DOCSLIB.ORG

Crimen O Suicidio?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Crimen O Suicidio? cabalgada de los malditos, La - A Time for Killing (1967) Crimen o suicidio? - Grissly's millions (1945) Cabalgando hacia la muerte (El Zorro) - L'ombra di Zorro (1962) Cabalgando sobre un tigre - He Who Rides a Tiger (1965) Caballería del imperio (modelo 1) - Caballería del imperio (1942) Caballería del imperio (modelo 2) - Caballería del imperio (1942) Caballero a la medida - Caballero a la medida (1953) caballero andaluz, Un - Un caballero andaluz (1954) caballero de Gascuña, El - Le chevalier de Pardaillan(1962) caballero de la banda negra, El - Giovanni dalle bande nere (1958) caballero de los cien rostros, El - Il cavaliere dai cento volti(1960) caballero del Mississippi, El (modelo 1) - The Mississippi Gambler (1953) caballero del Mississippi, El (modelo 2) - The Mississippi Gambler (1953) caballero del rey, El - Le capitan (1946) caballero en la noche, Un - A Gentleman After Dark (1942) caballero enmascarado, El - The Highwayman (1951) caballero famoso, Un - Un caballero famoso (1942) caballero misterioso, El - Il cavaliere misterioso (1948) caballero negro, El - The Black Knight (1954) caballero negro, El - Marco Visconti (1941) Caballero por un día - White Tie and Tails (1946) caballero sin ley, El - Le avventure di Mandrin (1952) caballeros del botón de ancla, Los - Los caballeros del botón de ancla (1974) caballeros del infierno, Los - The Hellfire Club (1961) caballeros del rey Arturo, Los (modelo 1) - Knights of the Round Table (1953) caballeros del rey Arturo, Los (modelo 2) - Knights of the Round Table (1953) caballeros las prefieren rubias, Los - Gentlemen Prefer Blondes (1953) caballeros se casan con las morenas, Los - Gentlemen Marry Brunettes (1955) caballeros teutónicos, Los - Krzyzacy (1960) caballo blanco, El - El caballo blanco (1961) caballo sin cabeza, El - The Horse Without a Head (1963) cabaña del tío Tom, La - Onkel Toms Hütte (1965) Cabeza de hierro - Cabeza de hierro (1944) Cabo de Hornos - Cabo de Hornos (1957) cabo del terror, El - Cape Fear (1962) Cabriola - Cabriola (1965) Cachito de cielo - A Little Bit of Heaven (1940) Cada día amanece - Nadeje (1964) Cada hijo una cruz - Cada hijo una cruz (1957) Cada minuto cuenta - Payroll (1961) Cada vida es un mundo - Encore (1951) cadena invisible, La (modelo 1) - Lassie Come Home (1943) cadena invisible, La (modelo 2) - Lassie Come Home (1943) cadenas de la libertad, Las - Before Winter Comes (1969) Cadenas invisibles - Catene invisibili (1942) Cadenas rotas - Great Expectations(1946) Cadete con faldas - Kaiserjäger(1956) Cadetes del aire - Altair (1956) cadillac de oro macizo, Un - The Solid Gold Cadillac (1956) Cae el telón (Hedda Gabler) - The Velvet Touch (1948) Cáete muerta, cariño! - Drop Dead Darling (1966) Café cantante - Café cantante (1951) Café Colón - Café Colón (1959) Café de Chinitas - Café de Chinitas (1960) Café de París - Café de París (1943) Café de Puerto - Malinconico autunno (1958) Cagliostro - Black Magic (1949) Caídos sobre un árbol - Sur un arbre perché (1971) caifanes, Los - Los caifanes (1966) caja de las sorpresas, La - The Wrong Box (1966) Calabuch - Calabuch (1956) Calcuta - Calcutta (1947) Calibre 44 - Calibre 44 (1959) cálido verano del Sr. Rodríguez, El - El cálido verano del Sr. Rodríguez (1965) California - California (1946) calle 44, La - The Mayor of 44th Street (1942) calle de las sombras, La - Street of Shadows (1953) calle de los conflictos, La - Abilene Town (1945) calle del delfín verde, La - Green Dolphin Street (1947) calle desnuda, La - The Naked Street (1955) calle grita, La - La calle grita (1948) Calle Mayor - Calle Mayor (1956) Calle River, 99 - 99 River Street (1953) calle sin nombre, La - The Street with No Name (1948) calle sin sol, La - La calle sin sol (1948) callejón de las almas perdidas, El - Nightmare Alley (1947) Callejón sangriento - Blood Alley (1955) Callejón sin salida - Dead Reckoning (1947) calumnia, La - The Children's Hour (1961) calumniada, La - La calumniada (1947) Calypso - Calypso (1958) cámara de los horrores, La - Chamber of Horrors (1966) camarada