Buster Keaton filmography
These are the films of American actor and filmmaker Buster Keaton. The Ed Wynn Show, as Buster The Buster Keaton Show, KKTV as Buster Life with Buster Keaton, KKTV as Buster Douglas Fairbanks Presents, episode "The Awakening" as The Man Screen Directors Playhouse, episode "The Silent Partner" as Kelsey Dutton The Rosemary Clooney Show, as Keystone Policeman Circus Time, Buster Keaton. What's My Line? 09/01/1957 as Mystery Guest Buster Keaton Milky Way, Buster Keaton TV Commercial. The Twilight Zone, episode "Once Upon a Time". Candid Camera, episode "In the Diner"; the Scene Stealers, Buster Keaton and Ed Wynn. Route 66, in "Journey to Nineveh" as Jonah Butler, the town jinx The Triumph of Lester Snapwell, as Lester Snapwell Mr. Smith Goes to Washington, in episode "Think Mink" as Si Willis Cleopatra Skit, Buster Keaton on Hollywood Palace Burke's Law, Buster Keaton and Lucille Ball, in comedy to salute Stan Laurel as Buster Ford Van, TV advertisement, as Buster Buster Keaton on IMDb
Ebertfest: Roger Ebert's Film Festival
Ebertfest is an annual film festival held every April in Champaign, United States, organized by the College of Media at the University of Illinois. Roger Ebert, the TV and Chicago Sun-Times film critic, was a native of the adjoining town of Urbana, Illinois and is an alumnus of the University. Founded in 1999 as "Roger Ebert's Overlooked Film Festival", this event is the only long-running film festival created by a critic. Despite Ebert’s death in 2013, the festival continues to operate based on Ebert’s notes and vision for the kinds of films he championed; the festival is a direct descendant of a program put on at the University of Illinois at Urbana–Champaign in 1997 called Cyberfest which used the supposed birthday of HAL to highlight the University's involvement in the history of computers and computing. The film was to be shown as part of Cyberfest, Roger Ebert had agreed to host and actor Gary Lockwood was a special guest, it was suggested that the film should ideally be shown as it was in 70 mm format.
The original plan was to have the screening at the University's performing arts center but time constraints vs. the need to install projection equipment and elaborate six channel sound made this impossible. Someone suggested looking at the Virginia Theatre. At this point the theatre was in the hands of a local live theatre group and had not run films since sold by a theatre chain. All concerned were pleasantly surprised to learn the chain had left behind not only what is reputed to be the finest 35/70 mm projector made but the screen and speakers; the rest of the equipment was brought in for the special showing. Since its inception in 1999, Ebertfest has been held at the Virginia Theatre, an old-time movie palace in Champaign built in 1921 and listed on the National Register of Historic Places; the theatre is now owned by the Champaign Park District. Ebert spoke of having attended films at the Virginia while growing up in Champaign-Urbana and attending the University, it was Ebert's intention that all festival attendees see all of the films in a single theatre in order to create a sense of community among film lovers.
In 2014, a bronze statue of Roger Ebert was unveiled outside of the Virginia Theatre as tribute to both Ebert and Ebertfest. Through donations, the Virginia has been able to equip its projection and sound system with a second projector, the latest in digital sound equipment and top quality lenses; the theatre's screen is 56 feet wide by 23 feet high, with a viewable image of up to 50 feet wide x 21½ feet high. The main speakers sit directly behind the screen during film presentations and are augmented by 36 surround sound speakers. Instrumental in these upgrades has been notable Chicago-based projection expert James Bond who doubles as one of the projectionists during the festival. Since 2013, the Virginia Theatre has a seating capacity of 1,463; the theatre was closed from 2012 until April 2013 for renovations that included replacing all of the seats. Capacity dropped from about 1,550 to 1,463 but the new seats are more comfortable and the theatre offers wheelchair and companion access. In April 2007 it was announced that beginning in 2008 with the tenth festival "Overlooked" would be dropped from the name and subsequent events would be known as "Roger Ebert's Film Festival", but referred to as Ebertfest.
