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Emil L. Rinderspacher selected papers, 1970-1971
Refocus '71 Page 10
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were added in 1931. For many, this film is the cinema's classic statement on war. It is clear that Vidor intended to show all that happens to a soldier in wartime, and to allow both characters and events speak for themselves. The result is a typically Vidorian drama of man and environment. THE CAMERAMAN 1928 Silent Monday/March 22/2 and 4 p.m. Illinois Room Directed by Edward Sedgwick (uncredited Buster Keaton); Starring Buster Keaton, Marceline Day, Harold Goodwin, Sidney Bracy, Harry Gribbon. Armed with an antique motion picture camera, street photographer Keaton seeks fame and fortune as a news cameraman. His great chance comes with a long war, but he abandons his camera before an onrushing mob of infuriated Chinese. Luckily a pet monkey continues to take pictures giving Keaton an exclusive scoop. For years this was the film shown to new employees at MGM as the ideal of solid comedy structure. Keaton's first lecture for MGM is as polished a piece of work as the great comedian ever turned out. Evidence of Keaton's directorial control is everywhere. Keaton has been called one of comedy's greatest directors; the distinction between him as director and as star of the film might prove fruitful in discussion. CARTOONS Friday/March 26/4 p.m. Ballroom From UPA The Emperor's New Clothes Little Boy with a Big Horn Willie the Kid How Now Boing Boing Christopher Crumpet Fuddy Duddy Buddy Slopy Jalopy Wonder Gloves The Oompans CENTER FOR NEW PERFORMING ARTS Monday/March 22/ 2-11 p.m. Ballroom FILMWORK film as performance film as a source of light film and electronic manipulation film in space film as conceptual work film and multiple image projection film: video tape delays The Center for New Performing Arts is an interdisciplinary project embracing the areas of Art, Creative Writing, Dance, Film and Television, Music and Theatre on The University of Iowa campus. Begun under a pilot grant in 1969, the Center for New Performing Arts is now in the first year of a five-year expansion supported by the Rockefeller Foundation and The University of Iowa. The CNPA's basic purposes are to support the creative arts through performance and to encourage significant interchange of concepts, methods, and interests between the art-oriented media. To this end, there are resident performing groups of professional caliber within the CNPA, a body of creative artists, a visiting artist and performer program, as well as laboratories and facilities to encourage experimentation and production in addition, a touring program in Iowa and the near Mid-West makes possible the presentation of works outside of Iowa City and The University of Iowa campus. CIMARRON 1931 Tuesday/March 23/ 2 p.m. Illinois Room Directed by Wesley Ruggles; Starring Richard Dix, Irene Dunn, Edna May Oliver, Estelle Taylor, William Collier, Jr., George Stone, Roscoe Ates. This portrait of the birth and growth of an empire depicts the forces both violent and subtle which shaped its destiny. In the story's central characters, Yancy and Sabra Cravat, are invested the conflicting spirits of restlessness and resolution ".. he, the true 'man of the west' idealistic, flamboyant, yet perennially yielding to wanderlust, and she the rock, the foundation, the builder and the fierce defender... each courageous in his way and, in the end realizing their independence. " In popular criticism of the western "epic" has been used most often to describe events themselves rather than their treatment. Such has been the case with this famous "epic" western. The film is far from being prairie cinema verite but is clear that the intention was to create an illusion of reality in order to give the mammoth drama proper authority The successful fusion of epic and real qualities is of interest here COKE COLLECTION OF PHOTOGRAPHY March 8-31 Museum of Art More than one hundred photographs of Van Deren and Eleanor Coke which provide an historical survey of photography will be exhibited from Wednesday, February 17- Wednesday, March 31 at The University of Iowa Museum of Art (Museum hours for this week will be as follows: Sunday -1 p.m. to 5 p.m.; Monday through Friday - 10:30 a.m. to 5 p.m., and Saturday - 10 a.m. to 5 p.m.) Mr. Coke has selected the exhibited photographs from more than a thousand which he and his wife have collected since 1937. Initially Coke was interested primarily in collecting photographs which were artistic in nature, but in recent years he has also collected photographs, valued for their historic or informative character. In his introduction to the catalog which Coke designed for the exhibition, he says of these historic photos, "Such photographs often have a delightful candor that I find very stimulating.. in them the past is revealed in an intimate and detailed fashion The emphatic sense of reality
