1001 Movies You Must See Before You Die (2016)

Total Page:16

File Type:pdf, Size:1020Kb

1001 Movies You Must See Before You Die (2016) 1001 MOVIES YOU MUST SEE BEFORE YOU DIE (2016) LE VOYAGE DANS LA LUNE (1902) THE GREAT TRAIN ROBBERY (1903) THE BIRTH OF A NATION (1915) LES VAMPIRES (1915) INTOLERANCE (1916) THE CABINET OF DR. CALIGARI (1919) BROKEN BLOSSOMS (1919) WITHIN OUR GATES (1920) THE PHANTOM CARRIAGE (1921) ORPHANS OF THE STORM (1921) LA SOURIANTE MADAME BEUDET (1922) DR. MABUSE, DER SPIELER (1922) PARTS 1 AND 2 NANOOK OF THE NORTH (1922) NOSFERATU, EINE SYMPHONIE DES GRAUENS (1922) HAXAN (1923) FOOLISH WIVES (1922) OUR HOSPITALITY (1923) THE WHEEL (1923) THE THIEF OF BAGDAD (1924) STRIKE (1924) GREED (1924) THE GREAT WHITE SILENCE (1924) SHERLOCK, JR. (1924) DER LETZTE MANN (1924) THE EAGLE (1925) THE PHANTOM OF THE OPERA (1925) THE BATTLESHIP POTEMKIN (1925) THE GOLD RUSH (1925) THE BIG PARADE (1925) THE ADVENTURES OF PRINCE ACHMED (1926) METROPOLIS (1927) SUNRISE (1927) THE GENERAL (1927) THE UNKNOWN (1927) OCTOBER (1927) THE JAZZ SINGER (1927) NAPOLON (1927) THE KID BROTHER (1927) THE CROWD (1928) THE DOCKS OF NEW YORK (1928) UN CHIEN ANDALOU (1928) LA PASSION DE JEANNE D’ARC (1928) STEAMBOAT BILL, JR. (1928) STORM OVER ASIA (1928) BLACKMAIL (1929) THE MAN WITH THE MOVIE CAMERA (1929) PANDORA'S BOX (1929) A THROW OF DICE (1929) THE BLUE ANGEL (1930) L'AGE D'OR (1930) EARTH (1930) LITTLE CAESAR (1930) ALL QUIET ON THE WESTERN FRONT (1930) A NOUS LA LIBERTE (1931) LIMITE (1931) TABU (1931) DRACULA (1931) FRANKENSTEIN (1931) CITY LIGHTS (1931) THE PUBLIC ENEMY (1931) M (1931) VAMPYR (1932) LOVE ME TONIGHT (1932) BOUDU SAUVE DES EAUX (1932) I AM A FUGITIVE FROM A CHAIN GANG (1932) TROUBLE IN PARADISE (1932) SCARFACE (1932) SHANGHAI EXPRESS (1932) FREAKS (1932) ZERO DE CONDUITE (1933) 42ND STREET (1933) FOOTLIGHT PARADE (1933) GOLD DIGGERS OF 1933 (1933) SHE DONE HIM WRONG (1933) DUCK SOUP (1933) QUEEN CHRISTINA (1933) LAS HURDES (1933) KING KONG (1933) THE BITTER TEA OF GENERAL YEN (1933) SONS OF THE DESERT (1933) IT'S A GIFT (1934) TRIUMPH OF THE WILL (1934) THE GODDESS (1934) L'ATALANTE (1934) THE BLACK CAT (1934) IT HAPPENED ONE NIGHT (1934) THE THIN MAN (1934) CAPTAIN BLOOD (1935) MUTINY ON THE BOUNTY (1935) PETER IBBETSON (1935) A NIGHT AT THE OPERA (1935) THE 39 STEPS (1935) BRIDE OF FRANKENSTEIN (1935) TOP HAT (1935) UNE PARTIE DE CAMPAGNE (1936) MODERN TIMES (1936) SWING TIME (1936) MY MAN GODFREY (1936) MR. DEEDS GOES TO TOWN(1936) CAMILLE (1936) DODSWORTH (1936) THINGS TO COME (1936) THE STORY OF A CHEAT (1936) CAPTAINS COURAGEOUS (1937) MIDNIGHT SONG (1937) LA GRANDE ILLUSION (1937) STELLA DALLAS (1937) THE LIFE OF EMILE ZOLA (1937) MAKE WAY FOR TOMORROW (1937) SNOW WHITE AND THE SEVEN DWARVES (1937) THE AWFUL TRUTH (1937) PEPE LE MOKO (1937) JEZEBEL (1938) THE LADY VANISHES (1938) THE ADVENTURES OF ROBIN HOOD (1938) ANGELS WITH DIRTY FACES (1938) OLYMPIA (1938) THE BAKER'S WIFE (1938) BRINGING UP BABY (1938) STAGECOACH (1939) THE STORY OF THE LATE CHRYSANTHEMUMS (1939) MR. SMITH GOES TO WASHINGTON (1939) THE WIZARD OF OZ (1939) DESTRY RIDES AGAIN (1939) ONLY ANGELS HAVE WINGS (1939) GONE WITH THE WIND (1939) LE JOUR SE LEVE (1939) GUNGA DIN (1939) NINOTCHKA (1939) LA REGLE DU JEU (1939) WUTHERING HEIGHTS (1939) HIS GIRL FRIDAY (1940) REBECCA (1940) FANTASIA (1940) THE PHILADELPHIA STORY (1940) THE GRAPES OF WRATH (1940) PINOCCHIO (1940) THE MORTAL STORM (1940) THE BANK DICK (1940) CITIZEN KANE (1941) THE LADY EVE (1941) THE WOLF MAN (1941) THE MALTESE FALCON (1941) SERGEANT YORK (1941) DUMBO (1941) HIGH SIERRA (1941) SULLIVAN'S TRAVELS (1941) HOW GREEN WAS MY VALLEY (1941) THE PALM BEACH STORY (1942) MRS MINIVER (1942) NOW, VOYAGER (1942) CASABLANCA (1942) TO BE OR NOT TO BE (1942) CAT PEOPLE (1942) THE MAGNIFICENT AMBERSONS (1942) YANKEE DOODLE DANDY (1942) MESHES OF THE AFTERNOON (1943) FIRES WERE STARTED (1943) THE MAN IN GREY (1943) THE LIFE AND DEATH OF COLONEL BLIMP (1943) THE SEVENTH VICTIM (1943) THE OX-BOW INCIDENT (1943) SHADOW OF A DOUBT (1943) OSSESSIONE (1943) MEET ME IN ST. LOUIS (1944) TO HAVE AND HAVE NOT (1944) LAURA (1944) GASLIGHT (1944) HENRY V (1944) IVAN THE TERRIBLE PARTS 1 AND 2 (1944) DOUBLE INDEMNITY (1944) FAREWELL MY LOVELY (1944) THE BATTLE OF SAN PIETRO (1945) MILDRED PIERCE (1945) LES ENFANTS DU PARADIS (1945) ROMA, CITTA APERTA (1945) THE LOST WEEKEND (1945) DETOUR (1945) I KNOW WHERE I'M GOING! (1945) THE BEST YEARS OF OUR LIVES (1946) BRIEF ENCOUNTER (1946) PAISA (1946) THE POSTMAN ALWAYS RINGS TWICE (1946) MY DARLING CLEMENTINE (1946) LA BELLE ET LA BETE (1946) THE BIG SLEEP (1946) THE KILLERS (1946) A MATTER OF LIFE AND DEATH (1946) GREAT EXPECTATIONS (1946) NOTORIOUS (1946) BLACK NARCISSUS (1946) IT'S A WONDERFUL LIFE (1946) GILDA (1946) MONSIEUR VERDOUX (1947) BUILD MY GALLOWS HIGH (1947) ODD MAN OUT (1947) THE BICYCLE THIEF (1948) LETTER FROM AN UNKNOWN WOMAN (1948) SECRET BEYOND THE DOOR (1948) FORCE OF EVIL (1948) SPRING IN A SMALL TOWN (1948) RED RIVER (1948) ROPE (1948) THE SNAKE PIT (1948) THE LADY FROM SHANGHAI (1948) THE PALEFACE (1948) THE RED SHOES (1948) THE TREASURE OF THE SIERRA MADRE (1948) LOUISIANA STORY (1948) THE HEIRESS (1949) KIND HEARTS AND CORONETS (1949) GUN CRAZY (1949) ADAM'S RIB (1949) WHISKY GALORE! (1949) WHITE HEAT (1949) THE RECKLESS MOMENT (1949) THE THIRD MAN (1949) ON THE TOWN (1949) ORPHEE (1949) THE ASPHALT JUNGLE (1950) RASHOMON (1950) WINCHESTER '73 (1950) RIO GRANDE (1950) ALL ABOUT EVE (1950) SUNSET BLVD. (1950) LOS OLVIDADOS (1950) IN A LONELY PLACE (1950) THE BIG CARNIVAL (1951) A STREETCAR NAMED DESIRE (1951) STRANGERS ON A TRAIN (1951) THE LAVENDER HILL MOB (1951) PANDORA AND THE FLYING DUTCHMAN (1951) THE AFRICAN QUEEN (1951) DIARY OF A COUNTRY PRIEST (1951) AN AMERICAN IN PARIS (1951) A PLACE IN THE SUN (1951) THE DAY THE EARTH STOOD STILL (1951) THE QUIET MAN (1952) JEUX INTERDITS (1952) SINGIN' IN THE RAIN (1952) IKIRU (1952) EUROPA '51 (1952) THE BAD AND THE BEAUTIFUL (1952) HIGH NOON (1952) UMBERTO D (1952) THE GOLDEN COACH (1952) THE BIGAMIST (1953) THE BAND