DOCSLIB.ORG

Chapter 2 Italy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chapter 2 Italy PERVERSE TITILLATION: A HISTORY OF EUROPEAN EXPLOITATION FILMS 1960–1980 By DANIEL G. SHIPKA A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2007 © 2007 Daniel G. Shipka 2 To all of those who have received grief for their entertainment choices and who see the study of weird and wacky films as important to the understanding of our popular culture 3 ACKNOWLEDGMENTS I’d like to thank my committee, Dr. Jennifer Robinson, Dr. Lisa Duke-Cornell and Dr. Mark Reid for having both the courage and stomach to tackle the subject matter in many of these films. Their insistence that I dig deep within myself made this work a better one. To my chair, Dr. Bernell Tripp for her support and laughter, I am indebted. I’d also like to thank the University of Florida and the College of Journalism and Mass Communication for giving me the opportunity to complete my goals and develop new ones. I am very fortunate to have had two wonderful parents that have supported me throughout this process as well as my life. This work would not have been possible had both my mother and father not allowed me to watch all those cheesy horror movies when I was younger! I’d also like to thank my friend Debbie Jones who has stood by my side for 25 years watching and loving these movies too. The doctoral process can be a difficult one; I would like my partner in crime, Dr. Nadia Ramoutar for being my anchor with her spirit, humor and strength. I not only received a degree from UF but a lifelong friend. Finally, I’d like to thank Dr. Steve Smethers for his support, intelligence and love throughout this process and throughout my life. I would not be the person I am today without his strength and his generosity. 4 Abstract of Dissertation Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy PERVERSE TITILLATION: A HISTORY OF EUROPEAN EXPLOITATION FILMS 1960–1980 By Daniel G. Shipka August 2007 Chair: Bernell Tripp Major: Mass Communication European Exploitation or ‘Eurocult’ films have left an indelible impact on popular culture around the world. Focusing on subject matter that many of the major film studios shied away from, Eurocult films helped a generation of worldwide audiences deal with the rapidly changing social and political landscape that occurred in the ‘60s and ‘70s. The effects of that these films have has also reached out to later generation with modern filmmakers like Quentin Tarantino and Guillermo del Toro achieving success by paying homage to the genre. With the advent of DVD, Eurocult is enjoying a renaissance, with films long unseen now available in unedited, original versions, released and sold in special editions that are both popular and profitable. Directors and other filmmakers, long unappreciated, have only now begun to receive respect for their daring creations. Looking at the films of Italy, Spain and France from 1960 to 1980 that dealt with sexuality, violence and 5 monsters both real and imagined, we see the changing social and political morays that chronicled a particular time in world history as well as seeing one of the first examples of a cross-cultural, integrated communication process that has become commonplace in today’s international media saturated world. 6 TABLE OF CONTENTS page DEDICATION…………………………………………………………………………3 ACKNOWLEDGMENTS………………………………………………………….….4 ABSTRACT……………...………..…….……………………………………………..5 CHAPTER 1 INTRODUCTION………………………………………………………………………………9 2 ITALY……………………………………………………………...……………………………….34 Genre Beginnings……………………………………………………………………40 Foreign Distribution…………………………………...……………………………43 The 60s Gothic Style………………………………………………………………..46 It’s a Mondo World…………………………………………………………………66 The Giallo…………………………………………………………………………..75 The 70s: Sex and Sadism…………………………...………………………………92 “We Will Eat You” The Zombie and Cannibal Film……………………………….95 The Devil Made Her Do It: Satanic Possession and Nunsploitation……….....…..113 Sexploitation Italia Style……………………………………..……………………115 3 SPAIN……………………………………………………………………………………………..122 Gritos en la Noche: Genre Beginnings………………………………...…………121 Jess Franco: El Maestro…………………………………………………………..131 Werewolves, Vampires and Frankenstein, Spanish Style: Paul Naschy……...