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.
>
> 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
>
> *
> *
> 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]
> Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
> For help email: [log in to unmask], not the salon.
> *
> Film-Philosophy online: http://www.film-philosophy.com
> Contact: [log in to unmask]
> **
>
>
>
>
>
> ----------------------------------------------------------------------
>
> Date: Sun, 8 Feb 2009 20:47:16 -0500
> From: bill harris <[log in to unmask]>
> Subject: Re: clich=?utf-8?Q?=C3=A9s?=
>
> This is a multi-part message in MIME format.
>
> ------=_NextPart_000_0076_01C98A2E.6FC15640
> Content-Type: text/plain;
> charset="utf-8"
> Content-Transfer-Encoding: quoted-printable
>
> 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
>
> *
> *
> 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]<mailto:[log in to unmask]>.
> Or visit: =
> http://www.jiscmail.ac.uk/lists/film-philosophy.html<http://www.jiscmail.=
> ac.uk/lists/film-philosophy.html>
> For help email: =
> [log in to unmask]<mailto:[log in to unmask]>, not the salon.
> *
> Film-Philosophy online: =
> http://www.film-philosophy.com<http://www.film-philosophy.com/>
> Contact: [log in to unmask]<mailto:[log in to unmask]>
> **
>
> *
> *
> 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]
> Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
> For help email: [log in to unmask], not the salon.
> *
> Film-Philosophy online: http://www.film-philosophy.com
> Contact: [log in to unmask]
> **
>
>
>
>
>
> ------=_NextPart_000_0076_01C98A2E.6FC15640
> Content-Type: text/html;
> charset="utf-8"
> Content-Transfer-Encoding: quoted-printable
>
> =EF=BB=BF<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
> <HTML><HEAD>
> <META http-equiv=3DContent-Type content=3Dtext/html;charset=3Dutf-8>
> <STYLE></STYLE>
>
> <META content=3D"MSHTML 6.00.6000.16735" name=3DGENERATOR></HEAD>
> <BODY id=3DMailContainerBody=20
> style=3D"PADDING-LEFT: 10px; FONT-WEIGHT: normal; FONT-SIZE: 10pt; =
> COLOR: #000000; BORDER-TOP-STYLE: none; PADDING-TOP: 15px; FONT-STYLE: =
> normal; FONT-FAMILY: Verdana; BORDER-RIGHT-STYLE: none; =
> BORDER-LEFT-STYLE: none; TEXT-DECORATION: none; BORDER-BOTTOM-STYLE: =
> none"=20
> leftMargin=3D0 topMargin=3D0 acc_role=3D"text" CanvasTabStop=3D"true"=20
> name=3D"Compose message area"><!--[gte IE 5]><?xml:namespace =
> prefix=3D"v" /><?xml:namespace prefix=3D"o" /><![endif]-->
> <DIV>
> <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
> you are replying to.<BR>To leave, send the message: leave =
> film-philosophy to:=20
> <A title=3Dmailto:[log in to unmask]
> =
> href=3D"mailto:[log in to unmask]">[log in to unmask]</A>.<BR>O=
> 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
> help email: <A title=3Dmailto:[log in to unmask]
> href=3D"mailto:[log in to unmask]">[log in to unmask]</A>, =
> not the=20
> salon.<BR>*<BR>Film-Philosophy online: <A=20
> title=3Dhttp://www.film-philosophy.com/=20
> =
> href=3D"http://www.film-philosophy.com">http://www.film-philosophy.com</A=
>> <BR>Contact:=20
> <A title=3Dmailto:[log in to unmask]
> =
> href=3D"mailto:[log in to unmask]">[log in to unmask]</A>=
> <BR>**<BR></BLOCKQUOTE></DIV></BODY></HTML>
> *
> *
> Film-Philosophy Email Discussion 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]
> Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
> For help email: [log in to unmask], not the salon.
> *
> Film-Philosophy online: http://www.film-philosophy.com
> Contact: [log in to unmask]
> **
>
>
>
>
>
> ------=_NextPart_000_0076_01C98A2E.6FC15640--
>
> ------------------------------
>
> 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_
> Content-Type: text/plain; charset="Windows-1252"
> Content-Transfer-Encoding: quoted-printable
>
>
> 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!
> http://livesearch.games.msn.com/crosswire/play_it/=
>
> *
> *
> 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]
> Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
> For help email: [log in to unmask], not the salon.
