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Date: Fri, 29 May 1998 10:22:57 +1000
Reply-To: Film and TV Studies Discussion List <[log in to unmask]>
Sender: Film and TV Studies Discussion List <[log in to unmask]>
From: Harry Kirchner <[log in to unmask]>
Subject: Marked up scripts
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If anyone has any information on the following, I would be very grateful.
* archiving policies (if any), of studios or major production companies on
marked up scripts
* any theses, papers or articles (published or unpublished) on marked up
scripts
* any public or private libraries (institutes etc.) which might have a
collections of marked up scripts
By "marked up scripts", I am referring to the copy of the script which is
marked up (slate, number of takes and shot type) by the continuity person
on set at the time of filming, and is later used by the editor in the
cutting room. At the end of production, it is normal practice to file away
the marked up script with the editor's materials - trims etc. This is my
understanding at least. Nevertheless, I'd be very interested to hear from
any professional editors (especially those who have worked on productions -
in *any* country), as to their own understanding of what happens (or has
happened) to the marked up script once they have finished with it.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Harry Kirchner
LaTrobe University Australia
tel: +61 3 9489 1552 (h)
tel: +61 3 9479 3512 (w)
fax: +61 3 9479 3638 (fax)
www.latrobe.edu.au/www/screeningthepast/
an electronic journal of visual media & history
www.latrobe.edu.au/www/artmedia/screenoz.html
a new screenwriting book
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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University of Alabama.
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Date: Fri, 29 May 1998 16:30:49 -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: Scott Hutchins <[log in to unmask]>
Subject: Re: AFI.100movies.com
In-Reply-To: <v01540b04b190f2fc7219@[208.151.41.81]>
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Fast Times at Ridgemont High? Ferris Bueller? From Russia with Love?
Goldfinger? Grease? Imitation of Life? The Mark of Zorro? Missing? Animal
House? 101 Dalmations? Rocky/Rocky Horror? Saturday Night Fever? Sense
andd Sensibility? Toy Story? 20,000 Leagues Under the Sea?
Granted, I've only seen five of these, but...
I doubt they'll get many votes for _The Last Temptation of Christ_. At
least _Brazil_ made it...
Scott
On Tue, 26 May 1998, Kino International Corporation wrote:
> If you want to see the list of the 400 " greatest American films" from
> which the 100 will be chosen go to, http://AFI.100movies.com/. I hope you
> have a strong stomach.
>
> I also spoke today to a friend who has received the promotional video &
> press pack for the "Greatest" film list. He says it is one long commercial
> for the stuidios with each studio having its own section to promote their
> titles. Suprise, Suprise
>
> Also I spoke to some people at AFI and lets just say we agreed to disagree,
> however they wanted two points clarified. There was no " fixed Fee" per
> title. I used the figure of $5,000 to $15,000 as an average of how much
> money the studios will spend and how many of their films will end up on the
> list, I did not mean that there was a specific fee per title. Also They
> wanted to make clear that they and not the studios made up the list. The
> scarier thing to me about that is shows how studio obsessed the AFI is, to
> come up with a list without indepedent films or documentaries and a lot of
> bizzare titles. I do think there are people at AFI with good intentions and
> I realize that they are under financial problems, however my opinion of
> this project remains the same.
>
> Jessica ( Opinions expressed are my own) Rosner
>
> Kino International Corporation
> 333 W. 39th St. Suite 503
> New York, NY 10018
> (212)629-6880
> fax: (212)714-0871
>
> ----
> Online resources for film/TV studies may be found at ScreenSite
> http://www.tcf.ua.edu/screensite
>
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Screen-L is sponsored by the Telecommunication & Film Dept., the
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Date: Fri, 29 May 1998 12:37:54 -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: Robert Macmorine <[log in to unmask]>
Subject: Re: query: EXHIBITIONIST list
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This will get you there
There are two addresses associated with this mailing list:
[log in to unmask]
Mail sent to this address is re-distributed to the 100+ addresses that are
currently subscribed to the list. DO NOT SEND UNSUBSCRIBE REQUESTS HERE.
