DOCSLIB.ORG

Introducfion 2 IDEOLOGY and CINEMATOGRAPHIC STYLE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Notes INTRODUCfION 1. C. Higham, Hollywood Cameramen (London: Thames and Hudson, 1970), p. 10. 2. Ibid., p. 11. 3. A. Sarris, The American Cinema (New York: E. P. Dutton, 1968), p. 31. 4. L. Maltin, The Art of the Cinematographer (New York: Dover, 1978), p. 12. 5. Ibid., p. 17. 6. Ibid., p. 19. 7. Ibid., p. 26. 8. T. Rainsberger,lames Wong Howe, Cinematographer (London: Tantivy Press, 1981), p.61. 9. Ibid., p. 162. 10. R. Williams, Television: Technology and Cultural Form (Glasgow: Fontana, 1974), p. 130. 11. P. Ogle, 'Technological and Aesthetic Influences on the Development of Deep Focus Cinematography in the United States', in B. Nichols (ed.), Movies and Methods, Vol. 2 (London: University of California Press, 1985), p. 64. 12. A. Bazin, What is Cinema?, Vol. 1 (London: University of California Press, 1967), pp. 21 and 30. 13. Ibid., p. 21. 14. D. Bordwell, J. Staiger and K. Thompson, The Classical Hollywood Cinema (Lon- don: Routledge and Kegan Paul, 1985), p. 244. 15. Ibid., p. 7. 16. Ibid., p. 6. 17. N. Burch, Life to Those Shadows (London: British Film Institute, 1990), pp. 260-1. 18. N. Burch, In and Out of Synch (Aldershot: Scolar Press, 1991), p. 165. 2 IDEOLOGY AND CINEMATOGRAPHIC STYLE 1. The following section is based on Chapter 1 of the author's Ideology (London: Batsford, 1992) where the defmition is developed more fully. The three texts men­ tioned earlier are: J.-L. Comolli and J. Narboni, 'Cinema/ldeology/Criticism,' in B. Nichols (ed.), Movies and Methods (London: University of California Press, 1976), pp. 22-30; P. Biskind, Seeing Is Believing (London: Pluto Press, 1984); B. Nichols, Ideology and the Image (Bloomington: Indiana University Press, 1981). 2. J. Collins, Uncommon Cultures (London: Routledge, 1989), p. xiv. 3. The original arguments can be found in N. Abercrombie, S. Hill and B. S. Turner, The Dominant Ideology Thesis (London: Allen and Unwin, 1980) with the updated version in N. Abercrombie, S. Hill and B. S. Turner (eds), Dominant Ideologies (London: Unwin Hyman, 1990). 4. T. Eagleton, Ideology: An Introduction (London: Verso, 1991), p. 45. 5. J. B. Thompson, Ideology and Modern Culture (London: Polity Press, 1990), p. 56. 6. Ibid., p. 57. 154 Notes 155 7. See Chapter 8 of the author's Ideology for an example of a general ideological analysis of a recent film (Raging Bull, d. Martin Scorsese, 1980). 8. R. Barthes, S/Z (New York: Hill and Wang, 1974), p. 20. 9. J. B. Thompson, op. cit., p. 275. 10. K. Silverman, The Subject of Semiotics (Oxford: Oxford University Press, 1983), p.270. 11. R. Barthes, op. cit., p. 100. 12. F. Basten, Glorious Technicolor (London: Thomas Yoseloff, 1980), pp. 170-1. 13. C. Metz, Language and Cinema (The Hague: Mouton, 1974), pp. 28-9. 14. Ibid., p. 62. 15. Ibid., p. 63. 16. Ibid., pp. 75-6. 17. Ibid., p. 86. 18. S. Russell, Semiotics and Lighting (Ann Arbor: UMI Research Press, 1981), pp.44-5. 19. B. Salt, Film Style and Technology (London: Starword, 1983), pp. 389-91. 