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Von Billy Wilder]
Kleine Filmografie [von Billy Wilder] Objekttyp: Group Zeitschrift: Filmbulletin : Zeitschrift für Film und Kino Band (Jahr): 22 (1980) Heft 116 PDF erstellt am: 24.09.2021 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 KLEINE FILMOGRAFIE Geboren am 22. Juni 1906 in Sucha, Provinz Galizien, Oesterreich (heute Polen) als Samuel Wilder. Rufname Billie. Gymnasium in Wien, Um 1926 als freier Mitarbeiter zahlreicher Tageszeitungen und als Ghostwriter verschiedener Stummfilmautoren tätig in Berlin. Erste Nennung als Drehbuchautor beim Stummfilm DER TEUFELSREPORTER (1929). Laufbahn als professioneller Drehbuchautor nach dem mit Freunden realisierten MENSCHEN AM SONNTAG (1930^ R: Robert Siodmak/E.G.UImer). -
Schedule of the Films of Billy Wilder
je Museum of Modern Art November 1964 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart THE MUSEUM OF MODERN ART FILM LIBRARY PRESENTS THE FILMS OF BILLY WILDER Dec. 13.16 MENSCHEN AM SONNTAG (PEOPLE ON SUNDAY). I929. Robert Siodmak's cele brated study of proletarian life gave Wilder hie first taste of film making. (George Eastman House) 55 minutes. No English titles. Dec. IT-19 EMIL UND DIE DETEKTIVE. 1951. Small boys carry on psychological war fare against a crook in this Gerhard Lamprecht comedy for which Wilder helped write the script. (The Museum of Modern Art) 70 minutes. No English titles. Dec. 20-23 NINOTCHKA. 1939. Ernst Lubitsch's ironic satire on East-West relations just before World War II, in which Garbo gave her most delicately articulated performance with Melvyn Douglas, and for which Wilder, with Charles Brackett and Walter Reisch, wrote the script. Based on the story by Melchior Lengyel. (M-G-M) 110 minutes. Dec. 2k~26 MIDNIGHT. 1959. One of the most completely and purposely ridiculous examples of the era of screwball comedy, with a powerhouse of a cast, including Claudette Colbert, Don Ameche and John Barrymore, and Wilder and Brackett*s brilliant non-sequitur script. (MCA) 9U minutes. Dec. 27-30 HOLD BACK THE DAWN. 19*11. The plight of "stateless persons" in the late '30s and early 'UOs, with Olivia de Havllland, romantically yet convincingly dramatised by Wilder and Brackett. Directed by Mitchell Leisen. (MCA) 115 minutes. Dec. 31* THE MAJOR AND THE MINOR. 19te. This, the first film Wilder directed, Jan. -
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 -
INNOVATIVE TITLES ® ACADEMIC Cognella PUBLISHING
INSPIRING ACADEMIC EXCELLENCE THROUGH INNOVATIVE TITLES ® ACADEMIC cognella PUBLISHING Watching Wilder: A Critical Guide to Director Billy Wilder’s Films leads students through the experience of critically viewing the American films of Billy Wilder, one of the most influential and celebrated directors of the 20th century. Beginning with The Major and the Minor, the film that marks Billy Wilder’s American directorial debut in 1942, the text offers students a chronological tour of 25 films, including renowned works such as Double Indemnity, Sunset Blvd., Sabrina, The Apartment, and Some Like It Hot. Students are provided with background information for each film, as well as a set of thought-provoking questions that put them in the critic’s seat and elicit deeper analysis. As they progress through the films, students are encouraged to identify key themes and observe how Wilder’s work evolved over time. They learn from Wilder’s artistic eye for creating amazing mise en scene and his ability to successfully direct films across genres, including film noir, for which Wilder shares credit as a creator. The only comprehensive viewing guide for Billy Wilder’s films,Watching Wilder is a valuable resource for film courses with concentration in directing, writing, and production. Sherry Lowell-Lewis is a film actor and screenwriter, tele- vision actor, stage actor and playwright, and voice recording artist. She received her M.A. in drama and speech from the University of Texas at El Paso. Lowell-Lewis previously taught Watching Wilder courses in drama and film at El Paso Community College and A Critical Guide to Director Billy Wilder’s Films currently serves as a lecturer of communication and film at The University of Texas at El Paso. -
Winter2018smaller.Pdf
