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	Emile De Antonio by Thomas Waugh
		De Antonio’s basic technique is “the use of a collage of people, voices, images, ideas, to develop a story line or a didactic line, uninterrupted by external narration.” (4) He compresses and analyzes an event, assembling and juxtaposing fragments of it.
		De Antonio relies on the interview, not only as a means of personal revelation (as with cinema-direct), but also, more importantly, as a medium of “content,” defying television’s relegation of the interview to its most pedestrian, digestible, reliably content-free ingredient.
		As a historian de Antonio is fastidious: he is careful to balance whatever mythologizing is inevitable in his subject matter—the heroics, the flag waving, the paranoia, the despair—with a down to earth examination of the mechanics of electoral politics on the smallest level.
	www.ejumpcut.org /archive/onlinessays/JC10-11folder/EmileDeAntonio.html (11279 words)

	DVD review of Point Of Order! - DVD Town (Site not responding. Last check: 2007-10-19)
		De Antonio cuts from this shot to one of the empty Senate chamber, symbolic of the number of supporters McCarthy now had left.
		De Antonio did not want to employ a narrator to tell the viewer what to think; rather, he preferred to let reality speak for itself.
		De Antonio’s discussion of the film is fascinating, especially when he discusses his frustration with critics who only saw the film as an anti-McCarthy vehicle.
	www.dvdtown.com /review/pointoforder!/17480/3296 (1430 words)

	reverse shot - the new magazine of film culture
		Emile de Antonio, I learned, was also a kind of agent, a facilitator, really, for the likes of painters Jasper Johns, Rauschenberg, Stella, John Cage the composer, and filmmakers Robert Frank and Jonas Mekas.
		De was the first person I know of to see commercial art as real art and real art as commercial art, and he made the whole New York art world see it that way too.
		EdA: That’s due to a great man in TV named Jeremy Isaacs who started Channel Four in England, and one of the reasons I like him is that at the end of his fifth year as huge success, he resigned.
	www.reverseshot.com /legacy/winter06/emiledeantonio.html (3108 words)

	reverse shot - the new magazine of film culture
		Emile de Antonio, I learned, was also a kind of agent, a facilitator, really, for the likes of painters Jasper Johns, Rauschenberg, Stella, John Cage the composer, and filmmakers Robert Frank and Jonas Mekas.
		De was the first person I know of to see commercial art as real art and real art as commercial art, and he made the whole New York art world see it that way too.
		EdA: That’s due to a great man in TV named Jeremy Isaacs who started Channel Four in England, and one of the reasons I like him is that at the end of his fifth year as huge success, he resigned.
	reverseshot.com /legacy/winter06/emiledeantonio.html (3108 words)

	UW Press - : Emile de Antonio
		De Antonio was a womanizing raconteur, upper-class Marxist, Harvard classmate of John F. Kennedy, World War II bomber pilot, and failed English professor, who lived a colorful life even before he stumbled headfirst into the New York art world of the 1950s.
		De Antonio also was important to the early careers of Jasper Johns, Robert Rauschenburg, and John Cage.
		In the first book on de Antonio's life and work, Randolph Lewis traces the turbulent development of the filmmaker's career.
	www.wisc.edu /wisconsinpress/books/3187.htm (351 words)

	Harvard Film Archive: Directors in Focus
		Emile de Antonio used this material as the basis for his first feature and what eventually became his greatest commercial success.
		While de Antonio’s ironic critique of Nixon is evident throughout the film, he remained vehemently opposed to techniques such as voiceover commentary, which he viewed as a fascist device.
		De Antonio had a long-standing relationship with many of the featured artists which dated back to the days in which when he represented them as a business agent (although he preferred the moniker of “catalyst”).
	www.harvardfilmarchive.org /calendars/04_fall/deantonio.html (1184 words)

	Emile de Antonio - Films as Director:, Other Films:
		However, it was as a film producer/distributor, not as a filmmaker, that de Antonio was associated with this organization.
		De Antonio devoted his energy to looking for the parapraxes, the out-takes, those never-broadcast moments that had been consigned to the deepest vaults of the network archives.
		A strange mixture of Thomas Paine and Huckleberry Finn, Emile de Antonio was a devout patriot, who defined his role as "artist" in constructively negative terms.
	www.filmreference.com /Directors-Co-Du/de-Antonio-Emile.html (1134 words)

