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XXVI:7) John Huston, FAT CITY (1972, 100 Min.)
February 26, 2013 (XXVI:7) John Huston, FAT CITY (1972, 100 min.) Directed by John Huston Script by Leonard Gardner, based on his novel Produced by John Huston and Ray Stark Cinematography by Conrad L. Hall Edited by Walter Thompson Production Design by Richard Sylbert Set Decoration by Morris Hoffman Costume Design by Dorothy Jeakins Stunts: Nick Bullom and Rachel Schedler Music supervisor: Marvin Hamlisch Fight consultant: Al Silvani First aid: Brad Siniard Stacy Keach…Tully Jeff Bridges…Ernie Susan Tyrrell…Oma Candy Clark…Faye Nicholas Colasanto…Ruben Art Aragon…Babe Curtis Cokes…Earl Sixto Rodriguez…Lucero Billy Walker…Wes Freud, 1961 The Misfits, 1960 The Unforgiven, 1958 The Roots of Wayne Mahan…Buford Heaven, 1958 The Barbarian and the Geisha, 1957 A Farewell to Ruben Navarro…Fuentes Arms (uncredited), 1957 Heaven Knows, Mr. Allison, 1956 Moby Álvaro López…Rosales Dick, 1953 Beat the Devil, 1952 Moulin Rouge, 1951 The African Carl D. Parker…Paymaster Queen, 1951 The Red Badge of Courage, 1950 The Asphalt Jungle, Al Silvani…Referee at Tully-Lucero Fight 1949 We Were Strangers, 1948 Key Largo, 1948 On Our Merry Way (uncredited), 1948 The Treasure of the Sierra Madre, 1946 JOHN HUSTON (director) (b. John Marcellus Huston, August 5, Let There Be Light (documentary), 1945 San Pietro (documentary 1906, Nevada, Missouri – August 28, 1987, Middletown, Rhode short) (uncredited), 1944 Tunisian Victory (documentary) Island) won best screenplay and best director Oscars for The (replacement scenes), 1943 Report from the Aleutians Treasure of the Sierra Madre (1948). His other 48 films are: 1987 (documentary) (uncredited), 1942 Across the Pacific, 1942 The Dead, 1985 Prizzi's Honor, 1984 Under the Volcano, 1982 Winning Your Wings (short), 1942 In This Our Life, and 1941 The Annie, 1981 Victory, 1980 Phobia, 1979 Wise Blood (as Jhon Maltese Falcon. -
Robert Lennard Collection
ROBERT LENNARD COLLECTION Extent - 20A Accessioned - May 2002 INTRODUCTION Born Walter Robert Lennard, 16 May 1912. 1929 - 1939 Assistant Casting Director at British International Pictures, Elstree Studios. 1939-1945 War duty in the National Fire Service [also working on a part-time basis for ABPC]. 1945 - 1955 Casting Director, Associated British Picture Corporation, Elstree Studios. Lennard was also sub-let during this time as casting director to Warner Bros European productions. 1955 - 1970 Chief Casting Director, Associated British Picture Corporation [also cast all Warner Bros European projects, mainly Fred Zinnemann productions, including THE NUN'S STORY (US,1958) , A MAN FOR ALL SEASONS (GB,1966) and unrealised project MAN'S FATE (c.1969)]. Lennard also worked closely with John Huston, casting all the director's European films, including MOBY DICK (GB,1956), FREUD (US, 1962) and THE KREMLIN LETTER (US, 1969). ARRANGEMENT OF MATERIAL The material is arranged as follows: WRL/1 – WRL/58 Realised Film Projects. WRL/59 Realised Television Projects. WRL/60 – WRL/62 Unrealised Film & Television Projects [mainly MAN'S FATE (c.1969)] WRL/63 General - Including correspondence, miscellaneous items and bound folders of British film cast lists arranged alphabetically by year. WRL/64 General/Personal 1 ROBERT LENNARD COLLECTION RADIO PARADE (GB, 1933) WRL/1/1 Typewritten list of cast and contracted rates of pay, nd. The OLD CURIOSITY SHOP (GB, 1934) WRL/2/1 Typewritten list of cast and contracted rates of pay, nd. DANDY DICK (GB, 1935) WRL/3/1 Typewritten list of cast and contracted rates of pay, nd. MUSIC HATH CHARMS (GB, 1935) WRL/4/1 Typewritten list of cast and contracted rates of pay, nd. -
