Filmographie De Josef Von Sternberg

Total Page：16

File Type：pdf, Size：1020Kb

Filmographie de Josef von Sternberg : 1911 : Employé dans une société d’expédition de films, projectionniste occasionnel et nettoyage de pellicule. Plusieurs voyages en Europe au début des années dix (on dit qu’il fit de la figuration au Burgtheater de Vienne). 1914 : Monteur, laborantin et assistant de William A. Brady à la World Film Corporation (Fort Lee, New Jersey). 1917 : À la fin de l’année, le gouvernement fait appel à von Sternberg pour superviser le travail du laboratoire de cinéma pour l’effort de guerre au studio Paragon de Fort Lee. 1919 : Assistant d’Emile Chautard sur The Mystery of the Yellow Room (Le Mystère de la chambre jaune) puis assistant de Lawrence Windon, Wallace Worsley (The Highest Bidder, perdu), de Georges Kelson (Twisted Souls, perdu). 1922 : Studio de Twichenham à Londres : assistant de Harley Knoles pour The Bohemian Girl, produit par l’Alliance Film Corp., pour lequel il tourne des extérieurs (une copie en mauvais état survit au BFI). 1923 : Assistant sur By Divine Right de Roy William Neill et tournage de quelques scènes (film perdu). Joe Stern devient définitivement Josef von Sternberg. Puis assistant sur Vanity Fair de Hugo Ballin (film perdu) et sur Vanity’s Price de Roy William Neill (film perdu). 1924 : Retour aux Etats-Unis après de « périodiques délectations européennes », selon Herman G. Weinberg. 1925 : The Salvation Hunters : Arthur Rives présente le film à Chaplin. Projet abandonné avec Mary Pickford, Backwash, sur une femme aveugle. Tournage abandonné par Sternberg de The Escape à la MGM. Première de The Masked Bride (film perdu), film MGM commencé par Sternberg et terminé par Cristy Cabanne. 1926 : Chaplin propose à Sternberg de tourner A Woman of the Sea ou The Sea Gull (film perdu). Première de The Escape, réintitulé The Exquisite Sinner, complétement remanié par la production et retourné par Phil Rosen sous le nom d’exploitation. 1927 : Sternberg dirige plusieurs scènes de Children of Divorce et en retourne d’autres pour donner au film « un autre style » que celui de Frank Lloyd. Underworld (les Nuits de Chicago), premier succès de Josef von Sternberg. Sternberg participe au montage de The Wedding March (Symphonie nuptiale) d’Erich von Stroheim. 1928 : The Last Command (Crépuscule de gloire) avec Emil Jannings. Sternberg écrit avec Benjamin Glazer le scénario de The Street of Sin (film perdu) tourné par Maurtiz Stiller pour Emil Jannings. The Drag Net (la Rafle, film perdu), second film avec Georges Bancroft et The Dock of New York (Les Damnés de l’Océan), sorti à la fin de l’année, troisième film avec Georges Bancroft. 1929 : The Case of Lena Smith (Le Calvaire de Lena X), dernier film muet de Sternberg et Thunderbolt (L’Assommeur), quatrième film avec Georges Bancroft qui sort en version muette (version perdue) et parlante. Début du tournage de Der Blaue Engel (l’Ange Bleu) en novembre. .

Copy Link

Recommended publications

Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal ﬁ lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved.
[Show full text]
Christmas Gifts for Your Loved Ones—All Kinds Abilene
txaye<l with all the reality for which to 1914, the scene goes C-C. Seeks Listing thla director la famous. eoguei to the girlhood of * mother ■ In HARVEST DAY Day Congreii In the superb emotional role of who watches her son march off to Of Rooms and Houses SCHOLARSHIPS Ralston has It her love IDLE TEXANS Lena Smith, Esther war. pictures affair, A call for the of any apart- MOVIE the finest characterization of her her sufferings and sac- The Associated Press) listing truly strivings, (By ments. rooms or furnished houses career on the screen. It has rifices for her son and the picture Tuesday her now vacant is being issued by the SlDCUGHfS and Starting with a ends where It began. Senate — Continue# on depth poaer. SERVICE debate chamber of commerce. All HELD NOW HAVEJOBS apart- AH) STUDENTS CAPITOL nomination of Albert L. Watson to ments listed with the office have Ann star of be a federal judge In Pennsylvania. been filled, and demands from tour- Pennington, dancing committee hears Julius — Methodist Society of Lobby AUSTIN. Dec. 17 Thirty-one ists desiring winter homes are com- 343 Texas U. the many Broadway revues and Barnes. Attending Texa« laborers who were Idle a year ing in daily. musical comedies, makes her debut Mercedes Observe Elections committee takes up an In Without Fees ;A. ? "Anyone having apartment Paying in question of eligibility of Senator ago now have jobs, according to in Vitaphone talking pictures a private home is urged to list it Annual of the state labor de- Warner Brothers’ "Gold of Program Grundy Pennsylvania.
