Edition Filme Im Wissenschaftsverlag Volker Spiess Inhalt

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Edition Filme Im Wissenschaftsverlag Volker Spiess Inhalt

Norbert Grob/Manuela Reichart (Hrsg.) Ray mit Essays von Heiner Gassen, Fritz Göttler, Ulrich Kurowski, Karlheinz Opiustil, Anke Sterneborg und Wim Wenders und Texten von Frank Arnold/Ulrich von Berg, Jochen Brunow, Michael Esser/Helmut Merker, Walter Pfeifle und Wilfried Reichart Edition Filme im Wissenschaftsverlag Volker Spiess Inhalt Vorwort 7 Essays Karlheinz Opiustil Blick ins Königreich: Ray und die Cahiers du Cinemä 9 Wim Wenders Die Männer in der Rodeo-Arena - gierig: Rays THE LUSTY MEN 29 Norbert Grob Der späte Expressionist: Anmerkungen zu Rays Stil 41 Fritz Göttler ». never been amaker of comfortable endings«: Ray und die Hollywood-Studios 65 Ulrich Kurowski Nahe den Wolken: Hommage ä JOHNNY GUITAR 82 Anke Sterneborg Daß sie immer verlieren: Helden in Bedrängnis 85 Manuela Reichart Ein Mann ist so schlecht wie der andere: Erinnerungen an Rays Männer 93 Norbert Grob Jenseits des Himmels: Hommage ä Gloria Grahame 99 Heiner Gassen Die Melodie des Blicks: Ausdruck und Rhythmus bei Ray 111 Von der Lust und ihrem Preis Bekenntnisse - Erinnerungen - Bilder - Anekdoten 125 Nicholas Ray Story into Script 151 24 Filme von Nicholas Ray 167 They Live by Night (Ulrich von Berg) 167 A Woman's Secret (Anke Sterneborg/Frank Arnold) 171 Knock on any Door (Norbert Grob) 174 In a Lonely Place (Manuela Reichart) 177 Born tö Be Bad (Ulrich von Berg) 181 On Dangerous Ground (Ulrich von Berg) 185 Flying Leathernecks (Heiner Gassen) 188 The Lusty Men (Helmut Merker) 190 Johnny Guitar (Jochen Brunow) 196 High Green Wall (Manuela Reichart) 200 Run for Cover (Walter Pfeifle) 202 Rebel without a Cause (Wilfried Reichart) 207 Hot Blood (Norbert Grob) 214 Bigger than Life (Karlheinz Opiustil) 218 The True Story of Jesse James (Heiner Gassen) 221 Bitter Victory (Anke Sterneborg) 224 Wind Acrose the Everglades (Jochen Brunow) 228 Party Girl (Karlheinz Opiustil) 236 The Savage Innocents (Michael Esser) 240 King of Kings (Fritz Göttler) • 243 55 Days at Peking (Fritz Göttler) 248 We Can't Go Home Again (Jochen Brunow) 252 Wet Dreams: The Janitor (Karlheinz Opiustil) 257 Nick's Movie - Lightning over Water (Norbert Grob) 259 Daten Biografie 265 Filmografie 279 Bibliografie 293 Danksagung/Bildnachweis/Autoren 309 Register 311.

