PDF Download Jacques Tourneur : the Cinema of Nightfall

Total Page:16

File Type:pdf, Size:1020Kb

PDF Download Jacques Tourneur : the Cinema of Nightfall JACQUES TOURNEUR : THE CINEMA OF NIGHTFALL PDF, EPUB, EBOOK Chris Fujiwara | 340 pages | 30 Jun 2011 | McFarland & Co Inc | 9780786466115 | English | Jefferson, NC, United States Jacques Tourneur : The Cinema of Nightfall PDF Book Showing Edward Gurston , Rudy Bond Red. Save on Nonfiction Trending price is based on prices over last 90 days. Would make a smart double with Fargo. Included in both the Ford and Cukor volumes are a chronology, a filmography, an index, and a photo gallery. About this product. He lives in Tokyo, Japan. Even familiar, non-threatening machines such as a snowplow or an oil derrick take on sinister connotations in Vanning's paranoid universe. If you're feeling overwhelmed, but still want to squeeze a film into your daily routine, this list is made for…. From inside the tbe. Even though this film is regarded as a master text in Tourneur's filmography, he suggests that it is still underrated by many, especially in regard to its acting. Plot Keywords. Through a series of bizarre coincidences, an artist finds himself falsely accused of bank robbery and murder and is pursued by the authorities and the real killers. Both draw on exceedingly familiar generic conventions. Since there will be no author's hand in this maze to grasp ours and show us the way, we encounter the language of the cinema itself and our own work as film viewers. Goodreads helps you keep track of books you want to read. The Phoenix airport is watched by Charlie Gonzales Rudy Bond , who glad-hands Eddie with an invitation to a roadhouse casino. Best Selling in Nonfiction See all. Jacques Tourneur war ein absoluter Meister. Heater Fuel Filter F 4. The male surveillance of the females in their apartments is voyeurism plain and simple, with Lona aware of her observers in a way that reminds us of peepshows in movies like Hardcore and Paris, Texas. Get a sneak peek of the new version of this page. Fujiwara spends a considerable amount of time examining these short subjects and the stylistics of Tourneur's camera and mise-en-scene. Trade Paperback Nonfiction Books. Tourneur and Lewton were never to achieve such box office success again. The romance angle feels less de rigueur than I might have expected. Jacques Tourneur : The Cinema of Nightfall Writer The dispiriting cruddiness of L. Privacy Overview This website uses cookies to improve your experience while you navigate through the website. External Reviews. My library Help Advanced Book Search. Many of his films, however, reveal a fluid artistry absent from the routine studio fare of the era. Quotes James Vanning : Nice place. Usually shown full-frame on cable broadcasts, the film gains significantly when cropped to its proper widescreen aspect ratio -- the drama is much more focused. James Vanning Brian Keith These cookies will be stored in your browser only with your consent. A nifty little movie. Tourneur had a wonderful sense of visual design also. Tourneur, Bancroft, Silliphant, Goodis, Aldo Ray, everyone together, the better and the worse, is called Nightfall and that might be as finely as you can tune it. David Goodis' book was a feverish first-person account of growing paranoia, but Tourneur and writer Stirling Silliphant back away from Vanning's personal viewpoint without sacrificing tension. Anne Bancroft. January 15 , AM by Andrew Mack. I think you made a good choice of a director study since you have seen a lot of Tourneur and were clear in your own mind that you liked him and many of the reasons why. Some of the images are sharper than others but they all serve well to illustrate the films. This revival relies less on simply examining a core group of films that best exemplify the author's style as well as the writer's particular interests. Suspicion soon gives way to romance and Vanning and Marie travel incognito by bus to Wyoming to retrieve the hidden satchel with the killers in hot pursuit. Stranger on Horseback , Wichita , Great Day in the Morning are maybe not great films but certainly at least very good and interesting ones. His status was also affected by the changing pattern of Hollywood production, changes that, partly, resulted nightdall new screen formats and a different audience demographic. Inside the shack, John and Red, having found the satchel, await their arrival. It's "book versus movie" time, Tourneuriacs. An actor so talented is owed better characters, better writing, than her collaborators gave her to work with. Fujiwara appears to know his subject matter exhaustively Jane Lynn Model. Nightfall - Five Dollars. The Brothers Rico seems more relevant now than it did in , provided we ignore its absurd, cheerful epilogue. Fujiwara provides very intelligent and scholarly accounts of their production histories, as well as a critical interpretation of their effectiveness within