….171 Spanish Nightmares Exploitation 70s Style……………………………..………..184 4 FRANCE………………………………………………………………………………………….197 Grand Guignol et Les Yeux’s: Genre Beginnings…………………………………201 Les Pensées de Sang, The Cinema of Jean Rollin………………………...………210 Le Sexe Terrible: Exploitation French Style in the 70s………………...…………230 5 CONCLUSION………………………………………………………………………………….247 APPENDIX A FILMOGRAPHY……………………………………………………………………………….255 7 B LIST OF REFERENCES………………………………………….…………………………267 C BIOGRAPHICAL SKETCH……………………………………………….……..277 8 CHAPTER 1 INTRODUCTION The European film industry has had an indelible effect on both world cinema and popular culture. Works by such filmmakers as Fellini, Goddard, Bergman, Rossellini, Truffault and Antonioni are considered classics by film scholars and critics and respected worldwide for their cinematic genius. They’ve also influenced culture and reflected the times in which they were made. Their socially provocative themes whether it’s the tearing down of neo-realism of L’avventura (Italy, 1960) or Jules et Jim (France, 1962), the turning point in the battle of censorship and self-expression as showcased in La Dolce Vita (Italy, 1960) or breaking down the barriers of sensuality and opening up new, more adult styles of entertainment which was accomplished in Jag ar Nifiken, (I am Curious Yellow, Sweden 1967). European film has brought a unique and refreshing perspective that Hollywood and other international film companies could not have duplicated in the mid 1960s and 1970s. These critically acclaimed “high-brow” films have been universally by critics and scholars accepted as pioneering examples of quality cinema. However, these quality films were not the only examples of European cinema that were saturating the U.S. market. During the socially turbulent times of ‘60s and ‘70s, another type of European film was being introduced to world moviegoers, the Euro-horror and exploitation, or “Eurocult”, film. Images of horrific monsters, blood-drooling decaying zombies, sadistic Nazi frauleins, and naughty lesbian nuns filled the screens to the delight and shock of many fans. These scandalous films would become as popular as the “high-brow” art films of 9 new wave European filmmakers and has proven a long lasting legacy that continues to affect today’s movie going audience. Between 1960 and 1980, Eurocult movies saturated the American drive-ins and local theatres. This, in turn, had a huge influence on a new generation of modern filmmakers, including Quentin Tarantino (Kill Bill Vol. 1 & 2, 2003, 2004, Grindhouse, 2007), Brian De Palma (Dressed to Kill, 1980, Blow Out, 1981), David Cronenberg (Dead Ringers, 1988), William Freidkin (The Exorcist, 1973), Zalman King (The Red Shoe Diaries, 1992) and Ridley Scott (Alien, 1979), all of whom have incorporated aspects of European horror and exploitation in their films. This cinematic homage is perhaps responsible for the recent explosion of interest in this genre. With the advent of new media technologies like DVD, Eurocult films are enjoying a renaissance, with films long unseen now available in unedited, original versions, released and sold in special editions that are both popular and profitable. Films such as Just Jaeckin’s L’Histoire D’O (1974), Dario Argento’s Suspiria (1976), Lucio Fulci’s Zombi (1979) as well as such lesser known films as La Casa Dalle Finestre Che Ridono (known in the United States as The House with Laughing Windows, 1976) and La Novia Ensangrentada (The Blood- Spattered Bride, 1972) are currently lining the shelves of American video stores alongside top Hollywood titles. The time period between 1960 and 1980 was one of great social changes when censorship and social battles were raging around the world, European film producers reacted to these changing social mores by creating a myriad amount of different types of exploitation movies that reflected the attitudes of this turbulent time. Italian murder mysteries with strong sexual and violent themes called “giallo” became popular 10 worldwide and started a sub-genre that included more than 200 films. These films, the precursor to the American “slasher” movies, focused on the exploitative aspects of social life and reflected a discontent with Italian society.1 Spanish and Italian