Race and the suburbs in American film, edited by Merrill Schleier

2021 ◽  
pp. 1-2
Author(s):  
David J. Edelman
Keyword(s):  
2014 ◽  
Vol 11 (2-3) ◽  
pp. 370-377
Author(s):  
Brian McFarlane

On stage, Lindsay Anderson directed ten plays by David Storey, who also wrote the novel on which This Sporting Life is based. Anderson directed Storey's In Celebration both in the theatre, at the Royal Court in 1969, and on television, for the American Film Theatre in 1975. Although it focuses primarily on the television version of In Celebration, a work which is all too often neglected in critical discussions of Anderson's output, this article examines Anderson as a director for both stage and screen, and also explores the numerous significant links between Storey's and Anderson's oeuvres.


1971 ◽  
Vol 25 (1) ◽  
pp. 40-40
Author(s):  
George Stevens, Jr.
Keyword(s):  

2020 ◽  
Vol 73 (3) ◽  
pp. 66-78
Author(s):  
Vince Schleitwiler ◽  
Abby Sun ◽  
Rea Tajiri

This roundtable grew out of conversations between filmmaker Rea Tajiri, programmer Abby Sun, and scholar Vince Schleitwiler about a misunderstood chapter in the history of Asian American film and media: New York City in the eighties, a vibrant capital of Asian American filmmaking with a distinctively experimental edge. To tell this story, Rea Tajiri contacted her artist contemporaries Shu Lea Cheang and Roddy Bogawa as well as writer and critic Daryl Chin. Daryl had been a fixture in New York City art circles since the sixties, his presence central to Asian American film from the beginning. The scope of this discussion extends loosely from the mid-seventies through the late nineties, with Tajiri, Abby Sun, and Vince Schleitwiler initiating topics, compiling responses, and finalizing its form as a collage-style conversation.


Erich Wolfgang Korngold (1897–1957) was the last compositional prodigy to emerge from the Austro-German tradition of Mozart and Mendelssohn. He was lauded in his youth by everyone from Mahler to Puccini and his auspicious career in the early 1900s spanned chamber music, opera, and musical theater. Today, he is best known for his Hollywood film scores, composed between 1935 and 1947. From his prewar operas in Vienna to his pathbreaking contributions to American film, this book provides a substantial reassessment of Korngold's life and accomplishments. Korngold struggled to reconcile the musical language of his Viennese upbringing with American popular song and cinema, and was forced to adapt to a new life after wartime emigration to Hollywood. The book examines Korngold's operas and film scores, the critical reception of his music, and his place in the milieus of both the Old and New Worlds. It also features numerous historical documents—many previously unpublished and in first-ever English translations—including essays by the composer as well as memoirs by his wife, Luzi Korngold, and his father, the renowned music critic Julius Korngold.


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