Terrence Malick, Der Gott des Gemetzels (2011) by Roman Polanski, Der fantastische Mr. Fox (2009) by George Clooney , which earned him another Oscar nomination, La fille du puisatier (2011) by Daniel Auteuil and The Ides of March - Tage des Verrats (2011) by George Clooney.
In 2012 he worked with Kathryn Bigelow for Zero Dark Thirty (2012), Matteo Garrone for Reality (2012), Gilles Bourdos for Renoir (2012), Jérôme Salle for Zulu - Blutiges Erbe (2013), George Clooney for Moonrise Kingdom (2012) and Jacques Audiard for Der Geschmack von Rost und Knochen (2012) for which he won a third Cesar. For his score of Argo (2012) of Ben Affleck, Oscar for Best Picture, it is named for the sixth time BAFTA, and for the fifth time at the Golden Globes and the Oscars.
He signed in 2013 the partition Monuments Men: Ungewöhnliche Helden (2014) from George Clooney, Venus im Pelz (2013) of Roman Polanski, and was appointed to the BAFTAs and the Oscars for Philomena: Eine Mutter sucht ihren Sohn (2013) of Stephen Frears.
In 2014 he composed the music Godzilla (2014) of Gareth Edwards, and receives exceptional fact, two Oscar nominations for The Imitation Game - Ein streng geheimes Leben (2014) of Morten Tyldum and Grand Budapest Hotel (2014) by George Clooney, for which he won a BAFTA, Grammy and Oscar.
Member of the jury of the Cannes Film Festival in 2012, he became in 2014 the first composer President of the jury of the Venice Film Festival. Crowning long years of collaboration, he directed the London Symphony Orchestra in December 2014 for a concert of his works at the Barbican Theater in London.
In 2018, Alexandre Desplat received a second Oscar, a Golden Globe and a BAFTA for Shape of Water: Das Flüstern des Wassers (2017) of Guillermo del Toro.
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NEWS RELEASES
July 2021
See renowned organist Marilyn Keiser’s performances of Dan’s PHOENIX Processional and “…and Call Her Blessed” from his Windows of Comfort (Organbook II) at https://www.youtube.com/watch?v=uISslS3A8O8. They opened her recent The Spirit’s Tether recital at St. Paul’s Episcopal Church in Indianapolis, IN for the Royal School of Church Music in America.
Hear Dan’s Phoenix Processional for organ in a performance from England’s Hereford Cathedral – https://www.youtube.com/watch?v=XmpTiIq6NvY and read more about it.
See the World Premiere of A Hymn to the Morning, Movement 3 of Dan’s Sing to the World: A Choral Cycle in Five Movements in Celebration of Music, commissioned by Caritas A Cappella Ensemble, 2020 at https://www.youtube.com/watch?v=VODjhKxA03A.
June 2019
Dan’s Sonata for Flute and Harp will be premiered on Wednesday, June 19 @ 7:30 PM by flutist Debra Reuter-Pivetta and harpist Jacquelyn Bartlett as part of History in Harmony, a concert at Crawford Concert Hall at the University of North Carolina’s School of the Arts in Winston-Salem, as part of the American Harp Society Summer Institute 2019.
Sonata for Flute & Harp was the result of a 2018 commission by the North Carolina Harp Ensemble for Jacquelyn Bartlett and Debra Reuter-Pivetta in celebration of the 2019 American Harp Society, Inc. Summer Institute. Composed during the summer of 2018, Sonata for Flute & Harp is in three movements and is approximately twelve minutes in length, the composer writes, “It is warmly dedicated to Ms. Bartlett and Ms. Reuter-Pivetta.” More about the piece, which is published by Subito Music, at http://www.subitomusic.com/locklair-sonata-for-flute-harp-premieres/.
April 2019
Independence Day and Memorial Day, the first two movements of Dan’s Symphony No. 2 “America,” were featured on the second hour of the Thursday, April 18, 2019 broadcast of American Public Media’s Performance Today, hosted by Fred Child.
The broadcast performance was taken from the World Premiere of Locklair’s Symphony No. 2 “America,” presented by Maestro John Gordon Ross and the Western Piedmont Symphony on Saturday, October 7, 2017 at Lenoir-Rhyne University in Hickory, North Carolina.
October 2018
Read an American Organist review of Dan’s Gloria CD from Convivium Records at http://www.locklair.com/wp-content/uploads/2018/10/post_DLGloriaCDReview1018.jpg
August 2017
From the wonderful Choir of Trinity College, University of Melbourne, Australia. Dan wrote King of Glory, King of Peace, this setting of George Herbert’s poem Praise II (King of Glory) as a present for Director Christopher Watson. Here’s the Australian Premiere, at Evensong on August 6, 2017.
https://www.facebook.com/ChoirOfTrinityCollege/videos/1549561875106669/
January 2017
Dan’s Phoenix for Orchestra was performed by the Memphis Symphony, Robert Moody, Principal Conductor, on Saturday, January 14 – 7:30 PM at Cannon Center for the Performing Arts in Memphis and Sunday, January 15 at Germantown Performing Arts Center in Germantown, Tennessee. Read the complete program notes for the piece.
Other works on the program were Rachmaninoff’s Piano Concerto No. 2 with soloist Stewart Goodyear and Stravinsky’s Petrushka. More concert information.
September 2016
A special concert at Merton College Chapel in Oxford, England on October 1 will celebrate Convivium Records Gloria CD release (CR033) and will feature Locklair works from the recording. In addition to performances by Sospiri Choral Ensemble, there will also be other British musicians involved in the concert, including Malcolm Archer, the organ/trumpet duo Illumina (performing Dan’s work) and one of the choirs of Christ Church, Oxford. Dan will be in the audience for the concert.
August 2016
British-based Convivium Records announces the release of Dan Locklair Gloria (CR033), featuring performances of the composer’s sacred choral works by Sospiri, conducted by Christopher Watson, and Winchester College Chapel Choir with the Portsmouth Grammar School Chamber Choir, led by Malcolm Archer.
This CD brings together pieces composed with texts that come from across the liturgical year. The works represent the style of Dan Locklair’s vocal music and show his skill and imagination in settings for a cappella choir, pieces for voices with organ accompaniment, and the central work Gloria with large choral forces, brass octet and percussion. At the core of all these pieces is the text and Dan Locklair’s setting of it.
To order: Subito Music or Amazon
January 2016
In its February 2016 issue, The American Organist magazine published Building a Pipe Dream – It Takes a Village, which featured Dan’s Initial Memories commission. Read the article here.
November 2015
The World Premiere of Dan’s Requiem, for SATB chorus, soloists, string orchestra and organ was given on November 1, 2015 as part of Choral Evensong for the Feast of All Saints at St. Paul’s Episcopal Church, 520 Summit Street in Winston-Salem, North Carolina. Performers included the St. Paul’s Choir, guest soloists and string orchestra members of the Winston-Salem Symphony Orchestra, conducted by Dr. John Cummins, Organist/Choirmaster of St. Paul’s.
The composer writes, “Begun in 2012, Requiem was completed on April 3, 2015 (Good Friday) and is dedicated to the memory of my parents. In nine movements and approximately forty minutes in length, the texts for Requiem are all in English and are drawn from both the traditional Requiem Mass as well as from The Book of Psalms.”
November 2015
The World Premiere of Dan’s Initial Memories: A Divertimento for Organ and Wind Quintet> was presented by the Indiana University of Pennsylvania (IUP) College of Fine Arts and the Department of Music on November 7, 2015 in the DiCicco Rehearsal Hall, Cogswell Music Building at IUP, in Indiana, Pennsylvania. Initial Memories> was performed by members of the IUP music faculty.
A four-movement divertimento, Initial Memories highlights the unique tonal aesthetic of the Ronald G. Pogorzelski and Lester D. Yankee Pipe Organ, built by R. J. Brunner & Company of Silver Spring, Pa. The composition was commissioned by IUP in honor of the newly installed organ which is being used by special arrangement with the American Guild of Organists (AGO).
February 2015
Hear Dan’s Phoenix Processional for organ in a performance from England’s Hereford Cathedral – https://www.youtube.com/watch?v=XmpTiIq6NvY< and more about it.
January 2015
Dan’s Concerto for Harp and Orchestra was performed on Saturday, January 10 by the Yakima Symphony Orchestra, Lawrence Golan, Music Director, in the 4th Street Theater of The Capitol Theatre in Yakima, Washington. Soloist for the performance was harpist Jill Whitman. Other composers on this Heavenly Delicacies program were Respighi, Debussy and Mozart. Complete concert program notes and information at YSOMusic.org. Read the composer’s notes about the music.
December 2014
Classical Voice North Carolina has published a November 2014 review of Tapestries: Choral Music of Dan Locklair at CVNC.org.
Dan’s Angel Song was given its World Premiere on Sunday, December 21 by the Choir, Chorale and Choristers of St. Paul’s Episcopal Church, 520 Summit Street in Winston Salem, North Carolina, as part of a Festival of Nine Lessons and Carols. Angel Song (A Christmas Anthem for SATB Chorus and Organ) was the result of a 2014 commission from John and P.J. Williams in honor of the music program of St. Paul’s Episcopal and its director, Organist/Choirmaster, Dr. John Cummins. This approximately five-minute anthem is a setting of a December 1863 Christmas hymn text by Moncure Daniel Conway (1832-1907) entitled, Now Let the Angel Song Break Forth! Dan writes, “In Angel Song I have sought to musically capture the vibrancy, pain and timeless reflections found in Rev. Conway’s expressive words.”
October 2014
The Journal of the Association of Anglican Musicians published a review of Dan’s Creator of the Stars of Night for SATB and Organ
September 2014
The Journal of the Association of Anglican Musicians published a review of Tapestries: Choral Music of Dan Locklair
July 2014
Dan’s Constellations – A Concerto for Organ and One Percussion Player, was performed by organist Peggy Haas Howell and percussionist Kevin Super on Wednesday, July 9 – 7:30 PM at St. John’s Episcopal Church, Elmwood Avenue, off Rivermont Avenue in Lynchburg, Virginia, as part of A Star-Spangled Recital.
June 2014
Dan Locklair’s In Memory – H.H.L. for organ received its World Premiere performance by the composer on Sunday, June 29, 2014 – 7:00 PM at Ardmore Baptist Church, 501 Miller St. in Winston-Salem, N.C. The program was part of the Sounds of the Summer concert series. Mr. Locklair also performed his Celebration (Variations for Organ) and Dance the Joy! (Toccata for Organ). The program was performed on the church’s Reuter Organ, Op.2219, 2003.
October 2012
» Dan Locklair’s new From the rising of the sun… (A Short Festival Piece for Brass Quartet, Percussion & Organ) has been published by Subito. Commissioned by Peachtree Road United Methodist Church in Atlanta, Georgia to honor the 10th anniversary of their sanctuary and Mander Organ, it was premiered on September 9, 2012 by organist Nicole Marane and The Atlanta Brassworks (Scott Atchison, conductor).
» Two Locklair choral works, O Magnum Mysterium and Hodie Christus Natus Est, are included in the new Novello publication, Noel! 3 (Carols and Anthems for Advent, Christmas & Epiphany for Mixed Voice Choirs). David Hill is the editor.
September 2012
» World Premiere of Dan Locklair’s From the rising of the sun… on September 9 at Peachtree Road United Methodist Church in Atlanta, Georgia
Dan Locklair’s From the rising of the sun… (A Short Festival Piece for Brass Quartet, Percussion and Organ) will be given its World Premiere on Sunday, September 9 at the 8:45 and 11:15 AM services of Peachtree Road United Methodist Church, 3180 Peachtree Road, NW in Atlanta, Georgia.
Performers include Atlanta Brassworks, percussionist Michael Cebulski, and Peachtree Road UMC Associate Organist Nicole Marane.
The composer has written about the new work, “From the rising of the sun…” is the result of a 2012 commission from the Peachtree Road United Methodist Church of Atlanta, Georgia, in honor of the 10th anniversary of their sanctuary and organ on 9 September 2012…“From the rising of the sun…” takes its inspiration and title from the theme of light as represented in the church’s Rose Window and two transept windows. The 18-foot diameter Rose Window represents creation and symbolizes God’s words from scripture as recorded in Genesis 1:3, “Let there be light.” The two transept windows represent Day and Night and are inscribed with words from Psalm 113:3: “From the rising of the sun unto its setting, Blessed be the Name of the Lord.” More about the piece and the performances at http://www.subitomusic.com/locklairs-rhythmic-drive-gorgeous-harmonies/.
May 2012
» Organ Music of Dan Locklair on May 20 at St. Pancras Church in London, England – Part of London Festival of Contemporary Church Music
Dan Locklair’s Dance the Joy! for solo organ will be performed on Sunday, May 20 – 6:00 PM as part of the choral evensong service at St. Pancras Church on Euston Road in London, England. This will be presented by the London Festival of Contemporary Church Music.
Dance the Joy! (Toccata for Organ) was written in 2004 on a commission from United Music Publishers and is included in their Organworks! publication, produced in cooperation with Subito Music. Mr. Locklair is the only American whose music will be performed at the 2012 London Festival of Contemporary Church Music.
Other composers on the May 20 choral evensong service are Daniel Rollison, Julian Anderson, Ron Corp, Andrew Gant and Hilary Tann.
For more information about the London Festival of Contemporary Church Music, visit http://www.lfccm.com/.
» Dan Locklair’s Phoenix Processional for solo organ will be performed by Margaret Chen on Thursday, May 17 – 12:15 PM in the Main Hall of Suntory Hall, Akasaka 1-13-1, Minato-ku in Tokyo, Japan. This will be part of the Organ Promenade Concert Series.
The May 17 concert is free and open to the public. For more information, visit http://www.suntory.com/culture-sports/suntoryhall/.
» Piedmont Wind Symphony Performs Music by Dan Locklair on May 8 at Wake Forest University in Winston-Salem, North Carolina
Dan Locklair’s A Pilgrim’s Lot will be performed by the Piedmont Wind Symphony, Robert Simon, Artistic Director as part of A Celebration of Winston-Salem on Tuesday, May 8 – 7:30 PM at Brendle Recital Hall on the campus of Wake Forest University, 1834 Wake Forest Road in Winston-Salem, North Carolina.
The composer writes, “A Pilgrim’s Lot (A Concert Piece for Band) was composed for my Wake Forest University colleague, Kevin Bowen, and the Wake Forest University Band Program. In one movement, the composition is based on a melody entitled, A Pilgrim’s Lot, from the early American shape-note hymnal, The Sacred Harp, 1860.” The piece was written in 2000.
Conducted by Jeff Whitsett, the concert will also feature Guest Conductor Dr. Kevin Bowen and a performance by the Winston-Salem Youth Chorus, directed by Barbara Beattie.
For tickets and information about the May 8 concert, call 336-722-9328 or visit http://www.piedmontwindsymphony.com/.
April 2012
» Piano Music of Dan Locklair Performed by Louis Goldstein on April 27 at Community Arts Cafe in Winston-Salem, North Carolina
Dan Locklair’s Visions in the Haze (A Fantasy for Piano), will be performed by Louis Goldstein on Friday, April 27 – 8:00 PM at Community Arts Cafe 411 W. 4th Street in Winston-Salem, North Carolina. This will be part of Forecast Music Presents: Carolina & Beyond.
Visions in the Haze was written in 1982. The 14-minute work was recorded by Louis Goldstein for the Orion Master Recordings label. Chamber works by Lance Hulme, Kathleen Pierson, Eric Schwartz, Leonard Mark Lewis, Kyong Mee Choi and Brian Baxter will also be presented.
For more information about the April 27 event, call 336-793-8000 or visit http://www.communityartscafe.com/wp/.
March 2012
» Dan Locklair’s Phoenix for Orchestra Performed by Winston-Salem Symphony on March 17 at Wake Forest University in Winston-Salem, North Carolina
Dan Locklair’s PHOENIX for orchestra will be performed by the Winston-Salem Symphony, Robert Moody, Music Director, with special guests the Winston-Salem Symphony Youth Symphony, conducted by Matthew Troy on Saturday, March 17 – 2 PM at Wait Chapel on the campus of Wake Forest University, 1834 Wake Forest Road in Winston-Salem, North Carolina. This will be part of the Concert for Community, presented in celebration of the Symphony’s 65th anniversary.
In 2007, Maestro Moody commissioned Locklair to adapt his piece PHOENIX Fanfare and Processional for orchestra.
The Concert for Community is being presented in partnership with the Institute for Public Engagement of Wake Forest University and is sponsored by the George and Mary Tucker Charitable Fund.
February 2012
» Organ Music of Dan Locklair on February 27 at Musashino Civic Cultural Hall, in Tokyo, Japan
Two movements of Dan Locklair’s Rubrics for solo organ will be performed by John Scott on Monday, February 27 – 8 PM at Musashino Civic Cultural Hall, 3-9-11 Nakamachi, Musashino in Tokyo, Japan.
Rubrics is a liturgical suite in five movements, inspired by the instructions (rubrics) in the Book of Common Prayer. The five movements are 1) “‘Hallelujah,’ has been restored…” 2) “Silence may be kept” 3) “…and thanksgivings may follow” 4) The Peace may be exchanged” and 5) The people respond – Amen!” The piece has been recorded by Marilyn Keiser for Loft Recordings and Pro Organo, Thomas Trotter for the Organ Historical Society label and Alan Morrison for ACA Digital.
For more information, call +81-422-54-8822 or go to http://www.musashino-culture.or.jp/. Visit John Scott.
January 2012
» Organ Music of Dan Locklair on January 25 at Juilliard School in New York City
Dan Locklair’s Rubrics for solo organ will be performed by David Ball on Wednesday, January 25 – 8 PM in The Juilliard School’s Paul Hall, 155 West 65th Street in Manhattan, as part of the organ department’s annual recital.
Other composers on the program are Frank Bridge, Marcel Dupré, Edward Elgar, Paul Hindemith, André Isoir, Max Reger, and Louis Vierne.
Performers will be David Ball, Michael Hey, Colin MacKnight, Griffin McMahon, Raymond Nagem, Benjamin Sheen, Janet Yieh, and Gregory Zelek. All of them are organ students of Paul Jacobs, chair of Juilliard’s Organ Department.
For program information and performer bios, visit http://www.juilliard.edu/newsroom/releases/current/2012_January25_Organists-print.html.
December 2011
» Choral Music by Dan Locklair Featured on WGBH Radio, Christmas Day, December 25
Dan Locklair’s The Stars and Sleighing Song for SATB, SSAA and TTBB choruses and piano will be featured on WGBH radio’s Christmas Around New England program, hosted by Cheryl Willoughby on Sunday, December 25 at 12 noon EST. The two pieces are movements from WINTER (from the forgottens), performed by the Harvard Glee Club and Radcliffe Choral Society, Andrew Clark, conductor.
For a playlist and to listen to the program.
WINTER (from the forgottens), a four-movement choral cycle for choruses and piano was Premiered by the Harvard Glee Club and Radcliffe Choral Society on December 3 at Harvard University’s Sanders Theater in Cambridge, Massachusetts. The piece was commissioned by the Harvard Glee Club and Radcliffe Choral Society (Andrew Clark, conductor).
As the composer writes, “WINTER (from the forgottens) is based on poetry from four 19th century and early 20th century American poets whose work has been undeservedly forgotten. While the theme of the choral cycle is the season of Winter, hues of the December holiday spirit permeate each piece.”
» Premieres of Choral Music by Dan Locklair on December 3 and 4 at Harvard University and in Oxford, England
Choral works by Dan Locklair will be given their World Premiere and U.K.Premiere on Saturday, December 3 and Sunday, December 4:
WINTER (from the forgottens), a four-movement choral cycle for SATB, SSAA and TTBB choruses and piano will be Premiered by the Harvard Glee Club and Radcliffe Choral Society on Saturday, December 3 – 8:00 PM at Sanders Theater on the campus of Harvard University in Cambridge, Massachusetts. The piece was commissioned by the Harvard Glee Club and Radcliffe Choral Society (Andrew Clark, Conductor).
As the composer writes, “WINTER (from the forgottens) is based on poetry from four 19th century and early 20th century American poets whose work has been undeservedly forgotten. While the theme of the choral cycle is the season of Winter, hues of the December holiday spirit permeate each piece.” Other composers on the program include Brahms, Morales, Praetorius, Rachmaninov and more, and audience sing-alongs of traditional holiday carols. More about the concert and the Harvard Glee Club.
Creator of the Stars of Night (An Anthem for SATB Chorus and Organ) will be premiered the Harvard University Choir on Sunday, December 4 – 11:00 AM as part of Sunday services at Memorial Church on the campus of Harvard University.
Memorial Church Music Director Edward Jones said of the work,“…Through [his] subtle interweaving of two famous advent melodies, Conditor Alme and Picardy, this luminous work evokes the mysticism and awe so apt for this season of expectation.” More about the service and Memorial Church
Additionally, on Friday, December 2 at 8:30 AM, the Church’s daily service of Morning Prayer will include performances of Locklair’s Serenity, from Inventions for organ and The Lord Bless You and Keep You (for SATB chorus, a cappella).
Creator of the Stars of Night will receive its second performance on Sunday, December 11 at St. Paul’s Episcopal Church in Winston-Salem, North Carolina by The St. Paul’s Choir, John Cummins, Organist/Choirmaster. More about this.
Three Christmas Motets will be given its U.K. Premiere by Commotio, Matthew Berry, Director, Saturday, December 3 at 7:30 PM in Merton College Chapel in Oxford, England.
The piece, SATB (divisi), a cappella, was written in 1993 and consists of the movements I. Quem Vidistis Pastores Dicite, II. O Magnum Mysterium and III. Hodie Christus Natus Est. Other composers on the program include Schoenberg, James MacMillan, Malcolm Williamson and Peter Racine Fricker. Commotio is one of Oxford’s foremost chamber choirs.
Commotio will give a second UK performance of Three Christmas Motets on Saturday December 31 at 3:30 PM in Douai Abbey, near Reading. For more about Commotio and these concerts.
November 2011
» Choral Music of Dan Locklair on November 18 at Yale University in New Haven, Connecticut
On Friday, November 18 at 8:00 PM, Dan Locklair’s The Stars will be performed by the Harvard Glee Club, Andrew Clark, Conductor at Woolsey Hall of Yale University in New Haven, Connecticut. Piano accompanist will be Bernard Kreger.
The performance is a preview of a movement from the composer’s Winter (from the forgottens), the complete version of which will be Premiered in December. This will be the annual concert together with the Yale Glee Club the night before the Harvard-Yale football game.
More about the concert and the Harvard Glee Club.
» Dan Locklair’s In Memory – H.H.L for Strings Performed by Fulton County Honors Orchestra on November 15 in Roswell, Georgia
Composer Dan Locklair’s In Memory – H.H.L. for string orchestra will be performed by the Fulton County Honors Orchestra, with guest conductor Dr. Mark A. Laycock, on Tuesday, November 15 – 7:00 PM at Centennial High School, 9310 Scott Road in Roswell, Georgia
In Memory – H.H.L. was written in 2005. Maestro Kirk Trevor wrote this about the piece in 2006, “After the first read-through of In Memory – H.H.L. I realized we had found a worthy successor to the Barber Adagio. Here was a gorgeously crafted Adagio for Strings that had a new voice, but with the same hauntingly lush harmonies and intensity that makes the string orchestra such a beautiful vehicle in the concert hall. After recording it, I was even more convinced that In Memory – H.H.L. has a real place in the standard string orchestra literature. As a conductor we are often looking for that five minute adagio to fit into our programming, and now we have a second option to the Barber from a wonderful living American composer.”
