Read the accompanying article “Stella Adler scholar explores acting master’s interpretation of great American playwrights” to see how Barry Paris used the Ransom Center’s Stella Adler archive to research his book.
Stella Adler’s teaching notes for the role of Amanda Wingfield in Tennessee Williams’ “The Glass Menagerie.” Stella used these notes in a 1974 class in Script Interpretation at the Stella Adler Conservatory.
Stella Adler. This publicity photograph was probably taken in 1937, the year Stella’s first film “Love On Toast” was released.
Cover of “Stella Adler on America’s Master Playwrights” (Knopf) by Barry Paris.
“Gangster Squad” and Fake Cinema
Richard Brody reviews “Gangster Squad,” and looks at the fake cinema of the season:
In all four films [“Gangster Squad,” “Zero Dark Thirty,” “Argo,” and “Amour”] the question of knowledge arises: what does the filmmaker know of his situations, his characters (and it doesn’t matter whether the subject at hand is historical or utterly fictitious), and what, in the “telling,” makes for an authentic experience? The short answer: none of the above. In all four, for different reasons, the filmmakers foreclose the characters, clamp down the implications, filter out the context, and thereby fake the results. These films may be the subject of discussion now but will end up on the scrap heap of cinematic history.
Continue reading: http://nyr.kr/WImkJf
Photograph: Warner Bros.
That last sentence is a bit too strident IMHO, but I can definitely see where he’s coming from with this.
What all of these stories have in common with the hair fiasco is that they reveal the media’s appetite for negative portrayals of Black femininity and, per Cottom, its inability to “accommodate [a] narrative…of a [woman of color] being extraordinary.” Now that Gabby’s excellence is so proven that it can’t be ignored, the media has latched on to a manufactured controversy that conveniently distracts from her accomplishments. Some in the media have preferred to portray Gabby’s family as “broken” and mismanaged by an inadequate Black mother.
It’s no coincidence that hair, one of the most visible markers and symbols of Black women’s difference in a White-dominated culture, has become a focal point of Gabby’s story. The media must forever make an issue of our difference, even in moments of triumph, but never in a way that engages with critical analysis of power and oppression.
One of the exciting things is that we really don’t know whether Noth’s character will win this thing. Typically yes, one of the main characters on a TV show would emerge victorious from a struggle, but “The Good Wife” is tricky; it’s not afraid to punish its characters for moral indiscretions, which they commit all the time. Even the titular good wife does bad things!
The video has caused controversy for many reasons. First of all, it was supposedly created by a “citizen’s movement,” but a little digging around shows that it was probably financed by Alberto Baillères González, a controversial businessman and the third wealthiest Mexican. Federal legislators have cried out for moral reasons — how dare anyone use children to depict such terrible, terrible things! Some congressman have even demanded that the video be “disappeared” from the Internet. (Strangely, the legislators didn’t have anything to say when it was discovered that the Federal Police spent more than US$ 10 million on a television program depicting police as a heroic force for good against evil.)
The most thoughtful analysis of the video is similar to the critical discussion around Kony 2012: here’s a well-produced, viral video that shows all the problems, but doesn’t offer any solutions. Furthermore, it extends the myth that the president is the Batman-like superhero who can single-handedly resolve all of Mexico’s many problems.
Nevertheless, as Occupy Wall Street enters its fifth month, dislodged from most of the public spaces it had staked out around the country last fall, the movement seems weakened, its future uncertain. It sometimes appears to be driven by a series of tactics designed to maintain its public presence with no discernible strategy or goal—a kind of muddled, loose-themed ubiquity. The movement has proven adept at provoking media attention, but one may wonder what it amounts to, apart from its ability to reaffirm its status as a kind of protest brand name.