By Michael McVey, Skiffleboom
In March of 2013, I won a film competition in Boston and flew out to Hollywood, California to see my film screen at the Chinese Theatre. During my stay, I visited the Stanley Kubrick Exhibit at the Los Angeles County Museum of Art, or LACMA. As a filmmaker and a film enthusiast, I was completely awestruck.
From November 1, 2012 through June 30, 2013, LACMA visitors got a glimpse at the genius responsible for some of the finest films ever made. I documented the extraordinary collection of all things Kubrick. I transcribed the exhibit in its entirety, word for word. It was an illuminating process.
Now that the exhibit is closed, I am posting my efforts here to share with those of you who could not make the trip. While there is no experience akin to seeing it in person, I hope these photographs and transcriptions further the educational goals of this exhibit: film can be great art. Studying the masters helps us discover new ways to understand, new possibilities to explore.
This exhibition is organized by the Deutsches Filmmuseum, Frankfurt am Main, Christiane Kubrick and The Stanley Kubrick Archive at University of the Arts London, with the support of Warner Bros. Entertainment Inc., Sony-Columbia Pictures Industries Inc., Metro Goldwyn Mayer Studios Inc., Universal Studios Inc., and SK Film Archives LLC.
In Los Angeles, Stanley Kubrick is co-presented by the Los Angeles County Museum of Art and the Academy of Motion Picture Arts and Sciences, and has been generously supported by Steve Tisch. Additional funding has been provided by Warner Bros. Entertainment, Violet Spitzer-Lucas and the Spitzer Family Foundation. Image: Stanley Kubrick in the interior of the space ship “Discovery”, 2001: A Space Odyssey (2001: A Space Odyssey, GB/United States 1965-68) © Warner Bros. Entertainment.
June 29, 2013 | Categories: Film, Film Analysis, History of the Moving Image, Pictures, Stanley Kubrick, Uncategorized | Tags: 2001: A Space Odyssey, A Clockwork Orange, A.I. Artificial Intelligence, All work and no play make Jack a dull boy, Angenieux, Anthony Burgess, Anton Furst, Arlington Valles, Arriflex camera, Arthur C. Clarke, Arthur Schnitzler, Aryan Papers, Auteur theory, Barry Lyndon, Bill Thomas, candlelight lens, Canon, censorship, Chess, Chris Baker, Chris Foss, Christiane Kubrick, cinema, Cinematography, Cinepro, Clapperboards, Clare Quilty, Cooke prime lenses, Dalton Trumbo, Day of the Flight, Diane Arbus, Douglas Trumbull, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, Ealing Studios, Eros, exhibition, Eyemo Camera, Eyes Wide Shut, Fairchild-Curtis, Fangorn, Fear and Desire, Film Noir, Flying Parade, Francisco de Goya, Full Metal Jacket, Garrett Brown, Graflex Pacemaker, Gustav Hasford, HAL 9000, Humphrey Cobb, Jack Nicholson, James B. Harris, Jan Harlan, John Alcott, John McCracken, Ken Adam, Killer’s Kiss, Kirk Douglas, Korova Milk Bar, LACMA, Lawrence Olivier, Lolita, Louis Begley, Marcus Licinius Crassus, Mark Van Doren, Matte Painting, Michael McVey, Michel Ciment, Milena Canonero, Mitchell BNC Camera, Moonwatcher, Napoleon Bonaparte, Newall viewfinder, Nicole Kidman, Olivier Mourgue, Paths of Glory, Patti Podesta, Paul Duncan, Peter Ellenshaw, Peter Sellers, production design, Pvt Joker, retrospective, Rhapsody: A Dream Novel, Saul Bass, Scripts, Shelley Duvall, Sir Hardy Amies, skiffleboom, spartacus, Stanley Kubrick, Stanley Kubrick Archive of the University of the Arts London, steadicam, Stephen King, Steven Spielberg, storyboards, Terry Southern, Thanatos, The Killing, The Overlook Hotel, The Seafarers, The Shining, The Short-Timers, The Sleep of Reason Produces Monsters, The Starchild, Tom Cruise, Venetian Masks, Vladimir Nabokov, Zeiss Mutar 0.5x, Zeiss Planer | Leave a comment
Introduction to Mass Media – Prof. Douglas Pastel
March 30, 2010 – Bunker Hill Community College
Freedom of Speech Supreme Court Case
Joseph Burstyn, Inc. v. Wilson
In 1952, the Supreme Court ruled against the Commissioner of Education of New York’s censorship of a “sacrilegious,” deeming the censorship as a first amendment violation. New York movie distributor Joseph Burstyn attempted to release a controversial Italian film labeled as “anti-catholic.” While critically praised, the Italian short film “The Miracle” was met with animosity from a morally guarded public. There were several protests worldwide, which condemned the film as blasphemy. Under pressure from a vocal public, the New York State Board of Regents, acting through the Commissioner of Education, revoked the film’s license under the pretense of “sacrilege.”