Tourneur's cinematic development. Official Sites. Their mother once "stopped a bullet" meant for Sid Kubik, and the older man repeatedly asserts that he considers the Rico boys to be his own. As Jim pushes Red into the snow, the menacing plow swerves and crushes him. Release Dates. Pushover is the debut picture of Kim Novak, who emerges fully developed as a passive beauty guaranteed to inspire extreme male misbehavior. Available on Amazon. In the forties, Tourneur directed the Lewton-produced classics Cat People , I Walked with a Zombie and The Leopard Man , notable for being able to build suspense and scare the audiences without being explicit. Almost everything was interesting that Tourneur directed. The snowy expanses of Wyoming during winter are gorgeous and terrifying; breath-taking expanses of empty whiteness bordered by the dark glow of the distant mountains. All this month, The Pink Smoke will be delving into the inarguably excellent but strangely undervalued work of French-expatriate Jacques Tourneur. Tourneur's films are not meant to be watched casually, as there are complex relationships to untangle, with story and emotions sometimes revealed only through visuals. Louis Diage Set Decoration. The mob operates more or less like a modern corporation, independent from meaningful government oversight. I think some his films, especially Night of the Demon , are realizations of this kind of conception. Even the acting in the film is memorably Tourneurean: intense yet unspectacular. In their stead, they substituted a very real fear of the unknown, the dark, of ancient superstition, and what Moncure D. Both draw on exceedingly familiar cinfma conventions. A mix-up with bags left Vanning in possession of the loot, which he buried in the snow. Jacques Tourneur : The Cinema of Nightfall Reviews Runtime: 78 min. But the set-up in the book is absurd: a trio of bank robbers fleeing Seattle get into an accident on a twisty mountain road just outside of Denver. A glimmer of hope comes from a Los Angeles bar, itself a fine example of the beauty of Tourneur's precision which continues to be seen in the film's uncomfortable fashion show set-piece and in most of the Wyoming sequences. Quando Aldo Ray e Anne Bancroft se encontram pela primeira vez no bar. May 16, Empyrean rated it it was amazing. Fans of these actresses will find this a diverting read. In Jacques Tourneur: The Cinema of Nightfall, the first in-depth exploration of Tourneur's career, Chris Fujiwara offers a detailed film-by-film analysis of the director's four French films, his 20 MGM shorts, and his 29 studio productions, as well as his work in television. Bearing notable similarity to his earlier masterpiece Out Of The Past especially in the use of flashbacks to fill in detail , Jacques Tourneur's second great film of the other being Night Of The Demon is a 'not quite' film noir - it lacks a 'femme fatale' and has a happy ending - which is nevertheless blessed with essential hard- nosed dialogue from future Oscar-winning screenwriter Stirling Silliphant for In The Heat Of The Night. McMillan , Hardcover 5. Fujiwara appears to know his subject matter exhaustively But opting out of some of these cookies may have an effect on your browsing experience. I was prepped to see this cleverly plotted film noir because it stars one of my favorite actors, Aldo Ray. And kids. Other Editions 4. Feel free…. Los Angeles St. Tourneur, Bancroft, Silliphant, Goodis, Aldo Ray, everyone together, the better and the worse, is called Nightfall and that might be as finely as you can tune it. Add to Wishlist. This insightful critical study examines each of Tourneur's films, as well as his extensive work on MGM shorts and in television. When all the world seems dying to crush you with its oppressive, machinistic tools: oil-rigs, buses, snowplows, the leers of strange men at a fashion show. He just drops it somewhere. Metacritic Reviews. Technical Specs. Karen rated it really liked it Dec 03, Throughout the novel, everybody constantly tries to suss out the implications of every situation: Vanning with Martha, Vanning with the gangsters, the insurance investigator Fraser with his wife, Vanning with Fraser, Fraser with Martha, Martha and Fraser with the gangsters. I originally thought that I would put it in the context of other European directors who were working in the United States in the so-called classical period of Hollywood cinema, Fritz Lang, Jean Renoir. Trivia During the fashion show, Anne Bancroft 's character is introduced as wearing a ball gown by Jean Louis. Our mission is to guide film lovers searching, lost or adrift in an overwhelming sea of content. Heater Fuel Filter F 4. Not only did he lose the money the proof of his story , but he committed a murder in cold blood! He cultivated the most fleeting and elusive aspects of experience, things that other filmmakers would never bother with but that, for Tourneur, were the essence of the movies.