Sight & Sound Annual Index 2017
THE INTERNATIONAL FILM MAGAZINE Index to Volume 27 January to December 2017 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 6:52(r) Amour (2012) 5:17; 6:17 Armano Iannucci Shows, The 11:42 Ask the Dust 2:5 Bakewell, Sarah 9:32 Film review titles are also interview with Koreeda Amours de minuit, Les 9:14 Armisen, Fred 8:38 Asmara, Abigail 11:22 Balaban, Bob 5:54 included and are indicated by Hirokazu 7:8-9 Ampolsk, Alan G. 6:40 Armstrong, Jesse 11:41 Asquith, Anthony 2:9; 5:41, Balasz, Béla 8:40 (r) after the reference; age and cinema Amy 11:38 Army 2:24 46; 10:10, 18, 44 Balch, Antony 2:10 (b) after reference indicates Hotel Salvation 9:8-9, 66(r) An Seohyun 7:32 Army of Shadows, The Assange, Julian Balcon, Michael 2:10; 5:42 a book review Age of Innocence, The (1993) 2:18 Anchors Aweigh 1:25 key sequence showing Risk 8:50-1, 56(r) Balfour, Betty use of abstraction 2:34 Anderson, Adisa 6:42 Melville’s iconicism 9:32, 38 Assassin, The (1961) 3:58 survey of her career A Age of Shadows, The 4:72(r) Anderson, Gillian 3:15 Arnold, Andrea 1:42; 6:8; Assassin, The (2015) 1:44 and films 11:21 Abacus Small Enough to Jail 8:60(r) Agony of Love (1966) 11:19 Anderson, Joseph 11:46 7:51; 9:9; 11:11 Assassination (1964) 2:18 Balin, Mireille 4:52 Abandon Normal Devices Agosto (2014) 5:59 Anderson, Judith 3:35 Arnold, David 1:8 Assassination of the Duke Ball, Wes 3:19 Festival 2017, Castleton 9:7 Ahlberg, Marc 11:19 Anderson, Paul Thomas Aronofsky, Darren 4:57 of Guise, The 7:95 Ballad of Narayama, The Abdi, Barkhad 12:24 Ahmed, Riz 1:53 1:11; 2:30; 4:15 mother! 11:5, 14, 76(r) Assassination of Trotsky, The 1:39 (1958) 11:47 Abel, Tom 12:9 Ahwesh, Peggy 12:19 Anderson, Paul W.S. -
Download (7MB)
https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] DEAD MAN TALKING: THE HANGING OF DAVEY HAGGART By PATRICIA LUCIE SCHOOL OF SCOTTISH STUDIES FACULTY OF ARTS UNIVERSITY OF GLASGOW A thesis submitted to the University of Glasgow in December 2005 for the degree of Master of Philosophy Patricia Lucie December 2005 ProQuest Number: 10390669 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely ev e n t that the author did not send a co m p le te manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10390669 Published by ProQuest LLO (2017). Copyright of the Dissertation is held by the Author. All rights reserved. -
A Story Lately Told
A STORY LATELY TOLD Story Lately Told CS6.indd 1 02/10/2013 18:06 Story Lately Told CS6.indd 2 02/10/2013 18:06 A STORY LATELY TOLD Coming of Age in Ireland, London, and New York ANJELICA HUSTON Story Lately Told CS6.indd 3 02/10/2013 18:06 First published in Great Britain by Simon & Schuster UK Ltd, 2013 A CBS COMPANY Copyright © 2013 by Anjelica Huston This book is copyright under the Berne Convention. No reproduction without permission. All rights reserved. The right of Anjelica Huston to be identified as the author of this work has been asserted by her in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act, 1988. Photograph credits: page xi: Stephen Dane; page 1: Betty O’Kelly; page 3: © Philippe Halsman Archive; pages 15, 31, 89, and 251: courtesy of the author; page 21: Florence Homolka; page 49: Toni Frissell, courtesy of the Library of Congress, Prints & Photographs Division, Toni Frissell Collection; page 69: © Jules Buck; pages 99 and 159: courtesy of MGM Media Licensing. SINFUL DAVEY © 1969 METROGOLDWYN-MAYER STUDIOS INC. ALL RIGHTS RESERVED; pages 111,195, and 197: Richard Avedon, © The Richard Avedon Foundation; page 113: Bruno Bernard, © Bernard of Hollywood/Renaissance Road Inc.; page 131: © Jaqueth Hutchinson; page 171: © Norman Parkinson Ltd./courtesy Norman Parkinson Archive; page 185: de Rosnay/Vogue, © Condé Nast; page 215: Tim Jenkins; page 239: Bob Richardson 1 3 5 7 9 10 8 6 4 2 Simon & Schuster UK Ltd 1st Floor 222 Gray’s Inn Road London WC1X 8HB www.simonandschuster.co.uk Simon & Schuster -
