The adventure screenplay in William Goldman: the playful and the ironic in Butch Cassidy and the Sundance Kid and The Princess Bride

William Goldman is a North American novelist and screenwriter with more than fifty years in his professional career. This article aims to identify Goldman’s personal writing traits by focusing on Butch Cassidy and the Sundance Kid and The Princess Bride, which can be considered the most comprehensive and complete of all his screenplays. Apart from their differences, both scripts reveal the influence of the adventure narrative on William Goldman’s work and reflect the writer’s interest in ironically revising some of the conventions of film genre

“HE’LL JUST BE PAUL NEWMAN ANYWAY”: CINEMATIC CONTINUITY AND THE STAR IMAGE

Since performers first became credited for their on-screen work in the early twentieth century, stardom has been understood as a primary factor distinguishing cinema as a unique, discrete art form. Much of the work done by canonical film scholars emphasizes film as a continuous medium defined by relation, as well as the irreducible value of human presence in creating meaning that transcends the boundaries of film. These are important cornerstones of star studies, a subfield within film studies that interrogates how film performers accrue and project meaning and value. They also isolate continuity as a singular tool for developing approaches to understanding cultural and ideological value of film stars – determining why certain stars are such powerful commodities and addressing the deceptively elusive question of what they actually mean. Through careful inspection of the transactions between film production and culture, my dissertation – “He’ll Just Be Paul Newman Anyway: Film Continuity and the Star Image” – pursues two primary goals regarding the cultivation of stardom and our understanding of star persona. First, I reestablish the star image as a discrete force, informed by on-screen performances and off-screen biography but remaining distinct from both (following the framework of French film theorist Edgar Morin). I attempt to disentangle these figures, asserting star image – the intangible, ethereal collection of values, expectations, and investment constituted from both performer and character – as the central mechanism for interpreting human presence. Second, I explore the notion that narrow range of performance and on-screen consistency are more essential to developing stardom than the revelation of the performer’s actual self. This position applies both to the production of stars and to our critical understanding of them, creating compelling connections to central debates of film studies. In doing so, my goal is to reassert the star as the most valuable and definitive source of meaning in film. The combination of Paul Newman’s on-screen continuity, enduring persona, and career trajectory (rising to stardom during the fall of the studio system) makes him uniquely valuable for understanding the evolution of film stardom and encourages new perspective on the development and deployment of star image. Moreover, Newman is an ideal subject for investigating the star image as a discrete force and the function of range in its development. Through critical examination of his on-screen tendency to “go his own way,” I demonstrate the immense value stars can offer to our understanding of the moving image and surrounding culture(s). Moreover, in asserting star persona as a discrete force integral to interpreting the meaning of human presence in film, I also cultivate a contextual understanding of the rebel archetype in response to changing dominant cultural ideologies. In doing so, my work directly addresses valuable questions essential to and extending beyond film studies: why stardom is essential to defining film and understanding how it signifies, how star persona is accumulated and deployed in individual films and across a whole career, and what meanings are generated and revealed by the star as an projection of social values and ideals

The Third Language in Dubbing

Si tenim en compte que el procés de traducció és un procés complex, el procés de traducció d'un text audiovisual encara ho és més. A part dels problemes tècnics com per exemple la sincronització labial i temporal hi ha altres factors a tenir en compte com és l'ús d'estructures lingüístiques i textuals específiques d'aquest canal de comunicació. Moltes de les pel·lícules que sovint podem veure a la pantalla estan produïdes als Estats Units, i per tant estan en anglès, i hi ha una necessitat imperiosa de traduir-les al català i castellà. A part d'això, en algunes ocasions el text audiovisual original conté més d'una llengua; aquest és el cas de Raid on Rommel i Butch Cassidy and the Sundance Kid, entre d'altres. En aquests casos, ens trobem amb una nova dificultat: el traductor ha de traduir aquesta tercera llengua (o dialecte) a la corresponent cultura d'arribada. Aquest article vol presentar i exposar alguns exemples d'aquest tipus de dificultats així com també les diferents solucions que s'han aportat davant una "tercera" llengua

Review of \u3ci\u3eHe Rode with Butch and Sundance: The Story of Harvey “Kid Curry” Logan\u3c/i\u3e By Mark T. Smokov

Hollywood depictions of Harvey Alexander Logan (1867–1904), better known as “Kid Curry,” portray the outlaw as a dull-witted follower. Mark T. Smokov’s biography of Logan presents him instead as a crafty criminal with above-average intelligence. Smokov argues that Logan’s planning and executing three successful train robberies testifies to Kid Curry’s leadership and cunning. He Rode with Butch and Sundance is Smokov’s first entry in the University of North Texas Press’s A. C. Greene Series. Logan’s career stretches the geographic boundaries of the series, as most of the books concentrate on crimes in Texas and the Southwest. Logan committed most of his robberies and frequently found hiding places in the northern Great Plains and Rocky Mountains. The book complements the second edition of Jeffrey Burton’s The Deadliest Outlaws: The Ketchum Gang and the Wild Bunch, released in July 2012 as part of the same series

The Ascent, 1969 October 30

Student newspaper of Daemen College (formerly Rosary Hill College)

Review of \u3ci\u3eHe Rode with Butch and Sundance: The Story of Harvey “Kid Curry” Logan\u3c/i\u3e By Mark T. Smokov

Hollywood depictions of Harvey Alexander Logan (1867–1904), better known as “Kid Curry,” portray the outlaw as a dull-witted follower. Mark T. Smokov’s biography of Logan presents him instead as a crafty criminal with above-average intelligence. Smokov argues that Logan’s planning and executing three successful train robberies testifies to Kid Curry’s leadership and cunning. He Rode with Butch and Sundance is Smokov’s first entry in the University of North Texas Press’s A. C. Greene Series. Logan’s career stretches the geographic boundaries of the series, as most of the books concentrate on crimes in Texas and the Southwest. Logan committed most of his robberies and frequently found hiding places in the northern Great Plains and Rocky Mountains. The book complements the second edition of Jeffrey Burton’s The Deadliest Outlaws: The Ketchum Gang and the Wild Bunch, released in July 2012 as part of the same series

Spartan Daily, May 14, 1971

Volume 58, Issue 122https://scholarworks.sjsu.edu/spartandaily/5515/thumbnail.jp