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Durham E-Theses
Durham E-Theses Pulling focus: New perspectives on the work of Gabriel Figueroa Higgins, Ceridwen Rhiannon How to cite: Higgins, Ceridwen Rhiannon (2007) Pulling focus: New perspectives on the work of Gabriel Figueroa, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2579/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Pulling Focus: New Perspectives on the Work of Gabriel Figueroa by Ceridwen Rhiannon Higgins University of Durham 2007 Submitted for Examination for Degree of PhD 1 1 JUN 2007 Abstract This thesis examines the work of Mexican cinematographer Gabriel Figueroa (1907 -1997) and suggests new critical perspectives on his films and the contexts within which they were made. Despite intense debate over a number of years, auteurist notions in film studies persist and critical attention continues to centre on the director as the sole giver of meaning to a film. -
Dracula As Inter-American Film Icon: Universal Pictures and Cinematográfica ABSA
University of Mary Washington Eagle Scholar English, Linguistics, and Communication College of Arts and Sciences 2020 Dracula as Inter-American Film Icon: Universal Pictures and Cinematográfica ABSA Antonio Barrenechea Follow this and additional works at: https://scholar.umw.edu/elc Part of the Film and Media Studies Commons, Latin American Languages and Societies Commons, and the Literature in English, British Isles Commons Review of International American Studies VARIA RIAS Vol. 13, Spring—Summer № 1 /2020 ISSN 1991—2773 DOI: https://doi.org/10.31261/rias.8908 DRACULA AS INTER-AMERICAN FILM ICON Universal Pictures and Cinematográfca ABSA introduction: the migrant vampire In Bram Stoker’s Dracula (1897), Jonathan Harker and the Tran- Antonio Barrenechea University of sylvanian count frst come together over a piece of real estate. Mary Washington The purchase of Carfax Abbey is hardly an impulse-buy. An aspir- Fredericksburg, VA ing immigrant, Dracula has taken the time to educate himself USA on subjects “all relating to England and English life and customs https://orcid.org/0000-0003-1896-4767 and manners” (44). He plans to assimilate into a new society: “I long to go through the crowded streets of your mighty London, to be in the midst of the whirl and rush of humanity, to share its life, its change, its death, and all that makes it what it is” (45). Dracula’s emphasis on the roar of London conveys his desire to abandon the Carpathian Mountains in favor of the modern metropolis. Transylvania will have the reverse efect on Harker: having left the industrial West, he nearly goes mad from his cap- tivity in the East. -
Universität Bielefeld Fakultät Für Linguistik Und Literaturwissenschaft
Universität Bielefeld Fakultät für Linguistik und Literaturwissenschaft Masterarbeit im Interamerican Studies zum Thema: The representation of the prostitute in Mexican cinema: a comparison between Santa (1931) and El Callejón de Los Milagros (1995) vorgelegt von Nora Sylvia Wallenius Erstgutachter: Prof. Dr. Wilfried Raussert Zweitgutachter: Prof. Dr. Yolanda Campos García Bielefeld, im Mai 2018 Abstract The representation of the prostitute has been one of the most prevalent female characters in the history of Mexican cinema and provides a unique vision to analyze gender roles and the position of the female in Mexico. This thesis will specifically deconstruct the myth of the prostitute through a comparison of two distinct filmic representations: the archetype of the prostitute in Santa (1931) and a more modern representation in El Callejón de Los Milagros (1995), exposing to what degree the representation of the prostitute has changed over the course of a century. A direct analysis of key scenes in the categories of romance, family, and redemption will demonstrate similarities and transgressions. This comparison is developed under the theoretical framework of the position of “the woman” in Mexican cinema, alongside interviews with significant figures in the Mexican film industry. This investigation will shed light on the symbolism of the prostitute in a patriarchal and religious society, including gender relations, power structures, the concept of sin, Mexico’s confrontation with modernity, and female stereotypes in popular media. Keywords: Mexican film, gender studies, stereotype, archetype, the prostitute Abstracto La representación de la prostituta ha sido uno de los personajes femeninos más frecuentes en la historia del cine mexicano y proporciona una visión única para analizar los roles de género y la posición de “la mujer” en México. -