Film Lives Heresm
FASSBINDER: ROMANTIC ANARCHISt (pARt 2) Lola SCARY MOVIES FASSBINDER PART 2 MOUNTAINFILM NASTASSJA KINSKI NEW ROMANIAN CINEMA SPANISH COMEDY JOHN HUSTON SPECIAL PROGRAMS NEW RELEASES NOV/DEC 2014SM FILM HERE LIVES Elinor Bunin Munroe Film Center 144 W 65th St | Walter Reade Theater 165 W 65th St | filmlinc.com HERE STARTS TABLE OF CONTENTS Dear Friends, Festivals & Series 2 Scary Movies (October 31 – November 6) 2 PROVOKES PROVOKES We hope you enjoyed the New York Film Festival and that this year’s wide-ranging Fassbinder: Romantic Anarchist (Part 2) (November 7 – 26) 4 lineup has whetted your appetite for even more great cinema. Mountainfilm (November 21 – 23) 7 Our year-end schedule is anchored by extensive retrospectives of Rainer Wer- Nastassja Kinski: From the Heart (November 27 – December 3) 8 HERE FILM ner Fassbinder and John Huston, two of the 20th century’s greatest and most prolific Making Waves: New Romanian Cinema (December 4 – 8) 10 auteurs. Fassbinder worked almost at the speed of thought, leaving behind a body of The Last Laugh: An Alternate History of Spanish Comedy (December 12 – 18) 12 work so improbably large, so dense with unruly passions and big ideas, that we still seem Let There Be Light: The Films of John Huston (December 19 – January 11) 15 HERE FILM to be digging our way through it. Fassbinder: Romantic Anarchist picks up where we left Special Programs 20 New Releases 22 INSPIRES off in May, with the second half of this prodigious career, including many of the classics November Schedule 24 that first brought the German titan international renown. -
John Mccarty
John McCarty: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: McCarty, John, 1944- Title: John McCarty Papers Dates: 1912-2010 Extent: 15 document boxes (6.30 linear feet), 1 oversize box (osb) Abstract: The John McCarty Papers contain film stills, clippings, film and fan magazines, pressbooks, and McCarthy's writings which document the evolution of the horror and thriller film genres. Call Number: Film Collection FI-055 Language: English and Spanish Access: Open for research Administrative Information Acquisition: Gifts, 2011-2012 (10-12-012-G, 11-03-008G) Processed by: Michael Rodney and Amy Armstrong, 2012 Repository: The University of Texas at Austin, Harry Ransom Center McCarty, John, 1944- Film Collection FI-055 Biographical Sketch John McCarty was born in Albany, New York, in 1944. He graduated with a communications degree in broadcasting and film from Boston University in 1966. After serving as a Peace Corps volunteer in Bogotá, Columbia, McCarty lived in Hollywood from 1968 to 1970, and wrote several unproduced scripts for the television series Family Affair and Death Valley Days. After working in broadcasting and as a copywriter for General Electric Company, McCarty published his first book, You're on Open Line: Inside the Wacky World of Late-Night Talk Radio, in 1978. He became a full time author in 1983, and has written over twenty non-fiction books on business, film, and the entertainment industry. He is often credited with coining the phrase "splatter film" to describe the subgenre of bloody horror film that graphically portrays violence and gore, when his book Splatter Movies: Breaking the Last Taboo of the Screen (1981) was published. -
John Huston (1951, 105 Min.)