20. Ibid., p. 243. 21. J. Paine, The Simplification of American Life (New York: Amo Press, 1977), pp. 210-11. 22. Ibid., p. 16. 23. S. Neale, Genre (London: British Film Institute, 1980), p. 55. 24. S. Heath, Questions of Cinema (London: Macmillan, 1981), pp. 19-75. 25. D. Bordwell, Narration in the Fiction Film (London: Methuen, 1985), p. 25. 26. J. Feuer, The Hollywood Musical (London: Macmillan, 1982), p. 36. 27. E. Branigan, Point of View in the Cinema (Berlin: Mouton, 1984), p. 103. 3 FROM SILENT TO SOUND: ALL QUIET ON THE WESTERN FRONT 1. D. Gomery, The Hollywood Studio System (London: Macmillan, 1986), p. 150. 2. C. R. Barker and R. W. Last, Erich Maria Remarque (London: Oswald Wolff, 1979), pp. 15 and 165. 3. Ibid., pp. 19-20. 4. Details of the production history in the following paragraph are taken from C. Denton, K. Canham and T. Thomas, The Hollywood Professionals, Vol. 2: Henry King, Lewis Milestone, Sam Wood (London: Tantivy Press, 1974). 5. A. Estrin, The Hollywood Professionals, Vol. 6: Capra, Cukor, Brown (London: Tantivy Press, 1980), p. 97. 6. Slide's claim can be found in his article 'All Quiet on the Western Front,' in C. Lyon (ed.), The Macmillan Dictionary ofFilms and Filmmakers, Vol. 1 (London: Macmillan, 1984), p. 22. The information on Broadway comes from Barry Salt's Film Style and Technology (London: Starword, 1983), p. 228. 7. S. Eisenstein, Film Form (London: Harcourt Brace Jovanovich, 1949), p. 75. 8. C. Denton et aI., op. cit., p. 76. 9. K. Thiede, 'Lewis Milestone: a Film Checklist', in J. Tuska (ed.), Close Up: the Contract Director (Metuchen: Scarecrow Press, 1976), p. 347. 10. H. J. Forman, Our Movie Made Children (New York: Macmillan, 1933), p. 254. 11. Details of Academy Awards and New York Times rankings are taken from C. Steinberg's Reel Facts (Harmondsworth: Penguin, 1981). 12. C. Denton et al., op. cit., pp. 79-80. 156 Notes 13. D. Bordwell, J. Staiger and K. Thompson, The Classical Hollywood Cinema (Lon- don: Routledge and Kegan Paul, 1985), pp. 228-9. 14. Ibid., p. 229. 15. Ibid. 16. B. Salt, op. cit., pp. 222-3. 17. Ibid., p. 265. 18. Ibid. 4 A CRISIS OF EXPLANATION: THE EARLY THIRTIES 1. Statistics are taken from the US Bureau of the Census, Historical Statistics of the United States (Washington: Bureau of the Census, 1975), pp. 126 (unemployment), 224 (GNP), 226 (economic growth) and 400 (film statistics). 2. W. E. Leuchtenburg, The Perils of Prosperity. 1914-32 (London: University of Chicago Press, 1958), p. 261. 3. M. A. Jones, The Limits of Liberty (Oxford: Oxford University Press, 1983), p. 457. 4. Ibid., p. 467. 5. Ibid. 6. J. Major, The New Deal (London: Longmans, 1968), pp. 47-8. 7. M. A. Jones, op. cit., p. 456. 8. Ibid., pp. 455-6. 9. Ibid., p. 456. 10. D. Bordwell, J. Staiger and K. Thompson, The Classical Hollywood Cinema (Lon­ don: Routledge and Kegan Paul, 1985), pp. 314-15. 11. B. Salt, Film Style and Technology (London: Starword, 1983), p. 265. 12. D. Bordwell et al., op. cit., p. 343. 