Don Camilo, El - Il compagno Don Camillo (1965) Camarada X (modelo 1) - Comrade X (1940) Camarada X (modelo 2) - Comrade X (1940) Camarote de lujo - Camarote de lujo (1957) Camas separadas - The Wheeler Dealers (1963) Camelia - Camelia (1954) Caminito alegre - Caminito alegre (1943) Camino a Bali - Road to Bali (1952) Camino cortado - Camino cortado (1955) camino de Babel, El - El camino de Babel (1945) Camino de gloria - Camino de gloria (1948) Camino de Guanajuato - Camino de Guanajuato (1955) camino de la esperanza, El - Il cammino della speranza (1950) Camino de la horca - Along the Great Divide (1951) Camino de la jungla - The Spiral Road (1962) camino de la venganza, El - The Scalphunters (1968) camino de la vida, El - El camino de la vida (1956) Camino de Méjico - Down Mexico Way (1941) Camino de Oregón - The Way West (1967) Camino de Río - Road to Rio (1947) Camino de Sacramento - Camino de Sacramento (1945) Camino de Santa Fe - Santa Fe Trail (1940) camino del amor, El - El camino del amor (1944) camino del cielo, El - Himlaspelet (1942) Camino del Rocío - Camino del Rocío (1966) camino torcido, El - The Crooked Road (1965) Caminos secretos - The Secret Ways (1961) Camoens - Camões (1946) campana de la libertad, La - A Bell for Adano (1945) Campanadas a medianoche - Falstaff - Chimes at Midnight (1965) campanas de Rosarita, Las - Bells of Rosarita(1945) campanas de Santa María, Las - Bells of St. Mary's (1945) campanas de Teresa, Las - Las campanas de Teresa (1957) campeón y la bailarina, El - Shori-sha (1957) campeón, El - Big Red (1962) Campeones de Ebano - The Harlem Globetrotters (1951) Campeones!! (modelo 1) - ¡¡Campeones!! (1943) Campeones!! (modelo 2) - ¡¡Campeones!! (1943) Campeones!! (modelo 3) - ¡¡Campeones!! (1943) Campeones!! (modelo 4) - ¡¡Campeones!! (1943) Campeones!! (modelo 5) - ¡¡Campeones!! (1943) Campeones!! (modelo 6) - ¡¡Campeones!! (1943) campesina en Broadway, Una - Puddin' Head (1941) Camping - Camping (1957) Campo Bravo - Campo Bravo (1948) Can-can - Can-can (1960) Canaima (El Dios del mal) - Canaima (El Dios del mal) (1945) canalla, El - Le Voyou (1970) canallas, Los - Les canailles (1960) canario amarillo, El - The Yellow Canary (1963) Canario rojo - Canario rojo (1955) Cancha vasca - Cancha vasca (1955) canción a la virgen, Una (modelo 1) - Una canción a la virgen (1949) canción a la virgen, Una (modelo 2) - Una canción a la virgen (1949) canción de Bernadette, La - The Song of Bernadette (1943) Canción de cuna - Canción de cuna (1953) Canción de cuna - Canción de cuna (1961) Canción de cuna para un cadáver - Hush... Hush, Sweet Charlotte (1964) Canción de juventud - Canción de juventud (1962) canción de los barrios, La - La canción de los barrios (1941) canción de Malibrán, La - La canción de Malibrán (1951) Canción de medianoche - Canción de medianoche (1947) canción de Nevada, La - Song Of Nevada (1944) canción del amanecer, La - Reveille with Beverly (1943) canción del penal, La - La canción del penal (1954) canción del plateado, La - La canción del plateado (1942) canción en la noche, Una - Una canción en la noche (1945) Canción inolvidable - A Song to Remember (1944) Canción mortal - Canción mortal (1948) Cándida millonaria - Cándida millonaria (1941) Cándida, pero no tanto - A Nice Girl Like Me (1969) Candilejas - Limelight (1952) candoroso picapleitos, El - L'arcangelo (1969) Canelita en rama - Canelita en rama (1943) Cangaçeiro - O Cangaceiro (1953) Canta y no llores - Canta y no llores (1949) Cantaclaro - Cantaclaro (1946) Cantando bajo la lluvia (modelo 1) - Singin' in the Rain (1952) Cantando bajo la lluvia (modelo 2) - Singin' in the Rain (1952) Cantinflas en el circo - Cantinflas en el circo (1943) Canto a la vida - Il canto della vita (1945) Canto a las Américas - Canto a las Américas (1943) canto del gallo, El - El canto del gallo (1955) Canto para ti - Canto para ti (1958) cantor de México, El - El cantor de México (1956) Canuto Cañete, Recluta del 7 - Canuto Cañete, conscripto del 7 (1963) Cañas y barro - Cañas y barro (1954) cañones de Navarone, Los - The Guns of Navarone (1961) cañones de San Sebastián, Los - La bataille de San Sebastian (1968) Cañones en Batasi - Guns at Batasi (1964) Cañones para Córdoba - Cannon for Cordoba (1970) Capa mágica - A beszélö köntös (1941) Caperucita roja - Caperucita roja (1947) caperucita roja, La - La caperucita roja (1960) Caperucita y sus tres amigos - Caperucita y sus tres amigos (1960) Capitán Ángel (modelo 1) - Johnny Angel (1945) Capitán Ángel (modelo 2) - Johnny Angel (1945) capitán Cautela, El (modelo 1) - Captain Caution (1940) capitán Cautela, El (modelo 2) - Captain Caution (1940) Capitán China - Captain China (1950) capitán de Loyola, El (modelo 1) - El capitán de Loyola (1948) capitán de Loyola, El (modelo 2) - El capitán de Loyola (1948) Capitan Eddie - Captain Eddie (1945) capitán fantasma, El - Capitan Fantasma (1953) capitán fuego, El - Capitan Fuoco (1958) capitán intrépido, El - Il segno di Zorro (1963) capitán intrepido, El - Le capitaine Fracasse (1943) capitán Jones, El - John Paul Jones (1959) capitán Kidd, El (modelo 1) - Captain Kidd (1945) capitán Kidd, El (modelo 2) - Captain Kidd (1945) capitán King, El - King of the Khyber Rifles (1953) capitán Kopenick, El - Der Hauptmann von Köpenick (1956) capitán Malacara, El - El capitán Malacara (1945) capitán Newman, El - Captain Newman, M.D. (1963) capitán O’Flynn, El - The Fighting O'Flynn (1949) capitán Panamá, El - Scarlet Angel (1952) capitán pirata, El - Buccaneer's
Load more

Recommended publications
  • Contenido Estrenos Mexicanos
    Contenido estrenos mexicanos ............................................................................120 programas especiales mexicanos .................................. 122 Foro de los Pueblos Indígenas 2019 .......................................... 122 Programa Exilio Español ....................................................................... 123 introducción ...........................................................................................................4 Programa Luis Buñuel ............................................................................. 128 Presentación ............................................................................................................... 5 El Día Después ................................................................................................ 132 ¡Bienvenidos a Morelia! ................................................................................... 7 Feratum Film Festival .............................................................................. 134 Mensaje de la Secretaría de Cultura ....................................................8 ......... 10 Mensaje del Instituto Mexicano de Cinematografía funciones especiales mexicanas .......................................137 17° Festival Internacional de Cine de Morelia ............................11 programas especiales internacionales................148 ...........................................................................................................................12 jurados Programa Agnès Varda ...........................................................................148
    [Show full text]
  • P E R F O R M I N G
    PERFORMING & Entertainment 2019 BOOK CATALOG Including Rowman & Littlefield and Imprints of Globe Pequot CONTENTS Performing Arts & Entertainment Catalog 2019 FILM & THEATER 1 1 Featured Titles 13 Biography 28 Reference 52 Drama 76 History & Criticism 82 General MUSIC 92 92 Featured Titles 106 Biography 124 History & Criticism 132 General 174 Order Form How to Order (Inside Back Cover) Film and Theater / FEATURED TITLES FORTHCOMING ACTION ACTION A Primer on Playing Action for Actors By Hugh O’Gorman ACTION ACTION Acting Is Action addresses one of the essential components of acting, Playing Action. The book is divided into two parts: A Primer on Playing Action for Actors “Context” and “Practice.” The Context section provides a thorough examination of the theory behind the core elements of Playing Action. The Practice section provides a step-by-step rehearsal guide for actors to integrate Playing Action into their By Hugh O’Gorman preparation process. Acting Is Action is a place to begin for actors: a foundation, a ground plan for how to