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Lonely Places, Dangerous Ground
Introduction Nicholas Ray and the Potential of Cinema Culture STEVEN RYBIN AND WILL SCHEIBEL THE DIRECTOR OF CLASSIC FILMS SUCH AS They Live by Night, In a Lonely Place, Johnny Guitar, Rebel Without a Cause, and Bigger Than Life, among others, Nicholas Ray was the “cause célèbre of the auteur theory,” as critic Andrew Sarris once put it (107).1 But unlike his senior colleagues in Hollywood such as Alfred Hitchcock or Howard Hawks, he remained a director at the margins of the American studio system. So too has he remained at the margins of academic film scholarship. Many fine schol‑ arly works on Ray, of course, have been published, ranging from Geoff Andrew’s important auteur study The Films of Nicholas Ray: The Poet of Nightfall and Bernard Eisenschitz’s authoritative biography Nicholas Ray: An American Journey (both first published in English in 1991 and 1993, respectively) to books on individual films by Ray, such as Dana Polan’s 1993 monograph on In a Lonely Place and J. David Slocum’s 2005 col‑ lection of essays on Rebel Without a Cause. In 2011, the year of his centennial, the restoration of his final film,We Can’t Go Home Again, by his widow and collaborator Susan Ray, signaled renewed interest in the director, as did the publication of a new biography, Nicholas Ray: The Glorious Failure of an American Director, by Patrick McGilligan. Yet what Nicholas Ray’s films tell us about Classical Hollywood cinema, what it was and will continue to be, is far from certain. 1 © 2014 State University of New York Press, Albany 2 Steven Rybin and Will Scheibel After all, what most powerfully characterizes Ray’s films is not only what they are—products both of Hollywood’s studio and genre systems—but also what they might be.
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Folklife Today, Episode 11
Folklife Today August 2019: More Hidden Folklorists Steve Winick: Welcome to the Folklife Today podcast. I’m Stephen Winick, and I’m here with my colleague John Fenn. John Fenn: Greetings, everyone! Steve Winick: We’re folklorists at the American Folklife Center of the Library of Congress. John is the head of Research and Programs, and I'm the Center’s writer and editor, as well as the creator of the blog Folklife Today, which you can find at blogs.loc.gov/folklife John Fenn: And today on the folklife Today Podcast, we're going to talk about more Hidden Folklorists. As Steve explained a few episodes ago, in the idea for "Hidden Folklorists" he was inspired by the book and film "Hidden Figures," and some public events we held at the Library of Congress which focused on that story. The initial idea behind "hidden folklorists" was people whose folklore work was insufficiently recognized for a variety of reasons: either they were women or African Americans at a time when contributions from those groups were generally under-recognized, or just general bad luck or mitigating factors. Steve Winick: and I guess "mitigating factors" might apply to the first Hidden Folklorist we'll talk about this time, a man named Charles J. Finger. John Fenn: Sounds good. So, Steve, you wrote about Charles Finger on the blog. How did you come across him? And just who was Charles J. Finger? SW: well, in brief he was a writer, and I first came across him when I found his book, Frontier Ballads, in a used bookshop in Maryland.
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Nicholas Ray Rétrospective 29 Août – 28 Septembre
NICHOLAS RAY RÉTROSPECTIVE 29 AOÛT – 28 SEPTEMBRE Amère victoire 30 LE MYSTÈRE DES ORIGINES Sa carrière de réalisateur s’étale sur une courte période, mais elle marque le cinéma par sa force et sa singularité. Nicholas Ray compose une œuvre brute, jalonnée de fulgurances, qui s’ouvre sur un chef-d’œuvre (Les Amants de la NICHOLAS RAY nuit) et se clôt avec un bouleversant documentaire (Nick’s Movie, co-réalisé avec Wim Wenders). Souvent décrié en Amérique, toujours adulé en Europe, il est le cinéaste de la fêlure, de l’urgence, de la désespérance, de la quête du paradis. Ses films constituent une peinture particulièrement sensible de l’adolescence écorchée, de la passion destructrice, de la violence des êtres et du monde. LA FÊLURE ET LA RAGE Parce qu’elle fut aussi houleuse, intense et profuse, on oublie souvent que la carrière de cinéaste de Nicholas Ray, tout du moins pour sa part hollywoodienne, n’a duré que seize ans (entre 1947 et 1963), peu ou prou l’âge moyen de bon nombre de ses personnages adolescents, mais aussi celui qu’il avait lui-même à la mort de son père, PROGRAMMATION homme alcoolique et violent. De l’adolescence, son œuvre a en effet conservé tout le caractère ardent et emporté, à la fois soif du présent et tentation du désespoir. Délinquants juvéniles (Les Amants de la nuit, La Fureur de vivre) ou vieux barou- deurs brisés (Les Indomptables, Amère victoire), pistoleros mélancoliques (Johnny Guitar, Le Brigand bien-aimé) ou citadins névrosés (Le Violent, La Maison dans l’ombre), les personnages de Nicholas Ray ont tous en partage un rapport convul- sif et privilégié à la violence, qu’on ne saurait réduire à un engrenage social, tant elle apparaît aussi comme une réponse individuelle à un monde qui les nie, à la fois cri de révolte et stigmate d’une radicale inadaptation.