[Show full text]
Josef Von Sternberg, L'américain
CINÉMA PROGRAMME Programmation de films muets en ciné-concert Visites Centre de recherche • Galerie des collections Visites guidées • Galerie des appareils Fondation Jérôme Seydoux-Pathé Josef von Sternberg, l’américain du 25 septembre au 18 octobreN°09 2019 73 avenue des Gobelins, 75013 Paris - 01 83 79 18 96 / www.fondation-jeromeseydoux-pathe.com Josef von Sternberg, l’américain du 25 septembre au 18 octobre 2019 La Fondation Jérôme Seydoux-Pathé revient sur les premiers pas de la carrière de Josef von Sternberg et plonge dans l'univers de ses films muets, d'une rare intensité. Cycle proposé et conçu par Théo Esparon, historien et programmateur, doctorant à l’Université Paris-Nanterre. Loin d’être seulement l’immigré autrichien sévère que l’on a bien voulu décrire, Josef von Sternberg fit ses premiers pas dans les studios de Fort Lee où il travaille avec les réalisateurs Emile Chautard et Maurice Tourneur. Après quelques épisodiques voyages à Londres, Berlin et Vienne, il réalise son premier film « The Salvation Hunters » en 1925, Theun Ring film © British écrit Film comme Institute une fable qui plonge dans la boue du port de San Pedro. C’est Chaplin qui, le premier, applaudit son travail ; il l’invite à écrire un scénario pour Mary Pickford et produit son film suivant, le seul pour lequel il n’est ni acteur ni réalisateur, « A Woman of The Sea ». Le premier film est abandonné et le second sera finalement détruit. La carrière de Sternberg, émaillée de faux départs, éclaire une histoire méconnue du cinéma. Elle naît dans le berceau cosmopolite de New York, se poursuit vers l’Ouest, croise la création de la Metro-Goldwyn-Mayer et le montage de la « Symphonie nuptiale » (« The Wedding March », 1928) d’Erich von Stroheim et s’assoit enfin à la Paramount avec l’immense succès des « Nuits de Chicago » (« Underworld », 1927).
[Show full text]
Mujer Fatal» En El Ángel Azul (Der Blaue Engel, 1930), De Josef Von Sternberg1
NORBA-ARTE, ISSN 0213-2214, vol. XXVI (2006) / 177-200 FUENTES DEL MITO DE LA «MUJER faTAL» EN EL ÁNGEL AZUL (DER BLAUE ENGEL, 1930), DE JOSEF VON STERNBERG1 Angélica GarCÍA Manso Resumen La interrelación que tiene lugar entre el Cine y las demás Artes encuentra uno de sus ejem- plos más logrados en el filme El Ángel Azul (Der Blaue Engel), dirigido en 1930 por Josef von Sternberg. El cineasta austríaco, que convierte su película en heredera del mito finisecular de la «mujer fatal», recurre a dos tipos diferentes de fuentes para crear a su inmortal personaje de Lola-Lola: de un lado, la Literatura, puesto que Sternberg parte de una novela de Heinrich Mann para desarrollar su guión; de otro, la Iconografía, al aplicar a la protagonista femenina de su largometraje diversos iconos del imaginario occidental que quedaron vinculados al arquetipo de la femme fatale en la segunda mitad del siglo XIX. Palabras clave: Historia del cine, cine y su relación con las demás artes, Josef von Sternberg, El Ángel Azul, «mujer fatal», iconografía. Abstract The Blue Angel (Der Blaue Engel, 1930), by Josef von Sternberg, is a good example of the connection between Cinema and the other Arts. The Austrian filmmaker, who turns his film into a heir of the femme fatale myth, resorts to two different types of sources in order to cre- ate his unforgettable character of Lola-Lola: on the one hand, the Literature, since Sternberg got inspiration from a novel by Heinrich Mann for developing his script; on the other hand, the Iconography, because he applies to the female main character several icons from the western collective imaginary which were associated with the archetype of the femme fatale on the second half of 19th century.
