Why do we flinch when Rocky takes a punch in Sylvester Stallone’s movies, duck when the jet careens towards the tower in Airplane, and tap our toes to the dance numbers in Chicago or Moulin Rouge? With this year’s Academy Awards upon us, we want to know what happens between your ears when you sit down in the theatre and the lights go out. Take a look at some of the ways our brains work when watching a movie—you may just find some of them to be all too familiar.
After what feels like a year’s worth of buzz, publicity, predictions, and celebrity gossip, the 87th Academy Award ceremony is upon us. I dug into the entries available in the alphabetized categories of The Dictionary of Film Studies– and added some of my own trivia — to highlight 26 key concepts in the elements of cinema and the history surrounding the Oscars.
Among this year’s Oscar nominees for Best Picture were two films with drum scores: Whiplash, in which a highly regarded but abusive conductor molds an aspiring young jazz musician into the genius he was meant to be, and Birdman, in which an aging film actor who was never a genius at all stars in a play and possibly flies. In spite of their innovative soundtracks, neither film received an Oscar nomination for Best Original Score.
Picture this. A legendary hotel concierge and serial womaniser seduces a rich, elderly, widow who regularly stays in the hotel where he works. Just before her death, she has a new will prepared and leaves her vast fortune to him rather than her family. Wills have always provided the public with endless fascination, and are often the subject of great books and dramas.
Fresh Off the Boat, the newest addition to ABC’s primetime lineup, has garnered more than its share of attention in the lead-up to its recent debut: based on restaurateur Eddie Huang’s critically-acclaimed memoir, it’s the first sitcom in 20 years since Margaret Cho’s All-American Girl to feature an Asian-American family at its epicenter, assuming a place among the network’s recent crop of 21st-century family comedies, including Modern Family, Blackish, and Cristela.
A few days ago The Hollywood Reporter featured another interesting story concerning Martin Luther King or – to be more precise – his pretty litigious estate. This time the fuss is about already critically acclaimed (The New York Times critic in residence, AO Scott, called it “a triumph of efficient, emphatic cinematic storytelling”) biopic Selma, starring David Oyelowo as the Rev Dr Martin Luther King, Jr.
Seth Rogen isn’t the only actor to have a film about North Korea nixed: A script helmed by Bob Hope met a similar fate in 1954. If US government sources are correct, North Korea cowed Sony Pictures into withholding a bawdy comedy about assassinating supreme leader Kim Jong-un.
One of the best-known musicals of the 20th century is Annie, which tells the story of a plucky orphan girl who warms the hearts of all around her, and eventually finds a loving family of her own.
This final post on my collection of the lyricist Alan Jay Lerner focuses on another exciting series of letters: correspondence with famous composers with whom Lerner hoped to work, but never completed a musical. Some of these letters reveal how certain figures – such as Hoagy Carmichael – wrote to Lerner but were politely declined.
Prometheus, a Titan god, was exiled from Mount Olympus by Zeus because he stole fire from the gods and gave it to mankind. He was condemned, punished and chained to a rock while eagles ate at his liver. His name, in ancient Greek, means “forethinker “and literary history lauds him as a prophetic hero who rebels against his society to help man progress.
The musical version of little orphan Annie – as distinct from her original, cartoon incarnation – was born a fully formed ten-year-old in 1977, and she quickly became an icon of girlhood.
On the surface, the Lifetime channel’s special Women of the Bible tells a very different story than The Red Tent. The two-hour program which aired just prior to the miniseries premiere claims to read with the Bible rather than against it, suggesting that the text itself depicts strong and faithful women—no retelling necessary.
The Red Tent was perfect for the Lifetime channel. The network’s four-hour miniseries closely followed Anita Diamont’s 1997 novel, which gave voice—and agency—to the biblical character of Dinah.
Moses and Pharaoh are returning to the big screen in Ridley Scott’s seasonal blockbuster, Exodus: Gods and Kings. With a $200m budget and Christian Bale in the leading role, the British director will hope to replicate the success of Gladiator […]
Director Robert Altman made more than thirty feature films and dozens of television episodes over the course of his career. The Altman retrospective currently showing at MoMA is a treasure trove for rediscovering Altman’s best known films (M*A*S*H, Nashville, Gosford Park) as well as introducing unreleased shorts and his little-known early work as a writer.
There are plenty of operas about teenage girls—love-sick, obsessed, hysterical teenage girls who dance, scheme, and murder in a frenzy of musical passion. Disney Princess films are also about teenage girls—lonely, skinny, logical teenage girls who follow their hearts because the plot gives them no other option. The music Disney Princesses sing can be divided into three periods that correspond to distinct animation styles