Some context: Joseph Frank "Buster" Keaton (October 4, 1895 - February 1, 1966) was an American actor, comedian, film director, producer, screenwriter, and stunt performer. He was best known for his silent films, in which his trademark was physical comedy with a consistently stoic, deadpan expression, earning him the nickname "The Great Stone Face". Critic Roger Ebert wrote of Keaton's "extraordinary period from 1920 to 1929, [when] he worked without interruption on a series of films that make him, arguably, the greatest actor-director in the history of the movies". His career declined afterward with a dispiriting loss of his artistic independence when he was hired by Metro-Goldwyn-Mayer and he descended into alcoholism, ruining his family life.
Keaton's personal life had stabilized with his 1940 marriage, and now he was taking life a little easier, abandoning Columbia for the less strenuous field of feature films. Throughout the 1940s, Keaton played character roles in both "A" and "B" features. He made his last starring feature El Moderno Barba Azul (1946) in Mexico; the film was a low budget production, and it may not have been seen in the United States until its release on VHS in the 1980s, under the title Boom in the Moon. Critics rediscovered Keaton in 1949 and producers occasionally hired him for bigger "prestige" pictures. He had cameos in such films as In the Good Old Summertime (1949), Sunset Boulevard (1950), and Around the World in 80 Days (1956). In In The Good Old Summertime, Keaton personally directed the stars Judy Garland and Van Johnson in their first scene together where they bump into each other on the street. Keaton invented comedy bits where Johnson keeps trying to apologize to a seething Garland, but winds up messing up her hairdo and tearing her dress. Keaton also had a cameo as Jimmy, appearing near the end of the film It's a Mad, Mad, Mad, Mad World (1963). Jimmy assists Spencer Tracy's character, Captain C. G. Culpepper, by readying Culpepper's ultimately-unused boat for his abortive escape. (The restored version of that film, released in 2013, contains a restored scene where Jimmy and Culpeper talk on the telephone. Lost after the comedy epic's "roadshow" exhibition, the audio of that scene was discovered, and combined with still pictures to recreate the scene.) Keaton was given more screen time in A Funny Thing Happened on the Way to the Forum (1966). The appearance, since it was released after his death, was his posthumous swansong. Keaton also appeared in a comedy routine about two inept stage musicians in Charlie Chaplin's Limelight (1952), recalling the vaudeville of The Playhouse. With the exception of Seeing Stars, a minor publicity film produced in 1922, Limelight was the only time in which the two would ever appear together on film. In 1949, comedian Ed Wynn invited Keaton to appear on his CBS Television comedy-variety show, The Ed Wynn Show, which was televised live on the West Coast. Kinescopes were made for distribution of the programs to other parts of the country since there was no transcontinental coaxial cable until September 1951.
What films were produced in the 1940's?
A: Good Old Summertime (1949),
Some context: Mark Romanek (born September 18, 1959) is an American filmmaker whose directing work includes feature films, television, music videos and commercials. Romanek wrote and directed the 2002 film One Hour Photo and directed the 2010 film Never Let Me Go. His most notable music videos include "Hurt" (Johnny Cash), "Closer" (Nine Inch Nails), "Can't Stop" (Red Hot Chili Peppers), "Bedtime Story" (Madonna), "Scream" (Michael & Janet Jackson), and "Shake It Off" (Taylor Swift).
Romanek was born in Chicago, Illinois, the son of Shirlee and Marvin Romanek. He is Jewish. He credits seeing Stanley Kubrick's 2001: A Space Odyssey at the age of nine which inspiring him to become a film director. He experimented with Super 8 and 16mm film as a teenager while attending New Trier High School. There, he studied first with Kevin Dole, a local filmmaker who was already creating a form of music video on his own in the mid-1970s, and then with Peter Kingsbury, a filmmaker who had studied with experimentalists Owen Land, John Luther Schofill, and Stan Brakhage at the School of the Art Institute of Chicago. Both teachers exposed students to works by significant figures of the American avant-garde cinema, such as Maya Deren, Kenneth Anger, and Paul Sharits. Romanek subsequently attended Ithaca College in Ithaca, New York, and graduated from its Roy H. Park School of Communications with a degree in cinema and photography. He served as second assistant director for Brian De Palma on Home Movies, an autobiographical film De Palma conceived as an exercise for his students at Sarah Lawrence College (having returned to his alma mater as an instructor of film production). On set, Romanek met Keith Gordon, playing De Palma's alter ego. Gordon remembers Romanek's entrance into film production: Romanek released his first film, Static, in 1986. It was co-written with Gordon and starred Gordon as a man who claimed he had invented a television set capable of showing a live picture of Heaven. The film achieved something of a cult following in London and led to Romanek's first job at the helm of a music video for the British new wave group The The, who featured on the soundtrack for Static, in 1986.
What was Mark's first major film he directed after film school?
A:
Romanek released his first film, Static, in 1986.