Das Sprechen Der Filme. Über Verbale Sprache Im Spielfilm
Das Sprechen der Filme. Über verbale Sprache im Spielfilm. Versionsfilme und andere Sprachübertragungs- methoden – Tonfilm und Standardisierung – Die Diskussion um den Sprechfilm – Der polyglotte Film – Nationaler Film und internationales Kino Inaugural-Dissertation zur Erlangung des Grades eines Doktors der Philosophie in der Fakultät für Philologie der RUHR-UNIVERSITÄT-BOCHUM vorgelegt von Christoph Wahl 2 Gedruckt mit der Genehmigung der Fakultät der Philologie der Ruhr-Universität Bochum Referent: Prof.Dr. Wolfgang Beilenhoff Korreferent: Prof.Dr. K. Alfons Knauth Tag der mündlichen Prüfung: 12.12.2003 3 Ein guter Tonfilm ist schlechter als ein gutes Bühnenstück, doch ein guter Stummfilm ist besser als ein gutes Bühnenstück. Charlie Chaplin Es wäre logischer gewesen, wenn sich der Stummfilm aus dem Ton- film entwickelt hätte, als umgekehrt. Mary Pickford Was gegenwärtig vor sich geht erinnert an Aesops Fabel vom Pfau, der, seines Gefieders und hoheitsvollen Schreitens wegen ge- rühmt, auch noch mit seiner Stimme glänzen wollte und damit zum Gespött wurde. Luigi Pirandello 4 INHALT 1. EINFÜHRUNG 7 2. DER SPRACHVERSIONSFILM 11 2.1. FORSCHUNGSSTAND VERSIONSFILM 11 2.2. DIE EINHEIT VON KÖRPER UND STIMME 17 2.3. VERGLEICH UNTERSCHIEDLICHER PRODUKTIONSSTANDORTE 20 2.3.1. DEUTSCHLAND: DIE UFA 20 2.3.2. ENGLAND: DIE BRITISH INTERNATIONAL PICTURES (BIP) 26 2.3.3. USA 30 2.3.3.1. Universal 30 2.3.3.2. Warner-Bros. 32 2.3.3.3. Fox 32 2.3.3.4. RKO 32 2.3.3.5. MGM 33 2.3.3.6. Paramount 34 2.4. FILMAUSWAHL 40 2.4.1. ATLANTIC/ATLANTIK/ATLANTIS 41 2.4.1.1. -
Finding Aid for the Fritz Lang Collection
Finding Aid for the Fritz Lang Collection Special Collections #4 Collection Processed by: Sarah Blankfort Clothier, 9.10.12 Revised, Emily Wittenberg, 10.18.18 Finding Aid Written by: Sarah Blankfort Clothier, 9.10.12 Revised, Emily Wittenberg,10.18.18 OVERVIEW OF THE COLLECTION: Origination/Creator: Lang, Fritz Title of Collection: Fritz Lang Collection Date of Collection: 1934 -- 1953 Physical Description: 19 boxes; 7.92 linear feet Identification: Special Collection #4 Repository: American Film Institute Louis B. Mayer Library, Los Angeles, CA RIGHTS AND RESTRICTIONS: Access Restrictions: Collection is open for research. Copyright: The copyright interests in this collection remain with the creator. For more information, contact the Louis B. Mayer Library. Acquisition Method: Donated by Michael Nesmith in 1990. BIOGRAPHICAL/HISTORY NOTE: Fritz Lang was a noted filmmaker who immigrated to Hollywood via France during WWII in 1934, in protest against the Nazi regime, becoming a United States citizen in 1939. Lang was born Friedrich Christian Anton Lang in Vienna, Austria, on December 5, 1890 to parents Anton and Paula Lang. He briefly attended the Technical University of Vienna where he studied civil engineering before switching to art; he studied painting under teachers in Vienna, Munich, and Paris. In WWI Lang served in the Austrian Army where he was wounded three times and decorated four times while fighting in Russia and Romania. His German Expressionist films, including METROPOLIS (1927) and M (1931), are considered precursors to the film noir style of filmmaking that was popular in Hollywood from the early 1940s to late 1950s. Upon his move to the United States, Lang was employed at Metro- Goldwyn-Mayer Studios (M-G-M), where he rose to prominence by directing FURY (1936). -
Guide to the William K