Written by and starring Federico Fellini, "The Miracle" was at the center of the landmark Supreme Court decision that changed the role of censorship in American film.
Burstyn appealed the Commissioner’s actions to the New York, and ultimately, the Supreme Court. He argued that the decision was in violation of the First Amendment. Film, Burstyn’s lawyers argued, is an artistic medium, not just a business, whose expression is protected by the Constitution. Labeling the film as “sacrilegious” was irrelevant in this context — if film is expression that does not infringe on the constitutional rights of others, than its content is guaranteed protection. Under the same amendment, the New York State government’s decision to censor for religious content further violates the separation of church and state. The term sacrilege is vague and could be used as an umbrella term for further free speech restriction.
The Supreme Court’s decision helped define what film meant to 20th century American culture. Film was recognized as an artistic medium and given the same rights as any other form of expression. The decision was a landmark case, weakening censorship and expanding the subject matter of films:
“Though the Constitution does not require absolute freedom to exhibit every motion picture of every kind at all times and all places, there is no justification in this case for making an exception to the basic principles of freedom of expression previously announced by this Court with respect to other forms of expression.”
Despite the public outcry for moral decency, the nine Justices of the Vinson Court unanimously sided with Burstyn, reversing the judgment of the New York Court of Appeals.
The Vinson Court - Front row, left to right: Felix Frankfurter, Hugo Black, Fred Vinson, Stanley Reed, and William O. Douglas. Back row: Tom Clark, Robert Jackson, Harold Burton, and Sherman Minton.
This decision helped to usher in a new area of filmic exploration (as well exploitation). With the United States government supporting the idea that film is expression, more and more filmmakers began exploring taboo subject matters. Within two decades, American film had overcome many of the moral censorships imposed in the 1930’s, and was free to explore themes and ideas with the pubic. As times and attitudes have changed over the generations, film remains a relative constant — a window into bygone eras of morality.
Censorship imposed prior to this decision forced creative solutions to thematically limited material. For instance, when dealing with themes like non-marital intercourse, homosexuality, politics, race, or religion, filmmakers had to circumvent directness with metaphor, innuendo, and symbolism. These restrictions forced artists to explore alternative methods to incorporate taboo themes, furthering cinematic language.
However, censorship ultimately inhibits the artist from expressing ideas they deem truthful. By inhibiting expression, the government does a great disservice to the public’s natural liberties. The public’s relative morality is not as important as the public’s ability to share ideas, including the ability to discuss what constitutes morality.
Read about Joseph Burstyn, Inc. v. Wilson on Wikipedia.
May 6, 2010 | Categories: Intro to Mass Media, Uncategorized | Tags: censorship, Federico Fellini, Freedom of Speech, Joseph Burstyn, Michael McVey, skiffleboom, Supreme Court, The Miracle, Vinson Court, Wilson | Leave a comment