This did not indicate any change in the philosophy or theme but eliminated the need to explain when current or unreleased films were included which had sometimes been the case. They had sometimes been jokingly referred to as "pre-overlooked." Unlike typical film festivals, Ebertfest does not accept submissions. Roger Ebert selected films for the festival which in his opinion are excellent, but have been overlooked by the public or by film distribution companies. All films were selected from those. After Ebert's death, all films are selected by the Festival Committee; the original purpose of the Overlooked Film Festival, as reflected in the name, was to showcase films that had not been given enough attention by the public, film critics, or distributors. Ebert had cheerfully admitted that he could bend the definition of "overlooked" to accommodate any film that he would like to include, since entire genres and formats can be overlooked as well as individual films; the selection philosophy is expected to continue, but with the name change there will no longer be a need to come up with a pretext for including any film.
In most years the festival has opened with a film in the 70 mm format. The films may be major releases, like 2001: A Space Odyssey or Patton, or less well-known, like 2005's showing of the French film Playtime; these films were all chosen due to their use of the 70 mm process, which Ebert felt was overlooked. Each year a silent film is shown with live orchestral accompaniment; the films selected are well-known, but Ebert felt that silent films in general are overlooked by the majority of moviegoers. The festival strives to include a musical film for the same reason. Performers providing live accompaniment have included the Champaign-Urbana Symphony Orchestra and the Alloy Orchestra. Twelve to fourteen films are presented at each festival, opening with a single film on a Wednesday night and concluding with a single movie the following Sunday. On each day during the interim three or four films are presented. For the first eight festivals, before each screening Roger Ebert would make a few introductory remarks.
After the film was shown he would have a discussion on stage with the filmmakers or others connected with the film, sometimes hosting a brief pa
Sneak Previews is an American film review show that ran for over two decades on Public Broadcasting Service. It was created by a PBS affiliate in Chicago, Illinois, it premiered on September 4, 1975 as a monthly local-only show called Opening Soon at a Theater Near You, was renamed in 1977 when it became a biweekly show airing nationally on PBS. By 1979, it was a weekly series airing on over 180 stations, was the highest rated weekly entertainment series in the history of public broadcasting; the show is no longer aired. The show featured two critics who would present short clips of movies in current release debate the merits of the films, energetically defending their remarks if the other critic disagreed. A designated "dog of the week" was featured, with "Spot the Wonder Dog" barking on cue as an introduction. Episodes from the first seven seasons ended with one of the hosts saying "See you at the movies." Many episodes from season eight ended with the hosts' reminder to "save us the aisle seats."
Some episodes were known as Take 2 shows which replaced the review of released films with themed topics such as "Women in Danger", slasher films of the 1970s and early 1980s. On one occasion and Ebert invited the viewer into a day in their lives as they screened films; the show first aired in 1975 on a monthly basis under the name Opening Soon at a Theater Near You, after two successful seasons, was renamed Sneak Previews. The show featured Roger Ebert, a film critic from the Chicago Sun-Times and Gene Siskel, a film critic from the Chicago Tribune; the two newspapers were competitors, so were Siskel and Ebert. As Ebert wrote after Siskel's death in 1999: We both thought of ourselves as full-service, one-stop film critics. We didn't see. We had been linked in a Faustian television format. No sooner had I expressed a verdict on a movie, my verdict, than here came Siskel with the arrogance to say I was wrong, or, for that matter, the condescension to agree with me, it felt like that. It was not an act.
