DOCSLIB.ORG

Film Rights Afm 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Film Rights Afm 2016 FILM RIGHTS ION OF FRENCH BOOKS AFM 2016 T LOS ANGELES SELEC A DESIGNED BY Line Célo Mathieu Roger-Lacan PRINTED IN USA BY Printex PUBLISHED BY Office for Cultural Affairs and the Creative Industries Consulate General of France in Los Angeles 10390, Santa Monica Blvd Los Angeles CA 90025 [email protected] frenchculture.org THIS PUBLICATION IS SUPPORTED BY Institut français 2 Shoot the Book! L.A. SECOND EDITION Organized by the French Embassy’s Mission for Culture and Higher Education in the United States and the Institut français, Shoot the Book! LA is the US edition of Shoot the Book!, a collective endeavor of French publishers under the banner of the Société Civile des Editeurs de Langue Française (SCELF) and the Bureau Interna- tional de l’Edition Française (BIEF) launched at the Cannes Film Festival in 2014. Shoot the Book! L.A. was made possible thanks to the support of the SCELF, the CFC (Centre Français du droit de Copie) and the SOFIA (SOciété Française des Intérêts des Auteurs de l’écrit). Shoot the Book! comes to Los Angeles this year again. This second edition is de- signed as a platform to display a selection of titles from France’s front-line publi- shing houses, which have been selected by leading American film professionals for their potential as screen adaptations for film, television and other digital formats. Each book is presented in its main storylines, with a synthesis of key information and the person to contact if you would like to know more. The titles presented by re- presentatives for the Mediatoon Group (Dargaud and Dupuis), the Place des Édi- teurs Group (Belfond and Presses de la Cité), Denoël, Albin Michel and C.A.L. Agency (Plon) offer a varied selection of France’s literary production today, giving an overview of the vitality of the French publishing world, from graphic novels to science-fiction, crime, memoir, drama and comedy. The event will be moderated by Steven Gaydos, Vice-President, Executive Editor, Variety. In connecting French and American professionals in the framework of the American Film Market (AFM), Shoot the Book! L.A. seeks to nourish creative and business links between France and the United States. Members of the Jury Bob Bookman, Senior Motion Picture and Television Agent, Paradigm. Franklin Leonard, Film Executive and Founder of The Black List. Andrea McCall, Senior Vice President, DreamWorks. Howard A. Rodman, President, WGAW. Moderator Steven Gaydos, Vice President, Executive Editor, Variety. 3 Shoot the Book! is based on a call for submissions to all French publishers. Out of the 21 titles presented to the selection committee, 5 titles have been chosen. Each title was represented by one audio-visual rights manager who then chose another title for the pitching session. This booklet introduces the 10 pitched books, organized by representative, and the 16 other titles, organized by publishing house. Pitched Books 8 Albin Michel | The Paris Lawyer – Sylvie Granotier 9 Albin Michel | The Black Line – Jean-Christophe Grangé 10 Denoël | The Deep Sea Diver’s Syndrome – S. Brussolo 11 Denoël | Still Dust Remains – Sandrine Collette 12 Dargaud | Jazz Maynard – Raul & Roger 13 Dupuis | Monika – Barboni & March 14 Belfond | Mary’s Diary – Alexandra Echkenazi 15 Presses de la Cité | Don’t Let Go – Michel Bussi 16 Plon | The Great Silence – Loup Durand 17 Plon | Where the Light Collapses – Guillaume Sire Other Titles 19 Actes Sud | Collector – Olivier Bonnard 20 Au Diable Vauvert | The Rest of Their Life – Jean-Paul Didierlaurent 21 Auteurs d’aujourd’hui | I died Yesterday – Patrick Jaulent 22 Fayard | The Honey Club – Célhia de Lavarène 23 Flammarion | Paris by Night – Pauline Flepp 24 French Pulp Editions | Clash Generation – G. Morris Dumoulin 25 Futuropolis | Genetiks – Marazano & Ponzio 26 Gallimard jeunesse | Aâma – F. Peeters 27 Grasset | The Seventh Function of Language – Laurent Binet 28 