February 19, 2019 (XXXVIII:4) John Huston (1951, 105 min.) DIRECTED BY John Huston WRITING C.S. Forester (novel); James Agee and John Huston (adapted for the screen by) PRODUCED BY Sam Spiegel MUSIC Allan Gray CINEMATOGRAPHY Jack Cardiff (director of photography) FILM EDITING Ralph Kemplen ART DIRECTION Wilfred Shingleton Academy Awards, USA 1952 The film won the Oscar for Best Actor in a Leading Role (Humphrey Bogart). It was also nominated for Best Actress in a Leading Role (Katharine Hepburn), Best Director (John Huston), and Best Writing, Screenplay (James Agee, John Huston). CAST Humphrey Bogart...Charlie Allnutt Katharine Hepburn...Rose Sayer may be reflected in his recurring film adaptation of literary Robert Morley ...The Brother / Rev. Samuel Sayer classics: Stephen Crane’s The Red Badge of Courage (1951)§, Peter Bull...Captain of Louisa Herman Melville’s Moby Dick (1956),****** Ernest Theodore Bikel...First Officer Hemingway’s A Farewell to Arms (1957, uncredited), Flannery Walter Gotell...Second Officer O’Connor’s Wise Blood (1979, as Jhon Huston),** and, his final Peter Swanwick...First Officer of Shona film, a haunting adaptation of James Joyce’s The Dead (1987). Richard Marner...Second Officer of Shona He directed 47 films. These are some of his other films: In This Our Life (1942), Winning Your Wings (1942 Short), Across the JOHN HUSTON (b. August 5, 1906 in Nevada, Missouri—d. Pacific (1942), Report from the Aleutians (1943 Documentary),* August 28, 1987 (age 81) in Middletown, Rhode Island) won two San Pietro (1945Documentary short),***** Let There Be Light Oscars in 1949 for Best Director and Best Writing, Screenplay (1946 Documentary),* Key Largo (1948),* We Were Strangers( for The Treasure of the Sierra Madre (1948)§. -
Análisis De Los Rasgos Cinematográficos De La Narrativa De Tenessee Williams Y Su Presencia En Las Adaptaciones Filmadas Con Su Obra
UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA Departamento de Filología Inglesa II (Literatura de los Países de Lengua Inglesa) TESIS DOCTORAL Análisis de los rasgos cinematográficos de la narrativa de Tenessee Williams y su presencia en las adaptaciones filmadas con su obra MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Sonia Barba Martínez Directora Susana Lozano Moreno Madrid, 2016 © Sonia Barba Martínez, 2015 Análisis de los rasgos cinematográficos de la narrativa de Tennessee Williams y su presencia en las adaptaciones filmadas con su obra Universidad Complutense – Madrid – Facultad de Filología Autora: Sonia Barba Martínez UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA Departamento de Filología Inglesa II ANÁLISIS DE LOS RASGOS CINEMATOGRÁFICOS DE LA NARRATIVA DE TENNESSEE WILLIAMS Y SU PRESENCIA EN LAS ADAPTACIONES FILMADAS CON SU OBRA MEMORIA PRESENTADA PARAR OPTAR AL GRADO DE DOCTOR PORO Sonia Barba Martínez Bajo la dirección de la Dra. Susana Lozano Moreno Madrid, 2015 1 Análisis de los rasgos cinematográficos de la narrativa de Tennessee Williams y su presencia en las adaptaciones filmadas con su obra Universidad Complutense – Madrid – Facultad de Filología Autora: Sonia Barba Martínez Sonia Barba Martínez ANÁLISIS DE LOS RASGOS CINEMATOGRÁFICOS DE LA NARRATIVA DE TENNESSEE WILLIAMS Y SU PRESENCIA EN LAS ADAPTACIONES FILMADAS CON SU OBRA Tesis Doctoral perteneciente al Departamento de Filología Inglesa II de la Universidad Complutense de Madrid. Directora: Susana Lozano Moreno Madrid, 2015 2 Análisis de los rasgos cinematográficos de la narrativa de Tennessee Williams y su presencia en las adaptaciones filmadas con su obra Universidad Complutense – Madrid – Facultad de Filología Autora: Sonia Barba Martínez A mis padres. -
Rétrospective John Huston 8 Juin – 31 Juillet 2016