When we disagreed, there was incredulity. In the television biz, they talk about "chemistry." Not a thought was given to our chemistry. We just had it, because from the day the Chicago Tribune made Gene its film critic, we were professional enemies. We never had a single meaningful conversation. Alone together in an elevator, we would study the numbers changing above the door; the tension between the two men made the show's production difficult and time-consuming at first: Making this rivalry worse was the tension of our early tapings. It would take eight hours to get one show in the can, with breaks for lunch and fights. I would break down, or he would break down, or one of us would do something different and throw the other off, or the accumulating angst would make our exchanges seem bizarre. There are many witnesses to the terror of those days. Only when we threw away our clipboards and 3x5 cards did we get anything done. We found. Over time the two men became close personal friends while remaining professional rivals, Ebert described their relationship before Siskel's death as "no one else could understand how meaningless was the hate, how deep was the love".
The success of the show led WTTW to decide to syndicate it to commercial television. Siskel and Ebert left Sneak Previews in 1982, citing contractual differences with WTTW, they indicated that they were offered a contract and asked to "take it or leave it", they chose the latter option. The two critics were soon featured in At the Movies with Gene Siskel and Roger Ebert, a similar show created with Tribune Entertainment and replaced in 1986 by a Disney-produced long-running show first known as Siskel & Ebert & the Movies. In 1982, WTTW signed Neal Gabler and Jeffrey Lyons as replacements for Siskel and Ebert on Sneak Previews; each post-1982 episode ended with the catch phrase "Don't forget to save us the aisle seats." Neal Gabler left Sneak Previews in 1985, citing philosophical differences with the direction of the show, was replaced by Michael Medved. Before replacing Gabler, Medved had cameo appearances on the show, presenting the "Golden Turkey Awards," based on the book, a variation of Siskel & Ebert's "Spot the Wonder Dog/Dog of the Week."
Although Sneak Previews stayed on the air for 14 years after Ebert and Siskel left, it was never as popular as it was during their tenure. The show changed its title to Sneak Previews Goes Video in 1989 and concentrated on home video releases but went back to its old title in 1991. PBS continued to air the show until the 1995–1996 season, canceled it. Sneak Previews on IMDb Sneak Previews at TV.com Sneak Previews at epguides.com
University of Chicago Press
The University of Chicago Press is the largest and one of the oldest university presses in the United States. It is operated by the University of Chicago and publishes a wide variety of academic titles, including The Chicago Manual of Style, numerous academic journals, advanced monographs in the academic fields. One of its quasi-independent projects is a digital repository for scholarly books; the Press building is located just south of the Midway Plaisance on the University of Chicago campus. The University of Chicago Press was founded in 1891, making it one of the oldest continuously operating university presses in the United States, its first published book was Robert F. Harper's Assyrian and Babylonian Letters Belonging to the Kouyunjik Collections of the British Museum; the book sold five copies during its first two years, but by 1900 the University of Chicago Press had published 127 books and pamphlets and 11 scholarly journals, including the current Journal of Political Economy, Journal of Near Eastern Studies, American Journal of Sociology.
For its first three years, the Press was an entity discrete from the university. Heath in conjunction with the Chicago printer R. R. Donnelley; this arrangement proved unworkable, in 1894 the university assumed responsibility for the Press. In 1902, as part of the university, the Press started working on the Decennial Publications. Composed of articles and monographs by scholars and administrators on the state of the university and its faculty's research, the Decennial Publications was a radical reorganization of the Press; this allowed the Press, by 1905, to begin publishing books by scholars not of the University of Chicago. A manuscript editing and proofreading department was added to the existing staff of printers and typesetters, leading, in 1906, to the first edition of The Chicago Manual of Style. By 1931, the Press was an leading academic publisher. Leading books of that era include Dr. Edgar J. Goodspeed's The New Testament: An American Translation and its successor, Goodspeed and J. M. Povis Smith's The Complete Bible: An American Translation.
