DOCSLIB.ORG

January 31, 2012 (XXIV:3) Merian C

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
January 31, 2012 (XXIV:3) Merian C January 31, 2012 (XXIV:3) Merian C. Cooper and Ernesrt B. Schoedsack, KING KONG (1933, 100 min.) Directed by Merian C. Cooper and Ernest B. Schoedsack Story by Merian C. Cooper based on a story by Edgar Wallace Sceenplay by James Ashmore Creelman and Ruth Rose Produced by Merian C. Cooper and Ernest B. Schoedsack (undredited) Executive producer David O. Selznick Original Music by Max Steiner Cinematography by Edward Linden, J.O. Taylor, Vernon L. Walker and Kenneth Peach (uncredited) Film Editing by Ted Cheesman Production Design by Carroll Clark and Alfred Herman Costume Design by Walter Plunkett (uncredited) Special Effects by Harry Redmond Jr.... special effects (uncredited) Optical photography by Linwood G. Dunn Visual effects supervisor, Dunning process by Carroll H. The Toy Wife, 1935 The Last Days of Pompeii, 1935 She, 1934 Dunning Success at Any Price*, 1934 Spitfire*, 1934 The Lost Patrol*, Visual effects supervisor Willis H. O'Brien 1933 Flying Down to Rio*, 1933 The Son of Kong*, 1933 Little Women*, 1933 Midshipman Jack*, 1933 No Marriage Ties*, Fay Wray... Ann Darrow 1933 Before Dawn*, 1933 Flying Devils*, 1933 Cross Fire*, Robert Armstrong... Carl Denham 1933 King Kong, 1933 The Monkey's Paw, 1932 The Most Bruce Cabot... John Driscoll Dangerous Game, 1929 The Four Feathers, 1927 Chang: A Frank Reicher... Captain Englehorn Drama of the Wilderness, and 1925 Grass: A Nation's Battle for Sam Hardy... Charles Weston Life. Noble Johnson ... Native Chief Steve Clemente… Witch King (as Steve Clemento) ERNEST B. SCHOEDSACK (June 8, 1893 in Council Bluffs, Iowa James Flavin... Second Mate Briggs – December 23, 1979, Los Angeles County, California)as six King Kong... King Kong producer credits—1933 The Son of Kong, 1933 King Kong, 1931 Ernest B. Schoedsack... Machine-Gunner on Plane That Kills Rango, 1929 The Four Feathers, 1927 Chang: A Drama of the Kong Wilderness, 1925 Grass: A Nation's Battle for Life—and 16 director credits: 1952 This Is Cinerama, 1949 Mighty Joe Young, MERIAN C. COOPER (October 24, 1893, Jacksonville, Florida – 1940 Dr. Cyclops, 1937 Outlaws of the Orient, 1937 Trouble in April 21, 1973, San Diego, California) has six director credits— Morocco, 1935 The Last Days of Pompeii, 1934 Long Lost 1952 This Is Cinerama, 1935 The Last Days of Pompeii, 1933 Father, 1933 The Son of Kong, 1933 Blind Adventure, 1933 King King Kong, 1929 The Four Feathers, 1927 Chang: A Drama of Kong, 1933 The Monkey's Paw, 1932 The Most Dangerous the Wilderness, and 1925 Grass: A Nation's Battle for Life, and Game, 1931 Rango, 1929 The Four Feathers, 1927 Chang: A 66 producer or executive producer credits (E.P. indicated by Drama of the Wilderness, and 1925 Grass: A Nation's Battle for asterisk), some of which are 1963 Best of Cinerama, 1956 Seven Life. Wonders of the World, 1956 The Searchers*, 1953 The Sun Shines Bright, 1952 This Is Cinerama, 1952 The Quiet Man, JAMES ASHMORE CREELMAN (September 21, 1894, Marietta, 1950 Rio Grande, 1950 Wagon Master*, 1949 She Wore a Ohio – September 9, 1941, New York City) has 33 script or story Yellow Ribbon*, 