> *
> Film-Philosophy online: http://www.film-philosophy.com
> Contact: [log in to unmask]
> **
>
>
>
>
>
> --_064853c8-98b7-4006-9bcb-0361dba06346_
> Content-Type: text/html; charset="Windows-1252"
> Content-Transfer-Encoding: quoted-printable
>
> <html>
> <head>
> <style>
> .hmmessage P
> {
> margin:0px=3B
> padding:0px
> }
> body.hmmessage
> {
> font-size: 10pt=3B
> font-family:Verdana
> }
> </style>
> </head>
> <body class=3D'hmmessage'>
> <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=
> taliano?</a></body>
> </html>=
> *
> *
> Film-Philosophy Email Discussion 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]
> Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
> For help email: [log in to unmask], not the salon.
> *
> Film-Philosophy online: http://www.film-philosophy.com
> Contact: [log in to unmask]
> **
>
>
>
>
>
> --_064853c8-98b7-4006-9bcb-0361dba06346_--
>
> ------------------------------
>
> 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
> should read the Manchester Metropolitan University's email
> disclaimer available on its website
> http://www.mmu.ac.uk/emaildisclaimer
>
> *
> *
> 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]
> Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
> For help email: [log in to unmask], not the salon.
> *
> Film-Philosophy online: http://www.film-philosophy.com
> Contact: [log in to unmask]
> **
>
> ------------------------------
>
> Date: Mon, 9 Feb 2009 08:55:27 -0500
> From: "Frank, Michael" <[log in to unmask]>
> Subject: Re: FILM-PHILOSOPHY convention cliche
>
> --_000_AEBEBD0E18C06A48BC7A2B5845A94F984C912FD5AFVEXCH01goldad_
> Content-Type: text/plain; charset="us-ascii"
> Content-Transfer-Encoding: quoted-printable
>
> 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
>
> disclaimer available on its website
>
> http://www.mmu.ac.uk/emaildisclaimer
>
>
>
> *
>
> *
>
> 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]
> uk.
>
> Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
>
> For help email: [log in to unmask], not the salon.
>
> *
>
> Film-Philosophy online: http://www.film-philosophy.com
>
> Contact: [log in to unmask]
>
> **
>
> *
> *
> 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]
> Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
> For help email: [log in to unmask], not the salon.
> *
> Film-Philosophy online: http://www.film-philosophy.com
> Contact: [log in to unmask]
> **
>
>
>
>
>
> --_000_AEBEBD0E18C06A48BC7A2B5845A94F984C912FD5AFVEXCH01goldad_
> Content-Type: text/html; charset="us-ascii"
> Content-Transfer-Encoding: quoted-printable
>
> <html xmlns:v=3D"urn:schemas-microsoft-com:vml" xmlns:o=3D"urn:schemas-micr=
> osoft-com:office:office" xmlns:w=3D"urn:schemas-microsoft-com:office:word" =
> xmlns:x=3D"urn:schemas-microsoft-com:office:excel" xmlns:p=3D"urn:schemas-m=
> icrosoft-com:office:powerpoint" xmlns:a=3D"urn:schemas-microsoft-com:office=
> :access" xmlns:dt=3D"uuid:C2F41010-65B3-11d1-A29F-00AA00C14882" xmlns:s=3D"=
> uuid:BDC6E3F0-6DA3-11d1-A2A3-00AA00C14882" xmlns:rs=3D"urn:schemas-microsof=
> t-com:rowset" xmlns:z=3D"#RowsetSchema" xmlns:b=3D"urn:schemas-microsoft-co=
> m:office:publisher" xmlns:ss=3D"urn:schemas-microsoft-com:office:spreadshee=
> t" xmlns:c=3D"urn:schemas-microsoft-com:office:component:spreadsheet" xmlns=
> :odc=3D"urn:schemas-microsoft-com:office:odc" xmlns:oa=3D"urn:schemas-micro=
> soft-com:office:activation" xmlns:html=3D"http://www.w3.org/TR/REC-html40" =
> xmlns:q=3D"http://schemas.xmlsoap.org/soap/envelope/" xmlns:D=3D"DAV:" xmln=
> s:x2=3D"http://schemas.microsoft.com/office/excel/2003/xml" xmlns:ois=3D"ht=
> tp://schemas.microsoft.com/sharepoint/soap/ois/" xmlns:dir=3D"http://schema=
> s.microsoft.com/sharepoint/soap/directory/" xmlns:ds=3D"http://www.w3.org/2=
> 000/09/xmldsig#" xmlns:dsp=3D"http://schemas.microsoft.com/sharepoint/dsp" =
> xmlns:udc=3D"http://schemas.microsoft.com/data/udc" xmlns:xsd=3D"http://www=
> .w3.org/2001/XMLSchema" xmlns:sub=3D"http://schemas.microsoft.com/sharepoin=
> t/soap/2002/1/alerts/" xmlns:ec=3D"http://www.w3.org/2001/04/xmlenc#" xmlns=