5 QUESTIONING SUBJECTIVITY: DR JEKYLL AND MR HYDE 1. Unless otherwise noted, all details of Paramount's history are taken from Chapter 2 of Douglas Gomery's The Hollywood Studio System (London: Macmillan, 1986). 2. D. Bordwell, J. Staiger and K. Thompson, The Classical Hollywood Cinema (Routledge and Kegan Paul, 1985), pp. 320-2. 3. Ibid., p. 328. 4. H. T. Lewis, The Motion Picture Industry (New York: Jerome S. Ozer, 1971), p. 30. 5. D. Bordwell et al., op. cit., p. 328. 6. H. T. Lewis, op. cit., p. 352. 7. B. Schulberg, Moving Pictures (Harmondsworth: Penguin, 1984), p. 359. 8. Mamoulian's history taken from Tom Milne's Rouben Mamoulian (London: Thames and Hudson, 1969). 9. J. Calder, RLS: a Life Story (London: Hamish Hamilton, 1980), p. 230. 10. S. S. Prawer, Caligari's Children (Oxford: Oxford University Press, 1980), pp.86-7. 11. C. Steinberg, Reel Facts (Harmondsworth: Penguin, 1981). 12. H. J. Forman, Our Movie Made Children (New York: Macmillan, 1933), pp. 99 and llO. 13. H. T. Lewis, op. cit., p. 388. 14. S. S. Prawer, op. cit., p. 86. Notes 157 15. Quotations from The Strange Case of Dr Jekyll and Mr Hyde are taken from R. L. Stevenson, The Collected Shorter Fiction, ed. by Peter Stone ley (London: Robinson, 1991), pp. 439-88. 16. D. Robinson, 'Painting the Leaves Black', Sight and Sound, 30, 3 (Summer, 1961), p.125. 17. B. Salt, Film Style and Technology (London: Starword, 1983). pp. 261 and 282. 18. Ibid., p. 245. 19. T. Milne, op. cit., p. 45; P. Lehman, 'Looking at Ivy Looking at Us Looking at Her', Wide Angle, 5, 3 (1983), pp. 59~3; S. S. Prawer. op. cit., p. 91; D. Bordwell. Narration in the Fiction Film (London: Methuen, 1985) p. 350. footnote 26. 20. D. Bordwell, ibid. 21. D. Bordwell, et al., op. cit., p. 305. 22. Ibid., p. 304. 23. Ibid., p. 228. 24. Ibid., p. 10. 25. Ibid., p. 229. 26. R. Dyer, Stars (London: British Film Institute, 1979), p. 30. 6 THE NEW DEAL IN HOLLYWOOD, 1933-35 I. Statistics are taken from the US Bureau of the Census, Historical Statistics of the United States (Washington: Bureau of the Census, 1975) pp. 126 (unemployment), 224 (GNP), 226 (economic growth) and 400 (film statistics). 2. M. A. Jones, The Limits of Liberty (Oxford: Oxford University Press, 1983), p. 461. 3. D. K. Adams, Franklin D. Roosevelt and the New Deal (London: The Historical Association, 1979), p. 25. Details concerning the New Deal administration in the following paragraphs are taken from M. A. Jones's The Limits of Liberty and William Miller's A New History of the United States (London: Paladin. 1970). 4. M. A. Jones, op. cit., p. 464. 5. Ibid., p. 474. 6. Ibid., p. 475. 7. D. K. Adams, op. cit., p. 8. 8. S. Terkel, Hard Times (London: Allen Lane, 1970), p. 135. 9. Ibid., p. 193. 10. M. A. Jones, op. cit., p. 462. II. Details of the Payne Fund studies are taken from Garth Jowett's Film: the Democratic Art (Boston: Little, Brown and Company, 1976), pp. 220 and 230-1. 12. H. J. Forman, Our Movie Made Children (New York: Macmillan, 1933), p. vii. 13. G. Jowett, op. cit., p. 226. 14. H. J. Forman, op. cit., p. 272. 15. R. Moley, Are We Movie Made? (New York: Macy-Masius, 1938), pp.
Recommended publications
  • Durham E-Theses