1949 Mighty Joe Young, 1948 3 Godfathers, credits, some of which are 1976 King Kong, 1935 East of Java, 1948 Fort Apache*, 1947 The Fugitive, 1940 Dr. Cyclops, 1938 1933 King Kong, 1932 The Most Dangerous Game, 1930 Danger Cooper and Schoedsack—KING KONG—2 Lights, 1929 The Vagabond Lover, 1926 Aloma of the South 1919 Pallard the Punter (novel "Grey Timothy"), 1916 The Man Seas, 1926 The Untamed Lady, 1924 Unguarded Women, 1924 Who Bought London (novel), and 1915 Nurse and Martyr (short). Grit, 1923 Puritan Passions, and 1923 Second Fiddle. DAVID O. SELZNICK (May 10, 1902 in Pittsburgh, Pennsylvania RUTH ROSE (January 16, 1896 in Somerville, Massachusetts – – June 22, 1965, Hollywood, California) was producer for 42 June 8, 1978, Santa Monica, California) has eight writer credits, films and executive producer for 45 others. Some of the former some of which are 1976 King Kong, 1949 Mighty Joe Young, are 1950 Gone to Earth, 1949 The Third Man, 1948 Portrait of 1935 The Last Days of Pompeii, 1935 She, 1933 Blind Jennie, 1947 The Paradine Case, 1946 Duel in the Sun, 1945 Adventure, and 1933 King Kong. Spellbound, 1944 Since You Went Away, 1940 Rebecca, 1939 Gone with the Wind, 1939 Intermezzo: A Love Story, 1937 The EDGAR WALLACE (April 1, 1875 in Greenwich, London, Prisoner of Zenda, 1937 A Star Is Born, 1936 The Garden of England – February 10, 1932, Hollywood, California) was a Allah, 1936 Little Lord Fauntleroy, 1935 A Tale of Two Cities, prolific novelist, story writer, and playwright. He has been dead 1935 Anna Karenina, 1935 David Copperfield, 1934 Manhattan 80 years, yet 10 films have been made from his fiction in the past Melodrama, 1934 Viva Villa!, 1933 Dinner at Eight, 1933 Cross decade alone. He has 211 writer, story from and from a novel by Fire, 1933 Christopher Strong, 1930 Street of Chance, and 1924 credits, among them, some of which are Roulette. 2012 Triple WixXx (characters) (in production), 2007 The Wixxer (characters), 2005 King Kong (based on a story by), 2005 Kong: MAX STEINER (May 10, 1888, Vienna, Austria-Hungary – King of Atlantis (character idea - uncredited), 2004 Der Wixxer December 28, 1971, Hollywood, California) won two best (characters), 2002 “Edgar Wallace – Whiteface”, 2002 “Edgar scoring Oscars—Since You Went Away (1944) and Now, Voyager Wallace - Das Haus der toten (1942)—and one best music Augen”, 2002 “Edgar Wallace - Oscar—The Informer (1935). Das Schloss des Grauens”, 2000 He has score or scoring “Kong: The Animated Series”, credits for 362 films and TV 2000 Kong (character idea), 1999 series, among them 1972 Play “Theater: Der Hexer” (novel and It Again, Sam, 1958-1964 77 play), 1998 The Mighty Kong “Sunset Strip” (184 episodes), (video) (screen story "King Kong" 1962 The Chapman Report, - uncredited), 1983 “The Case of 1962 Black Gold, 1957-1962 the Frightened Lady” (play and “Maverick” (118 episodes), novel "The Case of the Frightened 1962 House of Women, 1959- Lady"), 1972 What Have You 1962 “Adventures in Done to Solange? (novel "The Paradise” (87 episodes), 1960 Clue of the New Pin" - uncredited Comanche Station, 1960 The in italian version), 1971 Angels of Rise and Fall of Legs Terror (novel "The Angel of Diamond, 1957 20 Million Terror"), 