[log in to unmask]
Use this address for administrative things, like unsubscribe requests.
>A friend recently told me that a list exists called EXHIBITIONIST - a
>discussion
> list on cinema
>projection and sound technology. However she did not now how to subscribe
>to it.
> Can anyone
>enlighten me?
>
>Many thanks
>
>Leo Enticknap
>Univ. of Exeter, UK
>
>----
>Online resources for film/TV studies may be found at ScreenSite
>http://www.tcf.ua.edu/screensite
Rob Macmorine
Film Studies, Dramatic and Visual Arts
Brock University
500 Glenridge Ave.
St. Catherines, On
Canada
L2S 3A1
(905) 688-5550 ext. 3998
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Screen-L is sponsored by the Telecommunication & Film Dept., the
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Date: Fri, 29 May 1998 16:50:28 -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: Scott Hutchins <[log in to unmask]>
Subject: (1 of 1) The Wizard of Oz (fwd)
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Donald Larsson:
I found the entry. It lists the following holders:
Capitol Reg Libr Coun, OCLC Cluster (CT)
Newton County Library System (GA)
Bell County Public Library (KY)
Central N Carolina Reg Library (NC)
Jensen Mem Library (NE)
Westchester Library System (NY)
My interlibrary loan request failed.
Scott
---------- Forwarded message ----------
Date: Fri, 29 May 1998 16:48:55
From: First Search Mail <[log in to unmask]>
To: [log in to unmask]
Subject: (1 of 1) The Wizard of Oz
------------------------------------------------------------
PLEASE DO NOT REPLY OR SEND MESSAGES TO THIS EMAIL ADDRESS.
------------------------------------------------------------
NOTE: Oz play
SEARCH STRING: ti: wizard of oz
ACCESSION: 8379766
TITLE: The Wizard of Oz
YEAR: 1976
PUB TYPE: Audiovisual
FORMAT: 2 videoreels (115 min.) : sd., b&w ; 1/2 in.
NOTES: Performed February 19, 1976, by the Mankato (Minnesota) Fine Arts
Community Theatre.
SUBJECT: Children's plays.
OTHER: Baum, L. Frank (Lyman Frank), 1856-1919.
Mankato Five Arts Community Theatre.
------------------------------------------------------------
Thanks for using FirstSearch.
This e-mail account is only for distribution of FirstSearch documents.
Please contact your librarian with comments or concerns.
------------------------------------------------------------
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Date: Thu, 28 May 1998 17:16:13 -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: Kino International Corporation <[log in to unmask]>
Subject: Re: Plays on Film Question
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Actually they were released from 73-75. The videos were released about a
year or two later . They are VERY RARE. They are basically the most
exspensive out of print videos aroung. an Unopened copy of THE ICEMAN
COMETH was sold to the director for $1500 and most tapes in the series now
sell for $500 or more.
You can usually get them from Video Oyster at 212-989-3300 a company which
specializes in out of print videos ( Legal Copies only)
Hope this helps
Jessica Rosner
Kino International Corporation
333 W. 39th St. Suite 503
New York, NY 10018
(212)629-6880
fax: (212)714-0871
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Date: Fri, 29 May 1998 00:03:10 EDT
Reply-To: Film and TV Studies Discussion List <[log in to unmask]>
Sender: Film and TV Studies Discussion List <[log in to unmask]>
From: "Mark W. Best" <[log in to unmask]>
Subject: Re: AFI.100movies.com
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In my opinion, everyone is taking this list too seriously. It is like picking
the year's top ten, or five films nominated for best picture. As far as I can
see, the list is a good thing in that it will stimulate discussion, and maybe
inspire people to sample previously unseen films. If a Generation X movielover
who has seen Top Gun 23 times is inspired to rent Only Angels Have Wings
because of this list, then it is serving a constructive purpose.
