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The key to success, as with any business, is "location, location, location"

That's why cinematheques are mostly (if not always) based in major urban centres, close to the downtown core. Here in Toronto we have Cinematheque Ontario (Ontario is actually a province in Canada, larger than most small countries, and Toronto is its capital. Hence Toronto-area downtown residents make up its primary audience). The density of the population, combined with a larger percentage of university-educated residents, and the availability of other venues such as major first-run theatres (of course), multiple second-run theatres (such as the 'Festival' chain), film society screenings (such as my own group), thematic festivals (Fantasia is my favorite, which mostly highlights the cinema of Hong Kong, but also Japan and China), special premieres... right down to Reg Hartt and his private home screenings of everything from Fritz Lang to Tex Avery... and, finally, the Toronto International Film Festival (http://www.bell.ca/filmfest/99/index.asp) allows for an appetite for div!
ersity. Torontonians simply love going to the movies and, more importantly, being seen going to the movies.

That's what's unique. Despite the immense availability of theatrical 'art-house' screenings, Toronto has only had a handful of "art" video stores -- and most of them have gone out-of-business ('Art & Trash' was the most painful to see go. The store itself was puny, but loaded with stuff you couldn't find anywhere else). Those that survive do so mostly because of their "new release" sections. TV broadcasters have occasionally aired some typical cinemateque titles, but they consistently generate some of the worst ratings for that time slot. It seems many of the potential viewers of such films are not as keen to watch the films in the privacy of their own homes (where they can't be seen) but they are more than willing to travel across town, wait in line, and pay upwards of $10 (not including their driving, parking and expresso expenses) for the pleasure of being seen going into such a film.

Somehow the suburbs and rural areas don't project the same atmosphere. In any case, the only "negative" experiences I have with the Cinematheque Ontario is that they don't always get the best prints (often opting for the easiest source), or aren't always careful about which ones they order. One year they advertised the screening of the "restored" version of Visconti's The Leopard and, instead, showed a horrible 16mm print of the 'American' version (an example of taking the 'easy' route). Another time they were scheduled to show Unfaithfully Yours (1948) directed by Preston Sturges. Instead they received a print of Unfaithfully Yours (1984) starring Dudley Moore. True, the suppliers/distributors are not always a joy to deal with (Dennis Doros being an obvious exception. Without a doubt, the best I've dealt with), but a sharp booker would avoid or spot these mistakes before they ruin the screening.

Thankfully such occurrences are few and far between, and not everyone cares because, again, there is the "being seen" factor that overrides.

As for "successful" tactics... advertising, press and sponsorships help immensely (notice that the Cinematheque Ontario and TIFF websites are carried on the main Bell Canada web site). This is where Dennis Doros's suggestion to check out the Milestone website <www.milestonefilms.com> comes in handy. The 'Ideas on Running a Film Society' document <http://www.milestonefilms.com/articles/artfilmsoc.html> is a terrific guide that I have found very useful, and can easily be applied to Cinematheque tactics (at least in terms of screening practices).

Here is the Cinematheque Ontario website:
http://www.bell.ca/filmfest/cinematheque/default.htm

And while I'm at it, I would like to invite those in the Toronto area to a special Italian Film Society screening of "Tutti Giu' per terra (We All Fall Down, 1997) next Thursday night (March 23). Locations details are available at www.italianfilms.com, or just contact me. Admission is $8 for non-members. This screening has been made possible by the collaboration of Cinecitta' Holding (Rome) and the Italian Cultural Institute (Toronto).

Darryl Wiggers
Italian Film Society of Canada
www.italianfilms.com

.