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IN a LONELY PLACE (1950, 94 CBS Featuring Folk Singers Like Woody Guthrie, Burl Ives, Leadbelly, and Young Pete Seeger
February 5, 2002 (V:3) OUR MOTTO I (BY LUIS BUÑUEL): Filmmaking seems to me a transitory and threatened art. It is very closely bound up with NICHOLAS RAY (Raymond Nicholas technical developments. If in thirty or fifty years the screen no Kienzle, 7 August 1911, Galesville, longer exists, if editing isn’t necessary, cinema will have Wisconsin— 16 June 197 9,lung cancer) ceased to exist. It will have become something else. That’s is perhaps the only major director already almost the case when a film is shown on television: who m ade a film abou t coping with the smallness of the screen falsifies everything. his own death—Lightning Over W ater 1980, m ade in collabor ation w ith his OUR MOTTO II (BY ANG LEE): "The intellectualizing, the friend Wim Wenders. Ray is credited analysis — that can come later," Mr. Lee said. "In my movies, as director on 25 other films, including I hope that is all in hiding. It is the juice that we want. I think 55 Days at Peking 1963 , King of Kings that's what brings us to the movie theater. All the ways and 1961 , The Sava ge Innocents 1959 , The means and heart are just vehicles, ways of peering down True Story of Jesse James 1957 , Rebel through a protection, to reach that juicy part that is very Without a Cause 1955 , Johnny Guitar 1954 , Flying Leathernecks 1951 , and vulnerable and that you can only reach when you are in the Knock on An y Door 1949. He ha d an extraord inary career before dark, in a movie theater, and you are with people.
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Moma Ida Lupino Mother Directs Press Release
MOMA CELEBRATES PIONEERING FILMMAKER IDA LUPINO AS ACTRESS AND DIRECTOR, WITH AN EXHIBITION OF FILMS SPANNING 1949 TO 1966 Ida Lupino: Mother Directs August 26-September 20, 2010 The Roy and Niuta Titus Theaters New York, August 4, 2010 – Ida Lupino: Mother Directs, a comprehensive selection of films by actress and filmmaker Ida Lupino (American, b. Great Britain, 1918–1995) runs August 26 through September 20, 2010, at The Museum of Modern Art, presenting select films from 1949 to 1966, including her directorial debut Never Fear (1950). The series highlights the filmmaker’s brilliantly balanced career both in front of the camera, acting in over 100 productions for film and television, and behind the camera as a pioneering director who pushed the limits of social taboos and become the second woman to be admitted to the Director’s Guild. The 14 film exhibition is organized by Anne Morra, Associate Curator, Department of Film, The Museum of Modern Art. Ida Lupino was branded the ―English Jean Harlow‖ when she arrived in Hollywood in 1932, but as part of a distinguished British theatrical dynasty, she aspired to be more than just an ingénue or femme fatale. A box-office-proven actress with a lucrative contract at Warner Bros., Lupino starred in such films as High Sierra (1941) and Woman in Hiding (1949). She conscientiously studied the work of the directors for whom she acted, and before long found her way behind the camera. Her career as a feature film director (albeit an uncredited one) began in 1949, when she stepped in for the ailing Elmer Clifton on the set of Not Wanted.