1971 Der Teufel kam aus Miles to Earth, 1957 The Akasava (story "The Akasava"), Giant Claw, 1957 Hellcats of 1969 Double Face (novel "The Face in the Night"), 1967 the Navy, 1957 Duel at Apache Wells, 1956 7th Cavalry, 1956 Creature with the Blue Hand (novel "The Blue Hand"), 1966 Thunder Over Arizona, 1953 So This Is Love, 1952 Big Jim Psycho-Circus (novel "The Three Just Man"), 1965 The Sinister McLain, 1952 This Woman Is Dangerous, 1951 I'll See You in Monk (novel "The Terror"), 1964 The Main Chance (novel), My Dreams, 1951 Jim Thorpe -- All-American, 1951 Goodbye, 1964 Never Mention Murder (novel), 1964 The Verdict (novel), My Fancy, 1950 The Damned Don't Cry, 1950 Young Man with a 1963 Sanders (story "Sanders of the River"), 1961 The Fourth Horn, 1950 Backfire, 1949 Homicide, 1948 Johnny Belinda, Square (novel), 1961 The Sinister Man (novel), 1960 Crossroads 1948 The Treasure of the Sierra Madre, 1947 My Wild Irish to Crime (story), 1960 The Terrible People (novel "The Terrible Rose, 1947 Dark Passage, 1946 Night and Day, 1945 Rhapsody People"), 1959-1960 “The Four Just Men” (39 episodes), 1940 in Blue, 1945 Back to Bataan, 1943 Adventure in Iraq, 1943 The Crimson Circle (novel), 1939 The Human Monster (novel Murder on the Waterfront, 1943 This Is the Army, 1942 Seven "The Dark Eyes of London"), 1935 Sanders of the River (story), Miles from Alcatraz, 1942 Across the Pacific, 1942 The Tuttles of 1934 Der Doppelgänger (novel "Der Doppelgänger"), 1933 King Tahiti, 1942 Murder in the Big House, 1942 Wild Bill Hickok Kong (from an idea conceived by / story - uncredited), 1932 The Rides, 1942 Joan of Paris, 1941 Out of the Fog, 1940 Santa Fe Flying Squad (novel), 1929 The Wrecker (novel motifs - Trail, 1940 Tugboat Annie Sails Again, 1940 An Angel from uncredited), 1929 The Clue of the New Pin (novel), 1929 The Texas, 1940 Virginia City, 1940 Calling Philo Vance, 1939 The Flying Squad (novel), 1928 Valley of the Ghosts (novel / Mad Empress, 1939 Gone with the Wind, 1939 The Roaring screenplay), 1928 The Terror (play), 1928 The Ringer (play), Twenties, 1939 Hell's Kitchen, 1939 Nancy Drew... Trouble 1928 The Terrible People (story), 1928 The Man Who Changed Shooter, 1939 Devil's Island, 1938 Nancy Drew – Detective, His Name (play), 1922 Melody of Death (novel), 1922 The 1938 Painted Desert, 1938 The Saint in New York, 1938 Crimson Circle (novel), 1920 Wanted at Headquarters (story), Bringing Up Baby, 1937 High Flyers, 1937 You Can't Beat Love, 1919 The Green Terror (novel), 1919 Angel Esquire (novel), 1937 Lost Horizon, 1937 We Who Are About to Die, 1936 Second Wife, 1936 The Last of the Mohicans, 1936 Mary of Cooper and Schoedsack—KING KONG—3 Scotland, 1936 The Last Outlaw, 1935 We're Only Human, 1935 Adventures of Falcon” (7 episodes), 1954 Jesse James' Women, I Dream Too Much, 1935 Break of Hearts, 1935 A Dog of 1953-1954 “Mr. & Mrs. North” (17 episodes), 1953 Eyes of the Flanders, 1934 The Richest Girl in the World, 1934 The Age of Jungle, 1952-1953 “Cowboy G-Men” (7 episodes), 1950-1952 Innocence, 1934 Murder on the Blackboard, 1934 The Crime “The Cisco Kid” (52 episodes), 1933 Sons of the Desert, and Doctor, 1934 Hips, Hips, Hooray!, 1933 The Son of Kong, 1933 1933 King Kong.
