Am 09.02.2009 16:25 Uhr schrieb "FILM-PHILOSOPHY automatic digest system"
unter <[log in to unmask]>:
> There are 5 messages totalling 1071 lines in this issue.
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> Topics in this special issue:
>
> 1. clichés
> 2. NOW ONLINE: Cinemascope Independent Film Journal - Issue 12
> 3. FILM-PHILOSOPHY convention cliche (2)
> 4. Final Product Release - American Film Scripts Online - Alexander Street
> Press
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> Date: Sun, 8 Feb 2009 20:47:16 -0500
> From: bill harris <[log in to unmask]>
> Subject: Re: clich=?utf-8?Q?=C3=A9s?=
>
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> I employ "challenging" to designate the large grey zone between =
> incomprehension and an all-too-easy accessibility. This is simply the =
> site of art: the jostling of sensibilities, as it were; or in the =
> literary terms of Oates, the intentional rupture of the reader/writer =
> pact.
>
> One is, in any case, "challenged " by a cinema of questions. So, yes, I =
> find Rohmer un-conventional in his treatment of human relations.=20
>
> BH
> ----- Original Message -----=20
> From: Herbert Schwaab<mailto:[log in to unmask]>=20
> To: =
> [log in to unmask]<mailto:[log in to unmask]>=20
> Sent: Sunday, February 08, 2009 12:52
> Subject: Re: clich=C3=A9s
>
>
> bill harris wrote:
> Substitute "challenging" for "incomprehensible"....
>
>
> It is also likely that a film convention broken results in a =
> challenging=20
> film, but not automatically (are random shots of feets by cameras=20
> unconsciously held to the ground while running challenging?)
> I think there are also films that follow conventions (of simple=20
> storytelling) and offer challenging and rewarding experiences (like =
> the=20
> films of Eric Rohmer).
> So, I'd rather prefer not to substitute challenging for =
> incomprehensible.
>
> Herbert
>
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> <DIV>I employ "challenging" to designate the large grey zone =
> between=20
> incomprehension and an all-too-easy accessibility. This is simply the =
> site of=20
> art: the jostling of sensibilities, as it were; or in the literary terms =
> of=20
> Oates, the intentional rupture of the reader/writer pact.</DIV>
> <DIV> </DIV>
> <DIV>One is, in any case, "challenged " by a cinema of questions. So, =
> yes, I=20
> find Rohmer un-conventional in his treatment of human relations. =
> </DIV>
> <DIV> </DIV>
> <DIV>BH</DIV>
> <BLOCKQUOTE=20
> style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
> BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
> <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
> <DIV style=3D"FONT: 10pt arial"><B>From:</B> <A=20
> title=3Dmailto:[log in to unmask]
> href=3D"mailto:[log in to unmask]">Herbert Schwaab</A> </DIV>
> <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
> title=3Dmailto:[log in to unmask]
> =
> href=3D"mailto:[log in to unmask]">[log in to unmask]
> C.UK</A>=20
> </DIV>
> <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Sunday, February 08, 2009 =
>
> 12:52</DIV>
> <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: clich=C3=A9s</DIV>
> <DIV><BR></DIV>bill harris wrote:<BR>Substitute "challenging" for=20
> "incomprehensible"....<BR><BR><BR>It is also likely that a film =
> convention=20
> broken results in a challenging <BR>film, but not automatically (are =
> random=20
> shots of feets by cameras <BR>unconsciously held to the ground while =
> running=20
> challenging?)<BR>I think there are also films that follow conventions =
> (of=20
> simple <BR>storytelling) and offer challenging and rewarding =
> experiences (like=20
> the <BR>films of Eric Rohmer).<BR>So, I'd rather prefer not to =
> substitute=20
> challenging for=20
