DOCSLIB.ORG

An Odyssey Film Clip Index

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Odyssey Film Clip Index RELEASING Mark Cousins’ AN ODYSSEY FILM CLIP INDEX THE STORY OF FILM CLIP INDEX FILM – DIRECTOR YEAR PRODUCTION COMPANY Saving Private Ryan - Steven Spielberg 1998 Amblin Entertainment Three Colours; Blue - Krzysztof Kieslowski 1993 MK2 Productions, CEO Productions - Paris Casablanca – Michael Curtiz 1942 Warner Bros. Pictures Record of a Tenement Gentleman - Yasujiro Ozu 1947 Shochiku Eiga Odd Man Out - Carol Reed 1947 Two Cities Film 2 or 3 Things I Know About Her - Jean-Luc Godard 1967 Argos Films Taxi Driver - Martin Scorsese 1976 Columbia Pictures The French Connection - William Friedkin 1971 D’Antoni Productions Traffi c Crossing Leeds Bridge - Louis Le Prince 1888 Whitley Partners Butterfl y Dance - Thomas A. Edison 1897 Edison Manufacturing Company May Irwin Kiss - Thomas A. Edison 1896 Edison Manufacturing Company Employees leaving Lumiere factory gates - Louis Lumiere 1895 Lumiere Arrival of Train at La Ciotat 1896 Lumiere Annabelle Serpentine Dance: Thomas A. Edison 1895 Edison Manufacturing Company Sandow - William K.L. Dickson 1896 Edison Manufacturing Company What Happened on Twenty-third Street, New York City - George S. Fleming, Edwin S. Porter 1901 Edison Manufacturing Company Cendrillon: Georges Melies 1899 George Melies, Star Film La lune à un mètre: Georges Melies 1898 George Melies, Star Film A Kiss In The Tunnel: George Smith 1899 G.A.S. Films Shoah - Claude Lanzmann 1985 Historia, Les Films Aleph, Ministere de la Culture de la Republique Francaise 2001: A Space Odyssey - Stanley Kubrick 1968 Kubrick Productions, MGM The Little Doctor (AKA The Sick Kitten)- George Albert Smith 1903 G.A.S. Films October (Ten Days That Shook The World) - Sergei Eisenstein 1928 Sovkino Once Upon A Time in The West - Sergio Leone 1968 Paramount Pictures The Corbett-Fitzsimmons fi ght - Enoch J. Rector 1897 Veriscope Company Life of an American Fireman - Edwin S. Porter 1903 Edison Manufacturing Company Sherlock Jr - Buster Keaton 1924 Buster Keaton Productions / American Movie Classics Company The Horse that Bolted: Charles Pathe 1907 Pathe Freres The Assassination of the Duc de Guise - Andre Calmettes, Charles Le Bargy 1908 Pathe Freres Vivre Sa Vie - Jean-Luc Godard 1962 Les Films de la Pléiade Life of an American fi reman - Edwin S. Porter 1903 Edison Manufacturing Company Those Awful Hats - D.W. Griffi th 1909 Biograph Company Florence Lawrence- D.W Griffi th 1909 Biograph Company The Abyss - Urban Gad 1910 Kosmorama Stage Struck - Alan Dwan 1925 Paramount Pictures Mysterious X - Benjamin Christensen 1914 Dansk Biogrpah Compagni Haxan - Benjamin Christensen 1922 Aljosha Production Compani Ingeborg Holm - Viktor Sjostrom 1913 Svenska Biografteatern AB The Phantom Carriage - Viktor Sjostrom 1920 Svensk Filmindustri Shanghai Express - Josef von Sternberg 1932 Paramount Pictures The Story of the Kelly Gang - Charles Tait 1906 J & N Tait, Johnson and Gibson The Squaw Man - Cecil B. DeMille 1914 Famous Players-Lasky Corporation Star Wars: Episode V The Empire Strikes Back - Irvin Kersher 1980 LucasFilm Falling Leaves - Alice Guy Blache 1912 Solax Film Company Suspense - Lois Weber 1913 Rex Motion Picture Company The Wind - Viktor Sjostrom 1928 MGM Rescued From An Eagle’s Nest - J. Searle Dawley 1908 Edison Company The House with Closed Shutters - D.W. Griffi th 1910 Biograph Company Way Down East - D.W. Griffi th 1920 D.W. Griffi th Productions Orphans of the Storm - D.W. Griffi th 1921 D.W. Griffi th Productions Birth of a Nation - D.W. Griffi th - sequence 1915 David W Griffi th Corp Rebirth of a Nation - DJ Spooky 2007 Starz Network Cabiria - Giovanni Pastrone 1914 Itala Films / Adirana Chiesa Enterprises Intolerance - D.W. Griffth 1916 Triangle Film Corporation, Wark Producing Life of an American fi reman - Edwin S. Porter 1903 Edison Manufacturing Company Souls on the Road - Minoru Morata 1921 Shochiku Eiga / Shochiku Kinema Citizen Kane - Orson Welles 1941 RKO Radio Pictures The Thief of Bagdad - Raoul Walsh 1924 Douglas Fairbanks Pictures Desire - Frank Borzage 1936 Paramount Pictures Gone With The Wind - Victor Fleming et al 1939 Selznick International Pictures Gold Diggers of 1933 - Mervyn LeRoy 1933 Warner Bros Pictures Singin’ In the Rain - Stanley Donen and Gene Kelly 1952 Loew’s Incorporated The Maltese Falcon - John Huston 1941 Warner Bros. Pictures The Scarlet Empress - Joseph Von Sternerg 1934 Paramount Pictures Ride On A Runaway Train 1921 1917 Lyman H. Howe / Keystone fi lm Company The Cameraman - Buster Keaton 1928 MGM One Week - Buster Keaton 1920 Joseph M. Schenck Productions The Three Ages - Buster Keaton 1923 Buster Keaton Productions The Three Ages – Buster Keaton 1923 Buster Keaton Productions Buster Keaton Rides Again - John Spotton 1965 National Film Board of Canada The General - Buster Keaton – sequence 1926 Buster Keaton Productions Divine Intervention - Elia Suleiman 2002 Filmstiftung Nordrhein-westfalen Limelight - Charles Chaplin 1952 Celebrated Productions City Lights – Charles Chaplin 1931 Charles Chaplin Productions The Kid - Charles Chaplin 1921 Charlles Chaplin Productions Bad Timing - Nicholas Roeg 1980 Recorded Picture Company The Great Dictator - Charles Chaplin 1940 Charles Chaplin Productions M. Hulot’s Holiday - Jacques Tati 1953 Discina Film Toto in Colour - Steno 1953 De Laurentiis Awaara - Raj Kapoor 1951 All India Film Company Sunset Boulevard - Billy Wilder 1959 Paramount Pictures Some Like It Hot - Billy Wilder 1959 Ashton Productions Luke’s Movie Muddle - Hal Roach 1916 Rolin fi lms Haunted Spooks - Alfred J Goulding, Hal Roach 1920 Rolin fi lms Never Weaken - Fred C Newmeyer 1921 Rolin fi lms Safety Last - Fred Neymeyer 1923 Hal Roach Studios I Flunked, But… - Yasujiro Ozu 1930 Shochiku Kinema (Kamata) The Thief of Bagdad - Raoul Walsh 1924 Douglas Fairbanks Pictures Nanook of the North - Robert Flaherty 1922 Pathe Exchange The House is Black - Forugh Farrokhzad 1963 Studio Golestan Sans Soleil - Chris Marker 1983 Argos Films The Not Dead - Brian Hill 2007 Century Films The Five Obstructions - Jorgen Leth 2003 Laterna Film / Danish Film Institute Blind Husbands - Erich Von Stroheim 1919 Universal Film Manufacturing Company The Lost Squadron - George Archainbaud 1932 RKO Radio Pictures Greed - Eric von Stroheim 1924 Metro-Goldwyn Mayer Pictures Corporation Sunset Boulevard - Billy Wilder 1950 Paramount Pictures The Crowd - King Vidor 1928 MGM The Crowd - King Vidor 1928 MGM The Apartment - Billy Wilder 