The work is part of Naxos’ Symphony of Seasons and other orchestral works CD (8.559337), performed by Maestro Trevor and the Slovak Radio Orchestra. More about In Memory – H.H.L. including a sound sample.
Other works on the program are Purcell/Britten Chacony in G Minor and David Diamond’s Rounds for String Orchestra.
For more information about the November 15 concert…
» Choral and Organ Music of Dan Locklair on November 5 and 6 in Cambridge, MA, Philadelphia, PA and Atlanta, GA
Choral and organ music by Dan Locklair was heard across the eastern United States on November 5 and 6:
November 5 – 8:00 PM – A Winter Twilight (SSAA) will be performed by the Radcliffe Choral Society, Andrew Clark, Conductor at the Sanders Theatre of Harvard University in Cambridge, Massachusetts. Piano accompanist will be John Sullivan. The piece is a preview of a movement from the composer’s Winter (from the forgottens), the complete version of which will be Premiered in December. Others composers on the program include Monteverdi, Victoria, Barber, Dufay and Brahms.
More about the concert and the Radcliffe Choral Society.
November 5 – 3:00 PM – Renowned organist Marilyn Keiser will perform Mr. Locklair’s Phoenix Processional and In Mystery and Wonder (The Casavant Diptych) as part of her recital at Verizon Hall of The Kimmel Center, 260 South Broad Street in Philadelphia, Pennsylvania. She has recorded both of these works as part of Loft’s The Music of Dan Locklair (LRCD-1110).
Other composers on the program are Herbert Howells, Handel, Rheinberger, Stephen Paulus and Vierne. For more information, visit http://kimmelcenter.org/events/index.php?id=4097.
November 6 – 4:00 PM – the composer’s Remembrance will be presented by the Cathedral Choir as part of the Choral Eucharist at the Cathedral of St. Philip, 2744 Peachtree Road NW in Atlanta, Georgia. Dale Adelmann is the Cathedral’s Canon for Music.
More about this and the Cathedral’s music schedule.
October 2011
» The World Premiere of Dan Locklair’s Trumpets of Light for trumpet and organ will be performed by trumpeter Lorraine Cohen and organist Matthew Phelps on Sunday, October 23, 3:00 PM at The Reformed Church of Bronxville, 180 Pondfield Road in Bronxville, New York. This will be part of a concert to dedicate the church’s new David Harris organ console.
The composer writes about the new work, “My Trumpets of Light (A Suite in Four Movements for Trumpet & Organ) was composed between March and June 2011. It is dedicated to my brother-in-law and sister-in-law, Mr. & Mrs. Mark J. Welshimer, who funded the commission from The Reformed Church of Bronxville New York (Matthew Phelps, Minister of Music and Eugene Lavery, Associate Director of Music) for the Autumn 2011 dedication of the church’s new David Harris organ console. Approximately fourteen minutes in length, each movement of Trumpets of Light is extra-musically inspired by a biblical scripture. The common thread of these scriptures is light, an understandable link given the fact that the beautiful Reformed Church’s natural light sources are the 1944-1945 windows by Boston stain-glass artist, Charles J. Connick. Linking the movements together musically is one melodic idea, first heard in Proclamation, which is transformed in each movement. Economical harmonic movement is also a trait of each movement.” Trumpets of Light is published by Subito Music.
The October 23 program will also include a selection of organ masterworks. For more information about this program, call 914-337-6776, or visit the Reformed Church of Bronxville.
September 2011
» Dan Locklair’s Dream Steps (A Dance Suite for flute, viola and harp) will be presented by the Carolina Chamber Music Festival on September 17 in New Bern, North Carolina.
The evening, titled Shall We Dance, will also include a 7:00 pre-concert discussion with Mr. Locklair, who is the Festival’s Composer-In-Residence.
He writes this about the piece, “Dream Steps was conceived as both a free-standing dance suite in five movements for flute, viola and harp as well as a chamber work to be danced (especially in small spaces, such as art galleries). Commissioned by the Mallarmé Chamber Players of Durham, North Carolina, in 1993 (with partial funding from the North Carolina Arts Council, a state agency) and written in the same year, Langston Hughes’ five-part poem, “Lenox Avenue Mural”, was the extra-musical stimulus for the piece, suggesting elements of both symbolism and form.” The piece has been recorded for the Albany label as part of the 2-CD set Dan Locklair: Chamber Music.
For more information about the Carolina Chamber Music Festival…
Read a Subito Music Corporation article about recent and upcoming U.S. performances of Dan Locklair’s music, including his Trumpets of Light.
» Organ and choral music by Dan Locklair will be performed on September 11 at the following locations:
2:00 PM – organist Haig Mardirosian will perform the composer’s Aeolian Sonata as part of his In Memoriam 9/11 recital at Sykes Chapel and Center for Faith and Values, part of the College of Arts and Letters at the University of Tampa, 401 W. Kennedy Blvd. in Tampa, Florida.
Works of Leo Sowerby, Cesar Franck, J.S. Bach, Samuel Barber and Joseph Jongen will also be presented.
The Aeolian Sonata is a 9/11 commemorative work that moves from depictions of horror to reconciliation and peace to the joyous resilience of the human spirit. It consists of three movements: I. Aus tiefer not (Out of the Depths I Cry to Thee), II. Shalom (Peace) and III. Laudate Dominum (O Praise the Lord) and appears on the CD, The Music of Dan Locklair, performed by Marilyn Keiser.
This performance is free and open to the public. For more information, call 813-257-6100 or visit http://www.ut.edu/sykeschapel/.
5:30 PM – St. Paul’s Choir, John Cummins, organist/choirmaster and Anita Cirba, trumpet will present Locklair’s Remembrance at St. Paul’s Episcopal Church, 520 Summit Street in Winston-Salem, North Carolina. This will be part of a special Evensong 9/11 commemoration with Bishop Michael Curry.
Remembrance, with a text from Matthew 5: 3-12, is scored for SATB chorus, organ and optional trumpet. You can hear the work here.
For more about this special event, visit http://www.stpauls-ws.org/.
June 2011
» The World Premiere of composer Dan Locklair’s Concerto for Organ and Orchestra will be performed by the Eastern Music Festival Orchestra, Gerard Schwarz, conductor, and soloist Susan Bates on Wednesday, June 29 – 8 PM at Christ United Methodist Church, 410 North Holden Road in Greensboro, North Carolina. This is a commission from the American Guild of Organists, Greensboro Chapter, for the 2011 Region IV AGO Convention in Greensboro from June 26-29. To learn more…
The composer has written the following about the new work, “My Concerto for Organ and Orchestra is cast in three movements. Approximately twenty minutes in length, the composition is cyclic in nature with all movements being linked by that most basic of harmonic materials, the triad. Further, the 11th century plainsong melody, Divinum mysterium, is at the heart and soul of the serene middle movement. Even as the opening movement begins and ends with music of grandeur, the Concerto concludes with the highly rhythmic and driving third movement, the Toccata. I am very excited about this new concerto commission for the 2011 Region IV AGO Convention in Greensboro, North Carolina!”
Tickets for the June 29 concert are $15 and can be obtained by calling 336-653-0201 or visiting this site.
March 2011
» Organ Music of Dan Locklair at Memorial Presbyterian Church in St. Augustine, Florida on March 19.
Composer Dan Locklair’s St. John’s Suite will be performed by organist Jonathan Easter on Saturday, March 19 – 12 noon at Memorial Presbyterian Church, 36 Sevilla Street in Saint Augustine, Florida.
The suite was written in 2007 and consists of four movements: 1. Hosanna: Blessed is the King of Israel, 2. …lovest thou me more than these?, 3. …the good shepherd giveth his life for the sheep and 4. …blessed are they that have not seen, and yet have believed.
Other composers on the program include Maurice Durufle, Samuel Barber, Mark C. Jones, William Bolcom, J.S. Bach and Jean Langlais.
The program is free and open to the public. For more information, call 904-829-6451 or visit http://www.memorialpcusa.org/.
Jonathan Easter is Organist/Music Director of St. Paul’s by the Sea Episcopal Church in Jacksonville Beach, Florida and is Sub-Dean of the Jacksonville branch of the American Guild of Organists. He is a graduate of Shorter College, where he completed his bachelor’s of music in organ performance and church music.
» Composer Dan Locklair’s Pater Noster will be performed by the Duke University Chorale, Rodney Wynkoop conductor, on Wednesday, March 9 – 7 PM at First United Methodist Church, 500 East Colorado Boulevard in Pasadena, Thursday, March 10 – 7 PM at Claremont United Church of Christ, 233 West Harrison Avenue in Claremont and Friday, March 11 – 7:30 PM at St. James By-the-Sea, 743 Prospect Street in La Jolla. All three of these California concerts will also include sacred and secular masterworks.
Pater Noster, a motet for SSAATTBB chorus, a cappella, written in 2000, is based on a traditional Latin text and has been recorded for the Koch International Classics, Priory and Arsis labels.
The Duke Chorale is a primarily undergraduate concert choir at Duke University, performing an extensive repertoire of chorale pieces, ranging from Renaissance German and French works to Latin Requiems and Negro spirituals. The Chorale rehearses regularly during the school year and performs half a dozen concerts around central North Carolina and takes a concert tour over spring break each year.
For more information about these concerts, and the Duke University Chorale, please visit http://www.duke.edu/web/chorale/.
» Choral Music of Dan Locklair in Stanford, California on March 5 and in San Francisco on March 6
Composer Dan Locklair’s Pater Noster will be performed by the Duke University Chorale, Rodney Wynkoop conductor, on Saturday, March 5 – 8 PM at Stanford Memorial Church, 450 Serra Mall in Stanford, California, and on Sunday, March 6 – 3:30 PM at St. Mary’s Cathedral, 1111 Gough Street in San Francisco. Both programs will also include sacred and secular masterworks.
Pater Noster, a motet for SSAATTBB chorus, a cappella, written in 2000, is based on a traditional Latin text and has been recorded for the Koch International Classics, Priory and Arsis labels.
The Duke Chorale is a primarily undergraduate concert choir at Duke University, performing an extensive repertoire of chorale pieces, ranging from Renaissance German and French works to Latin Requiems and Negro spirituals. The Chorale rehearses regularly during the school year and performs half a dozen concerts around central North Carolina and takes a concert tour over spring break each year.
For more information about these concerts, and the Duke University Chorale, please visit http://www.duke.edu/web/chorale/.
February 2011
» Choral Music of Dan Locklair in Winston-Salem, North Carolina and Organ Music in Greensboro, North Carolina on February 20.
Composer Dan Locklair’s Pater Noster will be performed by the Duke University Chorale, Rodney Wynkoop conductor, on Sunday, February 20 – 4 PM at St. Timothy’s Episcopal Church, 2575 Parkway Drive in Winston-Salem, North Carolina. The program will include sacred and secular works.
Pater Noster, a motet for SSAATTBB chorus, a cappella, written in 2000, is based on a traditional Latin text and has been recorded for the Koch International Classics, Priory and Arsis labels.
The concert is free, but a freewill offering will be taken. For information, contact St. Timothy’s Church at 336-765-0294, ext. 306, or visit them at http://sttimothy.ws/. More about the Duke University Chorale at http://www.duke.edu/web/chorale/.
Locklair’s In Mystery and Wonder (The Casavant Diptych) for organ will be presented by Susan Bates, also on Sunday, February 20 – 4 PM, at First Presbyterian Church, 617 North Elm Street in Greensboro, North Carolina. This concert is sponsored by The Euterpe Club of Greensboro.
In Mystery and Wonder was written in 2004 and consists of I. Aria (God moves in a mysterious way…) and II. Toccata (…His wonders to perform…). The piece has been recorded by organist Alan Morrison for the ACA Digital label. The coming Summer, Susan Bates will be the soloist in the composer’s new Concerto for Organ and Orchestra with the EMF Orchestra and Gerard Schwarz. Other organists from throughout the Greensboro arts community will also perform.
The program is free and open to the public and will be followed by a reception. For more information, call 336-373-0445 or visit http://www.fpcgreensboro.org/.
» Subito Music Promotes Dan Locklair’s Choral Music
» Read an Association of Anglican Musicians Journal articleabout Dan Locklair
November 2010
» Chamber Music of Dan Locklair Performed on November 9 at University of North Carolina School of the Arts in Winston-Salem
Composer Dan Locklair’s Dream Steps for flute, viola and harp will be presented by the Fire Pink Trio on Tuesday, November 9 – 7:30 PM in Watson Hall at the University of North Carolina School of the Arts, 1533 South Main St. in Winston-Salem.
Faculty artists Jacquelyn Bartlett, harp, and Sheila Browne, viola, with UNCSA alumna Debra Reuter-Pivetta on flute, the Fire Pink trio (http://firepinktrio.com/) will perform an evening of music by American composers, also including works by Jan Bach, Adolphus Hailstork and Sunny Burnette.
Dream Steps was written in five movements – I. Barcaroles and Recitatives, II. Awakenings, III. Bars of Blues, IV. Ballade in Sarabande and V. Barcaroles, and has been recorded by the Mallarmé Chamber Players for Albany – Dan Locklair: Chamber Works and Capstone – Chamber Music for Harp, Flute, and Strings.
Tickets for the November 9 concert are $12 adults / $10 seniors and students. For information, call 336-734-2872 or visit http://www.uncsa.edu/performances/november.htm#FirePink
October 2010
» An Evening of Music by Dan Locklair, Including World Premiere, on October 16 at Bruton Parish Church in Williamsburg, Virginia
Composer Dan Locklair’s Arise in Beauty for SATB chorus and organ will be given its World Premiere on Saturday, October 16 – 8:00 PM at Bruton Parish Episcopal Church, on Duke of Gloucester Street in Colonial Williamsburg, Virginia, as part of An Evening of the Music of Dan Locklair. This concert is part of the Peter Pelham Series 2010-2011.
Arise in Beauty (An Anthem for SATB Chorus and Organ) is the result of a commission from the Bruton Parish Church through a gift from Carolyn Weekley in memory of her mother, Catherine Minor Weekley (1920 – 2009). Its 2009 text, by poet and retired Virginia Commonwealth University Instructor, Angier Brock, was commissioned for this anthem. Arise in Beauty was completed in November 2009 and is approximately seven minutes in length.
Other works on the program are Locklair’s Jubilate Deo (for choir, organ, brass and percussion), Phoenix Fanfare and Processional (for brass, organ and percussion), Sonata da Chiesa (for flute and organ), movements from Rubrics for organ and Constellations (A Concerto for Percussion and Organ). Performers will include the Choirs of Bruton Parish.
Tickets are $10, $5 students. For more about the October 16 concert, call 757-345-2947 or visit http://www.brutonparish.org/.
» Organ Music of Dan Locklair Performed on October 10 at Yale University in New Haven, Connecticut
Composer Dan Locklair’s Glory and Peace for solo organ will be presented by organist Thomas Murray on Sunday, October 10 – 8:00 PM at Yale University’s Woolsey Hall, corner of Grove and College Streets in New Haven, Connecticut. The program is presented by the Yale Institute of Sacred Music as part of the 2010 – 2011 season of Great Organ Music.
Glory and Peace (2008) is a suite of seven reflections for organ, inspired by George Herbert’s poem King of Glory, King of Peace. It was commissioned by the Anglican Musicians Foundation, the Los Angeles Conference Committee and the Los Angeles Chapter of the American Guild of Organists, and was premiered by Thomas Murray in June 2009 at Walt Disney Concert Hall in Los Angeles as a part of the 2009 National Conference of the Anglican Association of Musicians (AAM). Hear excerpts of the work at http://www.locklair.com/compositions/organ. Other composers on the program include Hindemith, Schumann, Weitz and Goldmark.
The October 10 concert is free and open to the public. For more information, call 203 432 5180 or visit http://www.yale.edu/ism/events/TomMurray2010.html.
Thomas Murray, concert organist and recording artist, is University Organist and Professor of Music at Yale University. Visit him at http://www.concertorganists.com/site2009/artist2.aspx?id=64.
» Organ Music of Dan Locklair Performed on October 1 at Metropolitan United Church in Toronto, Canada
Composer Dan Locklair’s Glory and Peace for solo organ will be presented by organist Thomas Murray on Friday, October 1 – 7:30 PM at Metropolitan United Church, 56 Queen Street East in Toronto, Canada. The program is presented by Music at Metropolitan and the Toronto Centre of the Royal Canadian College of Organists.
Glory and Peace (2008) is a suite of seven reflections for organ, inspired by George Herbert’s poem King of Glory, King of Peace. It was commissioned by the Anglican Musicians Foundation, the Los Angeles Conference Committee and the Los Angeles Chapter of the American Guild of Organists, and was premiered by Thomas Murray in June 2009 at Walt Disney Concert Hall in Los Angeles as a part of the 2009 National Conference of the Anglican Association of Musicians (AAM). Hear excerpts of the work.
Other composers on the program include Saint Saens, Hindemith, Widor and Schumann. The Metropolitan United Church organ is the largest in Canada and is a 5-manual Casavant.
Tickets are $20. For more about the October 1 concert, call 416-363-0331 Ext. 51 or visit http://www.metunited.org/jmvm1/.
Thomas Murray, concert organist and recording artist, is University Organist and Professor of Music at Yale University. Visit him at http://www.concertorganists.com/site2009/artist2.aspx?id=64.
June 2010
» Dan Locklair Commissioned by American Guild of Organists, Greater Greensboro, NC, Chapter for New Concerto for Organ and Orchestra
American composer Dan Locklair has been commissioned by the American Guild of Organists Greater Greensboro, North Carolina for a Concerto for Organ and Orchestra. The new work will be premiered at the June 2011 Region IV AGO Convention in Greensboro.
The composer has written the following about the new work, “My new Concerto for Organ and Orchestra is cast in three movements. Approximately twenty minutes in length, the composition is cyclic in nature with all movements being linked by that most basic of harmonic materials, the triad. Further, the 11th century plainsong melody, Divinum mysterium, is at the heart and soul of the serene middle movement. Even as the opening movement begins and ends with music of grandeur, the Concerto concludes with the highly rhythmic and driving third movement, the Toccata. I am very excited about this new concerto commission for the 2011 Region IV AGO Convention in Greensboro, North Carolina!”
April 2010
» Organ Music of Dan Locklair to Be Performed by Thomas Trotter at Petersham Festival in Great Britain on April 24
Rubrics, A Liturgical Suite for Organ by American composer Dan Locklair will be performed by Thomas Trotter, one of Britain’s finest organists, on Saturday, April 24 – 8:00 PM as part of his recital at St. Peter’s Church, Church Lane, off Petersham Road in Petersham, Surrey, England, presented by the Petersham Festival (http://www.petershamfestival.org/index.htm).
Rubrics is one of Dan Locklair’s most performed works. It consists of five movements – I. “…’Hallelujah’, has been restored…”, II. “Silence may be kept”, III. …and thanksgivings may follow.”, IV. “The Peace may be exchanged” and V. “The people respond – Amen!” It has been recorded by Mr. Trotter on his Sounds Phenomenal CD for Organ Historical Society (SHCD3), by Marilyn Keiser on Rubrics: The People Respond – Amen! for pro organo (CD 7025) and by Barbara Harbach as part of Contemporary Organ Music on Gasparo (GSCD-277).
Other composers on the April 24 program include J.S. and J.C. Bach, John Stanley and Jehan Alain. For tickets and more information, call 0844 586 7644 or visit http://www.petershamfestival.org/index.htm.
Thomas Trotter is one of Britain’s most widely admired musicians. In May 2002 he received the Royal Philharmonic Society’s prestigious Instrumentalist Award in recognition of his particular achievements in 2001 and as “one of the foremost exponents of the organist’s art”. He makes the organ one of the most warmly Romantic of instruments. His technical and musical accomplishments have played a significant role in raising the profile of the organ…” Visit him at http://www.concertorganists.com/site2009/artist2.aspx?id=73.
» Organ Music of Dan Locklair to Be Performed by Marilyn Keiser at St. Paul’s Episcopal Church in Winston-Salem, N.C. on April 16
Three works by American composer Dan Locklair, Rubrics, Celebration and In Mystery and Wonder (The Casavant Diptych), will be performed by Dr. Marilyn Keiser, one of America’s finest organists, on Friday, April 16 – 7:30 PM as part of her recital at St. Paul’s Episcopal Church, 520 Summit Street in Winston-Salem, North Carolina. This performance is presented by St. Paul’s, The University of North Carolina School of the Arts and the Winston-Salem Chapter of the American Guild of Organists.
This concert celebrates the release of The Music of Dan Locklair (LRCD-1110), a collection of some of the composer’s finest organ music, performed by Ms. Keiser. Other selections on the disk are Salem Sonata for organ, PHOENIX Processional (Solo Organ Version, and The Æolian Sonata for organ. For complete program notes about the pieces and more about the CD…
Other composers on the April 16 program include Herbert Howells, J.S. Bach, Rheinberger and Vierne. More about Marilyn Keiser…
» Chamber Music of Dan Locklair Performed at Weymouth Center in Southern Pines, North Carolina on April 11
Composer Dan Locklair’s Dream Steps, A Dance Suite for flute, harp and viola will be performed on Sunday, April 11 – 3:00 PM in the Great Room of Weymouth Center for the Arts and Humanities, 555 East Connecticut Avenue in Southern Pines, North Carolina.
Dream Steps was written in five movements – I. Barcaroles and Recitatives, II. Awakenings, III. Bars of Blues, IV. Ballade in Sarabande and V. Barcaroles, and has been recorded by the Mallarmé Chamber Players for Albany – Dan Locklair: Chamber Works and Capstone – Chamber Music for Harp, Flute, and Strings.
Other works on the program include Quartet for flute and strings by Franz Hoffmeister, Deux Poemes du Ronsard for soprano and flute by Albert Roussel, Sabina for solo viola by Andrew Norman and Exodus for soprano, violin, viola, cello, and harp by Elena Ruehr.
Performers include Ilana Davidson, soprano, Laura Gilbert, flute, Jacqui Carrasco, violin, Jonathan Bagg, viola, Elizabeth Beilman, cello and Jacquelyn Bartlett, harp.
Admission to the April 11 concert is by membership or $15 ticket. For more information, call 910-692-6261 or visit http://www.weymouthcenter.org/.
March 2010
» Choral Music of Dan Locklair Performed by Akron Symphony Chorus on March 14 in Akron, Ohio
Composer Dan Locklair’s changing perceptions, a five-movement choral cycle for SATB chorus and piano will be performed by the Akron Symphony Chorus, Hugh Ferguson Floyd conductor, as part of their Spring Concert on Sunday, March 14 – 2:00 PM at Our Lady of the Elms, 1375 Exchange Street in Akron, Ohio.
changing perceptions was commissioned and premiered in 1987 by The Choral Art Society of Portland, Maine (Dr. Robert Russell, Music Director). Created in memory of the composer’s father, changing perceptions and its accompanying Epitaph was the top prize winner of the 1989 Barlow International Composition Competition. The poetry of changing perceptions concerns issues of life and death and includes poetry by Carol Adler, from her collection, Day Lilies, and poems by Christine Teale Howes, Joy Kogawa and John G. Magee, Jr. The piece has been recorded for the Dan Locklair: Choral Music CD, with Robert Russell conducting the Choral Art Society.