    Durham E-Theses

    Durham E-Theses Pulling focus: New perspectives on the work of Gabriel Figueroa Higgins, Ceridwen Rhiannon How to cite: Higgins, Ceridwen Rhiannon (2007) Pulling focus: New perspectives on the work of Gabriel Figueroa, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2579/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Pulling Focus: New Perspectives on the Work of Gabriel Figueroa by Ceridwen Rhiannon Higgins University of Durham 2007 Submitted for Examination for Degree of PhD 1 1 JUN 2007 Abstract This thesis examines the work of Mexican cinematographer Gabriel Figueroa (1907 -1997) and suggests new critical perspectives on his films and the contexts within which they were made. Despite intense debate over a number of years, auteurist notions in film studies persist and critical attention continues to centre on the director as the sole giver of meaning to a film.

  • Box Office Digest (1941)

    feojc Office (Zep&itd.: 'High Sierra' Week's Money Pic i>ee Pacje 5 * -i; r&; ?v^ • . -VT£i < - : -& % W 1 617 North La Brea Avenue, Los Angeies, Calif. Subscription Rate, #10.00 Per Year. .he Hex Ojfjfice DIGEST "HONOR BOX” The Biggest Grossing Release Of The Past Week This Week WARNERS wins with 'HIGH SIERRA' 115% Vice-Prcs. in Charge of Production Executive Producer Associate Producer Director JACK L. WARNER HAL WALLIS MARK HELLINGER RAOUL WALSH IDA LUPINO HUMPHREY BOGART Screenplay Featured ALAN CURTIS JOHN HUSTON ARTHUR KENNEDY W. R. BURNETT JOAN LESLIE HENRY HULL JEROME COWAN From Novel MINNA GOMBELL by BARTON McLANE W. R. BURNETT ELIZABETH RISDON CORNEL WILDE DONALD MacBRIDE PAUL HARVEY Photographer ISABEL JEWELL TONY GAUDIO WLLIE BEST SPENCER CHARTERS HENRY TRAVERS — ^Ue &Q4C Ofjfjice. ^JUe OnAuAisuyL DIGEST l/UeeJzhf, ENTERTAINMENT An Editorial by ROBERT E. WELSH The modest Editor last week murmered about the fact that it is release of life’s problems through zanie laughs, or complete the picture industry needs no legislative chiding—Senatorial abandonment of today’s calendar by adventure into glorious or otherwise—to tell it that heavy-handed propaganda, no mat- history, the first requirement of money-making entertainment ter for what side of an argument, is not selling theater tickets. is to take the customer away from his own daily problems. He just invited the attention of the pundits to the box office Above all, don’t aggravate those problems by preaching figures. And mentioned some of the pictures that were proving and especially sermonizing so effectively about the tragedies of the surprises.
  • Drums Along the Mohawk Walter D

    Drums Along the Mohawk Walter D

    8TH Grade Book Project Approved AP Book List AP Book Title Author 1984 George Orwell 20,000 Leagues Under the Sea Jules Verne Across Five Aprils Irene Hunt Adventures of Huckleberry Finn Mark Twain Alice’s Adventures in Wonderland Lewis Carroll All Quiet on the Western Front Erich Maria Remarque Animal Farm George Orwell Around the World in Eighty Days Jules Verne Beyond the Burning Time Kathryn Lasky Brave New World Aldous Huxley Bud, Not Buddy Christopher Paul Curtis Buried Onions Gary Soto Bury My Heart at Wounded Knee Dee Brown The Caine Mutiny Herman Wouk California Blue David Klass Call of the Wild Jack London Captains Courageous Rudyard Kipling Catcher in the Rye J. D. Salinger Cheyenne Autumn Mari Sandoz The Chosen Chaim Potok Cold Sassy Tree Olive Ann Burns The Color Purple Alice Walker A Connecticut Yankee in King Arthur’s Court Mark Twain The Count of Monte Cristo Alexandre Dumas Crime and Punishment Fyodor Dostoyevsky Cry, The Beloved Country Alan Paton Cyrano de Bergerac Edmond Rostand Dandelion Wine Ray Bradbury David Copperfield Charles Dickens Death Be Not Proud John Donne Death Comes for the Archbishop Willa Cather A Doll’s House Henrik Ibsen Dracula Bram Stoker Dr. Jekyll and Mr. Hyde Robert Louis Stevenson Drums Along the Mohawk Walter D. Edmonds The Education of Little Tree Asa Earl Carter Ethan Frome Edith Wharton Fahrenheit 451 Ray Bradbury A Farwell to Arms Ernest Hemingway Farwell to Manzanar James D. Houston and Jeanne Wakatsuki Houston The Fellowship of the Ring J. R. R. Tolkien Fever, 1793 Laurie Halse Anderson For Whom the Bell Tolls Ernest Hemingway The Fountainhead Ayn Rand Frankenstein Mary Shelley The Glory Field Walter Dean Myers Gone With the Wind Margaret Mitchell The Grapes of Wrath John Steinbeck Great Expectations Charles Dickens The Great Gatsby F.
  • Missions and Film Jamie S