cannibal films and their zombie counterparts were also big exports. These films’ nilhism reflected a growing lethargy to consumerism and grew out of the bloody iconography of the Roman Catholic Church.2 They were also some of the most violent films in the in the entire exploitation genre. In addition to zombies and slashers, Spain and Italy produced a staggering number of “nunsploitation” films, which featured nuns indulging in sinful–– and often murderous––acts, as well as ‘devil possession’ films, which all signified discontent with traditional religious institutions.3 Spain produced a series of movies utilizing the familiar monsters of the 30s (Frankenstein, Wolfman, etc.) that were modernized and reflected the failings of everyday men. France incorporated strong doses of sexuality and eroticism into their exploitation films.4 As a result, local film industries took countries social norms and exported them to
Load more

Recommended publications
  • It 2.007 Vc Italian Films On
    1 UW-Madison Learning Support Services Van Hise Hall - Room 274 rev. May 3, 2019 SET CALL NUMBER: IT 2.007 VC ITALIAN FILMS ON VIDEO, (Various distributors, 1986-1989) TYPE OF PROGRAM: Italian culture and civilization; Films DESCRIPTION: A series of classic Italian films either produced in Italy, directed by Italian directors, or on Italian subjects. Most are subtitled in English. Individual times are given for each videocassette. VIDEOTAPES ARE FOR RESERVE USE IN THE MEDIA LIBRARY ONLY -- Instructors may check them out for up to 24 hours for previewing purposes or to show them in class. See the Media Catalog for film series in other languages. AUDIENCE: Students of Italian, Italian literature, Italian film FORMAT: VHS; NTSC; DVD CONTENTS CALL NUMBER Il 7 e l’8 IT2.007.151 Italy. 90 min. DVD, requires region free player. In Italian. Ficarra & Picone. 8 1/2 IT2.007.013 1963. Italian with English subtitles. 138 min. B/W. VHS or DVD.Directed by Frederico Fellini, with Marcello Mastroianni. Fellini's semi- autobiographical masterpiece. Portrayal of a film director during the course of making a film and finding himself trapped by his fears and insecurities. 1900 (Novocento) IT2.007.131 1977. Italy. DVD. In Italian w/English subtitles. 315 min. Directed by Bernardo Bertolucci. With Robert De niro, Gerard Depardieu, Burt Lancaster and Donald Sutherland. Epic about friendship and war in Italy. Accattone IT2.007.053 Italy. 1961. Italian with English subtitles. 100 min. B/W. VHS or DVD. Directed by Pier Paolo Pasolini. Pasolini's first feature film. In the slums of Rome, Accattone "The Sponger" lives off the earnings of a prostitute.
    [Show full text]
  • No Hope for Saving Lawn
    20 - MANCHESTER HERALD, Sat., March 26, 1983 Engagements Service notes Captain Kidd Whalers win one How much do Mvles-WIng MCGee ends slept In Coventry Mr. and Mrs. Jack C. Myles of over the Bruins cuts hurt? Woodbridge Road in Coventry his training announce the engagement of their Pvt. Fernandie D. ... page 11 ... page 14 daughter, Barbara J. Myles of McGee, son of Julia ... page 6 • Hartford, to James C. Wing Jr. of McGee of 40 Olcott St, and Hartford, sonofDr. JamesC. Wing Ferman McGee of Hart­ of Ridgefield and the late Winifred ford, has completed basic Deely Wing. training at Fort Dix, N.J. The bride-elect has a bachelor of arts in economics from the Univer­ sity of Hartford. She is enrolled in a Pvt. Warner master’s program, and is em­ takes course ployed by the Connecticut Bank Rainy today, Manchester, Conn. and Trust. Pvt. Raymond E. sunny Tuesday Monday, March 28, 1983 The prospective bridegroom has Warner, son of Mr. and — See page 2 a bachelor of arts degree in Mrs. William M. Warner economics from the University of of 63 Clinton St., has Single copy 25(P Hartford and a taw degree from completed a plumbers manrlfrBkr Mpral5 the University of Connecticut course at the U.S. Army School of Law. He is an associate at Training Center in Fort Cardwell, Cardwell and Smoragie- Leonard Wood, Mo. Susan Marguerite Hall Leslie K. Scott Cynthia Marie Pierce wicz attorneys at law in Hartford. Jeanne Ann Carey An Oct. 15 wedding at First Church of Christ in West Hartford Jones receives Hall-Morton Scott-Schloss Pierce-Brundrett Carev-Pawelec is planned.
