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基本説明
Woody Allen, Martin Scorsese, Susan Sontag, Andrew Sarris, and Pauline Kael - among many others - made the New Yorker their home, trusting in the owners' impeccable taste and working much of what they viewed into their work. For the first time, Toby Talbot, co-owner and proud "matron" of the New Yorker, recounts the ecletic personalities she and her husband Dan encountered as they pioneered the art-house movement in Manhattan.
Full Description
The nation didn't know it, but 1960 would change American film forever, and the revolution would occur nowhere near a Hollywood set. With the opening of the New Yorker Theater, a cinema located at the heart of Manhattan's Upper West Side, cutting-edge films from around the world were screened for an eager audience, including the city's most influential producers, directors, critics, and writers. Woody Allen, Martin Scorsese, Susan Sontag, Andrew Sarris, and Pauline Kael, among many others, would make the New Yorker their home, trusting in the owners' impeccable taste and incorporating much of what they viewed into their work. In this irresistible memoir, Toby Talbot, co-owner and proud "matron" of the New Yorker Theater, reveals the story behind Manhattan's wild and wonderful affair with art-house film. With her husband Dan, Talbot showcased a range of eclectic films, introducing French New Wave and New German cinema, along with other groundbreaking genres and styles.
As Vietnam protests and the struggle for civil rights raged outside, the Talbots also took the lead in distributing political films, such as Bernard Bertolucci's Before the Revolution, and documentaries, such as Shoah and Point of Order. Talbot enhances her stories with selections from the New Yorker's essential archives, including program notes by Jack Kerouac, Jules Feiffer, Peter Bogdanovich, Jonas Mekas, Jack Gelber, and Harold Humes. These artifacts testify to the deeply engaged and collaborative spirit behind each showing, and they illuminate the myriad--and often entertaining--aspects of theater operation. All in all, Talbot's tales capture the highs and lows of a thrilling era in filmmaking.
Contents
Foreword by Martin Scorsese Acknowledgments Reel 1: The Theater Genesis of the Theater Flashback How the Theater Got Its Name Opening Programs A Family Store Struggles and Obstacles of an Art House Matinees Brief Encounter Walking to Work Cinephiles Monday Nights: Special Series A Phone Call Peter Bogdanovich Events of 1968 Kids Guest Books Things That Bug an Exhibitor-and an Audience Payoffs Reel 2: Distribution Bernardo Bertolucci Jean-Luc Godard Ousmane Sembene Point of Order New Yorker Films Cinema Novo and Latin American Films Catalogues Alain Tanner Jack Gelber Nagisa Oshima Satyajit Ray and Ismail Merchant Jacques Tati Yasujiro Ozu Dreamland Problems of Distribution A Last Hurrah Shoah Reel 3: On Location New Yorker Bookstore Box Office Candy-Counter Tales Reel 4: Film Critics Manny Farber Andrew Sarris Pauline Kael Vincent Canby Reel 5: Festivals Cannes Berlin Fassbinder Post-Toronto: 2001 Reel 6: Demolition The End of New Yorker Films Reel 7: Epilogue: An Ongoing Reel Appendix 1: Program Notes (sample pages) Appendix 2: American Theatrical Premieres at the Cinema Studio Appendix 3: American Theatrical Premieres at the Lincoln Plaza Cinemas Guest Books/Sample Pages Ledger from the New Yorker Theater (sample pages) Index
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- 全国“野湯”100選
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- モトチャンプ 2019年12月号
