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Academy Awards (Oscars), 34, 57,
98, 103, 167, 184 Actors’ Studio, 5 7 Adaptation, 1, 3, 23–24, 69–70,
98–100, 111, 121, 125, 145, 169, 171, 178–179, 182, 184, 197–199, 201–204, 206, 273 A denauer, Konrad, 1 3 4 , 137 A lbee, Edward, 113

Antares, 2 1 8

Antonioni, Michelangelo, 80–90,
92–93, 118, 159, 170, 188, 193, 243, 255

Ariel, 158–160

Aristotle, 2 4 , 80 Armstrong, Gillian, 121, 124, 129 Armstrong, Louis, 180

L’Atalante, 63
Alexandra, 176

Atget, Eugène, 64
Aliyev, Arif, 175

All About Anna, 2 18 All My Sons, 52

Auteurism, 6 7 , 118, 142, 145, 147,
149, 175, 187, 195, 269 Avant-gardism, 82
Amidei, Sergio, 36

Anatomy of Hell, 2 18
L’A vventura (The Adventure), 80–90,

243, 255, 270, 272, 274

And Life Goes O n..., 186, 238

Anderson, Lindsay, 58 Andersson, Karl, 27

Anne Pedersdotter, 2 3 , 25

Ansah, Kwaw, 157
Baba, Masuru, 145 Bach, Johann Sebastian, 92 Bagheri, Abdolhossein, 195

Baise-moi, 2 18

Film Analysis: A Casebook, First Edition. Bert Cardullo.

© 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc.

284

Index

Bal Poussière, 157

Bodrov, Sergei Jr., 184 Bolshevism, 5

Boogie, 234

Braine, John, 69–70

Bram Stoker’s Dracula, 1

Brando, Marlon, 5 4 , 56–57, 59 Brandt, Willy, 137
Balabanov, Aleksei, 176, 184

The Ballad of Narayama, 147,

149–150

Ballad of a Soldier, 174, 183–184

Bancroft, Anne, 114 Banks, Russell, 197–198, 201–204,

  • 206
  • BRD Trilogy (Fassbinder), see FRG

Trilogy

Barbarosa, 129

Barker, Philip, 207 Barrett, Ray, 128 Battle in Heaven, 2 17–225, 266–267,
270, 273 Bazin, André, 6 6 , 100 BBC (British Broadcasting Corporation), 136

Breaker Morant, 120, 129 Breathless, 60, 62, 67

Brecht, Bertolt, 8 2 , 187 Breillat, Catherine, 217 Bresson, Robert, 4 2 , 96, 159, 164,
195, 210, 224, 274 Brezhnev, Leonid, 175

  • Brightness, 156–157
  • Le Beau Serge, 67

Bebey, Francis, 154 Beethoven, Ludwig van, 136 Beijing Film Academy, 166

Belle de Jour, 2 19

Brinton, Ralph, 70 Brizzi, Anchise, 37 Broadway, 52, 113 Brody, Adrian, 216
Bellocchio, Marco, 2 1 7

Ben Hur, 95

Benoît-Levy, Jean, 153

Brother, 176, 184 The Brown Bunny, 2 17

Browning, Robert, 203–206
Beresford, Bruce, 120–121, 124, 129 Brueghel, Pieter, 142 Bergman, Ingmar, 65, 91–97, 195,
207, 256–257

Berlin Alexanderplatz, 132

Berlin Film Festival, 167 Bernstein, Leonard, 57–58

Bicycle Thieves, 34

Bucur, Dragoş, 234 Buñuel, Luis, 1 6 7 , 219

Burnt by the Sun, 1 8 4

Burstall, Tim, 121 Burton, Richard, 113 Byrd, George, 136

The Big Parade, 166

Birsel, Taner, 246–247 B jörnstrand, Gunnar, 94

Black Mountain Road, 166 Black Rain, 150 Bloody Dawn, 166 Blow-Up, 118
The Cabinet of Dr. Caligari, 2 , 82 Cahiers du cinéma, 138

Cain, James M., 170–171 Cannes Film Festival, 8 0 , 129, 150,
167, 172, 186, 209–210, 216

Capricious Summer, 99

Bodrov, Sergei, 174–185, 263–264

Carnal Knowledge, 118

285

Index

Carroll, Peter, 128 Catholicism, 95–96, 124, 146,
221–222 Ceauşescu, Nicolae, 228–229,
232–233
Comedy, 42–51, 99–100, 102–103,
111–116, 138, 158, 160, 162–164, 172, 175, 192, 197, 232, 234, 237, 245, 269–270, 273

commedia dell’arte, 47

Ceylan, Ebru, 240 Ceylan, Emin, 238
Communism, 53, 59, 103, 105, 141,
166, 172, 234
Ceylan, Fatma, 238 Ceylan, Nuri Bilge, 236–247,
267–268