In 1956, the Press first published paperback-bound books under its imprint. Of the Press's best-known books, most date from the 1950s, including translations of the Complete Greek Tragedies and Richmond Lattimore's The Iliad of Homer; that decade saw the first edition of A Greek-English Lexicon of the New Testament and Other Early Christian Literature, which has since been used by students of Biblical Greek worldwide. In 1966, Morris Philipson began his thirty-four-year tenure as director of the University of Chicago Press, he committed time and resources to lengthening the backlist, becoming known for assuming ambitious scholarly projects, among the largest of, The Lisle Letters — a vast collection of 16th-century correspondence by Arthur Plantagenet, 1st Viscount Lisle, a wealth of information about every aspect of sixteenth-century life. As the Press's scholarly volume expanded, the Press advanced as a trade publisher. In 1992, Norman Maclean's books A River Runs Through It and Young Men and Fire were national best sellers, A River Runs Through It was made into a film directed by and starring Robert Redford.
In 1982, Philipson was the first director of an academic press to win the Publisher Citation, one of PEN's most prestigious awards. Shortly before he retired in June 2000, Philipson received the Association of American Publishers' Curtis Benjamin Award for Creative Publishing, awarded to the person whose "creativity and leadership have left a lasting mark on American publishing." Paula Barker Duffy served as director of the Press from 2000 to 2007. Under her administration, the Press expanded its distribution operations and created the Chicago Digital Distribution Center and BiblioVault. Editorial depth in reference and regional books increased with titles such as The Encyclopedia of Chicago, Timothy J. Gilfoyle's Millennium Park, new editions of The Chicago Manual of Style, the Turabian Manual, The University of Chicago Spanish Dictionary; the Press launched an electronic reference work, The Chicago Manual of Style Online. In 2014, the Press received The International Academic and Professional Publisher Award for excellence at the London Book Fair.
Garrett P. Kiely became the 15th director of the University of Chicago Press on September 1, 2007, he heads one of academic publishing's largest operations, employing more than 300 people across three divisions—books and distribution—and publishing 72 journal titles and 280 new books and 70 paperback reprints each year. The Press publishes across many subject areas, it publishes regional titles, such as The Encyclopedia of Chicago, edited by James R. Grossman, Ann Durkin Keating, Janice Reiff; the Press has expanded its digital offerings to include most newly published books as well as key backlist titles. In 2013, Chicago Journals began offering e-book editions of each new issue of each journal, for use on e-reader devices s
Dekalog is a 1989 Polish television drama series directed by Krzysztof Kieślowski and co-written by Kieślowski with Krzysztof Piesiewicz, with music by Zbigniew Preisner. It consists of ten one-hour films, inspired by the decalogue of the Ten Commandments; each short film explores characters facing one or several moral or ethical dilemmas as they live in an austere housing project in 1980s Poland. The series, Kieślowski's most acclaimed work, was said in 2002 to be "the best dramatic work done for television" and has won numerous international awards, though it was not released outside Europe until the late 1990s. In 1991, filmmaker Stanley Kubrick wrote an admiring foreword to the published screenplay; the series was conceived when screenwriter Krzysztof Piesiewicz, who had seen a 15th-century artwork illustrating the Commandments in scenes from that time period, suggested the idea of a modern equivalent. Filmmaker Krzysztof Kieślowski was interested in the philosophical challenge, wanted to use the series as a portrait of the hardships of Polish society, while deliberately avoiding the political issues he had depicted in earlier films.
He meant to hire ten different directors, but decided to direct the films himself. He used a different cinematographer for each episode except III and IX, in both of which Piotr Sobociński was director of photography; the large cast includes both famous and unknown actors, many of whom Kieślowski used in his other films. For Kieślowski, the tone of most of the films is melancholic, except for the final one, a black comedy, featuring two of the same actors, Jerzy Stuhr and Zbigniew Zamachowski, as in Three Colors: White; the ten films are titled by number, e.g. Dekalog: One. According to film critic Roger Ebert's introduction to the DVD set, Kieślowski said that the films did not correspond to the commandments, never used their names himself. Though each film is independent, most of them share the same setting in Warsaw, some of the characters are acquainted with each other; each short film explores characters facing one or several moral or ethical dilemmas as they live in a large housing project in 1980s Poland.