1960 The Mirisch Corporation The Trial - Orson Welles 1962 Paris-Europa Productions Aelita, Queen Of Mars - Yakov Protazanov 1924 Mezhrabpom-Rus Posle smerti - Yevgeni Bauer 1915 Khanzhonkov Joan of Arc - Carl Theodor Dreyer 1928 Societe General des fi lms ARCHIVE - Dreyer interview Danish Film Institute Ordet - Carl Theodor Dreyer 1955 Palladium Film The President - Carl Theodor Dreyer 1919 Nordisk Film Vampyr - Carl Theodor Dreyer 1932 Tobis Filmkunst Gertrud - Carl Theodor Dreyer 1964 Palladium Film Dogville - Lars Von Trier 2003 Zentropa entertainments Robert and Bertram - Max Mack 1915 Projektions AG Union (PAGU) The Oyster Princess - Ernst Lubitsch 1919 Projektions AG Union (PAGU) The Mountain Cat - Ernst Lubitsch 1921 Projektions AG Union (PAGU) The Marriage Circle - Ernst Lubitsch 1924 Warner Bros. Pictures La Roue - Abel Gance 1923 Films Abel Gance Napoleon - Abel Gance 1927 Films Abel Gance MGM The Cabinet of Dr. Caligari - Robert Wiene 1920 Decla-Bioscop AG Telltale Heart - Charles Klein 1928 Klein & Shamroy The Lodger - Alfred Hitchcock 1927 Gainsborough Pictures A Page of Madness - Teinosuke Kinugasa 1926 Kinugasa Productions Metropolis - Fritz Lang 1927 Universum Film Sunrise: A Song Of Two Humans - FW Murnau 1927 Fox Film Corporation Opus No.1 - Walter Ruthman 1921 Walter Ruttmann Entr’acte - Francis Picabia / Rene Clair 1925 Les Ballets Suedois RIEN QUE LES HEURES / Alberto Cavalcanti 1926 Alberto Cavalcanti Spellbound - Alfred Hitchcock 1945 Selznick International Pictures Un Chien Andalou - Luis Bunuel 1929 Louis Bunuel Blue Velvet - David Lynch 1986 De Laurentiis Entertainment L’Age D’or - Luis Bunuel 1930 Vicomte de Noailles Dziga Vertov fi lm - Kino Pravda 1920’s Kino Pavda Glumov’s Diary - Sergei Eisenstein 1923 Proletkult Battleship Potemkin - Sergei Eisenstein 1925 Goskino The Untouchables - Brian de Palma 1987 Paramount Pictures Arsenal - Alexander Dovzhenko 1929 VUFKU I was Born But… - Yasujiro Ozu 1932 Shochiku Eiga / Janus Films Tokyo Story - Yasujiro Ozu 1953 Shochiku Eiga Jeanne Dielman, 23 Quai du Commerce 1090 Bruxelles - Chantal Akerman 1975 Ministere de la Culture Francais de Belgique Osaka Elegy - Kenji Mizoguchi 1936 Daiichi Eiga Chikamatsu Monogatari - Kenji Mizoguchi 1954 Daiei Studio Mildred Pierce - Michael Curtiz 1945 Warner Bros. Pictures Romance of the West Chamber - Minwei Li, Hou Yao 1927 Miixin Film Company Scenes of City Life: Yuan Muzhi 1935 ??? The Goddess - Yonggang Wu 1934 Lianhua Film Company Cinema Epoch Centre Stage - Stanley Kwan 1992 Golden Way Films Ltd New Woman - Chusheng Cai 1934 Lianhua Film Company Her Dilemma - David Burton 1931 Paramount Pictures Love Me Tonight - Rouben Mamoulian 1932 Paramount Pictures The Golem - Carl Boese and Paul Wegener 1920 Projektions-AG Union Frankenstein - James Whale 1931 Universal Pictures Eyes Without A Face - Georges Franju 1960 Champs Elysees Productions Lux Film Audition - Takashi Miike 1999 Omega Project The Public Enemy - William A. Wellman 1931 Warner Bros Pictures Scarface: The Shame of the Nation - Howard Hawks 1932 The Caddo Company Scarface - Brian de Palma 1983 Universal Pictures Seven Samurai
Load more

Recommended publications
  • Pr-Dvd-Holdings-As-Of-September-18
    CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd.