	DVD Verdict Review - Point Of Order (Site not responding. Last check: 2007-10-19)
		The appearance on DVD of Emile de Antonio's documentary on the 1954 showdown between Senator Joe McCarthy and representatives of the U.S. Army couldn't be timelier.
		As director Emile de Antonio notes on the commentary included on this DVD release, Point of Order is the first time a feature film was made out of outtakes, the first time anybody made a political feature-length film out of outtakes, and the first time a political documentary was made without any narration whatsoever.
		As de Antonio himself says, for all of its flaws, it gives an immediacy and thrill that would never be possible to capture with a recreation using actors.
	www.dvdverdict.com /reviews/pointorder.php (924 words)

	Emile de Antonio - Wikipedia, the free encyclopedia
		Emile de Antonio (1919-December 16, 1989) was a director and producer of documentary films, usually detailing political or social events circa 1960s - 1980s.
		De Antonio went on to make many politically motivated films that attracted a substantial amount of controversy and also tended to align himself with Marxist thought.
		An interview with Emile de Antonio conducted by Bruce Jackson
	en.wikipedia.org /wiki/Emile_de_Antonio (322 words)

	8: Emile De Antonio
		When he first met Warhol, De Antonio was known principally as an ad hoc artist's agent and had a reputation as a drinker and "ladies man." By the time he met Tina S. Fredericks in 1954, he already had two children from two different wives - one of whom was Mimi Vanderbuilt.
		De Antonio had befriended Cage when they lived near to each other in Rockland County, NY, where De lived with his third wife, the designer Lois Long.
		De Antonio's first project was producing and distributing a film titled Sunday directed by teenager filmmaker, Dan Drasin.
	www.warholstars.org /warhol1/8deantonio.html (2594 words)

	Emile de Antonio
		The films de Antonio made between 1963 and 1989—including Point of Order, Rush to Judgment, In the Year of the Pig, Painters Painting, and Millhouse: A White Comedy—revolutionized the documentary format and inspired a generation of artists and filmmakers.
		Emile de Antonio: A Reader is the first full-length volume devoted to this major American filmmaker.
		It collects interviews with and writings by de Antonio; reviews and other critical material that detail the genesis, production history, and reception of his films; a comprehensive filmography; and an in-depth biographical essay.
	www.upress.umn.edu /Books/K/kellner_emile.html (361 words)

	Dialogue on Film
		De Antonio and Sheen formed a friendship during the filming, and earlier this year, while Sheen was starring in a stage production of One Flew Over the Cuckoo's Nest in Florida, the director interviewed him for American Film.
		Emile de Antonio: Several years ago, your career was at a kind of crossroads.
		De Antonio: In the released film Brando's character was one-sided; he was easy to hate.
	members.tripod.com /vonne920/martin_sheen/ms_dialogue.html (3300 words)

	The Harvard Crimson :: News :: Emile de Antonio
		De Antonio is an enormous, powerfully-built man with a Rabelaisian taste for life and its varied pleasures.
		It was 1938, and de Antonio went to work on the docks to wait for America to enter the War.
		Piloting that B-29 was the nearest de Antonio has come to holding, or even wanting to hold, a steady job.
	www.thecrimson.com /article.aspx?ref=492553 (819 words)

	Nixon's Michael Moore. - By David Greenberg - Slate Magazine (Site not responding. Last check: 2007-10-19)
		De Antonio's name has barely been uttered in the clangor surrounding Fahrenheit 9/11, but from 1964 until his death in 1989, he made some of the left's most important political documentaries—including a 1971 film that took direct aim at a sitting chief executive, Richard Nixon.
		Born in 1919, de Antonio attended Harvard, where he was a classmate of John F. Kennedy, and served as a bomber pilot in World War II.
		De Antonio's first movie, Point of Order (1964) was a fairly straightforward record of the televised 1954 Senate hearings that helped bring down the witch-hunting Sen. Joe McCarthy.
	slate.msn.com /id/2103849 (878 words)