Confusion, 46

Coppola, Francis Ford, 1

Les Cousins, 6 7

Chabrol, Claude, 6 1 , 67

The Chant of Jimmie Blacksmith

120–130, 258–259, 270–271, 273 Chaplin, Charles, 42–43, 50 Chechnyan War, 174–185

The Checkpoint, 176

Chekhov, Anton, 244–245 Chen, Kaige, 166 Chenal, Pierre, 170

Chocolat, 151, 153 The Choice, 151

Christianity, 54, 57–59, 123,
210–211, 214–216, 273 Chukhrai, Grigori, 183 Chytilová, VěCicognini, Alessandro, 37 CinemaScope, 243 Ciné-Tamaris (production company), 60 Cisse, Souleymane, 156–157

Citizen Kane, 6 1

Clayton, Jack, 69–79, 254–255

Cléo from 5 to 7, 6 1, 67 Climates, 2 40 Closely Watched T r ains, 9 8 – 107, 257,

271, 273

The Cranes Are Flying, 174 The Creatures, 67 Crime and Punishment, 158 Crime at a Girls’ School, 9 9 – 100 Crime in a Nightclub, 9 9 – 100 Cronaca di un Amore, see Story of a Love Affair

Cui, César, 176 Cultural Revolution (China), 167,
172

Curse of the Golden Flower, 173

Czech Renaissance, see New Wave
(Czech)

Daniels, William, 115 Danna, Mychael, 205 Daquin, Louis, 154 Dardenne, Jean-Pierre, 209–216,
265–266 Dardenne, Luc, 209–216, 265–266 Davis, Judy, 120 Day of Wrath, 23–33, 96, 250–251,
270, 273 De Palma, Brian, 127 De Sica, Vittorio, 34–41, 102,
251–252

Death by Hanging, 142

“The Death of Mr. Baltisberger,”
99

Clouds of May, 238–240

Cobb, Lee J., 54

286

Index

Death of a Salesman, 52

Denis, Claire, 151, 153

Department of Sanitation, 87 Le Dernier T o urnant (The Last T u rn),

170

Devil in the Flesh, 2 17 The Devil’s Playground, 124, 129 Diary of a Country Priest, 96 Diary of a Shinjuku Thief, 142

Dickinson, Emily, 197

Dies Irae, 28

Erhard, Ludwig, 131–132 Ershadi, Homayoun, 195 Euripides, 27 Existentialism, 187, 195, 223 Expressionism, 2–3, 6–8, 10–11,
82–88, 228

“Faith” Trilogy (Bergman), 91–92,
95–96 FAMU (Faculty of the Academy of Dramatic Arts [Czech]), 98 Fascism, 5 8 , 102, 272 Fassbinder, Rainer Werner, 131–
139, 259–260
Dietrich, Marlene, 1 3 4 , 138

The Disenchanted, 53 Distant, 239–241

Documentary, 37, 43, 59, 61, 67,
141, 143–145, 147, 187, 212, 270 Dodds, Steve, 128
Fatimata, Sanga, 156 Faulkner, William, 62 Fellini, Federico, 88

Dog Days, 2 18

Fields, W. C., 46

La Dolce Vita (The Sweet Life), 88

Donen, Stanley, 115

La Donna Lupo, 2 18

Dostoyevsky, Fyodor, 158

Dracula, 1, 3, 5

Fifth Generation (China), 166 Fifth Symphony (Beethoven), 136 Film noir, 5 8 , 81, 219, 242 “Fishermen of Capri,” 136 Flynn, Errol, 184

Dressed to Kill, 127

Formalism, 1 0 0
Dreyer, Carl-Theodor, 23–33, 96,
250–251 Duparc, Henry, 157
Forman, Miloš, 103