    [Show full text]
  • CLONES, BONES and TWILIGHT ZONES: PROTECTING the DIGITAL PERSONA of the QUICK, the DEAD and the IMAGINARY by Josephj
    CLONES, BONES AND TWILIGHT ZONES: PROTECTING THE DIGITAL PERSONA OF THE QUICK, THE DEAD AND THE IMAGINARY By JosephJ. Beard' ABSTRACT This article explores a developing technology-the creation of digi- tal replicas of individuals, both living and dead, as well as the creation of totally imaginary humans. The article examines the various laws, includ- ing copyright, sui generis, right of publicity and trademark, that may be employed to prevent the creation, duplication and exploitation of digital replicas of individuals as well as to prevent unauthorized alteration of ex- isting images of a person. With respect to totally imaginary digital hu- mans, the article addresses the issue of whether such virtual humans should be treated like real humans or simply as highly sophisticated forms of animated cartoon characters. TABLE OF CONTENTS I. IN TR O DU C T IO N ................................................................................................ 1166 II. CLONES: DIGITAL REPLICAS OF LIVING INDIVIDUALS ........................ 1171 A. Preventing the Unauthorized Creation or Duplication of a Digital Clone ...1171 1. PhysicalAppearance ............................................................................ 1172 a) The D irect A pproach ...................................................................... 1172 i) The T echnology ....................................................................... 1172 ii) Copyright ................................................................................. 1176 iii) Sui generis Protection
    [Show full text]
  • Cablelabs Studio Code List 05/01/2006
    CableLabs Studio Code List 05/01/2006 Studio Name Code Last Update 05/05/2006 1 120 Degree Films 120D 2 1st National FSN 3 2 Silks Releasing 2SR 4 20th Century Fox FOX 5 21st Century 21ST 6 2nd Generation 2GN 7 4th & Broadway 4TH 8 50th Street 50TH 9 7th Planet Prods 7PP 10 8X Entertainment 8X 11 A.D.G. ADG 12 A.I.P. Studios AIPS 13 Abramorama Entertainment ABR 14 Academy ACD 15 Access Motion Picture Group ACM 16 ADV Films ADV 17 AFD Theatrical AFDT 18 Alive ALV 19 Alliance Atlantis Communications AA 20 Alliance International Pictures AIP 21 Almi ALM 22 American International Pictures AINT 23 American Vacation Production AVP 24 American World Pictures AWP 25 American Zoetrope AZO 26 Amoon AMO 27 Andora Pictures AND 28 Angelika ANG 29 A-Pix APIX 30 Apollo APO 31 Apple and Honey Film Corp. AHFC 32 Arab Films ARAB 33 Arcangelo Entertainment ARC 34 Arenaplex ARN 35 Arenas Entertainment ARNS 36 Aries ARI 37 Ariztical Entertainment ARIZ 38 Arrival Pictures ARR 39 Arrow Releasing ARW 40 Arthouse Films AHF 41 Artificial Eye ARTI 42 Artisan ARTS 43 Artist View Ent. ARV 44 Artistic License ARTL 45 Artists Releasing Corp ARP 46 ArtMattan Productions AMP 47 Artrution Productions ART 48 ASA Communications ASA 49 Ascot ASC 50 Associated Film Distribution AFD 51 Astor Pictures AST 1 CableLabs Studio Code List 05/01/2006 Studio Name Code Last Update 05/05/2006 52 Astral Films ASRL 53 At An Angle ANGL 54 Atlantic ATL 55 Atopia ATP 56 Attitude Films ATT 57 Avalanche Films AVF 58 Avatar Films AVA 59 Avco Embassy AEM 60 Avenue AVE 61 B&W Prods.