> incomprehensible.<BR><BR>Herbert<BR><BR>*<BR>*<BR>Film-Philosophy=20
> salon<BR>After hitting 'reply' please always delete the text of the =
> message=20
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> r=20
> visit: <A title=3Dhttp://www.jiscmail.ac.uk/lists/film-philosophy.html =
>
> =
> href=3D"http://www.jiscmail.ac.uk/lists/film-philosophy.html">http://www.=
> jiscmail.ac.uk/lists/film-philosophy.html</A><BR>For=20
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> ------------------------------
>
> Date: Mon, 9 Feb 2009 12:23:42 +0000
> From: Emanuele Tammaro <[log in to unmask]>
> Subject: NOW ONLINE: Cinemascope Independent Film Journal - Issue 12
>
> --_064853c8-98b7-4006-9bcb-0361dba06346_
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>
> Cinemascope =96 Independent Film Journalwww.cinemascope.itIssue 12- January=
> - June 2009FEMALE SUBJECTIVITY AND CINEMATIC REPRESENTATIONedited by EYLEM=
> ATAKAVARTICLES:INES DIASTHE GAZE AND FEMALE SUBJECTIVITY IN THE MURMURING =
> COASTCRAIG FROSTREGENDERING THE FINAL GIRL: ELI ROTH=92S HOSTELCRISTINA GAM=
> BERIVOGLIAMO ANCHE LE ROSE=2C THE DOCU-DIARY OF ALINA MARAZZICAMILO GOMIDES=
> SUBMISSION TO DESIRE: THE PATRIARCH AND THE FEMALE PROTAGONIST IN THREE FIL=
> MS BY BU=D1UELJAMES HANSENTHE ORIGIN OF THE WORLD: RECLAIMING THE POWER OF =
> THE FEMALE BODY IN ANATOMY OF HELL (ANATOMIE DE L=92ENFER=2C 2004)CODRUTA M=
> ORARIDECONSTRUCTING FEMALE AUTHORSHIP: REFLECTIONS ON THEPHENOMENOLOGY OF S=
> TYLE AND THE FEMININE TRUTHCLAIRE PERKINSLOST IN DECRYPTION: FEMALE SUBJECT=
> IVITY IN THE FILMS OF OLIVIER ASSAYAS
> _________________________________________________________________
> Quante ne sai? Gioca con i 50 nuovi schemi di CrossWire!
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> <span class=3D"EC_Apple-style-span" style=3D"font-size:16pt">Cinemascope =
> =96 Independent Film Journal</span><div>www.cinemascope.it</div><div><br></=
> div><div>Issue 12-=A0<span class=3D"EC_Apple-style-span" style=3D"font-size=
> :11px">January - June 2009</span></div><div><br></div><div><span class=3D"E=
> C_Apple-style-span" style=3D"font-weight:bold"><span class=3D"EC_Apple-styl=
> e-span" style=3D"font-size:12pt">FEMALE SUBJECTIVITY AND CINEMATIC REPRESEN=
> TATION</span></span></div><div>edited by EYLEM ATAKAV</div><div><br></div><=
> div><br></div><div>ARTICLES:</div><div><br></div><div>INES DIAS</div><div>T=
> HE GAZE AND FEMALE SUBJECTIVITY IN THE MURMURING COAST</div><div><br></div>=
> <div>CRAIG FROST</div><div>REGENDERING THE FINAL GIRL: ELI ROTH=92S HOSTEL<=
> /div><div><br></div><div>CRISTINA GAMBERI</div><div>VOGLIAMO ANCHE LE ROSE=
> =2C THE DOCU-DIARY OF ALINA MARAZZI</div><div><br></div><div>CAMILO GOMIDES=
> </div><div>SUBMISSION TO DESIRE: THE PATRIARCH AND THE FEMALE PROTAGONIST I=
> N THREE FILMS BY BU=D1UEL</div><div><br></div><div>JAMES HANSEN</div><div>T=
> HE ORIGIN OF THE WORLD: RECLAIMING THE POWER OF THE FEMALE BODY IN ANATOMY =
> OF HELL (ANATOMIE DE L=92ENFER=2C 2004)</div><div><br></div><div>CODRUTA MO=
> RARI</div><div>DECONSTRUCTING FEMALE AUTHORSHIP: REFLECTIONS ON THEPHENOMEN=
> OLOGY OF STYLE AND THE FEMININE TRUTH</div><div><br></div><div>CLAIRE PERKI=
> NS</div><div>LOST IN DECRYPTION: FEMALE SUBJECTIVITY IN THE FILMS OF OLIVIE=
> R ASSAYAS<br></div><div><br></div><br /><hr />Scoprilo con Typectionary! <a=
> href=3D'http://typectionary.it.msn.com/' target=3D'_new'>Sei bravo con l'i=
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>
> ------------------------------
>
> Date: Mon, 9 Feb 2009 13:29:53 +0000
> From: Alan Fair <[log in to unmask]>
> Subject: Re: FILM-PHILOSOPHY convention cliche
>
> Hi all,
> on the question of cliche and convention. There are no cliches in Howard
> Hawks' films of the 30s and 40s.
