1931 FRANKENSTEIN Film Set for Screening with New Score by UT
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31 Days of Oscar® 2010 Schedule
31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy -
The Machine at the Mad Monster Party
1 The Machine at the Mad Monster Party Mad Monster Party (dir. Jules Bass, 1967) is a beguiling film: the superb Rankin/Bass “Animagic” stop-motion animation is burdened by interminable pacing, the celebrity voice cast includes the terrific Boris Karloff and Phyllis Diller caricaturing themselves but with flat and contradictory dialogue, and its celebration of classic Universal Studios movie monsters surprisingly culminates in their total annihilation in the film’s closing moments. The plot finds famous Dr. Baron Boris von Frankenstein convening his “Worldwide Organization of Monsters” to announce both his greatest discovery, a “formula which can completely destroy all matter,” and his retirement, where he will surprisingly be succeeded not by a monster but by something far worse: a human, his nebbish pharmacist nephew Felix Flanken. Naturally, this does not sit well with the current membership, nor even Felix, who is exposed to monsters for the first time in his life and is petrified at what he sees. Thus, a series of classic monsters team up to try to knock off Felix and take over for Baron Frankenstein: Dracula, The Werewolf, The Mummy, The Invisible Man, Dr. Jekyll & Mr. Hyde, The Creature from the Black Lagoon, The Hunchback of Notre Dame, Frankenstein’s Monster, The Monster's Mate, King Kong (referred to only as “It”), Yetch (an ersatz Peter Lorre/Igor hybrid), and Francesca, the buxom red-head secretary. Much of the plot’s comedy is that Felix is so humanly clueless: glasses-wearing, naive, constantly sneezing, he fails to recognize the monsters’ horribleness and manages to avoid their traps mainly by accident and dumb luck. -
Mary Shelley: Teaching and Learning Through Frankenstein Theresa M
Forum on Public Policy Mary Shelley: Teaching and Learning through Frankenstein Theresa M. Girard, Adjunct Professor, Central Michigan University Abstract In the writing of Frankenstein, Mary Shelley was able to change the course of women’s learning, forever. Her life started from an elite standpoint as the child of Mary Wollstonecraft and William Godwin. As such, she was destined to grow to be a major influence in the world. Mary Shelley’s formative years were spent with her father and his many learned friends. Her adult years were spent with her husband, Percy Bysshe Shelley, and their literary friends. It was on the occasion of the Shelleys’ visit to Lord Byron at his summer home that Mary Shelley was to begin her novel which changed the course of women’s ideas about safety and the home. No longer were women to view staying in the home as a means to staying safe and secure. While women always knew that men could be unreliable, Mary Shelley openly acknowledged that fact and provided a forum from which it could be discussed. Furthermore, women learned that they were vulnerable and that, in order to insure their own safety, they could not entirely depend upon men to rescue them; in fact, in some cases, women needed to save themselves from the men in their lives, often with no one to turn to except themselves and other women. There are many instances where this is shown throughout Frankenstein, such as: Justine’s prosecution and execution and Elizabeth’s murder. Mary Shelley educated women in the most fundamental of ways and continues to do so through every reading of Frankenstein. -
Of Gods and Monsters: Signification in Franz Waxman's Film Score Bride of Frankenstein
This is a repository copy of Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/118268/ Version: Accepted Version Article: McClelland, C (Cover date: 2014) Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein. Journal of Film Music, 7 (1). pp. 5-19. ISSN 1087-7142 https://doi.org/10.1558/jfm.27224 © Copyright the International Film Music Society, published by Equinox Publishing Ltd 2017, This is an author produced version of a paper published in the Journal of Film Music. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Paper for the Journal of Film Music Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein Universal’s horror classic Bride of Frankenstein (1935) directed by James Whale is iconic not just because of its enduring images and acting, but also because of the high quality of its score by Franz Waxman. -