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were added in 1931. For many, this film is the cinema's classic statement on war. It is clear that Vidor intended to show all that happens to a soldier in wartime, and to allow both characters and events speak for themselves. The result is a typically Vidorian drama of man and environment. THE CAMERAMAN 1928 Silent Monday/March 22/2 and 4 p.m. Illinois Room Directed by Edward Sedgwick (uncredited Buster Keaton); Starring Buster Keaton, Marceline Day, Harold Goodwin, Sidney Bracy, Harry Gribbon. Armed with an antique motion picture camera, street photographer Keaton seeks fame and fortune as a news cameraman. His great chance comes with a long war, but he abandons his camera before an onrushing mob of infuriated Chinese. Luckily a pet monkey continues to take pictures giving Keaton an exclusive scoop. For years this was the film shown to new employees at MGM as the ideal of solid comedy structure. Keaton's first lecture for MGM is as polished a piece of work as the great comedian ever turned out. Evidence of Keaton's directorial control is everywhere. Keaton has been called one of comedy's greatest directors; the distinction between him as director and as star of the film might prove fruitful in discussion. CARTOONS Friday/March 26/4 p.m. Ballroom From UPA The Emperor's New Clothes Little Boy with a Big Horn Willie the Kid How Now Boing Boing Christopher Crumpet Fuddy Duddy Buddy Slopy Jalopy Wonder Gloves The Oompans CENTER FOR NEW PERFORMING ARTS Monday/March 22/ 2-11 p.m. Ballroom FILMWORK film as performance film as a source of light film and electronic manipulation film in space film as conceptual work film and multiple image projection film: video tape delays The Center for New Performing Arts is an interdisciplinary project embracing the areas of Art, Creative Writing, Dance, Film and Television, Music and Theatre on The University of Iowa campus. Begun under a pilot grant in 1969, the Center for New Performing Arts is now in the first year of a five-year expansion supported by the Rockefeller Foundation and The University of Iowa. The CNPA's basic purposes are to support the creative arts through performance and to encourage significant interchange of concepts, methods, and interests between the art-oriented media. To this end, there are resident performing groups of professional caliber within the CNPA, a body of creative artists, a visiting artist and performer program, as well as laboratories and facilities to encourage experimentation and production in addition, a touring program in Iowa and the near Mid-West makes possible the presentation of works outside of Iowa City and The University of Iowa campus. CIMARRON 1931 Tuesday/March 23/ 2 p.m. Illinois Room Directed by Wesley Ruggles; Starring Richard Dix, Irene Dunn, Edna May Oliver, Estelle Taylor, William Collier, Jr., George Stone, Roscoe Ates. This portrait of the birth and growth of an empire depicts the forces both violent and subtle which shaped its destiny. In the story's central characters, Yancy and Sabra Cravat, are invested the conflicting spirits of restlessness and resolution ".. he, the true 'man of the west' idealistic, flamboyant, yet perennially yielding to wanderlust, and she the rock, the foundation, the builder and the fierce defender... each courageous in his way and, in the end realizing their independence. " In popular criticism of the western "epic" has been used most often to describe events themselves rather than their treatment. Such has been the case with this famous "epic" western. The film is far from being prairie cinema verite but is clear that the intention was to create an illusion of reality in order to give the mammoth drama proper authority The successful fusion of epic and real qualities is of interest here COKE COLLECTION OF PHOTOGRAPHY March 8-31 Museum of Art More than one hundred photographs of Van Deren and Eleanor Coke which provide an historical survey of photography will be exhibited from Wednesday, February 17- Wednesday, March 31 at The University of Iowa Museum of Art (Museum hours for this week will be as follows: Sunday -1 p.m. to 5 p.m.; Monday through Friday - 10:30 a.m. to 5 p.m., and Saturday - 10 a.m. to 5 p.m.) Mr. Coke has selected the exhibited photographs from more than a thousand which he and his wife have collected since 1937. Initially Coke was interested primarily in collecting photographs which were artistic in nature, but in recent years he has also collected photographs, valued for their historic or informative character. In his introduction to the catalog which Coke designed for the exhibition, he says of these historic photos, "Such photographs often have a delightful candor that I find very stimulating.. in them the past is revealed in an intimate and detailed fashion The emphatic sense of reality
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