Hachette livre | Chasing Sleeping Beauty – C. Féret-Fleury 29 Heloïse d’Ormesson | In Praise of Cellulite and Other Misfortunes – Dominique Dyens 30 Le Lombard | Baghdad Inc. – Desberg & Legrain 31 Rouergue | In the Starlit Meadows – Marie-Sabine Roger 32 L’Olivier/Le Seuil | The Great Mariner – Catherine Poulain 33 Univers Poche | A Breath, a Shade – Christian Carayon 34 Le Verger des Hespérides | The Hidden Monastery – Pierre Stolze Office for Cultural Affairs and the Creative Industries Consulate General of France in Los Angeles 10390 Santa Monica Blvd., Suite 410, Los Angeles, CA 90025 [email protected] frenchculture.org 4 ALBIN MICHEL Founded in 1900, Editions Albin Michel boasts a catalogue of over 6,000 working titles and publishes 500 new ones each year. Combining authors of prestige and newly discovered talents, Albin Michel’s cata- logue includes many successful French and foreign authors who, for the most part, also enjoy international recognition. Albin Michel is today one of the most important independent publishing groups in France. DENOËL Since its creation in 1930, Denoël has been publishing diverse literary genres and prestigious authors from the entire world: Louis Aragon, Isaac Asimov, Blaise Cendrars, Robert Crumb, Hans Fallada, Norman Mailer, Curzio Malaparte, Arto Paasilinna, Georges Perec, Sylvia Plath, Jean Rhys, Sempé, Patti Smith and many more. Across different series, Denoël publishes around 50 titles per year: li- terary and commercial fiction, crime stories and thrillers, science fic- tion and fantasy, essays and non-fiction, graphic novels and illustrated books. Denoël is part of the Gallimard Group. DARGAUD & DUPUIS For more than half a century, Dargaud and Dupuis have been writing essential chapters in the history of graphic novels. With Dupuis’ count- less iconic figures – such as Lucky Luke, Spirou, Boule & Bill, The Smurfs, Cédric, Le Petit Spirou, Kid Paddle, and Largo Winch – and the many cult series of Dargaud – such as Valerian, Blueberry, XIII or Achille Talon – both publishing houses have cultivated a passionate pu- blic following. Each year, 5 million Dupuis and 8 million Dargaud comics and graphic novels are sold across the globe and approximately thirty audiovisual adaptation projects are signed. 5 PLACE DES EDITEURS (BELFOND & PRESSES DE LA CITE) Place des Editeurs is an internationally leading group composed of twelve different publishing companies (including Belfond and Presses de la Cité), and covers a wide range of books: international and French fiction, non-fiction, practical guides, illustrated books, travel guides and children’s books. Place des Editeurs is synonymous with international successes. Many of their books have been adapted for screen and TV, such as Harlan Coben’s Tell No One and No Second Chance, Douglas Kennedy’s The Woman in the Fifth starring Ethan Hawke or the Swe- dish bestseller The 100-Year-Old Man Who Climbed Out the Window and Disappeared. PLON Plon publications, a major player in French publishing since 1852. To enlighten readers on the changes in our society, to provide the keys to better analyse the news, to give a voice to French and foreign litera- ture, to share their enthusiasm and discover “human territories” - these are just a few of the goals of the Plon publications. 6 PITCHED BOOKS SETTING Catherine, a young Parisian lawyer assigned to defend Paris – Creuse (French countryside) a woman accused of poisoning her husband, sees an CHARACTERS old unsolved case resurface: a crime involving her own Female – 30 Male – 55 mother. Male – 45 DETECTIVE NOVEL FILM AND FOREIGN RIGHTS GUIDE Film rights available. PROMOTIONAL MATERIAL AVAILABLE English translation available (American edition) The Paris Lawyer FIND OUT MORE The novel received the Prix du Polar LA RIGOLE DU DIABLE Sang d’Encre 2011 awarded to a SYLVIE GRANOTIER French-language detective novel. Catherine, a young Parisian lawyer, has a murder case to defend. It’s a big step in her budding career, overseen