Film Noir Timeline Compiled from Data from the Internet Movie Database—412 Films
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The Films of Raoul Walsh, Part 1
Contents Screen Valentines: Great Movie Romances Screen Valentines: Great Movie Romances .......... 2 February 7–March 20 Vivien Leigh 100th ......................................... 4 30th Anniversary! 60th Anniversary! Burt Lancaster, Part 1 ...................................... 5 In time for Valentine's Day, and continuing into March, 70mm Print! JOURNEY TO ITALY [Viaggio In Italia] Play Ball! Hollywood and the AFI Silver offers a selection of great movie romances from STARMAN Fri, Feb 21, 7:15; Sat, Feb 22, 1:00; Wed, Feb 26, 9:15 across the decades, from 1930s screwball comedy to Fri, Mar 7, 9:45; Wed, Mar 12, 9:15 British couple Ingrid Bergman and George Sanders see their American Pastime ........................................... 8 the quirky rom-coms of today. This year’s lineup is bigger Jeff Bridges earned a Best Actor Oscar nomination for his portrayal of an Courtesy of RKO Pictures strained marriage come undone on a trip to Naples to dispose Action! The Films of Raoul Walsh, Part 1 .......... 10 than ever, including a trio of screwball comedies from alien from outer space who adopts the human form of Karen Allen’s recently of Sanders’ deceased uncle’s estate. But after threatening each Courtesy of Hollywood Pictures the magical movie year of 1939, celebrating their 75th Raoul Peck Retrospective ............................... 12 deceased husband in this beguiling, romantic sci-fi from genre innovator John other with divorce and separating for most of the trip, the two anniversaries this year. Carpenter. His starship shot down by U.S. air defenses over Wisconsin, are surprised to find their union rekindled and their spirits moved Festival of New Spanish Cinema .................... -
MASCULINITY AS SPECTACLE REFLECTIONS on MEN and MAINSTREAM CINEMA by STEVE NEALE Downloaded From
MASCULINITY AS SPECTACLE REFLECTIONS ON MEN AND MAINSTREAM CINEMA BY STEVE NEALE Downloaded from http://screen.oxfordjournals.org/ OVER THE PAST ten years or so, numerous books and articles 1 Laura Mulvey, have appeared discussing the images of women produced and circulated 'Visual Pleasure by the cinematic institution. Motivated politically by the development and Narrative Cinema', Screen of the Women's Movement, and concerned therefore with the political Autumn 1975, vol and ideological implications of the representations of women offered by at Illinois University on July 18, 2014 16 no 3, pp 6-18. the cinema, a number of these books and articles have taken as their basis Laura Mulvey's 'Visual Pleasure and Narrative Cinema', first published in Screen in 1975'. Mulvey's article was highly influential in its linking together of psychoanalytic perspectives on the cinema with a feminist perspective on the ways in which images of women figure within main- stream film. She sought to demonstrate the extent to which the psychic mechanisms cinema has basically involved are profoundly patriarchal, and the extent to which the images of women mainstream film has produced lie at the heart of those mechanisms. Inasmuch as there has been discussion of gender, sexuality, represen- tation and the cinema over the past decade then, that discussion has tended overwhelmingly to centre on the representation of women, and to derive many of its basic tenets from Mulvey^'s article. Only within the Gay Movement have there appeared specific discussions of the represen- tation of men. Most of these, as far as I am aware, have centred on the representations and stereotypes of gay men. -
El Cid and the Circumfixion of Cinematic History: Stereotypology/ Phantomimesis/ Cryptomorphoses
9780230601253ts04.qxd 03/11/2010 08:03 AM Page 75 Chapter 2 The Passion of El Cid and the Circumfixion of Cinematic History: Stereotypology/ Phantomimesis/ Cryptomorphoses I started with the final scene. This lifeless knight who is strapped into the saddle of his horse ...it’s an inspirational scene. The film flowed from this source. —Anthony Mann, “Conversation with Anthony Man,” Framework 15/16/27 (Summer 1981), 191 In order, therefore, to find an analogy, we must take flight into the misty realm of religion. —Karl Marx, Capital, 165 It is precisely visions of the frenzy of destruction, in which all earthly things col- lapse into a heap of ruins, which reveal the limit set upon allegorical contempla- tion, rather than its ideal quality. The bleak confusion of Golgotha, which can be recognized as the schema underlying the engravings and descriptions of the [Baroque] period, is not just a symbol of the desolation of human existence. In it transitoriness is not signified or allegorically represented, so much as, in its own significance, displayed as allegory. As the allegory of resurrection. —Walter Benjamin, The Origin of German Tragic Drama, 232 The allegorical form appears purely mechanical, an abstraction whose original meaning is even more devoid of substance than its “phantom proxy” the allegor- ical representative; it is an immaterial shape that represents a sheer phantom devoid of shape and substance. —Paul de Man, Blindness and Insight, 191–92 Destiny Rides Again The medieval film epic El Cid is widely regarded as a liberal film about the Cold War, in favor of détente, and in support of civil rights and racial 9780230601253ts04.qxd 03/11/2010 08:03 AM Page 76 76 Medieval and Early Modern Film and Media equality in the United States.2 This reading of the film depends on binary oppositions between good and bad Arabs, and good and bad kings, with El Cid as a bourgeois male subject who puts common good above duty. -