[Show full text]
HOLLYWOOD – the Big Five Production Distribution Exhibition
HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927
[Show full text]
Der Blaue Engel" Von Josef Von Sternberg
Heinrich Manns Roman "Professor Unrat" und die Verfilmung "Der Blaue Engel" von Josef von Sternberg. Ein Vergleich Deanović, Katarina Master's thesis / Diplomski rad 2014 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: Josip Juraj Strossmayer University of Osijek, Faculty of Humanities and Social Sciences / Sveučilište Josipa Jurja Strossmayera u Osijeku, Filozofski fakultet Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:142:040046 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-26 Repository / Repozitorij: FFOS-repository - Repository of the Faculty of Humanities and Social Sciences Osijek Sveučilište J.J. Strossmayera u Osijeku Filozofski fakultet Diplomski studij njemačkog jezika i književnosti Nastavničko usmjerenje Katarina Deanović Heinrich Manns Roman „Professor Unrat“ und die Verfilmung „Der Blaue Engel“ von Josef von Sternberg. Ein Vergleich. Diplomski rad Mentor: prof.dr.sc. Željko Uvanović Osijek, 2014. Inhaltsverzeichnis 1.Einleitung 3 2. Das Verhältnis zwischen Film und Literatur 4 2.1.Film und Roman 4 2.2.Literaturverfilmung 5 2.3.Methodologische Problematik 7 2.3.1.Perspektiven und Grenzen einer vergleichenden Analyse 7 2.3.2. Der Vergleich auf der narrativen Ebene 9 2.4.Die Problematik bei der Verfilmung von literarischen Werken 10 2.4.1. Treue oder Änderung 11 2.4.2. Autonomie oder Dependenz 12 2.4.3. Kürzung oder Intaktheit 12 2.4.4. Komplexität oder Vereinfachung 13 2.4.5. Vulgarisierung 13 3. Zeitgeschichtlicher Hintergrund – Wilhelminismus 15 4. Biographie Heinrich Mann 17 4.1.Zur Entstehung des Romans „Professor Unrat“ 19 4.2. Zum Roman 20 4.3. Die Inhaltsangabe des Romans 21 4.4.
[Show full text]
He Museum of Modern Art No
^2. he Museum of Modern Art No. 27 FOR IMMEDIATE RELEASE: West 53 Street, New York, N.Y. 10019 Tel. 245-3200 Cable: Modernart Friday, March 7, I969 PRESS PREVIEW: Wednesday, March 5, I969 1 - k P.M. THE LOST FILM EXHIBIT AT THE MUSEUM PHOTOGRAPHIC GLORY OF VANISHED PAST The Lost Film, an exhibition of stills from early motion pictures that have disappeared or disintegrated, will be officially on view, starting March J, at The Museum of Modern Art, Scenes from 28 films from the twenties by such famous film directors as Erich von Stroheim, Josef von Sternberg, Howard Hawks, Tod Browning, and Frank Borzage are shown, including dramatic stills of Lon Chaney as a hypnotist. Norma Shearer, muffled by an unknown hand, Lewis Stone in the role of a libertine king, and Lionel Barrymore as the Greek manager of a side show. Many of the themes are melodramatic and moralistic with Fay V/ray, of King Kong fame shown as a member of the Salvation Army v;ho reprimands the gangster, Emil Jannings, in the picture "The Street of Sin," made in I928. By contrast "Polly of the Follies" (1922) has Constance Talmadge wearing a derby hat and smoking a cigar. Other black and white scenes come from "The World's Applause" (I923), "Merton of the Movies" (192^), "Confessions of a Queen," (I925), "The Devil's Circus" (I926), "The Show" (1927)^ "Drag Net" (I928), and "The Case of Lena Smith" (I929). They feature many famous actors, among them AdolpheMenjou, Monte Blue, Lillian Gish, George Bancroft, Bessie Love, John Gilbert, and Bebe Daniels.