> peace
> alan
>
> A. Fair
> IDS
>
> Before acting on this email or opening any attachments you
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> ------------------------------
>
> Date: Mon, 9 Feb 2009 08:55:27 -0500
> From: "Frank, Michael" <[log in to unmask]>
> Subject: Re: FILM-PHILOSOPHY convention cliche
>
> --_000_AEBEBD0E18C06A48BC7A2B5845A94F984C912FD5AFVEXCH01goldad_
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> of course there are . . . his films begin with credits, they use shot count=
> er-shot, they use a 1:1.33 aspect ratio . . . all of these are purely conve=
> ntional
>
>
>
> we really gotta stop thinking about conventions as one way or another being=
> to be avoided . . . they are inevitable as the ground of all communication
>
>
>
> mike
>
>
>
> -----Original Message-----
> From: Film-Philosophy Salon [mailto:[log in to unmask]] On Beha=
> lf Of Alan Fair
> Sent: Monday, February 09, 2009 8:30 AM
> To: [log in to unmask]
> Subject: Re: FILM-PHILOSOPHY convention cliche
>
>
>
> Hi all,
>
> on the question of cliche and convention. There are no cliches in Howard Ha=
> wks' films of the 30s and 40s.
>
> peace
>
> alan
>
>
>
> A. Fair
>
> IDS
>
>
>
> Before acting on this email or opening any attachments you
>
> should read the Manchester Metropolitan University's email
>
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>
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>
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> </o:shapelayout></xml><![endif]-->
> </head>
>
> <body lang=3DEN-US link=3Dblue vlink=3Dpurple>
>
> <div class=3DSection1>
>
> <p class=3DMsoPlainText><b><i><span style=3D'font-family:"Bookman Old Style=
> ","serif";
> color:#00B0F0'>of course there are . . . his films begin with credits, they=
> use
> shot counter-shot, they use a 1:1.33 aspect ratio . . . all of these are pu=
> rely
> conventional<o:p></o:p></span></i></b></p>
>
> <p class=3DMsoPlainText><b><i><span style=3D'font-family:"Bookman Old Style=
> ","serif";
> color:#00B0F0'><o:p> </o:p></span></i></b></p>
>
> <p class=3DMsoPlainText><b><i><span style=3D'font-family:"Bookman Old Style=
> ","serif";
> color:#00B0F0'>we really gotta stop thinking about conventions as one way o=
> r another
> being to be avoided . . . they are inevitable as the ground of all
> communication <o:p></o:p></span></i></b></p>
>
> <p class=3DMsoPlainText><b><i><span style=3D'font-family:"Bookman Old Style=
> ","serif";
> color:#00B0F0'><o:p> </o:p></span></i></b></p>
>
> <p class=3DMsoPlainText><b><i><span style=3D'font-family:"Bookman Old Style=
> ","serif";
> color:#00B0F0'>mike<o:p></o:p></span></i></b></p>
>
> <p class=3DMsoPlainText><o:p> </o:p></p>
>
> <p class=3DMsoPlainText>-----Original Message-----<br>
> From: Film-Philosophy Salon [mailto:[log in to unmask]] On Beha=
> lf
> Of Alan Fair<br>
> Sent: Monday, February 09, 2009 8:30 AM<br>
> To: [log in to unmask]<br>
> Subject: Re: FILM-PHILOSOPHY convention cliche</p>
>
> <p class=3DMsoPlainText><o:p> </o:p></p>
>
> <p class=3DMsoPlainText>Hi all,<o:p></o:p></p>
>
> <p class=3DMsoPlainText>on the question of cliche and convention. There are=
> no
> cliches in Howard Hawks' films of the 30s and 40s.<o:p></o:p></p>
>
> <p class=3DMsoPlainText>peace<o:p></o:p></p>
>
> <p class=3DMsoPlainText>alan<o:p></o:p></p>
>