Tickets for the March 14 concert are $15 each, general admission only, $7.50 for students. For tickets and information, call 330-535-8131 or visit http://www.akronsymphony.org/akron-symphony-chorus-spring-concert/. More about the Akron Symphony Chorus at http://www.akronsymphony.org/chorus/.
Loft Recordings has issued The Music of Dan Locklair (LRCD-1110), a collection of some of the composer’s finest organ music, performed by Marilyn Keiser. More about the CD. Naxos has issued Symphony of Seasons, Harp Concerto, In Memory H.H.L. and other orchestral works (CD 8.559337), performed by Kirk Trevor and the Slovak Radio Orchestra. His primary publishers are Subito Music and Ricordi (Boosey & Hawkes and Hal Leonard, U.S. agents).
Videos for Summer and Autumn from the Symphony of Seasons have been posted on YouTube.
December 2009
» Read a Journal of the Association of Anglican Musicians Article About the Choral Music of Dan Locklair
August 2009
» New South Bend Chamber Singers Pro Organo CD Features Dan Locklair’s Ave Maria
For more information…
June 2009
» World Premiere of Organ Music by Dan Locklair Performed by Thomas Murray on June 29 at Walt Disney Hall in Los Angeles
American composer Dan Locklair’s Glory and Peace (A Suite of Seven Reflections for Organ) will be performed by acclaimed organist Thomas Murray on Monday, June 29 – 8:00 PM at the spectacular Walt Disney Concert Hall, 111 South Grand Avenue in Los Angeles, California. This performance will be part of the Anglican Association of Musicians (AAM) 2009 National Conference in L.A.
The composer has written this about Glory and Peace, “With the theme of the 2009 AAM Conference being “Seven whole days, not one in seven, I will praise Thee”: Music as an iconic glimpse of Heaven from George Herbert’s, King of Glory, King of Peace, this poem served as the extra-musical stimulus for my Glory and Peace.”
“In seven movements, symbolism relating to the number “7” permeates all aspects of Glory and Peace, including its form, melodic development and its seventh-chord harmonic palette. The titles of each movement are taken from Mr. Herbert’s 17th century poem. Though none of the movements of this fourteen-minute suite are lengthy, Movements I, IV and VII are the longest and provide the girders of the composition. Movements II / III and V / VI are miniatures and represent dance movements that have traditionally been paired.”
Glory and Peace is published by Subito Music Publishing. The piece was commissioned by the AAM for their 2009 National Conference in Los Angeles. More about the conference at
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https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6972592/
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Germline gene editing and the precautionary principle
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"Julian J. Koplin",
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2020-01-13T00:00:00
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The precautionary principle aims to influence decision‐making in contexts where some activity poses uncertain but potentially grave threats. This perfectly describes the controversy surrounding germline gene editing. This article considers whether ...
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PubMed Central (PMC)
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https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6972592/
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Bioethics. 2020 Jan; 34(1): 49–59.
PMCID: PMC6972592
PMID: 31247677
Germline gene editing and the precautionary principle
, 1 , 2 * , 1 , 3 ,* and 1 , 4 ,*
Julian J. Koplin
1 Biomedical Ethics Research Group, Murdoch Children's Research Institute, Melbourne Victoria, Australia
2 Melbourne Law School, University of Melbourne, Melbourne Victoria, Australia
Find articles by Julian J. Koplin
Christopher Gyngell
1 Biomedical Ethics Research Group, Murdoch Children's Research Institute, Melbourne Victoria, Australia
3 Department of Paediatrics, University of Melbourne, Melbourne Victoria, Australia
Find articles by Christopher Gyngell
Julian Savulescu
1 Biomedical Ethics Research Group, Murdoch Children's Research Institute, Melbourne Victoria, Australia
4 Faculty of Philosophy, Oxford Uehiro Centre for Practical Ethics, Oxford United Kingdom of Great Britain and Northern Ireland
Find articles by Julian Savulescu
1 Biomedical Ethics Research Group, Murdoch Children's Research Institute, Melbourne Victoria, Australia
2 Melbourne Law School, University of Melbourne, Melbourne Victoria, Australia
3 Department of Paediatrics, University of Melbourne, Melbourne Victoria, Australia
4 Faculty of Philosophy, Oxford Uehiro Centre for Practical Ethics, Oxford United Kingdom of Great Britain and Northern Ireland
Julian J. Koplin, Email: ua.ude.bleminu@jnilpok.
Corresponding author.
*Correspondence
Julian Koplin, Melbourne Law School, University of Melbourne, Melbourne, 185 Pelham St, Carlton VIC 3053, Australia
Email: ua.ude.bleminu@jnilpok,
Copyright © 2019 The Authors Bioethics Published by John Wiley & Sons Ltd
This is an open access article under the terms of the http://creativecommons.org/licenses/by/4.0/ License, which permits use, distribution and reproduction in any medium, provided the original work is properly cited.
Abstract
The precautionary principle aims to influence decision‐making in contexts where some activity poses uncertain but potentially grave threats. This perfectly describes the controversy surrounding germline gene editing. This article considers whether the precautionary principle should influence how we weigh the risks and benefits of human germline interventions, focusing especially on the possible threats to the health of future generations. We distinguish between several existing forms of the precautionary principle, assess their plausibility and consider their implications for the ethics of germline modification. We also offer a novel form of the precautionary principle: the sufficientarian precautionary principle. Some plausible versions of the precautionary principle recommend placing somewhat greater weight on avoiding threats to future generations than on achieving short‐term benefits. However, no plausible versions of the precautionary principle entail that we should outright reject the use germline gene editing in human reproduction and some, such as the sufficientarian version, might endorse its use.
Keywords: gene editing, germline modification, precautionary principle, reproductive ethics, sufficientarianism
1. INTRODUCTION
The recent development of gene editing technologies such as CRISPR‐Cas9 has revolutionized genetic engineering. Gene editing techniques are more efficient, more precise and less expensive than older methods of genetic modification. This has opened up a range of new applications for genetic engineering, the most controversial of which is the potential to use germline gene editing (GGE) in human reproduction.
Recent events have brought the ethics of GGE to the forefront of public attention. In November 2018, He Jiankui of Shenzhen University claimed to have used CRISPR to edit the genes of twin girls, Lulu and Nana. If these claims are true, GGE has already been used in human reproduction. He's experiment has been roundly condemned, and rightly so; it is widely agreed that gene editing technologies are still too unsafe for human trials. However, while the use of GGE in human reproduction is almost definitely premature, we still need to ask whether intervening in the human germline could ever be ethically permissible. The fact that experiments with heritable GGE have apparently already been conducted suggests we will need to answer this question sooner rather than later.
The potential benefits of GGE for reproduction are threefold. In the short term, GGE may allow couples to have a genetically related child without passing on genetic disease, including circumstances where it is not possible to select an unaffected embryo using a pre‐implantation genetic diagnosis. This includes cases where individuals are homozygotes for dominant conditions like Huntington's disease, or when dominant de novo disease‐causing mutations develop in sperm or egg cells. Secondly, relative to genetic selection, GGE could improve the health of future generations by reducing the frequency of recessive genetic mutations. Even when a pre‐implantation genetic diagnosis can be used to avoid monogenic or chromosomal diseases in a couple's offspring, in some cases all available embryos may carry recessive mutations that do not cause disease but would increase the risk of disease to future generations. Alternatively, they could carry many normal alleles that are associated with higher than normal risks of common diseases (such as APOE4, which elevates the risk of Alzheimer's disease). By comparison, GGE could be used to remove all disease‐causing genes from the embryo, or genes associated with elevated risk, reducing the incidence of such diseases in the next and future generations. It would not be possible to select against such large numbers of disease‐causing or disadvantageous genes without very large numbers of embryos. Thirdly, GGE could potentially be used to endow children with ‘protective' genes that reduce the risk of common diseases such as heart disease, cancer and diabetes, potentially benefitting both the children themselves and their descendants.
Three safety risks weigh against these potential benefits. Firstly, GGE may make unintended changes to the germline through off‐target mutations that may be missed in any safety checks that are performed. The harmful effects of these off‐target mutations may not be apparent until the recipient reaches old age, and could therefore potentially reverberate across future generations. Secondly, given the limitations of our knowledge of human genetics, there is a possibility that the intended genome edits themselves may cause unanticipated harms that, again, might reverberate across future generations. Thirdly, genetic variants used to decrease risk for some diseases may inadvertently increase risks for others, potentially rendering the recipients of these changes (and their descendants) vulnerable to future health threats.
These three risks are widely seen an important reason against pursuing GGE for the prevention of disease, and indeed are sometimes taken as a reason to reject GGE outright. In a widely cited commentary in Nature, Lanphier and colleagues argue that GGE is ‘dangerous and ethically unacceptable' because germline changes ‘could have unpredictable effects on future generations'. Baltimore and colleagues, writing in Science, likewise discourage GGE because of the potential for harmful unintended consequences, especially those that might occur across generations. Similarly, in explaining the US National Institutes of Health's decision not fund GGE research, Francis Collins has noted that GGE poses ‘serious and unquantifiable safety issues'. Although CRISPR‐Cas9 may be a new technology, these concerns over GGE are not. Over 15 years ago, Annas and colleagues argued for an international ban on human germline modification, partly on the ground that such modifications could endanger the human species.
What should we make of GGE's risks to future generations? The mere fact that there are risks does not show that we should reject GGE tout court, for it is sometimes worth taking a risky course of action if the potential benefits are great enough – and in the case of GGE, the potential benefits are significant. It might be thought that the risks entailed by GGE are incalculably greater than the potential benefits because these risks, if realized, affect an indefinite number of future generations. However, even bracketing general concerns regarding this style of argument, the fact that the potential harms of GGE would affect an indefinitely large number of generations does not show that these risks necessarily outweigh the benefits. This is because some of the benefits of GGE – such as the promotion of health – would also affect an indefinite number of future generations. It might be thought that the risks to future generations are especially weighty because these future generations did not consent to having these risks imposed on them. However, future generations are also unable to consent to any of the myriad decisions we routinely make that affect the world future generations will be born into and the genes they will inherit. Finally – and perhaps most promisingly – it might be thought that because GGE impose serious and difficult‐to‐predict risks, it would be ruled out by (some plausible version of) the precautionary principle.
This article considers what role, if any, the precautionary principle should play in our ethical evaluation of GGE. We first distinguish negative precautionary principles (that reject certain kinds of arguments against precautionary policies) and positive precautionary principles (that prescribe rules for decision‐making in the face of potentially grave threats). We then trace the implications of various plausible versions of the precautionary principle for the use of GGE in human reproduction. Existing work on this topic tends to assume that the precautionary principle would either weigh GGE or rule it out altogether. We argue that this conclusion is too quick. There are unresolved questions about how the various plausible versions of the precautionary principle should be applied to GGE. There are also unresolved questions about whether we ought to take greater precaution against the risks entailed by GGE or the risks entailed by failing to pursue GGE. The precautionary principle, then, may have a legitimate role to play in our ethical evaluation of GGE. But exactly what position it would support remains to be seen.
2. VARIETIES OF PRECAUTIONARY PRINCIPLES
It is difficult to offer a precise definition of the precautionary principle as many different versions of it exist. The differences between these versions can be radical. The precautionary principle has been conceptualized as a rule of choice intended to help us select the best course of action, as an epistemic rule intended to guide only our beliefs and as a procedural requirement specifying processes that policymakers should follow when making risky decisions. We treat the precautionary principle as a rule of choice. This is consistent with how the precautionary principle tends to be applied in the bioethics literature. This is also the version of the precautionary principle that is most relevant to the motivating question of this article; i.e. how should we weigh the risks and benefits of human germline interventions?
Even restricting our analysis to the precautionary principle as a rule of choice, the precautionary principle can take many different forms. A distinction is commonly drawn between weak and strong forms of the precautionary principle. We draw a parallel distinction between negative and positive precautionary principles. This distinction runs as follows:
Negative precautionary principle. When an activity may cause harm we should not abstain from taking precautionary action because we lack certainty that the activity in question would cause harm.
Positive precautionary principle. We should take (some form of) precautionary action against activities that may cause (some kinds of) harm.
Negative versions of the precautionary principle do not make positive claims about when precautionary action should be taken; they merely reject one possible reason against taking precautionary action. By contrast, positive precautionary principles require decision‐makers to take certain kinds of precautionary measures against certain kinds of threats. Positive versions of the precautionary principle can range from being extremely demanding to being extremely undemanding, depending on what kinds of threats are thought to trigger the principle, what kinds of remedies are prescribed and how strongly these remedies are recommended. Consider the following two hypothetical positive precautionary principles:
Strong positive precautionary principle. One must take extensive precautionary action to eliminate fully any potential threats to human well‐being, regardless of the costs of the precautionary action, the likelihood that the threat would eventuate and the degree of harm posed by the threat.
Weak positive precautionary principle. One should consider taking some minimal precautionary actions against catastrophic threats to human well‐being that are highly likely to eventuate.
Both the above precautionary principles are positive. However, where the first demands that extensive precautionary measures be taken under an extremely broad range of conditions, the second lightly recommends taking undemanding precautionary measures against only the most serious of hazards (as we presumably already do as a matter of course). The first positive precautionary principle is implausibly strong, whereas the second is unhelpfully weak. It is nonetheless possible that some moderate positive precautionary principle may provide a useful guide to decision‐making.
Some – although not all – forms of the precautionary principle also make explicit reference to the burden of proof. Such versions of the precautionary principle generally require those advocating potentially hazardous activities to prove that the activity is (sufficiently) safe to be allowed; the corollary is that advocates of precautionary measures need not prove the activity is hazardous before implementing precautionary measures. We do not specifically address burden of proof requirements in this article. On one view, which we find convincing, burden of proof requirements are merely an instrumental means of achieving the precautionary principle's underlying normative goals – for example, to place greater weight on avoiding some kinds of outcomes than on others.
In what follows, we consider whether negative and positive versions of the precautionary principle should influence how we weigh the risks and benefits of GGE. We conclude that the precautionary principle does have a legitimate role to play in ethical analyses of GGE, although this role is less straightforward than many might expect. We reach two main conclusions: that no plausible version of the precautionary principle entails that we should reject outright the use GGE in human reproduction and that the precautionary principle can nonetheless help shape the developmental trajectory of GGE by encouraging some applications over others.
3. NEGATIVE PRECAUTIONARY PRINCIPLES
As described above, negative versions of the precautionary principle do not directly recommend any particular approach to decision‐making, but instead hold that certain kinds of arguments against precautionary measures should be rejected. Principle 15 of the Rio Declaration provides a canonical example. It asserts the following regarding possible threats to the environment:
[L]ack of full scientific certainty shall not be used as a reason for postponing cost‐effective measures to prevent environmental degradation. (Article 15 of the 1992 Rio Declaration on Environment and Development)
This version of the precautionary principle rejects a particular kind of argument against precautionary action: that because the existence of a particular threat has not been proven to a very high standard of evidence (i.e. full scientific certainty), we should not take precautionary measures against this threat. While the Rio Declaration's version of the precautionary principle focuses on threats of environmental degradation, it can just as easily be applied to threats to human health.
Although the Rio Declaration's precautionary principle has attracted criticism, these criticisms seem to conflate the Declaration's minimal negative version of the precautionary principle with a much stronger positive version of the precautionary principle. The Rio Declaration's precautionary principle is sound. Scientific certainty should not be a necessary condition for cost‐effective regulatory action against threats to the environment or to human health. It would be irrational not to take any action against potential threats whenever we lack full certainty that the anticipated harm will occur. Full certainty is virtually never achieved.
It is sometimes argued that negative versions of the precautionary principle are vacuous, in that they recommend rejecting arguments that it is already clear we ought to reject. While negative versions of the precautionary principle may be philosophically vacuous, they can nonetheless be pragmatically useful in policy debates. The history of regulatory (in)action against threats posed by lead, asbestos, cigarette smoke and greenhouse gas emissions – among other examples – shows that scientific uncertainty sometimes does forestall effective regulatory action against highly salient threats to the environment and public health, especially when this uncertainty is leveraged by interest groups opposed to tighter government regulation. Negative versions of the precautionary principle may therefore have a legitimate role to play in contexts where less‐than‐certain threats are liable to the overlooked.
Although sometimes pragmatically useful, the negative precautionary principle has little to contribute to the topic of GGE. The negative precautionary principle would serve to reject the following claim: that we should allow GGE unless threats to future generations are established to the level of full scientific certainty. This is not a particularly useful contribution to the debate, as few (if any) commentators have actually made this kind of claim. Instead, the current debate focuses largely on whether heritable germline modification should be rejected outright – as is currently the case in many jurisdictions – or conversely, whether we should allow some forms of germline modification once the technology has met some appropriate threshold for safety. Almost every major group, organizational and government statement favouring GGE has emphasized that safety and efficacy issues will need to be resolved before GGE is used in human reproduction. There seems to be little danger of the potential risks of GGE being excluded from consideration.
It is worth reiterating that the scope of the negative precautionary principle is very narrow. It serves only to reject the requirement that we are fully certain that a threat exists before enacting precautionary measures. The negative precautionary principle does not entail that we require absolute certainty that GGE is safe before modifying the human germline. Indeed, the negative precautionary principle does not prescribe any specific method for weighing the possible costs and benefits of GGE. For this, we would need to turn to the positive precautionary principle.
4. POSITIVE PRECAUTIONARY PRINCIPLES
Unlike negative precautionary principles, positive precautionary principles prescribe a specific approach to decision‐making when we face threats to human health or the environment. Both the kind of threats that trigger such versions of the precautionary principle and the prescribed regulatory response can vary depending on how the principle is fleshed out; accordingly, positive precautionary principles can take a huge variety of forms. However, one common feature of positive precautionary principles is that they are generally understood in opposition to standard cost‐benefit analyses. A standard cost‐benefit analysis recommends that we take whichever course of action has the highest expected utility (which can be defined, roughly, as the sum of the various costs and benefits associated with that course of action, adjusted for the probability these costs and benefits will be realized). Positive precautionary principles recommend that we replace or supplement cost‐benefit analyses with a more explicitly precautionary approach to risk management. The key question, then, is whether such a departure from a cost‐benefit analysis can be justified.
Positive precautionary principles have been criticized on two grounds: for being unreasonably conservative and for being fundamentally incoherent. We explore both criticisms below. We then outline some positive precautionary principles that are not vulnerable to these objections. In what follows we refer to positive precautionary principles simply as ‘the precautionary principle' or ‘precautionary principles'; we continue to refer to negative precautionary principles as such.
4.1. THE CONSERVATIVISM OBJECTION
The conservativism objection holds that the precautionary principle undermines human well‐being by placing too high a barrier on technological progress. One version of the conservativism objection holds that human well‐being is better served by existing forms of cost‐benefit analysis; another holds that we should replace the precautionary principle with a ‘proactionary principle' that privileges the protection of industry's freedom to innovate over the avoidance of risks posed by technological progress. Both versions of the conservativism objection reject the precautionary principle on the grounds that it is unreasonably conservative.
This criticism is not fundamental to the precautionary principle. The complaint here seems to be that proponents of precautionary principles place too much weight on avoiding one set of risks (for example, the risk of environmental degradation) relative to another set of risks (for example, the risk of lost gains caused by rejecting potentially beneficial technologies). Yet neither the precautionary principle in general nor the specific versions critiqued by these authors requires that we privilege the risks associated with novel technologies over risks associated with government regulation. Consider the 1988 Wingspread Statement, which has been criticized by many of the above authors for being unreasonably conservative:
When an activity raises threats of harm to the environment or human health, precautionary measures should be taken even if some cause and effect relationships are not fully established scientifically.[…] The process of applying the precautionary principle must […] involve an examination of the full range of alternatives, including no action.
For a stronger positive precautionary principle, consider the ‘Final Declaration of the First European “Seas at Risk” Conference, 1994:
If the ‘worst case scenario' for a certain activity is serious enough then even a small amount of doubt as to the safety of that activity is sufficient to stop it taking place.
In principle, these formulations of the precautionary principle could be applied to both the risks associated with the current status quo and the risks associated with government regulation. Indeed, the Wingspread Statement explicitly stipulates that policymakers examine the full range of policy alternatives (including no action); the threat of lost gains could easily form part of this deliberation. Moreover, if a prohibition or moratorium on some potentially beneficial technology threatens the environment or human health, these precautionary measures could themselves be criticized using the precautionary principle. The conservativism objection, then, does not amount to a complaint about the precautionary principle per se but is rather a complaint about the biased way that the principle's opponents believe it tends to be applied.
There is, however, a potential problem with this response to the conservativism objection. One might think that applying the principle to every possible course of action (including precautionary measures themselves) would either result in the precautionary principle sometimes blocking every option available to us (rendering the principle incoherent) or cause the precautionary principle to collapse into standard cost‐benefit analyses (rendering the principle superfluous). We consider both concerns in the following section.
4.2. THE INCOHERENCE AND SUPERFLUITY OBJECTIONS
The most serious criticism of the precautionary principles holds that it will give conflicting guidance if consistently applied, rendering the principle incoherent. The incoherence objection is most commonly levelled against strong positive versions of the precautionary principles. Sunstein, for example, focuses his criticisms on a hypothetical version of the precautionary principle that requires us to abstain from courses of action that pose threats to health, safety, or the environment, regardless of the costs of precautionary action or the likelihood that the harm will eventuate. Sunstein charges that the precautionary principle (so understood) is incoherent, as it will often rule out every possible course of action. For example, it is likely that if we fail to reduce greenhouse gas emissions, climate change will contribute to a significant number of deaths by the end of the century. This is a serious harm and so should trigger the precautionary principle. At the same time, it is possible that reducing emissions will cause social and economic changes that reduce the well‐being of many people. This would also constitute serious harm and so should also trigger Sunstein's precautionary principle. The precautionary principle (so understood) thus entails – paradoxically – both that we should reduce greenhouse gas emissions and that we should abstain from reducing them. For Sunstein, then, the precautionary principle should be rejected not because it ‘leads in bad directions, but because read for all it is worth, it leads in no direction at all'.
The incoherence objection holds even if one narrows the scope of the precautionary principle to apply to only a small set of threats. Consider, for example, anti‐catastrophe versions of the precautionary principle, which only preclude courses of action that pose plausible threats of catastrophic harm. Narrowing the precautionary principle in this way does not resolve the incoherence objection, for in some contexts taking precautionary measures against threats of catastrophic harm may also carry the threat of catastrophic harm. For example, while the current trajectory of climate change is likely to cause catastrophic harms, one could also speculate that sharply reducing emissions could also cause catastrophic harms ‐ for example, if the economic sacrifices required to reduce emissions contribute to political destabilization, thereby increasing the risk of devastating nuclear war. Assuming both scenarios are plausible, both would be disallowed under anti‐catastrophe versions of the precautionary principle. Even if the anti‐catastrophe principle would not have paradoxical implications in this specific context (because, for example, the threat of nuclear war is not sufficiently plausible to trigger the anti‐catastrophe principle), there are presumably at least some contexts where anti‐catastrophe principles would foreclose all possible courses of action, rendering the principle incoherent.
