Podcast appearances and mentions of bette gordon

Author Marya E. Gates joins us on the occasion of her new book, Cinema Her Way: Visionary Female Directors in Their Own Words, as a prelude to a series of screenings at the Brattle introduced by Marya. Two of the directors from her book will join her for these screenings: Bette Gordon on April 17 and Mira Nair on May 10th.

This week on Rise of the Gay Cinephiles, we're discussing Bette Gordon's Variety; Akira Kurosawa's Dreams; Josh Ruben's Heart Eyes; and Gia Coppola's The Last Showgirl for our four highlights! You can also expect discussions on Real Housewives of Salt Lake City, RuPaul's Drag Race, Bridget Jones, Kamikaze Hearts, and Big Boys Season 3.  You can find us on Instagram and Threads over at @gaycinephilesrise and on Twitter over at @gaycinesrise. If you'd like to contact us, message us on Instagram or Twitter; alternatively, email us at riseofthegaycinephiles@gmail.com. Our theme song is Katie by Gary's old band, One Week Stand—you can check them out on all online music streaming platforms.

This week Eliana and Patrick delve into Lizzie Borden's 1986 dramedy Working Girls about a day in the life of a group of young sex workers in a middle-class brothel in 1980s Manhattan.A milieu rarely ever depicted on the big screen in American cinema (in their Criterion essay So Meyer stresses that it was not until Sean Baker's Tangerine in 2015—three decades later—that the lived reality of sex workers would take center stage of a major US feature film again), Borden, with her observational eye and collaborative filmmaking process, circumvents the common dichotomous portrayal of prostitutes as either glamorized or pitiable, shedding light on the profession that proves both sympathetic to its characters and discerning of the mundanity of their profession—ultimately highlighting the autonomy women can exercise while embracing that the world's oldest profession is just that—a profession.Resources:Borden, Lizzie, and Gordon, Betty. “Lizzie Borden and Bette Gordon on Working Girls.” Criterion, 2021,Da Costa, Cassie. Lizzie Borden Is Finally Getting Her Due. Vanity Fair, 15 July 2021,Felando, Cynthia. „4 Lizzie Borden.” Independent Female Filmmakers. A Chronicle Through Interviews, Profiles, and Manifestos, edited by Michele Meek, Rouledge, 2019.Firestone, Shulamith. The Dialectic of Sex. The Case for Feminist Revolution. 1970.Farrar, Straus and Giroux, 2003.Free, Erin. „Unsung Auteurs: Lizzie Borden.“ FilmInk, 12 May, 2021,Gagne, Emily. “Director Lizzie Borden on Censorship, Community and the Movie She's Kept in the Closet for Over 40 Years.” That Shelf, 1 March 2023,Hoberman, James. “Lizzie Borden's ‘Working Girls' Is About Capitalism, Not Sex.” New York Times, 16 June 2021,Huber, Christoph. “Whatever Happened to Lizzie Borden?” CinemaScope, 17 March 2018, 22 Sept. 2023.Isaacson, Johanna. “Hollywood Kills Feminism: the Work of Lizzie Borden.” Blind Field, 14 August 2019.Lane, Christina. Feminist Hollywood. From Born in Flames to Point Break. Wayne State University Press, 2000.Mayer, So. “Working Girls: Have You Ever Heard of Surplus Value?” Criterion, 13 July 2021.SoundEFF Open Audio License for Le Carnaval des Animaux (Saint-Saëns, Camille - Aquarium) by Neal and Nancy O'Doan and Seattle Youth Orchestra Pandora Records/Al Goldstein ArchiveIntro: CNN

It looked unlikely for a moment there, but we're delighted to see Edinburgh International Film Festival, one of the world's longest-running film festivals, return for its 76th year. We dig into four films from the programme, including Afire, the latest film from German master Christian Petzold, and Bette Gordon's feminist classic Variety, from 1983. TIMESTAMPS: EIFF is back – are we excited? (1:30) Closing film Fremont (8:10) Femme (15:55) Variety (25:35) Afire (38:21) More EIFF picks, Showing Up, The First Slam Dunk, Passages, Kill and more (48:45) Follow the team on Twitter @ptrsmpsn @anahitrooz @jamiedunnesq @lew_rob_, get us on Twitter and TikTok @thecineskinny, email us at cineskinny@theskinny.co.uk Recorded at EHFM, Summerhall – ehfm.live Music: Too Cool by Kevin MacLeod (https://incompetech.filmmusic.io/song/4534-too-cool) License: https://filmmusic.io/standard-license

On this week's episode we survey the life and times of Steven Spielberg, whose autobiographical latest The Fabelmans is among the frontrunners at this year's Academy Awards. Speaking of which, Laura Poitras' essential docu-profile of the photographer and activist Nan Goldin is up for some top prizes too – and we're delighted to be joined by the director. Finally, it's back to NYC circa 1983 for Bette Gordon's lo-fi erotic thriller, Variety. Joining host Leila Latif are LWLies editor at large Adam Woodward and associate editor Sophie Monks Kaufman.Truth & Movies is the podcast from the film experts at Little White Lies, where along with selected colleagues and friends, they discuss the latest movie releases. Truth & Movies has all your film needs covered, reviewing the latest releases big and small, keeping you across important industry news, and reassessing great films from days gone by with the Truth & Movies Film Club.Email: truthandmovies@tcolondon.comTwitter and Instagram: @LWLiesProduced by TCO Hosted on Acast. See acast.com/privacy for more information.