Recommended publications
  • Who's Who at Metro-Goldwyn-Mayer (1939)
    W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H.
    [Show full text]
  • A Foreign Affair (1948)
    Chapter 3 IN THE RUINS OF BERLIN: A FOREIGN AFFAIR (1948) “We wondered where we should go now that the war was over. None of us—I mean the émigrés—really knew where we stood. Should we go home? Where was home?” —Billy Wilder1 Sightseeing in Berlin Early into A Foreign Affair, the delegates of the US Congress in Berlin on a fact-fi nding mission are treated to a tour of the city by Colonel Plummer (Millard Mitchell). In an open sedan, the Colonel takes them by landmarks such as the Brandenburg Gate, the Reichstag, Pariser Platz, Unter den Lin- den, and the Tiergarten. While documentary footage of heavily damaged buildings rolls by in rear-projection, the Colonel explains to the visitors— and the viewers—what they are seeing, combining brief factual accounts with his own ironic commentary about the ruins. Thus, a pile of rubble is identifi ed as the Adlon Hotel, “just after the 8th Air Force checked in for the weekend, “ while the Reich’s Chancellery is labeled Hitler’s “duplex.” “As it turned out,” Plummer explains, “one part got to be a great big pad- ded cell, and the other a mortuary. Underneath it is a concrete basement. That’s where he married Eva Braun and that’s where they killed them- selves. A lot of people say it was the perfect honeymoon. And there’s the balcony where he promised that his Reich would last a thousand years— that’s the one that broke the bookies’ hearts.” On a narrative level, the sequence is marked by factual snippets infused with the snide remarks of victorious Army personnel, making the fi lm waver between an educational program, an overwrought history lesson, and a comedy of very dark humor.
    [Show full text]
  • The Only Defense Is Excess: Translating and Surpassing Hollywood’S Conventions to Establish a Relevant Mexican Cinema”*
    ANAGRAMAS - UNIVERSIDAD DE MEDELLIN “The Only Defense is Excess: Translating and Surpassing Hollywood’s Conventions to Establish a Relevant Mexican Cinema”* Paula Barreiro Posada** Recibido: 27 de enero de 2011 Aprobado: 4 de marzo de 2011 Abstract Mexico is one of the countries which has adapted American cinematographic genres with success and productivity. This country has seen in Hollywood an effective structure for approaching the audience. With the purpose of approaching national and international audiences, Meximo has not only adopted some of Hollywood cinematographic genres, but it has also combined them with Mexican genres such as “Cabaretera” in order to reflect its social context and national identity. The Melodrama and the Film Noir were two of the Hollywood genres which exercised a stronger influence on the Golden Age of Mexican Cinema. Influence of these genres is specifically evident in style and narrative of the film Aventurera (1949). This film shows the links between Hollywood and Mexican cinema, displaying how some Hollywood conventions were translated and reformed in order to create its own Mexican Cinema. Most countries intending to create their own cinema have to face Hollywood influence. This industry has always been seen as a leading industry in technology, innovation, and economic capacity, and as the Nemesis of local cinema. This case study on Aventurera shows that Mexican cinema reached progress until exceeding conventions of cinematographic genres taken from Hollywood, creating stories which went beyond the local interest. Key words: cinematographic genres, melodrama, film noir, Mexican cinema, cabaretera. * La presente investigación fue desarrollada como tesis de grado para la maestría en Media Arts que completé en el 2010 en la Universidad de Arizona, Estados Unidos.