WAGON (1953) MADAME DE... (1953) FROM HERE TO ETERNITY (1953) TOKYO STORY (1953) ROMAN HOLIDAY (1953) WAGES OF FEAR (1953) THE NAKED SPUR (1953) PICKUP ON SOUTH STREET (1953) GENTLEMEN PREFER BLONDES (1953) THE BIG HEAT (1953) LES VACANCES DE MONSIEUR HULOT (1953) VOYAGE IN ITALY (1953) UGETSU MONOGATARI (1953) SHANE (1953) SUMMER WITH MONIKA (1953) JOHNNY GUITAR (1954) ON THE WATERFRONT (1954) LES DIABOLIQUES (1954) REAR WINDOW (1954) A STAR IS BORN (1954) THE BAREFOOT CONTESSA (1954) LA STRADA (1954) THE SEVEN SAMURAI (1954) SENSO (1954) SILVER LODE (1954) CARMEN JONES (1954) SANSHO DAYU (1954) SALT OF THE EARTH (1954) ARTISTS AND MODELS (1955) GUYS AND DOLLS (1955) OAKLAHOMA! (1955) PATHER PANCHALI (1955) BAD DAY AT BLACK ROCK (1955) THE MAD MASTERS (1955) HILL 24 DOESN’T ANSWER (1955) THE LADYKILLERS (1955) MARTY (1955) ORDET (1955) BOB LE FLAMBEUR (1955) KISS ME DEADLY (1955) REBEL WITHOUT A CAUSE (1955) THE PHENIX CITY STORY (1955) THE MAN WITH THE GOLDEN ARM (1955) SMILES OF A SUMMER NIGHT (1955) NIGHT AND FOG (1955) THE NIGHT OF THE HUNTER (1955) LOLA MONTES (1955) FORBIDDEN PLANET (1956) THE BURMESE HARP (1956) THE SEARCHERS (1956) A MAN ESCAPED (1956) WRITTEN ON THE WIND (1956) GIANT (1956) ALL THAT HEAVEN ALLOWS (1956) INVASION OF THE BODY SNATCHERS (1956) THE WRONG MAN (1956) BIGGER THAN LIFE (1956) HIGH SOCIETY (1956) THE TEN COMMANDMENTS (1956) 12 ANGRY MEN (1957) THE SEVENTH SEAL (1957) AN AFFAIR TO REMEMBER (1957) WILD STRAWBERRIES (1957) THE NIGHTS OF CABIRIA (1957) THRONE OF BLOOD (1957) THE INCREDIBLE SHRINKING MAN (1957) APARAJITO (1957) GUNFIGHT AT THE O.K. CORRAL(1957) THE BRIDGE ON THE RIVER KWAI (1957) MOTHER INDIA (1957) THE CRANES ARE FLYING (1957) PATHS OF GLORY (1957) SWEET SMELL OF SUCCESS (1957) MAN OF THE WEST (1958) TOUCH OF EVIL (1958) SOME CAME RUNNING (1958) CAIRO STATION (1958) GIGI (1958) THE DEFIANT ONES (1958) VERTIGO (1958) ASHES AND DIAMONDS (1958) DRACULA (1958) MON ONCLE (1958) THE MUSIC ROOM (1958) LES QUATRE CENTS COUPS (1959) NORTH BY NORTHWEST (1959) SOME LIKE IT HOT (1959) ANATOMY OF A MURDER (1959) LES YEUX SANS VISAGE (1959) RIDE LONESOME (1959) BLACK ORPHEUS (1959) SHADOWS (1959) THE WORLD OF APU (1959) A BOUT DE SOUFFLE (1959) BEN-HUR (1959) PICKPOCKET (1959) HIROSHIMA MON AMOUR (1959) RIO BRAVO (1959) LE TROU (1959) FLOATING WEEDS (1959) ROCCO AND HIS BROTHERS (1960) LA DOLCE VITA (1960) SATURDAY NIGHT AND SUNDAY MORNING (1960) TIREZ SUR LE PIANISTE (1960) L'AVVENTURA (1960) THE CLOUD-CAPPED STAR (1960) THE HOUSEMAID (1960) PSYCHO (1960) BLACK SUNDAY (1960) PEEPING TOM (1960) THE APARTMENT (1960) SPARTACUS (1960) SPLENDOR IN THE GRASS (1961) LAST YEAR AT MARIENBAD (1961) THE EXILES (1961) LA JETEE (1961) LOLA (1961) BREAKFAST AT TIFFANY'S (1961) LA NOTTE (1961) JULES ET JIM (1961) VIRIDIANA (1961) THE LADIES MAN (1961) THROUGH A GLASS DARKLY (1961) CHRONIQUE D’UN ETE (1961) THE HUSTLER (1961) WEST SIDE STORY (1961) MONDO CANE (1962) CLO DE 5 A 7 (1962) DOG STAR MAN (1962) AN AUTUMN AFTERNOON (1962) THE EXTERMINATING ANGEL (1962) L'ECLISSE (1962) LAWRENCE OF ARABIA (1962) TO KILL A MOCKINGBIRD (1962) THE MANCHURIAN CANDIDATE (1962) LOLITA (1962) KEEPER OF PROMISES (1962) THE MAN WHO SHOT LIBERTY VALANCE (1962) WHAT EVER HAPPENED TO BABY JANE? (1962) VIVRE SA VIE (1962) HEAVEN AND EARTH MAGIC (1962) THE BIRDS (1963) THE NUTTY PROFESSOR (1963) BLONDE COBRA (1963) THE COOL WORLD (1963) 8 1/2 (1963) PASSENGER (1963) LE MPRIS (1963) HUD (1963) FLAMING CREATURES (1963) THE GREAT ESCAPE (1963) SHOCK CORRIDOR (1963) IL GATTOPARDO (1963) BARREN LIVES (1963) MEDITERRANE (1963) THE HOUSE IS BLACK (1963) THE HAUNTING (1963) AN ACTOR'S REVENGE (1963) THE SERVANT (1963) GOLDFINGER (1964) SCORPIO RISING (1964) MARY POPPINS (1964) LES PARAPLUIES DE CHERBOURG (1964) MARNIE (1964) MY FAIR LADY (1964) WOMAN IN THE DUNES (1964) DR.
Recommended publications
  • Copyrighted Material
    Index Academy Awards (Oscars), 34, 57, Antares , 2 1 8 98, 103, 167, 184 Antonioni, Michelangelo, 80–90, Actors ’ Studio, 5 7 92–93, 118, 159, 170, 188, 193, Adaptation, 1, 3, 23–24, 69–70, 243, 255 98–100, 111, 121, 125, 145, 169, Ariel , 158–160 171, 178–179, 182, 184, 197–199, Aristotle, 2 4 , 80 201–204, 206, 273 Armstrong, Gillian, 121, 124, 129 A denauer, Konrad, 1 3 4 , 137 Armstrong, Louis, 180 A lbee, Edward, 113 L ’ Atalante, 63 Alexandra, 176 Atget, Eugène, 64 Aliyev, Arif, 175 Auteurism , 6 7 , 118, 142, 145, 147, All About Anna , 2 18 149, 175, 187, 195, 269 All My Sons , 52 Avant-gardism, 82 Amidei, Sergio, 36 L ’ A vventura ( The Adventure), 80–90, Anatomy of Hell, 2 18 243, 255, 270, 272, 274 And Life Goes On . , 186, 238 Anderson, Lindsay, 58 Baba, Masuru, 145 Andersson,COPYRIGHTED Karl, 27 Bach, MATERIAL Johann Sebastian, 92 Anne Pedersdotter , 2 3 , 25 Bagheri, Abdolhossein, 195 Ansah, Kwaw, 157 Baise-moi, 2 18 Film Analysis: A Casebook, First Edition. Bert Cardullo. © 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc. 284 Index Bal Poussière , 157 Bodrov, Sergei Jr., 184 Balabanov, Aleksei, 176, 184 Bolshevism, 5 The Ballad of Narayama , 147, Boogie , 234 149–150 Braine, John, 69–70 Ballad of a Soldier , 174, 183–184 Bram Stoker ’ s Dracula , 1 Bancroft, Anne, 114 Brando, Marlon, 5 4 , 56–57, 59 Banks, Russell, 197–198, 201–204, Brandt, Willy, 137 206 BRD Trilogy (Fassbinder), see FRG Barbarosa, 129 Trilogy Barker, Philip, 207 Breaker Morant, 120, 129 Barrett, Ray, 128 Breathless , 60, 62, 67 Battle
    [Show full text]
  • Star Channels, Jan. 5-11, 2020
    JANUARY 5 - 11, 2020 staradvertiser.com HEARING VOICES In an innovative, exciting departure from standard television fare, NBC presents Zoe’s Extraordinary Playlist. Jane Levy stars as the titular character, Zoey Clarke, a computer programmer whose extremely brainy, rigid nature often gets in the way of her ability to make an impression on the people around her. Premiering Tuesday, Jan. 7, on NBC. Delivered over 877,000 hours of programming Celebrating 30 years of empowering our community voices. For our community. For you. olelo.org 590191_MilestoneAds_2.indd 2 12/27/19 5:22 PM