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orson welles: Jack Black's transformation into Orson Welles is nearly complete
orson welles: Jack Black's transformation into Orson Welles is nearly complete

Jack Black's transformation into Orson Welles is nearly complete

orson welles: CBS The recording of the famous War of the Worlds radio broadcast that happened 81 years ago today and presented by Orson Welles
orson welles: CBS
The recording of the famous War of the Worlds radio broadcast that happened 81 years ago today and presented by Orson Welles

The recording of the famous War of the Worlds radio broadcast that happened 81 years ago today and presented by Orson Welles

orson welles: . O. s n ept framework-filled-in [Compatibility Mode) nsert Design Layout References Mailings Revie Table Design Layout PBoycott Advance Normal ntributed to the growth of mass culture,whlle ational migration patterns. as debates increased over the effects of culture on public was the single luxury almost every American maintained, ap form of entertainment and information; radio in the 30s was the dominant form of communication; classical nd opera were heard by large numbers of Americans for time, as was jazz and country music (both Southern rried out of South by Great Migration and Okies]; Amos 'n as on for decades, as two white men pretended to be black th of a Nation, racist attitudes exported out of the South, 55390 79 03 g immigrants in particular how to be racist]; soap operas d to sell soap during the day; kids' programs in the afternoons (Superman, The Lone Ranger, The Shadow); news both local and national (Hindenburg disaster; Edward R. Murrow's broadcasts from London during the Blitz; Orson Welles' War of the World broadcast); FDR's fireside chats *Movies developed as mass entertainment, offering up models of behavior to imitate (celebrity culture erupted, from the antics of Charlie Chaplin and Buster Keaton to the lovemaking of Rudolph Valentino and Clara Bow teaching an entire generation how to behave in the bedroom); different genres rose and fell in popularity to match the national mood (for example, late 20s and talkies saw musicals rise, only to fall to horror and gangster films when the Depression began) Southern racism exported (Birth of a Nation, Gone with the Wind, Stepin Fetchit,); with the development of the Production Code in 1934, a middle class Catholic-approved (Legion of Decency) morality and culture was promoted [even though the studios were largely run by Jewish immigrants, few movies were ever about Jewish culture or characters, with The Jazz Singer being a major exception): in the Page 10 of 23 10932 Words English (US) MacBook Air 80 5 3 2 It’s not like I NEED to pass the APUSH exam...
orson welles: . O. s
 n ept framework-filled-in [Compatibility Mode)
 nsert Design Layout References Mailings Revie
 Table Design Layout
 PBoycott Advance
 Normal
 ntributed to the growth of mass culture,whlle
 ational migration patterns.
 as debates increased over the effects of culture on public
 was the single luxury almost every American maintained,
 ap form of entertainment and information; radio in the
 30s was the dominant form of communication; classical
 nd opera were heard by large numbers of Americans for
 time, as was jazz and country music (both Southern
 rried out of South by Great Migration and Okies]; Amos 'n
 as on for decades, as two white men pretended to be black
 th of a Nation, racist attitudes exported out of the South,
 55390
 79 03
 g immigrants in particular how to be racist]; soap operas
 d to sell soap during the day; kids' programs in the
 afternoons (Superman, The Lone Ranger, The Shadow); news both
 local and national (Hindenburg disaster; Edward R. Murrow's
 broadcasts from London during the Blitz; Orson Welles' War of
 the World broadcast); FDR's fireside chats
 *Movies developed as mass entertainment, offering up models of
 behavior to imitate (celebrity culture erupted, from the antics of
 Charlie Chaplin and Buster Keaton to the lovemaking of Rudolph
 Valentino and Clara Bow teaching an entire generation how to
 behave in the bedroom); different genres rose and fell in
 popularity to match the national mood (for example, late 20s and
 talkies saw musicals rise, only to fall to horror and gangster films
 when the Depression began) Southern racism exported (Birth of
 a Nation, Gone with the Wind, Stepin Fetchit,); with the
 development of the Production Code in 1934, a middle class
 Catholic-approved (Legion of Decency) morality and culture was
 promoted [even though the studios were largely run by Jewish
 immigrants, few movies were ever about Jewish culture or
 characters, with The Jazz Singer being a major exception): in the
 Page 10 of 23 10932 Words English (US)
 MacBook Air
 80
 5
 3
 2
It’s not like I NEED to pass the APUSH exam...