new releases Great War Horses (The Fate of 1918) Closing Gambit Over 130,000 Australian horses served in the Great War 1978 Korchnoi versus Karpov and the Kremlin. and none came home. Known as Walers, they could Fascinating story of the 1978 World Chess withstand great heat, travel great distances and perform Championship between the Soviet Communist Party’s great feats in battle. They served their Light Horsemen in protege, Anatoly Karpov, and the traitor and Soviet the ‘Desert War’. Across the inhospitable terrain of the defector, Viktor Korchnoi. One of those instances in life Middle East, they carried the first of the victorious Allied where truth is stranger than fiction. forces into Damascus in 1918. REF: SBD117 | E | 2016 | PRICE: £9.99 REF: SBD114 | E | 2018 | PRICE: £12.99 Two Female Spies With Flowered Panties Checkmate Lina Romay (Bared Wire Dolls and Macumba) and Gorgeous Mediterranean beaches are no distraction Lynn Monteil (Zombie Lake and Sadomania) star as for the Checkmate grandmasters. Ten of the top a pair of cunning bisexual strippers released from chess champions in the world bring their best game prison to work undercover for the U.S. government. to the table, while hosts Anna and Simon provide What follows is a deranged mélange of kinky quick-witted commentary on the competition. threesomes, crazed S&M, depraved white slavers and audacious international politics. REF: MR008 | 18 | 1980 | PRICE: £9.99 REF: SBD118 | E | 2017 | PRICE: £14.99 Cecilia Meatball Machine Kodoku blu-ray After repeatedly flaunting her peerless body to 50 year-old nebbish debt collector, Yuji, tries to her servants, snobbish aristocrat Cecila (Muriel turn his life around when he meets the young and Montrossé) becomes the victim of abuse. -
Billy Wilder: Eine Arbeitsbibliographie 2012
Repositorium für die Medienwissenschaft Hans Jürgen Wulff Billy Wilder: Eine Arbeitsbibliographie 2012 https://doi.org/10.25969/mediarep/12774 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen: Billy Wilder: Eine Arbeitsbibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2012 (Medienwissenschaft: Berichte und Papiere 141). DOI: https://doi.org/10.25969/mediarep/12774. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0141_12.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Hamburg: Berichte und Papiere 141, 2012: Billy Wilder. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. ISSN 1613-7477. ULR: http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0141_12.pdf Letzte Änderung: 20.8.2012. Billy Wilder: Eine Arbeitsbibliographie Zusammengestellt v. Hans J. Wulff [*] Für Hinweise danke ich Ludger Kaczmarek und Ina Kreuzregister der Titel Wuff. Eingegangen sind Teile der verdienstvollen Biblio- graphie, die Frank Arnold für den Begleitband der Berli- (in der Chronologie der Filme) -
From Hitler to Hollywood: Transnational Cinema in World War Ii
FROM HITLER TO HOLLYWOOD: TRANSNATIONAL CINEMA IN WORLD WAR II Joy L. Bennett A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2011 Committee: Dr. Beth Griech-Polelle, Advisor Dr. Rebecca Mancuso ABSTRACT Dr. Beth Griech-Polelle, Advisor This is a comparative study between the film industries of Nazi Germany and the United States in World War II. I examine the governmental influence on the cinematic industries and how that affected the people. I also show that the Nazi government had more influence than is generally thought over the United States and the film industry in Hollywood. The émigrés that had to flee the Nazis brought new ideas to Hollywood, creating new genres of film. The use of Government documents, diaries, memoirs, films as well as secondary sources are the major sources. The government documents were obtained from the Motion Picture Artists Association Archive, and deal specifically with the Office of War Information. The OWI created rules for filmmaking in the war years and oversaw many productions, including Army training films. The diaries are those of Propaganda Minister Joseph Goebbels, and I include an appendix of statements he made regarding films. In looking at certain émigrés and stars in both Hollywood and Germany, I use autobiographies and biographies detailing the lives of the famous in the pertinent years. Many of the secondary sources are previously written works about the creation of cinema, Hollywood history and the German cinematic industry. I use many films to illustrate the ideas that were being expressed to the public, as well as entertaining the people. -
Chapter 5. All Dressed up and Running Wild: Some Like It Hot (1959)