	Terra \| Cine Directores: Emile De Antonio> 6-4-2004
		De Antonio, para muchos, es sólamente "D", el nombre con el cual firmaba sus obras.
		Fue amigo de los máximos representantes de la bohemia artística de Nueva York en los 50 y 60, y sus posiciones políticas lo llevaron al documental.
		Estuvo a punto de ganar el Oscar por In the Year of the Pig, de 1969, donde se dedicaba a cuestionar y analizar la presencia de los Estados Unidos en Vietnam.
	www.terra.com.ar /canales/cine/88/88290.html (296 words)

	Nixon's Michael Moore. By David Greenberg - Slate Magazine
		De Antonio's name has barely been uttered in the clangor surrounding Fahrenheit 9/11, but from 1964 until his death in 1989, he made some of the left's most important political documentaries—including a 1971 film that took direct aim at a sitting chief executive, Richard Nixon.
		Born in 1919, de Antonio attended Harvard, where he was a classmate of John F. Kennedy, and served as a bomber pilot in World War II.
		De Antonio's first movie, Point of Order (1964) was a fairly straightforward record of the televised 1954 Senate hearings that helped bring down the witch-hunting Sen. Joe McCarthy.
	www.slate.com /id/2103849 (1137 words)

	TRIBUTO A EMILE DE ANTONIO - GaleriasNet - Cine - Películas, Estrenos, Noticias, Directorio Web de Cine y ...
		A través de fragmentos televisivos, Emile de Antonio construye un retrato devastador del senador Joseph R. McCarthy.
		De Antonio logra en Underground lo que el FBI no pudo en más de cinco años de investigación: hacer un retrato de la Weather Underground Organization (WUO), un grupo revolucionario clandestino que actuaba en la década de los setenta.
		Hoover and I, De Antonio se toma revancha y construye su propia autobiografía enfrentada a la del que fue amo y señor del FBI por décadas.
	www.galeriasnet.com.mx /com/jvh/cine/marzo05/emile.html (1435 words)

	The Movie Chicks - 2001 Taos Talking Picture Festival - Millhouse: A White Comedy (Site not responding. Last check: 2007-10-19)
		Emile used footage of Nixon intermixed with his own interviews to show Nixon as a symbol of everything that is wrong in American politics.
		The FBI put de Antonio’s name on the list of people to “keep an eye on” and tried several ways to end the filmmaker’s career.
		The Subversive Cinema Tribute to Emile de Antonio is for changing the face of the American documentary.
	www.themoviechicks.com /taos2001/mctmillhouse.html (134 words)

	Sphinx Productions: Emile De Antonio
		A collage of interviews with the luminaries of the New York art scene, many of whom were de Antonio’s close friends.
		The film highlights de Antonio’s commitments to modernist art; it is also perhaps the best film about paintings ever made.
		Pursued by the FBI since a child, de Antonio reflects on his life as a radical filmmaker documenting art and politics during the cold war years.
	www.sphinxproductions.com /pages/film_antoniofilms.html (379 words)

	Conversations with Emile de Antonio
		EDA: When The Year of the Pig was about to open in California in L.A., people broke into the theatre at night and with a tarbrush painted the word “Traitor” six feet high on the screen.
		EDA: I had to shoot something that would give the storyline, and Mark [Lane] whom I knew and was a friend, was the outstanding guy on the assassination.
		Mary Lampson edited de Antonio's Underground and Millhouse and the Barbara Kopple's Academy Award-winning Harlan County, U.S.A. Haskell Wexler was cinematographer for Underground.
	www.sensesofcinema.com /contents/04/31/emile_de_antonio.html (7973 words)

	TIME.com: Minor Surgery -- Oct. 18, 1971 -- Page 1
		Emile de Antonio is a specialist at cinematic acupuncture.
		in Millhouse, De Antonio has employed his usual technique of matching fragments of news film with quick on-camera interviews to produce an unflattering hut funny likeness of the 37th President (whose middle name is Milhous, not Millhouse, but let that go).
		De Antonio is also shrewd enough to know when Nixon is his own worst enemy, and he devotes a long section of Millhouse to the Checkers speech alone.
	www.time.com /time/magazine/article/0,9171,910132,00.html (540 words)