Can the paradoxical implications of the precautionary principle be addressed short of rejecting the principle itself? One strategy might be to specify that we should undertake only the precautionary measures that can be justified using standard cost‐benefit analyses. Some proponents of the precautionary principle have taken this approach. For example:
Where there are significant risks of damage to the public health, we should be prepared to take action to diminish those risks, even when the scientific knowledge is not conclusive, if the balance of likely costs and benefits justifies it.
Narrow versions of the precautionary principle such as the anti‐catastrophe principle could likewise be amended to specify that any precautionary measures taken against catastrophic harms should be consistent with a cost‐benefit analysis. Does this provide an adequate response to the incoherence objection?
It does not. Although such versions of the precautionary principle sidestep the incoherence objection, this comes at a steep cost. The suggestion that we apply a standard cost‐benefit analysis would seem to obviate the need for the precautionary principle in the first place – for if the precautionary principle ultimately just prescribes a standard cost‐benefit analysis, we might as well call for a cost‐benefit analysis directly. If the precautionary principle is to make a distinct contribution to bioethical debates – including the debate on GGE – it should justify some departure from standard cost‐benefit analyses. What is needed, then, is a plausible rationale for placing extra weight on specific kinds of risks when we decide what course of action we should take. The remainder of this article outlines and evaluates specific versions of the precautionary principle that might be able to justify such a departure from cost‐benefit analysis.
5. TAKING PRECAUTIONS TO CORRECT FOR BIAS
One justification for the precautionary principle holds that it may provide a valuable tool to counteract cognitive biases. The field of behavioural psychology provides compelling evidence that our cognitive processes are vulnerable to a range of predictable biases, leading to predictable errors in judgement. This suggests a potential role for the precautionary principle: to correct for our cognitive bias by placing extra weight on the avoidance of threats that we are liable to undervalue. For example, Dana argues that two cognitive biases contribute to widespread reluctance to take serious action against climate change: an irrational tendency to weigh certain costs (such as higher energy bills) more heavily than uncertain costs (such as possible catastrophes associated with runaway climate change) and an irrational tendency greatly undervalue harms we would incur far in the future compared with harms we would incur in the present. On Dana's view, the precautionary principle could help counteract these tendencies. The trick would be to develop a version of the precautionary principle that artificially places enough extra weight on avoiding threats we are prone to undervalue, thereby cancelling out forms of human irrationality that would otherwise go unchecked.
If our attitudes towards GGE are skewed by irrational biases, then it might make sense to try to counterbalance such biases via some suitably designed version of the precautionary principle. The difficulty, however, is that many cognitive biases could plausibly influence our views on germline modification, and not all of them would necessarily weigh in the same direction. For example, the familiarity bias – i.e. a tendency to be more worried by unfamiliar risks than familiar ones – might cause us to be unduly worried by the novel threats posed by GGE. Similarly, according to status quo bias there is likely to be a bias against GGE, as the weight of current opinion is against its use. On the other hand, temporal myopia – i.e. the tendency to discount greatly the long‐term effects of our decisions relative to short‐term effects – might lead us to place undue weight on the short‐term benefits of GGE (for example, in opening up new reproductive options) relative to potential harms that might befall future generations. Pending further analysis, it is unclear whether the various cognitive biases to which we are susceptible would cumulatively weigh for or against germline modification and therefore it is also unclear what role (if any) exists for a bias‐corrective precautionary principle.
6. TAKING PRECAUTIONS AGAINST VIOLATIONS OF NEGATIVE DUTIES
Weckert and Moor defend a version of the precautionary principle that places greater weight on the goal of avoiding threats of harm relative to the goal of achieving possible benefits. They point out that negative duties not to inflict harm are generally considered more stringent than positive duties to do good. One standard example holds that it is usually considered worse to drown a child than to fail to save a child that happens to be drowning. By extension – and pace standard cost‐benefit analysis – if we are trying to decide whether to embark on a risky course of action, the risk that we will harm others through our actions should loom especially large. Accordingly, Weckert and Moor suggest that we should not simply choose the course of action with the highest expected utility, but instead place extra weight on avoiding violations of our negative duties towards others.
Three caveats are in order. Firstly, Weckert and Moor's version of the precautionary principle relies on there actually being some moral distinction between positive and negative duties. However, this distinction is controversial. Secondly, even if positive duties do generally outweigh negative duties, we would still need to determine how much extra weight we should place on avoiding threats of harm relative to pursuing possible benefits. Thirdly, applying Weckert and Moor's version of the precautionary principle to reproductive technologies (such as GGE) may raise the non‐identity problem, as the potential harms of employing such technologies are likely to fall on people who would not have existed if these technologies had not been employed. Briefly, the non‐identity problem points towards the difficulty of explaining why it is wrong to bring people into existence who will experience harm if (a) the harm is not so bad that it renders life not worth living, and (b) this harm could be avoided only by bringing a different person into existence instead. Although some argue that we have a negative duty against inflicting the kind of non‐person‐affecting harms described by the non‐identity problem, there is no consensus on this point. All three issues would need to be resolved before Weckert and Moor's version of the precautionary principle can be applied to GGE.
7. TAKING PRECAUTIONS AGAINST POORLY UNDERSTOOD RISKS
Ordinary cost‐benefit analysis is designed to deal with situations where the probabilities of various outcomes are well understood. However, we may not always know what threats are posed by a potentially hazardous activity or we may lack an adequate basis from which to estimate the likelihood that particular threats will eventuate. Such circumstances pose a serious challenge for cost‐benefit analysis, as such analysis requires that we can at least estimate the expected utility of the various courses of action open to us. One version of the precautionary principle known as the ‘Rawlsian core precautionary principle' (RCPP) is designed to deal with precisely those contexts where we cannot assign probabilities to the possible outcomes of our actions and where cost‐benefit analysis is therefore unfeasible or highly unreliable.
The RCCP, as defined by Gardiner, species a set of circumstances in which we should follow a Maximin decision‐making rule, according to which we should choose the course of action with the least bad worst‐case scenario. Although Gardiner does not recommend the maximin principle as a general‐purpose decision rule, he does recommends following the maximin principle when the following conditions are jointly met: (a) there is a plausible threat of significant harm, (b) decision‐makers lack reliable information about the probabilities of the possible outcomes of their actions, and (c) we are relatively indifferent towards the potential gains we would forgo by following the maximin strategy (at least compared with the risks that the Maximin strategy would avert).
The RCPP sidesteps the incoherence objection by clearly recommending just one of the available policy alternatives: that which has the least bad worst‐case outcome. Moreover, in addition to being intuitively plausible, the idea that we should follow the Maximin principle under the sorts of circumstances outlined by the RCPP already plays a well‐established role in political philosophy. Notably, however, the RCPP can provide guidance only in scenarios where the probabilities of harm or benefit are highly uncertain; it is not equipped to deal with scenarios where probabilities are relatively clear. So while the RCPP may be applicable to GGE while the risks remain uncertain and unquantified, the RCPP will become increasing irrelevant as future research improves our ability to anticipate the risks and benefits of GGE. If we want to replace cost‐benefit analysis with something more explicitly precautionary – and not just adopt the precautionary principle in contexts where a cost‐benefit analysis cannot be applied – we will need to turn to some other variety of the precautionary principle.
Firstly, however, it is worth explaining why the Maximin principle (and therefore the RCPP) should not be followed when we can assign probabilities to the possible outcomes of our actions: because the Maximin principle is implausibly loss‐averse in such contexts. Imagine that states of affairs can vary from 0 units of health (death) to 100 units. X is at level 10. If intervention GE* is employed, there is a 1% chance of losing 1 unit of welfare but a 99% chance of gaining 90, that is, achieving perfect health. Such a risk is almost certainly worth taking, even though maximizing the minimum entails doing nothing. To follow the Maximin principle in this context would give too much priority to the worst‐case scenario.
8. A SUFFICIENTARIAN PRECAUTIONARY PRINCIPLE
In line with sufficientarianism in distributive justice, we can conceive of a sufficientarian precautionary principle (SPP). According to sufficientarianism we should choose that option that has most people (or provides the greatest chance to be) above the level of a sufficiency threshold, or a ‘fair go'. According to the SPP we should take precautions against threats to achieving or maintaining a sufficient level of well‐being. The SPP will sometimes recommend the same kinds of measures recommended by other versions of the precautionary principle, which include bans, moratoria, premarket testing or requests for extra scientific information before proceeding on a potentially dangerous course of action.
As in the previous example, imagine lives vary from 0–100 units and 80 represents the threshold for a decent life, one that is sufficiently good or that constitutes a fair go. According to sufficientarianism, we should distribute resources to bring as many people as possible who are below the sufficiency level (80) above it. According to the SPP we should avoid options which put (or risk putting) more people below the sufficiency level.
Imagine X is at 95 units. GE** has a 99% chance of raising X to 100, but a 1% chance of killing her. SPP requires we avoid GE**, for it is not worth even a small chance of death when one is doing so well. A standard cost‐benefit analysis would require employing GE** as the expected utility of doing nothing is 95 versus 99 of employing the intervention. But this is arguably too insensitive to low risks of large losses – we stand to lose too much to employ gene editing in this circumstance.
But now compare X with Y, who is at 50 units. There is a 99% chance of raising Y to 100 with GE***, but a 1% chance of killing her. In this case, the intervention may be worth trying. Indeed, according to SPP, we should employ GE*** in this circumstance.
The SPP, then, would place especial weight on avoiding threats that would place people below a sufficient level of well‐being. On this view, GGE might be worth undertaking when the level of well‐being without intervention is low. This is most likely to be the case when GGE is used to correct catastrophic genetic abnormalities.
Is the SPP properly understood as a version of the precautionary principle? Admittedly, it adopts a non‐traditional threshold for taking precautionary action. Where other versions of the precautionary principle commonly recommend taking precautionary action against threats of serious, catastrophic or irreversible harm, the SPP recommends taking precautionary action against threats to achieving or maintaining a sufficient level of well‐being. However, like other versions of the precautionary principle, the SPP calls us to depart from a standard cost‐benefit analysis when we face particular kinds of risks or threats. This kind of departure from standard cost‐benefit analyses is arguably the defining feature of positive versions of the precautionary principle, which, in our view is sufficient to render the SPP a version of the precautionary principle.
9. TAKING PRECAUTIONS TO PROMOTE HEALTH SECURITY
Standard cost‐benefit analyses recommend taking the course of action with the highest expected utility (i.e. the weighted average of the utilities of each possible outcome). It is insensitive to the degree of variance among the possible outcomes of our actions; an option that could cause either great benefit or catastrophic harm may have the same expected utility as an option that could cause (at best) a slight benefit or (at worst) slight harm. This risk insensitivity is arguably problematic, as we may have moral reason to prefer policies that minimize grave risks to public health independently of these risks' contribution to expected utility.
There are at least two possible reasons why it might be reasonable to be risk averse with respect to public health. Firstly, health security may be intrinsically valuable. Consider the following scenario, which arguably provides some intuitive grounds to think that health security matters for its own sake:
If two (possible) societies/worlds are exactly similar […] except that one of the societies/worlds is highly vulnerable in a way that the other is not (imagine that, for example, unbeknownst to the inhabitants, the former is surrounded by meteors that might, as a result of random chance, impact and destroy it at any moment, while the latter is not threatened by such meteors), then it might be reasonable to think the latter is a(n intrinsically) better society/world (even if the disaster in question never eventuates).
Following Selgelid, if we believe ex post that the second world was better off than the first (even though the disaster never eventuated), then we appear to value security for its own sake. And if we are right to hold that security is intrinsically valuable, then we ought to be at least somewhat risk averse when making decisions that affect public health. This is because gambling with public health would undermine something of intrinsic value (i.e. health security), even if this gamble is neutral with respect to expected utility.
Secondly, health security may be instrumentally valuable. This is because grave risks to population health can undermine policymakers' ability to plan for the future. The more insecure the future health and life expectancy of the population becomes, the more difficult it will be to anticipate the population's future health needs or predict the effects of social and economic policies. To take a simple example, it would be difficult to develop policies that anticipate a population's future health needs if there is a significant chance that life expectancy could either increase or drop precipitously in the coming years. Because threats to public health undermine social planning, we have instrumental reasons to prefer less risky policies to highly risky ones.
If health security is intrinsically and/or instrumentally valuable, then we should not make decisions that could affect public health purely by choosing the option with the highest expected utility. Instead, we ought to place some independent weight on avoiding significant threats to health security (above and beyond these threats' negative contribution to expected utility). This weighting of security is captured by some existing versions of the precautionary principle aimed at reducing risks of losses that could be much larger than the potential gains. This weighting of security is also largely captured by the SPP described above, which places extra weight on avoiding threats that would cause individuals to fall below some sufficient level of well‐being.
In the context of GGE, a risk‐aversive precautionary principle entails that we should consider not only whether GGE would promote expected utility, but also the impact of GGE on health security. In other words, we should be sensitive not only to the expected value of pursuing (or not pursuing) GGE, but also to the magnitude of the potential harms we would risk by taking this course of action. On the face of it, a concern for health security might seem to weigh against GGE, given the potential harms GGE may pose to future generations. In the following section of this article we show why this might not be the case.
10. A GENERAL CHALLENGE FOR PRECAUTIONARY APPROACHES TO GGE
In our view, the above versions of the precautionary principle are not vulnerable to the standard objections to positive precautionary principles. They are not unduly conservative, they differ meaningfully from standard cost‐benefit analyses and, if properly applied, they do not lead to paradoxical conclusions. This is not to say that these forms of the precautionary principle are above question. However, given their prima facie plausibility, at a minimum they warrant further analysis
In this section, we want to draw attention to a general difficulty associated with applying the precautionary principle in the context of GGE. It might seem that insofar as GGE carries plausible and significant risks to future generations, most plausible versions of the precautionary principle would weigh against pursuing GGE. This is not necessarily the case, as failing to pursue GGE may also carry plausible and significant risks to future generations.
As described at the beginning of the article, one possible application of GGE is to eradicate recessive mutations and disease‐predisposing alleles. This would significantly improve the health of future generations; correspondingly, failing to use GGE for these purposes might indirectly threaten the health of future generations. In addition, consider a more direct argument for GGE, based on an argument recently advanced by Russell Powell: that unless we engage in GGE the population's genetic health will gradually decline, leaving future generations increasingly reliant on conventional medical technology. This is because (Powell argues) advances in conventional medicine have largely freed humankind from the pressures of natural selection, thereby leaving the human gene pool vulnerable to the accumulation of deleterious mutations. The risks of failing to engage in GGE are twofold. Firstly, future generations may need to dedicate substantial resources to correct for their poor state of genetic health, thereby tying up resources that could have been used to promote human well‐being in other ways. Secondly, as future generations become increasingly dependent on medical technology to achieve current levels of well‐being, they will also become increasingly vulnerable to catastrophic harm should conventional medicines become less readily available – for example, during a hypothetical future period of economic and political collapse. On Powell's view, GGE presents a valuable means of maintaining current levels of genetic health and shielding future generations from potentially catastrophic threats to their well‐being.
If Powell's analysis is correct, pursuing and failing to pursue GGE carry the sort of risks that might trigger (most of) the above precautionary principles. Both courses of action carry an extremely bad worst‐case scenario; both threaten to render public health less secure; both might cause people to fall below a sufficient level of well‐being; and both plausibly violate negative obligations to future generations. Viewed this way, the precautionary principles discussed in this article do not provide any clear guidance on whether GGE should be carried out.
In saying this, we are not making the well‐worn point that the precautionary principle can often be deployed both for and against the same policy. Although some versions of the precautionary principle can be used this way, these versions of the principle are vulnerable to the incoherence objection described earlier in this article and should therefore be rejected. Our argument is that the risks of pursuing and failing to pursue GGE seem largely symmetrical, which makes it practically difficult to determine what course of action the precautionary principle would ultimately recommend. It is therefore an open question whether the precautionary principle would weigh against GGE or whether it might (contrary to most commentators' expectations) actually support GGE.
This is partly due to our limited understanding of the risks of GGE. As gene editing technologies are developed further it will become more possible to quantify the relevant risks, which may determine the appropriate way to deploy the precautionary principle. For example, the risks associated with off‐target mutations will become better understood as gene editing becomes more widely used in different cell types. The risks of on‐target mutations will become better understood as we understand more about genetics and genotype‐phenotype relation. The risks of accumulating germline mutations due to modern medicine could be better quantified using intergenerational studies to look at the rate at which mutations are actually accumulating and where in the genome they are accumulating. Therefore, although it is currently difficult to apply most versions of the precautionary principle to GGE, this is partly due to epistemic limitations that may be overcome in coming years.
Furthermore, the precautionary principle does offer relatively clear guidance on one point: prima facie, precautionary principles provide reasons to prefer some applications of GGE over others. Specifically, the precautionary principles described in this article provide a reason to favour GGE research focused on maintaining genetic health, enhancing the human species' long‐term viability or negating existential risks over research aimed at modifying cosmetic traits and perhaps also over research aimed at promoting health beyond some sufficiently high level of well‐being. The latter practices – but not the former – would expose future generations to unbalanced long‐term risks of harm in exchange for short‐term benefits.
11. CONCLUSION
The precautionary principle aims to influence decision‐making in contexts where some human activity poses uncertain but potentially grave threats. This perfectly describes the controversy surrounding GGE. It is therefore surprising that the precautionary principle has received relatively little attention in the bioethics literature on gene editing. Where the precautionary principle has been discussed, it is generally assumed with minimal analysis that this principle would weigh against human germline modification and perhaps even rule it out altogether.
We hope to have provided a more detailed sketch of the significance of different kinds of precautionary principle for GGE. We have argued that, while negative precautionary principles can be pragmatically useful in some contexts, they have little to contribute to the policy debate surrounding reproductive GGE. Positive precautionary principles are more closely relevant. Positive precautionary principles recommend placing especial weight on avoiding certain kinds of threats, such as threats we are cognitively primed to undervalue, threats that are poorly understood, threats to the achievement of a sufficient level of well‐being and threats to health security. While it is difficult to derive any straightforward policy recommendations from these positive versions of the precautionary principle, plausible versions of it would endorse GGE in at least some contexts – in particular, contexts where GGE could be used to correct otherwise catastrophic genetic mutations and/or to promote the long‐term robustness of human populations. Given that the precautionary principle is generally deployed against GGE, we think this is an important insight.
Much work remains to be done before the precautionary principle can yield concrete recommendations regarding GGE. We nonetheless hope to have made some headway in this article by showing that the precautionary principle should not be rejected outright, clarifying what role it might be able to play and drawing attention to some of the key questions that still need to be resolved.
Biographies
•
Julian Koplin is a Research Fellow in Biomedical Ethics at Melbourne law School and the Murdoch Children's Research Institute. He has a broad range of research interests across the field of philosophical bioethics. Julian was awarded his PhD in bioethics from Monash University in 2017.
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Christopher Gyngell is a Research Fellow in Biomedical Ethics at the Murdoch Children Research Institute and the University of Melbourne. His research interests lie primarily in the ethical implications of biotechnologies and the philosophy of health and disease. Chris was awarded his PhD in Philosophy from the Australian National University in 2015. Before undertaking his PhD, Chris completed a Master's degree in Applied Ethics and an honours degree in Genetics.
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Julian Savulescu is Uehiro Chair in Practical Ethics, Director, Oxford Uehiro Centre for Practical Ethics, Co‐Director, Wellcome Centre for Ethics and Humanities at the University of Oxford. He is Visiting Professor in Biomedical Ethics, Murdoch Children's Research Institute, where he directs the Biomedical Ethics Research Group and Distinguished Visiting Professor in Law, Melbourne University.
Notes
Koplin JJ, Gyngell C, Savulescu J. Germline gene editing and the precautionary principle. Bioethics. 2020;34:49–59. 10.1111/bioe.12609 [PMC free article] [PubMed] [CrossRef] [Google Scholar]
Funding information
JK, CG and JS are funded through their involvement with the Murdoch Children's Research Institute and received funding from the Victorian State Government through the Operational Infrastructure Support Program. JS received funding through the Wellcome Trust (WT203132/Z/16/Z).
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The Year 1905 in Film: The Debuts of Max Linder, China, Republic of Macedonia and Slovenia
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2022-08-02T21:30:27+00:00
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A review of significant events in the year 1905 in film and profiles of the principle players behind them. Includes a YouTube playlist.
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Films by the Year
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https://filmsbytheyear.com/the-year-1905-in-film/
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This is a work in progress as I am still researching the year 1905 in film. I’ve added 350 films to my index so far whereas IMDb has 1,705 entries. I think I may have, however, found most of the surviving films. Conclusions drawn will be based on the data I’ve gathered so far and this article will be revised as my research continues.
Out of those 350 films, 132 were released in France, and 57 of those by Pathé frères, the leading film production company worldwide in the early 20th century. There are 26 films released by Georges Méliès, 11 from the Lumière Brothers, their final year of film production, and 37 by Gaumont, 32 of which were filmed in 1904 in Yunnanfu (today Kunming), China by Auguste François, consul, photographer and amateur ethnographer, thanks to a movie camera made available by Léon Gaumont. So far the USA is ahead with 158 films, 27 of which were released by the Edison company and 104 by American Mutoscope & Biograph. The remaining films were released by Paley & Steiner, their final year of film production, Siegmund Lubin, Vitagraph, the Miles Brothers and Walter G. Chase.
There are 27 films from the UK which seems to have had the largest number of film production companies in 1905 including the Charles Urban Trading Company, the Williamson Kinematograph Company, the Hepworth Manufacturing Company, William Haggar and Sons, the Sheffield Photo Company, the Warwick Trading Company, Pathé Frères Cinema (the British division of Pathé frères), Paul’s Animatograph Works, Mitchell & Kenyon and the Clarendon Film Company.
There are 23 films from the Manaki Brothers which are the first films produced in the Republic of Macedonia and one from China, the first Chinese film production. Slovenian cinema also began in 1905 with one film. So far I have one film from Italy, one from Netherlands, one from Germany, three from Spain, one from Poland and one from Sweden.
My YouTube playlist contains 225 films, 6 of those are incomplete, Walter Chase’s nine scientific films of epileptic seizures have been combined into one video. Of the remaining 124 films in my index one film can’t be uploaded to YouTube due to nudity but may be viewed on pCloud here. One, La Confession (Pathé) can be found on the Lobster Films DVD, Retour de flamme, Vol. 6, which I don’t have a copy of. Another may only be viewed on BFI Screenonline which is limited to libraries, colleges and universities in the UK, 84 are held in the Library of Congress Paper Print Collection that haven’t been digitized and made available for viewing, 1 is held in the George Klein Collection by the Library of Congress, 5 are held by the British Film Institute, 3 are held in the UCLA Film & Television archive, 7 are held by the Centre national du cinéma et de l’image animée (CNC), 1 is held by the National Film & Sound Archive of Australia, 2 are held by the George Eastman Museum, 1 is held by Fondation Jérôme Seydoux-Pathé and 18 films are presumed lost (this number will certainly grow as my research continues).