Chapter 5 ALL DRESSED UP AND RUNNING WILD: SOME LIKE IT HOT (1959) “Whatever meaning you will fi nd in my pictures, it’s all put in kind of con- traband, you know—sort of smuggled in.” —Billy Wilder1 “Satires that are understood by the censor should indeed be forbidden.” —Karl Kraus2 Trading in Counterfeits A hearse drives through a city at night, four somber men inside seated around a coffi n. A siren is heard, faint at fi rst but rapidly growing louder. The driver and the man next to him exchange nervous glances; the men in back peek through the curtain and see a police car bearing down on them. The driver accelerates, weaving crazily through traffi c while the police- men behind them open fi re. The men in back pull a couple of sawed-off shotguns from a hidden overhead rack and return fi re. Bullets riddle their car, smashing the glass panel. Suddenly, the police car skids out of control, jumps the curb, and comes to a screeching halt while the gangsters escape. But bullets have penetrated the coffi n and liquid is spurting through the bullet holes. Taking the lid off the men reveal that the coffi n is fi lled to the top with liquor bottles, some of them broken. A superimposed title informs us where we are—it’s Chicago, 1929. Thus opens Some Like It Hot, set in Al Capone’s wintry city during the time of Prohibition, the speakeasy, organized crime, and gang warfare. Yet what begins as a gangster fi lm in the tradition of Scarface (Howard Hawks, 1932) and such Warner classics as The Public Enemy (William Well- man, 1931), Angels with Dirty Faces (Michael Curtiz, 1938) and The Roar- ing Twenties (Raoul Walsh, 1939) soon reveals its more parodic dimension. -
Billy Wilder (1906-2002)
Billy Wilder (1906-2002) “People copy, people steal. Most of the pictures they make nowadays are loaded down with special effects. I couldn't do that. I quit smoking because I couldn't reload my Zippo..” — Billy Wilder, quoted in The New York Times An Austrian Legend He was born Samuel Wilder on June 22, 1906 in a remote corner of a remote province of the Austro-Hungarian Empire (now part of Poland). He died at his home in Beverly Hills, California on March 27, 2002. In the intervening 95 years, an impressive life story unfolded, a life that was to have a lasting impact on Hollywood and world cinema. Wilder's mother nicknamed her young son “Billie” because she had seen the Buffalo Bill Wild West show as a teenager. By the time Billie was four years old (the “Billy” spelling came after Wilder was in the U.S.), the family had a fine home in Vienna's toney First District, living both there and in Kraców until the First World War tore the old Empire apart and created hard times for the Wilders and all Austrians. The recent Broadway and London musical productions of Sunset Boulevard, based on Billy Wilder's 1950 movie of the same name, and the 1995 remake of Sabrina, Wilder's 1954 romantic tale featuring Audrey Hepburn, Humphrey Bogart, and William Holden, are good illustrations of how director Billy Wilder's films tend to endure, much like the man himself. Wilder was still active in his nineties, even if he was no longer directing award-winning movies. -
Meiermovies Feature Films by Year
MeierMovies Feature Films by Year 2021 – 19 The Eyes of Tammy Faye – 4 Tiny Tim: King for a Day – 3 ¾ Street Gang: How We Got to Sesame Street Television Event Stillwater – 3 ½ The Lost Leonardo Supernova – 3 ¼ The Courier Les Nôtres (Our Own) FL – 3 CODA – 2 ¾ Mandibules (Mandibles) FL Lily Topples the World ↑THUMBS UP ↓THUMBS DOWN Val – 2 ½ The Little Things – 2 ¼ Lorelei – 2 The Card Counter – 1 ¾ Old – 1 ½ The Catch – 1 ¼ Prisoners of the Ghostland – ½ 2020 – 75 The Father – 4 ½ Minari FL – 4 ¼ Wanda, Mein Wunder (My Wonderful Wanda) FL – 4 The Trial of the Chicago 7 Waiting for the Barbarians Boys State My Octopus Teacher Gunda – 3 ¾ Nomadland * Soul The Way Back Some Kind of Heaven Desert One Ma Rainey’s Black Bottom – 3 ½ The Quarry Sound of Metal Mogul Mowgli Ammonite Jimmy Carter: Rock ‘n’ Roll President Those Who Remained FL – 3 ¼ First Cow One Night in Miami News of the World Spaceship Earth The Invisible Man John Lewis: Good Trouble Summerland Click back to home page of MeierMovies.com The Lodge I’m Your Woman The Last Vermeer (a.k.a. Lyrebird) – 3 The Midnight Sky The Perfect Candidate FL Asia FL The Trip to Greece TV Relic Aulcie The Truffle Hunters FL Born Into the Gig Can Art Stop a Bullet: William Kelly’s Big Picture Tesla – 2 ¾ The Crossing FL Hillbilly Elegy Fandango at the Wall FL Ottolenghi and the Cakes of Versailles Over the Moon ↑THUMBS UP ↓THUMBS DOWN The Nest – 2 ½ Blackbird Undine FL – 2 ¼ On the Rocks True History of the Kelly Gang The Dark and the Wicked Mulan Onward Possessor – 2 Tenet The Turning Mank Wendy The Assistant Promising Young Woman I’m Thinking of Ending Things – 1 ¾ How to Build a Girl The Hunt Shiva Baby The Personal History of David Copperfield Greed – 1 ½ Palm Springs The Prom Unhinged The Wretched – 1 ¼ Shithouse Bad Hair – 1 Like a Boss – ½ The Climate of the Hunter Your Iron Lady FL Note: COVID-19 forced many films this year to cancel their theatrical and/or festival releases and opt instead for releases via Web (streaming), TV and/or DVD/Blu-ray. -