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Screen-L is sponsored by the Telecommunication & Film Dept., the
University of Alabama: http://www.tcf.ua.edu
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Date:         Wed, 15 Mar 2000 17:21:11 GMT
Reply-To:     Film and TV Studies Discussion List <[log in to unmask]>
Sender:       Film and TV Studies Discussion List <[log in to unmask]>
From:         Tony Crean <[log in to unmask]>
Subject:      Re: Hong Kong Cinema
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You might like to look at
http://www.sfxavier.ac.uk/sfxhtml/LA%20Faculty/film.htm#HK
which lists links I referred students to last Summer. The book I used
(excellent) is Stephen Teo's Hong Kong Cinema (BFI 1997). Hong Kong Babylon
(about 1995), by Frederick Dannen, started as a New Yorker Article, August
7, 1995); the first half is an overview (I downloaded it from somewhere on
the net); the second half includes various lists of the best HK films, and
comments on individual films. There is a more recent book which has had good
reviews, called (I think) City on Fire, by two authors. And I think there is
a very recent book on John Woo.There is also a POST SCRIPT SPECIAL ISSUE
(VOL. 19, NO. 1) DEVOTED TO HONG KONG CINEMA.The issue contains essays on
topics of both historical and contemporary relevance, and includes
considerations of current production, distribution, and marketing trends
within the SAR movie industry, discussions of the multiple global audiences
for Hong Kong movies, analyses of thematic and stylistic issues raised by
recent films and filmmakers, and historiographical critiques of significant
artistic, social, and political trends.
Here is an incomplete list of films I came across, most of which I saw:
Wong Kar-Wai - Days of Being Wild; *Fallen Angels; *Happy Together,
*Chungking Express;
John Woo - *Bullet in the Head; *Better Tomorrow 2; *The Killer, *Face/Off;
*Hard Boiled; *Broken Arrow
Ringo Lam Ling-Tung - City on Fire; *Burning Paradise.
Ching Sui Tung - *Chinese Ghost Story
*On the Run; God of Gamblers; ; *Rouge (Stanley Kwan?);
Better Tomorrow/ Heroes Shed no Tears; Beyond the Law; Cinema of Vengeance;
(Bruce Lee) Game of Death; (Bruce Lee) Fist of Fury 2; (Jackie Chan) Dragons
Forever; Jackie Chan's First Strike; Jackie Chan The Prisoner; Jackie Chan
My Story; Jackie Chan Heart of Dragon; Hard-Boiled; Hard Boiled 2.
Shogun Assassin (Martial Arts); Tsui Hark Zu - Warriors of Magic Mountain
(fantasy).

Books on this topic are scarce. Journal articles are more useful.
List follows. Of particular interest = * or **
BIBLIOGRAPHY
1. * Browne, Pickowicz, Sobchack and Yau (eds.), New Chinese Cinemas: Forms,
Identities, Politics, (Cambridge:  Cambridge University Press, 1996).
2. Dannen, Fredric and Barry Long, Hong Kong Babylon, (London:  Faber and
Faber, 1997).
3. * Teo, Stephen, Hong Kong Cinema:  The Extra Dimensions, (London:  BFI
Publishing, 1997).
JOURNAL ARTICLES
1.      Charity, Tom, 'Hong Kong Phewy', in Time Out, August/September 1995, pp
14-15.
2.      Dargis, Manohla, 'Do You Like John Woo?', in Sight and Sound, 7/9
(September 1997), pp.10-12.
3.      Doyle, Chris and Tony Rayns, 'To the End of the World', in Sight and
Sound, 7/5 (May 1997), pp 14-17.
4.      Gross, Larry, 'Nonchalant Grace', in Sight and Sound, 6/9 (September
1996), pp. 6-10.
5.      Jameson, Frederic, 'Dissecting the Visual Artistry of Wong Kar-wai', in
Hong Kong Film Connection, 3/5 (1996), pp. 8-12 & 25.
6.      Morrison, Susan, 'La Haine, Fallen Angels, and Some Thoughts on
Scorsese's Children', in CineAction, December 1995, p44-50.
7.      Rayns, Tony, 'Diexue Shuang Xiong (The Killer)' in Monthly Film Bulletin,
September 1990, pp. 260-261.
8.      Reynaud, Berenice, 'John Woo's Art Action Movie', in Sight and Sound, 3/5
(May 1993), pp. 22-24.
9.      ** Stringer, Julian, 'Your Tender Smiles give me Strength: Paradigms of
Masculinity in John Woo's A Better Tomorrow and The Killer', in Screen, 38/1
(Spring 1997), pp. 25-41.
10.     Wong Kar-wai and Tony Rayns, 'Poet of Time', in Sight and Sound, 5/6
(June 1995), pp. 12-16.
11.     Wong Kar-wai and Richard Williams, 'King Kong', in The Guardian Review,
April 10 1998, pp 6-7.
12.     Woo, John and Tom Charity, 'Shooting Star', in Time Out, October 1993,
pp 18-19.
13.     Woo, John and Trevor Johnston, 'Face Value', in Time Out, November 1997,
p24.
14.     Woo, John, 'John Woo in Interview', in Sight and Sound, 3/5 (May 1993),
p25.
15. Yacowar, Maurice, 'An Expatriate's Film: Facing Face/Off', in Queen's
Quarterly, 104/3 (Autumn 1997), pp 469-477.