Significant Events of the Year in the Film Industry
France
Max Linder Makes His Film Debut
Gabriel Leuvielle (16 December 1883 – 1 November 1925), known professionally as Max Linder, was a French actor, director, screenwriter, producer, and comedian of the silent film era. His onscreen persona “Max” was one of the first recognizable recurring characters in film. He has also been cited as the “first international movie star” and “the first film star anywhere”.
Born in Cavernes, France to Catholic parents, Linder grew up with a passion for theater and enrolled in the Conservatoire de Bordeaux in 1899. He soon received awards for his performances and continued to pursue a career in the legitimate theater. He became a contract player with the Bordeaux Théâtre des Arts from 1901 to 1904, performing in plays by Molière, Pierre Corneille, and Alfred de Musset.
From the summer of 1905, Linder appeared in short comedy films for Pathé, at first usually in supporting roles. His first major film role was in the Georges Méliès-like fantasy film La Légende de Polichinelle (1907). During the following years, Linder made several hundred short films portraying “Max”, a wealthy and dapper man-about-town frequently in hot water because of his penchant for beautiful women and the good life. Starting with Les Débuts d’un patineur in 1907, the character became one of the first identifiable motion-picture characters who appeared in successive situation comedies. By 1911, Linder was co-directing his own films (with René LePrince) as well as writing the scripts.
Linder enlisted at the outbreak of the First World War, and worked at first as a dispatch driver and entertainer. During his service, he was injured several times, and the experiences reportedly had a devastating effect on him both physically and mentally. It was during this time he had his first outbreak of chronic depression.
In 1916, Linder was approached by American film producer George K. Spoor, the president of the Essanay Film Manufacturing Company, to make twelve short films for him in the US at a salary of $5,000 a week. Earlier that year, Charlie Chaplin, then the most popular comedian in the world, had left Essanay for more money and independence at Mutual Film and Spoor wanted to replace Chaplin with Max Linder, whose pantomime skills were arguably equally accomplished. Linder was offered a new contract from Charles Pathé, but accepted Spoor’s offer and moved to the United States to work for Essanay later that year. Unfortunately his first few American-made “Max” films were unpopular both critically and financially.
Linder returned to France in 1917 and opened a movie theater, the Ciné Max Linder. However, due to his depression and anxiety about the still ongoing war, he was unable to continue making films on a regular basis. After the Armistice in 1918, Linder was able to regain his enthusiasm and agreed to make a film with director Raymond Bernard, the feature length Le Petit café in 1919. In the film, Linder plays a waiter who suddenly becomes a millionaire, but simultaneously is tricked into a twenty-year contract to be a waiter by the cafe owner. The film made over a million francs in Europe and briefly revived his career, but was financially unsuccessful in the US.
Four years after failing to become a major star in the U.S., Linder made another attempt at filmmaking in Hollywood and formed his own production company there in 1921. His first film back in the U.S. was Seven Years Bad Luck, considered by some to be his best film. The film contains one of the earliest (though not the first) examples on film of the “human mirror” gag best known in the scene between Groucho and Harpo Marx in Duck Soup twelve years later. Linder next made Be My Wife later that year, but again neither film was able to find a major audience in the U.S.
With his depression making it difficult for him to work, Linder returned to France in 1922 and in 1924 made a semi-serious film: Au secours ! for director Abel Gance. Linder’s last film was Max, der Zirkuskönig (1924) directed by Édouard-Émile Violet and written by Linder.
In late October 1925, Max and his wife Hélène Peters reportedly attended a Paris screening of Quo Vadis (1924), in which the main characters, as a reporter put it, “bleed themselves to death”, and died in a similar manner. They drank Veronal, injected morphine and slashed their wrists. Peters died first, while Linder was unconscious throughout 31 October, with doctors fighting to keep him alive. He died after midnight on 1 November.
There is still some question, however, as to whether the deaths were really a result of a suicide pact, or whether Max murdered his much-younger wife or pressured her into killing herself. On 2 November 1925, The New York Times reported that Hélène Linder had told her mother by letter that, “He will kill me.” In addition, Maud Linder, his daughter, reported in her memoir that the head of the workmen at Linder’s house in Neuilly overheard Max tell a friend that he planned to kill his wife along with himself, as he could not bear the thought of her belonging to another after he was gone.
In the ensuing years, Linder was relegated to little more than a footnote in film history until 1963 when a Max Linder compilation film titled En compagnie de Max Linder premiered at the Venice Film Festival and was theatrically released. The film, known in English as Laugh with Max Linder, was a compilation of Linder’s last three films made in Hollywood and its release was supervised by Maud Linder.
In 1983, Maud Linder made a documentary film, L’Homme au chapeau de soie, about Linder’s life and career. In 1992, she published a book about Linder in France, Max Linder était mon père.
Linder’s influence on film comedy and particularly on slapstick films is that the genre shifted from the “knockabout” comedies made by such people as Mack Sennett and André Deed to a more subtle, refined and character driven medium that would later be dominated by Chaplin, Buster Keaton, Harold Lloyd, and others. Linder’s influence on Chaplin is apparent both from Chaplin’s sometimes borrowing gags or entire plot-lines from Linder’s films, as well as from a famous signed photo that Chaplin sent Linder which read: “To Max, the Professor, from his disciple, Charlie Chaplin.” Mack Sennett and King Vidor also singled out Linder as a great influence on their directing careers. His high society characterizations as “Max” also influenced such actors as Adolphe Menjou and Raymond Griffith.
In his heyday, Linder had two major rivals in France: Léonce Perret and Charles Prince. Perrett later became a successful director, but his early career included a series of “Léonce” slapstick shorts that were popular but nowhere near the stature of Linder’s films. Charles Prince, on the other hand, was gaining popularity during his career and was nearly equal to Linder by the beginning of World War I. Prince’s screen persona was “Rigadin”, who like “Max” was a bumbling bourgeois socialite who always got into trouble. Both Linder and Prince were employed by Pathé in the early 1910s and they often used the same story lines, sets and directors. Years after both comedians’ careers were long over, Linder has received several revivals in interest while Charles Prince remains mostly forgotten.
-Adapted from Wikipedia
Pathé Introduces the Stencil Color Process
“As films grew longer, and their production increased, through the 1900s, so the idea of adding colours by hand became uneconomic. A mechanised system was required, and at around the same time that experiments were taking place in Britain to develop natural colour motion pictures, in France first Pathé and then Gaumont started developing processes for the mass production of multi-colour-tinted film prints through the use of stencils. This was a labour-intensive process (employing mostly female operatives) which could only be carried out by well-capitalised businesses with international distribution, and in the mid-1900s France dominated the world’s motion picture business. Hence France became the home of artificial motion picture colour.
Pathé introduced its stencil colour process in 1905, but the system in principle was not new, having been adopted from methods used for colouring postcards and wallpaper. A number of prints of any one film title would be made, each representing the different colours to be employed in the eventual film (i.e. a film featuring red, green, blue and yellow would require four original prints). The areas in each of the original prints to be coloured would be marked out and cut with scalpels. Each cut-out print would be laid over the final projection print and each colour would be applied in turn. 600 women were employed at the Pathé factory by 1906 to produce colour prints in this way.” – Luke McKernan, The Bioscope
The Lumiére Brothers Exit the Film Industry
“After all of their film development and success, the brothers decided to return their focus to photography, as they believed “the cinema is an invention without any future”. By 1907, they produced the first practical color photography process, known as the “Autochrome Lumiere”. The Lumiére Company continued to be a major supplier of photographic products throughout Europe during the 20th century. Following their photographic inventions and productions, Louis focused his interest in stereoscopy, or 3-D imaging, and stereoscopic films throughout the 1930s, while Auguste focused on medical research including studies on tuberculosis and cancer.” – Kyerstin Hill, Marquette University, for IPHF
USA
John P. Harris and his brother Harry opened the first theater in the U.S. devoted exclusively to the exhibition of motion pictures in Pittsburgh dubbing it a nickelodeon. The opening feature was The Great Train Robbery (1903). The name for the converted storefront, dance hall or theater was derived from the cost of admission — a nickel — and the Greek word for theater — “odeon.”
The Warner Brothers (Harry, Sam, and Albert) opened their first nickelodeon, a building that they called the Cascade Movie Palace, in New Castle, Pennsylvania. The historical marker at the present-day site states: “WARNER BROTHERS’ FIRST THEATRE – An early milestone for the Warners’ film empire was the operation by Harry, Sam, and Albert Warner of a theater here, 1906-07. It seated 99 persons, who could view three movies for a nickel. Sixteen years later, Warner Bros. Pictures was established.” Two years later, the Warners sold the Cascade and left New Castle, moving to Pittsburgh where they established their own film exchange, the Duquesne Amusement and Supply Company.
Cooper Hewitt mercury lamps made it practical to shoot films indoors without sunlight.
The first ever parody of a film was Edwin S. Porter’s 12-minute short The Little Train Robbery – a parody of his own The Great Train Robbery (1903).
–filmsite.org
UK
The First Dog Film Star
Rescued by Rover is a 1905 British short silent drama film, directed by Lewin Fitzhamon, about a dog who leads its master to his kidnapped baby, which was the first to feature the Hepworth’s family dog Blair in a starring role. The film, which according to Michael Brooke of BFI Screenonline, “marks a key stage in the medium’s development from an amusing novelty to the seventh art,” and, “possibly the only point in film history when British cinema unquestionably led the world,” was an advance in filming techniques, editing, production and story telling.
Four hundred prints were sold, so many that the negatives wore out twice, requiring the film to be re-shot each time. The style of shooting and editing would bridge the gap between the styles of directors Edwin S. Porter and D.W. Griffith.
Rescued by Rover is often considered to be the United Kingdom’s first major fiction film. Some four hundred prints were sold at a price of £8 each, and they circulated for at least four or five years. The character of Rover the dog became a household name and is considered the world’s first canine film star. This first appearance of a dog in a narrative-based film caused the uncommon name of Rover to become popular for dogs.
Previous films by Hepworth and his company had been considered a continuation of the cinema of attractions. The first few years of the 20th century were a period in which many film-makers began placing a higher emphasis on portraying a narrative story. The film is considered a step forward in both film grammar and structure. It gave rise to a number of other chase films centered on animals, including Lewin Fitzhamon’s later film Dumb Sagacity (1907). Rescued by Rover has parallels with D.W. Griffith’s debut film The Adventures of Dollie (1908).
Rescued by Rover contains more than twenty shots; this is a considerable advance when compared with Hepworth’s own How it Feels to be Run Over (1900), which contains a single shot. This not only made the film longer, but demonstrated that advances in film language could be made in editing as well as shooting. Additionally, the editing of Rescued by Rover is notable in its use of time contractions, which made Rover’s journeys take considerably less time by portrayal than they would have in reality. In linking these shots together, Hepworth attempted to avoid the confusion of earlier multi-shot films such as Edwin S. Porter’s The Great Train Robbery (1903). Three shots are used to set up the plot, that of the baby being stolen by a beggar woman. Nearly all of the following shots show Rover tracking down the child. When the dog returns home, the shots’ settings are repeated in reverse as the dog travels them; they are shown again in the original order, for a third time, when the dog brings the father. A fourth repetition is, rather radically for its time, spared by showing the kidnapper’s return to her room followed by a shot of the reunited family.
With its form and structure in consideration, Rescued by Rover shows a growing understanding among directors of how stories can be told on film; that is, the belief that the audience does not need to see the family return to their home, but will instead assume this occurred while the beggar woman was returning to her hovel. While the duration of the shot does not correspond with the time necessary for the father and the family dog to travel back, it also does not affect the sense of realistic on-screen representation. Also, cinematographic improvements that modern viewers would find relatively minor were noted in their day. In the attic scenes, for instance, Hepworth’s use of arc lights was celebrated for being an early use of harsh lighting conditions to create ambiance and indicate a dangerous setting.
– Adapted from Wikipedia
Republic of Macedonia
The Manaki brothers (Aromanian: Frats Manachia), Yanaki and Milton (Ianachia and Milton), were photography and cinema pioneers of the Balkan Peninsula and the Ottoman Empire. They were the first to bring a film camera and create a motion picture in the city of Manastir (modern-day Bitola), an economic and cultural center of Ottoman Rumelia. Their first film, Baba Despina, was a 60-second documentary of their grandmother spinning and weaving; this is regarded as the first motion picture shot in the Balkans. The Manaki brothers used a 35 mm Urban Bioscope camera that Yanaki imported from London in 1905. Yanaki and Milton filmed documentaries about various aspects of life in the city of Manastir.
They made a name for themselves in their local photography studio and, in 1906, they received an invitation from King Carol I of Romania to participate in the Bucharest Jubilee Exhibition, where they won a gold medal for their collection and were asked to be the King’s official photographers. They became the official photographers of the Ottoman Sultan and the King of Yugoslavia Alexander Karađorđević, in 1911 and 1929, respectively. In 1921 they built an outdoor cinema named Manaki and later transformed it into a movie theater, which was destroyed by a fire in 1939.
The National Archive of North Macedonia preserves more than 17,000 photos and over 2,000 meters of movie film from the brothers Manaki. The brothers documented a number of historical events—the Ilinden Uprising, the Balkan Wars, World War I, and the development of Manastir as a consulate and military center of the Ottoman Empire. They left a rich legacy of important documentary value of the historical and cultural development of Southeast Europe. In their honor the Manaki Brothers Film Festival is held every year in North Macedonia.
– Adapted from Wikipedia
China
Films were introduced into China at the end of the 19th century, and the market was mainly dominated by foreign films in the early period. It was not until November 1905 that the Chinese shot their first film, Dingjunshan (The Battle of Dingjunshan). It was adapted from a Peking Opera of the same title by the Beijing Fengtai Photo Studio and Tan Xinpei, a renowned performer of Peking Opera. The producer of the film was Ren Jingfeng, who had studied photography in Japan. He bought a camera and 14 reels of film from a German merchant for the film. He hired Liu Zhonglun as his cameraman. The film was shot outdoors for three days. The only print was destroyed in a fire in the late 1940s.
china.org
Slovenia
Karol Grossmann (27 October 1864 – 3 August 1929) was the first filmmaker in the Austro-Hungarian Empire. He was born in Drakovci near Mala Nedelja. He was a lawyer in Ljutomer. In 1905, he made the first Slovene film record in Ljutomer in northeastern Slovenia. A projection of two of his films is available at the Museum in Ljutomer. He died in Ljutomer. Odhod z mase v Ljutomeru, which is included in the playlist, depicts the departure of the citizens of Ljutomer from the Church of St. John the Baptist after Sunday mass.
– Wikipedia
Births
Many famous actors and directors were born in 1905:
January 3 – Anna May Wong, actress (d. 1961)
January 13 – Kay Francis, actress (d. 1968)
February 27 – Franchot Tone, actor, producer, director (d.1968)
March 18 – Robert Donat, actor (d. 1958)
March 23 – Joan Crawford, actress (d. 1977)
May 15 – Joseph Cotten, actor (d. 1994)
May 16 – Henry Fonda, actor (d. 1982)
July 29 – Clara Bow, actress (d. 1965)
August 2 – Myrna Loy, actress (d. 1993)
September 18 – Greta Garbo, actress (d. 1990)
September 30 – Michael Latham Powell, director (d. 1990)
October 7 – Andy Devine, actor (d. 1977)
November 5 – Joel McCrea, actor (d. 1990)
December 5 – Otto Preminger, director, producer, actor (d. 1986)
December 24 – Howard Hughes, director, producer (d. 1976)
See Wikipedia for the complete list.
Film Journals Founded in 1905
O Cinematographo: órgão defensor dos interesses da Empresa do Cinematographo Falante, Brazil
– domitor.org
The Playlist
The films are arranged in chronological order of release date but films for which the month and day of release cannot be determined appear at the beginning of the playlist in alphabetical order. The total running time of the playlist is a little over 13 hours. Click “Watch on YouTube” to see all 217 films.
Next article in this series: The Year 1906 in Film.
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https://www.imdb.com/title/tt0242150/
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Xchange (2001)
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[
"Reviews",
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"DVDs",
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[] |
2003-05-20T00:00:00
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Xchange: Directed by Allan Moyle. With Stephen Baldwin, Pascale Bussières, Kim Coates, Kyle MacLachlan. In the future, where it's faster to travel by exchanging bodies with someone at the destination, a man's body is hijacked by a ruthless terrorist.
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en
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IMDb
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https://www.imdb.com/title/tt0242150/
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XChange's jumping-off point involves an extremely clever way to travel - you switch into someone else's body, and they switch into yours; that way you can attend that all-important meeting in San Francisco without never actually leaving New York. Smart, huh. But with new technology comes new evil-doers - body terrorists, who 'float' from one body to another, wreaking havoc along the way. This is an endlessly creative flick that never gets boring, with another great performance from Kyle MacLachlan to boot. See it in any state of your choosing.
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https://reverseshot.org/features/2171/two_cents_2015
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en
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Reverse Shot
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Museum of the Moving Image presents Reverse Shot: a different angle on moving images—past, present, and future
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en
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/favicon.ico
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Reverse Shot
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https://reverseshot.org/features/2171/two_cents_2015
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Movie of the Moment (for Worse): The Hateful Eight
On this very website, Reverse Shot lifer Nick Pinkerton referred to Quentin Tarantino’s latest offering as “a bloated, torpid, and largely graceless piece of work.” Another longtime RS contributor, Adam Nayman, said of the same film in the pages of Cinema Scope: “The Hateful Eight may really be sort of terrible.” And at Vice, RSer Ashley Clark called it “a sickening experience; three-plus hours marooned in front of the projected fulminations and fetishes of an untrammeled egotist.” I can’t say I much disagree with any of these very smart gents, which is why I’ve found the regular drift of my thoughts back to The Hateful Eight more than a little perplexing. Why haven’t I been able to let this bloated, torpid, sort of sickening whale of a film just drift off to sea? Perhaps it’s because that at the tail end of a just-god-awful year here in ‘Murica, in which indignities and horrors were manifold, and our society, at least as refracted by our news media, seemed strained in every direction, The Hateful Eight washed up on shore at 2015’s end with a thud and seemed to encapsulate it all. Though set during the Reconstruction, it’s a readymade Cliff’s Notes of shitty late-Obama America: Whites hating Blacks; Blacks hating Whites; both hating on Latinos and all feeling pretty ok about abusing women as well. In this world, guns are everywhere, authority is fleeting, the profit motive reigns supreme, memories of the Confederacy loom large and an absent Lincoln, unable to defend his legacy, is just left twisting in the breeze.
Now, noting that these are elements in a film is quite a different thing from arguing that they’re marshaled toward a designed end. Tarantino’s had a spotty record, at best, in this regard, seeming most adept through his career when he’s purposely unpacking and diagramming the machinery of the movies themselves (his two best films: Death Proof and Inglourious Basterds) than anything at work in society at large. In his other films, he’s proven himself a kind of voracious cultural sponge that locates and soaks up latent tendencies from the ether and repackages them—see how he condensed the Clinton era’s hunger for anything resembling the countercultural (Pulp Fiction) and the mainstreaming of fascination with black culture (Jackie Brown), or how Kill Bill Vol. 1 seems born from that early aughts moment of global cultural proliferation. It’s this ability that’s allowed him to remain so popular. And it’s this sensitivity that makes me wonder to what degree The Hateful Eight is an awful, miserable sit on purpose, while knowing full well that this is a dog-chasing-tail argument.
So, after his biggest box-office success, one of our most obnoxious filmmakers made a movie whose worldview lines up with the Republican presidential debates or a Donald Trump rally. I’m writing this just as CNN announces that Sarah Palin has endorsed Trump for president, the most noxious nexus in American political life in quite some time. This is the one of QT’s movies that might have more to tell us about itself, and us, as it ages. It functions as the opposite of Reverse Shot’s best film of the year, In Jackson Heights, which shows Americans our best selves. The Hateful Eight may not be the Quentin Tarantino film anyone wanted, but it may be the Quentin Tarantino film we deserved. —Jeff Reichert
Most Balletic Cinematography: Maryse Alberti for Creed
The elaborate, extended, and rightly celebrated single take of the first fight scene—swooping, dancing, jousting—is not the only impressive achievement of Alberti’s dazzling work on Ryan Coogler’s Creed. Throughout, Alberti recalls the earthy, everyday quality that made the original Rocky such a tactile and relatable experience, without ever calling attention to itself as nostalgia—the fallback of any franchise entry. Since nostalgia for childhood favorites holds quite a lot of currency in our infantilized culture, Creed was a refreshing surprise, an entry in a successful film series that took the time and care to sculpt out a unique space for itself. Much of this had to do with cinematographer Alberti, whose collaboration with 29-year-old director Coogler made for one of the more exciting developments in mainstream American cinema in 2015. The frustrating epilogue is that Alberti could have been the first woman nominated for a best cinematography Oscar (is that true??) and was not. No matter, as both the original Rocky and Creed knew full well, one doesn’t need a prize to be a winner. —Michael Koresky
Worst Director: Judd Apatow, Trainwreck
Judd Apatow has remade American movie comedy in his slovenly image, and it’s an extreme makeover worth critiquing. His methodology—such as it is—is to plunk the camera down in proximity to talented mainstream comedians, wait for them to knock their line readings out of the park, and then solder the results together via plodding shot-reverse-shot editing. There’s rarely any wit in the camera placement or the placement of the players within the frame; whenever more than two people share a composition (which is rare) the indifference of the background acting is startling. Apatow’s latest movie isn't his worst. It’s shorter and less stultifying than This Is 40. But its lack of craft is connected to its lack of basic credibility. The same self-satisfied power-gaming that motivates this mogul to round up Matthew Broderick, Marv Albert, and Chris Evert for cameos just because also accounts for storytelling lapses both small (why is Bill Hader accepting an award at a fancy ceremony in the middle of the day with light streaming in through the windows?) and large (how does Amy Schumer pitch, write, fact-check, and deliver a long-leadpiece to a glossy magazine in what feels like a day and a half?). Gripe all you like about Trainwreck’s pat, happy ending and wobbly sexual politics—they’re both #problematic—but the biggest problem here is the unchecked laziness of a filmmaker in his full, undisciplined glory. Contrast his 2015 grosses with those of his swifter and more innovative protégé Adam McKay, who made interesting and unexpected aesthetic choices throughout the comparably mainstream-aimed The Big Short and ask yourself why Apatow should ever hope to improve. —Adam Nayman
Best Throwback: Bridge of Spies
Spielberg’s wholly untrendy dramatization of a true tale of Cold War heroism is pure Hollywood craft of the kind we no longer see, with an undercurrent of Capra-esque liberal humanism so genuine it could make today’s cynical progressives blush with a mixture of horror and envy. Nothing from the once-upon-a-time dream factory in 2015 was as exquisitely controlled. One can only hope that some future filmmaker is taking note; unfortunately the film radiated the constant sense of being among the last of its kind. Bury me with it.
Worst Throwback: Fifty Shades of Grey
Oh, so that’s why they stopped making big-budget “erotic” dramas . . . because they’re horrifically sexist, reductive slop that cater to the widest swath of the public’s most vanilla outré fantasies and they can’t help but be mechanically performed by a cast of tinsel-town newbies with nothing/everything to lose uncomfortably doffing clothes on set while hoagie-eating crew members stand around waiting for the day to end. In case you forgot: there isn’t a single person on earth who thinks that Adrian Lyne made good movies. Probably not even Adrian Lyne.