get started and how to build the core of a performance. More precisely, it provides a practical guide for actors, directors, and teachers in the technique of Playing Action, and it addresses a niche void in the world of actor training by illuminating what exactly to do in the moment-to-moment act of the acting task. March, 2020 • Art/Performance • 184 pages • 6 x 9 • CQ: TK • 978-1-4950-9749-2 • $24.95 • Paper APPLAUSE NEW BOLLYWOOD FAQ All That’s Left to Know About the Greatest Film Story Never Told By Piyush Roy Bollywood FAQ provides a thrilling, entertaining, and intellectually stimulating joy ride into the vibrant, colorful, and multi- emotional universe of the world’s most prolific (over 30 000 film titles) and most-watched film industry (at 3 billion-plus ticket sales).
    [Show full text]
  • PUNKS! TOPICALITY and the 1950S GANGSTER BIO-PIC CYCLE
    cHAPTER 6 PUnKs! TOPIcALItY AnD tHe 1950s gANGSTER BIo-PIc cYcLe ------------------------------- PeteR stAnfield “This is a re-creation of an era. An era of jazz Jalopies Prohibition And Trigger-Happy Punks.” — Baby Face Nelson this essay examines a distinctive and coherent cycle of films, pro- duced in the late 1950s and early 1960s, which exploited the notoriety of Prohibition-era gangsters such as Baby Face Nelson, Al Capone, Bonnie Parker, Ma Barker, Mad Dog Coll, Pretty Boy Floyd, Machine Gun Kelly, John Dillinger, and Legs Diamond. Despite the historical specificity of the gangsters portrayed in these “bio-pics,” the films each display a marked interest in relating their exploits to contemporary topical con- cerns. Not the least of these was a desire to exploit headline-grabbing, sensational stories of delinquent youth in the 1950s and to link these to equally sensational stories of punk hoodlums from 1920s and 1930s. In the following pages, some of the crossovers and overlaps between cycles of juvenile delinquency films and gangster bio-pics will be critically eval- uated. At the centre of analysis is the manner in which many of the films in the 1950s bio-pic gangster cycle present only a passing interest in pe- riod verisimilitude; producing a display of complex alignments between the historical and the contemporary. 185 peter stanfield DeLInQUENTS, gANGSTERs, AnD PUnKs In the 1950s, the representation of gangsters and of juvenile delinquents shared a common concern with explaining deviancy in terms of a rudi- mentary psychology,
    [Show full text]
  • MOB-#17 HED: the Untouchables (TV Series) DEK: Episodic
    MOB-#17 HED: The Untouchables (TV Series) DEK: Episodic adventures based off of Eliot Ness’ auto-biography of his crusade with “The Untouchables” against Al Capone and his criminal empire. By Jared DiMascio PULL QUOTE: “After seven months of legal delays, Al Capone, the most notorious product of the nation’s experiment with Prohibition, was on his way to federal prison to serve 11 years for income tax evasion” —Narrator PULL QUOTE: “The King of the hoodlums had left behind a vacant throne behind him, the next man to claim it would pay for the privilege in bullets and blood.” —Narrator [MOVIEBOX] Series Run: 119 Episodes, 4 Seasons (1959-1963) Starring: Robert Stack, Abel Fernandez, Nick Georgiade, Paul Picerni, Steve London, Bruce Gordon, Frank Dekova, Neville Brand and Walter Winchell Awards: Emmy Award for Best Actor in a Dramatic Series 1960 (Robert Stack) [BODY TEXT] They were the ultimate good guys, the original detective squad. Although the film of the same name has garnered much attention and praise in the mob genre, the classic television series—and the cast of Robert Stack and his men—will always be heralded as the first and the best “Untouchables.” A landmark series, The Untouchables was based off of Eliot Ness’ auto-biography and dealt with Ness’ entourage trying to dismantle Al Capone and his criminal empire in Chicago in the 1930s. While the two-part pilot depicts “the Untouchables’” efforts to send Capone to prison, the series picks up after that, as Frank Nitti and other criminals try to supplant themselves on the throne of the bootlegging empire, such as Jake “Greasy Thumb” Guzik and Joe “The Teacher” Kulak.