The 400 Blows, 60, 67 4 Months, 3 Weeks, and 2 Days

  • 227–228, 234
  • Duvivier, Julien, 153

Franci, Adolfo, 36

L’E clisse (Eclipse), 81, 87, 88, 193 The Eel, 143, 150

Francis, Freddie, 70 Freud, Sigmund, 2

Effi Briest, 132

Egoyan, Atom, 197–208, 265

Eijanaika, 1 4 7

FRG Trilogy (Fassbinder), 131–132 Fröhlich, Pea, 132

Fu-hsi, Fu-hsi, 1 6 9

Eisenstein, Sergei, 174

  • Eisner, Lotte, 2
  • Gabin, Jean, 19

L’Enfant, 2 10–211 Entomological Chronicles of Japan
(a.k.a. Insect Woman), 142

Galeen, Henrik, 4 Gallo, Vincent, 2 1 7 Garfunkel, Art, 114

287

Index

  • Genuine, 85
  • Henry: Portrait of a Serial Killer, 150

Heritage Africa, 157

Hernández, Marcos, 224

Hero, 173
Germany, Y e ar Zero, 210 The Getting of Wisdom, 120, 124

Gibson, Mel, 120

The Gift of God, 1 5 1

Giller, Boris, 175
Hillcoat, John, 128

Hippolytus, 2 7
Giulia, 2 1 8

Hirohito, Michinomiya, 141

Hiroshima, Mon Amour, 67

Hitchcock, Alfred, 2 2 3 , 234 Hitler, Adolf, 5 , 12, 14, 105, 137,
272

The Gleaners and I, 67

“Go Down Moses,” 180 “God Sees the Truth, But Waits,”
178, 183 Godard, Jean-Luc, 60–62, 141, 195

Golden Boy, 52 The Golem, 82

Hoffman, Dustin, 1 0 8 , 115, 117 Hollywood, viii, 52–53, 103, 120,
129, 138, 218, 269, 272

  • Holm, Ian, 207
  • Gomes, Flora, 157

  • Gong, Li, 167, 169
  • Hondo, Med, 151

Gorbachev, Mikhail, 175

The Gospel According to St. Matthew

96 Gourmet, Olivier, 215–216 Governor, Jimmy, 121

The Graduate, 108–119, 258,

270–271, 273

La Grande Illusion, 12–22, 249–250,

270, 272

The Greatest Story Ever T o ld, 95

Grede, Kjell, 154
Horace, 2 4

The Horse Thief, 166 House of Flying Daggers, 173 House of Fools, 177

House Un-American Activities Committee (HUAC), 53–54, 59 Houston, Penelope, 73, 86 Hrabal, Bohumil, 98–100, 104–105

The Hudson Review, 174 Hugo and Josephine, 154

Greenwood, Bruce, 2 0 7 Griffith, D. W., 2 0 , 174 Group Theatre, 52 Gu, Changwei, 171

Guardami, 218
I Served the King of England

103–106

I Stand Alone, 2 1 8 Iceman, 129 The Idiots, 218

Imamura, Shohei, 140–150,
260–261 Impressionism, 3, 237

In the Cut, 2 18

“In the Mood,” 136

In the Realm of the Senses, 217 In Search of Unreturned Soldiers, 144
Hamlet Goes to Business, 158–159

Hannam, Ken, 1 2 9

The Harder They Fall, 5 3

Harlow, Jean, 138 Hasenclever, Walter, 82 Henry, Buck, 108

288

Index

Interlenghi, Franco, 35–36

Intimacy, 218

Islam, 174–196, 273 Ivanov, Vlad, 234
Kinoshita, Keisuke, 141 Kleist, Heinrich von, 133 Klos, Elmar, 103 Kluge, Alexander, 132

Kolya, 184

Ivashev, Vladimir, 184
Konchalovsky, Andrei, 177

  • Kornfeld, Paul, 82
  • J a gger, Mick, 120

Jannings, Emil, 10 Japón, 2 18, 224
Kracauer, Siegfried, 5 Kurosawa, Akira, 1 8 6 , 198
Jarmusch, Jim, 159 Jireš, Jaromil, 98 Johnson, Malcolm, 52–53 Johnson, Samuel, 28 Joyce, James, 45
Lamy, Benoît, 156

Larks on a String, 99 The Last Laugh, see Der letzte Mann

Ju Dou, 166–173, 263, 270, 272–273 Judaism, 16, 18

The Last Man, see Der letzte Mann

Leander, Zarah, 136 Lebeshev, Pavel, 177 Lemmon, Jack, 115 Leone, Sergio, 243 Lermontov, Mikhail, 176

Der letzte Mann, 10

Lewis, Tommy, 127–128 Li, Boatian, 169
Kaboré, Gaston, 151 Kadár, Jan, 103 Kael, Pauline, 129 Kaiser, Georg, 82 Kälin, Matthias, 156

Karayuki-san: The Making of a Prostitute, 1 4 4

Li, Shaohong, 166
Kauffmann, Stanley, 77 Kaufman, Boris, 55
Li, Wei, 168

Li Lianying, 166

Kaurismäki, Aki, 158–165, 262–263 The Lighthouse, 177 Kazan, Elia, 52–59, 226, 252–253 Keaton, Buster, 42–43, 164, 237 Keneally, Thomas, 121, 125 Kesal, Ercan, 2 4 1 , 245 Khotinenko, Vladimir, 176 Khrushchev, Nikita, 174 Kiarostami, Abbas, 166–167,
186–196, 237–238, 240, 243, 264–265, 272