Yes, it is commercialized, but isn't that the history of American film? Art
was a by product of commerce. The Warners, the Mayers, the Cohns, were
businessmen. From their business came art. Were it not for the commercial
viability of Ford, Hawks, and Hitchcock we would not have The Searchers,
Gentlemen Prefer Blondes, or Rear Window.
So let us stop trashing the list for it flaws, and utilize it as a tool of
discussion and illumination. Remember, most of us developed our love of
classic cinema watching old movies on commercial TV. That a late showing of
Out of the Past was sponsered by Crest did little to dull our apperciation of
it.
Mark Best
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Date: Fri, 29 May 1998 10:38:37 +1000
Reply-To: Film and TV Studies Discussion List <[log in to unmask]>
Sender: Film and TV Studies Discussion List <[log in to unmask]>
From: Peter Hughes <[log in to unmask]>
Subject: Re: Plays on Film Question
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As I remember it the series was called The American Film Theatre and
others included GALILEO and (now I'm really dragging the depths of my
memory!) the Osborne play about an aging performer starring either Alan
Bates or Albert Finney.
In Australia they were released as a series but screened theatrically in
the normal way, albeit being marketed as "quality" films because of their
theatrical origins. My memory is that as films most of the ones I saw
were very tedious!
P
Dr Peter Hughes Department of Media Studies La Trobe University
Bundoora VIC 3083
ph: +61 3 9479 3065 (w), fax: +61 3 9479 3638 (w)
http://www.latrobe.edu.au/www/artmedia/MediaHome.html
Screening the past. An international, refereed electronic journal of
visual media and history:
http://www.latrobe.edu.au/www/screeningthepast
Visit the site of Experimenta Media Arts:
http://www.peg.apc.org/~experimenta/
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Date: Sat, 30 May 1998 14:39:48 -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: Kino International Corporation <[log in to unmask]>
Subject: Re: AFI.100movies.com
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OK folks one last rant on the AFI 100 "greatest films" list.
Yesterday two publications were put on my desk ( by cruel office mates) which
point out just what a farce the list and the AFI are.
The first publication was Video Store magazene, the offical trade paper of
the video industry. The AFI 100 greatest promotion filled the magazene with
lots of ads including the whole front cover. Each studio took out ads to
promote it titles which were selected for the list of 400 from which the
100 will be "chosen", and each lauded the " distguished Blue Ribbon Panel"
which chose those classics. According the " news" article inside this
cooperation between AFI and the industry is " The closest thing to a
generic ad campaign the rental industry has ever seen" . I could not have
put it better myself. The article lauds all the cross promotions between
the stores, the studios, The CBS netwark special, Turner network, Newsweek,
Premiere etc. It of course explaines what a great cultural institution the
AFI is and how their great panel of "film historians" selected these great
films. Remember this is the list with those classics: BAREFOOT IN THE PARK,
DRIVING MISS DAISY, LOVE STORY and of course PRETTY WOMAN (I try to list
some new ones each time but I can not resist putting this on all my posts).
This all the list from which there are no documentaries, no ( or maybe one
depending on the distributor) indepedent films and over 95% of titles
chosen from the libraries of the participating(ie paying) studios.
Now on the that other publication that crossed my desk. It was from the
BRITISH FILM INSTITUTE and was a list of 360 great films compiled by David
Meeker for the BFI. This list was exactly the kind real film historians
would make up. It includes many famous studio titles but also lots non-
studion titles and many studio films that studios have never bothered to
put on video. Only about 1/3 of list is American films of those 130+ titles
at least 50 do not even make the AFI's list of the supposed 400 greatest
films. However the REALLY REMARKABLE thing about this list is its purpose.
The list was put together so that the BFI could try to get good 35mm copies
for its collection and then use them for programming. WOW what a
revolutionary concept, to build a collection of FILM PRINTS that could
actually be used to project to the public.