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Nicholas Ray 1911-1979
Nicholas Ray 1911-1979 Objekttyp: Group Zeitschrift: Filmbulletin : Zeitschrift für Film und Kino Band (Jahr): 24 (1982) Heft 125 PDF erstellt am: 27.09.2021 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch NICHOLAS RAY 1911 - 1979: Ray wurde am 7.August 1911 als Raymond Nicholas Kienzle in Galesville, Wisconsin, USA, geboren. Mit
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THEY LIVE by NIGHT/ (Os Filhos Da Noite) / 1948 on DANGEROUS GROUND/ (Cega Paixão) / 1952
CINEMATECA PORTUGUESA–MUSEU DO CINEMA HISTÓRIAS DO CINEMA: BERNARD EISENSCHITZ / NICHOLAS RAY 15 a 19 de fevereiro de 2016 SESSÕES-CONFERÊNCIA | APRESENTADAS E COMENTADAS POR BERNARD EISENSCHITZ AS INTERVENÇÕES DE BERNARD EISENSCHITZ SÃO FEITAS EM INGLÊS ALINHAMENTO DO PROGRAMA ENTRE 15 E 19 DE FEVEREIRO THEY LIVE BY NIGHT | ON DANGEROUS GROUND | BITTER VICTORY | WIND ACROSS THE EVERGLADES | WE CAN’T GO HOME AGAIN segunda-feira, 15 de fevereiro, 18h THEY LIVE BY NIGHT / (Os Filhos da Noite) / 1948 Realização: Nicholas Ray / Argumento: Charles Schnee e Nicholas Ray (não creditado), baseado no romance Thieves Like Us de Edward Anderson / Fotografia: George E.Diskant / Música: Leigh Harline / Direcção Musical: Constantin Bakaleinikoff / Canção: “Your Red Wagon”, letra e música de Richard M.Jones, Don Raye e Gene DePaul / Direcção Artística: Albert S.D’Agostino e Al Herman / Décors: Darell Silvera e Maurice Yates / Montagem: Sherman Todd / Interpretação: Farley Granger (Bowie), Cathy O’Donnell (Keechie), Howard da Silva (Chickhamaw), Helen Craig (Mattie), Jay C.Flippen (T-Dub), Will Wright (Mobley), Marie Bryant (a cantora mexicana), Ian Wolfe (Hawkins, o homem do Registo Civil), Harry Harvey (Hagenheimerr), Jim Nolan (Schreiber), Teddy Infuhr (Alvin), etc. Produção: John Houseman para Dore Schary e a RKO / Distribuição: RKO / Cópia: da Cinemateca Portuguesa-Museu do Cinema, 16mm, preto e branco, legendada em português, 95 minutos / Estreia Mundial: 28 de junho de 1948, em Londres / Estreia em Portugal: 15 de agosto de 1950, no cinema Capitólio. terça-feira, 16 de fevereiro, 18h ON DANGEROUS GROUND / (Cega Paixão) / 1952 Realização: Nicholas Ray / Argumento: A. I. Bezzerides, baseado numa adaptação de A.
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The Iron Fist, the Velvet Glove
Chapter One The Iron Fist, the Velvet Glove August 7, 1911 Nicholas Ray was a kind of human jigsaw puzzle, the pieces of his mystery scattered and lost over time. Many of his films were haunted by bruised young people, threatened, damaged, or twisted by events beyond their control. Their suffering often begins in youth, its source a secret buried there. Mementos of childhood crop up in Ray’s films like missing pieces of the puzzle. Sports trophies line the top of a dresser in the room of an em bittered detective in On Dangerous Ground. A brokendown rodeo cham pion finds a rodeo handbill, cap pistol, and tobaccocan bank squirreled away in a crawl space under his old homestead in The Lusty Men. (“I was looking for something I thought I lost,” he tells an oldtimer carrying a shotgun who interrupts his search.) Sprawled drunkenly on the ground, James Dean pulls a scrappaper blankie over a cymbalbanging monkey toy during the opening credits of Rebel Without a Cause. (“Can I keep it?” he pleads when arrested.) Even so, the source of hurt is private and vague and remote—not, as in the case of another Wisconsin filmmaker, as knowable as a certain Rose bud sled. In his films, Ray tended to load the blame on mother and father fig NicholasRay_i_viii_1_552.indd 1 5/10/11 1:11 PM 2 Nicholas Ray ures. The parents in Rebel Without a Cause are fundamentally clueless. The drugaddicted father in Bigger Than Life tries to use a scissors to sacrifice his young son to God.