    [Show full text]
  • Eonnagata Written and Performed by Sylvie Guillem, Robert Lepage, Russell Maliphant
    © Érick Labbé Sadler’s Wells, London in association with Ex Machina & Sylvie Guillem Presents Eonnagata written and performed by Sylvie Guillem, Robert Lepage, Russell Maliphant Presented with the support of Rolex Career diplomat, part-time soldier and amateur spy, Charles de Beaumont, Chevalier d’Éon, was familiar with both honour and defeat, with glory as well as exile. Beyond the romance of his life, what stands out is his extraordinary audacity. Éon was probably the first spy to use cross-dressing in the pursuit of his duties. This earned him a variety of enemies, including Louis XVI, who forced him to wear a dress all the time. Eventually people no longer knew whether he was a man or a woman. The creators of Eonnagata asked the question differently. What if Charles de Beaumont was both man and woman? Midway between theatre and dance, Eonnagata pits the fan against the sword, the courtesan against the swordsman. But it also explores the embodying of one sex by the other in what is more an investigation of gender than of sexuality. The work draws on Onnagata, a Kabuki theatre technique that enables actors to represent women in a highly stylized fashion, shedding new light on the Chevalier d’Éon and revealing that his enigma is perhaps the mystery of human identity itself. The nonconformism of Charles de Beaumont quickly struck a chord with the creators of Eonnagata. Sylvie Guillem is a celebrated rebel of classical ballet who converted to contemporary dance. In the last few years she has dazzled audiences in London, Tokyo, Sydney and Paris with her grace, energy, precision and humour in shows such as Push and Sacred Monsters.
    [Show full text]
  • Cloud Tectonics: a Footlight 2 Production
    Western Michigan University ScholarWorks at WMU Honors Theses Lee Honors College 4-11-2019 Cloud Tectonics: A Footlight 2 Production Cal Kreiner Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/honors_theses Part of the Acting Commons Recommended Citation Kreiner, Cal, "Cloud Tectonics: A Footlight 2 Production" (2019). Honors Theses. 3077. https://scholarworks.wmich.edu/honors_theses/3077 This Honors Thesis-Open Access is brought to you for free and open access by the Lee Honors College at ScholarWorks at WMU. It has been accepted for inclusion in Honors Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. CLOUD TECTONICS By: José Rivera A Footlight 2 Production DireCted By Cal Kreiner [DIRECTING BOOK] AUDITIONS, CASTING INFO, AND REHEARSAL SCHEDULE This section contains a copy of the notes from the audition process, along with a copy of the casting poster and rehearsal schedule Audition Notes C N C A N a u el n e ll m e i l b b st b s a e Inf in a o c r o a l n k E m m a D 1 un SEGUERO/CACTUS MONO M oll y lend me a tenor- adorable, she has grown so 2 H much as an actress Cl really good colored shirt, "ravaged" bring eye ay level up so we see your face…also grown so 3 C much as an actor Tr ev BOWL OF SOUP- don't start so far back only to or walk back in to the space, over blocked, let 4 N yourself be changed Sh ar Power lunch- I should steal yellow shirt, good ye piece, keep it but keep finding
    [Show full text]
  • Elena Odriozola Elena Odriozola Index