    Missions and Film Jamie S

    Missions and Film Jamie S. Scott e are all familiar with the phenomenon of the “Jesus” city children like the film’s abused New York newsboy, Little Wfilm, but various kinds of movies—some adapted from Joe. In Susan Rocks the Boat (1916; dir. Paul Powell) a society girl literature or life, some original in conception—have portrayed a discovers meaning in life after founding the Joan of Arc Mission, variety of Christian missions and missionaries. If “Jesus” films while a disgraced seminarian finds redemption serving in an give us different readings of the kerygmatic paradox of divine urban mission in The Waifs (1916; dir. Scott Sidney). New York’s incarnation, pictures about missions and missionaries explore the East Side mission anchors tales of betrayal and fidelity inTo Him entirely human question: Who is or is not the model Christian? That Hath (1918; dir. Oscar Apfel), and bankrolling a mission Silent movies featured various forms of evangelism, usually rekindles a wealthy couple’s weary marriage in Playthings of Pas- Protestant. The trope of evangelism continued in big-screen and sion (1919; dir. Wallace Worsley). Luckless lovers from different later made-for-television “talkies,” social strata find a fresh start together including musicals. Biographical at the End of the Trail mission in pictures and documentaries have Virtuous Sinners (1919; dir. Emmett depicted evangelists in feature films J. Flynn), and a Salvation Army mis- and television productions, and sion worker in New York’s Bowery recent years have seen the burgeon- district reconciles with the son of the ing of Christian cinema as a distinct wealthy businessman who stole her genre.
  • Josef Von Sternberg, L'américain

    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).
  • HOLLYWOOD – the Big Five Production Distribution Exhibition

    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
  • Der Blaue Engel" Von Josef Von Sternberg

    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.
  • He Museum of Modern Art No

    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.
  • DINNERS ENROLL TOM SAWYER.’ at 2:40

    DINNERS ENROLL TOM SAWYER.’ at 2:40

    1 11 T 1 Another Film for Film Fans to Suggest Gordon tried out in the drama, "Ch.!« There Is dren of Darkness.” It was thought No ‘Cimarron’ Team. Janet’s Next Role. in Theaters This Week the play would be a failure, so they Photoplays Washington IRENE DUNNE and ^ Wesley Ruggles, of the Nation will * fyJOVIE-GOERS prepared to abandon It. A new man- who as star and director made be asked to suggest the sort of agement took over the property, as- WEEK OP JUNE 12 SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY cinematic history in 1931 In “Cimar- Stopping picture In which little Janet Kay signed Basil Sydney and Mary Ellis "Bit Town Olrl." "Manneouln." "Manneouln." are to be "Naughty Marietta" "Haughty Marietta" "Thank You. Ur. ron," reunited as star and Chapman. 4-year-old star dis- to the leads and Academy "alfm*83ifl£L'‘ Jon Hall in Will Rogers in Will Rosen in and ‘•The Shadow of and "The Shadow of Moto.” and "Ride. recently they scored a Broad- " director of a Paramount to Sth »nd O Sts. B.E, "The Hu-rlcane." "The Hurricane." _"David Harum "David Harum."_Silk Lennox."_ Silk Lennox." Ranter. Ride." picture covered by a Warner scout, should be way hit. This Lad in } into in the Rudy Vailee Rudy Valle? in Rudy Vallee in Myrna Loy. Clark Oa- Myrna Loy. Clark Oa- Loretta Yoon* in go production early fall. next seen on the screen. Miss So It Is at this time of Ambassador •■Sm* "Gold Diggers in "Gold Diggers in "Oold in ble and ble Chap- only yea# DuE*niBin Diggers Spencer Tracy and Spencer Tracy "Four Men and a The announcement was made after man the 18th «nd OolumblA Rd.
  • • ASC Archival Photos