Load more

Recommended publications
  • Notas Sobre El Estilo El Último Entuerto Que Conviene Desfacer Es El Que Habla De King Como De Un Cineasta “Sin Estilo”
    Notas sobre el estilo El último entuerto que conviene desfacer es el que habla de King como de un cineasta “sin estilo”. Si por estilo se entiende llamar la atención sobre la cámara, forzar los ángulos, montar aparatosos encuadres y hacer notar el trabajo del director, King es, en efecto, un director sin estilo. Algunas de sus películas, como Deep Waters, adoptan además una forma visual aparentemente anodina, que puede pasar por impersonal si a la carencia de atractivos externos se une una extrema funcionalidad narrativa, como sucede en dos de sus obras fundamentales, I’d Climb the Highest Mountain y Wait Till the Sun Shines, Nellie. Un examen detallado de estas y otras películas revela la existencia de una personalidad cinematográfica muy acusada, aunque no llamativa ni evidente. Más que afanarse en la búsqueda de un estilo propio, King intentó desarrollar a lo largo de su carrera un lenguaje que se correspondiese, visual y narrativamente, con los modos de sus personajes, por lo general inteligentes y discretos, observadores y dinámicos, inconformistas y sensibles a los cambios que se producen en su entorno. Conforme avanzaba su obra, películas y personajes fueron haciéndose progresivamente más complejos, sin que King violentara por ello su estilo, cada vez más refinado y transparente, permeable a los avances técnicos (el sonido, el color, la pantalla ancha) pero no a las modas ni a retóricas pasajeras. Tal vez por ello, o por una fidelidad a su propia visión, las bases del estilo visual de King apenas experimentaron variaciones significativas a lo largo del tiempo, de hecho Tol’able David podría haberse rodado en 1951 y I’d Climb the Highest Mountain treinta años antes sin que el espectador hubiera notado el menor desajuste.
    [Show full text]
  • GE Consumer & Industrial
    GE Consumer & Industrial LIGHTING GE Consumer & Industrial specialty 2004⁄2005 LAMP CATALOG Specialty Lighting Lamp Products Catalog 2004/2005 GE imagination at work 000 Cover_Ideas_06 2 07/09/04, 11:56 AM 000 Cover_Ideas_06 1 07/09/04, 11:56 AM Introduction SPECIALTY Introduction This catalog lists and provides essential technical data for available General Electric lamps that are used in lighting for specialty markets worldwide including Stage/Studio/TV, Projection/Photo, Sealed Beams, Fluorescent, Incandescent and Discharge Lamps optimized for specific applications. Applications can be severe service (cold, vibration, accessibility), architectural (color, black light), industrial (appliances, germicidal, safety, low voltage, infrared/heat), transportation (aircraft, railroad, marine), and infrastructure (airport, emergency building lighting, traffic signal, sign). Lamp listings are grouped into market/application sections, each containing a “family” of lamps by application or commonalities (such as base, shape, spectral distribution, color temperature), to assist in selection or interchange. Ordering Lamps To order lamps use the GE Order Code, Description and Case Quantity columns. If a lamp is colored BLUE it is stocked in Europe, GREEN is Europe and North America, BLACK is North America only. Otherwise procurement must be through an international distributor or your GE sales representative. North America, European and International sales offices are in the appendix. Other GE Publications All the lamps in this Specialty Catalog come from other GE catalogs/websites. These catalogs and websites contain data for other lamps that may be of interest: In North America: • Lamp Products Catalog (PC 25265) • Miniature/Sealed Beam Catalog (PC 20699) • Stage and Studio SHOWBIZ (PC23766) • www.GELighting.com • or 1-800-GELAMPS In Europe: • GE Consumer and Industrial Lighting Lamp Catalogue-Spectrum • SHOWBIZ® (ENTCAT 02/2003) Lamp Index There is a sorted (numeric/alphabetic) index by description with ANSI/LIF code, if available, which provides page number.