    [Show full text]
  • Exhibitions Performances Conversations
    Acknowledgements CAC programs and activities are sponsored, in part, by the National Endowment for the Arts; the Andy Warhol Foundation for the Visual Arts; the City of Fallon; the Nevada Arts Council; CLM Design, Advertising & Interactive Media; the Elizabeth Firestone Graham Foundation; the Bretzlaff Foundation; the E.L. Cord Foundation; the Fallon Convention & Tourism Churchill Arts Council • Season Brochure 2013 — 2014 Authority; the Nevada Commission on Tourism; Systems Consultants; U.S. Bancorp Foundation; NV Energy; Nevada Humanities; CC Communications; and Holiday Inn Express. Additional support has also been provided by Jack & Gail Performances McAllister; Churchill County; The Depot/Widmer & Mills, CPAs; Mackedon-Erquiaga, PC; Fallon Nugget/Bonanza Inn & Casino/Fernley Nugget; Kennametal, Inc.; and the Cousie C. Nelson Endowment. The Churchill Arts Council proudly pours Great Basin Brewing Company’s Icky IPA and Outlaw Oatmeal Stout at all its events. The free performances by Maria Muldaur & The Campbell Brothers and Los Texmaniacs are presented in cooperation Exhibitions with the Mayor, City Council and City of Fallon. Additional support for the performances and conversations by the Maria Muldaur & The Campbell Brothers, the Portland Cello Project and Cristina Pato & the Migrations Band has been provided by TourWest, a program of the Western States Arts Federation. The performance by Hot Buttered Rum is part of the IMTour Program of WESTAF. Conversations CHURCHILL ARTS COUNCIL CHURCHILL ARTS COUNCIL publications 28th Annual Season The Churchill Arts Council is a private, non-profit arts organization bringing high quality arts events to Fallon, Churchill County and northern Nevada. For almost three decades, we’ve enriched the cultural and social life of our region by offering educational and experiential opportunities in the arts on many levels—performances, art exhibitions, films, literary readings and conversations with artists in all disciplines.
    [Show full text]
  • HOLLYWOOD – the Big Five Production Distribution Exhibition
    HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927
    [Show full text]
  • OUT of the PAST Teachers’Guide
    OUT OF THE PAST Teachers’Guide A publication of GLSEN, the Gay, Lesbian and Straight Education Network Page 1 Out of the Past Teachers’ Guide Table of Contents Why LGBT History? 2 Goals and Objectives 3 Why Out of the Past? 3 Using Out of the Past 4 Historical Segments of Out of the Past: Michael Wigglesworth 7 Sarah Orne Jewett 10 Henry Gerber 12 Bayard Rustin 15 Barbara Gittings 18 Kelli Peterson 21 OTP Glossary 24 Bibliography 25 Out of the Past Honors and Awards 26 ©1999 GLSEN Page 2 Out of the Past Teachers’ Guide Why LGBT History? It is commonly thought that Lesbian, Gay, Bisexual, and Transgendered (LGBT) history is only for LGBT people. This is a false assumption. In out current age of a continually expanding communication network, a given individual will inevitably e interacting with thousands of people, many of them of other nationalities, of other races, and many of them LGBT. Thus, it is crucial for all people to understand the past and possible contributions of all others. There is no room in our society for bigotry, for prejudiced views, or for the simple omission of any group from public knowledge. In acknowledging LGBT history, one teaches respect for all people, regardless of race, gender, nationality, or sexual orientation. By recognizing the accomplishments of LGBT people in our common history, we are also recognizing that LGBT history affects all of us. The people presented here are not amazing because they are LGBT, but because they accomplished great feats of intellect and action. These accomplishments are amplified when we consider the amount of energy these people were required to expend fighting for recognition in a society which refused to accept their contributions because of their sexuality, or fighting their own fear and self-condemnation, as in the case of Michael Wigglesworth and countless others.
    [Show full text]
  • Heidegger, the Uncanny, and Jacques Tourneur's Horror Films
    Heidegger, the Uncanny, and Jacques Tourneur’s Horror Films Curtis Bowman Most horror films are not very horrifying, and many of them are not especially frightening. This is true, of course, of the bad or mediocre productions that populate the genre. Since the failure rate among horror films is very high, it should come as no surprise that we frequently remain unmoved by what we see on the screen. But if we are honest about our reactions, then we must admit that even some of the classics neither horrify nor frighten us. They must have acquired their classic status by moving us in some significant way, but how they managed to do so is not always obvious. We need an explanation of the fact that some of the most successful horror films fail to move us as the genre seems to dictate they should. After all, we typically think that horror films are supposed to horrify and, by implication, to frighten us.1 Excessive familiarity with some films tends to deaden our response. However much we might admire the original Frankenstein (1931), it is difficult for us to be horrified or frightened by it any longer. We respond favorably to the production values, director James Whale’s magnificent visual sense, Boris Karloff’s performance as the monster, and so forth. The film no longer horrifies or frightens us, yet we still consider it a successful horror movie, and thus not merely of historical interest for fans and admirers of the genre. We can still be moved by it in ways that depend on its possessing the features that we expect to find in a horror film.