    [Show full text]
  • Marzo 2014 Proposte
    MARZO 2014 MARZO 2014 PROPOSTE Ogni mese il Centro Audiovisivi di Bolzano mette a disposizione questa brochure contenente Proposte, Ritratti Novità, Ricorrenze. di donne PROPOSTE nel cinema Un’occasione per conoscere e imparare ad amare il grande cinema. Ogni mese viene proposto un tema di- di ieri e di oggi verso per suggerire attraverso la cinematografia d’au- tore spunti di riflessione e valorizzare il patrimonio della mediateca del Centro Audiovisivi di Bolzano. NOVITÀ NOVITÀ Cinema La raccolta cinematografica è in grande crescita e comprende film, documentari e libri a partire dalle Film dalle origini origini della storia del cinema fino a oggi. Ogni mese ai giorni nostri si arricchisce di ulteriori film di qualità che vengono messi a disposizione di tutti i cittadini interessati. Documentari RICORRENZE La ricorrenza della data di nascita di alcuni dei più RICORRENZE famosi attori, attrici e registi della storia del cinema è occasione per ricordare ogni mese i capolavori che Piera Degli Esposti loro hanno realizzato. Invito tutti a rivedere, scoprire e riscoprire le loro opere nella mediateca. Luc Besson Keira Knightley Buona visione! Quentin Tarantino MARZO 2014 PROPOSTE MARZO 2014 Ritratti Lulu di donne Donne nel cinema L’onorevole Angelina di ieri e di oggi Siamo donne PROPOSTE Sabrina Sedotta e abbandonata Tre donne Il raggio verde Speriamo che sia femmina Thelma & Louise Il cerchio Ti do i miei occhi Vogliamo anche le rose Changeling – Una storia vera Beyond Potiche – La bella statuina Le donne del 6° piano We Want Sex 4 5 LULU SIAMO DONNE DEU / 1929 / DRAMMATICO / 128' / B/N / MUTO ITA / 1953 / EPISODI / 95' / B/N / SONORO REGIA Lulù, una ex fioraia, vuole fare carriera nel mondo del varietà, REGIA Film collettivo diviso in cinque parti.
    [Show full text]
  • La Dolce Vita Actress Anita Ekberg Dies at 83
    La Dolce Vita actress Anita Ekberg dies at 83 Posted by TBN_Staff On 01/12/2015 (29 September 1931 – 11 January 2015) Kerstin Anita Marianne Ekberg was a Swedish actress, model, and sex symbol, active primarily in Italy. She is best known for her role as Sylvia in the Federico Fellini film La Dolce Vita (1960), which features a scene of her cavorting in Rome's Trevi Fountain alongside Marcello Mastroianni. Both of Ekberg's marriages were to actors. She was wed to Anthony Steel from 1956 until their divorce in 1959 and to Rik Van Nutter from 1963 until their divorce in 1975. In one interview, she said she wished she had a child, but stated the opposite on another occasion. Ekberg was often outspoken in interviews, e.g., naming famous people she couldn’t bear. She was also frequently quoted as saying that it was Fellini who owed his success to her, not the other way around: "They would like to keep up the story that Fellini made me famous, Fellini discovered me", she said in a 1999 interview with The New York Times. Ekberg did not live in Sweden after the early 1950s and rarely visited the country. However, she welcomed Swedish journalists into her house outside Rome and in 2005 appeared on the popular radio program Sommar, and talked about her life. She stated in an interview that she would not move back to Sweden before her death since she would be buried there. On 19 July 2009, she was admitted to the San Giovanni Hospital in Rome after falling ill in her home in Genzano according to a medical official in the hospital's neurosurgery department.