Most Throwback: Star Wars: The Force Awakens
If there was a scene in J. J. Abrams’s amusing, well-paced, nicely acted, and entirely anodyne Star Wars reboot that wasn’t in some way adapted or updated from a corresponding scene in the original Star Wars—and therefore familiar to the scenarios I enacted with my Star Wars toys back in 1983—please tell. Inquiring minds want to know. Cute new bot, though. —MK
Best 3D: Every Thing Will Be Fine
Wim Wenders’s 3D-shot James Franco-starring domestic drama Every Thing Will Be Fine limped into U.S. theaters after being roundly thrashed at its Berlin premiere. Criticisms of this one were many, varied, vicious, and not wholly unwarranted, but most came bearing that gleeful sense of sharks circling wounded prey. Wenders’s fiction films have been rather underloved over the past two decades; his last narrative film, 2008’s earnestly silly, but unfairly maligned Palermo Shooting, didn’t even get a single U.S. screening until this past year. Meanwhile, his nonfiction work has won near-universal plaudits. Every Thing Will Be Fine is no masterpiece, but it is a return to some kind of form. Its story, of a handful of damaged lives interconnecting at various points in a bit over a decade isn’t anything new (this same film could have been made by Atom Egoyan in the late eighties, and not just because it’s set in Canada—perhaps I’m damning with faint praise?). But Wenders’s choice to film a drama of mostly interiors in 3D is something we haven’t seen much of. Thus we have a movie in which each inside master shot gets separated out into a series of planes; foreground, middle ground, and background seem pasted together almost on purpose, lending everything in the film a sense of unsettled construction that dovetails the narrative’s twists and turns. Close-ups, especially, take on a unique strangeness here. It’s a new idea of how 3D can be used. And while it’s not necessarily a great one, there’s something in it that makes you lean closer to the film, and this is so different from how the technology is usually employed, making audiences shrink away from objects flying in their direction. —JR
Best Back-Patting: Spotlight
Of all the myriad reasons that All the President’s Men is an American movie classic—and it is—one is that its depiction of the (perceived) glory years of investigative journalism coincided with the (putative) glory years of film criticism. Way back in 1976, it was just as plausible that some swashbuckling auteurist could shape the entire conversation around an easy-riding bull-rager’s latest as it was that two reporters could take down the President of the United States. Alan Pakula’s (I should say: brilliantly made) film was given a hero’s welcome by ink-stained wretches grateful for handsome fantasy projections of the likes of Dustin Hoffman and Robert Redford. Few movies have twinned righteous indignation and relaxed flattery so masterfully. Tom McCarthy’s Spotlight doesn’t match its spiritual predecessor in this or any other department—its inferiority as a Serious Grown-Up Oscar Season Entertainment is summed up by the trade-down from Jason Robards to John Slattery as two generations of Ben Bradlees. (He was better in Wet Hot American Summer: First Day of Camp). But the raves it’s getting from a (mostly) older guard of critics hint that it’s striking a similar chord in a very different moment. For writers old enough to remember the Internet being discussed by editors as a niche supplement to print coverage (insert amused emoji here), Spotlight’s scenes of reporters pounding the pavement are fondly nostalgic. For their Word Pressing usurpers, who’ll probably never get a desk job (at the Boston Globe or anywhere else), it’s like a slice of science fiction seen through an envious, emerald-eyed filter. I won’t go as far as others in suggesting that Spotlight enshrines its heroes’ sacrifices in lieu of greater focus on the suffering of survivors of sexual abuse. But it seems to me that the main takeaway from this movie is that the media is the true, thin blue line between corruption and justice. They should have called it Limelight. —AN
The Definitive Ranking of 2015’s Lone Wolf Survivalist Films: The Good Dinosaur > The Martian > The Revenant
Best Failed Franchise Launch: Jupiter Ascending
In a year in which forces woke and other superpowers drifted into senescence, the birth of yet another goddamn mega-franchise is not exactly big news. And maybe it’s for the best that the Wachowskis’ batshit space torpedo was so widely derided that it shall spawn no more part-human, part-canine star children. But for all its absurdities—including space-Rollerblades, an insanely convoluted plot, and Channing Tatum's doggie ears—Jupiter Ascending is wildly entertaining. With its byzantine interstellar architecture and über-operatic take on literally star-crossed love, it’s closer in scope and tone to ’60s SF literature (especially Samuel R. Delaney, a Wachowski hero) than that of the dour, scientistic, NASA-certified variety so much in fashion. Add to that an awe-inspiring performance by Eddie Redmayne that hits truly cosmic levels of camp, and you have two hours of actually daring, if not exactly original, science fiction with—better yet—no option of renewal. I wish I could say the same for Sense8. —Leo Goldsmith
But What About . . . Kyle Chandler in Carol
“I was pulling for Chandler. I just dig that dude,” riffed Andy Samberg at the Emmys after Kyle Chandler (Bloodline) lost to beloved, obviously due Jon Hamm (Mad Men). But he’s not the only Chandler Man. With his longtime work on Friday Night Lights and a slew of other shows, the actor’s TV resume is upstanding, but it’s in film roles large and (mostly) smallish that I’ve fallen in like with the inoffensively blandsome actor’s quiet, unshowy talent. There’ve been some duds, but in 2013 he was brilliant in his few scenes in The Spectacular Now as an alcoholic absentee father, not giving into the actorly temptations of that description. And in The Wolf of Wall Street, wearing the standard issue black suit of the FBI, he managed to embarrass Leo DiCaprio’s Jordan Belfort on the latter’s yacht by playing it straight, with the smugness of patience, unaffected by Belfort’s confetti shower of “fun coupons” on the way out. Todd Haynes, surely sensing the actor’s Rock Hudson qualities, gave him his best film role yet in Carol. As the husband dwarfed by the central lesbian romance he can’t control, the still-sympathetic Chandler makes an impression. It’s Carol and Therese’s story, but Chandler helps make Harge’s role in the thwarting of that relationship not one of mere malice, but one that arises from personal insecurity, fear of scandal, received prejudice, and misguided fatherly protectiveness. When Cate Blanchett delivers her devastating “We’re not ugly people” to him, Harge receives the wounding truth in kind, and Chandler plays that brief collapse of litigious rancor perfectly, movingly. —Justin Stewart
The Flatline Award (tie): Jason Segel in The End of the Tour and Jamie Dornan in Fifty Shades of Grey
Clearly one of these performances is better than the other. I’ll let you decide which. That said, what these two men had in common in these films was an ability to deliver each and every one of their lines in a stultifying, completely flat monotone that become unbearably grating as the hours wore on. For Segel, it was an attempt at mimicry, as he was playing David Foster Wallace as a lovable, bandanna’d teddy bear; for Dornan, it seemed a terrified attempt at dulling his Irish brogue, with the last syllable of (I’m pretty sure literally) every single sentence dipping down to the soles of his shoes rather than lilting up to the rafters. Whatever the reasons, these actors’ one-note vocal tics ended up speaking for these entire films, which so often devolved into mannerism and posturing. —MK
Subprime Cinema Award: 99 Homes
It’s unfortunate that the only film that dares to address the millions of Americans who believe themselves to be temporarily inconvenienced millionaires is so unpleasant to watch. In other words, it’s not from the perspective of slick “greed is good” suits living it up at totally sick parties until the deus ex machine kicks in, but more reflective of the target viewer’s point of view. While there’s much to be said about its Ramin Bahran-ian blend of moralistic sappiness, I was more put off by its overly twitchy star, Andrew Garfield, and how an actress of Laura Dern’s caliber got stuck with such a lousy, underwritten supporting role: not just “The Mom,” but “The Grandma”! A subject and approach this important deserves a mulligan. —Violet Lucca
Best Look: Carol
It starts with a look. Not the one Thérèse and Carol share across the department store floor, but the look Haynes and his DP Edward Lachman have chosen for Carol, the film. The grain is deep and the Technicolor dreamscape of Far from Heaven not in evidence. A nondescript, bleached teal-green slides across the titles: a box from Tiffany dropped in a muddy puddle and wiped down; a layer of dust on New York City . . . then, cutting through the gloam, the odd flashes of red (Carol's lips, Therese's coat) like rubies, nestling on a murky river bed, catching the light. It ends with a look too: crisper and cleaner than before, as if Thérèse and Carol's world has started to become more defined: a world where their pleasure and glamour might be allowed to emerge from the shadows. —Julien Allen
Most Metaphors: Manglehorn
David Gordon Green is a modest filmmaker, but he lays his modesty on with a trowel. If the extended dream sequence of a car accident riddled with busted watermelons wasn’t enough; if the Al Pacino character’s profession—he’s a keymaker who can’t unlock the key… to his own heart!—weren’t clear enough; if even the conclusion of the film, in which our protagonist puts all his burdensome belongings in a rowboat and sends it off to the dump so he can start over again, weren’t head-bangingly obvious enough; there’s more: a final Grace Note™ in which Mr. Manglehorn has a last interaction with a mime, in which the wise and wordless one helps him use an invisible key to unlock a car door. —MK
Worst Eating Habits: The Cast of Spotlight
In Tony Scott’s worthless remake of The Taking of Pelham 123, the MTA dispatcher played by Denzel Washington is a stressed-out, blue collar workaholic, his bodega coffee bona fides driven home by the junk food props he’s inhaling in seemingly every scene. In the blandly workmanlike, visually miserable (because—didja hear?—it’s all about process) Spotlight, which for some reason wasn’t an HBO movie, director Tom McCarthy falls back on the same shorthand, stuffing his actors’ faces with quick slices and cheap Chinese whenever possible. The point is, these Boston Globe investigative soldiers are so focused on leads, sources, and systemic hurdles that diet is an afterthought. When you’re working to expose wrongs as wicked as those being uncovered here, there’s scarcely time for farmer’s market Sundays. So we get Mark Ruffalo forking a hot dog into a pot in his sad, trouble-in-paradise studio (shades of Channing Tatum’s stark solo ramen repast in Foxcatcher) and Michael Keaton mindlessly devouring whatever’s handy, his eyes never noticing the food he’s shoveling in. Stanley Tucci, not a journalist but an also tunnel-visioned attorney, enjoys a long noodle-slurping exchange. While it’s no doubt accurate that story-chasing journalists aren’t fastidious carb-counters, Spotlight’s pathological emphasis on their distracted slobbiness is as oversold as Ruffalo’s spastic hectoring. —JS
Best Eating Habits: Carol
Creamed spinach over poached eggs with a martini chaser soon becoming the new Brooklyn brunch. —MK
Most Revived: Wim Wenders
This art-house stalwart not only received a month-long retrospective at New York’s MOMA (though this one suspiciously stopped showing his narrative films with Faraway, So Close), but also another one downtown at the IFC Center which dredged up rarities like The End of Violence and Palermo Shooting. Many of the remastered versions that screened at both venues are currently on tour across the world. Why so much Wim and wigor in 2015? Is it that a generation of film buffs who came of age on these films have now grown into respectable programming positions at major venues? No matter, it’s good to have Wim back in the conversation. —JR
Funniest Trailer: The Sound and the Fury
Did the unstoppable James Franco’s adaptation of William Faulkner’s The Sound and the Fury come out? I have absolutely no idea. I don’t remember there being any reviews of it, and I feel like I would have been made aware of them if they existed: the trailer was so raucously funny that it’s unlikely the film could have been any less. It happened so unexpectedly: Faulkner’s masterpiece—surely one of the great works of art of the twentieth century—was suddenly a cheap-looking digital feature with performance-artist cum culture-destroyer Franco not only directing but also starring as literature’s prototypical man-child Benji, sporting effed-up false teeth that looked like the dentures of a Quasimodo costume rented from Halloween Adventure. The trailer features all manner of hilariously stilted line readings from a cast of unknowns in period dress, but nothing seared onto the brain like the slow-motion dolly into Franco’s three-toothed Benji gawping and snarling behind a rude wooden fence as though a caged velociraptor or Jonathan Demme’s Beloved just as she’s about to disappear. Bonus points for Franco buddy Seth Rogen’s wordless appearance in the trailer as what looks like Van Gogh’s friendly postman. It’s a giddy little thing, this two-minute ad for a movie no one in the world besides James Franco would ever want to see. So, please, if anyone reading this ever actually saw The Sound and the Fury: is it a comedy or what? —MK
The Farrelly Brothers Award for most extensive use of bodily fluids in a movie: Hard to Be a God
Piss, shit, tears, blood, snot, sweat, spittle, spunk, phlegm, pus, vomit…did we miss any? —JA
Biggest Cop-Out: Mississippi Grind
Just because Ben Mendelsohn is overexposed doesn’t mean he can’t deliver the goods. In Mississippi Grind, the Australian actor adopts a flawlessly flat Midwestern accent to play a compulsive gambler on a cross-country bender. Appropriately for a film about high-stakes poker players, Mendelsohn’s performance is full of “tells” meant to alert us to the character’s fraying interior: his nervous, crumpled smile when things are getting out of hand is indelible. He gets so deeply inside the skin of a born loser that it’s a shame that the script insists on having him shed it in the end; as in their earlier Half Nelson, which hedged on its protagonist’s drug addiction, directors Anna Boden and Ryan Fleck insist on mining the scenario for redemption. In the process, they undermine Mendelsohn’s harrowing portrait of a man who always makes his own bad luck—the filmmaking equivalent of a suffering a bad beat on the river card. —AN
Most Welcome Absence: Matthew McConaughey
From going full moon in Magic Mike to full loon in True Detective, from slimming down to AIDS-weight for Dallas Buyers Club to headlining the latest overhyped Christopher Nolan film to pompously cruising America’s freeways in a succession of Lincoln town cars, the catchphrase-happy Oscar-winner had surely reached cultural saturation point over the past few years. So it was a relief that, with the brief exception of a Saturday Night Live hosting gig—featuring a truly bizarre monologue in which he narrated his early years, leading up to what he assured us was a mind-blowing Dazed and Confused audition—the Comeback (Now Go Away) Kid was mercifully absent from screens in 2015. No worries for those aching for a little more Matthew Mac, though, as 2016 promises to bring the long-delayed release of Gus Van Sant’s Cannes 2015 film maudit Sea of Trees . . . on whatever platform can bear its weighty themes. —MK
Didn't Think He Had It in Him: Jason Bateman, The Gift
There may not be a more limited comedy star in America than Jason Bateman, who has parlayed his TV resurrection into a one man-cottage industry, producing one thin, stale slice of milquetoast after another. And yet he’s excellent in Joel Edgerton’s not-uninteresting thriller The Gift, probably because this is the first time that a director has mined his boring normalcy for dread and resentment. Bateman’s Simon Callum—sounds like “Callow”—is a former high school alpha dog who gets terrorized by an old classmate (Edgerton) with an axe to grind; like nobody less than Daniel Auteil in Caché (an obvious inspiration), the actor shows how easily a front-runner can come unruffled, and how ugly his responses can be even in the midst of a wholly justifiable paranoia. In a year where Quentin Tarantino blew hatefulness up to epic proportions, Bateman’s performance is a true marvel of small-scale, everyday villainy. —AN
Least Helpful Publicist: Whoever Signed Me In to It Follows
Late from work, trapped on a stalled train, slowed down by a packed midtown street, I was thwarted in my attempts to get to a screening of the acclaimed horror film It Follows on time. Panting, sweating, and angry, I finally lurched my way to the screening room only to find that the door was closed and that the film had begun. No matter, the publicist shrugged and reassured: it’s only been on for a couple minutes and nothing much happens at the beginning. “I think you’ll get the gist,” he waved a hand nonchalantly. So in I went to watch the film, which began for me with an ambiguous scene set in an above-ground pool, and was a tense slow build from there. Diligent critic as I am, I eventually procured a screener to watch before reviewing the film to see this allegedly negligible opening I had missed. Lo and behold they were possibly the scariest, most explicit, and perhaps most essential minutes in the film, establishing the film’s central violent threat better than any scene to come. Lesson learned from this film and this experience: trust no one (especially ambivalent PR dudes). —MK
The Todd Solondz Memorial Don't-need-to-see-it-to-hate-it Award 2015: Chappie
Ground Control to Major Tom: Tom Hardy
In this space last year, I waxed ecstatic about Tom Hardy's plangent performance in Locke, and hoped that it wouldn't end up as a footnote in a career that had to that point been defined mostly by a kind of high-flying stunt acting. To say that Hardy “broke through” in 2016 would be an understatement: he top-lined a globally high-grossing and extravagantly acclaimed blockbuster (Mad Max: Fury Road);won awards-groups plaudits (over here in Toronto) for impersonating both of the Kray twins in the UK hit Legend;earned a fawning essay by David Thomson in the pages of Sight & Sound; and has reaped his first Oscar nomination for The Revenant. It’s hard to remember the last time a star flexed so many sets of muscles—critical, commercial, abdominal—simultaneously. So why am I less bullish on this protean performer than I was 365 days ago? It may have something to do with the fact that great actors can make us feel proprietary, and that super-fandom is less fun in the shadow of consensus. But there’s also something increasingly mechanical about Hardy’s virtuosity. For starters, I wasn’t crazy about his work in Mad Max, which felt muffled, and not just because of the wrought-iron muzzle he sported for the first half hour; even if George Miller’s strategy was to de-emphasize his franchise hero in favor of Charlize Theron’s ferocious Furiosa, it was still strange to see Hardy become a passenger in his own star vehicle. That clearly wasn’t the case in Legend, a film that exists only as a showcase for a two-for-one-thespian special, and which is so bad on every level beyond (or more accurately below) Hardy’s performance that his effort feels somehow unbecoming. How can a guy this talented buy into such terrible material? His commitment is similarly evident in The Revenant, and while his work is physically and vocally impressive, it’s also perilously close to raw-throated self-parody: one can easily imagine Hardy’s nasty, half-scalped fur trapper Fitzgerald as a Batman antagonist. The point is not that Hardy should be more self-effacing. Locke was, after all, a one-man show. But if that film suggested that Hardy belonged in a noble lineage of technically proficient, emotionally acute, stage-trained Brits—from Ralph Richardson to John Hurt—then the choices he's made since indicate that he may already be too far gone as a mainstream movie star to do the kind of acting he's capable of. —AN
Paul Giamatti Award for Overacting: Ben Kingsley in The Walk
I don’t quite remember what Ben Kingsley was doing in The Walk, but my memory has convinced me that he makes his first appearance by riding in on a tricycle like Jigsaw from the Saw films. As imp/mime/cretin Philippe Petit’s French-Czech mentor “Papa Rudy,” the man who encouraged the clearly deranged dream-following of your hero (because he ain’t my hero), Kingsley adds another notch to the bedpost charting how many times he fucks his own career. Runner up: Paul Giamatti in Love and Mercy. —MK
Jaume Collet-Serra Award for Achievement in Films Directed by Jaume Collet-Serra: Run All Night
This one is becoming a bit predictable, I admit, but as long as this Reverse Shot–approved auteur keeps getting gigs directing mid-level studio thrillers, it’s our job to monitor his progress. Last year, the report was middling, at least from where I was sitting: my colleague and fellow JCS booster Nick Pinkerton liked Non-Stop more than I did. There, the problem was the mid-air collision between a gifted action director and an intractable, gimmicky dramatic scenario that seemed to stall his momentum; the eloquent camera movements felt wasted on a story that went nowhere. By contrast, Run All Night is, as its title suggests, all momentum, and at its best, it propels itself past—if not above—the clichés of its screenplay. As Liam Neeson shepherds son Joel Kinnaman through a New York night with assassins in every shadow—agents of retribution sent by gangster Ed Harris, who lost his own heir a few hours earlier—Collet-Serra blends old-school chops (a foot chase around Madison Square Garden at the end of a Rangers game) with some wacky, over-amped nonsense (a heavily artillerized SWAT siege of an apartment block) and, crucially, never inflates the story beyond its narrow parameters. In lieu of the wryly malevolent, genre-commenting comedy of Orphan or the stealth expressionism of Unknown, Run All Night serves up steadily straight-ahead stuff, and while it’d be nice to think that Collet-Serra is eventually going to get somewhere, his current velocity has him ahead of a pack that hasn’t yet yielded another dark horse. —AN
The Golden Torso Awards
It was a good year for male movie stars with improbably chiseled torsos. From the tattooed vision of Nick Cannon’s title character in Chi-Raq; to the World’s Most Preposterously Gorgeous Hacker played by Chris Hemsworth in Blackhat; to the ungodly gods of Magic Mike XXL (with special mention to Joe Manganiello, for whom it is actually illegal to wear a shirt); to the ne plus ultra of fitness, Creed’s frighteningly sculpted Michael B. Jordan, who clearly hadn’t eaten a fifth of a French fry for a year before stepping into the ring, there was a lot to look at. Lest you think this is just a catalog of eye candy, however, all this grade-A beef on display left me thinking seriously about the comparative lack of the female form on display in mainstream movies. Perhaps the pendulum has finally begun to swing in the opposite direction. —MK
Best Documentaries Not Nominated for the Academy Award: Songs from the North, Because I Am a Painter, Of Men and War, Heart of a Dog, The Pearl Button, We Come as Friends and . . . Reverse Shot’s #1 film of 2015, In Jackson Heights (!)