Wilder Rétrospective 3 Janvier – 7 Février
COMÉDIES MUSICALES COMÉDIES PROGRAMMATION BILLY WILDER RÉTROSPECTIVE 3 JANVIER – 7 FÉVRIER Certains l’aiment chaud 49 Boulevard du crépuscule LE SPECTACLE DE LA SOCIÉTÉ Il a réalisé à Hollywood certaines des comédies les plus célèbres de l’histoire du cinéma : Sept ans de réflexion, Certains l’aiment chaud… Il a contribué à l’inven- tion du « film noir » (Assurance sur la mort). Il a disséqué son propre monde ciné- matographique (Boulevard du crépuscule) et la société du spectacle (Le Gouffre aux chimères). Il a tourné enfin de beaux films drôles et mélancoliques (Avanti !, La Vie privée de Sherlock Holmes). Il a surtout radiographié avec ses scénaristes l’imaginaire et les fantasmes de l’Américain moyen (La Garçonnière, Embrasse- moi, Idiot !). Billy Wilder ou l’un des grands noms d’un studio system qu’il a tou- jours su servir sans se départir de son esprit acéré et de son regard impitoyable. Au firmament des grands cinéastes, Billy Wilder occupe une place paradoxale et toujours âprement discutée. Célébré à juste titre comme l’auteur d’une succession de chefs-d’œuvre intemporels, tels que les inoubliables Boulevard du crépuscule (1950), Certains l’aiment chaud (1959) ou La Garçonnière (1960), il est néanmoins et depuis longtemps la cible d’un snobisme tenace, ne voyant dans sa virtuosité d’écriture et son ironie explosive (et sans doute aussi dans sa popularité jamais CINEMATHEQUE.FR démentie) que l’expression d’une profonde vulgarité – le mot est lâché. Vulgaire Billy Wilder mode d’emploi : serait donc la façon dont Wilder, disciple du prince de la comédie Ernst Lubitsch, retrouvez une sélection perpétua son héritage mais sans les bulles de champagne, en pratiquant un humour subjective de 5 films dans la filmographie de Billy Wilder, qui serrait de beaucoup plus près l’objet de ses litotes et allusions, accompagnant comme autant de portes en cela le relâchement progressif du Code Hays entre les années 1950 et 1970. -
BFI Annual Review 2007-2008 There’S More to Discover About Film and Television Through the BFI
BFI Annual Review 2007-2008 There’s more to discover about film and television through the BFI. Our world-renowned archive, cinemas, festivals, films, publications and learning resources are here to inspire you. 2Front cover: BFIDracula Annual (1958) Review 2007-2008 Contents Chair’s Report 3 Director’s Report 7 About the BFI 11 Summary of the BFI’s achievements › National Archive 15 › International Focus for Exhibition 21 › Distribution to Digital 27 2007-2008 – How we did 33 Financial Review 35 Appendices 41 Front cover: Dracula (1958) BFI Annual Review 2007-2008 3 Chair’s Report From its origins in the nineteenth century, This is a significant achievement but it is not cinema became the most influential – and enough. The rapid development of digital pervasive – art-form of the twentieth century. technology means we now have the opportunity The subsequent near-universal adoption of to multiply our impact, and to provide every television in the second half of the last century British citizen, no matter where they live, with engrained the moving image in our daily lives. greater access to the national archive. This, in And today, with the spread of the internet and the turn, will enable a new generation not just to development of cheap recording equipment, the watch work from previous eras but to create new moving image is entering a new phase – one in work for themselves and the future. We have – which anyone can create moving images to record albeit in a largely opportunistic way – created a and share their understanding of the world. major digital presence through such things as the development of downloads, our Screenonline The BFI is at the centre of this world: resource, our filmographic database and our YouTube channel.