This is the difference between the AFI and the BFI. In fact in the AFI home
page its stated goals are TO TRAIN ( like no one else does this) to
Preserve ( as one archivist wrote me " the only preservation the AFI does
is self preservation" ) and TO RECOGNIZE ( give awards). Programming has
never been a concern of theirs.
Well thats all guys but remember as someone says in one of the films AFI
selected as one the 400 greatest " sometimes lost causes are the only ones
worth fighting for".
Jessica Rosner
All views expressed are my own.
Kino International Corporation
333 W. 39th St. Suite 503
New York, NY 10018
(212)629-6880
fax: (212)714-0871
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Date: Fri, 29 May 1998 21:54:15 -0400
Reply-To: [log in to unmask]
Sender: Film and TV Studies Discussion List <[log in to unmask]>
From: Brian Ganter <[log in to unmask]>
Subject: Put An End to Clique Rule in the Society for Cinema Studies
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Put An End to Clique Rule in the Society for Cinema Studies
HANDS OFF BOB NOWLAN
Recently, when Rob Wilkie, a "duly elected" English
graduate student representative at the State University of New York at
Albany, protested the cronyism that passes as "policy" in the English
Department's funding of graduate students, the "senior" graduate
students who had benefited from the existing "policies" decided that
he did not "represent" their interests and attempted to depose him as
an official departmental representative of the graduate students. Rob
Wilkie is a member of The Red Theory Collective -- a Marxist
collective that has in recent years struggled against the overwhelming
power of a coalition of conservative faculty and students who
currently run the Department in a closed and autocratic manner; the
aim of Wilkie and of the Red Theory Collective is to contribute to the
rebuilding of the Department and its practices so that these will, in
the future, be conducted in an open and democratic way. In its public
writings and other interventions The Red Theory Collective has tried,
among other things, to show how the bourgeois democracy to which these
holders of institutional power declare formal allegiance is simply an
ideological device for legitimating the interests
of this clique in maintaining its own power. The clique in power
respects the rules of election and terms of office only if members of
the clique are elected to the office. Democracy, in short, is reduced
to a set of purely formal procedures for protection of their private
interests. Rob Wilkie insisted on public accountability and as a
result became the target of a massive attack and vicious red baiting.
As the triumphalist narratives of big business about the
"collapse of socialism" fall apart (narratives which for a long time
had reassured these businesses' "faculty lobbyists" in the academy of
their uncontested control of universities and other knowledge
institutions), and as a new generation of Marxist theorists and
activists appears on the scene of contemporary knowledges, in turn
newer and ever-more aggressive anti-red tactics are unleashed on
campuses, in so-called "scholarly" organizations and conferences, on
the editorial boards of academic journals, on supposedly "left"
listserves on the Internet, and in college and university classrooms
and programs of study. The aim of all these crypto-fascist and
anti-democratic practices is to keep the red knowledges away from the
very people who might benefit from them -- the workers, the students,
and the citizens who have not yet completely yielded to the
brand of cynicism bourgeois academics are today marketing as both the
most advanced and the only legitimate form of "new" and "progressive"
knowledges.
Bob Nowlan -- the current Chair of the Caucus on Class of
the SCS -- is the latest target of these neo-fascist and post-al
McCarthyist attacks by the cronies of capitalism in academic film
theory. Over the course of the last three years, Bob Nowlan -- a
revolutionary Marxist theorist and editor, and a member of The Red
Collective -- has attempted to open up the intellectually
claustrophobic and politically self-validating practices of the SCS
and to provide new spaces for transformative knowledges and practices
to the Caucus on Class. His radical practices have created a "panic"
among the "senior" holders of power in the SCS who cannot (owing to
the bourgeois interests they effectively represent) engage his
theoretical practices which tear the mask of serious, principled, and
committed knowledge away from their reactionary preaching to show the
hollow pragmatism behind this deceptive facade. Having failed to
contain him intellectually, they have now, in a desperate move --
which is in fact a repetition of the maneuvers at SUNY-Albany --
initiated a deceitful and imperious attempt to remove him
from his position as the Chair of The Caucus on Class on the
ostensible grounds of procedural technicalities that they have in fact
fabricated for this very occasion.