> <p class=3DMsoPlainText><o:p> </o:p></p>
>
> <p class=3DMsoPlainText>A. Fair<o:p></o:p></p>
>
> <p class=3DMsoPlainText>IDS<o:p></o:p></p>
>
> <p class=3DMsoPlainText><o:p> </o:p></p>
>
> <p class=3DMsoPlainText>Before acting on this email or opening any attachme=
> nts
> you<o:p></o:p></p>
>
> <p class=3DMsoPlainText>should read the Manchester Metropolitan University'=
> s
> email<o:p></o:p></p>
>
> <p class=3DMsoPlainText>disclaimer available on its website<o:p></o:p></p>
>
> <p class=3DMsoPlainText>http://www.mmu.ac.uk/emaildisclaimer<o:p></o:p></p>
>
> <p class=3DMsoPlainText><o:p> </o:p></p>
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> <p class=3DMsoPlainText>*<o:p></o:p></p>
>
> <p class=3DMsoPlainText>*<o:p></o:p></p>
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> --_000_AEBEBD0E18C06A48BC7A2B5845A94F984C912FD5AFVEXCH01goldad_--
>
> ------------------------------
>
> Date: Mon, 9 Feb 2009 15:25:11 -0000
> From: andrew hall <[log in to unmask]>
> Subject: Final Product Release - American Film Scripts Online - Alexander
> Street Press
>
> This is a multi-part message in MIME format.
>
> ------=_NextPart_000_011E_01C98ACA.99CAC740
> Content-Type: text/plain;
> charset="us-ascii"
> Content-Transfer-Encoding: 7bit
>
> I'm delighted to confirm that the final release of American Film Scripts
> Online is now live: http://alexanderstreet.com/products/afso.htm
>
> If you would like a copy of the updated bibliography, please scroll down
> through the new content update that follows, and contact me directly at the
> email below.
>
> Regards to all,
>
> Andrew
>
> American Film Scripts Online now contains the texts of 1,009 screenplays,
> more than half of these are previously unpublished. Nearly 700 scripts are
> accompanied by PDFs of the originals. This final resource update includes
> 186 new screenplays - highlights include:
>
> * Journey Into Fear, uncredited direction by Orson Welles (1943);
> screenplay by Joseph Cotton
>
>
> * The Set Up, directed by Robert Wise (1949); won special jury prize
> at Cannes that year.
>
>
> * Suspicion, directed by Alfred Hitchcock (1939); Academy Award for
> Best Actress for Joan Fontaine.
>
>
> * The Claim, unproduced film treatment written by James Dickey.
>
>
> * Back to Bataan, directed by Edward Dmytryk; featured John Wayne and
> Anthony Quinn.
>
>
> * Edge of Darkness, directed by Lewis Milestone; screenplay by Robert
> Rossen.
>
>
> * In This Our Life, directed by John Huston; screenplay by Howard
> Koch.
>
>
> * 42nd Street, directed by Lloyd Bacon (1933); chosen for National
> Film Registry.
>
>
> * The Fountainhead, directed by King Vidor (1949); screenplay by Ayn
> Rand.
>
>
> * Confessions of a Nazi Spy, directed by Anatole Litvak (1939)
> National Board of Review award for Best Film that year.
>
>
> * The Woman on the Beach, directed by Jean Renoir (1947); featured
> Joan Bennett and Robert Ryan.
>
>
> * Now, Voyager, directed by Irving Rapper (1942); National Film
> Registry selection.
>
>
> * Far North and Silent Tongue, two screenplays written by Sam Shepard.
>
>
> * Also multiple scripts from films directed by: William Wellman,
> Michael Curtiz, Busby Berkeley, Howard Hawks, Vincent Sherman, Raoul Walsh,
> Curtis Bernhardt, and others.
>
> Every conceivable genre, era, trend, decade, style, etc., is represented.