    [Show full text]
  • Throwaway Robots in Blade Runner, the Terminators, A.I., and Wall•E” Many Objects Remain Unnoticed Simply Because It Never Occurs to Us to Look Their Way
    NEWSLETTER OF THE UCLA CENTER FOR THE JUN09 STUDY OF WOMEN BY VA N G E H E ILI ge R an D H eaT he R C O L L E TT E -VanDe R aa CSW Desire and Disposability in Patricia Yaeger’s “Luminous Trash: Throwaway Robots in Blade Runner, the Terminators, A.I., and Wall•E” Many objects remain unnoticed simply because it never occurs to us to look their way. Most people turn their backs on garbage cans, the dirt underfoot, the waste they leave behind. Siegfried Kracauer, Theory of Film: The Redemption of Physical Reality (Oxford, 1960) 1 toc Trashy Robots , continued from page 1 hat does it mean for humans to them completely within three years—almost desire human-like relationships with before the physical object itself shows any signs Wrobots? What kind of sovereignty do of wear and tear. In robot movies, this technol- we want to have over our trash? These two seem- ogy turnover becomes personified in robots: ingly unrelated questions melded together ex- commodities who behave both as subjects (who quisitely during Patricia Yaeger’s talk “Luminous can act) and as objects (that can be disposed of Trash: Throwaway Robots in Blade Runner, the once they are no longer valued). We humans Terminators, A.I. and Wall•E.” Yaeger directed want human-like relationships with our robots, her audiences’ eyes towards robots as trash, and but when our robots become obsolete—which is in doing so, linked together present and future practically instantaneous—we shift our thinking possibilities for re-thinking automated relation- from one of relating to one of discarding.
    [Show full text]
  • Contentreport C
    CISCCONTENTONTENT:CONTENRTRREPORTEPORTEPORT CC ReviewОбзорОбзор of новостейaudiovisualновостей рынка content производства production and ии дистрибуциидистрибуции distribution аудиовизуальногоаудиовизуальногоin the CIS countries контента контента Media«»«MediaМ«»ÌЕДИÅÄÈ ResourcesА ResourcesÀРЕСУРСЫÐÅÑÓÐÑÛ МManagement ÌManagementЕНЕДЖМЕНТÅÍÅÄÆÌÅÍÒ» №21,№ №2№121(9) December №2 13 1April января, April, 1 April, 30, 20142012 20132011 2012 тема FOCUSномераfocUs DEARсловоDEAR CCOLLEAGUES редакциOLLEAgUESи УжеWeWe areareв первые happy to дни presentpresent нового you you the годаthe December Aprilнам, issue редак issue of цthe иofи andПервыйLast seriesautumn номер you’ll members alsoContent find of Russian theReport detailed association выходит report of вon televiк ануthe н- EgorКИНОТЕАТРАЛЬНЫ BorschEvsky:Й ContentCIS:the CIS:Content Report, Content Report сразу Report whereстало where понятно,we we tried tried toчто to gathergather в 2011 theм recentСтарогоsion and deals movie Нового of producers international года, который chose distributors Red (наконецто) Square with Screen the за - mostmost interesting interesting up-to-date up-to-date information information about about rapidly rap- CIS-partners.ings as the most important industry event of the season. РЫН О К В КРАИН Е все мы будем усердно и неустанно трудиться. За вершает череду праздников, поэтому еще раз “TodayTV MARKETS: Ukrainian У visual : нимаясьdevelopingidly developing подготовкой content content production первого production andвыпуска distributionand обзораdistribution mar
    [Show full text]
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
    [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]
  • Sunshine State