[Show full text]
German Cinema As a Vehicle for Teaching Culture, Literature
DOCUMENT7RESUMEA f ED 239 500 FL 014 185 AUTHOR' Duncan, Annelise M. TITLE German Cinema as a Vehicle for Teaching Culture, . Literature and Histoy. 01 PUB DATE Nov 83 . NOTE Pp.; Paper presented at the Annual' Meeting of the. AmeriCan Council on the Teaching of Foreign Languages (San Franci co, , November 24-26, 1993), PUB TYPE Guides - Cla r om User Guides (For Teachers) (052) Speeches/Conference Papers "(150) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Art Education; *Cultural Education; . *Film Study; *German; Higher Educati-on; History InStruction; Instructional Materials; Interdisciplinary Approach; *Literature Appreciation; *SeCond Language Instruction; Social HiStory ABSTRACT The use of German film in four instructional; contexts, based on experiences in developinga university course,, is aiScussed. One use is as part ofa German culture course taught in German, emphasizing the role of film as a cultural statement of ,its time, intended to be'either a social criticismor a propaganda tool.t A second use is integration of the film intoa literature course taught in German, employing a series of television' plays acquired from the Embassy of Wkst Germany. Experience with filmas part of an interdisciplinary German/journalism course offers ideas for,a third use: a curriculum, offered in Engl4sh, to explore a hi toric pdriod or film techniques. A fourth use is as an element of p riod course taught either in German or,if interdepartmental, En fish, such as a. course on t'he artistic manifestations of expres (Author/MSE) O 9- * * * * * * * * * * * * * * * * * * * * * * * * ** * * * * * * * * * * * * * * * * * * * * * 4* * ** * * * * * * * * * *********** Reproductions supplied by EDRS are the best thatcan be made '* from the original document.
[Show full text]
Appendix 5 Selected Films in English of Operettas by Composers for the German Stage
Appendix 5 Selected Films in English of Operettas by Composers for the German Stage The Merry Widow (Lehár) 1925 Mae Murray & John Gilbert, dir. Erich von Stroheim. Metro- Goldwyn-Mayer. 137 mins. [Silent] 1934 Maurice Chevalier & Jeanette MacDonald, dir. Ernst Lubitsch. MGM. 99 mins. 1952 Lana Turner & Fernando Lamas, dir. Curtis Bernhardt. Turner dubbed by Trudy Erwin. New lyrics by Paul Francis Webster. MGM. 105 mins. The Chocolate Soldier (Straus) 1914 Alice Yorke & Tom Richards, dir. Walter Morton & Hugh Stanislaus Stange. Daisy Feature Film Company [USA]. 50 mins. [Silent] 1941 Nelson Eddy, Risë Stevens & Nigel Bruce, dir. Roy del Ruth. Music adapted by Bronislau Kaper and Herbert Stothart, add. music and lyrics: Gus Kahn and Bronislau Kaper. Screenplay Leonard Lee and Keith Winter based on Ferenc Mulinár’s The Guardsman. MGM. 102 mins. 1955 Risë Stevens & Eddie Albert, dir. Max Liebman. Music adapted by Clay Warnick & Mel Pahl, and arr. Irwin Kostal, add. lyrics: Carolyn Leigh. NBC. 77 mins. The Count of Luxembourg (Lehár) 1926 George Walsh & Helen Lee Worthing, dir. Arthur Gregor. Chadwick Pictures. [Silent] 341 Downloaded from https://www.cambridge.org/core. IP address: 170.106.33.14, on 01 Oct 2021 at 07:31:57, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781108614306 342 Appendix 5 Selected Films in English of Operettas Madame Pompadour (Fall) 1927 Dorothy Gish, Antonio Moreno & Nelson Keys, dir. Herbert Wilcox. British National Films. 70 mins. [Silent] Golden Dawn (Kálmán) 1930 Walter Woolf King & Vivienne Segal, dir. Ray Enright.
[Show full text]
+- Vimeo Link for ALL of Bruce Jackson's and Diane
Virtual February 9, 2021 (42:2) William A. Wellman: THE PUBLIC ENEMY (1931, 83 min) Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. Cast and crew name hyperlinks connect to the individuals’ Wikipedia entries +- Vimeo link for ALL of Bruce Jackson’s and Diane Christian’s film introductions and post-film discussions in the Spring 2021 BFS Vimeo link for our introduction to The Public Enemy Zoom link for all Fall 2020 BFS Tuesday 7:00 PM post-screening discussions: Meeting ID: 925 3527 4384 Passcode: 820766 Selected for National Film Registry 1998 Directed by William A. Wellman Written by Kubec Glasmon and John Bright Produced by Darryl F. Zanuck which are 1958 Lafayette Escadrille, 1955 Blood Cinematography by Devereaux Jennings Alley, 1954 Track of the Cat, 1954 The High and the Film Editing by Edward M. McDermott Mighty, 1953 Island in the Sky, 1951 Westward the Makeup Department Perc Westmore Women, 1951 It's a Big Country, 1951 Across the Wide Missouri, 1949 Battleground, 1948 Yellow Sky, James Cagney... Tom Powers 1948 The Iron Curtain, 1947 Magic Town, 1945 Story Jean Harlow... Gwen Allen of G.I. Joe, 1945 This Man's Navy, 1944 Buffalo Bill, Edward Woods... Matt Doyle 1943 The Ox-Bow Incident, 1939 The Light That Joan Blondell... Mamie Failed, 1939 Beau Geste, 1938 Men with Wings, 1937 Donald Cook... Mike Powers Nothing Sacred, 1937 A Star Is Born, 1936 Tarzan Leslie Fenton... Nails Nathan Escapes, 1936 Small Town Girl, 1936 Robin Hood of Beryl Mercer..