Least Necessary Movie: Black Mass
There might’ve been an interesting movie to be made about the sixteen years gang boss James “Whitey” Bulger spent as a fugitive from the FBI. His settling into the mundane business of ordinary life (with the occasional geographical pivot to avoid detection) well outside of his Boston comfort zone could have been the wise-guy flipside to Bill Condon’s pleasant, seemingly forgotten Mr. Holmes, about Sherlock in his rural twilight years, or an extended version of Ray Liotta bending over for the newspaper in suburbia at the tail end of Goodfellas. Instead, we got Black Mass. Remember The Departed, whose Frank Costello character, played by Jack Nicholson, was partially based on Bulger? Drain all of the humor, surprise, acting charisma, and visual dynamism out of that and you have Scott Cooper’s drearily unnecessary return to the mean streets of “Southie,” that location beloved by producers who cynically want their crime pictures safely white enough to play in conservative markets. Screenwriters Mark Mallouk and Englishman Jez Butterworth (yep), focusing on Bulger’s criminal years and collusion with the FBI, write dialogue as if they sliced up a bunch of boilerplate gangster movie scripts, put the scraps in a hopper, and blindly grabbed. Johnny Depp, whose commitment to the part of Bulger doesn’t go beyond his absurd blue contacts, delivers go-nowhere tough guy speeches when he isn’t machine-gunning Peter Sarsgaard in a daylit parking lot, but as a corrupt cop, it’s Joel Edgerton who gets to say things like, “We’re in too deep and he knows it!” and “The streets taught me that you give and you get loyalty from your friends . . . and loyalty means a lot to me.” Awkward references to local sports teams and landmarks attempt to lend Black Mass a veneer of authenticity, but Cooper and Co.’s phony dullness makes one long for even the modest genre intrigue of something like Broken City. —JS
Here We Go Again Award: Guillermo del Toro
The first half of Guillermo del Toro’s lusciously ornate Gothic romance, with its Brontë meets Doyle intrigue, appealingly old-fashioned waif-like performance by Mia Wasikowska as the haunted wannabe-novelist daughter of a self-made magnate, and over-the-top period (but what period?) shoulder pads, has such a strong sense of classical storytelling and traditional Hollywood showmanship that I felt I had finally found my way in to the horror auteur’s oft airless world. Turns out it was just a pretense for more del Toro doodads. Once our stricken heroine’s father’s head is smashed over and over into a porcelain sink until his face cracks open and his brains and skull spew all over a bathroom floor, Del Toro lets loose and shows his true, deep-red colors. Sure, Jessica Chastain is having fun as the villainous, incestuous sister-in-law (telegraphed from scene one because anyone who dressed in black and plays a somber piano must be evil), but del Toro is so busy putting her and everyone else through their tired paces that nothing feels like it’s developing in any natural way. Del Toro’s creepy-crawly characters often feel less like natural outgrowths of their stories than wax figures just biding their time until they get invitations to the Mad Monster Party of the director’s mind. —MK
Best Last Shot: 45 Years
Worst Last Shot: Mommy
Worst Edit: Infinitely Polar Bear
Perhaps it’s been recut since, yet I remain haunted by a moment during a press screening of Maya Forbes’s overly audience-courting bit of adorable autobiography, starring Mark Ruffalo as a bipolar dad trying to keep himself and his family together as he shifts between completely unconvincing, unthreatening tonal registers. The film has mostly evaporated from memory; but a moment has stayed with me: at one point the film cuts from a scene directly on a point when Ruffalo starts a new sentence. So there was just a blip of the actor’s voice as he began speaking, abruptly cut off. Then a new scene begins. I would think what I saw was a work print, but it had already premiered to fanfare at Sundance many months earlier. If the film were not such a stylistic grab bag, chock a block with hideous cinematography and amateurish kid performances seemingly patched together in post, perhaps I would have shrugged it off as an honest mistake. Unfortunately it seemed to fit right in to the rest of the film. (I am more than happy to revise this observation, although it would necessitate seeing Infinitely Polar Bear again.) —MK
Ten Movies You Need to See That Didn’t Make Our Ten Best: Amour fou, Bridge of Spies, Chi-Raq, Creed, Heaven Knows What, Irrational Man, Phoenix, Saint Laurent, La Sapienza, The Wonders
Hardest to Discuss in Brief: Out 1
Julien Allen: What should we do for Out 1? How does one do 300 words on this extraordinary behemoth? I have thought of half a dozen things, all unsatisfactory:
Biggest Film
Best Whodunit
Hottest Cast
Best Box Set
The Michael Lonsdale Award for Most Eyebrows
Most Alcoholic Screening
Jeff Reichert: Most Masculine Movie Experience: Out 1. “Hey Bra, I'm watching Out 1 today. All of it. Ya feel me?”
JA: “Oh mate, I hoped they’d do it all in one sitting but some poofter complained he needed a piss break so they broke it up. Denied.”
JR: Though I’m sure RS readers would love us to go on at length just like this, I guess we could try to talk about the movie?
JA: Er, yeah, of course. So . . . it’s a film about collaboration, right? That word has some pretty dreadful connotations in French, but this film is trying to rediscover the idea of collaboration, in art and life, with all its intoxications and pitfalls.
JR: Though it might be more pitfalls . . . I will say that making one’s way through Out 1 at BAM over a few days felt like a collaborative effort, with various groups in the audience clearly forming their own viewing teams, debating during the breaks, planning meals together and the like.
JA: Most of the collaboration we see (the theatre, the “Treize”) is clearly enriching, but oh so finite. I wonder the extent to which the hallowed Treize is based on Rivette's experience with the Cahiers founders, some of whom he cast (Doniol-Valcroze, Rohmer). Our own collaboration at the Prince Charles Cinema in London was all too finite—over in one weekend. I wanted to turn up on Monday morning with the others and keep going.
JR: I also felt like diving right back in as soon as it ended, even though there were more than a few times during those punishing rehearsal sequences where I wanted to crawl out of my skin. Especially that one with the actors putting their feet all over each other.
JA: Those freeform Grotowskiite improv sequences carried a weird suspense: a) for how many more hours can the film legitimately keep this up? and b) how much more certifiable will the rehearsals get before they stop? I love how the breaking point is the theft of cold, hard money. Here’s a post-’68 story about people opting out of all the expected norms. But when they get out into the street, looking for cash, all of a sudden they look pretty lost.
JR: Well, it puts all of ’68 into relief, doesn’t it? Instead of merely valorizing that moment, Rivette’s shown that there was also a naiveté, a blinkered quality, a dilettantism existing alongside more noble commitments. It occurs to me while writing this that the same could be said for anyone who attempts watching a film like this. How can we afford such a lifestyle to watch 13 hours of a movie in a week?
JA: Many of us were seduced by the retro-cool prospect of stepping “off the grid” when civilians rightly thought we were a bit unhinged. I wonder how many civilians have binge-watched twelve episodes of House of Cards though? At least Out 1 was screened during the daytime, with sensible breaks in play to try and unpack what we were seeing.
JR: I did a bit of a split: two long evenings and then gave over pretty much the entirety of my Sunday to the film. Especially with those hilarious B&W “last week on Out 1” intro sections, it certainly felt like binge-watching TV. The main difference being that Rivette’s narrative doesn't really begin until four hours of the work has elapsed, where most TV series need to lay out a bunch of elements upfront to keep viewers hooked.
JA: A lot of the Prince Charles “equipage” found ourselves drawn into Out 1 with an intensity that matched a cliff-hanging serial, despite Rivette’s narrative approach being so wholly antithetical. Was it the sense of history, the peculiarity, softened by New Wave familiarity? (In case we’re reaching the end of the road, I’d like to point out that a young woman behind me curled up into a ball and slept through Chapter 3: a perfectly legitimate thing to do.)
JR: I’m well known within the RS team for taking an occasional in-movie snooze, but thanks to regular over-caffeination, I managed to keep my wits about me through the entirety of the run. But I wouldn't begrudge anyone a nap. And I don’t know that Rivette would either.
JA: If I was going to curl up inside a film, I'd be pretty happy for it to be this. Some of the best stories of our lives were designed to send us to sleep, after all.
JR: Zzzzzz. (Maybe this is our exit?)
JA: Perfect. Well that's 3000 words. Anything we can use?
JR: Why don’t you give it a first pass.
[Time elapses]
JA: I have it down to 850, and it’s actually quite ok.
JR: Collaboration! NOW TOUCH YOUR FEET TO MY FACE FOR TWENTY MINUTES.
JA: :(
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"Rudolph Bell;, The Greenville News"
] |
2013-12-26T00:00:00
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In another sign of an improving economy, developers plan to build two hotels near the intersection of Pelham Road and...
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GRE
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https://www.greenvilleonline.com/story/money/2013/12/26/developers-to-break-ground-on-pelham-road-hotels-next-year/4201835/
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In another sign of an improving economy, developers plan to build two hotels near the intersection of Pelham Road and Interstate 85, the first hotel construction in the high-traffic area in more than a decade.
Pinnacle Hospitality of Spartanburg said it plans a 127-room Hampton Inn & Suites along The Parkway near Michelin North America’s headquarters, while Central Realty Holdings of Greenville said it plans a 104-room Home 2 Suites along Beacon Drive close to where a movie theater used to be.
Both developers said they plan to break ground early next year and expect the hotels to open in 2015.
In addition, JHM Hotels of Greenville said it’s renovating the Marriott Greenville, one of three hotels it owns in the Pelham/85 area, and construction has begun on a CertusBank branch in the area.
Rece Morgan, president of Central Realty Holdings, said it also plans to expand a shopping center it owns in the Pelham/85 area that is anchored by an Earth Fare grocery.
Central Realty, owned by the Timmons family of Greenville, will develop the $10.5 million Home 2 Suites and expand the shopping center on 11 acres that the company has held back from development while waiting for the retail market to recover from the Great Recession, Morgan said.
He said Central Realty now plans to expand the shopping center by as much as 77,000 square feet, with groundbreaking for the first 21,500 square feet set for June.
“The leasing so far is giving us a fair indication that we’ll move on with consequent phases,” Morgan said.
Along The Parkway, Pinnacle Hospitality plans a restaurant on the same site as the Hampton Inn & Suites, but hasn’t picked a brand yet, said Phil Simmons, the company’s broker-in-charge.
Before the recession struck, Pinnacle Hospitality had planned to use the three-acre site at the intersection of The Parkway and Parkway East to develop a 155-room, full-service Sheraton hotel.
But when the downturn came, Simmons said, “Hospitality lending pretty much dried up for new construction, so we just decided to hit the brakes on that project.”
Pinnacle Hospitality’s holdings include a five-story office building directly across The Parkway from where it plans the Hampton Inn & Suites and two hotels on Woodruff Road, a Holiday Inn Express Hotel & Suites and Microtel Inn and Suites.
At the Marriott Greenville next to the Michelin headquarters, owner JHM Hotels has begun a multimillion-dollar renovation that includes new carpet, paint, upholstery and linens for the lobby, meeting spaces, corridors and guest rooms, said Heather Meadors, JHM’s community relations director.
She said the renovation also will include additional meeting space and new branding for the hotel’s restaurant.
JHM Hotels built the newest hotel currently in the Pelham/85 area, the Courtyard by Marriott along The Parkway, in 2000, Meadors said.
Emily Ledbetter, a spokeswoman for Greenville-based CertusBank, said it plans to open its 36th branch in the Pelham/85 area in the spring.
The planned Hampton Inn & Suites and Home 2 Suites would be the 12th and 13th hotels for the Pelham/85 area, which has long been a strong hotel market because of its proximity to the interstate and major business operations, said Chris Stone, president of visitgreenvillesc, formerly the Greenville Convention and Visitors Bureau.
Corporate operations in the Pelham/85 area, in addition to the Michelin headquarters, include the headquarters of ScanSource Inc., major offices of Synnex Corp. and a Bausch & Lomb contact lens solution plant.
In addition, BMW Manufacturing Co., General Electric Co.’s Greenville campus and Greenville-Spartanburg International Airport are a short drive away.
The area also has a “really nice little cluster of restaurants, so that makes it a really good travel stop,” Stone said.
Hotels and restaurants in the Pelham/85 area also benefit from youth sports tournaments at the MeSa Soccer Complex along Anderson Ridge Road a short drive away.
The 16-field complex is scheduled to host high school athletes from around the South for an ultimate tournament in May and a lacrosse tournament in late May and early June.
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| 8 |
https://www.nytimes.com/2023/10/17/books/review/new-thrillers-john-grisham-exchange.html
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en
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The Verdict on John Grisham’s Sequel to ‘The Firm’
|
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[
"Sarah Lyall",
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"sarah-lyall"
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2023-10-17T00:00:00
|
Skip “The Exchange,” our columnist advises, and pick up “The Plinko Bounce” or “The Last One” instead.
|
en
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/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico
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https://www.nytimes.com/2023/10/17/books/review/new-thrillers-john-grisham-exchange.html
|
Whatever happened to Mitch McDeere, the brash young associate who brought down the corrupt law firm of Bendini, Lambert & Locke in John Grisham’s game-changing 1991 legal thriller, “The Firm”? Three decades later, Grisham has resurrected Mitch — or Tom, as I like to think of him, because Tom Cruise played him with such seductive charm in the movie — for another outing.
The new book, THE EXCHANGE (Doubleday, 338 pp., $29.95), should be a delicious gift to Grisham fans. But once you’ve read it, you might find yourself wishing that Mitch, last seen slipping out of sight while Bendini, Lambert & Locke imploded, had simply decided to while away his days in moneyed obscurity.
Unfortunately, that is not the case. It is 2005, and despite his earlier experience in corporate law, Mitch — still married to Abby, and now the father of twin boys — has joined the gargantuan international law firm of Scully & Pershing. When one of its associates, Giovanna, a young woman whose physical allure Grisham mentions early and often, is kidnapped by Libyan terrorists, it somehow falls to Mitch to raise the $100 million ransom.
As he travels to various European capitals trying to wrest money from low-level government officials, the reader is subjected to sloppily written and excruciatingly dull details about plane tickets, car rides, architecture, how long it takes to get from one place to another and virtually every meal the characters eat, all of it weighed down by leaden dialogue. When it becomes clear that the kidnappers are surveilling Mitch and his family’s every move, it’s described this way: “The shock had not begun to wear off; indeed, they were still in the middle of the shock.”
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https://www.moriareviews.com/sciencefiction/xchange-2000.htm
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https://chrispelham.com/
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Christopher Pelham
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Trois Chants Pour Cyber-Nostalgie I, II, III
Composed by Jialin Liu
Sheng solo with electronics
Sheng performed by Li-chin Li
This performance by Li-Chin Li (sheng) with electronics is from the concert series Paradise Laboratory presented by CRS (Center for Remembering & Sharing) at the White Room at CRS on June 25, 2023.
PARADISE LABORATORY is a playground for sonic and visual experimentation. Conceived of during the pandemic by the renowned Korean traditional multi-instrumentalist, curator, and scholar gamin, Paradise Laboratory provides musical artists with opportunities to rehearse, record, film, and perform with other musical, visual, and dance artists in an experimental, process-oriented, and artist-centered fashion.
ABOUT THE ARTISTS
Born in Taichung, Taiwan, Li-Chin Li is a Sheng soloist, composer, and performer. Majored in Chinese Music at the Tainan National University of the Arts, Li-Chin received solid training in traditional music education. After graduation, she worked for the most selective and prestige Orchestra, Hong Kong Chinese Orchestra as a Sheng performer. Li-chin soon figured a nine-to-five job doesn’t’ suit her for making her own music and performing. Li-chin is known for her ability to apply Sheng to various art forms and music genres. Through her work, she is committed to exploring musicians’ subjectivity and diversity of roles in the performing arts.
In October 2021, Li-Chin took part in a six-month residency program at the esteemed Cité internationale des arts in Paris. Handpicked by the Ministry of Culture, Taiwan, she seized this opportunity to collaborate with a diverse group of talented composers and musicians residing in France, culminating with her performance in the concert “Rencontre autour du Sheng à Paris” co-presented by the Italian Cultural Centre and Taiwan Cultiral Centre in Paris at the end of her residency there. The concert garnered praise from the French national radio program, “Journal de la Création,” making a significant impact on the exchange of contemporary music between Taiwan and France, as well as elevating Taiwan’s sheng music to an international stage.
Recently, she has been selected as a member of IRCAM concert de l’atelier d’improvisation, ManiFeste-2022, and she has been guested with Ensemble LINEA and Ensemble CAIRN in 2022. Last but not least, she is a grantee of Asian Culture Council in New York 2023.
https://lichinli.art/
Jialin LIU / 劉家麟, Chinese composer and sound artist born in 1995. He went to the Music Middle School of the Shanghai Conservatory at the age of 12. After moving to Europe in 2014, he studied with Marco Stroppa and Michael Reudenbach at the University of Music and Performing Arts Stuttgart. In 2018, he was selected by the IRCAM Cursus program for composition and computer music at Centre Pompidou Paris, mentored by Thierry de Mey and Mikhaïl Malt. Since 2019, he entered the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP) for his Master study in composition with Frédéric Durieux, electronic music with Yan Maresz, Luis Naon and Grégoire Lorieux, and, since 2020, orchestration supérieur with Guillaume Connesson and Denis Cohen.
https://www.jialinliu.com/
ABOUT THE PRESENTER
CRS (CENTER FOR REMEMBERING & SHARING) is a spiritual healing and art center founded in 2004 by the writer/lecturer/spiritual counselor Yasuko Kasaki and artist Christopher Pelham. Our mission is guided by A Course in Miracles (ACIM). ACIM says that recognizing that you and your brother are actually one is the only way to experience peace. The mission of CRS is to promote the awareness that limitless creativity lives within each of us. We train minds to recognize the light in themselves and others and provide them opportunities to share their inner vision through the healing and creative arts. Since its founding CRS has provided numerous residencies and performance and exhibition opportunities to artists from all over the world. Currently, CRS is a multi-year sponsor of M³ (Mutual Mentorship for Musicians), a platform created to empower, elevate, normalize and give visibility to women, non-binary musicians and those of other historically underrepresented gender identities in intersection with race, sexuality, or ability across generations in the US and worldwide, through a radical model of mentorship and musical collaborative commissions.
https://crsny.org
2
This performance by Li-Chin Li (sheng) with electronics is from the concert series Paradise Laboratory presented by CRS (Center for Remembering & Sharing) at the White Room at CRS on June 25, 2023.
PARADISE LABORATORY is a playground for sonic and visual experimentation. Conceived of during the pandemic by the renowned Korean traditional multi-instrumentalist, curator, and scholar gamin, Paradise Laboratory provides musical artists with opportunities to rehearse, record, film, and perform with other musical, visual, and dance artists in an experimental, process-oriented, and artist-centered fashion.
ABOUT THE ARTISTS
Born in Taichung, Taiwan, Li-Chin Li is a Sheng soloist, composer, and performer. Majored in Chinese Music at the Tainan National University of the Arts, Li-Chin received solid training in traditional music education. After graduation, she worked for the most selective and prestige Orchestra, Hong Kong Chinese Orchestra as a Sheng performer. Li-chin soon figured a nine-to-five job doesn’t’ suit her for making her own music and performing. Li-chin is known for her ability to apply Sheng to various art forms and music genres. Through her work, she is committed to exploring musicians’ subjectivity and diversity of roles in the performing arts.
In October 2021, Li-Chin took part in a six-month residency program at the esteemed Cité internationale des arts in Paris. Handpicked by the Ministry of Culture, Taiwan, she seized this opportunity to collaborate with a diverse group of talented composers and musicians residing in France, culminating with her performance in the concert “Rencontre autour du Sheng à Paris” co-presented by the Italian Cultural Centre and Taiwan Cultiral Centre in Paris at the end of her residency there. The concert garnered praise from the French national radio program, “Journal de la Création,” making a significant impact on the exchange of contemporary music between Taiwan and France, as well as elevating Taiwan’s sheng music to an international stage.
Recently, she has been selected as a member of IRCAM concert de l’atelier d’improvisation, ManiFeste-2022, and she has been guested with Ensemble LINEA and Ensemble CAIRN in 2022. Last but not least, she is a grantee of Asian Culture Council in New York 2023.
https://lichinli.art/
Composer Francisco Uberto (b.1988) shapes his musical ideas with intuition from within the digital side of sound. In his music he manages expectations in the most imaginative ways possible, like a cold war of emotions. The horizon of his realizations extend from solo pieces to orchestral works with and without the use of electronics.
He received training in composition in Argentina (UNC), and France (CNSMD Paris, and IRCAM), and was supported by several prestigious foundations from Europe, and Argentina since 2012.
His music has been vibrating with renowned international ensembles since his arrival in Europe. Resident composer at Casa de Velázquez, Ibermúsicas, and Cité des Arts, Francisco, today is composer in residence at Couvent des Récollets in Paris.
https://www.franciscouberto.com/
ABOUT THE PRESENTER
CRS (CENTER FOR REMEMBERING & SHARING) is a spiritual healing and art center founded in 2004 by the writer/lecturer/spiritual counselor Yasuko Kasaki and artist Christopher Pelham. Our mission is guided by A Course in Miracles (ACIM). ACIM says that recognizing that you and your brother are actually one is the only way to experience peace. The mission of CRS is to promote the awareness that limitless creativity lives within each of us. We train minds to recognize the light in themselves and others and provide them opportunities to share their inner vision through the healing and creative arts. Since its founding CRS has provided numerous residencies and performance and exhibition opportunities to artists from all over the world. Currently, CRS is a multi-year sponsor of M³ (Mutual Mentorship for Musicians), a platform created to empower, elevate, normalize and give visibility to women, non-binary musicians and those of other historically underrepresented gender identities in intersection with race, sexuality, or ability across generations in the US and worldwide, through a radical model of mentorship and musical collaborative commissions.
https://crsny.org
2
This performance by Li-Chin Li (sheng) with electronics is from the concert series Paradise Laboratory presented by CRS (Center for Remembering & Sharing) at the White Room at CRS on June 25, 2023.
PARADISE LABORATORY is a playground for sonic and visual experimentation. Conceived of during the pandemic by the renowned Korean traditional multi-instrumentalist, curator, and scholar gamin, Paradise Laboratory provides musical artists with opportunities to rehearse, record, film, and perform with other musical, visual, and dance artists in an experimental, process-oriented, and artist-centered fashion.
ABOUT THE ARTISTS
Born in Taichung, Taiwan, Li-Chin Li is a Sheng soloist, composer, and performer. Majored in Chinese Music at the Tainan National University of the Arts, Li-Chin received solid training in traditional music education. After graduation, she worked for the most selective and prestige Orchestra, Hong Kong Chinese Orchestra as a Sheng performer. Li-chin soon figured a nine-to-five job doesn’t’ suit her for making her own music and performing. Li-chin is known for her ability to apply Sheng to various art forms and music genres. Through her work, she is committed to exploring musicians’ subjectivity and diversity of roles in the performing arts.
In October 2021, Li-Chin took part in a six-month residency program at the esteemed Cité internationale des arts in Paris. Handpicked by the Ministry of Culture, Taiwan, she seized this opportunity to collaborate with a diverse group of talented composers and musicians residing in France, culminating with her performance in the concert “Rencontre autour du Sheng à Paris” co-presented by the Italian Cultural Centre and Taiwan Cultiral Centre in Paris at the end of her residency there. The concert garnered praise from the French national radio program, “Journal de la Création,” making a significant impact on the exchange of contemporary music between Taiwan and France, as well as elevating Taiwan’s sheng music to an international stage.
Recently, she has been selected as a member of IRCAM concert de l’atelier d’improvisation, ManiFeste-2022, and she has been guested with Ensemble LINEA and Ensemble CAIRN in 2022. Last but not least, she is a grantee of Asian Culture Council in New York 2023.
https://lichinli.art/
Composer Heng Chen was born in Taipei in 1990. He began learning the piano and violin at the age of five, and in high school, he studied composition and music theory under Prof. Hsiao Ching-Yu. He received his Bachelor's Degree in Composition at the National University of Arts, Taipei (TNUA) with Prof. Pan Hwang-Long, and later with Prof. Tsai Ling-Huei. In 2013, he moved to Paris to continue his studies at the Boulogne-Billancourt National Conservatory with Jean-Luc Hervé. He attended classes in orchestration (with Pierre Farago) and electronic-acoustic (with Yan Maresz) and obtained a Diploma of Musical Studies (Diplôme d'études musicales). He also studied composition at the Paris Conservatory (CNSMDP) under Gérard Pesson. Furthermore, he has been taught by Alberto Posadas, Beat Furrer, Bruno Mantovani, Chinary Ung, Joel Hoffman, Deqing Wen, and Kee Yong Chong at various musical academies. His musical works have been performed in Taiwan, Korea, Italy, and France.
https://soundcloud.com/chenhengtw
ABOUT THE PRESENTER
CRS (CENTER FOR REMEMBERING & SHARING) is a spiritual healing and art center founded in 2004 by the writer/lecturer/spiritual counselor Yasuko Kasaki and artist Christopher Pelham. Our mission is guided by A Course in Miracles (ACIM). ACIM says that recognizing that you and your brother are actually one is the only way to experience peace. The mission of CRS is to promote the awareness that limitless creativity lives within each of us. We train minds to recognize the light in themselves and others and provide them opportunities to share their inner vision through the healing and creative arts. Since its founding CRS has provided numerous residencies and performance and exhibition opportunities to artists from all over the world. Currently, CRS is a multi-year sponsor of M³ (Mutual Mentorship for Musicians), a platform created to empower, elevate, normalize and give visibility to women, non-binary musicians and those of other historically underrepresented gender identities in intersection with race, sexuality, or ability across generations in the US and worldwide, through a radical model of mentorship and musical collaborative commissions.
https://crsny.org
2
CRS Presents Paradise Laboratory: Hell in Paradise
Li-Chin Li & Jeonghyeon Joo improvised duet
PARADISE LABORATORY is a playground for sonic and visual experimentation. Conceived of during the pandemic by the renowned Korean traditional multi-instrumentalist, curator, and scholar gamin, Paradise Laboratory provides musical artists with opportunities to rehearse, record, film, and perform with other musical, visual, and dance artists in an experimental, process-oriented, and artist-centered fashion.