It’s not like I NEED to pass the APUSH exam...

orson welles: . O. s n ept framework-filled-in [Compatibility Mode) nsert Design Layout References Mailings Revie Table Design Layout PBoycott Advance Normal ntributed to the growth of mass culture,whlle ational migration patterns. as debates increased over the effects of culture on public was the single luxury almost every American maintained, ap form of entertainment and information; radio in the 30s was the dominant form of communication; classical nd opera were heard by large numbers of Americans for time, as was jazz and country music (both Southern rried out of South by Great Migration and Okies]; Amos 'n as on for decades, as two white men pretended to be black th of a Nation, racist attitudes exported out of the South, 55390 79 03 g immigrants in particular how to be racist]; soap operas d to sell soap during the day; kids' programs in the afternoons (Superman, The Lone Ranger, The Shadow); news both local and national (Hindenburg disaster; Edward R. Murrow's broadcasts from London during the Blitz; Orson Welles' War of the World broadcast); FDR's fireside chats *Movies developed as mass entertainment, offering up models of behavior to imitate (celebrity culture erupted, from the antics of Charlie Chaplin and Buster Keaton to the lovemaking of Rudolph Valentino and Clara Bow teaching an entire generation how to behave in the bedroom); different genres rose and fell in popularity to match the national mood (for example, late 20s and talkies saw musicals rise, only to fall to horror and gangster films when the Depression began) Southern racism exported (Birth of a Nation, Gone with the Wind, Stepin Fetchit,); with the development of the Production Code in 1934, a middle class Catholic-approved (Legion of Decency) morality and culture was promoted [even though the studios were largely run by Jewish immigrants, few movies were ever about Jewish culture or characters, with The Jazz Singer being a major exception): in the Page 10 of 23 10932 Words English (US) MacBook Air 80 5 3 2 It’s not like I NEED to pass the APUSH test...
orson welles: . O. s
 n ept framework-filled-in [Compatibility Mode)
 nsert Design Layout References Mailings Revie
 Table Design Layout
 PBoycott Advance
 Normal
 ntributed to the growth of mass culture,whlle
 ational migration patterns.
 as debates increased over the effects of culture on public
 was the single luxury almost every American maintained,
 ap form of entertainment and information; radio in the
 30s was the dominant form of communication; classical
 nd opera were heard by large numbers of Americans for
 time, as was jazz and country music (both Southern
 rried out of South by Great Migration and Okies]; Amos 'n
 as on for decades, as two white men pretended to be black
 th of a Nation, racist attitudes exported out of the South,
 55390
 79 03
 g immigrants in particular how to be racist]; soap operas
 d to sell soap during the day; kids' programs in the
 afternoons (Superman, The Lone Ranger, The Shadow); news both
 local and national (Hindenburg disaster; Edward R. Murrow's
 broadcasts from London during the Blitz; Orson Welles' War of
 the World broadcast); FDR's fireside chats
 *Movies developed as mass entertainment, offering up models of
 behavior to imitate (celebrity culture erupted, from the antics of
 Charlie Chaplin and Buster Keaton to the lovemaking of Rudolph
 Valentino and Clara Bow teaching an entire generation how to
 behave in the bedroom); different genres rose and fell in
 popularity to match the national mood (for example, late 20s and
 talkies saw musicals rise, only to fall to horror and gangster films
 when the Depression began) Southern racism exported (Birth of
 a Nation, Gone with the Wind, Stepin Fetchit,); with the
 development of the Production Code in 1934, a middle class
 Catholic-approved (Legion of Decency) morality and culture was
 promoted [even though the studios were largely run by Jewish
 immigrants, few movies were ever about Jewish culture or
 characters, with The Jazz Singer being a major exception): in the
 Page 10 of 23 10932 Words English (US)
 MacBook Air
 80
 5
 3
 2
It’s not like I NEED to pass the APUSH test...

It’s not like I NEED to pass the APUSH test...

orson welles: ORSON WELLES CITIZEN KANE shittymoviedetails:A fact about this movie is that no one has actually seen it but everyone says it’s the best
orson welles: ORSON WELLES
 CITIZEN KANE
shittymoviedetails:A fact about this movie is that no one has actually seen it but everyone says it’s the best

shittymoviedetails:A fact about this movie is that no one has actually seen it but everyone says it’s the best