The themes can be interpreted in many different ways. He observes the main characters at key moments, never intervenes, he is meant to be a supernatural figure. Milk is a recurring element in the following 7 episodes: Dekalog was admired by critics and important figures from the film industry, such as Stanley Kubrick; the DVD box issue held 100% rating on Rotten Tomatoes based on 28 reviews. The series was praised including Roger Ebert and Robert Fulford. In the 2002 Sight & Sound poll to determine the greatest films of all time, Dekalog and A Short Film About Killing received votes from 4 critics and 3 directors, including Ebert, New Yorker critic David Denby, director Mira Nair. Additionally, in the Sight & Sound poll held the same year to determine the top 10 films of the previous 25 years, Kieslowski was named #2 on the list of Top Directors, with votes for his films being split between Dekalog, Three Colors Red/Blue, The Double Life of Veronique. In 2002, the film was listed among the Top 100 "Essential Films" of all time by the National Society of Film Critics and ranked #36 in Empire magazine's "The 100 Best Films Of World Cinema" in 2010.
According to online film resource They Shoot Pictures, Don't They?, Dekalog is the most acclaimed film of 1988. Kieślowski expanded Five and Six into longer feature films, using the same cast and changing the stories slightly; this was part of a contractual obligation with the producers, since feature films were easier to distribute outside Poland. In 2000, the series was released on each containing two parts of about 2 hours. Dekalog on IMDb Dekalog at Rotten Tomatoes Short overview of The Decalogue and some other Kieslowski films at www.filmref.com The Decalogue at the Arts & Faith Top100 Spiritually Significant Films list Voted #2 on The Arts and Faith Top 100 Films
Beyond the Valley of the Dolls
Beyond the Valley of the Dolls is a 1970 American satirical musical melodrama film starring Dolly Read, Cynthia Myers, Marcia McBroom, Phyllis Davis, John LaZar, Michael Blodgett, David Gurian. The film was directed by co-written by Meyer and Roger Ebert. Intended as a sequel to the 1967 film Valley of the Dolls—"dolls" being a slang term for depressant pills or "downers"—Beyond the Valley of the Dolls was instead revised as a parody of the commercially successful but critically reviled original. Three young women—Kelly MacNamara, Casey Anderson, Petronella "Pet" Danforth—perform in a rock band, The Kelly Affair, managed by Harris Allsworth, Kelly's boyfriend; the four travel to Los Angeles to find Kelly's estranged aunt, Susan Lake, heiress to a family fortune. Susan welcomes Kelly and her friends promising a third of her inheritance to her niece, but Susan's sleazy financial advisor, Porter Hall, discredits them as "hippies" in an attempt to embezzle her fortune. Undeterred, Susan introduces The Kelly Affair to a flamboyant, well-connected rock producer, Ronnie "Z-Man" Barzell, who coaxes them into an impromptu performance at one of his outrageous parties.
The band is so well-received that Z-Man becomes their svengali manager, changing their name to The Carrie Nations and starting a long-simmering feud with Harris. Kelly drifts away from Harris and takes up with Lance Rocke, a high-priced gigolo, who has designs on her inheritance. At first, Harris fends off the sexually aggressive porn star Ashley St. Ives, but after losing Kelly, he allows Ashley to seduce him. Ashley soon tires of his conventional nature and inability to perform sexually due to increasing drug and alcohol intake. Harris descends further into heavy drug and alcohol use, leading to a fistfight with Lance and a drug-addled one-night stand with Casey which results in pregnancy. Kelly ends her affair with Lance after he beats Harris. Casey, distraught at getting pregnant and wary of men's foibles, has a lesbian affair with clothes designer Roxanne, who pressures her to have an abortion. Petronella has a enchanted romance with law student Emerson Thorne. After a meet cute at Z-Man's party, they are shown running slow-motion through golden fields and frolicking in a haystack.