by her kind yet stern and intimidating boss, Maître Renaud. She heads to the scene of the crime in the Creuse region, where she spent her earliest years before her mother’s murder, which obviously continues to haunt her. Her father has never come to terms with his wife’s death and never talks about it. When she was 16 and supposed to be celebrating her high school graduation, her dad brought up her mother’s death. He said she could ask him anything she wanted but, after that, they would never discuss it again. It was then she realized she needed to go away to live her life. She went to Paris to study law. Catherine’s client, Myriam, is an undocumented African immigrant accused of poisoning her husband, Gaston, a farmer she married 6 years earlier. She was his sole heir. His cousins, who’d counted on his inheritance, remembered a jar of cyanide from an abandoned gold mine that had disappeared from Gaston’s barn. They requested an autopsy and learned that Gaston had in fact been poisoned. As Catherine builds her case, she discovers her lover Cedric was once her mother’s lover. For a while, she suspects him of the crime. WHY THIS BOOK? But Cedric actually knows who the killer is and lets her find out for herself. Catherine’s dynamic, en- In the meantime, Catherine gets Myriam acquitted... despite proof of dearing energy fuels the the woman’s guilt. interplay between a grip- Catherine asks her father to take her to the spot where he scattered ping first career move and her mother’s ashes. She gets ahead of him on the path and encounters coming to terms with her Cedric. Convinced he has come to murder her as he did her mother, own terrible and mysterious she tries to run but he catches her. Her father comes to her rescue. past. When the suspense Cedric fights with her father but Catherine bashes him with a rock. As is over, Catherine has final- her father tells her he knows Cedric is her lover too, all of a sudden ly come into her own.
Load more

Recommended publications
  • Gian Maria Volonte:Programme Notes.Qxd
    A Bullet for the General Italy | 1966 | 135 minutes Credits In Brief Director Damiano Damiani Considered by its director to be a political film rather than a western, this critique Screenplay Salvatore Laurani, Franco Solinas of US imperialism sees Volonte’s Mexican bandit Chuncho gradually become politically aware as a result of his manipulation by a US secret agent — a role Music Luis Bacalov played by Lou Castel, ironically another committed left-wing actor. Photography Antonio Secchi Cast Chuncho Gian Maria Volonté El Santo Klaus Kinski Adelita Martine Beswick Bill 'Niño' Tate Lou Castel While the Italian spaghetti westerns of the mid- 60s and 70s dealt with some minor political issues, mostly American capitalism, there was a separate subgenre of the spaghetti western called Zapata westerns that dared to go deeper. Zapata westerns were usually dealing directly with the Mexican Revolution of 1913 and were much more politically charged than the regular spaghetti westerns, which would often set the Mexican Revolution in the background. These Zapata westerns would usually be critical of US foreign policy, the Vietnam War, fascism, capitalism, and were usually made from a Marxist point of view. Perhaps one of the most popular and recognizable Zapata westerns aside from Sergio Leone’s Duck, You Sucker is the 1966 film A Bullet for the General, which was directed by Damiano Damiani. Relentlessly thrilling, refreshingly comical, and unafraid to embrace plenty of action, A Bullet for the General is not only the first Zapata western, but also one of the most fun spaghetti westerns out there. Beautifully shot, sharply written, and carried by unforgettable performances from Gian Maria Volonté, who found stardom through Leone’s A Fistful of Dollars and For a Few Dollars More, and Klaus Kinski, the man who played the creepiest Dracula the world has ever seen, A Bullet for the General is an epic and sweeping journey with a powerhouse climax.