    [Show full text]
  • Uncut! First Time In
    45833_AFI_AGS 3/30/04 11:38 AM Page 1 THE AMERICAN FILM INSTITUTE GUIDE April 23 - June 13, 2004 ★ TO THEATRE AND MEMBER EVENTS VOLUME 1 • ISSUE 10 AFIPREVIEW UNCUT! FIRST TIME IN DC! GODZILLA!GODZILLA! Plus: Great World War II Films, Filmfest DC, Val Lewton Centennial, Three by Alfred Hitchcock, Natalie Wood Tribute MC5*A TRUE TESTIMONIAL POINT OF ORDER A STREETCAR NAMED DESIRE CITY LIGHTS GODSEND SYLVIA BLOWUP DARK VICTORY SEPARATE BUT EQUAL STORMY WEATHER CAT ON A HOT TIN ROOF WAR AND PEACE PHOTO NEEDED WORD WARS 45833_AFI_AGS 3/30/04 11:39 AM Page 2 Features 2, 3, 4, 7, 13 2 POINT OF ORDER MEMBERS ONLY SPECIAL EVENT! 3 MC5 *A TRUE TESTIMONIAL, GODZILLA GODSEND MEMBERS ONLY 4WORD WARS, CITY LIGHTS ●M ADVANCE SCREENING! 7 KIRIKOU AND THE SORCERESS Wednesday, April 28, 7:30 13 WAR AND PEACE, BLOWUP When an only child, Adam (Cameron Bright), is tragically killed 13 Two by Tennessee Williams—CAT ON A HOT on his eighth birthday, bereaved parents Rebecca Romijn-Stamos TIN ROOF and A STREETCAR NAMED DESIRE and Greg Kinnear are befriended by Robert De Niro—one of Romijn-Stamos’s former teachers and a doctor on the forefront of Filmfest DC 4 genetic research. He offers a unique solution: reverse the laws of nature by cloning their son. The desperate couple agrees to the The Greatest Generation 6-7 experiment, and, for a while, all goes well under 6Featured Showcase—America Celebrates the the doctor’s watchful eye. Greatest Generation, including THE BRIDGE ON The “new” Adam grows THE RIVER KWAI, CASABLANCA, and SAVING into a healthy and happy PRIVATE RYAN young boy—until his Film Series 5, 11, 12, 14 eighth birthday, when things start to go horri- 5 Three by Alfred Hitchcock: NORTH BY bly wrong.
    [Show full text]
  • Nostalgias in Modern Tunisia Dissertation
    Images of the Past: Nostalgias in Modern Tunisia Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By David M. Bond, M.A. Graduate Program in Near Eastern Languages and Cultures The Ohio State University 2017 Dissertation Committee: Sabra J. Webber, Advisor Johanna Sellman Philip Armstrong Copyrighted by David Bond 2017 Abstract The construction of stories about identity, origins, history and community is central in the process of national identity formation: to mould a national identity – a sense of unity with others belonging to the same nation – it is necessary to have an understanding of oneself as located in a temporally extended narrative which can be remembered and recalled. Amid the “memory boom” of recent decades, “memory” is used to cover a variety of social practices, sometimes at the expense of the nuance and texture of history and politics. The result can be an elision of the ways in which memories are constructed through acts of manipulation and the play of power. This dissertation examines practices and practitioners of nostalgia in a particular context, that of Tunisia and the Mediterranean region during the twentieth and early twenty-first centuries. Using a variety of historical and ethnographical sources I show how multifaceted nostalgia was a feature of the colonial situation in Tunisia notably in the period after the First World War. In the postcolonial period I explore continuities with the colonial period and the uses of nostalgia as a means of contestation when other possibilities are limited.
