Articles

People sitting inside a movie theater.

Revisiting Summer: Reflections from Coolidge Corner Theater’s New Film Series

By

Mike Sullivan introduces readers to the Coolidge Corner Theater’s new “Summer Seminar” series by revisiting memorable screenings from the 2018 season. As part of the educational series, seminar attendees enjoy a pre-screening presentation and participate in post-film analysis, led by experts in various aspects of film: technique, theory, style, trivia, etc. In this article, Mike describes the fascinating lectures and evocative screenings of Jaws (a Coolidge Corner Theater summer tradition!) and The Silence of the Lambs.

New York Jewish Film Festival—January 9-22

New York Jewish Film Festival—January 9-22

By

Senior Film Critic Kurt Brokaw offers recommendations from the 28th edition of the New York Jewish Film Festival (32 features, 6 shorts, most US, World, or New York premieres). The festival, which runs from January 9th through the 22nd, is co-sponsored by the Jewish Museum and the Film Society of Lincoln Center. Check through January 22nd for updates!

 

American Film Market Oct. 31- Nov. 7 2018
| |

American Film Market Oct. 31- Nov. 7 2018

By

The 2018 American Film Market just wrapped up in Santa Monica, California. This year saw  comparably stronger sales for small, independent films. Courtney Sheehan was at the AFM, and writes about the importance of relationships and risk-taking,  key themes that emerged in the conference sessions on production and distribution.

“There Were No Laws Against It Then”
| |

“There Were No Laws Against It Then”

By

As the world opened up to women’s liberation, civil rights, and new social movements, Hollywood of the 1960s doubled down on the exploitative practices that had made the industry so harmful to women. In this sixth series installment, Kerry McElroy argues that the sexual revolution stirring the larger culture, epitomized in the rise of Hugh Hefner, fanned the flames of an already misogynist, violent industry culture.  As seen through the lives of Tippi Hedren and Marilyn Monroe, this article shows that the commodification of women only increased, even as the old studio system was dying. Few stars experienced the exception; read on about a compelling example: Elizabeth Taylor.

“The Studio Doesn’t Own Me’’
| |

“The Studio Doesn’t Own Me’’

By

The 1950s was era of bigger stars, bigger budgets, and bigger bombshells. At same time, the studio system was weakening in the wake of television and a fearless and libelous emerging tabloid press. In this fifth series installment, Kerry McElroy examines the supreme pop cultural star of the twentieth century, Marilyn Monroe.  Examined, in her own words and in new ways, McElroy’s Monroe is a kind of economic sociologist, a surprising forerunner of the #MeToo movement, and a forgotten proponent of social justice. Finally, McElroy considers another marquee court case, one in which star actresses fought back against the tabloids with bravery.