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On Dangerous Ground ( Nicholas Ray, 1951) on Dangerous Ground OSCURIDAD Y CEGUERA DEL MELODRAMA NOIR Título Original: on Dangerous Ground
OOnn ddaannggeerroouuss ggrroouunndd Dilluns 7 de Octubre, a les 19.45, al Saló d’Actes de l’Ateneo de Maó On Dangerous Ground ( Nicholas Ray, 1951) On dangerous ground OSCURIDAD Y CEGUERA DEL MELODRAMA NOIR Título original: On Dangerous Ground. El poderoso influjo del legendario cineasta Nicholas Ray, autor de ‘Rebelde sin Año:1951 Duración: 82 Causa’ (Rebel Without a Cause, 1955) y ’55 Días en Pekín’(55 days at Peking, 1963), min.País: Estados Unidos emergió en Hollywood en los ámbitos más modestos del cine negro de serie B, como Dirección: Nicholas Ray tantos otros, of course. Captado para la industria por el no menos mítico actor y Guion: A.I. Bezzerides productor John Houseman, Ray despachó el relato noir como haría posteriormente (Novela: Gerald Butler) con el western y otros géneros, subvirtiendo sus códigos y características esenciales, Música: Bernard e imprimiendo una poderosa pátina melodramática. Probablemente el mejor trabajo Herrmann. Fotografía: de Ray en sus primeros años en la RKO, junto al espléndido debut que fue ‘Los George E. Diskant (B&W) Amantes de la Noche’ (They Live by Night, 1948), sea esta On Dangerous Ground, Reparto: Ida Lupino, titulada azarosamente en castellano ‘La Casa de la Sombra’. Este magnífico ejercicio Robert Ryan, Ward de film noir sirve perfectamente como ejemplo de esta perspectiva desequilibrada y Bond, Charles Kemper, fracturada del género que desarrolló el autor de Johnny Guitar . Uno de los grandes Anthony Ross, Ed Begley, Ian Wolfe, disidentes del Hollywood Dorado, de presencia tardía, pero obligada, en este ciclo de Sumner Williams, Gus grandes olvidados del cine negro.
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Rebel Without a Cause … Denn Sie Wissen Nicht, Was Sie Tun
BERLINALE CLASSICS REBEL WITHOUT A CAUSE … DENN SIE WISSEN NICHT, WAS SIE TUN Nicholas Ray Jim Stark ist 17 Jahre alt und mit seinen Eltern über Kreuz. Erst vor USA 1955 kurzem nach Los Angeles gezogen, wird er bald schon polizeiauffällig. 111 Min. · DCP · Farbe Um als Neuling an der Highschool akzeptiert zu werden und weil er dem Nachbarsmädchen imponieren will, beteiligt er sich an einer Mut- Regie Nicholas Ray probe, die für seinen Herausforderer tödlich ausgeht. Als dessen Clique Buch Stewart Stern, Irving Schulmann, nach einer Idee von Nicholas Ray sich rächen will, begibt sich Jim mit Judy und einem Mitschüler auf die Kamera Ernest Haller Flucht … Der Film, einen Monat nach dem Unfalltod seines Hauptdar- Schnitt William H. Ziegler stellers James Dean uraufgeführt, machte den zu diesem Zeitpunkt Bros. © Warner Glasgow, Circus, Quelle: Park Musik Leonard Rosenman 24 Jahre alten Schauspieler „unsterblich“. REBEL WITHOUT A CAUSE er- Ton Stanley Geboren 1911, gestorben 1979. Er studierte schuf ein bis in die Gegenwart wirksames Jugendidol. Darüber hinaus Tonschnitt Carl Mahakian kurzzeitig Theaterwissenschaften und bildete er die Blaupause für „Teenager-Filme“ weltweit, die das Kino als Production Design Malcolm C. Bert Architektur, war in New York Schauspieler und Teil einer internationalen Jugendkultur definierten. Für die Restaurie- Kostüm Moss Mabry Regieassistent bei Elia Kazan. Dem Regiedebüt rung wurde das originale Cinemascope-Negativ von Warner Bros. in Maske Gordon Bau 1948 folgten Arbeiten für den Produzenten Produzent David Weisbart Howard Hughes, 1954 der „Kult-Western“ 8K-Auflösung eingescannt und in 4K-Auflösung restauriert. Basierend auf dem Magnetton überlieferter Verleihkopien konnte auch der Ton JOHNNY GUITAR – WENN FRAUEN HASSEN.