Hope this is useful

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Date:         Wed, 15 Mar 2000 18:53:31 EST
Reply-To:     Film and TV Studies Discussion List <[log in to unmask]>
Sender:       Film and TV Studies Discussion List <[log in to unmask]>
From:         Robert Hunt <[log in to unmask]>
Subject:      3rd generation
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At one time this was available from New Yorker Video..but it seems to have
gone out of print....
R. Hunt
]Webster University

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Date:         Thu, 16 Mar 2000 11:56:13 +1030
Reply-To:     Mark Bahlin <[log in to unmask]>
Sender:       Film and TV Studies Discussion List <[log in to unmask]>
From:         Mark Bahlin <[log in to unmask]>
Subject:      Your Oscars for 2000
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Well, I posted this suggestion a while back, so I guess I'll try to do =
this myself.

I will collate and post our very own Screen-L Oscar winners after the =
actual ceremony - to see how close/different we were to the Academy.

Please use the official nominations below as a guide.

I will collate your votes in TWO categories.

Firstly I want your vote according to the nominations list. You can cut =
and paste the list below and indicate your selection in an appropriate =
(and clear!) way.

Secondly I want a vote according to your own ideas - they can include =
other actors, directors, etc. that you deem to have 'missed out' on =
gaining official recognition this time around. These results, in =
particular, could be very interesting.
The second vote I would like to have limited to only Best Picture, =
Director, Actor, Actress, Actor in a Supporting Role and Actress in a =
Supporting Role - in order to preserve my sanity.

Also I would like to compile a list according to the second list above, =
but instead of 'Best', substitute the word, 'Worst'. Now is the time to =
have it out!

Please e-mail me directly at [log in to unmask] in order to preserve =
your anonimity and protect the integrity of your voting. Hopefully my =
mail server is more reliable than the U.S. Mail system! (What am I =
saying?!)

Happy voting

Mark Bahlin



BEST PICTURE=20

AMERICAN BEAUTY
THE CIDER HOUSE RULES
THE GREEN MILE
THE INSIDER
THE SIXTH SENSE

ACTOR IN A LEADING ROLE=20

Russell Crowe - The Insider
Richard Farnsworth - The Straight Story
Sean Penn - Sweet And Lowdown
Kevin Spacey - American Beauty
Denzel Washington - The Hurricane

ACTOR IN A SUPPORTING ROLE=20

Michael Caine - The Cider House Rules
Tom Cruise - Magnolia
Michael Clarke Duncan - The Green Mile
Jude Law - The Talented Mr. Ripley
Haley Joel Osment - The Sixth Sense

ACTRESS IN A LEADING ROLE=20

Annette Bening - American Beauty
Janet McTeer - Tumbleweeds
Julianne Moore - The End Of The Affair
Meryl Streep - Music Of The Heart
Hilary Swank - Boys Don't Cry

ACTRESS IN A SUPPORTING ROLE=20

Toni Collette - The Sixth Sense
Angelina Jolie - Girl, Interrupted
Catherine Keener - Being John Malkovich
Samantha Morton - Sweet And Lowdown
Chlo=EB Sevigny - Boys Don't Cry

ART DIRECTION=20

ANNA AND THE KING
THE CIDER HOUSE RULES
SLEEPY HOLLOW
THE TALENTED MR. RIPLEY
TOPSY-TURVY

CINEMATOGRAPHY=20

AMERICAN BEAUTY - Conrad L. Hall
THE END OF THE AFFAIR - Roger Pratt
THE INSIDER - Dante Spinotti
SLEEPY HOLLOW - Emmanuel Lubezki
SNOW FALLING ON CEDARS - Robert Richardson