    Spanish Candidate for Hans Christian Andersen Award 2020 Elena Odriozola Elena Odriozola Index Introduction by: 1 Elena Odriozola It is often said that Elena Odriozola is a subtle, delicate illustrator. stay in our memory or our imagination is not what happens to That may be true, but this widespread statement says very little them but the way in which they look at the world. What Elena of the merits of this Basque artist and undoubtedly these qualities Odriozola brings to the text does not consist of transporting the do not constitute a suf!cient motive to nominate her for the Hans argument of the word into the picture. What this illustrator offers Christian Andersen Award. By contrast, we do believe there are other is her highly personal interpretation of the literary work. Thus, weighty reasons for which she would deserve this accolade. Firstly, the reader has the chance to read what the text says, to read what for her capacity to bring her own personal interpretation to a literary the image says and to !nd a third reading: their own. text, which is able to increase its meaning and signi!cance (even If we feel like spectators when we enter the books illustrated by when illustrating works as famous as Frankenstein, Cinderella Elena Odriozola, it is because she has been researching the dramatic or La Celestina). Secondly, for her successful and creative use of narrative genres from the past (such as paper theatre, panoramas, the possibilities of the illustrated book for several years. Above all she plays and experiments with the staging, she depicts the superposition of transparencies or the traditional Spanish aleluya, a series of pictures with captions arranged on a single page) when characters’ con"icts without succumbing to simpli!ed viewpoints appropriating literary works.
    [Show full text]
  • Humor, Characterization, Plot: the Role of Secondary Characters in Late Eighteenth- and Nineteenth-Century Marriage Novels
    Humor, Characterization, Plot: The Role of Secondary Characters in Late Eighteenth- and Nineteenth-Century Marriage Novels Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Katrina M. Peterson, M.A. Graduate Program in English The Ohio State University 2011 Dissertation Committee: Clare Simmons, Adviser Leslie Tannenbaum Jill Galvan ABSTRACT Many late eighteenth- and nineteenth-century British novels utilize laughter as a social corrective, but this same laughter hides other messages about women‘s roles. As the genre‘s popularity widened, writers used novels to express opinions that would be eschewed in other, more established and serious genres. My dissertation argues that humor contributes to narrative meaning; as readers laugh at ―minor‖ characters, their laughter discourages specific behaviors, yet it also masks characters‘ important functions within narrative structure. Each chapter examines one type of humor—irony, parody, satire, and wit—along with a secondary female archetype: the matriarch, the old maid, the monster, and the mentor. Traditionally, the importance of laughter has been minimized, and the role of minor characters understudied. My project seeks to redress this imbalance through focusing on humor, secondary characterization, and plot. Chapter One, ―Irony and The Role of the Matriarch,‖ explores the humorous characterizations of Lady Maclaughlan and Miss Jenkyns within Susan Ferrier‘s Marriage (1818) and Elizabeth Gaskell‘s Cranford (1853). These novels share the following remarkable similarities: 1) they use characterization to unify unusually- structured novels; 2) they focus on humorous figures whose contributions to plot are masked by irony; 3) their matriarchal characters are absent for large portions of the stories; and 4) despite their absences, these figures‘ matriarchal power carries strong feminist implications.