Little V e ra, 175

Liu, Heng, 169

Lola, 131–132 Loves of a Blonde, 103

Lutheranism, 9 3 , 95

Machinal, 85 The Magician, 92

Malden, Karl, 54

A Man Vanishes, 142

Marcoen, Alain, 212 Marinne, Morgan, 216

The Kid with a Bike, 2 10–211

King Lear, 2 8 , 30, 32, 91

King of Kings, 95

289

Index

The Marriage of Maria Braun

131–139, 259–260, 270

The Marriages of Our Parents, 132

Märthesheimer, Peter, 132 Martin, Steve, 1 1 5 Martínez Vignatti, Diego, 225 Marx Brothers, 46 Marxism, 99
Muntean, Radu, 234 Murnau, F. W., 1–11, 248–249 Mushkadiz, Anapola, 224

The Muslim, 176

Mussolini, Benito, 12 Mweze, Ngangura, 156 My Brilliant Career, 1 2 0 , 124, 129

My Life as a Dog, 154

  • My Uncle, 44–45
  • The Match Factory Girl, 158–165,

262–263, 270, 272, 274

La Maternelle, 153

Naruse, Mikio, 1 4 1
McDowell, Roddy, 35 McNaughton, John, 150 Mekhralieva, Susanna, 183 Melodrama, 24–25, 27, 38, 59,
72–73, 78, 136, 240, 269 Menshikov, Oleg, 184 Menzel, JiřThe Method (acting), 57

Metropolis, 82

Mikhalkov, Nikita, 184

Mildred Pierce, 135

Miller, Arthur, 52 Miller, George, 121 Miller, Glenn, 136
Naturalism, 8 2 , 95, 100, 136, 150,
210, 212, 215, 228 Nazism, 5 , 8, 26–27, 74, 100, 102,
105, 132, 136 Neckár, Václav, 100

Ned Kelly, 120

NěNeoclassicism, 24 Neorealism (Italian), 20, 34–41, 61,
63, 82, 211, 224, 271 New American Cinema, 1 0 8 , 118 New Australian Cinema, 1 2 1 , 129 New Romanian Cinema, 226–235,
272

Miracle in Milan, 3 4 Mr. Hulot’s Holiday, 42–51, 252,

273–274
New Wave (Czech), 98, 103 New Wave (French), 60–68, 141 New Wave (Japanese), 141, 144 New York Film Festival, 138

New Y o rk Sun, 52

Mizoguchi, Kenji, 141 Modernism, 2 4 , 45, 60, 67 Monfort, Silvia, 61–62 Monsigny, Jean, 156 Monty Python, 163 “Moonlight Serenade,” 136 Moradi, Safir Ali, 1 9 5 Moravia, Alberto, 102

Mortu Nega, 1 5 7
New Y o rk Times, 1 3 8

Nichols, Mike, 108–119, 258 Nietzsche, Friedrich, 14

Night and Fog in Japan, 142

Nikkatsu Studio, 141–144

9 Songs, 2 17

Nishiguchi, Akira, 145 Noiret, Philippe, 62, 64 Nosferatu, 1–11, 248–249, 272–273
Munch, Edvard, 88 Mungiu, Cristian, 227–228

290

Index

  • Not One Less, 172
  • Pelle the Conqueror, 154

People of the Po, 87 Persona, 65
La Notte (The Night), 81, 87

Nouri, Mir Hossein, 195 Noyce, Phillip, 121

Phaedra, 2 7

Nykvist, Sven, 93, 207

The Pianist, 216 Pickpocket, 2 1 0

Odets, Clifford, 52

Oedipus the King, 3 2 , 113

Ogata, Ken, 147

Picnic at Hanging Rock, 120, 124

“The Pied Piper of Hamelin,”
203–206

On the Beach, 120 On the Waterfront, 52–59, 252–253,

270, 273–274

Pigs and Battleships, 142 Playtime, 45–46 Poil de Carotte, 153
Once Upon a Time in Anatolia