BACKSTORY: the CREDITS an Actor
BACKSTORY Your behind-the-scenes look at TimeLine productions YESTERDAY’S STORIES. TODAY’S TOPICS. From Artistic Director PJ Powers a message Dear Friends, that their “Person of the — can influence history is made With his blend of social classic for the ages. You just Year” was You. Me. Us. The through activism, be On behalf of TimeLine’s not only in commentary and might be surprised that the average citizen. it personal, social or entire company, I am government emotional complexity, age in which it was written political. thrilled to welcome you to Admittedly, upon first buildings and Odets revolutionized the really is not our own! our 11th season! Each year hearing that, I thought There are many complex at corporate American theater during As we usher in a second we go through a series of it was a poor excuse for issues — not the least of board tables, but in the The Depression by putting decade of making history at discussions about the issues not choosing a person of which will be a Presidential homes and workplaces of the struggles and longings TimeLine, we’re delighted and types of stories we national prominence — a election — that will demand people like you and me. of everyday citizens on the to share another Odets stage. With Paradise Lost, want explore, and this year single someone who had great thoughtfulness in the We begin our season-long play with you. With much he gives voice to those our deliberations seemed made a sizeable imprint on coming year. Each of us will conversation by revisiting to discuss, I hope our little individuals and exposes a even more extensive and issues of global importance. -
Awake and Sing! Study Guide/Lobby Packett Prepared by Sara Freeman, Dramaturg
Awake and Sing! Study Guide/Lobby Packett Prepared by Sara Freeman, dramaturg Section I Clifford Odets: A Striving Life Clifford Odets was born in Philadelphia, on July 18, 1906, the son of a working-class Jewish family made good. Louis Odets, his father, had been a peddler, but also worked as a printer for a publishing company. In 1908, Louis Odets moved his family to New York City, where, after a brief return to Philadelphia, he prospered as a printer and ended up owning his own plant and an advertising agency, as well as serving as a Vice President of a boiler company. Odets grew up in the middle-class Bronx, not the Berger’s Bronx of tenements and squalor. Still Odets described himself as a “melancholy kid” who clashed often with his father. Odets quit high school after two years. When he was 17, Odets plunged into the theatre. He joined The Drawing Room Players and Harry Kemp’s Poets’ Theater. He wrote some radio plays, did summer stock, and hit the vaudeville circuit as “The Roving Reciter.” In 1929, he moved into the city because of a job understudying Spencer Tracy in Conflict on Broadway. A year later Odets joined the nascent Group Theatre, having met Harold Clurman and some of the other Group actors while playing bit parts at the Theatre Guild. The Group philosophy became the shaping force of Odets’ life as a writer. Clurman became his best friend and most perceptive critic. Odets wrote the first version of Awake and Sing!, then called I Got the Blues, in 1934. -
Bank-, Register
BANK-, REGISTER VOLUME liXVIIL, NO. 4. RED BANK, N. J., THURSDAY, JULY 19,1945 -SECTION ONE—PAGES l-,T0U2. Robert J. Hayward Vincent J. Moyes CommitteesNamed Road Contract In Writes Of His Harvest Home Set Electe'd To Head Heads EatontowiW For Church Fair Eatontown Given Pacific Travels For' Missing Naval Gunner The annual Harvest Home supper Committees for the annual Sea and bazar of tfye Women's Society Rainbow Veterans Legion Post 325 Bright Methodist church fair, Jo To Fred -McDowell On New Destroyer of Christian Service of the Metho- Lost Life In Action be- held Friday, August 47, starting dist church will be held Thursday, at 6;30 p. m. on the church prop- August 23, at the church Fellowship Red Bank Resident Officers Elected At erty, were appointed at a meeting Maple Avenue To Be Petty Officer~Clemens hall. Final plans for the event will lust Thursday nightiof the Wom- be completed by the society execu- Letter To Sister Reveals Death Named Saturday At First Meeting Held an's Society- of Christian Service Improved With Tar Jacobsen "Ribbed" By tive Hoard at a meeting Monday, in the parsonage. August 6. - Ohio Convention Last Friday Night The committee members' and Asphalt, Pea Gravel Pals About Sea Bright Mrs. Roy Inscoe, general chair- Of Albert T. Buchhop In Pacific those in charge of the various man, has announced assisting chair- Robert J, Hayward of Pinckney Eatontown Post 325, American tables are Mrs'. Selma Swenson Fred McDowell of Neptune, with Interesting letters about his men. Mrs. Fred Boyd Is chairman Albert Theodore Buchhop, ion of road was elected national president Legion, elected .officers al'lts ffr and Mrs. -