    [Show full text]
  • WALLACE, (Richard Horatio) Edgar Geboren: Greenwich, Londen, 1 April 1875
    WALLACE, (Richard Horatio) Edgar Geboren: Greenwich, Londen, 1 april 1875. Overleden: Hollywood, USA, 10 februari 1932 Opleiding: St. Peter's School, Londen; kostschool, Camberwell, Londen, tot 12 jarige leeftijd. Carrière: Wallace was de onwettige zoon van een acteur, werd geadopteerd door een viskruier en ging op 12-jarige leeftijd van huis weg; werkte bij een drukkerij, in een schoen- winkel, rubberfabriek, als zeeman, stukadoor, melkbezorger, in Londen, 1886-1891; corres- pondent, Reuter's, Zuid Afrika, 1899-1902; correspondent, Zuid Afrika, London Daily Mail, 1900-1902 redacteur, Rand Daily News, Johannesburg, 1902-1903; keerde naar Londen terug: journalist, Daily Mail, 1903-1907 en Standard, 1910; redacteur paardenraces en later redacteur The Week-End, The Week-End Racing Supplement, 1910-1912; redacteur paardenraces en speciaal journalist, Evening News, 1910-1912; oprichter van de bladen voor paardenraces Bibury's Weekly en R.E. Walton's Weekly, redacteur, Ideas en The Story Journal, 1913; schrijver en later redacteur, Town Topics, 1913-1916; schreef regelmatig bijdragen voor de Birmingham Post, Thomson's Weekly News, Dundee; paardenraces columnist, The Star, 1927-1932, Daily Mail, 1930-1932; toneelcriticus, Morning Post, 1928; oprichter, The Bucks Mail, 1930; redacteur, Sunday News, 1931; voorzitter van de raad van directeuren en filmschrijver/regisseur, British Lion Film Corporation. Militaire dienst: Royal West Regiment, Engeland, 1893-1896; Medical Staff Corps, Zuid Afrika, 1896-1899; kocht zijn ontslag af in 1899; diende bij de Lincoln's Inn afdeling van de Special Constabulary en als speciaal ondervrager voor het War Office, gedurende de Eerste Wereldoorlog. Lid van: Press Club, Londen (voorzitter, 1923-1924). Familie: getrouwd met 1.
    [Show full text]
  • GE Works GE 2012 Annual Report Annual 2012 GE
    General Electric Company Fairfield, Connecticut 06828 www.ge.com GE Works GE 2012 Annual Report 2012 Annual Report 3.EPC055148101A.103 “ Last year we set focused execution goals for GE: double-digit industrial earnings growth; margin expansion; restarting CITIZENSHIP AT GE the GE Capital dividend to the parent; reducing the size of IN 2012, WE GE Capital; and balanced capital allocation. We achieved all As a 130-year-old ~ 2^]caXQdcTS\^aTcWP]!!\X[[X^]c^R^\\d]XcXTbP]S technology company, nonprofit organizations. of our goals for the year.” GE has proven its ~ ;Pd]RWTS abc^UPZX]S_a^VaP\bcWPcQaX]VcWT[PcTbc JEFF IMMELT, CHAIRMAN AND CEO breast cancer technologies to women. sustainability. Working Healthymagination and Susan G. Komen for the Cure have to solve some of the partnered to bring the latest breast cancer technologies to world’s biggest challenges, more women, by encouraging women to be screened through targeted programs in the U.S., China and Saudi Arabia. Citizenship is in the ~ 6T]TaPcTS! QX[[X^]X]aTeT]dTUa^\^daTR^\PVX]PcX^] products we make, how product portfolio. we make them, and in the difference we make 2012 PERFORMANCE in communities around GE’s newest Evolution Series GE is one of the largest locomotive prototype (pictured) employers in the U.S. and the world. reduces emissions by more than the world, with 134,000 70% compared with 2005 engines, U.S. employees and www.gecitizenship.com saving railroad customers more 305,000 employees globally, CONSOLIDATED REVENUES GE SCORECARD (In $ billions) than $1.5 billion in infrastructure as of the end of 2012.
    [Show full text]
  • The Latino Film Experience in History: a Dialogue Among Texts and Collaborators Chapter Author(S): DARIÉN J
    Tamesis an imprint of Boydell & Brewer Chapter Title: The Latino Film Experience in History: A Dialogue Among Texts and Collaborators Chapter Author(s): DARIÉN J. DAVIS Book Title: A Companion to US Latino Literatures Book Editor(s): Carlota Caulfield and Darién J. Davis Published by: Boydell & Brewer; Tamesis an imprint of Boydell & Brewer Stable URL: https://www.jstor.org/stable/10.7722/j.ctt9qdmx2.17 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Boydell & Brewer and Tamesis an imprint of Boydell & Brewer are collaborating with JSTOR to digitize, preserve and extend access to A Companion to US Latino Literatures This content downloaded from 150.210.226.99 on Sun, 27 Dec 2020 18:34:58 UTC All use subject to https://about.jstor.org/terms 12 The Latino Film Experience in History: A Dialogue Among Texts and Collaborators DARIÉN J. DAVIS The Latino Film Experience in History: A Dialogue The complexity of the Latino experience has yet to be adequately explored in film. As in Latino literary texts, most themes and characters in Latino films have emerged from the sensibilities of a community’s insertion into the North American reality. From these national experiences, filmmakers have been able to explore issues relevant to the broadly constructed ‘Latino’ community.