> :sp=3D"http://schemas.microsoft.com/sharepoint/" xmlns:sps=3D"http://schema=
> s.microsoft.com/sharepoint/soap/" xmlns:xsi=3D"http://www.w3.org/2001/XMLSc=
> hema-instance" xmlns:udcs=3D"http://schemas.microsoft.com/data/udc/soap" xm=
> lns:udcxf=3D"http://schemas.microsoft.com/data/udc/xmlfile" xmlns:udcp2p=3D=
> "http://schemas.microsoft.com/data/udc/parttopart" xmlns:wf=3D"http://schem=
> as.microsoft.com/sharepoint/soap/workflow/" xmlns:dsss=3D"http://schemas.mi=
> crosoft.com/office/2006/digsig-setup" xmlns:dssi=3D"http://schemas.microsof=
> t.com/office/2006/digsig" xmlns:mdssi=3D"http://schemas.openxmlformats.org/=
> package/2006/digital-signature" xmlns:mver=3D"http://schemas.openxmlformats=
> .org/markup-compatibility/2006" xmlns:m=3D"http://schemas.microsoft.com/off=
> ice/2004/12/omml" xmlns:mrels=3D"http://schemas.openxmlformats.org/package/=
> 2006/relationships" xmlns:spwp=3D"http://microsoft.com/sharepoint/webpartpa=
> ges" xmlns:ex12t=3D"http://schemas.microsoft.com/exchange/services/2006/typ=
> es" xmlns:ex12m=3D"http://schemas.microsoft.com/exchange/services/2006/mess=
> ages" xmlns:pptsl=3D"http://schemas.microsoft.com/sharepoint/soap/SlideLibr=
> ary/" xmlns:spsl=3D"http://microsoft.com/webservices/SharePointPortalServer=
> /PublishedLinksService" xmlns:Z=3D"urn:schemas-microsoft-com:" xmlns:st=3D"=
> " xmlns=3D"http://www.w3.org/TR/REC-html40">
>
> <head>
> <META HTTP-EQUIV=3D"Content-Type" CONTENT=3D"text/html; charset=3Dus-ascii"=
>>
> <meta name=3DGenerator content=3D"Microsoft Word 12 (filtered medium)">
> <style>
> <!--
> /* Font Definitions */
> @font-face
> {font-family:Calibri;
> panose-1:2 15 5 2 2 2 4 3 2 4;}
> @font-face
> {font-family:"Gill Sans MT";
> panose-1:2 11 5 2 2 1 4 2 2 3;}
> @font-face
> {font-family:"Bookman Old Style";
> panose-1:2 5 6 4 5 5 5 2 2 4;}
> /* Style Definitions */
> p.MsoNormal, li.MsoNormal, div.MsoNormal
> {margin:0in;
> margin-bottom:.0001pt;
> font-size:11.0pt;
> font-family:"Calibri","sans-serif";}
> a:link, span.MsoHyperlink
> {mso-style-priority:99;
> color:blue;
> text-decoration:underline;}
> a:visited, span.MsoHyperlinkFollowed
> {mso-style-priority:99;
> color:purple;
> text-decoration:underline;}
> p.MsoPlainText, li.MsoPlainText, div.MsoPlainText
> {mso-style-priority:99;
> mso-style-link:"Plain Text Char";
> margin:0in;
> margin-bottom:.0001pt;
> font-size:11.0pt;
> font-family:"Gill Sans MT","sans-serif";
> color:#3712BE;}
> span.PlainTextChar
> {mso-style-name:"Plain Text Char";
> mso-style-priority:99;
> mso-style-link:"Plain Text";
> font-family:"Gill Sans MT","sans-serif";
> color:#3712BE;}
> .MsoChpDefault
> {mso-style-type:export-only;}
> @page Section1
> {size:8.5in 11.0in;
> margin:1.0in 1.0in 1.0in 1.0in;}
> div.Section1
> {page:Section1;}
> -->
> </style>
> <!--[if gte mso 9]><xml>
> <o:shapedefaults v:ext=3D"edit" spidmax=3D"1026" />
> </xml><![endif]--><!--[if gte mso 9]><xml>
> <o:shapelayout v:ext=3D"edit">
> <o:idmap v:ext=3D"edit" data=3D"1" />
> </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>
>
> <p class=3DMsoPlainText>*<o:p></o:p></p>
>
> <p class=3DMsoPlainText>*<o:p></o:p></p>
>
> <p class=3DMsoPlainText>Film-Philosophy salon<o:p></o:p></p>
>
> <p class=3DMsoPlainText>After hitting 'reply' please always delete the text=
> of
> the message you are replying to.<o:p></o:p></p>
>
> <p class=3DMsoPlainText>To leave, send the message: leave film-philosophy t=
> o:
> [log in to unmask]<o:p></o:p></p>
>
> <p class=3DMsoPlainText>Or visit:
> http://www.jiscmail.ac.uk/lists/film-philosophy.html<o:p></o:p></p>
>
> <p class=3DMsoPlainText>For help email: [log in to unmask], not the sa=
> lon.<o:p></o:p></p>
>
> <p class=3DMsoPlainText>*<o:p></o:p></p>
>
> <p class=3DMsoPlainText>Film-Philosophy online: http://www.film-philosophy.=
> com<o:p></o:p></p>
>
> <p class=3DMsoPlainText>Contact: [log in to unmask]<o:p></o:p></p>
>
> <p class=3DMsoPlainText>**<o:p></o:p></p>
>
> </div>
>
> </body>
>
> </html>
> *
> *
> Film-Philosophy Email Discussion 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]
> Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
> For help email: [log in to unmask], not the salon.