In addition to the (newly invented) "policy" considerations
which the ruling clique is deploying to get rid of Nowlan
(considerations which contradict the very terms under which Nowlan
agreed to stand for election and was elected), the clique is also, in
the tried and true manner of all post-al reactionaries to get rid of
the RED and the REVOLUTIONARY, attempting to redirect attention away
from issues of principle to ones of "pragmatics" and (ethics of)
"personality. " Thus one of the dominant narratives being circulated
aims at attributing the source of the current contestation to the
"individual" failures of Bob Nowlan and his predecessor as Caucus on
Class chair, Terri Ginsberg, to speak, write and act in "properly"
"responsible" ways -- ways which involve simply deferring to
established institutional authorities and operating in blind
obedience to entrenched traditions and pragmatic protocols. The
members of this clique have gone so far as to invoke twisted readings
of Nowlan's own "body language" to support its zealous quest to remove
him, while also sarcastically deriding Nowlan and the few other "reds"
on the listserv as simply a handful of infantile thinkers for
proposing that the current contestation is ultimately rooted in
serious intellectual and political differences and that it is
important not to conflate "policy" with "politics," and, especially,
not to reduce the latter to the former.
Behind the clique's appeals to "policy" and "personality" is
not the advancement of a "principled" and "democratic" agenda but the
narrowly self-serving practices of a ruling minority who have
recognized that Nowlan's practices are "dangerous" because his acts
hold up for public inspection their own reactionary practices and, in
doing so, remove the veneer of "the scholarly" and "the progressive"
from their theoretical and pedagogical practices to show these for
what they ultimately are -- lessons in allegiance to capital and its
regime of escalating global exploitation. While these lackeys of
global capitalism (who masquerade as "progessive intellectuals") are
plotting their coup d'etat against Bob Nowlan, we call upon members of
the Caucus on Class and others to join us in protesting these acts of
red-baiting which are now becoming commonplace -- from classrooms and
other sites of pedagogy to the "committees" whose primary
institutional function is the bureaucratic policing of transformative
ideas and practices in the interest of capitalist crisis management.
We call upon all members of SCS and the Caucus on Class as
well as all interested persons to join us in defending the university
as a place of critique-al knowledges for social transformation and a
site of open pedagogy: that is, a space for free exchange of ideas,
rigorous critique, and open contestation -- practices that are
constitutive of a democratic society. We urge all members to resist
the behind-the-scenes deal-making and careerist wrangling for selfish
and solipsistically personal and professional advantages. Support Bob
Nowlan and oppose the authoritarian move to remove him as the chair of
the Caucus on Class.
For Red Critique,
Jennifer Cotter, Kimberly DeFazio, Minette Marcroft-Estevez, Brian
Ganter, Christopher Hank, Adam Katz, Deb Kelsh, Donald Morton, Grant
Phelong, Erica Pittman, Brad Rothrock, Amrohini Sahay, Julie Torrant,
Stephen Tumino, Rob Wilkie, Mas'ud Zavarzadeh
* Note: For a further sustained critique-al engagement with the issues
which are outlined here, refer to Bob Nowlan's "For the Caucus on
Class," available by contacting Professor Nowlan at
<[log in to unmask]>.
For detailed red critiques of issues regarding the English Department
at SUNY-Albany see The Red Theory Collective Web Site:
http://cnsvax.albany.edu/~rw4653 or contact The Red Theory Collective
at <[log in to unmask]>.
For an extensive revolutionary Marxist engagement with the
postintellectual "activist" left on the Net see _The Alternative
Orange_ Vol. 5, No. 2, or contact the Revolutionary Marxist Collective
at <http://www.geocities.com/CapitolHill/Lobby/2072/>.
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