Guide to the William K. Everson Collection George Amberg Memorial Film Study Center Department of Cinema Studies Tisch School of the Arts New York University Descriptive Summary Creator: Everson, William Keith Title: William K. Everson Collection Dates: 1894-1997 Historical/Biographical Note William K. Everson: Selected Bibliography I. Books by Everson Shakespeare in Hollywood. New York: US Information Service, 1957. The Western, From Silents to Cinerama. New York: Orion Press, 1962 (co-authored with George N. Fenin). The American Movie. New York: Atheneum, 1963. The Bad Guys: A Pictorial History of the Movie Villain. New York: Citadel Press, 1964. The Films of Laurel and Hardy. New York: Citadel Press, 1967. The Art of W.C. Fields. Indianapolis: Bobbs-Merrill, 1967. A Pictorial History of the Western Film. Secaucus, N.J.: Citadel Press, 1969. The Films of Hal Roach. New York: Museum of Modern Art, 1971. The Detective in Film. Secaucus, N.J.: Citadel Press, 1972. The Western, from Silents to the Seventies. Rev. ed. New York: Grossman, 1973. (Co-authored with George N. Fenin). Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1974. Claudette Colbert. New York: Pyramid Publications, 1976. American Silent Film. New York: Oxford University Press, 1978, Love in the Film. Secaucus, N.J.: Citadel Press, 1979. More Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1986. The Hollywood Western: 90 Years of Cowboys and Indians, Train Robbers, Sheriffs and Gunslingers, and Assorted Heroes and Desperados. Secaucus, N.J.: Carol Pub. Group, 1992. Hollywood Bedlam: Classic Screwball Comedies. Secaucus, N.J.: Carol Pub. Group, 1994. -
Universal Classic Monsters: the Essential Collection
FÖR ATT FIRA UNIVERSALS 100-ÅRS JUBILEUM PRESENTERAR VI ÅTTA RYSARKLASSIKER SOM BANADE VÄG FÖR HOLLYWOODS SKRÄCKGENRE - DIGITALT REMASTRADE OCH PÅ BLU-RAY™ FÖR FÖRSTA GÅNGEN UNIVERSAL CLASSIC MONSTERS: THE ESSENTIAL COLLECTION STOCKHOLM, 3 juli 2012 – Inför Halloween släpper vi den 10 oktober åtta av de mest ikoniska mästerverken inom skräckgenren på Blu-rayTM för första gången i form av Universal Classic Monsters: The Essential Collection. Digitalt restaurerade, med perfekt high-definition bild och ljud, samlas här Universals legendariska monster, de fantasifulla och tekniskt banbrytande skräckhistorierna som banade vägen för en ny Hollywoodgenre. Denna kompletta samling innehåller åtta filmer på Blu-ray TM, en illustrerad booklet med fotografier från inspelningarna, filmaffischer, brev och mycket mer. Varje film inkluderar en samling bonusmaterial runt filmskapandet och dess historia, som dokumentärer, kommentarer, intervjuer, storyboards, fotografier och trailers. Något som bör intressera de mest hängivna fansen är den helt nya minidokumentären om restaureringsarbetet bakom Dracula och 3D Blu-ray TM versionen av Creature from the Black Lagoon. Från stumfilmseran ända fram till idag har Universal Pictures gett liv åt flertalet monster. Universal Classic Monsters: The Essential Collection hedrar studions långa banbrytande historia inom genren med ikoniska klassiker som Dracula, Frankenstein, The Mummy, The Invisible Man, Bride of Frankenstein, The Wolf Man, Phantom of the Opera and Creature from the Black Lagoon. Här samlas legendariska skådespelare verksamma inom skräck- genren som Bela Lugosi, Boris Karloff, Lon Chaney, Jr., Claude Rains och Elsa Lanchester. Dessa åtta filmer fortsätter att influera dagens filmskapare med sina då banbrytande specialeffekter och innovativa make-up. Bonus Material & Synopsis (engelska versioner) Dracula (1931) The original 1931 movie version of Bram Stoker’s classic tale has for generations defined the iconic look and terrifying persona of the famed vampire. -
Izrael Zespoda O Fotografické Výstavě, Která Představuje Izrael Z Nezvyklého Úhlu, Čtěte Na Straně 5