    [Show full text]
  • Gorinski2018.Pdf
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Automatic Movie Analysis and Summarisation Philip John Gorinski I V N E R U S E I T H Y T O H F G E R D I N B U Doctor of Philosophy Institute for Language, Cognition and Computation School of Informatics University of Edinburgh 2017 Abstract Automatic movie analysis is the task of employing Machine Learning methods to the field of screenplays, movie scripts, and motion pictures to facilitate or enable vari- ous tasks throughout the entirety of a movie’s life-cycle. From helping with making informed decisions about a new movie script with respect to aspects such as its origi- nality, similarity to other movies, or even commercial viability, all the way to offering consumers new and interesting ways of viewing the final movie, many stages in the life-cycle of a movie stand to benefit from Machine Learning techniques that promise to reduce human effort, time, or both.
    [Show full text]
  • Dictionary of Westerns in Cinema
    PERFORMING ARTS • FILM HISTORICAL DICTIONARY OF Historical Dictionaries of Literature and the Arts, No. 26 VARNER When early filmgoers watched The Great Train Robbery in 1903, many shrieked in terror at the very last clip, when one of the outlaws turned toward the camera and seemingly fired a gun directly at the audience. The puff of WESTERNS smoke was sudden and hand-colored, and it looked real. Today we can look back at that primitive movie and see all the elements of what would evolve HISTORICAL into the Western genre. Perhaps the Western’s early origins—The Great Train DICTIONARY OF Robbery was the first narrative, commercial movie—or its formulaic yet enter- WESTERNS in Cinema taining structure has made the genre so popular. And with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the Western is told in this Historical Dictionary of Westerns in Cinema through a chronology, a bibliography, an introductory essay, and hundreds of cross-referenced dictionary entries on cinematographers; com- posers; producers; films like Butch Cassidy and the Sundance Kid, Dances with Wolves, The Good, the Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; actors such as Gene Autry, in Cinema Cinema Kirk Douglas, Clint Eastwood, Henry Fonda, Jimmy Stewart, and John Wayne; and directors like John Ford and Sergio Leone. PAUL VARNER is professor of English at Abilene Christian University in Abilene, Texas.
    [Show full text]
  • Degolyer Library 2016-2017 [Accounting] Jackson, William. Book
    Selected Acquisitions: DeGolyer Library 2016-2017 [Accounting] Jackson, William. Book-keeping, in the true Italian form of debtor and creditor by way of double entry; or, Practical book-keeping, exemplified from the precepts of the late ingenious D. Dowling ... With the addition of computations in exchange, and tables ... By William Jackson, accountant. New York: Smith & Forman, 1811. 288 pp. Purchased in honor of Donna Cotter, 2017. Adams, Jeremy. Books and papers. Several hundred books and pamphlets from the estate of this beloved and esteemed professor of medieval history. We were able to add Adams books to all the libraries, Fondren, Hamon, Bridwell, and DeGolyer. Notable accessions for DeGolyer include numerous books on New Orleans, his hometown. The Jeremy Adams papers, including lecture notes from his undergraduate days at Harvard, will be processed and housed in the University Archives. Gift of Bonnie Wheeler, 2016. [Addresses, essays, lectures] Emerson, George B. An Address, delivered at the opening of the Boston Mechanics’ Institution, February 7, 1827. Boston Mass.: Hilliard, Gray, Little, and Wilkins, 1827. 24 pp. [Addresses, essays, lectures] England, John. Address delivered before the Demosthenian and Phi Kappa Societies of Franklin College, Athens, Ga., on Thursday, August 5th, 1840 ... Athens, Printed at the Whig Office, 1840. 33 pp. [Addresses, essays, lectures] Everett, Edward. An address delivered before the Massachusetts Charitable Mechanic Association, 20th September, 1837: on occasion of their first exhibition and fair. Boston: Dutton & Wentworth, 1837. 24 pp. [Addresses, essays, lectures] Ewing, Thomas. Speech of Maj. Gen. Thomas Ewing, Jr., of Kansas, at the Soldiers’ and Sailors’ National Convention, at Cooper Institute, July 4, 1868: reported and published by order of the convention.
    [Show full text]