    • ASC Archival Photos

    ASC Archival Photos – All Captions Draft 8/31/2018 Affair in Trinidad - R. Hayworth (1952).jpg The film noir crime drama Affair in Trinidad (1952) — directed by Vincent Sherman and photographed by Joseph B. Walker, ASC — stars Rita Hayworth and Glenn Ford and was promoted as a re-teaming of the stars of the prior hit Gilda (1946). Considered a “comeback” effort following Hayworth’s difficult marriage to Prince Aly Khan, Trinidad was the star's first picture in four years and Columbia Pictures wanted one of their finest cinematographers to shoot it. Here, Walker (on right, wearing fedora) and his crew set a shot on Hayworth over Ford’s shoulder. Dick Tracy – W. Beatty (1990).jpg Directed by and starring Warren Beatty, Dick Tracy (1990) was a faithful ode to the timeless detective comic strip. To that end, Beatty and cinematographer Vittorio Storaro, ASC, AIC — seen here setting a shot during production — rendered the film almost entirely in reds, yellows and blues to replicate the look of the comic. Storaro earned an Oscar nomination for his efforts. The two filmmakers had previously collaborated on the period drama Reds and later on the political comedy Bullworth. Cries and Whispers - L. Ullman (1974).jpg Swedish cinematographer Sven Nykvist, ASC operates the camera while executing a dolly shot on actress Liv Ullman, capturing an iconic moment in Cries and Whispers (1974), directed by friend and frequent collaborator Ingmar Bergman. “Motion picture photography doesn't have to look absolutely realistic,” Nykvist told American Cinematographer. “It can be beautiful and realistic at the same time.
  • Ronald Davis Oral History Collection on the Performing Arts

    Ronald Davis Oral History Collection on the Performing Arts

    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
  • Kipling, Masculinity and Empire

    Kipling, Masculinity and Empire

    Kunapipi Volume 18 Issue 1 Article 10 1996 America's Raj: Kipling, Masculinity and Empire Nicholas J. Cull Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Cull, Nicholas J., America's Raj: Kipling, Masculinity and Empire, Kunapipi, 18(1), 1996. Available at:https://ro.uow.edu.au/kunapipi/vol18/iss1/10 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] America's Raj: Kipling, Masculinity and Empire Abstract The posters for Gunga Din promised much: 'Thrills for a thousand movies, plundered for one mighty show'. That show was a valentine to the British Raj, in which three sergeants (engagingly played by Cary Grant, Victor McLaglen, and Douglas Fairbanks, Jr.) defeat marauding hoards of 'natives' with the aid of their 'Uncle Tom' water bearer, Gunga Din (Sam Jaffe)[Plate VII]. Audiences loved it. Its racism notwithstanding, even an astute viewer like Bertolt Brecht confessed: 'My heart was touched ... f felt like applauding and laughed in all the right places'. 1 Outwardly the film had little ot do with the United States. Most of the cast were British-born and its screenplay claimed to be 'from the poem by Rudyard Kipling' .2 Yet the film was neither British or faithful ot Kipling, but solidly American: directed by George Stevens for RKO, with a screenplay by Oxford-educated Joel Sayre and Stevens's regular collaborator Fred Guiol.3 This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol18/iss1/10 America's Raj: Kipling, Masculinity, and Empire 85 NICHOLAS J.