    [Show full text]
  • Online Versions of the Handouts Have Color Images & Hot Urls September
    Online versions of the Handouts have color images & hot urls September 6, 2016 (XXXIII:2) http://csac.buffalo.edu/goldenrodhandouts.html Sam Wood, A NIGHT AT THE OPERA (1935, 96 min) DIRECTED BY Sam Wood and Edmund Goulding (uncredited) WRITING BY George S. Kaufman (screenplay), Morrie Ryskind (screenplay), James Kevin McGuinness (from a story by), Buster Keaton (uncredited), Al Boasberg (additional dialogue), Bert Kalmar (draft, uncredited), George Oppenheimer (uncredited), Robert Pirosh (draft, uncredited), Harry Ruby (draft uncredited), George Seaton (draft uncredited) and Carey Wilson (uncredited) PRODUCED BY Irving Thalberg MUSIC Herbert Stothart CINEMATOGRAPHY Merritt B. Gerstad FILM EDITING William LeVanway ART DIRECTION Cedric Gibbons STUNTS Chuck Hamilton WHISTLE DOUBLE Enrico Ricardi CAST Groucho Marx…Otis B. Driftwood Chico Marx…Fiorello Marx Brothers, A Night at the Opera (1935) and A Day at the Harpo Marx…Tomasso Races (1937) that his career picked up again. Looking at the Kitty Carlisle…Rosa finished product, it is hard to reconcile the statement from Allan Jones…Ricardo Groucho Marx who found the director "rigid and humorless". Walter Woolf King…Lassparri Wood was vociferously right-wing in his personal views and this Sig Ruman… Gottlieb would not have sat well with the famous comedian. Wood Margaret Dumont…Mrs. Claypool directed 11 actors in Oscar-nominated performances: Robert Edward Keane…Captain Donat, Greer Garson, Martha Scott, Ginger Rogers, Charles Robert Emmett O'Connor…Henderson Coburn, Gary Cooper, Teresa Wright, Katina Paxinou, Akim Tamiroff, Ingrid Bergman and Flora Robson. Donat, Paxinou and SAM WOOD (b. July 10, 1883 in Philadelphia, Pennsylvania—d. Rogers all won Oscars. Late in his life, he served as the President September 22, 1949, age 66, in Hollywood, Los Angeles, of the Motion Picture Alliance for the Preservation of American California), after a two-year apprenticeship under Cecil B.
    [Show full text]
  • The Creative Process
    The Creative Process THE SEARCH FOR AN AUDIO-VISUAL LANGUAGE AND STRUCTURE SECOND EDITION by John Howard Lawson Preface by Jay Leyda dol HILL AND WANG • NEW YORK www.johnhowardlawson.com Copyright © 1964, 1967 by John Howard Lawson All rights reserved Library of Congress catalog card number: 67-26852 Manufactured in the United States of America First edition September 1964 Second edition November 1967 www.johnhowardlawson.com To the Association of Film Makers of the U.S.S.R. and all its members, whose proud traditions and present achievements have been an inspiration in the preparation of this book www.johnhowardlawson.com Preface The masters of cinema moved at a leisurely pace, enjoyed giving generalized instruction, and loved to abandon themselves to reminis­ cence. They made it clear that they possessed certain magical secrets of their profession, but they mentioned them evasively. Now and then they made lofty artistic pronouncements, but they showed a more sincere interest in anecdotes about scenarios that were written on a cuff during a gay supper.... This might well be a description of Hollywood during any period of its cultivated silence on the matter of film-making. Actually, it is Leningrad in 1924, described by Grigori Kozintsev in his memoirs.1 It is so seldom that we are allowed to study the disclosures of a Hollywood film-maker about his medium that I cannot recall the last instance that preceded John Howard Lawson's book. There is no dearth of books about Hollywood, but when did any other book come from there that takes such articulate pride in the art that is-or was-made there? I have never understood exactly why the makers of American films felt it necessary to hide their methods and aims under blankets of coyness and anecdotes, the one as impenetrable as the other.