	Slant Magazine - DVD Review: Point of Order
		By pruning away at the raw footage of CBS kinescopes, de Emilio has given the material the compact structure of drama, and it's easy to read the film as the story of an ogre who ate himself to death, taking with him a decade's worth of evil.
		It's not for nothing that de Emilio in the end locates McCarthy's fall as the ultimate loss of audience, threats barked at the chamber as the crowd disperses—the sequence itself a self-conscious manipulation of existing texts, with only the unmanned TV equipment ultimately left in the empty frame.
		In the opening scrawl, Emile de Antonio describes the kinescopes he worked from as "garbage," and the transfer more than lives up to the description.
	www.slantmagazine.com /dvd/dvd_review.asp?ID=803 (632 words)

	EMILE (in MARION) (Site not responding. Last check: 2007-10-19)
		Emile Bernard, 1868-1941 : catalogue raisonné de l'oeuvre gravé.
		Emile de Antonio : radical filmmaker in Cold War America.
		Emile Durkheim : ethics and the sociology of morals.
	www-catalog.cpl.org /MARION?T=EMILE (107 words)

	Calls for Presentations, Papers, Publications: Emile de Antonio (Site not responding. Last check: 2007-10-19)
		Emile de Antonio defined his work as “a history of the US in the Cold War.” The recent DVD releases of “Point of Order” (1963) and “In the Year of the Pig” (1968) hopefully signal a renewed interest in this most interesting of filmmakers whose work has remained un(der)-released for many years.
		Hoover and I” (1989) which traces his own forty-year surveillance by the FBI, de Antonio was as influential as he was controversial, his filmmaking style as radical as his politics.
		This area has received queries concerning such topics as the financing arrangements of de Antonio’s work; the political impact (or otherwise) of his films; and usefulness of his documentaries as historical documents.
	www.unm.edu /~loboblog/mort/archives/008193.html (364 words)

	HOME VIDEO; DOCUMENTARY - New York Times
		Vietnam: In the Year of the Pig Produced and directed by Emile de Antonio.
		Emile de Antonio, whose films include ''McCarthy: Death of a Witch Hunter,'' appears as passionately opposed to American involvement in Vietnam as he was to the late Senator from Wisconsin.
		de Antonio has assembled telling footage that traces the origins of the war back to the French and their defeat at Dienbienphu, followed by scenes of Americans fighting along the same jungle trails.
	query.nytimes.com /gst/fullpage.html?res=9B0DEEDC173AF931A15752C1A961948260 (241 words)

	Amazon.com: Point of Order: Video: Roy M. Cohn,Joseph McCarthy (II),Joseph N. Welch,Emile de Antonio (Site not responding. Last check: 2007-10-19)
		Emile de Antonio - Director, Emile de Antonio - Writer, Robert Duncan - Writer, Emile de Antonio - Producer (producer), Daniel Talbot - Producer (producer)...
		For 36 days in the early summer of 1954 much of the nation was glued to their old fl-and-white TV sets, watching the unraveling of a demogogue whose reach had finally exceeded his grasp.
		De Antonio's film is something of a rare-bird within the documentary genre, in that he lets the protagonists tell the story without a narrator informing the viewer what they are witnessing.
	www.amazon.com /Point-Order-Roy-M-Cohn/dp/1567301649 (1263 words)

	Antonio Estache at IDEAS
		Antonio Estache & Andrea Goldstein & Russell Pittman, 2001.
		Estache, Antonio & Gonzalez, Marianela & Trujillo, Lourdes, 2001.
		Estache, Antonio & Gonzalez, Marianela & Trujillo, Lourdes, 2002.
	ideas.repec.org /e/pes6.html (2140 words)

	Point of Order (Site not responding. Last check: 2007-10-19)
		This film is a documentary of the Army-McCarthy hearings that were televised live for 36 days from Apr. 22 to May 24, 1954, to an average daily audience of 20 million.
		Emile de Antonio used kinescopes of portions of the hearings to make this film.
		The hearings were held by the Senate committee on Government Operations investigating the Army's induction of Roy Cohn's friend G. David Schine, Army's honorable discharge of Major Irving Peress who had refused to answer Loyalty Board questionnaire, and Secretary of the Army Robert Stevens' refusal to allow officers to testify before McCarthy's committee.
	history.sandiego.edu /gen/filmnotes/pointoforder.html (168 words)

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