236–247, 267–268, 272–273

Once Upon a Time in the West

243

The One and the Eight, 166 One Sings, the Other Doesn’t, 67

Oscars, see Academy Awards Oshima, Nagisa, 141–142, 217

Ossessione (Obsession), 170 Othello, 3 2

Ouédraogo, Idrissa, 151–157,
261–262

The Outcry (a.k.a. The Cry), 87

Outinen, Kati, 159, 161 Özdemir, Muzaffer, 240 Ozu, Yasujiro, 141, 159

La Pointe Courte, 60–68, 253–254,

270, 272, 274

Polax, 2 18 Police, Adjective, 226–235, 243, 267,

270, 273 Polley, Sarah, 207

The Pornographers, 142–143

Pornography, 217–225, 273

Portrait of Innocence, 154

Porumboiu, Corneliu, 226–235,
243, 267

The Postman Always Rings T w ice

170–171
“A Prisoner of the Caucasus,”
175–176, 178–179, 182–184

Prisoner of the Mountains, 174–185,

263–264, 270, 272–273

The Profound Desire of the Gods
(a.k.a. T a les from a Southern Isle),

142, 144 Proletariat Trilogy (Kaurismäki),
158, 160 La Promesse, 2 0 9 , 211, 214–216

The Proposition, 128

Panahi, Jafar, 190 Panavision, 45 Panduru, Marius, 231

Parade, 46

Pasolini, Pier Paolo, 9 6 , 153, 273

The Passion of Joan of Arc, 23

Paterson, Neil, 7 0

Pathfinder, 153

Protestantism, 96
Payvar, Homayoun, 188

Pearls of the Deep, 98–99

Pudovkin, Vsevolod, 174 Puiu, Cristi, 234

291

Index

Pulitzer Prize, 52 Pushkin, Alexander, 176
Saakyan, Mariya, 177 Saint, Eva Marie, 54 “St. James Infirmary,” 194 Saki, Ryuzo, 145

Quo Vadis?, 95

Salminen, Timo, 161

  • Sarossy, Paul, 207
  • Racine, Jean, 27

Raise the Red Lantern, 167–168, 171, Sarraounia, 151

  • 173
  • Sarris, Andrew, 138

Rashomon, 1 8 6 , 198 Ray, Satyajit, 20
Schepisi, Fred, 120–130, 258–259 Schepisi, Rhonda, 128

Schindler’s List, 121

Schlöndorff, Volker, 132 Schmidt, Helmut, 137 Schneider, Romy, 132 Schorm, Evald, 98 Schrader, Paul, 3 2 Schulberg, Budd, 53, 58–59 Schuricke, Rudi, 136 Schygulla, Hanna, 132, 134, 138

Sciuscià, see Shoeshine The Scream, 88

SDS (Students for a Democratic Society), 117
Realism, 10–11, 15, 35, 49, 63, 69,
81–82, 88, 100, 103, 106, 151–152, 166, 174–175, 189, 195, 209–210, 218, 234, 237, 247, 272 Red Desert, 8 1, 88, 188

Red Sorghum, 167–168, 171

Reitz, Edgar, 132 Renoir, Auguste, 21 Renoir, Jean, 12–22, 249–250

Repentance, 175

Resnais, Alain, 60–62 Reygadas, Carlos, 217–225,
266–267 Reynolds, Freddy, 128 Ritualism, 155–156 Rivette, Jacques, 141

The Road Home, 172–173

Roeg, Nicolas, 126

Seclusion Near a Forest, 103

Sembène, Ousmane, 156 Sentimentality, 64, 155, 174–175,
183, 207, 269

The Seventh Seal, 9 1–92 Shadows of Our Forgotten Ancestors

174
Rogozhkin, Alexander, 176 Rohmer, Eric, 1 4 1

Romance, 2 1 7 Room at the T o p, 69–79, 254–255,

270–273

Shadows in Paradise, 1 5 8 , 160

Shakespeare, William, 32, 158

Shanghai T r iad, 1 7 3

Rosetta, 2 0 9 , 211, 214–216 Ross, Katharine, 114–115 Rossellini, Roberto, 6 6 , 210

Roxanne, 1 2 9 The Rules of the Game, 12 The Russia House, 129

Sheen, Martin, 184 Shinoda, Masahiro, 141 Shochiku Studio, 1 4 2 , 145 Shoeshine, 34–41, 251–252, 270–272

The Shop on Main Street, 103 The Silence, 9 1–92

292

Index

The Silence of Lorna, 2 10–211

Simon, John, 129 Simon, Paul, 114
Tati, Jacques, 42–51, 252 Taverner, John, 224 Taylor, Elizabeth, 113

La T e rra T r ema, 63–64

Tessier, Max, 142
Sinatra, Frank, 54 Skvorecký, Josef, 99

The Small T o wn, 237–239

Smordoni, Rinaldo, 35–36 Socialism, 102–103
Théâtre National Populaire, 62

Theme, 175

Thomas of Celano, 2 8

Three Monkeys, 2 40–242 Through a Glass Darkly, 9 1–92 Through the Olive T r ees, 186, 238

Thulin, Ingrid, 94
Sofr, Jaromír, 100 Sokurov, Alexander, 1 7 6 The Son, 209–216, 265–266, 270–
271, 273

