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blue123bubble · 3 years

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Meet the gang

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ozu-teapot · 5 years

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The Party’s Over | Guy Hamilton | 1965

Oliver Reed. Ann Lynn, Maurice Browning, Mike Pratt, Annette Robertson, Mildred Mayne, Alison Seebohm, Clifford David

#Oliver Reed #Ann Lynn #Maurice Browning #Mike Pratt #Annette Robertson #Mildred Mayne #Alison Seebohm #Clifford David #Guy Hamilton #The Party’s Over #1965

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frankenpagie · 7 years

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6.13.17

#watched #letterboxd #film #harold lloyd #dr jack #fred c. newmeyer #sam taylor #mildred davis #eric mayne #john t. prince

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womenandfilm5 · 4 years

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Volver (Pedro Almodòvar, 2006) . Questions to guide your reading, thinking, and viewing of this week's film: . 1. Alison Butler begins the “Introduction: From Count-Cinema to Minor Cinema” chapter in her book Women’s Cinema: The Contested Screen (2002) by noting that women's cinema vaguely includes "films that might be made by, addressed to, or concerned with women, or all three," and points out that women's cinema as a concept is "brought into existence by audiences, film-makers, journalists, curators and academics and maintained only by their continuing interest: a hybrid concept, arising from a number of overlapping practices and discourses, and subject to a baffling variety of definitions" (2002, 1-2). Where do we stand, in this class or in your own thinking, about what constitutes or is included in "women's cinema," and what has it offered to us thus far in our course material? What have our class topics and weekly conversations left out, too, that ought to be considered? . 2. Butler outlines the following categories for women's cinema and feminist criticism: . -- Feminist film theory and women's cinema -- Mulvey: counter-cinema as negative aesthetics -- Johnston: counter-cinema as discursive struggle -- De Lauretis: rethinking women's cinema -- Intertextuality: Fischer, Mayne, Mellencamp and Modleski -- Women's cinema as minor cinema . Discuss which of these frameworks has been most relevant in your understanding of our course topics thus far, and how come? Would this week's topic on contemporary maternal melodramas and the overarching issue of mothers as daughters fit into one or more of these categories, in your opinion, and in what ways? . 3. In your analysis of this week's reading, topic, and/or film, you may find it is helpful to keep previous readings from week 3 in mind (Jeanine Basinger's "The Genre," Sue Thornham's "Female Spectators, Melodrama and 'the Woman's Film’"). You're also welcome to compare/contrast Volver (Pedro Almodòvar, 2006) with previous maternal melodramas in our syllabus such as Stella Dallas (King Vidor, 1937) and Mildred Pierce (Michael Curtiz, 1945). . Works Cited . Basinger, Jeanine. “The Genre.” A Woman’s View: How Hollywood Spoke to Women, 1930-1960. Middletown, Connecticut: Wesleyan University Press, 1995. 3-23. . Butler, Alison. “Introduction: From Counter-Cinema to Minor Cinema.” Womenʼs Cinema: The Contested Screen. London: Wallflower, 2002. 1-23. . Thornham, Sue. “Female Spectators, Melodrama and the ʻWomanʼs Film.ʼ” Passionate Detachments: An Introduction to Feminist Film Theory. London: Arnold, 1997. 45-66.

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hjfoley · 7 years

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Dr. Jack 1922 The conniving Dr. Ludwig von Saulsbourg (Eric Mayne) can't seem to help a young woman (Mildred Davis) who is continually ill, so her wealthy father (John T.

#Fred C. Newmeyer #Hal Roach #Harold Lloyd #Mildred Davis #Silent comedy #silent film #Silent Movies

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ozu-teapot · 5 years

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