DIRECTING=20

AMERICAN BEAUTY - Sam Mendes
BEING JOHN MALKOVICH - Spike Jonze
THE CIDER HOUSE RULES - Lasse Hallstrom
THE INSIDER - Michael Mann
THE SIXTH SENSE - M. Night Shyamalan

FILM EDITING=20

AMERICAN BEAUTY
THE CIDER HOUSE RULES
THE INSIDER
THE MATRIX
THE SIXTH SENSE=20

FOREIGN LANGUAGE FILM=20

ALL ABOUT MY MOTHER
CARAVAN
EAST-WEST
SOLOMON AND GAENOR
UNDER THE SUN=20

MAKEUP=20

AUSTIN POWERS: THE SPY WHO SHAGGED ME
BICENTENNIAL MAN
LIFE
TOPSY-TURVY=20

ORIGINAL SCORE=20

AMERICAN BEAUTY - Thomas Newman
ANGELA'S ASHES - John Williams
THE CIDER HOUSE RULES - Rachel Portman=20
THE RED VIOLIN - John Corigliano
THE TALENTED MR. RIPLEY - Gabriel Yared

ORIGINAL SONG=20

SOUTH PARK: BIGGER, LONGER & UNCUT - Blame Canada (Trey Parker and Marc =
Shaiman)
MUSIC OF THE HEART - Music Of The Heart (Diane Warren)
MAGNOLIA - Save Me (Aimee Mann)
TOY STORY 2 - When She Loved Me (Randy Newman)
TARZAN - You'll Be In My Heart (Phil Collins)


SOUND=20

THE GREEN MILE
THE INSIDER
THE MATRIX
THE MUMMY
STAR WARS EPISODE I: THE PHANTOM MENACE =20

VISUAL EFFECTS=20

THE MATRIX
STAR WARS EPISODE I: THE PHANTOM MENACE
STUART LITTLE=20

SCREENPLAY - ADAPTATION=20

THE CIDER HOUSE RULES
ELECTION
THE GREEN MILE
THE INSIDER
THE TALENTED MR. RIPLEY=20

SCREENPLAY - ORIGINAL=20

AMERICAN BEAUTY
BEING JOHN MALKOVICH
MAGNOLIA
THE SIXTH SENSE
TOPSY-TURVY

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Screen-L is sponsored by the Telecommunication & Film Dept., the
University of Alabama: http://www.tcf.ua.edu
=========================================================================
Date:         Wed, 15 Mar 2000 21:15:52 -0500
Reply-To:     Film and TV Studies Discussion List <[log in to unmask]>
Sender:       Film and TV Studies Discussion List <[log in to unmask]>
From:         Jim Castonguay <[log in to unmask]>
Subject:      CFP: VISIBLE EVIDENCE VIII
In-Reply-To:  <[log in to unmask]>
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Utrecht University's Institute for Media and Re/Presentation presents:

CALL FOR PAPERS

VISIBLE EVIDENCE VIII

AUGUST 17-20, 2000
Utrecht and Amsterdam, The Netherlands

The 2000 Visible Evidence Conference is presented by Utrecht University in
co-operation with the Filmmuseum and Film Theatre 't Hoogt.

The 2000 Visible Evidence Conference is the eighth in a series of major
interdisciplinary conferences on the representation of (social) reality in
documentary film and video. Since the key issue of representing reality
explores a wide range of cultural, political, social, historical,
ethnographic, medical and pedagogical questions, we welcome papers from all
academic fields.

We would also like to involve filmmakers, curators and producers in debates
on contemporary documentary practice, and to explore the space between the
perspectives of scholars and cultural entrepreneurs. Filmmakers Johan van
der Keuken and Peter Forgacs (conditionally) are happy to participate in the
conference.

At this time you may submit a paper directly to a panel listed below (to the
panel chair), or to the Open Call address listed at the bottom of this page.
In either case you will need to submit the following: 1) a one page paper
proposal, 2) a brief description of your experience relevant to the
proposal, 3) your e-mail address and phone number.

All proposals for panels must be received by e-mail, by March 31st, 2000.