4 ročník 17 tevet 5778 prosinec 2017 – leden 2018 www.maskil.cz Izrael zespoda O fotografické výstavě, která představuje Izrael z nezvyklého úhlu, čtěte na straně 5 Chanuka a zajímavé pasáže z knih Měli jsme to štěstí setkat se Chatam Sofer . 10 Jews News Makabejských (2.) . 2 s brontosaury (za Ruth Bondyovou) . 7 Někde ještě svítí slunce: (Rozhovor s Pavlem Štinglem) . 14 Donald Trump: „Jeruzalém je hlavním Dětství ve stínu holokaustu . 11 Apikojres . 8 Franz Kafka: Řeč o jazyce jidiš . 16 městem Státu Izrael“. 4 Haličské muzeum uchovává památku Anketa na aktuální téma . .4 Staronová Tóra v Olomouci . 8 na bohatý život polského židovstva . 12 Kulturní program . 18 Teplický cimes: pro každého něco . 6 Půdní divadlo v domě č. p. 266 . 9 Minikurz hebrejského jazyka. 13 Ma’oz cur . 20 Fotografie na titulní straně: Ručně sekané dobývky měděných dolů připomínají tvarem jeskyně, ale jde o lidské dílo. (foto: L. Falteisek) úvodník židovský rok Chanuka a zajímavé pasáže 2. část z knih Makabejských V úterý 12. prosince večer jsme zažehnutím první svíce a pronesením tří požehnání zahájili náš osmidenní svátek Chanuka. Chanuka místo svátku Sukot – Chybí zázrak s olejem – 1. Makabejská 2. Makabejská 10,5-8 4,38–59 „K očištění chrámu došlo ve výročí V těchto verších se popisuje postup dne, kdy cizáci chrám poskvrnili: dvacá- prací, které Židé museli vykonat při očistě tého pátého dne měsíce kislevu. Slavnost Chrámu, než mohlo dojít k znovuzasvě- .חנוכת המזבח (הבית) – (trvala osm dní s veselím jako o slavnosti cení oltáře (Chrámu stánků, kterou, jak vzpomínali, trávili Verš 50 uvádí, že na oltáři zapálili kadidlo ještě před krátkým časem v horách a jes- a zažehli světla na svícnu, aby osvětlovala Chanuka sameach! Veselé Vánoce! kyních jako divá zvěř. -
SFRA Newsletter
University of South Florida Scholar Commons Digital Collection - Science Fiction & Fantasy Digital Collection - Science Fiction & Fantasy Publications 6-1-1994 SFRA ewN sletter 211 Science Fiction Research Association Follow this and additional works at: http://scholarcommons.usf.edu/scifistud_pub Part of the Fiction Commons Scholar Commons Citation Science Fiction Research Association, "SFRA eN wsletter 211 " (1994). Digital Collection - Science Fiction & Fantasy Publications. Paper 151. http://scholarcommons.usf.edu/scifistud_pub/151 This Article is brought to you for free and open access by the Digital Collection - Science Fiction & Fantasy at Scholar Commons. It has been accepted for inclusion in Digital Collection - Science Fiction & Fantasy Publications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. SFRA Revle.... 1211, May/JuDe 1994 BFRAREVIEW laauI #211, may/Junl 1BBit In THII IIIUE: IFRI ImRnll IFFIIRI: President's Message (Mead) New Members & Changes of Address 1993 SFRA Conference Tentative Schedule (HuWFriend) Editorial (Mallett) BEnERIl miICEWny: Forthcoming Books (Mallett) News & Information (Mallett. etc.) FERTUREI: Feature Article: "'The Sense of Wonder' is 'A Sense Sublime'" (Robu) Feature Review: Coover. Robert. Pinocchio in Venice. (Chapman) "Subject Headings for Genre Fiction" (Klossner) REVIEW I: nl.f1ctJll: Anon. The Disney Poster: The Animated Film Oassics !Tom Mickey Mouse to Aladdin. (Klossner) Hershenson. Bruce. Cartoon Movie Posters. (Klossner) Levy. Michael. Natalie Babbitt. (Heller) FlctJll: Allen. Roger McBride & Eric Kotani. Supernova. (Stevens) Anderson, Dana. Charles de Lint & Ray Garton. Cafe Pw-gatorium. (Tryforos) Anderson, Poul. The Time Patrol. (Dudley) Anthony. Piers. Question Quest. (Riggs) AttanaSIo. A. A. Hunting the Ghost Dancer. (Bogstad) Banks. lain M. The State ofthe Art. -
Weimar Cinema
WEIMAR CULTURE: FILM, ART AND DEATH WEIMAR CINEMA The directors, actors, and films of Weimar-era Germany are among the most famous in cinema history. The new expressionist style they perfected “revolutionized the emerging language of film and established German cinema in the 1920s as a major force of high art in world cinema.”1 Weimar directors wanted to distinguish their work from that which was coming out of Hollywood. Their goal was to harness the artistic potential of film and “to prove to the educated middle class that cinema could indeed be art.”2 Rather than adhere to the Hollywood method, which emphasized narra- tive, suspense, montage, and action, Weimar-era directors opted for atmo- sphere, scene composition, camera movement, and character gaze.3 The efect was the supremacy of the visual: fantastical sets, dramatic lighting, and theatrical gestures. When it worked, such as in Fritz Lang’s M, the re- sults were haunting. The social and political atmosphere of Weimar influenced much of the films’ content. Many followed the attitude of what they called the New Objectivity and directors “ventured out into the streets to capture social reality.”4 They represented the “decadent nightlife, a previously unseen eroticism and unfettered sexuality.”5 These films dealt with the questions and anxieties of a tumultuous post-war era, in which social and cultural life was nursing wounds and breaking new ground, while political life was on the verge of a breakdown. Many of the great names of Weimar cinema – Fritz Lang, F.W. Murnau, Billy Wilder, Ernst Lubitsch, and Josef von Sternberg (to name a few) – fled Nazi Germany. -
