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Film School Archives:
FACETS FILM SCHOOL ARCHIVE
Fall Session II:
November 11 - December 22, 2011
THE THINKING MANN'S MAN:
Traditional Masculinity in the films of
Anthony Mann and Michael Mann
(A Comparative Study)
TuesdaysNov. 15 - Dec. 20
7-10 pm
Films screened and discussed:
The Naked Spur(Anthony Mann, 1953)
Man of the West
(Anthony Mann, 1958)
Raw Deal
(Anthony Mann, 1948)
Last of the Mohicans
(Michael Mann, 1992)
Collateral
(Michael Mann, 2004)
Miami Vice
(Michael Mann, 2006)
The study of masculinity in film has been undervalued, even though this genre can certainly meet the standard of the most artistically accomplished work in cinema. In this class, we will look at selected films from Anthony Mann and Michael Mann, who not only share the same surname, but whose films are remarkable in many ways. Anthony Mann was revered by the French New Wave, especially Godard who alerted cinephiles to his complex compositions, some of the most astonishingly original imagery in American film. During his three-decade career, Mann produced films in the four most masculine of genres: the western, film noir, war, and the epic, and directed no less than a half dozen masterpieces. Native Chicagoan Michael Mann, who began his career in television has consistently produced brilliant visual filmmaking, and psychologically complex antiheroes. In this class we will compare and contrast their work, and as film critic Andrew Sarris said about Anthony Mann, "(Mann's films)... are especially interesting today for their insights into the relationships between men and women in a world of violence and action."
Vaun Monroe has an MFA in Film Arts from Temple University. He is currently the President of the National Association of Black Screenwriters, as well as the Senior Story Analyst for Ithaca Entertainment Media Group. He also teaches Directing, Screenwriting and Film Studies at Columbia College, Chicago. He recently wrote and directed a television pilot for a dramatic series titled "Chicago".
Vaun Monroe has an MFA in Film Arts from Temple University. He is currently the President of the National Association of Black Screenwriters, as well as the Senior Story Analyst for Ithaca Entertainment Media Group. He also teaches Directing, Screenwriting and Film Studies at Columbia College, Chicago. He recently wrote and directed a television pilot for a dramatic series titled "Chicago".
ELEGANT AND MADCAP:
The Incredible Versatility of Irene Dunne
WednesdaysNov. 16 - Dec. 21
7-10 pm
Films screened and discussed:
Cimarron(Wesley Ruggles, 1931)
Age of Innocence
(Philip Moeller, 1934)
Theodora Goes Wild
(Richard Bowleslawski, 1936)
The Awful Truth
(Leo McCarey, 1937)
The White Cliffs of Dover
(Clarence Brown, 1944)
I Remember Mama
(George Stevens, 1949)
Irene Dunne, one of the top movie actresses from Hollywood's Golden Age, was nominated for five Best Actress Academy Awards between 1931 and 1949, but her work has often gone unrecognized. None other than Cary Grant himself called her the finest comedienne he ever worked with, a mistress of comic timing and touch. Although she never won an Oscar, she excelled at both comedy and melodrama. Hoping to pursue a career as a Metropolitan opera star, Dunne got her big break as Sabra Cravat, the heroine of Edna Ferber's epic novel, Cimarron and her performance in the western classic earned Dunne her first Best Actress nomination. During the early 1930s, cast in a series of tearjerkers, she was dubbed the "Queen of the Weepies" by the Hollywood press. However, in 1936, Dunne reluctantly starred in the comedy Theodora Goes Wild, which became an enormous hit, earning her a second Best Actress nod and a place as one of the grand dames of screwball comedy. Admired by directors and actors alike, Dunne remains one of the most talented performers to ever grace a movie screen.
Stephen Reginald is a freelance writer and editor. He has worked at various positions within the publishing industry for over 25 years and most recently was executive editor for McGraw-Hill's The Learning Group Division. He previously taught the classes The Screwball Comedy and the Feminine Mystique, Carole Lombard: The Divine Screwball and Down-To-Earth Sophistication: Claudette Colbert in Hollywood.
Stephen Reginald is a freelance writer and editor. He has worked at various positions within the publishing industry for over 25 years and most recently was executive editor for McGraw-Hill's The Learning Group Division. He previously taught the classes The Screwball Comedy and the Feminine Mystique, Carole Lombard: The Divine Screwball and Down-To-Earth Sophistication: Claudette Colbert in Hollywood.
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