    SUNSHINE STATE A FILM BY JOHN SAYLES A Sony Pictures Classics Release 141 Minutes. Rated PG-13 by the MPAA East Coast East Coast West Coast Distributor Falco Ink. Bazan Entertainment Block-Korenbrot Sony Pictures Classics Shannon Treusch Evelyn Santana Melody Korenbrot Carmelo Pirrone Erin Bruce Jackie Bazan Ziggy Kozlowski Marissa Manne 850 Seventh Avenue 110 Thorn Street 8271 Melrose Avenue 550 Madison Avenue Suite 1005 Suite 200 8 th Floor New York, NY 10019 Jersey City, NJ 07307 Los Angeles, CA 9004 New York, NY 10022 Tel: 212-445-7100 Tel: 201 656 0529 Tel: 323-655-0593 Tel: 212-833-8833 Fax: 212-445-0623 Fax: 201 653 3197 Fax: 323-655-7302 Fax: 212-833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com CAST MARLY TEMPLE................................................................EDIE FALCO DELIA TEMPLE...................................................................JANE ALEXANDER FURMAN TEMPLE.............................................................RALPH WAITE DESIREE PERRY..................................................................ANGELA BASSETT REGGIE PERRY...................................................................JAMES MCDANIEL EUNICE STOKES.................................................................MARY ALICE DR. LLOYD...........................................................................BILL COBBS EARL PICKNEY...................................................................GORDON CLAPP FRANCINE PICKNEY.........................................................MARY
    [Show full text]
  • A Microhistory of Ukraine's Generation of Cultural Rebels
    This article was downloaded by: [Selcuk Universitesi] On: 07 February 2015, At: 17:31 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Nationalities Papers: The Journal of Nationalism and Ethnicity Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/cnap20 The early 1960s as a cultural space: a microhistory of Ukraine's generation of cultural rebels Serhy Yekelchyka a Department of Germanic and Slavic Studies, University of Victoria, Victoria, Canada Published online: 10 Oct 2014. Click for updates To cite this article: Serhy Yekelchyk (2015) The early 1960s as a cultural space: a microhistory of Ukraine's generation of cultural rebels, Nationalities Papers: The Journal of Nationalism and Ethnicity, 43:1, 45-62, DOI: 10.1080/00905992.2014.954103 To link to this article: http://dx.doi.org/10.1080/00905992.2014.954103 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content.
    [Show full text]
  • What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
    What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs.
    [Show full text]
  • Complicated Views: Mainstream Cinema's Representation of Non
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e.
    [Show full text]
  • 2011-Catalogue.Pdf
    >> Le Festival existegrâceausoutiende/ Le Festival PARTENAIRES The Festival receives supportfrom receives The Festival SPONSORS 1 192 > INDEX 175 > ACTIONS VERS LES PUBLICS 179 > RENCONTRES 167 > AUTRES PROGRAMMATIONS 105 > HOMMAGES ET RÉTROSPECTIVES 19 > SELECTION OFFICIELLE 01 > LE FESTIVAL PARTENAIRES SPONSORS LE FESTIVAL >> Le Festival remercie / The Festival would like to thank Académie de Nantes • ACOR • Andégave communication • Arte • Artothèque • Atmosphères Production • Bibliothèque Universitaire d’Angers • Bureau d’Accueil des Tournages des Pays de la Loire • Capricci • Films Centre national de danse contemporaine • Centre Hospitalier Universitaire • Cinéma Parlant • CCO - Abbaye de Fontevraud • Commission Supérieure Technique • Ecole Supérieure des Beaux-Arts • Ecole Supérieure des Pays de la Loire • Ecran Total • Eden Solutions • Elacom • Esra Bretagne • Fé2A • Filminger • France 2 • France Culture • Keolis Angers Cotra • Forum des Images • Ford Rent Angers • Héliotrope • Imprimerie Setig Palussière • Inspection Académique de Maine-et-Loire • Institut municipal d’Angers • JC Decaux • La fémis • Les Films du camion • Les Vitrines d’Angers • Musées d’Angers • Nouveau Théâtre d’Angers • OPCAL • Pôle emploi Spectacle • SCEREN – CDDP de Maine-et-Loire • Tacc Kinoton • Université d’Angers • Université Catholique de l’Ouest Ambassade de France à Berlin • Ambassade de France en République tchèque • Ambassade de France en Russie • Ambassade d’Espagne à Paris • British Council • Centre culturel Français Alexandre Dumas de Tbilissi •
    [Show full text]