SCREEN-L Archives

June 2010, Week 2

SCREEN-L@LISTSERV.UA.EDU

Options: Use Proportional Font
Show Text Part by Default
Show All Mail Headers

Message: [<< First] [< Prev] [Next >] [Last >>]
Topic: [<< First] [< Prev] [Next >] [Last >>]
Author: [<< First] [< Prev] [Next >] [Last >>]

Print Reply
Subject:
From:
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Date:
Mon, 7 Jun 2010 11:22:00 -0400
Content-Type:
text/plain
Parts/Attachments:
text/plain (64 lines)
BTW, the film that's being dubbed at the beginning of WOMEN ON THE  
VERGE OF A NERVOUS BREAKDOWN is Nicholas Ray's JOHNNY GUITAR.

--Marty Norden


Quoting "Larsson, Donald F" <[log in to unmask]>:

> Also the television melodrama being dubbed in WOMEN ON THE VERGE OF  
> A NERVOUS BREAKDOWN.
> ___________________________________________________
> "Only connect!"   --E.M. Forster
>
> Donald F. Larsson, Professor
> English Department, Minnesota State University, Mankato
> Email: [log in to unmask]
> Mail: 230 Armstrong Hall, Minnesota State University
>         Mankato, MN  56001
> Office Phone: 507-389-2368
>
> ________________________________________
> From: Film and TV Studies Discussion List [[log in to unmask]] on  
> behalf of [log in to unmask] [[log in to unmask]]
> Sent: Sunday, June 06, 2010 11:30 AM
> To: [log in to unmask]
> Subject: Re: [SCREEN-L] incorporation of TV/cinema screen into  
> cinema narrative
>
> Bill, you might take a look at Pedro Almodovar's films for other
> examples.  Two that I can think of offhand are his use of ALL ABOUT
> EVE in ALL ABOUT MY MOTHER and Bunuel's THE CRIMINAL LIFE OF
> ARCHIBALDO DE LA CRUZ in LIVE FLESH.
>
> --Marty Norden
> --------------------------------------------------------------------
>   Martin F. Norden
>   Communication Dept., 409 Machmer Hall      norden(at)comm.umass.edu
>   University of Massachusetts-Amherst        fax: 413 545-6399
>   Amherst, MA  01003   USA                   vox: 413 545-0598
>                 Home page: http://people.umass.edu/norden
> --------------------------------------------------------------------
>
> Quoting "W. McCarthy" <[log in to unmask]>:
>
>> I wonder if someone would be kind enough to direct me toward any studies --
>> or even mere lists of examples -- which have been made of the incorporation
>> of images of a TV (and/or cinema) screen into a film's narrative -- screen
>> within a screen, that is. What I have chiefly in mind are complex examples
>> such as Arturo Ripstein's Así es la vida, Stone's Any Given Sunday,
>> Cronenberg's Videodrome, Dassin's Dream of Passion, etc., in which the
>> screen's images are somehow integral to (or make ironic comment upon) the
>> on-going narrative. In Any Given Sunday, e.g., Wyler's 1959 Ben-Hur plays on
>> a screen in order to produce an ironic atmosphere in a key scene. However,
>> any instance, even incidental, in which a TV or film screen is incorporated
>> would interest me.
>>
>> Gratefully,
>> Bill McCarthy

----
Learn to speak like a film/TV professor! Listen to the ScreenLex
podcast:
http://www.screenlex.org

ATOM RSS1 RSS2