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Centenario De Nicholas
febrero 2012 Sede Filmoteca Española: Sala de proyección: C/ Magdalena,10 Cine Doré 28012 Madrid C/ Santa Isabel, 3 Tel.: 91 467 2600 28012 Madrid Centenario de Nicholas Ray (1911 - 1979) Fax: 91 467 2611 Tel.: 91 369 1125 (taquilla) [email protected] 91 369 2118 (gerencia) www.mcu.es/cine/MC/FE/index.html Fax: 91 369 1250 El Institut Lumière presenta Precio: Normal: Entrada libre a cafetería 2,50 € por sesión y sala y librería. 20,00 € abono de 10 sesiones. Raúl Ruiz (III) Estudiante: Horario de cafetería: 2,00 € por sesión y sala 16.00 h. – 00.00 h. 15,00 € abono de 10 sesiones. Tel.: 91 369 4923 Recuerdo de... Amparo Muñoz, Angelino Fons, Farley Granger, Horario de taquilla: Horario de librería: 16.15 h. hasta 15 minutos des- 17.30 – 22.30 horas. pués del comienzo de la última Tel.: 91 369 4673 Florinda Chico, Jane Russell, Peter Falk sesión. Lunes cerrado Venta anticipada: Gastrofestival: Cine y gastronomía (y II) 21.00 h. hasta cierre de la taquilla para las sesiones del día siguiente hasta un tercio del aforo. Cine para todos 3 martes 1 miércoles 2 jueves 3 viernes 4 sábado 5 domingo 17.30 Gastrofestival 17.30 Centenario de Nicholas Ray 17.30 Centenario de Nicholas Ray 17.30 Cine para todos 17.30 Cine para todos Sala 1 Delicatessen (Delicatessen, Marc Caro y Sala 1 Knock on Any Door (Llamad a cualquier Sala 1 In a Lonely Place (En un lugar solitario, Ni- Sala 1 Azur et Asmar (Azur y Asmar, Michel Oce- Sala 1 Cloudy with a Chance of Meatballs (Llu- Las sesiones anunciadas pueden sufrir cambios debi- Jean-Pierre Jeunet, 1991).
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Corrupt Cops of Noir
THE STAINED SHIELD Corrupt Cops of Noir By Sharon Knolle y the bitter end of John Huston’s The Asphalt Jun- gle (1950), a gang of jewel B thieves is mostly dead or in jail. As reporters question Police Com- missioner Hardy (John McIntire) about one officer’s involvement with the thieves, Hardy replies, “There are corrupt officers in police departments. The dirt they’re trying to clean up is bound to rub off on some of ’em, but not all of ’em. Maybe one out of a hundred. The other ninety- nine are honest men trying to do an hon- est job.” He then flips on the police radios behind him, flooding his office with over- lapping crime reports. “We send police assistance to every one of those calls ’cause they’re not just code numbers on a radio beam, they’re cries for help. People are being cheated, robbed, mur- dered, raped. It’s the same in every city of the modern world. But suppose we had no police force, good or bad. Sup- pose we had . .” he pauses for dramatic effect, then switches off all the radios, “just silence. Nobody to listen, nobody to answer. The battle’s finished. The jungle wins. The predatory beasts take over.” The Asphalt Jungle is one of noir’s bleakest entries, but its view of the police is relatively rosy: the cops are here to save us from the real criminals. Without them, civilization would collapse into chaos. That’s true in many police procedurals on television, which tend to valorize cops.
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