    [Show full text]
  • Scapigliatura
    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. Baudelairism and Modernity in the Poetry of Scapigliatura Alessandro Cabiati PhD The University of Edinburgh 2017 Abstract In the 1860s, the Italian Scapigliati (literally ‘the dishevelled ones’) promoted a systematic refusal of traditional literary and artistic values, coupled with a nonconformist and rebellious lifestyle. The Scapigliatura movement is still under- studied, particularly outside Italy, but it plays a pivotal role in the transition from Italian Romanticism to Decadentism. One of the authors most frequently associated with Scapigliatura in terms of literary influence as well as eccentric Bohemianism is the French poet Charles Baudelaire, certainly amongst the most innovative and pioneering figures of nineteenth-century European poetry. Studies on the relationship between Baudelaire and Scapigliatura have commonly taken into account only the most explicit and superficial Baudelairian aspects of Scapigliatura’s poetry, such as the notion of aesthetic revolt against a conventional idea of beauty, which led the Scapigliati to introduce into their poetry morally shocking and unconventional subjects.
    [Show full text]
  • Erenews 2020 3 1
    ISSN 2531-6214 EREnews© vol. XVIII (2020) 3, 1-45 European Religious Education newsletter July - August - September 2020 Eventi, documenti, ricerche, pubblicazioni sulla gestione del fattore religioso nello spazio pubblico educativo e accademico in Europa ■ Un bollettino digitale trimestrale plurilingue ■ Editor: Flavio Pajer [email protected] EVENTS & DOCUMENTS EUROPEAN COURT OF HUMAN RIGHTS Guide on Art 2: Respect of parental rights, 2 CONSEIL DE L’EUROPE / CDH Une éducation sexuelle complète protège les enfants, 2 EUROPEAN COMMISSION Racial discrimination in education and EU equality law. Report 2020, 3 WCC-PCID Serving a wounded world in interreligious solidarity. A Christian call to reflection, 3 UNICEF-RELIGIONS FOR PEACE Launch of global multireligious Faith-in-Action Covid initiative, 3 OIEC Informe 2020 sobre la educacion catolica mundial en tiempos de crisis, 4 WORLD VALUES SURVEY ASSOCIATION European Values Study. Report 2917-2021, 4 USCIRF Releases new Report about conscientious objection, 4 PEW RESEARCH CENTER Between belief in God and morality: what connection? 4 AGENCY FOR FUNDAMENTAL RIGHTS Fighting discrimination on grounds of religion and ethnicity 5 EUROPEAN WERGELAND CENTER 2019 Annual Report, 5 WORLD BANK GROUP / Education Global Practice Simulating the potential impacts of Covid, 5 AMERICAN ACADEMY OF RELIGION AAR Religious Literacy Guidelines, 2020, 6 CENTRE FOR MEDIA MONITORING APPG Religion in the Media inquiry into religious Literacy, 6 NATIONAL CHRONICLES DEUTSCHLAND / NSW Konfessionelle Kooperation in Religionsunterricht,
    [Show full text]
  • Vision, Desire and Economies of Transgression in the Films of Jess Franco
    A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. 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 Please visit Sussex Research Online for more information and further details 1 Journeys into Perversion: Vision, Desire and Economies of Transgression in the Films of Jess Franco Glenn Ward Doctor of Philosophy University of Sussex May 2011 2 I hereby declare that this thesis has not been, and will not be, submitted whole or in part to another University for the award of any other degree. Signature:……………………………………… 3 Summary Due to their characteristic themes (such as „perverse‟ desire and monstrosity) and form (incoherence and excess), exploitation films are often celebrated as inherently subversive or transgressive. I critically assess such claims through a close reading of the films of the Spanish „sex and horror‟ specialist Jess Franco. My textual and contextual analysis shows that Franco‟s films are shaped by inter-relationships between authorship, international genre codes and the economic and ideological conditions of exploitation cinema. Within these conditions, Franco‟s treatment of „aberrant‟ and gothic desiring subjectivities appears contradictory. Contestation and critique can, for example, be found in Franco‟s portrayal of emasculated male characters, and his female vampires may offer opportunities for resistant appropriation.