    [Show full text]
  • CONSTRUCTING TIN PAN ALLEY 17 M01 GARO3788 05 SE C01.Qxd 5/26/10 4:35 PM Page 18
    M01_GARO3788_05_SE_C01.qxd 5/26/10 4:35 PM Page 15 Constructing Tin Pan 1 Alley: From Minstrelsy to Mass Culture The institution of slavery has been such a defining feature of U.S. history that it is hardly surprising to find the roots of our popular music embedded in this tortured legacy. Indeed, the first indige- nous U.S. popular music to capture the imagination of a broad public, at home and abroad, was blackface minstrelsy, a cultural form involving mostly Northern whites in blackened faces, parodying their perceptions of African American culture. Minstrelsy appeared at a time when songwriting and music publishing were dispersed throughout the country and sound record- The institution of slavery has been ing had not yet been invented. During this period, there was an such a defining feature of U.S. history that it is hardly surprising to find the important geographical pattern in the way music circulated. Concert roots of our popular music embedded music by foreign composers intended for elite U.S. audiences gener- in this tortured legacy. ally played in New York City first and then in other major cities. In contrast, domestic popular music, including minstrel music, was first tested in smaller towns, then went to larger urban areas, and entered New York only after success elsewhere. Songwriting and music publishing were similarly dispersed. New York did not become the nerve center for indigenous popular music until later in the nineteenth century, when the pre- viously scattered conglomeration of songwriters and publishers began to converge on the Broadway and 28th Street section of the city, in an area that came to be called Tin Pan Alley after the tinny output of its upright pianos.
    [Show full text]
  • 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.
    [Show full text]
  • King Kong (2005) : Remake Ou Sauvegarde ? Jonathan Fruoco
    King Kong (2005) : remake ou sauvegarde ? Jonathan Fruoco To cite this version: Jonathan Fruoco. King Kong (2005) : remake ou sauvegarde ?. ” Bis repetita placent ” ? Remake et technologie dans le cinéma et les séries télévisées du monde anglophone, Oct 2013, Saint Martin d’Hères, France. hal-01015112v1 HAL Id: hal-01015112 https://hal.archives-ouvertes.fr/hal-01015112v1 Submitted on 25 Jun 2014 (v1), last revised 29 Jan 2016 (v2) HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. King Kong (2005) : remake ou sauvegarde ? Jonathan Fruoco Le 4 février 2013, le critique cinéma français Rafik Djoumi remarquait sur les réseaux sociaux : « Krishna/Christ, Brahma/Abraham, Ikshwaka/Isaac, Seth/Satan, Baal Zebul/Belzébuth... Déjà, sur les forums d'Alexandrie, les geeks du IIème siècle se plaignaient "des remakes et des reboots en tous genres". » Il semble donc que le fait de transmettre encore et toujours la même histoire, qu’il s’agisse de mythologie, littérature ou cinéma, fasse partie intégrante de la nature humaine1. Néanmoins, aussi important que soit ce mode de transmission culturelle, il acquit une toute autre dimension avec l’invention du cinéma en ajoutant à la valeur artistique d’un « remake » une tonalité financière non-négligeable.
