Archive for the 'Motion Pictures' Category

King of B-movies – Roger Corman

Posted by on Sep 12 2013 | Motion Pictures

Director’s note via Films & Events 9/10, 2013

The Intruder (1962)

The Intruder (1962)

The George Eastman Award for distinguished contribution to the art of film was established in 1955, and was the first award by an American film archive to honor artistic work of enduring value. In bestowing this honor, we recognize individuals who have enriched the field of motion pictures. Legendary recipients have ranged from George Cukor and Fred Astaire to Martin Scorsese and Meryl Steep.

This year’s award, being presented to Roger Corman on November 2, marks our belated embrace of independent cinema. Far surpassing his reputation as the undisputed king of B-movies, Corman has had an enormous impact on both independent and mainstream cinema over the past six decades. He is the paragon of the independents.

Best known for The Little Shop of Horrors (1960)—said to have been filmed in just two days—and his Edgar Allan Poe cycle starring Vincent Price, Corman has had a long career as a director of groundbreaking and entertaining films. He fearlessly approached every subject he covered, from monster movies and gangster films to psychedelic drugs and burgeoning countercultures.



In 1962, he made the only feature film about the civil rights movement to be made during the civil rights movement: The Intruder, starring William Shatner, which was shot on location in the Deep South.

Corman’s dedication to independent film production quickly set him apart from other producers and directors in the 1950s and 1960s. Having produced more than 550 films, Corman is known for working with incredibly small budgets and in short periods of time. The films he produced and directed in the 1950s for American International Pictures were highly successful, low-budget features—the kinds of films he has continued to make and support throughout his career.

With a famously sharp eye for talent, Corman is credited with having discovered some of the most remarkable actors and directors of the last five decades. He fostered the careers of Jack Nicholson, Francis Ford Coppola, Dennis Hopper, Peter Fonda, Robert De Niro, Jonathan Demme, Martin Scorsese, Ron Howard, and James Cameron, among many others.

corman2

Corman was a sympathetic and accessible mentor, often giving those with little or no experience opportunities to direct or star in his films.
Corman’s sense for great cinema has reached far beyond his own productions. In the 1970s, he brought to American audiences foreign-language films that were ignored by major distributors.

New World Pictures, the company that Corman founded with his brother in 1970, distributed not only a slew of Corman’s own films, but also masterpieces by auteurs such as Ingmar Bergman, Federico Fellini, Akira Kurosawa, and François
Truffaut, as well as important works by less well-known foreign directors.

As director, producer, mentor, and distributor, Roger Corman has helped to define motion pictures. Join us in celebrating a true American independent as we honor Roger Corman for his exceptional career and tremendous contributions to cinema.

Ticket information available now.

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Eastman house restores lost Orson Welles film

Posted by on Aug 07 2013 | Motion Pictures

A very exciting day for Eastman House, National Film Preservation Foundation, the Cineteca del Friuli and Cinemazero.

A long lost film…found. It’s 35mm, it’s nitrate, it’s slapstick. Too Much Johnson.

Our very own Tony Delgrosso, Head of Preservation and Daniela Currò, Preservation Officer in the Motion Picture Department discuss their experience:

 

“Holding in one’s hands the very same print that had been personally edited by Orson Welles 75 years ago provokes an emotion that’s just impossible to describe.”
Paolo Cherchi Usai, Senior Curator of Film, George Eastman House

To find out more, and ticketing information for the U.S. premiere of Too Much Johnson, visit eastmanhouse.org/lostwellesfilm

 

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Male/Female Film Series

Posted by on Jul 29 2013 | Motion Pictures

 

iwasamalewarbride

(I was a Male War Bride, Howard Hawks, US 1949, 35mm)

 
In conjunction with the exhibition The Gender Show (on view through October 13), the Dryden presents films that explore concepts of masculinity and femininity, with an emphasis on works that challenge, rather than uphold, traditional ideas of gender.

The most recent film in the series, Alain Berliner’s Ma vie en rose, was a surprise art-house hit that explores a young boy’s homosexuality (and his parents’ difficulties accepting it) with charm, grace, and wit. Those last three terms can also be applied to I Was a Male War Bride, a classic Howard Hawks collaboration with Cary Grant that allows co-star Ann Sheridan to steadily break down Grant’s “manly” image to hilarious effect.

On the flipside, Sam Fuller’s Forty Guns gives Barbara Stanwyck full command of the titular group of cowboys in a wild scenario that makes Johnny Guitar look like a kiddie serial.

Finally, we’ll conclude with one of the most subversive cinematic looks at gender ever made: Edward D. Wood Jr.’s Glen or Glenda, a film in the form of a bargain-basement Z-movie that veers between unbelievable camp and deeply moving confession.

 

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Tom’s Risky Business // Dryden Trivia

Posted by on Jun 28 2013 | contest, Motion Pictures

risky business

It’s been 30 (?!) years, and some Risky Business is happening tomorrow night (June 29) at the Dryden Theatre at 8 p.m.

Win a pair of tickets! First person to guess at least two of the follow three questions wins…

Winner announced this evening

1. When Tom Cruise showed up to audition for the part of Joel Goodsen he had greasy hair, a make-up tattoo, and smelled, because he’d just come off the set of what movie?

2. More than one Porsche 928 were used in the filming of Risky Business. How many were used?

3. True of False?: Tom Cruise improvised the underwear dancing scene.

Leave your answers in the comment section

 

 

*thanks to Kolbe Resnick for thinking these up!  

 

 

 

 

 

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Google is in the house

Posted by on Jun 17 2013 | Exploring the Archive, House & Gardens, Motion Pictures, Photography, Technology

This month Google adds more than 1,000 new destinations to experience via street view. It looks like we are one of the first destinations locally (Rochester, N.Y.) to open our doors beyond the street.

the technology vault

This is exciting to us for a few reasons – the first, visitors onsite will now have the opportunity to use their mobile’s to know where they are throughout the house and museum. Secondly, for those that may never come to Eastman House it is an opportunity to invite all to come on in and learn a little bit more about us.
Lastly, we realize as an institution another important aspect for Eastman House is what is going on behind the scenes – our schools (Photographic Preservation and Collections Management & The L. Jeffrey Selznick School of Film Preservation) and students working in the collections, our conservation labs and photo processes and finally, the vaults. We are pleased to reveal our technology vault three floors underground (are we the first museum to do so?)

So feel free to take a drive and look around – make sure to check out the gardens too!

Having also partnered with Google’s Art Project (the cultural institute), we became the first photography museum to open its collections to the world. More information here, here and here.

Eastman House holds nearly 500,000 photographs representing every major process and the work of more than 14,000 photographers. In addition to the photographs, the collection holds important examples of the photograph’s role in our culture over time – including photojournalism, advertising, etc.  The Motion Picture Collection is one of the major moving image archives in the U.S.

Screen shot 2013-06-17 at 11.19.24 AM

Eastman House is – and always has been – an independent nonprofit institution. We rely on the support of donors, locally and internationally so we can continue to tell the story of photography and motion pictures.

Our new director Bruce Barnes relays our situation honestly, “Frankly, it is a challenge to fund a non-profit institution of our scope in a metropolitan area of one million. George Eastman House has always been an independent, non-profit institution, but the prevailing economic environment has made fundraising more difficult – creating a shortfall at a critical time“.

Thanks for your consideration and above all else take a look!

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