Julie Lobalzo Wright has written a fascinating book on the concept of crossover stardom and what it tells us about popular male music stars in American Cinema. The book is now on paperback and thus accessible. Julie is also involved in various events around the musicals season at the BFI this Autumn, the highlights of which are: A study day on musicals at NFT3 on October 26th; and a talk on her book on November 4th at the BFI Reubens Library. This matrix of events is the context for the wide-ranging and enthusiastic conversation which you can listen to above, one that touches on, amongst other things, stardom, the musical, Bing Crosby, Gene Kelly, Kris Kristofferson, Justin Timberlake, Barbara Streisand, various versions of A Star is Born, stardom over time, and changes in the musical genre right up to the live network screenings of shows such as Hairspray and Jesus Christ Superstar.
Joaquín Aras is an artist and filmmaker from Buenos Aires. His work is on show alongside that of María Agustina Fernández Raggio and Paula Monzillo at the What It Became Is Not What It Is Now exhibition curated by Louise Hobson and currently on show at Grand Union until the 9th of November. Aras also screened Snuff 1976 at The Electric Cinema in Birmingham. Snuff 1976 is a reworking of the original ´snuff´/horror/ soft core porn’ American exploitation film shot in Argentina just at the time when a military dictatorship was coming into power and beginning to commit the atrocities this period in Argentine history will forever be remembered for. The film was advertised as ‘A movie that could only have been made in South America, where life is cheap’.
This is a wide-ranging conversation that touches on: film history; what is centre/ periphery in relation to how film cultures circulate?; how does one reconstruct popular memory?; film preservation; the connection between Snuff 1976, Once Upon a Time in Hollywood and the Manson murders; and Aras´ ongoing attempts to give voice and expression to those areas related to history and popular memory currently occluded, bypassed, sometimes even lost or erased.
Joaquín and I also discuss the relationship of his work to the video essay, how his choices of what to focus on are contextual and specific to Argentina. We discuss the relationship of guest and host in the horror film and what the work of Levinas and Derrida can bring to an understanding of that relationship. We also talk about how memory might be a great way to challenge historicity. A conversation worth hearing and a show worth watching. Details of the exhibition are below:
Those of you interested in issues of film history and popular memory might want to follow up by reading Annette Kuhn´s foundational work in these areas:
An Everyday Magic: Cinema and Cultural Memory. London: I.B. Tauris, 2002. Published in the US as Dreaming of Fred and Ginger: Cinema and Cultural Memory. New York: New York University Press.
Family Secrets: Acts of Memory and Imagination. London: Verso, 1995; rev edn, 2002.
A conversation with David Greven, distinguished Hitchcock scholar, author of Intimate Violence: Hitchcock, Sex and Queer Theory, Psycho-Sexual: Male Desire in Hitchcock, De Palma, Scorsese, and Friedkin and many other books (see images below) which took place at the Under Capricorn +70 Conference at King´s College, London. We talk of Hitchcock as a queer filmmaker, how his works undermine gender roles and expectations. We discuss David´s explorations of the intersection of Queer Theory and Hitchcock and what he´s learned by bringing them together. We bring into the discussion recent television work by Ryan Murphy as well as the work of Pedro Almodóvar. We touch on the significance of the re-release of five Hitchcock films in the 80s in the context of gay male representation, as well as on E.M Foster adaptations such as Maurice, Room with A View, Howard´s End and the recent theatrical deployment of some of those structures and tropes in The Inheritance. Finally the conversation refocuses on his work on Under Capricorn, the presentation of which is David´s reason for being in London, putting it in the context of Ingrid Bergman´s ‘trilogy’ with Hitchcock (Spellbound and Notorious are the others). Under Capricorn is enthralling but is it goodP? Finally David offers some recommendations on how to introduce yourself to Hitchcock´s work if you haven´t already done so. If you don´t love Under Capricorn, you don´t love Hitchcock, and if you don´t know how to appreciate Hitchcock, you don´t know how to appreciate cinema. An informal but stimulating and all too brief conversation.
A long, wide-ranging and informative discussion with scholar Adrian Garvey on the career of James Mason , the subject of Garvey´s interest and research for over a decade now. We touch on various aspects of the particularities of Mason´s career and achievements but with a particular focus on his work in the UK in the forties, and then in the United States in the 50s. The conversation ranges from the differences in his level of stardom in the UK and the US, his choice of projects, the quality of the people he sought out to work with, how a star becomes a lasting star in spite of never quite becoming a box-office star in America, what his star persona was in the UK and how that was re-deployed but also re-inflected in America. We touch on the directors he worked with: Reed, Ophuls, Hitchcock, Kubrick, Minnelli, Nicholas Ray; we compare his career to that of other British stars of the period and after– Stewart Granger, Dirk Bogarde, John Mills, Richard Burton, Peter O´Toole, Richard Harris, Alec Guiness…. A must-listen for anyone interested in James Mason.