> Original unpublished typescripts have come from studio archives at Sony,
> RKO, Warner Bros., MGM, David O. Selznick's archive at the Ransom Center,
> The Wisconsin Film Center, the University of Southern California, among
> ohers. Contemporary filmmakers have also contributed from from their
> personal archives, including Gus Van Sant, John Sayles, Paul Schrader,
> Lawrence Kasdan, Oliver Stone, David Cronenberg, and Neil LaBute.
>
> Added to the new titles above is a long list of major screenplays, many of
> these rare:
>
>> From Here to Eternity, Mr. Smith Goes to Washington, The Lady from Shanghai,
> The Wizard of Oz, Singin' in the Rain, Casablanca, Raging Bull, The Maltese
> Falcon, The Gold Rush, Unforgiven, Blade Runner, Double Indemnity, Some Like
> It Hot, Hotel Rwanda, Gods and Monsters, Body Heat, His Girl Friday, The
> Last Temptation of Christ, Sunset Boulevard, Bringing Up Baby, It Happened
> One Night, Urban Cowboy, Broadcast News, To Sir With Love, Witness, In the
> Line of Fire, The Last Detail, Bullitt, Taxi Driver, Out of the Past, The
> African Queen, Mr. Deeds Goes to Town, Predator, Trading Places, JFK,
> Platoon, Boogie Nights, The Big Chill, Night of the Hunter, The Searchers,
> The Spanish Prisoner, Twelve Monkeys, Rebel Without a Cause, The Hustler,
> North by Northwest, Mean Streets, Nashville, My Own Private Idaho, King
> Kong, Suspicion, Swing Time, The Magnificent Ambersons, Fury, The Sting.
>
> Black Hawk Down, Light Sleeper, Ocean's Eleven (1960 & 2001 versions), The
> Thomas Crown Affair (1968 & 1999 versions), Overboard, Se7en, The Lost
> Weekend, Ghost, War Games, 8mm, Adam's Rib, American History X, High Sierra,
> Henry Fool, Kalifornia, Affliction, The Asphalt Jungle, Bad Day at Black
> Rock, Lolita, Midnight Run, Mildred Pierce, Ninotchka, Rio Bravo, The Jazz
> Singer, Rebecca, Drugstore Cowboy, In the Company of Men, Marty, Network,
> The Shawshank Redemption, Deliverance, Notorious, The Age of Innocence, Your
> Friends and Neighbors, The Wild One, Spellbound, The Awful Truth, Dark
> Passage, Woman of the Year, The Treasure of the Sierra Madre, and many
> others .
>
>
>
> Andrew Hall
>
> Managing Director
>
>
>
> Alexander Street Press, UK LLP
>
> Southgate House
>
> Suite 2, 14th Floor
>
> Stevenage
>
> Herts. SG1 1HG
>
>
>
> www.alexanderstreet.com <http://www.alexanderstreet.com/>
>
> http://alexanderstreet.com/blog/main.htm
>
>
>
> Office: +44 (0) 1438 741079
>
> Office (alternative line) +44 1438 745589
>
> Mobile: +44 (0)7894 166695
>
> eFax: +44 (0) 207 691 9663
>
> email: [log in to unmask]
>
> Skype: andrew.hall2
>
>
>
>
>
> *
> *
> Film-Philosophy salon
> After hitting 'reply' please always delete the text of the message you are
> replying to.