To view full descriptions of existing panel topics please visit our website
at www.let.uu.nl/tftv/ve8/

Visible Evidence VIII Panels:

*       Dina Iordanova, University of Leicester
Panel: The Post-Communist Post-Colonial
Contact: [log in to unmask]

*       Bill Nichols, San Francisco State University
Panel: Revising the Record
Contact: [log in to unmask] or [log in to unmask]

*       Patricia Zimmermann, Ithaca College
Panel: Mining the home movie: Excavations into Historical and Cultural
Memories
Contact: [log in to unmask]

*       Barbara Abrash , New York University and  Patricia  Aufderheide,
American University
Panel: Confession, testimonial, witness: Human rights and personal narrative
in documentary
Contact: [log in to unmask]

*       Julia Lesage, University of Oregon
Panel: Travel Media, Now and Then
Contact: [log in to unmask]

*       Dan Streible, University of  South Carolina
Panel:  Re-examining Newsreels as History
Contact: [log in to unmask]

*       Frank Kessler, Utrecht University
Panel: Visible Evidence, But What Of? Reassessing Early Nonfiction
Contact: [log in to unmask]

*       Elizabeth Cowie, University of Kent
Panel: Performing Identity: Documenting  Subjectivity
Contact: [log in to unmask]

*       Derek Paget, University College Worchester
Panel: Border Genres: Hybrid Futures
Contact: [log in to unmask]

*       Thomas Elsaesser, Amsterdam University
Panel: Appropriate Identities
Contact: [log in to unmask]

Open Call for papers that do not fit panel topics
Two or three panels will be constructed from submissions to the open call.
Send Open Call Proposals to: Sonja de Leeuw
Media and Re/Presentation Utrecht University: [log in to unmask]
----------------------------------------------------------------
----------------------------------------------------------------
For more information about fees, local information, hotels and to view full
descriptions of existing panel topics please visit our website at
www.let.uu.nl/tftv/ve8/

The 2000 Visible Evidence Conference will be organized by the Utrecht
University FBU-congress Bureau. Project leader for VE VIII is Ms. Jorunn
Labordus
For all your questions about administrative issues, please mail to
[log in to unmask]

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Screen-L is sponsored by the Telecommunication & Film Dept., the
University of Alabama: http://www.tcf.ua.edu
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Date:         Thu, 16 Mar 2000 09:42:00 EST
Reply-To:     Film and TV Studies Discussion List <[log in to unmask]>
Sender:       Film and TV Studies Discussion List <[log in to unmask]>
Comments:     RFC822 error: <W> Incorrect or incomplete address field found and
              ignored.
From:         [log in to unmask]
Subject:      Milestone Film & Video new address
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Just a quick announcement for anyone looking for us. As of yesterday, March
15, our new address is:

Dennis Doros & Amy Heller
Milestone Film & Video
PO Box 128
Harrington Park, NJ 07640-0128

Phone: (800) 603-1104 or (201) 767-3117
Fax: (201) 767-3035
Email: [log in to unmask]

We've moved to the wilds of New Jersey (yesterday, thousands of starlings
sounded like a low budget re-make of The Birds) and if anybody is wondering,
Harrington Park is in Bergen County just about twenty minutes north of the
George Washington Bridge.

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Online resources for film/TV studies may be found at ScreenSite
http://www.tcf.ua.edu/ScreenSite
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Date:         Thu, 16 Mar 2000 10:32:01 -0500
Reply-To:     Film and TV Studies Discussion List <[log in to unmask]>
Sender:       Film and TV Studies Discussion List <[log in to unmask]>
From:         Elizabeth Fries <[log in to unmask]>
Subject:      Re: Looking  for Fassbinder Film

New Yorker Films rents "The Third Generation" on 16mm. They might have it
availble in their video collection but I do not have a current video
listing.

New Yorker Films
16 West 61st Street
New York, NY 10023
(212) 247-6110

http://www.newyorkerfilms.com/

Hope this helps!