> *
> Film-Philosophy online: http://www.film-philosophy.com
> Contact: [log in to unmask]
> **
>
>
>
>
>
> --_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]
> Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
> For help email: [log in to unmask], not the salon.
> *
> Film-Philosophy online: http://www.film-philosophy.com
> 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 =
> Hall</SPAN><?xml:namespace=20
> prefix =3D o ns =3D "urn:schemas-microsoft-com:office:office" =
> /><o:p></o:p></P>
> <P class=3DMsoNormal><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
> Arial">Managing=20
> Director</SPAN><o:p></o:p></P>
> <P class=3DMsoNormal> <o:p></o:p></P>
> <P class=3DMsoNormal><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
> Arial">Alexander=20
> Street Press, UK LLP</SPAN><o:p></o:p></P>
> <P class=3DMsoNormal><SPAN=20
> style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial"></SPAN><o:p></o:p></P>
> <P class=3DMsoNormal><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
> Arial">Southgate=20
> House</SPAN></P>
> <P class=3DMsoNormal><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
> Arial">Suite 2,=20
> 14th Floor</SPAN></P>
> <P class=3DMsoNormal><SPAN=20
> style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
> Arial">Stevenage</SPAN><o:p></o:p></P>
> <P class=3DMsoNormal><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
> Arial">Herts. SG1=20
> 1HG</SPAN></P>
> <P class=3DMsoNormal><o:p><FONT face=3DArial =
> size=3D2></FONT></o:p> </P>
> <P class=3DMsoNormal><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
> Arial"><A=20
> href=3D"http://www.alexanderstreet.com/">www.alexanderstreet.com</A></SPA=
> N></P>
> <P class=3DMsoNormal><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
> Arial"><A=20
> href=3D"http://alexanderstreet.com/blog/main.htm">http://alexanderstreet.=
> com/blog/main.htm</A></SPAN></P>
> <P class=3DMsoNormal> <o:p></o:p></P>
> <P class=3DMsoNormal><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
> Arial">Office: +44=20
> (0) 1438 741079</SPAN></P>
> <P class=3DMsoNormal><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
> Arial">Office=20
> (alternative line) +44 1438 745589</SPAN></P>
> <P class=3DMsoNormal><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
> Arial">Mobile: +44=20
> (0)7894 166695</SPAN></P>
> <P class=3DMsoNormal><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
> Arial">eFax: +44=20
> (0) 207 691 9663</SPAN></P>
> <P class=3DMsoNormal><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
> Arial">email: <A=20
> href=3D"mailto:[log in to unmask]">[log in to unmask]</A>=20
> </SPAN></P>
> <P class=3DMsoNormal><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
> Arial">Skype:=20
> andrew.hall2</SPAN></P>
> <P class=3DMsoNormal><o:p> </o:p></P></DIV>
> <DIV> </DIV></BODY></HTML>
> *
> *
> Film-Philosophy Email Discussion 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]
> Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
> For help email: [log in to unmask], not the salon.
> *
> Film-Philosophy online: http://www.film-philosophy.com
> Contact: [log in to unmask]
> **
>
>
>
>
>
> ------=_NextPart_000_011E_01C98ACA.99CAC740--
>
> ------------------------------
>
> End of FILM-PHILOSOPHY Digest - 9 Feb 2009 - Special issue (#2009-44)
> *********************************************************************
*
*
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]
Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
For help email: [log in to unmask], not the salon.
*
Film-Philosophy online: http://www.film-philosophy.com
Contact: [log in to unmask]
**
|