ON THE COVER | ZOEY’S EXTRAORDINARY PLAYLIST A penny for your songs ‘Zoey’s Extraordinary Playlist’ ...,” narrates the first trailer for the show, “... her new ability, when she witnesses an elabo- what she got, was so much more.” rate, fully choreographed performance of DJ premieres on NBC In an event not unlike your standard super- Khaled’s “All I Do is Win,” but Mo only sees “a hero origin story, an MRI scan gone wrong bunch of mostly white people drinking over- By Sachi Kameishi leaves Zoey with the ability to access people’s priced coffee.” TV Media innermost thoughts and feelings. It’s like she It’s a fun premise for a show, one that in- becomes a mind reader overnight, her desire dulges the typical musical’s over-the-top, per- f you’d told me a few years ago that musicals to fully understand what people want from formative nature as much as it subverts what would be this culturally relevant in 2020, I her seemingly fulfilled.
    [Show full text]
  • Cinema, New Media, and Higher Education
    Educational Perspectives Journal of the College of Education/University of Hawai‘i at Ma¯noa CONTENTS Dean Christine Sorensen 2 Contributors Editor Hunter McEwan 3 Cinema, New Media, and Higher Education Managing Editor Lori Ward Guest Editor Konrad Ng Konrad Ng and Hunter McEwan Graphic Designer Darrell Asato 5 Film Form and Pedagogy: Beyond Perception College of Education Editorial Board Michael J. Shapiro Linda Johnsrud, Professor Kathryn Au, Professor Emeritus 10 Asian Cinema and the Social Imaginary Curtis Ho, Professor Wimal Dissanayake Mary Jo Noonan, Professor Robert Potter, Professor Emeritus 15 Apparatus, Genre, and Spectatorship in the Classroom COEDSA President Glenn Man The Journal and the College of Education assume no responsibility 24 Made in Hawai‘i: Critical Studies and the Academy for the opinion or facts in signed articles, except to the for Creative Media extent of expressing the view, by the fact of publication, that the subject matter is one which merits attention. Konrad Ng Published twice each year by the College of Education, 29 Engaging a “Truly Foreign” Language and Culture: University of Hawai‘i at Mänoa China through Chinese film Individual copies $25.00 To purchase single copies of this issue contact Cynthia Ning Marketing and Publication Services, Curriculum & Research Development Group 36 Thinking Images: Doing Philosophy in Film and Video Phone: 800-799-8111 (toll-free), 808-956-4969 Graham Parkes Fax: 808-956-6730 Email: [email protected] 47 Coffy, YouTube, and Uncle Ben: The Use of Film and New Address all communications regarding single copies, Media in the Teaching of African American Studies at subscriptions, manuscripts, and correspondence the University of Hawai‘i about editorial material to Editor, Elisa Joy White Educational Perspectives, College of Education, University of Hawai‘i at Mänoa, Wist Hall 54 Digital Storytelling in Teacher Education: Creating Room 113, 1776 University Avenue, Transformations through Narrative Honolulu, HI 96822 James R.
