A long time ago in a galaxy really rather close to home, George Lucas unleashed Star Wars upon the moviegoing masses, introducing one of the very first high-profile space Westerns to light up the silver screen. Since then, the franchise has taken many cues from the Western genre both in terms of characters and locations – think of Boba Fett or the Mos Eisley Cantina. One such example of a Western trope is, of course, Han Solo, the roguish outlaw who will soon be placed front and center for Chris Miller and Phil Lord’s 2018 origin story.
Expected to enter production soon after the turn of the year, Miller and Lord’s anthology film is still in search of an official title – surely Han Solo: A Star Wars Story is too obvious? – though while speaking to Variety about the overall status of the rejuvenated Star Wars franchise (via /Film), Lucasfilm head...
Expected to enter production soon after the turn of the year, Miller and Lord’s anthology film is still in search of an official title – surely Han Solo: A Star Wars Story is too obvious? – though while speaking to Variety about the overall status of the rejuvenated Star Wars franchise (via /Film), Lucasfilm head...
- 11/22/2016
- by Michael Briers
- We Got This Covered
How did the lone cowboy hero become such a potent figure in American culture? In an extract from his final book Fractured Times, the late Eric Hobsbawm follows a trail from cheap novels and B-westerns to Ronald Reagan
Today, populations of wild horse-riders and herdsmen exist in a large number of regions all round the world. Some of them are strictly analogous to cowboys, such as gauchos on the plains of the southern cone of Latin America; the llaneros on the plains of Colombia and Venezuela; possibly the vaqueiros of the Brazilian north-east; certainly the Mexican vaqueros from whom indeed, as everyone knows, both the costume of the modern cowboy myth and most of the vocabulary of the cowboy's trade are directly derived: mustang, lasso, lariat, sombrero, chaps (chaparro), a cinch, bronco. There are similar populations in Europe, such as the csikos on the Hungarian plain, or puszta, the Andalusian...
Today, populations of wild horse-riders and herdsmen exist in a large number of regions all round the world. Some of them are strictly analogous to cowboys, such as gauchos on the plains of the southern cone of Latin America; the llaneros on the plains of Colombia and Venezuela; possibly the vaqueiros of the Brazilian north-east; certainly the Mexican vaqueros from whom indeed, as everyone knows, both the costume of the modern cowboy myth and most of the vocabulary of the cowboy's trade are directly derived: mustang, lasso, lariat, sombrero, chaps (chaparro), a cinch, bronco. There are similar populations in Europe, such as the csikos on the Hungarian plain, or puszta, the Andalusian...
- 3/21/2013
- by Eric Hobsbawm
- The Guardian - Film News
©Paramount Pictures
“My momma always said, .Life was like a box of chocolates. You never know what you’re gonna get..” That line was immortalized by Tom Hanks in the award-winning movie “Forest Gump” in 1994. Librarian of Congress James H. Billington today selected that film and 24 others to be preserved as cultural, artistic and historical treasures in the National Film Registry of the Library of Congress.
Spanning the period 1912-1994, the films named to the registry include Hollywood classics, documentaries, animation, home movies, avant-garde shorts and experimental motion pictures. Representing the rich creative and cultural diversity of the American cinematic experience, the selections range from Walt Disney.s timeless classic “Bambi” and Billy Wilder.s “The Lost Weekend,” a landmark film about the devastating effects of alcoholism, to a real-life drama between a U.S. president and a governor over the desegregation of the University of Alabama. The selections also...
“My momma always said, .Life was like a box of chocolates. You never know what you’re gonna get..” That line was immortalized by Tom Hanks in the award-winning movie “Forest Gump” in 1994. Librarian of Congress James H. Billington today selected that film and 24 others to be preserved as cultural, artistic and historical treasures in the National Film Registry of the Library of Congress.
Spanning the period 1912-1994, the films named to the registry include Hollywood classics, documentaries, animation, home movies, avant-garde shorts and experimental motion pictures. Representing the rich creative and cultural diversity of the American cinematic experience, the selections range from Walt Disney.s timeless classic “Bambi” and Billy Wilder.s “The Lost Weekend,” a landmark film about the devastating effects of alcoholism, to a real-life drama between a U.S. president and a governor over the desegregation of the University of Alabama. The selections also...
- 12/28/2011
- by Michelle McCue
- WeAreMovieGeeks.com
I’m never one to put significant stock in the film-based choices made by any kind of committee — be it an awards group, critics circle, soup kitchen line, etc. — but the National Film Registry is a little different. Not that they’re any different than those aforementioned organization types, but because the government assemblage preserves works deemed “culturally, historically or aesthetically significant.” No small potatoes.
Their latest list — created for both public awareness and the opportunity to grumble, as I’ll do in a second — has been unveiled, and the selections are none too out-of-left-field. The biggest of these 25 would have to be Forrest Gump, a choice I fully understand but completely disagree with on an opinion and moral scale. The only other true objection I can raise is toward El Mariachi, film school-level junk from a director whose finest works are the direct result of working with those more talented.
Their latest list — created for both public awareness and the opportunity to grumble, as I’ll do in a second — has been unveiled, and the selections are none too out-of-left-field. The biggest of these 25 would have to be Forrest Gump, a choice I fully understand but completely disagree with on an opinion and moral scale. The only other true objection I can raise is toward El Mariachi, film school-level junk from a director whose finest works are the direct result of working with those more talented.
- 12/28/2011
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
Thanks to the sale of a painting for $61m, this great chronicler of the American landscape is finally getting the museum he deserves
The abstract painter Clyfford Still is a craggy enigma of American art. He painted canvases that look like ruined walls – rough, torn and stained. The ragged surfaces of his thickly layered patches of colour, like giant pieces of ripped paper, make me think every time of street walls covered with mouldering old posters for forgotten films and political rallies.
Still, who died in 1980, was one of the abstract expressionists who transformed not just the look but the international reputation of American art in the 1950s. Up to then, Us artists tended to defer to their heroes in Paris. But when Jackson Pollock was featured on the cover of Life magazine with his free-spirited swirls, American modern art became the gold standard.
The kind of fame that hounded...
The abstract painter Clyfford Still is a craggy enigma of American art. He painted canvases that look like ruined walls – rough, torn and stained. The ragged surfaces of his thickly layered patches of colour, like giant pieces of ripped paper, make me think every time of street walls covered with mouldering old posters for forgotten films and political rallies.
Still, who died in 1980, was one of the abstract expressionists who transformed not just the look but the international reputation of American art in the 1950s. Up to then, Us artists tended to defer to their heroes in Paris. But when Jackson Pollock was featured on the cover of Life magazine with his free-spirited swirls, American modern art became the gold standard.
The kind of fame that hounded...
- 11/14/2011
- by Jonathan Jones
- The Guardian - Film News
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