    [Show full text]
  • Line Producer
    0 INDEX Pag. 2 - DIRECTOR’S NOTE Pag. 4 - SINOPSYS Pag. 5 - TECNICAL DATA Pag. 6 - PRODUCTION PROFILE Pag. 7 - DIRECTOR Pag. 11 - SCREENWRITER Pag. 12 - CAST WISH LIST Pag. 15 - LOCATIONS Pag. 18 - SKETCHES GOLETTA AND PRAHO 1 DIRECTOR’S NOTE Many years have passed since the last Theatrical or Television production narrating the achievements of the most fascinating and exotic hero born from the imagination of a novelist and this is where our story starts, from the casual meeting between the young Emilio Salgari in a tavern at the port of Trieste and a mysterious sailor who will tell him a story, a story rich of adventure and courage, of battles and love : the story of the Tiger of Mompracem. The old sailor is Yanez De Gomera, a Portuguese pirate and Sandokan’s companion in many adventures. The idea to narrate Salgari’s character at the beginning and at the end of the story, will also give a hypothetical reading of a mystery that has always intrigued thousands of readers worldwide: how Emilio Salgari was able to describe so well and with such abundance of exciting details, lands and countries that in reality he had never seen, having never been able to travel if not with his imagination. Another innovation in comparison to the previous versions of Sandokan will be the story of the genesis of the character, the creation of its myth by the English themselves, that he will fight against for his whole life. In fact we will narrate Sandokan as a child, son of a Malayan Rajah who fights against the control of his country by the English and for this reason he is killed together with all his family by some hired assassins Dayakis paid by James Brooke the white rajah of Sarawak, a man without scruples at the service of the Crown.
    [Show full text]
  • October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 Min)
    October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 min) Directed by Federico Fellini Story by Federico Fellini & Ennio Flaiano Screenplay by Ennio Flaiano, Tullio Pinelli, Federico Fellini & Brunello Rondi Produced by Angelo Rizzoli Original Music by Nino Rota Cinematography by Gianni Di Venanzo Film Editing by Leo Cattozzo Production Design by Piero Gherardi Art Direction by Piero Gherardi Costume Design by Piero Gherardi and Leonor Fini Third assistant director…Lina Wertmüller Academy Awards for Best Foreign Picture, Costume Design Marcello Mastroianni...Guido Anselmi Claudia Cardinale...Claudia Anouk Aimée...Luisa Anselmi Sandra Milo...Carla Hazel Rogers...La negretta Rossella Falk...Rossella Gilda Dahlberg...La moglie del giornalista americano Barbara Steele...Gloria Morin Mario Tarchetti...L'ufficio di stampa di Claudia Madeleine Lebeau...Madeleine, l'attrice francese Mary Indovino...La telepata Caterina Boratto...La signora misteriosa Frazier Rippy...Il segretario laico Eddra Gale...La Saraghina Francesco Rigamonti...Un'amico di Luisa Guido Alberti...Pace, il produttore Giulio Paradisi...Un'amico Mario Conocchia...Conocchia, il direttore di produzione Marco Gemini...Guido da ragazzo Bruno Agostini...Bruno - il secundo segretario di produzione Giuditta Rissone...La madre di Guido Cesarino Miceli Picardi...Cesarino, l'ispettore di produzione Annibale Ninchi...Il padre di Guido Jean Rougeul...Carini, il critico cinematografico Nino Rota...Bit Part Mario Pisu...Mario Mezzabotta Yvonne Casadei...Jacqueline Bonbon FEDERICO FELLINI
    [Show full text]
  • Luis Trenker Der Schmale Grat Der Wahrheit