Elizabeth LeDoux, Program Coordinator
Brooklyn College
Department of Film
[log in to unmask]
http://depthome.brooklyn.cuny.edu/film/

> ----------
> From:         Olaf Hoerschelmann
> Reply To:     Film and TV Studies Discussion List
> Sent:         Wednesday, March 15, 2000 11:29 AM
> To:   [log in to unmask]
> Subject:      Looking  for Fassbinder Film
>
> Hi all--
>
> I am looking to find (buy or rent) a copy of the following film by Rainer
> Werner Fassbinder:
>
> The Third Generation
> Die Dritte Generation (German)
> Originally released in Germany in 1979; 105 minutes long.
>
> The use of an English title seems to indicate that it was released in the
> US
> at some point.
> Although the Internet Movie Database lists this film, no additional
> information regading distribution is available. The usual outlets like
> Facets or Ebay don't have it either.
> If anyone has information regarding this film's availability (either in
> German or English) or even owns a copy, please let me know. I'd appreciate
> any hints I can get.
>
> Thanks,
>
> Olaf
>
> Olaf Hoerschelmann, Ph.D.
> Assistant Professor
> Dept. of Radio, Television and Film
> University of North Texas
>
> ----
> Screen-L is sponsored by the Telecommunication & Film Dept., the
> University of Alabama: http://www.tcf.ua.edu
>
>

----
Online resources for film/TV studies may be found at ScreenSite
http://www.tcf.ua.edu/ScreenSite
=========================================================================
Date:         Thu, 16 Mar 2000 09:10:41 -0700
Reply-To:     Film and TV Studies Discussion List <[log in to unmask]>
Sender:       Film and TV Studies Discussion List <[log in to unmask]>
From:         Telluride IndieFest <[log in to unmask]>
Subject:      Telluride IndieFest 2K - Deadline Approaching ("First Call")
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Dear Screen-L Participants,

Telluride IndieFest 2K wants to remind you of its "First Call for
Entries" DEADLINE on March 31, 2000.

Please Note:  If you enter Telluride IndieFest *before* April 1
(2000), you will save $5.00 on your entry fee.

-------------

We are encouraging everyone to enter *online* (via the festival's web site) at:

http://tellurideindiefest.com

for it greatly simplifies the entire entry process.

-----------------------------------
As well, we are *limiting* entries for Telluride IndieFest 2K to 1000
(total of all film, video, and screenplay entries), so *enter early*.
-----------------------------------

We look forward to receiving and previewing your entries!

Film & Write On,

Michael Carr
Director:  Telluride IndieFest
http://tellurideindiefest.com

Showing the *best* of independent cinema, short films and
documentaries from around the world, and showcasing *outstanding*
screenwriting achievements!

----
Online resources for film/TV studies may be found at ScreenSite
http://www.tcf.ua.edu/ScreenSite
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Date:         Fri, 17 Mar 2000 12:25:52 GMT
Reply-To:     Film and TV Studies Discussion List <[log in to unmask]>
Sender:       Film and TV Studies Discussion List <[log in to unmask]>
From:         louie rayner <[log in to unmask]>
Subject:      Re: Melodrama - Powell & Pressburger
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All concerned,
I am searching for any historical "tit bits" on the Melodrama genre which
Powell & Pressburger so avidly contributed towards during the 1940's.
Primarily, I'm interested in historical accounts, at the time, which might
reflect the 'process' and the studio system in which they worked in.

Louie Rayner
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

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Date:         Fri, 17 Mar 2000 16:07:04 -0000
Reply-To:     Film and TV Studies Discussion List <[log in to unmask]>
Sender:       Film and TV Studies Discussion List <[log in to unmask]>
From:         Guy Barefoot <[log in to unmask]>
Subject:      Re: Melodrama - Powell & Pressburger
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Louie,

I'm not sure about 'tit bits', but you could look at 'Heavy Breathing in
Shropshire', SCREEN Vol.27 No.6 (1986), Susan Boyd-Bowman's account of GONE
TO EARTH and the version that Selznick had re-edited as THE WILD HEART.

Guy Barefoot

[log in to unmask]

----- Original Message -----
From: louie rayner <[log in to unmask]>
To: <[log in to unmask]>
Sent: 17 March 2000 12:25
Subject: Re: Melodrama - Powell & Pressburger


> All concerned,
> I am searching for any historical "tit bits" on the Melodrama genre which
> Powell & Pressburger so avidly contributed towards during the 1940's.
> Primarily, I'm interested in historical accounts, at the time, which might
> reflect the 'process' and the studio system in which they worked in.
>
> Louie Rayner
> ______________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com
>
> ----
> For past messages, visit the Screen-L Archives:
> http://bama.ua.edu/archives/screen-l.html

----
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=========================================================================
Date:         Fri, 17 Mar 2000 12:41:22 EST
Reply-To:     Film and TV Studies Discussion List <[log in to unmask]>
Sender:       Film and TV Studies Discussion List <[log in to unmask]>
From:         [log in to unmask]
Subject:      Re: Melodrama - Powell & Pressburger
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To state the obvious, Powell pretty much covers much of the working process
in his two autobiographies, there's an excellent biography of Pressburger by
his grandson (and Oscar-nominated documentarian) Kevin MacDonald and there
are many books written about the two and their films in the last five years.