Their fairy-tale romance frays when Pet sleeps with Randy Black, a violent prize fighter who beats up Emerson and tries to run him down with a car. Susan Lake is reunited with her former fiancé Baxter Wolfe; the Carrie Nations release records and continue to perform despite constant touring and drug use. Upset at being pushed to the sidelines, Harris attempts suicide by leaping from the rafters of a sound stage during a television appearance by the band. Harris becomes paraplegic from his injuries. Kelly devotes herself to caring for Harris. Emerson forgives Petronella for her infidelity. Casey and Roxanne have a steamy, intimate romance, but this idyllic existence ends when Z-Man invites Casey and Lance to a psychedelic-fueled party at his house. After Z-Man tries to seduce Lance, who spurns him, he reveals that he has breasts, meaning he has been a female in drag all this time. Z-Man goes on a murderous rampage: he beheads Lance with a sword, stabs his servant Otto to death, shoots Roxanne and Casey, killing them.
Responding to a desperate phone call Casey made shortly before her death, Harris and Emerson arrive at Z-Man's house and try to subdue him. Petronella is wounded in the melee. Harris is able to move the start of his recovery from paralysis. An epilogue follows, with a preachy, voice-over monologue and scenes of Kelly and Harris hiking on a log over a creek, a final scene with the courthouse wedding of three couples—Kelly and Harris and Emerson, Susan and Baxter—with Porter observing from outside the courthouse window. Cast notes. Trina Parks, of James Bond's Diamonds Are Forever has a bit part. Beyond the Valley of the Dolls was intended as a straightforward sequel to the 1967 film Valley of the Dolls. Jacqueline Susann, author of the novel Valley of the Dolls had come up with the title while she was writing her second novel The Love Machine, she wrote a treatment and in June 1968 it was reported Fox wanted Dorothy Kingsley to write a screenplay but she was busy on Bracken's World. In November, it was reported that Barbara Parkins would return in the film, but Patty Duke and Sharon Tate would not.
In June 1969 Fox announced the film would be made in the next 18 months and would come from Irving Manfield Productions. A script was written by Jean Holloway. In August 1969 Fox announced. Instead they had hired Russ Meyer. Holloway's script was discarded and the film critic Roger Ebert took a five week leave of absence to write a script. Parkins was no longer attached to the film. Meyer said Richard Zanuck, head of Fox, gave him a weekend to come up with an idea of how it could be done "stressing budget in line with the whole ideas of making movies more cheaply" and encouraging him to "make an R film smashing against an X rating."Meyer wanted to use his own writer, the critic Roger Ebert. Meyer says he and Ebert wrote a 127 page treatment in 10 days and the script in three weeks. Neither of them had read the novel but they watched the 1967 film and used the same formula: Three young girls come to Hollywood, find fame and fortune, are threatened by sex and drugs, either do or do not win redemption," according to Ebert.
He added "We would include some of the sensational elements of the origi
The Ebert test gauges whether a computer-based synthesized voice can tell a joke with sufficient skill to cause people to laugh. It was proposed by film critic Roger Ebert at the 2011 TED conference as a challenge to software developers to have a computerized voice master the inflections, delivery and intonations of a speaking human; the test is similar to the Turing test proposed by Alan Turing in 1950 as a way to gauge a computer's ability to exhibit intelligent behavior by generating performance indistinguishable from a human being. If the computer can tell a joke, do the timing and delivery as well as Henny Youngman that’s the voice I want. Ebert lost his voice after surgery to treat cancer, he employed a Scottish company called CereProc, which custom-tailors text-to-speech software for voiceless customers who record their voices at length before losing them, mined tapes and DVD commentaries featuring Ebert to create a voice that sounded more like his own voice. He first publicly used the voice they devised for him in his March 2, 2010 appearance on The Oprah Winfrey Show.
Roger Ebert's appearance at TED conference 2011