    [Show full text]
  • New York / New York Film Festival, September 23 - October 9, 1994]
    Document generated on 09/29/2021 7:21 p.m. ETC New York New York Film Festival, September 23 - October 9, 1994 Steven Kaplan La critique d’art : enjeux actuels 1 Number 29, February–May 1995 URI: https://id.erudit.org/iderudit/35725ac See table of contents Publisher(s) Revue d'art contemporain ETC inc. ISSN 0835-7641 (print) 1923-3205 (digital) Explore this journal Cite this review Kaplan, S. (1995). Review of [New York / New York Film Festival, September 23 - October 9, 1994]. ETC, (29), 23–27. Tous droits réservés © Revue d'art contemporain ETC inc., 1995 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ nm/AiMiiEi NEW YORK New York Film Festival, September 23 - October 9,1994 ike the universe at large, film festivals often find the invidious structure of white overseer (coach, recruiter) it reassuring to start up with a big bang. The recent feeding off the talents and aspirations of a black underclass. 32nd edition of the New York Film Festival opened As Arthur Agee and William Gates progress from the with the explosive Pulp Fiction, fresh from its hood to a lily white suburban Catholic school (a basketball success at Cannes, continuing the virtual powerhouse which graduated Isiah Thomas) and hence to Ldeification of writer-director Quentin Tarantino among college, we are aware of the sacrifices they and their the hip media establishment, and poising him for entry families make, the difficulties of growing up black and into a wider marketplace.
    [Show full text]
  • Beneath the Surface *Animals and Their Digs Conversation Group
    FOR ADULTS FOR ADULTS FOR ADULTS August 2013 • Northport-East Northport Public Library • August 2013 Northport Arts Coalition Northport High School Sunday Monday Tuesday Wednesday Thursday Friday Saturday Courtyard Concert EMERGENCY Volunteer Fair presents Jazz for a Yearbooks Wanted GALLERY EXHIBIT 1 Registration begins for 2 3 Friday, September 27 Children’s Programs The Library has an archive of yearbooks available Northport Gallery: from August 12-24 Summer Evening 4:00-7:00 p.m. Friday Movies for Adults Hurricane Preparedness for viewing. There are a few years that are not represent- *Teen Book Swap Volunteers *Kaplan SAT/ACT Combo Test (N) Wednesday, August 14, 7:00 p.m. Northport Library “Automobiles in Water” by George Ellis Registration begins for Health ed and some books have been damaged over the years. (EN) 10:45 am (N) 9:30 am The Northport Arts Coalition, and Safety Northport artist George Ellis specializes Insurance Counseling on 8/13 Have you wanted to share your time If you have a NHS yearbook that you would like to 42 Admission in cooperation with the Library, is in watercolor paintings of classic cars with an Look for the Library table Book Swap (EN) 11 am (EN) Thursday, August 15, 7:00 p.m. and talents as a volunteer but don’t know where donate to the Library, where it will be held in posterity, (EN) Friday, August 2, 1:30 p.m. (EN) Friday, August 16, 1:30 p.m. Shake, Rattle, and Read Saturday Afternoon proud to present its 11th Annual Jazz for emphasis on sports cars of the 1950s and 1960s, In conjunction with the Suffolk County Office of to start? Visit the Library’s Volunteer Fair and speak our Reference Department would love to hear from you.
    [Show full text]
  • Before the Forties
    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
    [Show full text]
  • Contemporary Chinese Art Cinema
    This project has received funding from the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 801505. Call for Chapters: Contemporary Chinese Art Cinema A book edited by Flora Lichaa (Université libre de Bruxelles), Ma Ran (Nagoya University), and Seio Nakajima (Waseda University). This edited volume, to be published in the Routledge Contemporary Asian Societies collection, follows a research workshop on contemporary Chinese art cinema held in May 2021 (see the program here). From this workshop emerged the conclusion that delineating the borders between Chinese films that should be considered art films and those that should not is extremely challenging given the variety of styles, forms, economic and industrial contexts of contemporary Chinese films that are labelled as such by both the international and domestic industries, audiences, and critics. This diversity is evident in the variety of terms that have been used to refer to Chinese art film, in both English (art, art-house, auteur cinema) and Chinese (wenyi, yishu, tansuo, zuozhe dianying). Because of the contingency and ambiguity of these definition, existing research has mainly considered Chinese art films as those labelled by European and North American film festival programmers and critics. In this sense, the first Chinese films to be “qualified” as such appeared in the context of China’s opening-up and economic reforms in the mid-1980s. Spearheaded by Chen Kaige’s Yellow Earth being awarded at Locarno Film Festival in 1985, it also included a series of films that were later known as the Fifth-Generation films (Signer 2017).
