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Posts Tagged ‘New York Film Festival’

Alamo Drafthouse Still Waiting for Madonna Apology

Shutterstock_MadonnaMadonna is going to remember The Alamo Drafthouse for a very long time.

Since the pop diva chose to text on her Blackberry throughout the first half of the New York Film Festival October 8 premiere of 12 Years a Slave, all manner of media hell has broken loose. Sparked by a Facebook post from film critic Charles Taylor about her rude Lincoln Center behavior.

We’ve confirmed with a rep for the Alamo chain that per CEO/founder Tim League‘s tweet that she would be as a result banned from all Alamo locations unless she apologized (a joke that he is now standing more firmly behind), Madonna has not at press time contacted the theater chain. As far as the ensuing, exploding media coverage of The Blackberry Girl’s Lincoln Center transgressions, one of our favorites items is Toby Young‘s op-ed in London’s Telegraph:

I’m so hysterical about it [objecting to people being anti-social in movie theaters] – so shouty and aggressive – that my wife refuses to go to the cinema with me. She would far rather turn a blind eye to the disturbance than endure the torture of sitting next to me when I explode with indignant rage because the person two rows in front is eating their popcorn too loudly.

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A Look Back at LIFE Magazine’s ‘Most Moving’ Photo Essay

LIFECareerGirl_CoverThanks to Ben Stiller‘s remake of The Secret Life of Walter Mitty, which premieres this weekend at the New York Film Festival, we’re going to be hearing a lot more than usual about LIFE magazine. In the Twentieth Century Fox film, Stiller plays a photo editor at the publication, which ceased print publication in the spring of 2007.

Right on schedule, LIFE takes a look back at a May 1948 photo spread by Leonard McCombe that it deems to be the most moving and surprising in the publication’s history. That’s some praise. The cover story profiled Gwyned Filling, a University of Missouri School of Journalism grad selected from over a thousand candidates to help convey the day-to-day of a post-Word War II “career girl:”

The reaction of LIFE’s readers ranged (perhaps predictably) from outrage and moral indignation at Gwyned’s “unladylike” pursuits to a kind of celebratory relief that LIFE chose to show on its cover “a young woman with a serious, purposeful, intelligent face” rather than “some vacuous-faced female with the molar grin that has come to be regarded in America as a smile.”

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