I am a cinephile, PhD student, and teaching fellow in the Cinema Studies Department at New York University. My dissertation, “Hollywood’s Ballyhoo Boys and Girls” focuses on the history of Hollywood studio-era promotional departments and strategies. I mostly blog about academic life, movies, and movie marketing campaigns.
Tag Archives: Publicity
I had a great time last weekend at the Film and History Conference in Madison, Wisconsin. It was wonderful to meet up with old and new friends. Film and History is often referred to as one of the friendliest and most collegiate conferences in the Untied States and I’ve certainly found this to be the case.
My presentation was on the unique production history of Cover Girl (1944) written by Virginia Van Upp, and starring Rita Hayworth, Gene Kelly and Lee Bowman. I’m extremely grateful to the panel organizer Deborah Carmichael and my fellow panelist Philip Sewell, both of whom gave insightful and meticulously researched presentations on local exhibition strategies. I’m also super appreciative for the advice I received in the Q&A session from the scholars who attended our panel. It’s so fabulous to come back from a conference and feel this inspired.
Below are a few of the PowerPoint slides I included in my talk.
I like to think of the below title slide’s background as ‘ironic pink.’ The movie employs the same pink satin background for its titles and credits.
Oh, cruel irony!
I’m excited to be presenting a paper this Friday in Wisconsin on Columbia Pictures Technicolor musical, Cover Girl (1944) starring Rita Hayworth, Gene Kelly, and Lee Bowman. However, I just found out that MoMA will be screening the restored version of this movie at exactly the same time. The movie will be introduced by Grover Crisp, Executive Vice President of Asset Management, Film Restoration and Digital Mastering, Sony Pictures Entertainment.
At least I’ll get back to New York in time to catch the second screening of the film on Monday, but I’m terribly disappointed to miss Crisp’s talk.
The restoration was screened this summer at the Il Cinema Ritrovato Festival in Italy and by all accounts it is magnificent. David Bordwell described it as the best DCP rendering of Technicolor that he has ever seen.
For my presentation I’ll be employing the teletypes and story conference notes held at the American Heritage Center in Wyoming, to discuss the movie’s unique production history and elaborate nationwide exploitation campaign.