The Secret History of Paranoia, Borders and Terrorism in Postwar American Literature and Film by Sean D
A Shadow Underneath: The Secret History of Paranoia, Borders and Terrorism in Postwar American Literature and Film Item Type text; Electronic Dissertation Authors Cobb, Sean Daren Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 06:20:25 Link to Item http://hdl.handle.net/10150/195525 1 A Shadow Underneath: The Secret History of Paranoia, Borders and Terrorism in Postwar American Literature and Film by Sean D. Cobb _____________________ Copyright © Sean D. Cobb 2008 A Dissertation Submitted to the Faculty of the English Department In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2008 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Sean D. Cobb entitled A Shadow Underneath: The Secret History of Paranoia, Borders and Terrorism in American Postwar Literature and Film and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of PhD _______________________________________________________________________ Date: 11/30/07 Prof. Susan White _______________________________________________________________________ Date: 11/30/07 Prof. Charles Bertsch _______________________________________________________________________ Date: 11/30/07 Prof. Carlos Gallego Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. -
Proquest Dissertations
"The House of the Irish": Irishness, History, and Memory in Griffintown, Montreal, 1868-2009 John Matthew Barlow A Thesis In the Department of History Present in Partial Fulfilment of the Requirements For the Degree of Doctor of Philosophy at Concordia University, Montreal, Quebec, Canada March 2009 © John Matthew Barlow, 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-63386-1 Our file Notre reference ISBN: 978-0-494-63386-1 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Nnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre im primes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Science Fiction Films of the 1950S Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 "Science in skirts": representations of women in science in the "B" science fiction films of the 1950s Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Noonan, Bonnie, ""Science in skirts": representations of women in science in the "B" science fiction films of the 1950s" (2003). LSU Doctoral Dissertations. 3653. https://digitalcommons.lsu.edu/gradschool_dissertations/3653 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “SCIENCE IN SKIRTS”: REPRESENTATIONS OF WOMEN IN SCIENCE IN THE “B” SCIENCE FICTION FILMS OF THE 1950S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English By Bonnie Noonan B.G.S., University of New Orleans, 1984 M.A., University of New Orleans, 1991 May 2003 Copyright 2003 Bonnie Noonan All rights reserved ii This dissertation is “one small step” for my cousin Timm Madden iii Acknowledgements Thank you to my dissertation director Elsie Michie, who was as demanding as she was supportive. Thank you to my brilliant committee: Carl Freedman, John May, Gerilyn Tandberg, and Sharon Weltman. -
Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing -
Feature Films
Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243 -
THE NARROW MARGIN / 1952 (Forças Secretas)
CINEMATECA PORTUGUESA-MUSEU DO CINEMA REVISITAR OS GRANDES GÉNEROS: FILM NOIR - NO CORAÇÃO DO NOIR 19 e 23 de junho de 2021 THE NARROW MARGIN / 1952 (Forças Secretas) um filme de Richard Fleischer Realização: Richard Fleischer / Argumento: Earl Fenton, segundo uma história de Martin Goldsmith e Jack Leonard / Fotografia: George E. Diskant / Direcção Artística: Albert S. D’Agostino, Jack Okey / Montagem: Robert Swink / Som: Clem Portman, Francis Sarver / Intérpretes: Charles McGraw (Walter Brown), Marie Windsor (Mrs. Neall), Jacqueline White (Ann Sinclair/Mrs. Neall), Gordon Gebert (Tommy Sinclair), David Clarke (Joseph Kemp), Peter Virgo (Densel), Don Beddoe (Gus Forbes), Paul Maxey (Sam Jennings), Queenie Leonard (Mrs. Troll), Harry Harvey (o revisor), Peter Brocco (Vincent Yost), Mike Lally (taxista), etc. Produção: Stanley Rubin para a RKO / Cópia: Digital, preto e branco, versão original legendada eletronicamente em português, 71 minutos / Estreia Mundial: Nova Iorque, em 3 de Maio de 1952 / Estreia em Portugal: Capitólio, em 17 de Março de 1953. _______________________________ Quando dirige The Narrow Margin, Richard Fleischer já tem atrás de si cerca de uma dezena de filmes, numa carreira iniciada em 1946 já na RKO. Filmes de série B que são uma verdadeira escola para o seu trabalho futuro. Neste grupo de filmes começam já a destacar-se as qualidades na direcção do filho de Max Fleischer (pioneiro do cinema de animação, campo em que foi, durante bastante tempo, o principal rival de Walt Disney), em particular nalguns “thrillers” de estilo “negro”. O primeiro é exactamente o seu “opus” número cinco, Bodyguard/O Meu Guarda-Costas (1948), e o resultado é que Fleischer passa quase exclusivamente a concentrar- se nesse tipo de filmes, The Clay Pigeon/O Pombo de Barro (1949), Follow Me Quietly/Segue-me Em Silêncio (1949), Trapped/Fuga para a Morte (1949) e Armored Car Robbery/Brigada Criminal (1950), talvez o melhor da série, quase um filme de “procedural”, sobre os métodos de investigação da polícia, na linha das produções de Louis de Rochemont e Mark Hellinger.