تسجيل فيديو
Maidstone
| العنوان: | Maidstone |
|---|---|
| المساهمون: | Mailer, Norman, filmmaker, editor of moving image work, actor., Farbar, Bernard, film producer., Leacock, Richard, director of photography., Proferes, Nicholas T., director of photography., Pennebaker, D. A., director of photography., Hayes, Isaac, composer., Torn, Rip, 1931- actor., Norman Mailer Collection (Harvard Film Archive) |
| سنة النشر: | 1971 |
| وصف مادي: | 216 first generation reversal positive original reels of a of a motion picture film, approximately (110 min.) 3,954 feet: silent, color, triacetate; 16 mm |
| مصطلحات موضوعية: | Journalists -- United States -- Biography., Families -- United States -- Drama., Man-woman relationships -- Drama., Motion picture producers and directors., Husbands., Middle class families., Violence., Housewives., Motion picture actors and actresses., Novelists, American -- 20th century., Self-preservation -- Drama., Independent filmmakers -- United States., Crime -- United States., Motion picture acting., Divorce -- Drama., Autobiographical films., Independent films., Feature films., Unedited footage., Outtakes |
| جغرافية الموضوع: | United States -- Politics and government -- 20th century. |
| الوصف: | "The third (and last) of author Norman Mailer's experiments in cinéma vérité filmmaking created between 1968 and 1970, Maidstone stars Mailer as Norman T. Kingsley, a celebrated filmmaker who is often described as 'the American Buñuel.' Kingsley and a large retinue of friends, actors, and colleagues have descended on his estate in Upstate New York to work on his latest project, a sexually provocative drama. At the same time, Kingsley is planning to launch a campaign for president, and he's visited by a large number of guests eager to discuss his political perspectives, including journalists, academics, and a handful of African-American radicals. Also on hand is Kingsley's ever-present posse of hangers-on nicknamed 'the cash box,' led by his half-brother Raoul (Rip Torn). As a British television reporter records the proceedings for an upcoming profile, a shadowy group of American intelligence agents questions if the nation might be better off without the possibility of a Kingsley candidacy. In the film's final reels, Mailer and his cast and crew drop their collective improvisation and discuss their work so far before the camera, but Torn takes it upon himself to give the film the ending he feels it needs by attacking Mailer with a hammer. Fascinating if only for its remarkable portrait of Mailer's legendary ego in full flight, Maidstone would be the writer's last stab at filmmaking until he was hired to direct a film adaptation of his novel Tough Guys Don't Dance in 1987." ...from the CineMalta DVD description of the film. |
| Original Identifier: | ocn907848806 (HFAfm)000002374 |
| نوع الوثيقة: | Video |
| اللغة: | English |
| حقوق: | This record is part of the Harvard Library Bibliographic Dataset, which is provided by the Harvard Library under its Bibliographic Dataset Use Terms and includes data made available by, among others, OCLC Online Computer Library Center, Inc. and the Library of Congress. |
| ملاحظات: | Harvard Film Archive prints and reversal camera originals, HFA Item nos. 2374; 16026; 17875; from The Norman Mailer Collection. "The nation was still in mourning for Martin Luther King, shot to death on April 4, when Robert Kennedy was assassinated shortly aftter midnight on June 5, just after he won the Democratic presidential primary in California. Two days earlier Andy Warhol had been shot four times at his studio and almost died. Over the next few days, as the country fell into a state of horror and confusion, Mailer conceived of Maidstone. The new film, he wrote, was calling to him 'with every stimulus and every fear.' named after a fictional estate on Long Island where the events unfold, the film focused on a famous-infamous director. Norman T. Kingsley is 'one of fifty men who America in her bewilderment and profound demoralization might be contemplating as a possible President.'.....On September 22, 1971, the film had its American premiere at the Whitney Museum. It ran for ten days, three showings a day, in a small theater and drew seven thousand, a record attendance. But when it was shown commercially the next month, the audiences were tiny, and it folded. Mailer later called it 'my failed cinematic masterpiece.' " ... Norman Mailer A Double Life, a biography by J. Michael Lennon |
| رقم الأكسشن: | edshlc.013473341.X |
| قاعدة البيانات: | Harvard Library Bibliographic Dataset |
| الوصف غير متاح. |