ABOUT THE ARTISTS
Born in Taichung, Taiwan, Li-Chin Li is a Sheng soloist, composer, and performer. Majored in Chinese Music at the Tainan National University of the Arts, Li-Chin received solid training in traditional music education. After graduation, she worked for the most selective and prestige Orchestra, Hong Kong Chinese Orchestra as a Sheng performer. Li-chin soon figured a nine-to-five job doesn’t’ suit her for making her own music and performing. Li-chin is known for her ability to apply Sheng to various art forms and music genres. Through her work, she is committed to exploring musicians’ subjectivity and diversity of roles in the performing arts.
In October 2021, Li-Chin took part in a six-month residency program at the esteemed Cité internationale des arts in Paris. Handpicked by the Ministry of Culture, Taiwan, she seized this opportunity to collaborate with a diverse group of talented composers and musicians residing in France, culminating with her performance in the concert “Rencontre autour du Sheng à Paris” co-presented by the Italian Cultural Centre and Taiwan Cultiral Centre in Paris at the end of her residency there. The concert garnered praise from the French national radio program, “Journal de la Création,” making a significant impact on the exchange of contemporary music between Taiwan and France, as well as elevating Taiwan’s sheng music to an international stage.
Recently, she has been selected as a member of IRCAM concert de l’atelier d’improvisation, ManiFeste-2022, and she has been guested with Ensemble LINEA and Ensemble CAIRN in 2022. Last but not least, she is a grantee of Asian Culture Council in New York 2023.
https://lichinli.art/
Jeonghyeon Joo is an award-winning haegeum performer, composer, improviser, and researcher who is an ardent advocate for new and experimental music. Joo’s work explores the somatic, corporeal relationship between musical instrument and body, frequently collaborating with composers, performers, visual artists, choreographers, film directors, and dancers. Her recent projects have been supported by Arts Council Korea and Seoul Foundation for Arts and Culture. She is currently pursuing a DMA at the California Institute of the Arts and is on faculty at the California Institute of the Arts and Seoul Institute of the Arts.
https://www.joowork.com
ABOUT THE PRESENTER
CRS (CENTER FOR REMEMBERING & SHARING) is a spiritual healing and art center founded in 2004 by the writer/lecturer/spiritual counselor Yasuko Kasaki and artist Christopher Pelham. Our mission is guided by A Course in Miracles (ACIM). ACIM says that recognizing that you and your brother are actually one is the only way to experience peace. The mission of CRS is to promote the awareness that limitless creativity lives within each of us. We train minds to recognize the light in themselves and others and provide them opportunities to share their inner vision through the healing and creative arts. Since its founding CRS has provided numerous residencies and performance and exhibition opportunities to artists from all over the world. Currently, CRS is a multi-year sponsor of M³ (Mutual Mentorship for Musicians), a platform created to empower, elevate, normalize and give visibility to women, non-binary musicians and those of other historically underrepresented gender identities in intersection with race, sexuality, or ability across generations in the US and worldwide, through a radical model of mentorship and musical collaborative commissions.
https://crsny.org
3
CRS (Center for Remembering & Sharing) presents
Wednesdays at Noon Music Video Series Episode 28:
Paradise Laboratory with gamin & Jungwoon Kim 2
Improvised by
Jungwoon Kim — dance
gamin — piri
Video & Editing by
Christopher Pelham
https://chrispelham.com
@christopher_pelham
Filmed in the White Room at CRS, NYC
on February 6, 2022
Created in collaboration with musicians and dancers primarily of Asian and Middle-Eastern origin or descent, the WEDNESDAYS AT NOON music video series provides a playground for unusual collaborations and creative experimentation. The works featured include both composed/choreographed and improvised performances and take aim at the perceived boundary between traditional and contemporary.
ABOUT THE ARTISTS
Born and raised in South Korea, Jungwoong Kim has been a dancer, choreographer, media artist, arts educator and contact improvisation teacher for more than 20 years. He has extensive training in martial arts and Korean traditional dance and ritual, both of which strongly inform his artistic vision and aesthetic. He has done performances in contact improvisation and other dance styles with Katie Duck, Kurt Koegel, Hiekyoung Blanz, Kristie Simpson, Karen Nelson, Chris Aiken, Leah Stein, and Marion Ramirez, among others. As a resident artist at Philadelphia’s Asian Arts Initiative, he created and collaborated in a series of performance works dealing with catastrophic events and sudden human loss, including the 2014 Sewol Ferry disaster off the coast of South Korea. In connection with this body of work, in 2015 he was awarded a multi-year grant from The Pew Center for Arts and Heritage for SaltSoul, a multi-disciplinary, multi-site, durational performance project.
Jungwoong has taught improvisation and contact improvisation at numerous universities and independent workshops in the U.S., Europe, Japan and South Korea. For the fall 2021 semester he was a guest artist/choreographer at Franklin & Marshall College in Lancaster PA. He recently received a 2021 ART IS PHL award from the Philadelphia Housing Development Corporation for creation of Gather Together in Their Name, a public art project that speaks to the interruption of community memorial rituals in the time of COVID. Lately he has enjoyed working with Philadelphia’s Wilma Theater as the movement consultant for an uproariously physical interpretation of Chekhov’s The Cherry Orchard, directed by Dmitry Krymov, which played to sold-out audiences and rave reviews in April/ May 2022. In June 2022 he was a featured artist in performances at the 25th anniversary celebration of Philadelphia Dance Projects.
https://www.aha-k-pro.org/
gamin is a distinguished NYC soloist who tours the world performing both traditional Korean music and cross-disciplinary collaborations. gamin plays piri (double reed Korean oboe), taepyeonso (double-reed horn), and saenghwang (mouth organ). She is a designated Yisuja, official holder of Important Intangible Cultural Asset No. 46 for Court and Royal Military music. Re-inventing new sonorities from ancient, somewhat restrictive, musical systems, gamin has received several cultural exchange program grants, including Artist-in-Residence (2014) at the Asian Cultural Council, and Ministry of Culture, Sports, Tourism of Republic of Korea (2012). gamin has collaborated in cross-cultural improvisation in NYC with world-acclaimed musician Jane Ira Bloom, Elliot Sharp, Ned Rothenberg, presenting premieres at Roulette Theater, New School, and Metropolitan Museum. gamin was featured artist at the Silkroad concert, Seoul, 2018, performing on-stage with Yo-Yo Ma. gamin, as soloist, has scheduled her Carnegie Hall debut with the Nangye Gugak Orchestra in coming year. She has been a curator for the Crossing Boundaries Concert Series, which she helped to conceive, at CRS since 2018.
https://gaminmusic.com
@gamin_ny
https://crsny.org
https://www.instagram.com/crsnyorg/
2
CRS (Center for Remembering & Sharing) presents
Wednesdays at Noon Music Video Series Episode 27:
Paradise Laboratory with gamin & Jungwoon Kim 1
Improvised by
Jungwoon Kim — dance and voice
gamin — piri and saenghwang
Video Editing by
Christopher Pelham
https://chrispelham.com
@christopher_pelham
Filmed in the White Room at CRS, NYC
on February 6, 2022
Created in collaboration with musicians and dancers primarily of Asian and Middle-Eastern origin or descent, the WEDNESDAYS AT NOON music video series provides a playground for unusual collaborations and creative experimentation. The works featured include both composed/choreographed and improvised performances and take aim at the perceived boundary between traditional and contemporary.
ABOUT THE ARTISTS
Born and raised in South Korea, Jungwoong Kim has been a dancer, choreographer, media artist, arts educator and contact improvisation teacher for more than 20 years. He has extensive training in martial arts and Korean traditional dance and ritual, both of which strongly inform his artistic vision and aesthetic. He has done performances in contact improvisation and other dance styles with Katie Duck, Kurt Koegel, Hiekyoung Blanz, Kristie Simpson, Karen Nelson, Chris Aiken, Leah Stein, and Marion Ramirez, among others. As a resident artist at Philadelphia’s Asian Arts Initiative, he created and collaborated in a series of performance works dealing with catastrophic events and sudden human loss, including the 2014 Sewol Ferry disaster off the coast of South Korea. In connection with this body of work, in 2015 he was awarded a multi-year grant from The Pew Center for Arts and Heritage for SaltSoul, a multi-disciplinary, multi-site, durational performance project.
Jungwoong has taught improvisation and contact improvisation at numerous universities and independent workshops in the U.S., Europe, Japan and South Korea. For the fall 2021 semester he was a guest artist/choreographer at Franklin & Marshall College in Lancaster PA. He recently received a 2021 ART IS PHL award from the Philadelphia Housing Development Corporation for creation of Gather Together in Their Name, a public art project that speaks to the interruption of community memorial rituals in the time of COVID. Lately he has enjoyed working with Philadelphia’s Wilma Theater as the movement consultant for an uproariously physical interpretation of Chekhov’s The Cherry Orchard, directed by Dmitry Krymov, which played to sold-out audiences and rave reviews in April/ May 2022. In June 2022 he was a featured artist in performances at the 25th anniversary celebration of Philadelphia Dance Projects.
https://www.aha-k-pro.org/
gamin is a distinguished NYC soloist who tours the world performing both traditional Korean music and cross-disciplinary collaborations. gamin plays piri (double reed Korean oboe), taepyeonso (double-reed horn), and saenghwang (mouth organ). She is a designated Yisuja, official holder of Important Intangible Cultural Asset No. 46 for Court and Royal Military music. Re-inventing new sonorities from ancient, somewhat restrictive, musical systems, gamin has received several cultural exchange program grants, including Artist-in-Residence (2014) at the Asian Cultural Council, and Ministry of Culture, Sports, Tourism of Republic of Korea (2012). gamin has collaborated in cross-cultural improvisation in NYC with world-acclaimed musician Jane Ira Bloom, Elliot Sharp, Ned Rothenberg, presenting premieres at Roulette Theater, New School, and Metropolitan Museum. gamin was featured artist at the Silkroad concert, Seoul, 2018, performing on-stage with Yo-Yo Ma. gamin, as soloist, has scheduled her Carnegie Hall debut with the Nangye Gugak Orchestra in coming year. She has been a curator for the Crossing Boundaries Concert Series, which she helped to conceive, at CRS since 2018.
https://gaminmusic.com
@gamin_ny
https://crsny.org
https://www.instagram.com/crsnyorg/
0
CRS (Center for Remembering & Sharing) presents
Wednesdays at Noon Music Video Series Episode 26:
Bolero
Filmed live at Korea Advanced Institute of Science and Technology
Nov 4, 2021
https://gsmse.kaist.ac.kr/boards/view/board_notice/12955
"Bolero" composed by Maurice Ravel and Hyo Jee Kang 강효지
Flute by Min-Kyung Cha
Oboe by So-Yeon Kim
Bassoon by Young-Jin Choi
Piri, Taepyeongso by Gamin
Vocal by Kyung-Won Paik
Organ by Gun-Base Jeon
Cello by Hyung-Ji Lee
Piano, Virtual Instrument, Tambourine by Hyo Jee Kang
Editing by Jinok Cho
https://www.facebook.com/jinok.cho
Produced by Hyo Jee Kang
@mag_hyojee
Created in collaboration with musicians and dancers primarily of Asian and Middle-Eastern origin or descent, the WEDNESDAYS AT NOON music video series provides a playground for unusual collaborations and creative experimentation. The works featured include both composed/choreographed and improvised performances and take aim at the perceived boundary between traditional and contemporary.
https://crsny.org
https://www.instagram.com/crsnyorg/
ABOUT ARTIST HYO JEE KANG
Hyo Jee Kang is a concert pianist who has also been focusing on transformation between media and objects to create a new art form. She works with media artists and live electronic performers presenting improvisation and recomposed composition as well as her originals. Her activity as a composer, performer, creator and improviser has been featured throughout the world in Germany, Spain, Italy, Korea, Japan, USA, Israel, and so on. Hyo Jee currently resides in South Korea and serves as a faculty at Korea National University of Transportation. In May 2018, she gave her solo performance with great success at Lincoln Center, including the Conceptual Transformation Performance “Pyung Yang.” In August 2018 she was one of 12 artists from around the world selected to participate in Seminar in Taipei, a platform for in-depth exchange in both theoretical and practical fields, at the 2018 Taipei Arts Festival X in Taiwan. Seminar in Taipei is an initiative of Pro Helvetia, the Swiss Arts Council, in partnership with the National Culture and Arts Foundation of Taiwan, Korea Arts Management Service, the National Arts Council of Singapore, and the Arts and Theatre Institute of the Czech Republic, realised in collaboration with the Taipei Arts Festival. Her live performance works were presented by CRS at CRS in 2018 and 2019.
http://www.hyojeekang.com
https://youtube.com/hyojeekang
2
CRS (Center for Remembering & Sharing) presents
Wednesdays at Noon Music Video Series Episode 24:
Paradise Laboratory 5 Part 3
Improvised by
Galen Passen — sitar
gamin — piri and saenghwang
Text by
Mia Chung
https://newdramatists.org/mia-chung
Spoken Word by
Elya Osmanova
https://www.elyaos.com
@elyaos
Video & Editing by
Christopher Pelham
https://chrispelham.com
@christopher_pelham
Filmed in the White Room at CRS, NYC
on December 6, 2021
Created in collaboration with musicians and dancers primarily of Asian and Middle-Eastern origin or descent, the WEDNESDAYS AT NOON music video series provides a playground for unusual collaborations and creative experimentation. The works featured include both composed/choreographed and improvised performances and take aim at the perceived boundary between traditional and contemporary.
ABOUT THE ARTISTS
Galen Passen is a sitarist, composer, and visual artist based in Brooklyn, NYC. His devotion to training within the traditional formats of hindustani music have provided him with respect and love for the ever unfolding wisdom of sound while his diverse experiences across countries, genres, people and vocations have given him the conviction that art is to serve a greater purpose of spirituality and justice. Besides hindustani music he performs experimental compositions, collaborations with dance and other creative formats. He has had the privilege to work with the Pittsburgh Opera and Brooklyn Raga Massive and was awarded an Individual Artist Grant from The Saratoga Arts Council which he used to conceive and launch Folk Song, an emergent ensemble inspired by the forms of hindustani and Irish Trad.
@galenpassen
gamin is a distinguished NYC soloist who tours the world performing both traditional Korean music and cross-disciplinary collaborations. gamin plays piri (double reed Korean oboe), taepyeonso (double-reed horn), and saenghwang (mouth organ). She is a designated Yisuja, official holder of Important Intangible Cultural Asset No. 46 for Court and Royal Military music. Re-inventing new sonorities from ancient, somewhat restrictive, musical systems, gamin has received several cultural exchange program grants, including Artist-in-Residence (2014) at the Asian Cultural Council, and Ministry of Culture, Sports, Tourism of Republic of Korea (2012). gamin has collaborated in cross-cultural improvisation in NYC with world-acclaimed musician Jane Ira Bloom, Elliot Sharp, Ned Rothenberg, presenting premieres at Roulette Theater, New School, and Metropolitan Museum. gamin was featured artist at the Silkroad concert, Seoul, 2018, performing on-stage with Yo-Yo Ma. gamin, as soloist, has scheduled her Carnegie Hall debut with the Nangye Gugak Orchestra in coming year. She has been a curator for the Crossing Boundaries Concert Series, which she helped to conceive, at CRS since 2018.
https://gaminmusic.com
@gamin_ny
https://crsny.org
https://www.instagram.com/crsnyorg/
0
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3509
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dbpedia
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2
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https://letterboxd.com/writer/christopher-pelham/
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en
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Films written by Christopher Pelham
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Films written by Christopher Pelham
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en
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https://letterboxd.com/writer/christopher-pelham/
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Letterboxd is an independent service created by a small team, and we rely mostly on the support of our members to maintain our site and apps. Please consider upgrading to a Pro account—for less than a couple bucks a month, you’ll get cool additional features like all-time and annual stats pages (example), the ability to select (and filter by) your favorite streaming services, and no ads!
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3509
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https://www.rottentomatoes.com/m/xchange
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Rotten Tomatoes
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2001-06-12T00:00:00
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Thriller set in a future in which people can travel across the globe by swapping bodies with someone at their destination. A businessman discovers that his body has been hijacked by a terrorist, and with only a couple of days left before the life span of his cloned temporary body runs out, he must battle to win back his own physical being.
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https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
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Rotten Tomatoes
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https://www.rottentomatoes.com/m/xchange
|
Let's keep in touch!
>
Sign up for the Rotten Tomatoes newsletter to get weekly updates on:
Upcoming Movies and TV shows
Rotten Tomatoes Podcast
Media News + More
Sign me up No thanks
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3509
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https://kuwaittimes.com/the-exchange-a-netflix-original-that-puts-kuwaits-drama-on-global-map
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The Exchange, a Netflix original that puts Kuwait's drama on global map
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By Ahmad Jabr Sheikh Jaber Al-Ahmad Cultural Center hosted on Monday a red-carpet event for 'The Exchange', the first Kuwaiti Netflix original series. A star-s...
|
en
|
/theme_kuwaittimes/images/favicon.ico
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|
https://kuwaittimes.com/the-exchange-a-netflix-original-that-puts-kuwaits-drama-on-global-map
|
By Ahmad Jabr
Sheikh Jaber Al-Ahmad Cultural Center hosted on Monday a red-carpet event for 'The Exchange', the first Kuwaiti Netflix original series. A star-studded cast attended a special screening of the show that has been translated into five different languages and comes with high potential and anticipation of putting Kuwait's drama in its rightful place on the global map.
"I believe that if Netflix didn't already have faith in our drama in terms of stories, cast, production and all other aspects, they wouldn't have collaborated on this project," veteran Kuwaiti movie and TV star Zahra Al-Kharji said. A household name in the industry, not only in Kuwait and the Gulf region but also the Arab world, Kharji believes that Kuwait has always been rich in tremendous talent capable of performing on the highest international levels.
People attend the screening of the Exchange.
And perhaps Kuwait's talents are starting to catch international attention. "It's an incredible experience. I never would've dreamed of this," said co-writer Anne Sobel. "[Nadia Ahmad] has been a good friend of mine for a long time and I feel very fortunate that she chose us to work on this project."
Nadia Ahmad wrote The Exchange, a Kuwaiti drama set in 1987 and tells the story of two women making their way at the Kuwait Stock Exchange. "I'm proud that we got the chance to do this," lead star Rawan Mahdi said. A young actress based in Kuwait, Mahdi graduated from the Higher Institute for Dramatic Arts in 2015 and won an award for 'Best Supporting Actress' at the Kuwait Theater Festival for her role in 'The Wedding'. "My message to young aspiring actors and actresses is to always keep going and never stop," she said.
Delicate themes
Inspired by true events, the show tackles many delicate themes including women's empowerment. It explains how two women overcame social norms to break into a field such as the stock exchange at a time when male dominance was still at a high level in society compared to modern times. "I wanted to inspire intelligent hardworking women to strive to reach their highest potential even when the challenges seem insurmountable," Sobel said.
"It is a very important topic," said veteran Kuwaiti actor Jassem Al-Nabhan of the show's theme. "It addresses several issues such as working women, the challenges they face, and efforts needed to allow them to work."
Nabhan has starred in several Kuwaiti movies and drama works throughout his storied career, some of which were performed on the international stage. But the language barrier has always been a main challenge in Kuwait's road to reaching a wider international audience. He believes that The Exchange, which presents a compelling story in multiple languages on a widespread platform such as Netflix, has the potential to break this long-standing barrier.
Mohammad Al-Mansour, another veteran Kuwaiti TV and movie star who's witnessed the rise of Kuwait's drama, TV and cinema since the golden age of the industry, says Kuwait has long established its presence in the field in the Arab world, and it's time it leaves its mark on the international scene as well. He agrees that Kuwait has limitless potential in this regard.
"I am very lucky they chose me to be part of this amazing event, being on Netflix and going international," said Shabnam Khan, a young aspiring actress who plays a role that kick-starts the events of the series.
The Exchange, which premieres exclusively on Netflix on February 8, 2023, is produced by Beyond Dreams and directed by Kuwait's Jassem Al-Muhanna and Egypt's Karim Al-Shenawy. "It was really fun to go out of the comfort zone, try this new experience and collaborate with great talent," said Shenawy, who's worked on several other projects with Netflix in the past. "I read a great script that I wanted to do. For me, this is a great universal story - the story of two great women who are really inspiring [told] in a fun and enjoyable way."
"It is a dream come true," said Muhanna. "I think [The Exchange] puts Kuwait on the map in terms of filming and production that is on par with international levels." "This experience went well for me and my colleagues, especially in terms of moving from the local to the international scene," said actor Faisal Al-Amairi.
The Exchange is a Netflix original series conceived and written by celebrity TV presenter, actress and activist Nadia Ahmad, with Anne and Adam Sobel. The cast includes Rawan Mahdi, Mona Hussain, Hussain Al-Mahdi, Mohammad Al-Mansour, Zahra Al-Kharji, Huda Al-Khateeb, Faisal Al-Amairi, Jassem Al-Nabhan, Maryam Salih, Asmahan Tawfiq, and Abdullah Bahman.
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Christopher Pelham. Writer: Xchange. Christopher Pelham is known for Xchange (2001).
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About the Program
The Scholastic Art & Writing Awards are the nation’s largest, longest-running, and most prestigious scholarship and recognition program for middle and high school artists and writers. Since 1923, the Awards have recognized teenagers from across the country. By receiving a Scholastic Art & Writing Award, our students join a legacy of celebrated authors and artists such as Andy Warhol, Sylvia Plath, Truman Capote, Stephen King, Robert Redford, and Ezra Jack Keats.
The Alabama Awards Program received more than 300 submissions in 11 categories from students across the state of Alabama. On June 29, 2022, awards were presented at the Alabama Scholastic Art & Writing Awards Program during the Gulf Coast Conference on the Teaching of Writing, in 3 award levels: Gold Key (the very best works submitted to local programs); Silver Key (stand-out works submitted to local programs that demonstrate exceptional ability); and Honorable Mention (accomplished works submitted to local programs showing great skill and potential).
The Wiregrass Writing Project, Troy University, is pleased to present the 2022 Alabama Art & Writing Awards online exhibit. This exhibition features the awards given in each category and a selection of works for your reading enjoyment.
To learn more about the Alabama Scholastic Art & Writing Awards contact us at http://artandwriting.org or 334-670-5978.
Message from the Executive Director of the Alliance of Young Artist and Writers
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