  • Sophocles, 32
  • Tian, Zhuangzhuang, 166

Tilaï, 156–157

Tiryaki, Gökhan, 243

To D amascus, 3

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    Download the List of History Films and Videos (PDF)

    Video List in Alphabetical Order Department of History # Title of Video Description Producer/Dir Year 532 1984 Who controls the past controls the future Istanb ul Int. 1984 Film 540 12 Years a Slave In 1841, Northup an accomplished, free citizen of New Dolby 2013 York, is kidnapped and sold into slavery. Stripped of his identity and deprived of dignity, Northup is ultimately purchased by ruthless plantation owner Edwin Epps and must find the strength to survive. Approx. 134 mins., color. 460 4 Months, 3 Weeks and Two college roommates have 24 hours to make the IFC Films 2 Days 235 500 Nations Story of America’s original inhabitants; filmed at actual TIG 2004 locations from jungles of Central American to the Productions Canadian Artic. Color; 372 mins. 166 Abraham Lincoln (2 This intimate portrait of Lincoln, using authentic stills of Simitar 1994 tapes) the time, will help in understanding the complexities of our Entertainment 16th President of the United States. (94 min.) 402 Abe Lincoln in Illinois “Handsome, dignified, human and moving. WB 2009 (DVD) 430 Afghan Star This timely and moving film follows the dramatic stories Zeitgest video 2009 of your young finalists—two men and two very brave women—as they hazard everything to become the nation’s favorite performer. By observing the Afghani people’s relationship to their pop culture. Afghan Star is the perfect window into a country’s tenuous, ongoing struggle for modernity. What Americans consider frivolous entertainment is downright revolutionary in this embattled part of the world. Approx. 88 min. Color with English subtitles 369 Africa 4 DVDs This epic series presents Africa through the eyes of its National 2001 Episode 1 Episode people, conveying the diversity and beauty of the land and Geographic 5 the compelling personal stories of the people who shape Episode 2 Episode its future.
  • The Role of Literature in the Films of Luchino Visconti

    The Role of Literature in the Films of Luchino Visconti

    From Page to Screen: the Role of Literature in the Films of Luchino Visconti Lucia Di Rosa A thesis submitted in confomity with the requirements for the degree of Doctor of Philosophy (Ph. D.) Graduate Department of ltalian Studies University of Toronto @ Copyright by Lucia Di Rosa 2001 National Library Biblioth ue nationale du Cana2 a AcquisitTons and Acquisitions ef Bibliographie Services services bibliographiques 395 WeOingtOn Street 305, rue Wellington Ottawa ON K1A ON4 Otiawa ON K1AW Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence ailowing the exclusive ~~mnettantà la Natiofliil Library of Canarla to Bibliothèque nation& du Canada de reprcduce, loan, disûi'bute or seil reproduire, prêter, dishibuer ou copies of this thesis in rnicroform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format é1ectronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation, From Page to Screen: the Role of Literatuce in the Films af Luchino Vionti By Lucia Di Rosa Ph.D., 2001 Department of Mian Studies University of Toronto Abstract This dissertation focuses on the role that literature plays in the cinema of Luchino Visconti. The Milanese director baseci nine of his fourteen feature films on literary works.
  • '-Ifl/Of THESIS COMMITTEE MEMBER (TYPED) ~Wsignature DATE' ------FILM LUMIERE: NEW GENRE OR NEW LOOK at an OLD GENRE?

    '-Ifl/Of THESIS COMMITTEE MEMBER (TYPED) ~Wsignature DATE' ------FILM LUMIERE: NEW GENRE OR NEW LOOK at an OLD GENRE?