> To leave, send the message: leave film-philosophy to: [log in to unmask]
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> Contact: [log in to unmask]
> **
>
>
>
>
>
> ------=_NextPart_000_011E_01C98ACA.99CAC740
> Content-Type: text/html;
> charset="us-ascii"
> Content-Transfer-Encoding: quoted-printable
>
> <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
> <HTML><HEAD>
> <META http-equiv=3DContent-Type content=3D"text/html; =
> charset=3Dus-ascii">
> <META content=3D"MSHTML 6.00.6000.16788" name=3DGENERATOR></HEAD>
> <BODY>
> <DIV>
> <P><FONT face=3DArial><FONT size=3D2>I’m delighted to confirm that =
> the final release=20
> of American Film Scripts Online is now live:<SPAN =
> class=3D000471915-09022009> <A=20
> href=3D"http://alexanderstreet.com/products/afso.htm">http://alexanderstr=
> eet.com/products/afso.htm</A></SPAN></FONT></FONT></P>
> <P><FONT face=3DArial><FONT size=3D2><SPAN class=3D000471915-09022009>If =
> you would=20
> like a copy of the updated bibliography, please scroll down through the =
> new=20
> content update that follows, and contact me directly at the email=20
> below.</SPAN></FONT></FONT></P>
> <P><FONT face=3DArial><FONT size=3D2><SPAN =
> class=3D000471915-09022009>Regards to=20
> all,</SPAN></FONT></FONT></P>
> <P><FONT face=3DArial><FONT size=3D2><SPAN=20
> class=3D000471915-09022009>Andrew</SPAN></FONT></FONT></P>
> <P><FONT face=3DArial size=3D2><EM>American Film Scripts Online now =
> contains the=20
> texts of 1,009 screenplays, more than half of these are previously =
> unpublished.=20
> Nearly 700 scripts are<SPAN class=3D000471915-09022009> =
> </SPAN>accompanied by PDFs=20
> of the originals. This <SPAN class=3D000471915-09022009>final =
> resource=20
> update </SPAN>includes 186 new screenplays – highlights=20
> include:</EM></FONT></P>
> <UL>
> <LI><FONT face=3DArial size=3D2><EM>Journey Into Fear, uncredited =
> direction by=20
> Orson Welles (1943); screenplay by Joseph Cotton<BR></EM></FONT>
> <LI><FONT face=3DArial size=3D2><EM>The Set Up, directed by Robert =
> Wise (1949);=20
> won special jury prize at Cannes that year.<BR></EM></FONT>
> <LI><FONT face=3DArial size=3D2><EM>Suspicion, directed by Alfred =
> Hitchcock=20
> (1939); Academy Award for Best Actress for Joan =
> Fontaine.<BR></EM></FONT>
> <LI><FONT face=3DArial size=3D2><EM>The Claim, unproduced film =
> treatment written=20
> by James Dickey.<BR></EM></FONT>
> <LI><FONT face=3DArial size=3D2><EM>Back to Bataan, directed by Edward =
> Dmytryk;=20
> featured John Wayne and Anthony Quinn.<BR></EM></FONT>
> <LI><FONT face=3DArial size=3D2><EM>Edge of Darkness, directed by =
> Lewis Milestone;=20
> screenplay by Robert Rossen.<BR></EM></FONT>
> <LI><FONT face=3DArial size=3D2><EM>In This Our Life, directed by John =
> Huston;=20
> screenplay by Howard Koch.<BR></EM></FONT>
> <LI><FONT face=3DArial size=3D2><EM>42nd Street, directed by Lloyd =
> Bacon (1933);=20
> chosen for National Film Registry.<BR></EM></FONT>
> <LI><FONT face=3DArial size=3D2><EM>The Fountainhead, directed by King =
> Vidor=20
> (1949); screenplay by Ayn Rand.<BR></EM></FONT>
> <LI><FONT face=3DArial size=3D2><EM>Confessions of a Nazi Spy, =
> directed by Anatole=20
> Litvak (1939) National Board of Review award for Best Film that=20
> year.<BR></EM></FONT>
> <LI><FONT face=3DArial size=3D2><EM>The Woman on the Beach, directed =
> by Jean=20
> Renoir (1947); featured Joan Bennett and Robert Ryan.<BR></EM></FONT>
> <LI><FONT face=3DArial size=3D2><EM>Now, Voyager, directed by Irving =
> Rapper=20
> (1942); National Film Registry selection.<BR></EM></FONT>
> <LI><FONT face=3DArial size=3D2><EM>Far North and Silent Tongue, two =
> screenplays=20
> written by Sam Shepard.<BR></EM></FONT>
> <LI><FONT face=3DArial size=3D2><EM>Also multiple scripts from films =
> directed by:=20