    [Show full text]
  • East-West Film Journal, Volume 3, No. 2
    EAST-WEST FILM JOURNAL VOLUME 3 . NUMBER 2 Kurosawa's Ran: Reception and Interpretation I ANN THOMPSON Kagemusha and the Chushingura Motif JOSEPH S. CHANG Inspiring Images: The Influence of the Japanese Cinema on the Writings of Kazuo Ishiguro 39 GREGORY MASON Video Mom: Reflections on a Cultural Obsession 53 MARGARET MORSE Questions of Female Subjectivity, Patriarchy, and Family: Perceptions of Three Indian Women Film Directors 74 WIMAL DISSANAYAKE One Single Blend: A Conversation with Satyajit Ray SURANJAN GANGULY Hollywood and the Rise of Suburbia WILLIAM ROTHMAN JUNE 1989 The East- West Center is a public, nonprofit educational institution with an international board of governors. Some 2,000 research fellows, grad­ uate students, and professionals in business and government each year work with the Center's international staff in cooperative study, training, and research. They examine major issues related to population, resources and development, the environment, culture, and communication in Asia, the Pacific, and the United States. The Center was established in 1960 by the United States Congress, which provides principal funding. Support also comes from more than twenty Asian and Pacific governments, as well as private agencies and corporations. Kurosawa's Ran: Reception and Interpretation ANN THOMPSON AKIRA KUROSAWA'S Ran (literally, war, riot, or chaos) was chosen as the first film to be shown at the First Tokyo International Film Festival in June 1985, and it opened commercially in Japan to record-breaking busi­ ness the next day. The director did not attend the festivities associated with the premiere, however, and the reception given to the film by Japa­ nese critics and reporters, though positive, was described by a French critic who had been deeply involved in the project as having "something of the air of an official embalming" (Raison 1985, 9).
    [Show full text]
  • The Cinema of Merzak Allouache Joseph Mcgonagle
    Transculturality in Algiers: The Cinema of Merzak Allouache Joseph McGonagle Thanks to its rich and diverse history, the city of Algiers is undoubtedly a privileged site of transculturality. This was certainly the case in the French colonial period when, as Zeynep Çelik argues, colonial Algeria was the most important but most problematic of the French overseas territories and constituted “the colonial city par excellence, the terrain of many battles— cultural, political, military, urban, architectural.”1 Furthermore, as Martin Evans and John Phillips point out: “French rule in Algeria lasted for 132 years, as opposed to 75 years in Tunisia and 44 in Morocco, a depth and duration of colonial experience unique within the Arab world.”2 As a consequence, France “remains an omnipresent feature of Algeria,” and the complexity of its historical legacy helps ensure that Algeria is “the most francophone of France’s former territories.”3 Crucially, the Bay of Algiers forms a major economic maritime hub. As Tom Trevor has asserted regarding port cities more broadly, such spaces provide “symbolic sites of cultural exchange. They are the points of entry and departure, the mouth of an imagined body of the nation-state, where the foreign gets muddled up with the familiar and land-locked certainty is blurred by maritime exchange.”4 Given that Algiers is bordered by the Mediterranean Sea, Trevor’s argument pertains all the more, as the profound cultural and linguistic diversity of this geographical space “encourages a reshuffling of the usual cards of national belonging and unilateral framing.”5 As the capital city and seat of state power, Algiers has played a pivotal role in the formation of Algeria as a nation and the development of Algerian cultural identity.