    CALIFORNIA STATE UNIVERSITY SAN MARCOS THESIS SIGNATURE PAGE THESIS SUBMITTED FOR PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS IN LITERATURE AND WRITING STUDIES THESIS TITLE Film Lumi~re: New Genre or New Look at an Old Genre? AUTHOR: Margie Garrett DATE OF SUCCESSFUL DEFENSE: May31,2001 THE THESIS HAS BEEN ACCEPTED BY THE THESIS COMMITTEE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN LITERATURE AND WRITING STUDIES. s-h~ Dr. Oliver Berghof Ql l THESIS COMMITTEE CHAIR (TYPED) SIGN~ TUR DATE Dr. Yuan Yuan THESIS COMMITTEE MEMBER (TYPED) SIGNATURE Professor Brandon Cesmat -'-ifl/of THESIS COMMITTEE MEMBER (TYPED) ~wSIGNATURE DATE' - ------------------------------------------------------------------------------------------------------------------------------ -- FILM LUMIERE: NEW GENRE OR NEW LOOK AT AN OLD GENRE? A Thesis for the Master of Arts Degree in Literature and Writing studies by Margie Garrett May 31, 2001 3 TABLE OF CONTENTS Filmography 4 Dedication and Acknowledgments 5 Chapter 1 What is Lyricism? 7 Chapter 2 A Preliminary Look at Lyrical Film 28 Chapter 3 Narrative and Lyric: Natural Enemies or Marriage of Convenience? 38 Chapter 4 The Psychology of Lyricism: Kristeva•s Chora 46 Chapter 5 The Fusion of Lyric and Epic in Film 51 Chapter 6 Lyrical Film as Objective Correlative: Music, Poetry, and Film 61 Chapter 7 The Lyrical Pattern and Film Lumiere 67 Chapter 8 Film Lumiere and its Relatives: A Continuum 82 Chapter 9 Film Technology and the Lyrical Pattern 85 Chapter 10 An In-depth Look at Several Lyrical Films 99 Chapter 11 The Major Films Compared and Contrasted 119 Chapter 12 Music of the Spheres: The Value of the Lyrical Universe 126 Works Cited 132 4 FILMOGRAPHY Films About Music and Poetry: The Piano (1993) Il Postino (1994) Blue (1993) The Double Life of Veronique (1991) Non-narrative Films: Koyaanitsqatsi (1983) Microcosmos (1996) Epics: Dr.
  • Documentarists and Documentary/Narrative Filmmakers Those Listed Are Directors, Unless Otherwise Noted

    Documentarists and Documentary/Narrative Filmmakers Those Listed Are Directors, Unless Otherwise Noted

    1 COM 321, Documentary Form in Film & Television 1/15/14 Documentarists and Documentary/Narrative Filmmakers Those listed are directors, unless otherwise noted. Documentary/Narrative Filmmakers—Many have done both: Name & Key Documentaries Key Narrative Works Nation Allen, Woody Zelig, 1983 (mockumentary) Annie Hall, 1977 US Manhattan, 1979 Altman, Robert The James Dean Story, 1957 M*A*S*H, 1970 US The Player, 1992 Short Cuts, 1993 Anderson, Lindsay Thursday’s Children, 1954 (with Guy if. , 1968 Britain Brenton) O Lucky Man!, 1973 Anger, Kenneth Kustom Kar Kommandos, 1963 Fireworks, 1947 US Scorpio Rising, 1964 Apted, Michael The Up! series (1970‐2012 so far) Gorillas in the Mist, 1988 Britain Nell, 1994 The World is Not Enough, 1999 Brakhage, Stan The Act of Seeing with One’s Own Dog Star Man, 1962 US Eyes, 1971 Mothlight, 1963 Bunuel, Luis Las Hurdes (Land Without Bread), Un Chien Andalou, 1928 (with Salvador Spain/France 1933 (mockumentary?) Dali) L’Age D’Or, 1930 The Discreet Charm of the Bourgeoisie, 1972 Cameron, James Expedition Bismarck, 2002 Titanic, 1997 US Ghosts of the Abyss, 2003 Avatar, 2009 Capra, Frank Why We Fight series, 1942‐44 Mr. Deeds Goes to Town, 1936 US Mr. Smith Goes to Washington, 1939 It’s a Wonderful Life, 1946 Chukrai, Grigori Pamyat, 1971 Ballad of a Soldier, 1959 Soviet Union Cooper, Merian C. Grass: A Nation’s Battle for Life, 1925 The Four Feathers, 1929 US (with Ernest B. Schoedsack) King Kong, 1933 Chang: A Drama of the Wilderness, 1927 (with Ernest B. Schoedsack) Demme, Jonathan Stop Making Sense,
  • The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices

    The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices

    Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author
  • Guide to the Papers of the Capri Community Film Society

