[Film] Filmmaker David O. Russell found the biggest acclaim and success of his career by working as a director for hire on 2010’s boxing drama The Fighter, but before that he’d spent his time focusing on oddball stories about abrasive but endearing outcasts, in movies such as Flirting with Disaster and I ❤ Huckabees.
Are men more likely than women to accurately recall movie lines? As part of a psychology professor’s research into this question, Angelina Gomez ’14 has scrutinized exactly 635 quotes that Amherst students think they know by heart.
References to the Fairest College in Animal House, Titanic and more
The recent Mad Men season included a character who went to Mount Holyoke. That got us thinking about Amherst College references on TV and film. We asked our more than 1,000 Twitter followers to name their favorites. Here is a sampling of what they wrote:
dybner: My favorite is “I’m Frank Lyman from Amherst” [Animal House]. Note that Frank Lyman’s name appears on the plaque under the Rte. 9 bridge.
Professor Christian Rogowski Publishes Book on Weimar Cinema
Professor of German Christian Rogowski is editor of the new book The Many Faces of Weimar Cinema: Rediscovering Germany’s Filmic Legacy (Boydell & Brewer). Published on June 15, 2010, the book presents up-to-date perspectives on German filmmaking from the years of the Weimar Republic (1919-1933).
Traditionally, Weimar cinema has been viewed reductively—equated with only a limited number of canonical films (for example, Robert Wiene’s The Cabinet of Dr. Caligari and F.W. Murnau’s Nosferatu), several auteurist filmmakers and the expressionist film style. But in recent decades, researchers have uncovered a wealth of source material that shows Weimar cinema to be richer and more diverse than typically thought. The new book’s 18 contributors, including Rogowski himself, highlight lesser-known directors and producers, popular genres, nonfiction film and experiments in the artistic avant-garde. “The essays collected in the volume seek to redress the neglect such genre films have suffered,” he says. “Few have survived; even fewer are available outside archives, with English subtitles, for an international audience.” The essays also discuss Weimar films in terms of broader issues such as gender and sexuality; national identity and transnational collaboration; filmmaking technologies, including the introduction of sound to films; and connections with other media and art forms.