> William Wellman, Michael Curtiz, Busby Berkeley, Howard Hawks, Vincent =
>
> Sherman, Raoul Walsh, Curtis Bernhardt, and others. =
> </EM></FONT></LI></UL>
> <P><FONT face=3DArial size=3D2><EM>Every conceivable genre, era, trend, =
> decade,=20
> style, etc., is represented. Original unpublished typescripts have come =
> from=20
> studio archives at Sony, <SPAN class=3Dcaps>RKO</SPAN>, Warner Bros., =
> <SPAN=20
> class=3Dcaps>MGM</SPAN>, David O. Selznick’s archive at the Ransom =
> Center, The=20
> Wisconsin Film Center, the University of Southern California, among =
> ohers.=20
> Contemporary filmmakers have also contributed from from their personal =
> archives,=20
> including Gus Van Sant, John Sayles, Paul Schrader, Lawrence Kasdan, =
> Oliver=20
> Stone, David Cronenberg, and Neil LaBute.</EM></FONT></P>
> <P><FONT face=3DArial size=3D2><EM>Added to the new titles above is a =
> long list of=20
> major screenplays, many of these rare:</EM></FONT></P>
> <P><FONT face=3DArial size=3D2><EM>From Here to Eternity, Mr. Smith Goes =
> to=20
> Washington, The Lady from Shanghai, The Wizard of Oz, Singin’ in =
> the Rain,=20
> Casablanca, Raging Bull, The Maltese Falcon, The Gold Rush, Unforgiven, =
> Blade=20
> Runner, Double Indemnity, Some Like It Hot, Hotel Rwanda, Gods and =
> Monsters,=20
> Body Heat, His Girl Friday, The Last Temptation of Christ, Sunset =
> Boulevard,=20
> Bringing Up Baby, It Happened One Night, Urban Cowboy, Broadcast News, =
> To Sir=20
> With Love, Witness, In the Line of Fire, The Last Detail, Bullitt, Taxi =
> Driver,=20
> Out of the Past, The African Queen, Mr. Deeds Goes to Town, Predator, =
> Trading=20
> Places, <SPAN class=3Dcaps>JFK</SPAN>, Platoon, Boogie Nights, The Big =
> Chill,=20
> Night of the Hunter, The Searchers, The Spanish Prisoner, Twelve =
> Monkeys, Rebel=20
> Without a Cause, The Hustler, North by Northwest, Mean Streets, =
> Nashville, My=20
> Own Private Idaho, King Kong, Suspicion, Swing Time, The Magnificent =
> Ambersons,=20
> Fury, The Sting…</EM></FONT></P>
> <P><FONT face=3DArial size=3D2><EM>Black Hawk Down, Light Sleeper, =
> Ocean’s Eleven=20
> (1960 & 2001 versions), The Thomas Crown Affair (1968 & 1999 =
> versions),=20
> Overboard, Se7en, The Lost Weekend, Ghost, War Games, 8mm, Adam’s =
> Rib, American=20
> History X, High Sierra, Henry Fool, Kalifornia, Affliction, The Asphalt =
> Jungle,=20
> Bad Day at Black Rock, Lolita, Midnight Run, Mildred Pierce, Ninotchka, =
> Rio=20
> Bravo, The Jazz Singer, Rebecca, Drugstore Cowboy, In the Company of =
> Men, Marty,=20
> Network, The Shawshank Redemption, Deliverance, Notorious, The Age of =
> Innocence,=20
> Your Friends and Neighbors, The Wild One, Spellbound, The Awful Truth, =
> Dark=20
> Passage, Woman of the Year, The Treasure of the Sierra Madre, and many =
> others=20
> …</EM></FONT></P></DIV>
> <DIV><FONT face=3DArial size=3D2></FONT> </DIV>
> <DIV class=3DSection1>
> <P class=3DMsoNormal align=3Dleft><SPAN=20
> style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">Andrew =
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> <P class=3DMsoNormal><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
> Arial">Alexander=20
> Street Press, UK LLP</SPAN><o:p></o:p></P>
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> style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial"></SPAN><o:p></o:p></P>
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> *
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> Film-Philosophy Email Discussion Salon.
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> ------------------------------
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> End of FILM-PHILOSOPHY Digest - 9 Feb 2009 - Special issue (#2009-44)
> *********************************************************************
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