CHRIS WEITZ Chris Weitz Was Born in New York City, the Son of Actress
CHRIS WEITZ Chris Weitz was born in New York City, the son of actress Susan Kohner and Berlin-born novelist/fashion designer John Weitz (born Hans Werner Weitz). His brother is filmmaker Paul Weitz. He is the grandson of agent Paul Kohner and Mexican actress LuPita Tovar on his maternal side. His grandmother, LuPita, starred in Santa, Mexico's first talkie, in 1932. Chris was educated at The Allen-Stevenson School in New York and St. Paul's School in London and went on to graduate with a B.A. and M.A. in English Literature from Trinity College, Cambridge. Chris began his film career as a co-writer, along with his brother Paul, of the 1998 animated film Antz. In 1999, he and Paul directed and Produced American Pie, which became a major box office success. In 2002, the brothers co-wrote and directed About a Boy, which earned them an Academy Award nomination for Best Adapted ScreenPlay. Chris went on to direct several other feature films, including the 2007 adaptation of PhiliP Pullman’s bestselling fantasy novel, The Golden Compass, and the second film installment in the Twilight series, New Moon. His 2011 film A Better Life garnered an Award nomination for its lead actor, Demián Bichir. He most recently directed Operation Finale (2018), starring Oscar Isaac and Sir Ben Kingsley. More recently, Chris has written several feature films, including Cinderella, for Disney, and Rogue One: A Star Wars Story, for Lucasfilm. Chris has Produced a number of films through his and Paul’s comPany DePth of Field, including Tom Ford’s A Single Man and Peter Sollett’s Nick and Nora’s Infinite Playlist; Columbus, starring John Cho and Haley Lu Richardson, which Premiered at the 2017 Sundance Film Festival, and The Farewell (2019), written and directed by Lulu Wang, for which Awkwafina won the Golden Globe for Best Actress in a Musical or Comedy. -
Antonio Moreno: Santa (1931-1932)
Antonio Moreno: Santa (1931-1932) Kurt Hahn (Julius-Maximilians-Universität Würzburg) La película, rodada entre el 3 de noviembre de 1931 y el 5 de enero de 1932 en los estudios de la Compañía Nacional Productora de Películas y en locacio- nes del D. F., constituye, sin duda, un momento crucial en la historia del cine mexicano. Santa, de la que se habla, ciertamente no solo signifi ca un gran avan- ce respecto a la tecnología cinematográfi ca, dado que es el primer largometraje en el país con sonido directo, es decir: “con una banda sonora paralela a las imágenes en la misma tira de celuloide” (García Riera 1992: 48). La película, dirigida por Antonio Moreno y protagonizada por la espléndida Lupita Tovar, relaciona asimismo el pasado con el futuro del cine mexicano, ya que se integra en una herencia cultural más amplia, al mismo tiempo que dinamiza el incipien- te proceso de su profesionalización e industrialización. Resumimos los tres as- pectos básicos en los que este artículo se propone profundizar: Santa, primero, marca el comienzo del cine comercial en México, donde, en la misma época y en el otro extremo de la gama estilística, Sergej Eisenstein sigue experimentan- do con modelos vanguardistas. Santa inicia, en segundo lugar, una interacción de los medios de comunicación, un diálogo entre creación textual y creación visual, entre literatura y cine que no se efectúa sin rupturas signifi cativas. Y, por último, con Santa y la protagonista homónima se construye un verdadero mito cotidiano cuya rápida difusión se debe a una estética altamente conven- cional que enlaza una narrativa melodramática con imágenes estereotipadas de lo femenino.