[Show full text]
Cahiers Du Cinéma
CAHIERS DU CINÉMA N°6 • REVUE DU CINÉMA ET DU TÉLÉCINÉMA • OCTOBRE-NOVEMBRE 1951 Betty Hutton est la vedette avec Howard Keel et Louis Calhern de ANNIE, LA REINE DU CIRQUE (Annie ge t your Gurt), un film en technicolor de George Sidney d'après la célèbre opérette d'Irvîng Berlin. (Métro Goldwyn Mayer) Judy Holliday, Oscar 1951 pour là meilleure interprétation féminine, ' es! avec William Holden et Broderick Crawford la vedette de COMMENT L'ESPRIT VIENT AUX FEMMES fBorn Yesterday), une com édie mise en scène p a r G eorge Cukor d'après une pièce de G arson Kanin. (Co/umfa/o S.A.J Arfhur Kennedy et P eg g y Dow sont les vedettes de LA NOUVELLE AURORE (Bright Vîctory), un film de Mark Robson, d'après le roman "Lights O ut" de Baynard Hendrick, que l'on peut voir actuellement sur les écrans parisien?- {Universel Film 5, A.) Alastaïr Sim interprète le rôle le plus désopilant de sa carrière dans un excellent film comique anglais du producteur-réalisaleur Mario Zampi RIRES AU PARADIS (Laughfer in Paradise) que l'on verra à Paris cette saison. (SeSection Assoc/afed Bnf/sh Pathé distribuée par Victory Films) Hedy Lomarr, vamp biblique et sophistiquée, digne des Theda Bara et des Francesca Bertini de la belle époque, est la ravissante héroïne de SAMSON ET DALILA, la nouvelle œuvre de Cécîl B. De Mille. (Parafrounf) CAHIERS DU CINÉMA REVUE MENSUELLE DU CINÉMA ET DU TÉLÉCINÉMA 146 CHAMPS-ELYSÉES PARIS (8°) - ÉLYSÉES 05-38 r éd a c teu r s EN CHEF J lo DUCA, J.
[Show full text]
National Gallery of Art Fall10 Film Washington, DC Landover, MD 20785
4th Street and Mailing address: Pennsylvania Avenue NW 2000B South Club Drive NATIONAL GALLERY OF ART FALL10 FILM Washington, DC Landover, MD 20785 FIGURES IN A STRAUB AND LANDSCAPE: JULIEN HUILLET: THE NATURE AND DUVIVIER: WORK AND HARUN NARRATIVE THE GRAND REACHES OF FAROCKI: IN NORWAY ARTISAN CREATION ESSAYS When Angels Fall Manhattan cover calendar page calendar (Harun Farocki), page four page three page two page one Still of performance duo ZsaZa (Karolina Karwan) When Angels Fall (Henryk Kucharski) A Tale of HarvestA Tale The Last Command (Photofest), Force of Evil Details from FALL10 Images of the World and the Inscription of War (Henryk Kucharski), (Photofest) La Bandera (Norwegian Institute) Film Images of the (Photofest) (Photofest) Force of Evil World and the Inscription of War (Photofest), Tales of (Harun Farocki), Iris Barry and American Modernism Andrew Simpson on piano Sunday November 7 at 4:00 Art Films and Events Barry, founder of the film department at the Museum of Modern Art , was instrumental in first focusing the attention of American audiences on film as an art form. Born in Britain, she was also one of the first female film critics David Hockney: A Bigger Picture and a founder of the London Film Society. This program, part of the Gallery’s Washington premiere American Modernism symposium, re-creates one of the events that Barry Director Bruno Wollheim in person staged at the Wadsworth Athenaeum in Hartford in the 1930s. The program Saturday October 2 at 2:00 includes avant-garde shorts by Walter Ruttmann, Ivor Montagu, Viking Eggeling, Hans Richter, Charles Sheeler, and a Silly Symphony by Walt Disney.
[Show full text]