Tradition keeps us centered. We need things to return to year after year, cycle after cycle. It is our light in the darkness. But sometimes, the light in the darkness is a little too bright. Hence, it is our second annual SHADESGIVING/SHORTSGIVING episode! Once again we all brought a short to the table: James Benning and Bette Gordon's THE UNITED STATE OF AMERICA, Nick Park's WALLACE & GROMIT IN THE WRONG TROUSERS, Niki Lindroth von Bahr's THE BURDEN, and Peter Tscherkassky's TRAIN AGAIN. From the charming and hilarious to the experimental and existential, we are thankful for the opportunity to share this with our listeners! Our twitter is @CannesIKickIt Our instagram is @CIKIPod Our letterboxd is CIKIPod Enjoying the show? Feel free to send a few bucks our way on Ko-fi. Thanks to Tree Related for our theme song Our hosts are @andytgerm @clatchley @imlaughalone @jcpglickwebber

Acclaimed screenwriter and novelist Stephen Molton has amassed a lauded portfolio of impactful credits in several media. After breaking into television through writing screenplays for the Paul Newman-produced PBS's Children's Television Workshop, Stephen wrote his first novel, Brave Talk, which was published by Harper & Row in 1987 and provided a riveting, multi-angled introspective portrait of life in the Navy. He served as a creative executive for HBO, Showtime and MTV in the years which followed, while writing his second novel, and co-directed and produced L.A. Homefront: The Fires Within, a Showtime documentary about the Los Angeles Riots, in 1994. Other features he authored for Showtime include SmarTalk and The Accident; the adaptive mini-series, Live By the Sword (Gus Russo) and Weaveworld (Clive Barker). With the former, Stephen co-authored Brothers in Arms: The Kennedys, the Castros and the Politics of Murder, endorsed for Pulitzer Prize consideration by the book's publisher and winner of the New York Book Festival's prize for history in 2009. Films Stephen has written include Deep Blue (Stealth) for New Line Cinema (based on Brave Talk); The Road to East Jesus; and The Drowning for Netflix in 2017 (Josh Charles; Julia Stiles; Leo Fitzpatrick), a Bette Gordon directed adaptation of the book Border Crossing, which he also executive produced. Stephen is an adjunct assistant professor of screen-writing at Columbia University and an instructor at the Jacob Krueger Studio in New York; he attended University of Chicago, MIT and Oberlin College. In our conversation, we discussed his unique upbringing as the son of a progressive Baptist minister; the Navy infrastructure which laid the backdrop for his first novel; Generation 9/11, his documentary, and Elvis Meets Nixon, which he was involved with as an executive for Showtime and inspired Elvis & Nixon (Kevin Spacey; Michael Shannon; Evan Peters); rock and roll and folk music; and the differentiability between the east coast and the midwest.Opening Credits: 1st Contact - On the other Side; Closing Credits: 1st Contact - Beware of the Cow

durée : 00:43:18 - Signes des temps - par : Marc Weitzmann - Alors qu'une version restaurée du film "Variety", tourné à New-York en 1983, est sortie en salle le 1 juin dernier, Signes des temps revient sur le geste féministe et artistique de Bette Gordon et interroge le regard féministe d'une génération à l'autre. Entretien avec la réalisatrice. - invités : Bette Gordon Réalisatrice de cinéma

Teen horror-comedy meets avant garde neo-noir as we discuss Fran Kuzui's Buffy the Vampire Slayer and Bette Gordon's Variety, two very different, reputedly-feminist interventions into genre. Who is a better screenwriter -- Kathy Acker or Joss Whedon? We explore this important question and more. S2E3 Episode Transcript HERE Links and Further Reading Chicago review: David Kehr on how “Buffy is, like, so campy, you know?” New York Times: Janet Maslin hates Variety New York Times: Janet Maslin likes Buffy a little more Another Gaze: Rebecca Liu on Screening Female Desire: Bette Gordon's Variety 35 Years On CUNY Queens: Kevin L. Ferguson on On Variety: The Avant-Garde Between Pornography and Narrative Gay Community News: Cindy Patton on A Question of Variety: New Forms for Women in Movies IndieWire: Liz Shannon Miller on how Luke Perry in Buffy the Vampire Slayer helped Redefine the Male Love Interest Going Rampant: Feminist Review: Buffy the Vampire Slayer Buffy the Vampire Slayer original film script by Joss Whedon Laura Mulvey on Visual Pleasure and Narrative Cinema Subscribe to our Patreon We're also on twitter, instagram and have a website Sean on twitter and IG Nicole on twitter and IG All music in the episode is by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4552-twisted License: http://creativecommons.org/licenses/by/4.0/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thecelluloidmirror/message