And of course, there's a ton of material over at the British Film Institute
and if I remember correctly, the Powell papers might be stored there at the
moment.

Out of curiosity, did P&P actually consider themselves to be adherents of
melodrama?

Dennis

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Date:         Fri, 17 Mar 2000 14:58:57 -0600
Reply-To:     Film and TV Studies Discussion List <[log in to unmask]>
Sender:       Film and TV Studies Discussion List <[log in to unmask]>
From:         Sandy Camargo <[log in to unmask]>
Subject:      Re: Melodrama - Powell & Pressburger
In-Reply-To:  <[log in to unmask]>
Mime-Version: 1.0
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I think that the best work on Powell and Pressburger is by Ian
Cameron, who was at one time affiliated with the BFI.

Sandy Camargo

>To state the obvious, Powell pretty much covers much of the working process
>in his two autobiographies, there's an excellent biography of Pressburger by
>his grandson (and Oscar-nominated documentarian) Kevin MacDonald and there
>are many books written about the two and their films in the last five years.
>
>And of course, there's a ton of material over at the British Film Institute
>and if I remember correctly, the Powell papers might be stored there at the
>moment.
>
>Out of curiosity, did P&P actually consider themselves to be adherents of
>melodrama?
>
>Dennis
>
>----
>For past messages, visit the Screen-L Archives:
>http://bama.ua.edu/archives/screen-l.html

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For past messages, visit the Screen-L Archives:
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=========================================================================
Date:         Sun, 19 Mar 2000 14:40:01 -0500
Reply-To:     Film and TV Studies Discussion List <[log in to unmask]>
Sender:       Film and TV Studies Discussion List <[log in to unmask]>
From:         [log in to unmask]
Subject:      Kamillions
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII

If anyone is interested in this film I keep talking about, you can get it
at www.bigpicture.de, where it's sold under the title _The Wingates_ for
42.95 DM (about $21)

 ===============================================================================
Scott Andrew Hutchins
http://php.iupui.edu/~sahutchi
Oz, Monsters, Kamillions, and More!

"Who's John Adams?"  --Vice President Albert Gore, Jr., at Monticello,
after failing to recognize busts of other founding fathers.

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=========================================================================
Date:         Mon, 20 Mar 2000 10:13:35 -0600
Reply-To:     Film and TV Studies Discussion List <[log in to unmask]>
Sender:       Film and TV Studies Discussion List <[log in to unmask]>
From:         Sandy Camargo <[log in to unmask]>
Subject:      Re: Melodrama - Powell & Pressburger
In-Reply-To:  <v04220801b4f84ce2ca18@[128.206.104.27]>
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I'm sorry: I meant Ian Christie.

        Sandy Camargo

>I think that the best work on Powell and Pressburger is by Ian
>Cameron, who was at one time affiliated with the BFI.
>
>Sandy Camargo
>
>>To state the obvious, Powell pretty much covers much of the working process
>>in his two autobiographies, there's an excellent biography of Pressburger by
>>his grandson (and Oscar-nominated documentarian) Kevin MacDonald and there
>>are many books written about the two and their films in the last five years.
>>
>>And of course, there's a ton of material over at the British Film Institute
>>and if I remember correctly, the Powell papers might be stored there at the
>>moment.
>>
>>Out of curiosity, did P&P actually consider themselves to be adherents of
>>melodrama?
>>
>>Dennis
>>
>>----
>>For past messages, visit the Screen-L Archives:
>>http://bama.ua.edu/archives/screen-l.html
>
>----
>For past messages, visit the Screen-L Archives:
>http://bama.ua.edu/archives/screen-l.html