    [Show full text]
  • Horror, Crime, and War: Some Comment on the Films of Brian De Palma, 1980-1989
    FILMHISTORIA Online Vol. 31, núm. 1 (2021) · ISSN: 2014-668X Horror, Crime, and War: Some Comment on the Films of Brian De Palma, 1980-1989 ROBERT J. CARDULLO University of Michigan Abstract This review-essay revisits four films by Brian De Palma made between 1980 and 1989—Dressed to Kill, Scarface, The Untouchables, and Casualties of War—in an attempt to reconsider the most successful decade of De Palma’s career and at the same time to counter the received wisdom that he is somehow a “great” or “visionary” director. In fact, De Palma has built his career largely on the imitation of old movies, usually by Alfred Hitchcock, beginning with his very first film, Murder à la Mod (1968), and extending all the way through to Passion (2012). Keywords: Brian De Palma, Dressed to Kill, Scarface, The Untouchables, Casualties of War, American cinema. Resumen Este ensayo-retrospectiva revisita cuatro películas de Brian De Palma realizadas entre 1980 y 1989 —Dressed to Kill, Scarface, The Untouchables y Casualties of War— en un intento de valorar la década más exitosa de la carrera de De Palma en la que se deposita toda la sabiduría recibida del de alguna manera, uno de los grandes directores y un "visionario". De hecho, De Palma ha construido su carrera en gran parte sobre la imitación de películas clásicas, generalmente de Alfred Hitchcock, comenzando con su primera película, Murder à la Mod (1968), y extendiéndose hasta Passion (2012). Palabras clave: Brian De Palma, Dressed to Kill, Scarface, The Untouchables, Casualties of War, Cine norteamericano. Introduction I’d like to begin this review-essay with what, by now, sadly, is the received wisdom on Brian De Palma, from none other than Robin Wood: The conventional dismissal of Brian De Palma—that he is a mere “Hitchcock imitator”—[is] certainly unjust .
    [Show full text]
  • Αφηγηση Και Εστιαση Στισ Επικιν∆Υνεσ Σχεσεισ Του Choderlos De Laclos Kai Τισ Τεσσερισ Κινηματογραφικεσ Μεταφορεσ Του Μυθιστορηματοσ
    ΑΦΗΓΗΣΗ ΚΑΙ ΕΣΤΙΑΣΗ ΣΤΙΣ ΕΠΙΚΙΝ∆ΥΝΕΣ ΣΧΕΣΕΙΣ ΤΟΥ CHODERLOS DE LACLOS KAI ΤΙΣ ΤΕΣΣΕΡΙΣ ΚΙΝΗΜΑΤΟΓΡΑΦΙΚΕΣ ΜΕΤΑΦΟΡΕΣ ΤΟΥ ΜΥΘΙΣΤΟΡΗΜΑΤΟΣ Της ∆έσποινας Κακλαµανίδου ∆ιδακτορική διατριβή που υποβλήθηκε στο Τµήµα Αγγλικής Γλώσσας και Φιλολογίας, της Φιλοσοφικής Σχολής του Αριστοτελείου Πανεπιστηµίου Θεσσαλονίκης, Ελλάδα Η διατριβή ολοκληρώθηκε σύµφωνα µε τις απαιτήσεις του διπλώµατος του ∆ιδάκτορα Φιλοσοφίας 2005 2 ΠΕΡΙΕΧΟΜΕΝΑ ΠΡΟΛΟΓΟΣ ......1 1. ΜΕΤΑΦΟΡΑ ΜΥΘΙΣΤΟΡΗΜΑΤΩΝ ΣΤΟΝ ΚΙΝΗΜΑΤΟΓΡΑΦΟ 1.1. Εισαγωγή ......6 1.2. Σχέσεις µεταξύ κινηµατογράφου-λογοτεχνίας ......12 1.2.1. ∆ιαφορές µεταξύ κινηµατογράφου-λογοτεχνίας ......13 1.2.2. Οπτική γωνία ......28 1.3. Σύντοµη ιστορική αναδροµή µεταφοράς µυθιστορηµάτων στον κινηµατογράφο ......30 1.4. Μεταφορά µυθιστορηµάτων στον κινηµατογράφο ......33 1.5. Σοβαρή και µαζική τέχνη ......40 2. ΑΦΗΓΗΣΗ – ΕΣΤΙΑΣΗ: ΠΟΙΟΣ ΜΙΛΑ (ΑΦΗΓΗΤΗΣ) – ΠΟΙΟΣ ΒΛΕΠΕΙ (ΕΣΤΙΑΣΤΗΣ); 2.1. Εισαγωγή ......43 2.2. Η αφηγηµατολογική προσέγγιση των Greimas και Genette ......45 2.3. Αφηγητής και εστιαστής στη λογοτεχνία ......50 2.4. Αφήγηση και εστίαση στον κινηµατογράφο ......59 2.5. Επιλογή θεωρητικού εργαλείου ......67 3. ΕΠΙΛΟΓΗ ΚΕΙΜΕΝΩΝ 3.1. Εισαγωγή ......70 3.2. Παρατηρήσεις µε βάση το corpus ......72 3.3. Κριτήρια επιλογής του έργου του Laclos ......79 4. ΟΙ ΕΠΙΚΙΝ∆ΥΝΕΣ ΣΧΕΣΕΙΣ: ΤΟ ΜΥΘΙΣΤΟΡΗΜΑ 4.1. Choderlos de Laclos (1741-1803) και η γαλλική κοινωνία του . 18ου αιώνα .....86 4.2. Η πορεία των Επικίνδυνων Σχέσεων ......90 4.3. Σύντοµη περίληψη των Επικίνδυνων Σχέσεων ......95 4.4. Η χρήση των επιστολών ......96 4.5. Ανάλυση της Γραµµατικής των Επικίνδυνων Σχέσεων: ......101 Πρόσωπα ......107 4.5.1. Συνταγµατική ανάλυση των Επικίνδυνων Σχέσεων . 4.5.2. Τα αφηγηµατικά προγράµµατα των πρωταγωνιστών των .....125 Επικίνδυνων Σχέσεων ......129 4. 6. Αφήγηση και εστίαση στις Επικίνδυνες Σχέσεις ......133 ......144 4.6.1.
    [Show full text]
  • Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
    INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
    [Show full text]
  • Created with Sketch. Evita Playbill
    PREVIEWS NOVEMBER 14 – 17 | asolo rep NOVEMBER 18 – DECEMBER1718 30 asolorep PRODUCING ARTISTIC DIRECTOR MICHAEL DONALD EDWARDS MANAGING DIRECTOR LINDA DIGABRIELE PROUDLY PRESENTS LYRICS BY TIM RICE MUSIC BY ANDREW LLOYD WEBBER DIRECTED AND CHOREOGRAPHED BY JOSH RHODES Scenic Design Costume Design Lighting Design Sound Design Projection Design PAUL TATE DePOO III BRIAN C. HEMESATH PAUL MILLER WILL PICKENS ALEX BASCO KOCH Music Direction Hair/Wig & Make-up Design and Additional Arrangements Production Stage Manager Dramaturg New York Casting MICHELLE HART SINAI TABAK KELLY A. BORGIA* PAUL ADOLPHSEN FELICIA RUDOLPH, TARA RUBIN CASTING Associate Choreographer Associate Director Tango Choreography Assistant Stage Manager Assistant Music Director TRINA MILLS LEE WILKINS JUNIOR CERVILA CHET CRAFT* KEVIN WU Local Casting SOUND MIXER Associate Scenic Design Lighting Programmer Projection Programmer CELINE ROSENTHAL DAN AXE BRANDON McNEEL JACKSON MILLER DAVID TENNENT Stage Management Apprentice Stage Management Apprentice Dramaturgy & Casting Apprentice Student Scenic Assistant Student Lighting Assistant DANA ANGELLIS AARON McEACHRAN KRISTOPHER KARCHER WILLIAM YANNI JOSEPH HODGE CO-PRODUCERS Anonymous • James A. and Maryann Armour • Larry and Joan Castellani • Tom and Ann Charters • Henny and Dennis Dirks • Bill Evans Sharon and Herman Frankel • Ron and Rita Greenbaum • Huisking Foundation • Ruth Kreindler • John and Elenor Maxheim • Ronni and George Minnig Audrey Robbins and Harry Leopold • Richard and Gail Rubin • Gail and Skip Sack • Bud and Betty Shapiro • The Tate Family Foundation, Inc. MAJOR SEASON SUPPORTERS Pat and Bob Baer • Beverly and Bob Bartner • David and Betty-Jean Bavar • Susan and Jim Buck Christine Buckley-Currie, in loving memory of John Currie• Don and Jo Ann Burhart • Carole Crosby, Ruby E.
    [Show full text]