orson welles: F686-49E3-A006-0().png (443 KB, 458x672) Attack of Clones is a Sci-Fi NOIR Anonymous 12/28/18(Fri)12:20:28 No. 107701258 A lone cynic goes on his own quest to unravel a mystery which leads to a bigger, more sinister plot. A quest that is also complete with seedy underworld places and hardened characters A moral and ultimately doomed protagonist is trapped in an unwanted situation, fighting against cold fate and surrounded by less than moral characters in an immoral world ATTACK OF THE CLONES is the second chapter in George Lucas' STAR WARS prequel trilogy, and while it certainly isn't a straight film noir, it does exhibit many traits of the genre. It's also a movie that's tragically misjudged At the crux of the story, assassination attempts against Padme Amidala (Natalie Portman) force the Jedi to send Obi-Wan Kenobi (Ewan McGregor) on a solo mission to investigate, while Anakin Skywalker (Hayden Christensen) is charged with protecting her. Meanwhile, the galaxy is crumbling around them It's classic noir. The atmosphere of the movie has an underlying sense of doom throughout. Corruption is abound, a separatist movement has formed and the galaxy is on the verge of war. And thanks to the original trilogy, we already know the peril to come Past the CG and spectacle, it is a pessimistic film. There's corruption, greed and forbidden romance There is also a nighttime chase through a sprawling maze-like city, a rain soaked fight, seedy underworld nightclubs, dimly lit corridors, and a climactic, visceral duel in an industrial setting. Even Venetian blinds appear, casting the same moody light and shadow you might find in a Howard Hawkes film EPISODE I Anonymous 12/28/18(Fri)12:22:23 No.107701297 File: image.jpg (855 KB, 4032x3024) And there's the dialogue George Lucas is famously accused of writing bad dialogue. It's not bad. It's melodramatic, sure. It's also stylistic, just like the classic films. That goes with the delivery too. Deadpan snark, monologues and a lack of sentimentality from characters; styles modern audiences can't seem to take. Let's be honest, even the banter of SUNSET BOULEVARD wouldn't fly by today's standards Then there's the parallel with the noir classic THE THIRD MAN. In it, Holly Martins (Joseph Cotton) is investigating the death/vanishing of friend Harry Lime (Orson Welles), while everyone informs Martins that Lime was awful. In ATTACK OF THE CLONES, Count Dooku (Christopher Lee) is our Harry Lime. His name is mentioned unfavorably and like Lime, he's not seen or heard from It's not until the climax of both films that Holly Martins and Obi-Wan Kenobi finally meet these elusive characters; Harry Lime and Count Dooku. Both men are indeed revealed to be villains. Both even try to recruit our heroes. They're great scenes made better by their grim dialogue and fascinating set pieces. They're even filmed alike, with the villain in each circling the hero like prey I know ATTACK OF THE CLONES is by no means a perfect film. But it is a perfect STAR WARS film It's imaginative. It tread new ground. It wasn't just a rehash of what we'd already seen, relying on nostalgia or fan service. It was bold. And it's that boldness that allowed George Lucas to experiment, adding a film noir flair to an otherwise space fantasy film Maybe one day the prequels will be reexamined by a more open audience. Or maybe l've convinced you to reexamine them yourself. In the end it's all subjective anyway
orson welles: F686-49E3-A006-0().png (443 KB, 458x672)
 Attack of Clones is a Sci-Fi NOIR Anonymous 12/28/18(Fri)12:20:28 No. 107701258
 A lone cynic goes on his own quest to unravel a mystery which leads to a bigger, more sinister plot. A quest that is also complete with seedy underworld places and
 hardened characters
 A moral and ultimately doomed protagonist is trapped in an unwanted situation, fighting against cold fate and surrounded by less than moral characters in an immoral
 world
 ATTACK OF THE CLONES is the second chapter in George Lucas' STAR WARS prequel trilogy, and while it certainly isn't a straight film noir, it does exhibit many traits
 of the genre. It's also a movie that's tragically misjudged
 At the crux of the story, assassination attempts against Padme Amidala (Natalie Portman) force the Jedi to send Obi-Wan Kenobi (Ewan McGregor) on a solo mission to
 investigate, while Anakin Skywalker (Hayden Christensen) is charged with protecting her. Meanwhile, the galaxy is crumbling around them
 It's classic noir. The atmosphere of the movie has an underlying sense of doom throughout. Corruption is abound, a separatist movement has formed and the galaxy is
 on the verge of war. And thanks to the original trilogy, we already know the peril to come
 Past the CG and spectacle, it is a pessimistic film. There's corruption, greed and forbidden romance
 There is also a nighttime chase through a sprawling maze-like city, a rain soaked fight, seedy underworld nightclubs, dimly lit corridors, and a climactic, visceral duel in
 an industrial setting. Even Venetian blinds appear, casting the same moody light and shadow you might find in a Howard Hawkes film
 EPISODE I
 Anonymous 12/28/18(Fri)12:22:23 No.107701297
 File: image.jpg (855 KB, 4032x3024)
 And there's the dialogue
 George Lucas is famously accused of writing bad dialogue. It's not bad. It's melodramatic, sure. It's also stylistic, just like the classic
 films. That goes with the delivery too. Deadpan snark, monologues and a lack of sentimentality from characters; styles modern
 audiences can't seem to take. Let's be honest, even the banter of SUNSET BOULEVARD wouldn't fly by today's standards
 Then there's the parallel with the noir classic THE THIRD MAN. In it, Holly Martins (Joseph Cotton) is investigating the death/vanishing
 of friend Harry Lime (Orson Welles), while everyone informs Martins that Lime was awful. In ATTACK OF THE CLONES, Count Dooku
 (Christopher Lee) is our Harry Lime. His name is mentioned unfavorably and like Lime, he's not seen or heard from
 It's not until the climax of both films that Holly Martins and Obi-Wan Kenobi finally meet these elusive characters; Harry Lime and Count Dooku. Both men are
 indeed revealed to be villains. Both even try to recruit our heroes. They're great scenes made better by their grim dialogue and fascinating set pieces. They're
 even filmed alike, with the villain in each circling the hero like prey
 I know ATTACK OF THE CLONES is by no means a perfect film. But it is a perfect STAR WARS film
 It's imaginative. It tread new ground. It wasn't just a rehash of what we'd already seen, relying on nostalgia or fan service. It was bold. And it's that boldness
 that allowed George Lucas to experiment, adding a film noir flair to an otherwise space fantasy film
 Maybe one day the prequels will be reexamined by a more open audience. Or maybe l've convinced you to reexamine them yourself. In the end it's all
 subjective anyway