----
Online resources for film/TV studies may be found at ScreenSite
http://www.tcf.ua.edu/ScreenSite
=========================================================================
Date:         Mon, 20 Mar 2000 13:08:56 -0000
Reply-To:     Film and TV Studies Discussion List <[log in to unmask]>
Sender:       Film and TV Studies Discussion List <[log in to unmask]>
From:         Paul Fryer <[log in to unmask]>
Subject:      Suggestios ??
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At very short notice i have been asked to teach a short course with the
working title, Reading Media.
The course is for second year ungrad. students on a theatre degree
programme.
I would like to try to cover film, TV and radio, possibly the net as well -
at least at an introductory level.
Suggestions for accessible material would be welcomed, as I have only a few
weeks to prepare this.
Thanks.
Paul Fryer
Senior Lecturer in Theatre
Rose Bruford College, Sidcup (U.K.)

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Online resources for film/TV studies may be found at ScreenSite
http://www.tcf.ua.edu/ScreenSite
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Date:         Mon, 20 Mar 2000 17:22:05 EST
Reply-To:     Film and TV Studies Discussion List <[log in to unmask]>
Sender:       Film and TV Studies Discussion List <[log in to unmask]>
From:         [log in to unmask]
Subject:      frame blow-ups
Comments: To: [log in to unmask]
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Dear friends,

I am looking to see if anyone has an extraordinary lab in the New York area
that can do frame blow-ups from a 35mm print. We're trying to get publicity
stills for The Sorrow and the Pity because the blow-ups done in the early
seventies just look terrible.

Thank you!

Dennis Doros
Milestone Film & Video
PO Box 128
Harrington Park, NJ 07640-0128
phone: (800) 603-1104 or outside the US: (201) 767-3117
fax: (201) 767-3035
email: [log in to unmask]
<A HREF="http:www.milestonefilms.com">http:www.milestonefilms.com</A>

"An ounce of action is worth a ton of theory."
 Friedrich Engels, 1803-1882

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Online resources for film/TV studies may be found at ScreenSite
http://www.tcf.ua.edu/ScreenSite
=========================================================================
Date:         Mon, 20 Mar 2000 16:36:31 +0000
Reply-To:     Film and TV Studies Discussion List <[log in to unmask]>
Sender:       Film and TV Studies Discussion List <[log in to unmask]>
From:         Leo Enticknap <[log in to unmask]>
Subject:      Re: Melodrama - Powell & Pressburger
In-Reply-To:  <[log in to unmask]>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"

Dennis Doros notes:

>And of course, there's a ton of material over at the British Film Institute
>and if I remember correctly, the Powell papers might be stored there at the
>moment.

There is also a ton, if not several, of academic books and articles both on
the British '40s melodrama and on P & P.  The Pam Cook book on Gainsborough
(published by Cassell) has a 'bibliozilla' covering the former: see also
James Curran & Vincent Porter (eds.), British Cinema History (1983,
Weidenfeld & Nicolson) for a similarly comprehensive bibliography covering
pre-1983 stuff, and Ian Christie, Arrows of Desire (published by Fabers)
for one on P & P.

L

------------------------------------
Leo Enticknap
Technical Manager
City Screen Cinemas (York) Ltd..
Coney St., York YO1 9QL.
United Kingdom
Telephone: 01904 612940 (work); 01904 673207 (home); 0410 417383 (mobile)
e-mail: [log in to unmask]

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http://www.tcf.ua.edu/ScreenSite
=========================================================================
Date:         Tue, 21 Mar 2000 22:47:49 EST
Reply-To:     Film and TV Studies Discussion List <[log in to unmask]>
Sender:       Film and TV Studies Discussion List <[log in to unmask]>
From:         Evan Rosenfield <[log in to unmask]>
Subject:      Evil heroes?
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mike frank wrote:

"at a quick guess, we'll find many fewer evil heroes than
evil heroines . . . and if that's the case it ought to tell us
something about ourselves that we need -- but don't want
to -- know . . ."


Isn't an evil hero impossible? I've always found the non-evilness of
protagonists to be one of the most intriguing points of identification for
me. At most I've found some heroes morally ambiguous. But evil? Its tough to
call the person you are identifying with evil. Maybe bad, but evil?

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For past messages, visit the Screen-L Archives:
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