    [Show full text]
  • Nova News, June-July 1982 Nova University
    Nova Southeastern University NSUWorks Nova News NSU Early Publications 7-1-1982 Nova News, June-July 1982 Nova University Follow this and additional works at: https://nsuworks.nova.edu/nsudigital_novanews NSUWorks Citation Nova University, "Nova News, June-July 1982" (1982). Nova News. 88. https://nsuworks.nova.edu/nsudigital_novanews/88 This Newsletter is brought to you for free and open access by the NSU Early Publications at NSUWorks. It has been accepted for inclusion in Nova News by an authorized administrator of NSUWorks. For more information, please contact [email protected]. GIlA. 'UATION ... THE BIG DAY CUlMINATING All THE DAYS OF STUDY AND BEST OF AII ••• THE FUTURE lIES AHEAD That moment we've all been waiting faT ... And remember for years' co come ... T he conferring of [he degree. For doctoral and juris doctor students this also means receiving the hood, as shown here in a picture from a graduation past. By: Jennifer P. Meriam months old and "graduating" from Former Chief Justice of the Florida occasion will be Dr. Abraham the Family Center Toddlerhood Pro­ Supreme Court A rthur England Fischler, President. Graduation is a special gram. gave the commencement address Preceding the event on Sunday time ... whoever you are. Perhaps Or perhaps you're graduating to the sixth graduating class. will be the 1982 Commencement you're a young lawyer, fulfilling a from The University School, you're On June 6, the University School Dinner Dance on Saturday evening, lifelong dream. Perhaps you're 4 1, 17 and you're a National Merit of Nova University bid farewell to 77 July 17 at the Hillcrest Golf and the mother of three, divorced and Flnallst...one of just several in the graduating seniors at a brunch held Country Club In Hollywood.
    [Show full text]
  • Trojan Terrorism: Revenge Colonists Or Condition of Evolution? (To the Problem “Your/Alien”)
    Philosophy Study, April 2018, Vol. 8, No. 4, 191-208 doi: 10.17265/2159-5313/2018.04.005 D DAVID PUBLISHING Trojan Terrorism: Revenge Colonists or Condition of Evolution? (To the Problem “Your/Alien”) Menshikova Elena Rudolfovna Expert New Institute for Cultural Research Thinking about the problem of terrorism, the author finds its origins in the myth of the Trojan War, treating it as a battle for space, which was the primary basis for the civilizational leap—the expansion of the Greek world to the east, which led to the flourishing of Greek culture, creating a precedent of justified colonialism, provided strategy and tactics—the causal apology of violence—all subsequent wars, colonial campaigns, which was no exception for the migratory flows of the XX century, as a result of which the word “terrorism” sounded with by force of the song of B. Brecht. The theme of “space”—chucked away, lost, taken away, destroyed, compressed, anarchic, empty, boundless, virtual—remains vital in our time, when the limitless possibilities lead to the limitation of man himself, his emptiness, and “complete shortness” (Platonov), when the treaty as the basis of human existence is rejected, and when you become the Other yourself. The metaphysics of “violence” is buried in anthropology—in ignorance of one’s limits by man, in denying the boundaries of “another’s,” in unwillingness to ask a question and find the answer, in laziness and, in fact, in the loss of oneself. Keywords: myth, space, terrorism, Own/Alien’s, treaty, another, happiness The subtitle to the topic could be played cinematically: “Good, bad, evil: What is happiness, brother?”—then an allusion to the Scorsese’s western (“Il Buono, il brutto, il cattivo,” 1966) and Balabanov’s film (“Brother,” 1997), that became cultic at different times of the revolutionary 20th century, and as a result of social transformations experienced by a society divided by the ocean, history, and culture to different social formations.
    [Show full text]
  • Gender and the Family in Contemporary Chinese-Language Film Remakes
    Gender and the family in contemporary Chinese-language film remakes Sarah Woodland BBusMan., BA (Hons) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Languages and Cultures 1 Abstract This thesis argues that cinematic remakes in the Chinese cultural context are a far more complex phenomenon than adaptive translation between disparate cultures. While early work conducted on French cinema and recent work on Chinese-language remakes by scholars including Li, Chan and Wang focused primarily on issues of intercultural difference, this thesis looks not only at remaking across cultures, but also at intracultural remakes. In doing so, it moves beyond questions of cultural politics, taking full advantage of the unique opportunity provided by remakes to compare and contrast two versions of the same narrative, and investigates more broadly at the many reasons why changes between a source film and remake might occur. Using gender as a lens through which these changes can be observed, this thesis conducts a comparative analysis of two pairs of intercultural and two pairs of intracultural films, each chapter highlighting a different dimension of remakes, and illustrating how changes in gender representations can be reflective not just of differences in attitudes towards gender across cultures, but also of broader concerns relating to culture, genre, auteurism, politics and temporality. The thesis endeavours to investigate the complexities of remaking processes in a Chinese-language cinematic context, with a view to exploring the ways in which remakes might reflect different perspectives on Chinese society more broadly, through their ability to compel the viewer to reflect not only on the past, by virtue of the relationship with a source text, but also on the present, through the way in which the remake reshapes this text to address its audience.
    [Show full text]