Dossier de presse RÉTROSPECTIVE JOHN HUSTON 8 JUIN – 31 JUILLET 2016 Aventurier de la pellicule, John Huston est l’auteur d’une œuvre hétéroclite et surprenante. S’il sert les genres du cinéma hollywoodien (le film noir en particulier avec Le Faucon maltais ou Quand la Ville dort) il se lance aussi dans des projets ambitieux d’adaptations littéraires (Moby Dick, Le Malin, Au-dessous du volcan) tout autant que dans d’improbables coproductions internationales. L’hétérogénéité de son cinéma en fait un auteur qui a su singulièrement dépasser les conventions du classicisme. Jeudi 09 juin 19h CONFÉRENCE (Voir page 3) « L’OEIL DES MONSTRES. TRAVERSÉE DE JOHN HUSTON » PAR PIERRE BERTHOMIEU À la suite de la conférence, à 21h15, projection d’un film choisi par le conférencier : Reflets dans un œil d’or (version dite « dorée » de John Huston Tarifs conférence : PT 4€, TR 3€, Libre Pass accès libre. Possibilité billet couplé conférence + séance : 8.5€ (au lieu de 10.5€). Samedi 11 juin 14h30 FILM + TABLE RONDE (Voir page 3) « FREUD, SARTRE, HUSTON ET LES AUTRES… » ANIMÉE PAR BERNARD BENOLIEL AVEC ÉLISABETH ROUDINESCO, RAYMOND BELLOUR, ALEXIS CHABOT Tarifs séance : PT 6.5€, TR 5.5€, Libre Pass accès libre. John Huston, Portrait © DR ÉDITIONS WARNER Coffret Collection John Huston A l’occasion de la rétrospective de La Cinémathèque française, (re)découvrez 4 grands films réalisés par John Huston réunis dans un coffret Blu-ray™ collector ! Inclus : Key Largo, pour la première fois en Blu-ray TM , Le Faucon Maltais, Le Trésor de La Sierra Madre et Reflets dans un œil d’Or. -
Film LIVES Heresm
JOHN HUSTON Filmmaker Jessie Maple RUBEN ÖSTLUND (Will and Twice as Nice) NEW YORK JEWISH FILM FESTIVAL DANCE ON CAMERA BLACK INDEPENDENTS IN NEW YORk, 1968-1986 FILM COMMENT SELECTS SPECIAL PROGRAMS NEW RELEASES JAN/FEB 2015SM FILM LIVES HERE Elinor Bunin Munroe Film Center 144 W 65th St | Walter Reade Theater 165 W 65th St | filmlinc.com | @filmlinc HERE STARTS Dear Friends, TABLE OF CONTENTS Here at the Film Society, 2015 begins auspiciously with a robust January, marked Festivals & Series 2 by the return of an annual standby (the New York Jewish Film Festival) and a retro- Let There Be Light: The Films of John Huston (Through Jan 11) 2 PROVOKES PROVOKES spective for one of the most original directors working today (Ruben Östlund). In Case of No Emergency: The Films of Ruben Östlund (Jan 14 – 22) 4 The New York Jewish Film Festival once again boasts an assortment of pre- New York Jewish Film Festival (Jan 14 – 29 ) 5 mieres and revivals, including Israel’s 2015 Foreign Language Oscar submission Gett: The Trial of Vivian Amsalem. With this year’s wide-ranging edition, the festi- Dance on Camera (Jan 30 – Feb 3) 10 HERE FILM val continues to evolve in exciting and surprising new directions. Tell It Like It Is: Black Independents in New York, 1968-1986 (Feb 6 – 19) 13 In Case of No Emergency: The Films of Ruben Östlund highlights the talented Film Comment Selects (Feb 20 – Mar 5) 17 Swedish director, whose Force Majeure was one of the standouts at the 2014 Special Programs 20 HERE FILM Cannes Film Festival and whose Play was a NYFF49 selection. -
A Certain Autonomy: Music in the Films of John Huston
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 22 | 2021 Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis A Certain Autonomy: Music in the Films of John Huston Richard Ness Electronic version URL: http://journals.openedition.org/miranda/39288 DOI: 10.4000/miranda.39288 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Richard Ness, “A Certain Autonomy: Music in the Films of John Huston”, Miranda [Online], 22 | 2021, Online since 31 March 2021, connection on 28 April 2021. URL: http://journals.openedition.org/ miranda/39288 ; DOI: https://doi.org/10.4000/miranda.39288 This text was automatically generated on 28 April 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. A Certain Autonomy: Music in the Films of John Huston 1 A Certain Autonomy: Music in the Films of John Huston Richard Ness The author would like to express his appreciation to Dr. Lesley Brill, in whose graduate seminar on John Huston at Wayne State University this work began, and who has continued to support and encourage this research. Introduction “I hate decorative music. I want the music to help tell the story, illustrate the idea, not just to emphasize the images. That means that it must have a certain autonomy.” (John Huston)1 1 In his autobiography An Open Book, John Huston summarizes his own career with the observation: “I’m not aware of myself as a director having a style” (Huston 361). It is an assessment shared by a number of critics writing about his work, and those critics who have identified any consistencies in Huston’s films have tended to focus on similarities of content and thematic issues more than on formal elements.2 If critics have had difficulty determining a consistent visual style in the director’s work, even less attention has been given to Huston's use of music and aural elements.