    [Show full text]
  • Euro West Syllabus 2021
    SFA School of Art Art Parallels In Media / Art 4378 Credits: 3 SPRING 2021 Instructor: Ron J. King Course Time & Location: Fridays, Online/Zoom/D2L 2:00-4:30 F Office: ART ANNEX (Shop) Office Hours: 8-5 Shop / M-TH Office Phone: 468-4416 Email: [email protected] Prerequisites: I. Course Description: This course will serve as an introduction to the European western film; more specifically, the films termed "spaghetti westerns" of the Italian cinema during the 1960's and '70's. We will study the artistic merits of such films, but we shall also take a greater view of the subject matter, hypothesizing the links to the sociopolitical situations in existence at the time, and how these conditions may have had an artistic impact on the films themselves. We are also interested in the larger art scene at whole, and how established movements, such as Symbolism, Surrealism and Expressionism may have had an impact on film-making at the time, intentional or not. Lastly, we are interested in the myth and reality of the American "Old West", and how these films interpreted this time period. By understanding the “bigger picture” to the phenomenon of the European western film, students can start to investigate and question arenas surrounding the films themselves; such as art movements and their influences, as well as political, social and historical concerns, along with the study of the technical merits of the film themselves. II. Intended Learning Outcomes/Goals/Objectives (Program/Student Learning Outcomes): We will study, through lecture, interaction and viewing of the films themselves, what established the notions of the western film and what possible explanations may exist as to why this genre came into being, thus influencing our modern perceptions of not only cinema, but society and our perceptions of reality.
    [Show full text]
  • Quentin Tarantino Retro
    ISSUE 59 AFI SILVER THEATRE AND CULTURAL CENTER FEBRUARY 1– APRIL 18, 2013 ISSUE 60 Reel Estate: The American Home on Film Loretta Young Centennial Environmental Film Festival in the Nation's Capital New African Films Festival Korean Film Festival DC Mr. & Mrs. Hitchcock Screen Valentines: Great Movie Romances Howard Hawks, Part 1 QUENTIN TARANTINO RETRO The Roots of Django AFI.com/Silver Contents Howard Hawks, Part 1 Howard Hawks, Part 1 ..............................2 February 1—April 18 Screen Valentines: Great Movie Romances ...5 Howard Hawks was one of Hollywood’s most consistently entertaining directors, and one of Quentin Tarantino Retro .............................6 the most versatile, directing exemplary comedies, melodramas, war pictures, gangster films, The Roots of Django ...................................7 films noir, Westerns, sci-fi thrillers and musicals, with several being landmark films in their genre. Reel Estate: The American Home on Film .....8 Korean Film Festival DC ............................9 Hawks never won an Oscar—in fact, he was nominated only once, as Best Director for 1941’s SERGEANT YORK (both he and Orson Welles lost to John Ford that year)—but his Mr. and Mrs. Hitchcock ..........................10 critical stature grew over the 1960s and '70s, even as his career was winding down, and in 1975 the Academy awarded him an honorary Oscar, declaring Hawks “a giant of the Environmental Film Festival ....................11 American cinema whose pictures, taken as a whole, represent one of the most consistent, Loretta Young Centennial .......................12 vivid and varied bodies of work in world cinema.” Howard Hawks, Part 2 continues in April. Special Engagements ....................13, 14 Courtesy of Everett Collection Calendar ...............................................15 “I consider Howard Hawks to be the greatest American director.