Get ready for our conversation about Bette Gordon's Variety and Fran Kuzui's Buffy the Vampire Slayer (written by third generation TV sitcom writer Joss Whedon) with this minisode/teaser. You'll hear a couple of clips from next week's episode as well as a response to some of your comments. Including an explanation of why, as a storyteller, it's important to analyze the work of others and break down what's not as well done even in the things you really enjoy. Get episodes early as well as bonus episodes, uncut video of our recording sessions featuring stuff that didn't make it to the final show, games, invitations to events, Discord acess and so, so much more Celluloid Mirror by subscribing to our Patreon We're also on twitter, instagram and have a website Sean on twitter and IG Nicole on twitter and IG All music in the episode is by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4552-twisted License: http://creativecommons.org/licenses/by/4.0/ --- Send in a voice message: https://anchor.fm/thecelluloidmirror/message

This week we discuss Bette Gordon's 1983 film Variety which focuses on a woman taking a job in a porn theatre by way of kathy acker, jane jacobs, laura mulvey and, briefly, henry rollins. 

Lara gets to utilise her English degree and her South London upbringing this week as we dig into The Local Stigmatic, Al's pet project during his on-screen hiatus. Terrible accents abound, bets are placed at the dawg track, and we explore the best site on the internet. Digressions include Friends, David Thewlis, Basic Instinct 2, Withnail & I, Top Gun, Thief, NT Live, Yentl, Shakespeare, Martin McDonagh, Breakfast Wine, No Time to Die, Billy Magnussen, and Pulp Fiction. Al Pacino by Bette Gordon & Betsy Sussler in BOMB Magazine Patrick Willems: What Does CINEMATIC Really Mean? Find us on Twitter | Instagram | friendsofthepodcino@gmail.com

Sadly, this week concludes Ladies Night at Better Than Fight Club. Bette Gordon's film psychosexual thriller from 1983 was just too feminist for us to bear so we had to cap ladies night at just two episodes. But maybe we'll return! Bars typically have one every week, no? It's been so long since I've seen the inside of a restaurant that I cannot recall.  But hey great episode! 

A truly monumental episode. The Essie Davis calls in all the way from Tasmania. You know her from The Babadook, Miss Fisher’s Murder Mysteries, and her latest The True History of the Kelly Gang. She is a treasure, and she’s on the show today to discuss the 1988 creep fest, The Vanishing. Essie divulges her innermost beliefs on the craft of acting and being able to know the thoughts of a character. She reveals that while working on The True History of the Kelly Gang, she and her co-stars were directed to form a punk band and actually play a show (the band’s name is Fleshlight, if you were wondering). But she also talks about the importance of studying and learning how to be a better actor. This is such a phenomenal and enlightening episode.You can watch The True History of the Kelly Gang on VOD or if you live in LA you can catch it at the Mission Tiki Drive-In.If you haven’t seen The Vanishing…it’s spooky!AND, if you want to check out April’s Staff Pick – watch Bette Gordon’s VarietyWith April Wolfe and Essie Davis

The final episode of our Berlinale trilogy is a continuation of Neil’s travels around the German capital watching films and talking to filmmakers and critics, and a culmination of Neil and Dario’s reflections on the festival and the films they both saw. The pair discuss Andre Hörmann’s Chicago boxing documentary Ringside and the episode also features some of Neil’s interview with the filmmaker as well as a section of his chat with Kim Longinotto, whose film Shooting The Mafia Neil and Dario discussed in the first Berlinale episode. Neil also shares his thoughts on the PJ Harvey documentary A Dog Called Money, the Colombian genre-bender Monos, the Kino Lorber revival of Bette Gordon’s Variety and the finally revealed to the world concert film masterpiece that is Amazing Grace. Film critics sharing their time and reflections on this episode are Rhys Handley, Ian Mantgani and Kambole Campbell. Thanks to everyone whose contributions have made these three episodes possible including, and maybe especially, Kingsley Marshall of Film at Falmouth. Subscribe via: iTunes PlayerFM Spotify Patreon

Director Bette Gordon discusses her new film The Drowning with fellow Director Maggie Greenwald. The film follows child psychologist Tom Seymour who spots a young man trying to commit suicide by jumping off a pier. After rescuing him from the water, Tom realizes he and the young man have met before and their present situation is no mere coincidence.

Bette Gordon is a legend. A critically acclaimed Director & a contemporary of Jim Jarmusch, she's been making films in NYC since the late 70's. Join us for this musically inspired talk about art house cinema in New York & Germany, French New Wave inspirations, how she got her complex & nuanced indie films Variety & Handsome Harry with Steve Buscemi made, & the haunting inspiration behind her glorious new feature, The Drowning.

Director Liza Johnson discusses her new film, Elvis & Nixon, with Director Bette Gordon. The film gives a fictionalized account of what might have happened in an unusual meeting between Elvis Presley and President Richard Nixon in the White House, forever immortalized in an iconic photograph in the National Archives.