    [Show full text]
  • Dictionary of Ò,Nì,Chà Igbo
    Dictionary of Ònìchà Igbo 2nd edition of the Igbo dictionary, Kay Williamson, Ethiope Press, 1972. Kay Williamson (†) This version prepared and edited by Roger Blench Roger Blench Mallam Dendo 8, Guest Road Cambridge CB1 2AL United Kingdom Voice/ Fax. 0044-(0)1223-560687 Mobile worldwide (00-44)-(0)7967-696804 E-mail [email protected] http://www.rogerblench.info/RBOP.htm To whom all correspondence should be addressed. This printout: November 16, 2006 TABLE OF CONTENTS Abbreviations: ................................................................................................................................................. 2 Editor’s Preface............................................................................................................................................... 1 Editor’s note: The Echeruo (1997) and Igwe (1999) Igbo dictionaries ...................................................... 2 INTRODUCTION........................................................................................................................................... 4 1. Earlier lexicographical work on Igbo........................................................................................................ 4 2. The development of the present work ....................................................................................................... 6 3. Onitsha Igbo ................................................................................................................................................ 9 4. Alphabetization and arrangement..........................................................................................................
    [Show full text]
  • Peter Jackson's King Kong (2005): a Critique of Postcolonial/Animal Horror Cinema
    English Language and Literature Studies; Vol. 7, No. 2; 2017 ISSN 1925-4768 E-ISSN 1925-4776 Published by Canadian Center of Science and Education Peter Jackson’s King Kong (2005): A Critique of Postcolonial/Animal Horror Cinema Marwa Essam Eldin Fahmi1 1 College of Foreign Languages & Translation, MISR University for Science & Technology, Giza, Egypt Correspondence: Marwa Essam Eldin Fahmi, College of Foreign Languages & Translation, MISR University for Science & Technology, Giza, Egypt. E-mail:[email protected] Received: March 7, 2017 Accepted: March 26, 2017 Online Published: May 30, 2017 doi:10.5539/ells.v7n2p15 URL: http://doi.org/10.5539/ells.v7n2p15 Abstract The current study examines the fictional screen figure King Kong—as envisioned by the New Zealand director Peter Jackson in his 2005 remake—to question European ambivalence towards the Self/Other binary division. The modern 2005 Kong acts as a counter visual icon to the Eurocentric version of colonialist ideologies to expose their hypocrisy and myth-making colonial history. The present study is an attempt to integrate the visual narrative of King Kong (2005) into the framework of Postcolonial paradigm and within the theory of Adaptation to highlight the points of departure undertaken by the Postcolonial director Peter Jackson. The study seeks to establish Jackson’s revisit of a prior work as a “willful act” to reinterpret the screen figure Kong as a “Subaltern” subject whose quest for a voice is central to the film’s message. The dialogic relationship between the old and the new cinematic narratives is investigated to challenge Essentialist Western View of “Othering” so as to provide a Postcolonial revision of a fluid relationship between a prior work and a belated one.
    [Show full text]
  • George P. Johnson Negro Film Collection LSC.1042
    http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections.
    [Show full text]
  • Judy Turns the Objectifying Male Gaze Back on Itself
    JUDY O’BRIEN [Maureen O’Hara] (dancing onstage, dress straps rip-male audience members taunt) Go ahead and stare. I'm not ashamed. Go on, laugh; get your money's worth. Nobody's going to hurt you. I know you want me to tear my clothes off so you can look your 50 cents' worth. Fifty cents for the privilege of staring at a girl the way your wives won't let you. What do you suppose we think of you up here? (camera pans l to r well-heeled and ashamed male in tuxedos and reproving female audience members) With your silly smirks your mothers would be ashamed of. It's a thing of the moment for the dress suits to come and laugh at us too. We'd laugh right back at you, only we're paid to let you sit there...and roll your eyes, and make your screamingly clever remarks. What's it for? So you can go home when the show's over, strut before your wives and sweethearts... and play at being the stronger sex for a minute? I'm sure they see through you just like we do. From Dance, Girl, Dance (Dorothy Arzner,1940) Tess Slesinger & Frank Davis (screenplay) Vicki Baum (story) Judy turns the objectifying male gaze back on itself. First 4 have a Hollywood/family connection: Dorothy Arzner’s family owned a Hollywood restaurant frequented by actors and directors Ida Lupino came from a family of British actors Penny Marshall’s Mom was a tap dance teacher, her Dad a director of industrial films and older brother Gary, a TV series creator and successful film director.
    [Show full text]