    [Show full text]
  • Sir Gawain and the Green Knight
    A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF SIR GAWAIN AND THE GREEN KNIGHT BY KELLI McCALL SELF TEACHER’S GUIDE TEACHER’S DR Gawain TG 100912a.indd 1 10/24/12 4:55 PM 2 A Teacher’s Guide to Sir Gawain and the Green Knight TABLE OF CONTENTS INTRODUCTION ........................................................................................................................3 LIST OF CHARACTERS .............................................................................................................3 SYNOPSIS OF THE POEM .......................................................................................................4 PREREADING ACTIVITIES .......................................................................................................6 I. BUILDING BACKGROUND KNOWLEDGE IN HISTORY AND LITERATURE ................................................................................6 II. BUILDING BACKGROUND KNOWLEDGE THROUGH INITIAL EXPLORATION OF THEMES ............................................10 DURING READING ACTIVITIES..........................................................................................13 I. DISCUSSION QUESTIONS ..................................................................................13 II. ACTIVITIES TO GENERATE RESPONSE AND EXPLORATION OF THE TEXT ......................................................................15 AFTER READING ACTIVITIES .............................................................................................16 I. TEXTBASED TOPICS FOR ESSAYS AND DISCUSSIONS ..........................16
    [Show full text]
  • Difficult Viewing and Listening
    May / June 2018 special events NEW WORLD DOCUMENTARIES Ask the Sexpert Difficult Viewing Canadian & International Features and Listening: The Green Fog An Experimental Animation Retrospective www.winnipegcinematheque.com May 2018 WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY 2 3 4 5 6 Ask the Sexpert / 7 pm Ask the Sexpert / 7 pm African Movie Festival: African Movie Festival: Ask the Sexpert / 3 pm Jane / 9 pm Ben & Ara / 7 pm Congo! The Silence of Jane / 5 pm & 7 pm the Forgotten Crimes / 11 am Uprize / 2 pm Greetings from Moruroa / 6:30 pm The Lucky Specials / 8:30 pm 9 10 11 12 13 Ask the Sexpert / 7 pm Jane / 7 pm Transformation: Terril Calder’s Ask the Sexpert / 3 pm Ask the Sexpert / 3 pm Ask the Sexpert / 9 pm Animated Shorts / 7 pm Jane / 5 pm Metric: Dreams So Real / 5 pm & 7 pm Ask the Sexpert / 9 pm Transformation: The Lodge / 7 pm Metric: Dreams So Real / 9 pm 16 17 18 19 20 Ask the Sexpert / 7 pm Difficult Viewing and Punjabi Cinema: The Young Karl Marx / 3 pm & 9 pm The Young Karl Marx / / 3 pm & 7 pm Listening / 7 pm Bhaji on the Beach / 7 pm Boom For Real / 5 pm & 7 pm Boom For Real / 5:15 pm Boom For Real / 9 pm The Young Karl Marx / 9 pm 23 24 25 26 27 Loveless / 7 pm Loveless / 7 pm The Young Karl Marx / 7 pm The Young Karl Marx / 3 pm Loveless / 3 pm The Young Karl Marx / 9:30 pm Star Robot / 9:15 pm Loveless / 6 pm Boom For Real / 7 pm Boom For Real / 9 pm 30 31 Loveless / 7 pm McDonald at the Movies: Being John Malkovich / 7 pm Boom For Real / 9:15 pm June 2018 WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY 1 2 3 Loveless
    [Show full text]
  • Black Hollywood: the Stereotypes, Erasure, and Social Inclusivity of Black Entertainers in Hollywood, 1930-60S
    Bard College Bard Digital Commons Senior Projects Fall 2015 Bard Undergraduate Senior Projects Fall 2015 Black Hollywood: The Stereotypes, Erasure, and Social Inclusivity of Black Entertainers in Hollywood, 1930-60s Jalen Thomas Robinson Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_f2015 Part of the American Film Studies Commons, and the Cultural History Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Robinson, Jalen Thomas, "Black Hollywood: The Stereotypes, Erasure, and Social Inclusivity of Black Entertainers in Hollywood, 1930-60s" (2015). Senior Projects Fall 2015. 27. https://digitalcommons.bard.edu/senproj_f2015/27 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Robinson 1 Black Hollywood: The Stereotypes, Erasure, and Social Inclusivity of Black Entertainers in Hollywood, 1930-60s Senior Project submitted to the Division of Arts of Bard College By Jalen Robinson Annandale-on-Hudson, New York November 2015 Robinson 2 The period between the First and Second World Wars spurred a unique perspective on Hollywood and its output of white-dominated films.