    LUIS TRENKER DER SCHMALE GRAT DER WAHRHEIT CREDITS LUIS TRENKER D/AT|2015|BR|OV|90´ Regie: Wolfgang Murnberger Drehbuch: Peter Probst Kamera: Peter von Haller Produktion: Annie Brunner, Andreas Richter Darsteller: Tobias Moretti, Brigitte Hobmeier, Anatole Taubman WOLFGANG MURNBERGER FILMOGRAPHIE 2015 Das ewige Leben 2011 Mein bester Feind 2009 Der Knochenmann 2004 Silentium 2000 Komm, süsser Tod 1990 Himmel oder Hölle VORSTELLUNGEN STARNBERG SCHLOSSBERGHALLE 02.08., 19:30 UHR SCHLOSS SEEFELD 03.08., 17:00 UHR DIESSEN 04.08., 20:00 UHR WWW.FSFF.DE MR. TURNER - MEISTER DES LICHTS WILLIAM TURNER MR. TURNER CREDITS GB | 2014 | DCP | DE | 150´ Regie: Mike Leigh Drehbuch: Mike Leigh Kamera: Dick Pope Produktion: Georgina Lowe Darsteller: Dorothy Atkinson, Paul Jesson, Timothy Spall MIKE LEIGH FILMOGRAPHIE 2010 Another Year 2008 Happy-Go-Lucky 2004 Vera Drake 2002 All or Nothing 1997 Karriere Girls 1996 Lügen und Geheimnisse 1993 Nackt VORSTELLUNGEN SEEFELD 01.08., 11:00 UHR STARNBERG 02.08., 10:30 UHR HERRSCHING 09.08., 11:00 UHR FÜNF SEEN FILM FESTIVAL 2015 WALK THE LINE JOHNNY CASH CREDITS WALK THE LINE USA | 2005 | BR | DE | 136´ Regie: James Mangold Drehbuch: James Mangold, Gill Dennis Kamera: Phedon Papamichael Produktion: Cathy Konrad, James Keach Darsteller: Joaquin Phoenix, Reese Witherspoon, Robert Pa- trick, Ginnifer Goodwin, Dallas Roberts, Dan John Miller JAMES MANGOLD FILMOGRAPHIE 2013 Wolverine: Weg des Kriegers 2007 Todeszug nach Yuma 2005 Walk the Line 2003 Identität - Identity 2001 Kate & Leopold 1999 Durchgeknallt VORSTELLUNGEN STARNBERG 02.08., 22:00 UHR 21:30 UHR OPEN AIR BIERGARTEN HOCHSTADT 05.08., 21:30 UHR WWW.FSFF.DE FÜNF SEEN FILM FESTIVAL 2015 WWW.FSFF.DE MICHAEL VERHOEVEN FILMOGRAPHIE (Auswahl) 1967 Paarungen (auch Drehbuch) 1969 Der Kommissar - Dr.
    [Show full text]
  • Virginia Libraries Journal
    STAFF Coeditors Cy Dillon Ferrum College Virginia P.O. Box 1000 Ferrum, Virginia 24088 (540) 365-4428 [email protected] Libraries Lyn C. A. Gardner January/February/March, 2010, Vol. 56, No. 1 Hampton Public Library 4207 Victoria Blvd. Hampton, Virginia 23669 (757) 727-1218 COLUMNS (757) 727-1151 (fax) [email protected] Lyn C. A. Gardner 2 Openers John Moorman 3 President’s Column 39 Virginia Reviews Editorial Board Lydia C. Williams Longwood University Library Farmville, Virginia 23909 FEATURES (434) 395-2432 [email protected] Edward Lener 5 Building a Better Model: Eric and Cy Dillon Frank on Flat World Knowledge Ed Lener College Librarian for the Sciences 10 Libraries: Foundations and Virginia Tech University Libraries Fundamentals in Times of P.O. Box 90001 Challenge and Change Blacksburg, Virginia 24062-9001 2009 Annual Conference (540) 231-9249 [email protected] 33 2009 VLA Scholarship Winners Karen Dillon 34 2009 VLA Award Winners Manager, Library Services Carilion Health System 35 2009 Jefferson Cup Award P.O. Box 13367 Roanoke, Virginia 24033 (540) 981-7258 (540) 981-8666 (fax) [email protected] Virginia Libraries is a quarterly journal published by the Virginia Library Association whose purpose is to develop, promote, and improve library and information services and the profes- sion of librarianship in order to advance literacy and learning and to ensure access to informa- tion in the Commonwealth of Virginia. The journal, distributed to the membership, is used as a vehicle for members to exchange Publications Committee Chair information, ideas, and solutions to mutual problems in professional articles on current topics Suzy Szasz Palmer in the library and information field.
    [Show full text]
  • 1,000 Films to See Before You Die Published in the Guardian, June 2007
    1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation.
    [Show full text]