    Guide to the Papers of the Capri Community Film Society

    Capri Community Film Society Papers Guide to the Papers of the Capri Community Film Society Auburn University at Montgomery Archives and Special Collections © AUM Library Written By: Rickey Best & Jason Kneip Last Updated: 2/19/2008 TABLE OF CONTENTS Content Page # Collection Summary 2 Administrative Information 2 Restrictions 2-3 Index Terms 3 Agency History 3-4 1 of 64 Capri Community Film Society Papers Scope and Content 5 Arrangement 5-10 Inventory 10- Collection Summary Creator: Capri Community Film Society Title: Capri Community Film Society Papers Dates: 1983-present Quantity: 6 boxes; 6.0 cu. Ft. Identification: 92/2 Contact Information: AUM Library Archives & Special Collections P.O. Box 244023 Montgomery, AL 36124-4023 Ph: (334) 244-3213 Email: [email protected] Administrative Information Preferred Citation: Capri Community Film Society Papers, Auburn University Montgomery Library, Archives & Special Collections. Acquisition Information: The collection began with an initial transfer on September 19, 1991. A second donation occurred in February, 1995. Since then, regular donations of papers occur on a yearly basis. Processed By: Jermaine Carstarphen, Student Assistant & Rickey Best, Archivist/Special Collections Librarian (1993); Jason Kneip, Archives/Special Collections Librarian. Samantha McNeilly, Archives/Special Collections Assistant. 2 of 64 Capri Community Film Society Papers Restrictions Restrictions on access: Access to membership files is closed for 25 years from date of donation. Restrictions on usage: Researchers are responsible for addressing copyright issues on materials not in the public domain. Index Terms The material is indexed under the following headings in the Auburn University at Montgomery’s Library catalogs – online and offline.
  • Course Outline

    Course Outline

    Prof. Fatima Naqvi German 01:470:360:01; cross-listed with 01:175:377:01 (Core approval only for 470:360:01!) Fall 2018 Tu 2nd + 3rd Period (9:50-12:30), Scott Hall 114 [email protected] Office hour: Tu 1:10-2:30, New Academic Building or by appointment, Rm. 4130 (4th Floor) Classics of German Cinema: From Haunted Screen to Hyperreality Description: This course introduces students to canonical films of the Weimar, Nazi, post-war and post-wall period. In exploring issues of class, gender, nation, and conflict by means of close analysis, the course seeks to sensitize students to the cultural context of these films and the changing socio-political and historical climates in which they arose. Special attention will be paid to the issue of film style. We will also reflect on what constitutes the “canon” when discussing films, especially those of recent vintage. Directors include Robert Wiene, F.W. Murnau, Fritz Lang, Lotte Reiniger, Leni Riefenstahl, Alexander Kluge, Volker Schlöndorff, Werner Herzog, Wim Wenders, Rainer Werner Fassbinder, Andreas Dresen, Christian Petzold, Jessica Hausner, Michael Haneke, Angela Schanelec, Barbara Albert. The films are available at the Douglass Media Center for viewing. Taught in English. Required Texts: Anton Kaes, M ISBN-13: 978-0851703701 Recommended Texts (on reserve at Alexander Library): Timothy Corrigan, A Short Guide to Writing about Film Rob Burns (ed.), German Cultural Studies Lotte Eisner, The Haunted Screen Sigmund Freud, Writings on Art and Literature Siegfried Kracauer, From Caligari to Hitler Anton Kaes, Shell Shock Cinema: Weimar Cinema and the Wounds of War Noah Isenberg, Weimar Cinema Gerd Gemünden, Continental Strangers Gerd Gemünden, A Foreign Affair: Billy Wilder’s American Films Sabine Hake, German National Cinema Béla Balász, Early Film Theory Siegfried Kracauer, The Mass Ornament Brad Prager, The Cinema of Werner Herzog Eric Ames, Ferocious Reality: Documentary according to Werner Herzog Eric Ames, Werner Herzog: Interviews N.
  • 1,000 Films to See Before You Die Published in the Guardian, June 2007

    1,000 Films to See Before You Die Published in the Guardian, June 2007

    1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation.
  • Stony Brook University

    Stony Brook University

    SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Communism with Its Clothes Off: Eastern European Film Comedy and the Grotesque A Dissertation Presented by Lilla T!ke to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Comparative Literature Stony Brook University May 2010 Copyright by Lilla T!ke 2010 Stony Brook University The Graduate School Lilla T!ke We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. E. Ann Kaplan, Distinguished Professor, English and Comparative Literary and Cultural Studies, Dissertation Director Krin Gabbard, Professor, Comparative Literary and Cultural Studies, Chairperson of Defense Robert Harvey, Professor, Comparative Literary and Cultural Studies and European Languages Sandy Petrey, Professor, Comparative Literary and Cultural Studies and European Languages Katie Trumpener, Professor, Comparative Literature and English, Yale University Outside Reader This dissertation is accepted by the Graduate School Lawrence Martin Dean of the Graduate School ii Abstract of the Dissertation Communism with Its Clothes Off: Eastern European Film Comedy and the Grotesque by Lilla T!ke Doctor of Philosophy in Comparative Literature Stony Brook University 2010 The dissertation examines the legacies of grotesque comedy in the cinemas of Eastern Europe. The absolute non-seriousness that characterized grotesque realism became a successful and relatively safe way to talk about the absurdities and the failures of the communist system. This modality, however, was not exclusive to the communist era but stretched back to the Austro-Hungarian era and forward into the Postcommunist times.