    [Show full text]
  • Issue #73 Winter 2008 Lars Bloch Interview (Part 3) Legend of the Incas Buffalo Bill in Rome Frank Brana Interview Latest DVD Reviews
    Issue #73 Winter 2008 Lars Bloch Interview (part 3) Legend of the Incas Buffalo Bill in Rome Frank Brana Interview Latest DVD reviews WAI! #73 THE SWINGIN’ DOORS Well summer is over and it’s time for the fall and winter seasons to begin. Life goes into hibernation as we sit around the TV set more and more during the colder weather. But wait, I just received a postcard from my old buddy Neil Summers who says he just received a call from Terence Hill and they will be filming a new western in Santa Fe, New Mexico starting October 9th. The new made for Italian TV film is called “Doc West” and features Hill as a former doctor who is now a traveling gambler trying to forget a botched operation on a small boy who he feels died by his hands. Also starring is Paul Sorvino as the town’s sheriff. So much for a nice quiet winter, we’ll keep you posted on all the developments as well as Neil’s updates. Always nice to see a Spaghetti western being made again and Neil says if this generates enough interest it will become a weekly series. We have a welcome article by Italian scholar Armando Rotondi concerning a true event wherein Buffalo Bill was challenged by the ‘Butteri” (Italian cowboys). These actual events became the basis for the rare 1949 film “Buffalo Bill in Rome” starring Enzo Fiermonte. I hope to have more of these types of documents and reviews in future issues. My good friend, researcher and writer, Tom Prickette, took the time to watch, translate from the German text and submit a review for the recently released German language KOCH Media DVD of “The Legend of the Incas”.
    [Show full text]
  • This Is a List of the Titles and Classmarks of the Library's DVD Collection As of November 2018 for Quick Reference. the Colle
    St John’s College Library DVD Collection This is a list of the titles and classmarks of the Library’s DVD collection as of November 2018 for quick reference. The collection can be browsed in the AV Room on the First Floor, and current availability can be found via the online catalogue. The collection is constantly being updated so for the most up to date titles, please search the online catalogue. The first section of this guide is organised alphabetically by title. The second section is organised by language/country. Title Call Number 8 1/2 DVD ITA.ott.fel 8 1/2 DVD ITA.ott.fel 36 DVD FRE.tre.mar 1871 DVD ENG.eig.mcm 1984 DVD ENG.nin.rad 2046 DVD CHI.twe.won 10 Cloverfield Lane DVD ENG.ten.tra 10 things I hate about you DVD ENG.ten.jun 1000 Dollari sul nero = Blood at Sundown DVD ITA.mil.sir 10000 dollari per un massacro = $10000 blood money DVD ITA.die.gue 12 years a slave DVD ENG.twe.mcq 20,000 days on Earth DVD ENG.twe.for 2001 : a space odyssey DVD ENG.two.kub 28 days later DVD ENG.twe.boy 2point4 children the complete series three DVD ENG.two.mar 3 godfathers DVD ENG.thr.for 45 years DVD ENG.for.hai 47 ronin DVD JAP.shi.ich 50 years of the Cuban revolution DVD SPA.fif.cub 50 years of the Cuban revolution DVD SPA.fif.cub 50 years of the Cuban revolution DVD SPA.fif.cub 50 years of the Cuban revolution DVD SPA.fif.cub 60s collection DVD FRE.god.god 8 women DVD FRE.hui.ozo A beautiful mind DVD ENG.bea.how A bit of Fry and Laurie the complete fourth series DVD ENG.bit.spi A bronx tale DVD ENG.bro.den A bullet for the general DVD ITA.qui.dam A Christmas tale a film by Arnaud Desplechin.
    [Show full text]
  • Greta Garbo Collecton
    Greta Garbo Collection (1924-1941) Inventory Portraits and film stills of Greta Garbo, including many original photographs from a scrapbook compiled and donated by Estelle Patterson Fox, together with the scrapbook pages. The scrapbook includes newspaper and magazine articles on the life and career of Garbo, together with magazine and newsprint photos, and a number of coloured covers of Garbo from the film magazines of the 1920’s and 1930’s. While many of the sources and dates are not noted, and articles are not always arranged in chronological order, the scrapbook is a wealth of material from the fan magazines of the period. 2 boxes (23 envelopes and 14 file folders); .26 linear metres. Box #1: PHOTOGRAPHS Env. #1: Portraits – 45 items Env. #2: Anna Christie (1930) – 13 items Env. #3: As You Desire Me (1932) – 6 items Env. #4: Camille (1936) – 5 items Env. #5: The Divine Woman (1928) – 2 items Env. #6: Flesh and the Devil (1927) – 5 items Env. #7: Gosta Berling’s Saga (1924) – 2 items Env. #8: Grand Hotel (1932) – 18 items Env. #9: Inspiration (1931) – 14 items Env. #10: The Kiss (1929) – 3 items Env. #11: Love (1927) – 2 items Env. #12: Mata Hari (1931) – 9 items Env. #13: The Mysterious Lady (1928) – 4 items Env. #14: Ninotchka (1939) – 21 items Greta Garbo Collection Inventory Page 2 of 4 Env. #15: Queen Christina (1933) – 32 items Env. #16: Romance (1930) – 7 items Env. #17: The Single Standard (1929) – 2 items Env. #18: Susan Lenox-Her Fall and Rise (1931) – 13 items Env. #19: The Temptress (1926) – 8 items Env.
    [Show full text]
  • NINOTCHKA (1939, 110 Min)
    February 1, 2011 (XXII:3) Ernst Lubitsch, NINOTCHKA (1939, 110 min) Directed by Ernst Lubitsch Written by Charles Brackett, Billy Wilder, Walter Reisch, Melchior Lengyel (story) Produced by Ernst Lubitsch and Sidney Franklin Cinematography by William H. Daniels Edited by Gene Ruggiero Art Direction by Cedric Gibbons Costume Design by Adrian Greta Garbo...Ninotchka Melvyn Douglas...Leon Ina Claire...Swana Bela Lugosi...Razinin Sig Ruman...Iranoff Felix Bressart...Buljanoff Alexander Granach...Kopalski Gregory Gaye...Rakonin CHARLES BRACKETT (November 26, 1892, Saratoga Springs, New National Film Registry 1990 York – March 9, 1969, Los Angeles, California) won four Academy Awards: 1946 – Best Screenplay (The Lost Weekend) – shared w. ERNST LUBITSCH (January 28, 1892, Berlin, Germany – November Billy Wilder; 1951 – Best Screenplay (Sunset Blvd.) – w. Billy 30, 1947, Hollywood, California) won an honorary Academy Wilder, D.M. Marshman Jr.; 1954 – Best Screenplay (Titanic) – w. Award in 1947. He directed 47 films, some of which were 1948 Walter Reisch, Richard L. Breen; and 1958 – Honorary Award – That Lady in Ermine, 1946 Cluny Brown, 1943 Heaven Can Wait, (“for outstanding service to the Academy”). He has 46 1942 To Be or Not to Be, 1941 That Uncertain Feeling, 1940 The screenwriting titles, some of which are 1959 Journey to the Center Shop Around the Corner, 1939 Ninotchka, 1938 Bluebeard's Eighth of the Earth, 1956 “Robert Montgomery Presents”, 1955 The Girl Wife, 1937 Angel, 1935 La veuve joyeuse, 1934 The Merry Widow, in the Red Velvet
    [Show full text]