Beloved Holiday Movie: How the Grinch Stole Christmas! 12/9
RIVERCREST PREPARATORY ONLINE SCHOOL S P E C I A L I T E M S O F The River Current INTEREST VOLUME 1, ISSUE 3 DECEMBER 16, 2014 We had our picture day on Beloved Holiday Movie: How the Grinch Stole Christmas! 12/9. If you missed it, there will be another opportunity in the spring. Boris Karloff, the voice of the narrator and the Grinch in the Reserve your cartoon, was a famous actor yearbook. known for his roles in horror films. In fact, the image most of us hold in our minds of Franken- stein’s monster is actually Boris Karloff in full make up. Boris Karloff Jan. 12th – Who doesn’t love the Grinch Winter Break is Is the reason the Grinch is so despite his grinchy ways? The Dec. 19th popular because the characters animated classic, first shown in are lovable? We can’t help but 1966, has remained popular with All class work must adore Max, the unwilling helper of children and adults. be completed by the Grinch. Little Cindy Lou Who The story, written by Dr. Seuss, the 18th! is so sweet when she questions was published in 1957. At that the Grinch’s actions. But when the I N S I D E time, it was also published in Grinch’s heart grows three sizes, THIS ISSUE: Redbook magazine. It proved so Each shoe weighed 11 pounds we cheer in our own hearts and popular that a famous producer, and the make up took hours to sing right along with the Whos Sports 2 Chuck Jones, decided to make get just right. -
The Horror Film Series
Ihe Museum of Modern Art No. 11 jest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Saturday, February 6, I965 FOR IMMEDIATE RELEASE The Museum of Modern Art Film Library will present THE HORROR FILM, a series of 20 films, from February 7 through April, 18. Selected by Arthur L. Mayer, the series is planned as a representative sampling, not a comprehensive survey, of the horror genre. The pictures range from the early German fantasies and legends, THE CABINET OF DR. CALIGARI (I9I9), NOSFERATU (1922), to the recent Roger Corman-Vincent Price British series of adaptations of Edgar Allan Poe, represented here by THE MASQUE OF THE RED DEATH (I96IO. Milestones of American horror films, the Universal series in the 1950s, include THE PHANTOM OF THE OPERA (1925), FRANKENSTEIN (1951), his BRIDE (l$55), his SON (1929), and THE MUMMY (1953). The resurgence of the horror film in the 1940s, as seen in a series produced by Val Lewton at RR0, is represented by THE CAT PEOPLE (19^), THE CURSE OF THE CAT PEOPLE (19^4), I WALKED WITH A ZOMBIE (19*£), and THE BODY SNAT0HER (19^5). Richard Griffith, Director of the Film Library, and Mr. Mayer, in their book, The Movies, state that "In true horror films, the archcriminal becomes the archfiend the first and greatest of whom was undoubtedly Lon Chaney. ...The year Lon Chaney died [1951], his director, Tod Browning,filmed DRACULA and therewith launched the full vogue of horror films. What made DRACULA a turning-point was that it did not attempt to explain away its tale of vampirism and supernatural horrors. -
The Real "Monster" in Frankenstein
ISSN 2380-5064 | Arsenal is published by the Augusta University Libraries | http://guides.augusta.edu/arsenal Volume 1, Issue 1 (2016) The Real "Monster" in Frankenstein David O. Urizar Citation Urizar, D. O. (2016). The Real "Monster" in Frankenstein. Arsenal: The undergraduate research journal of Augusta University, 1(1), 20-27. http://doi.org/10.21633/issn.2380.5064/f.2016.01.20 © 2016 Urizar. This open access article is distributed under a Creative Commons Attribution-NonCommercial-NoDerivs 2.0 Generic License (https://creativecommons.org/licenses/by-nc-nd/2.0/) ISSN 2380-5064 10.21633/issn.2380.5064/f.2016.01.20 Real “Monster” in Frankenstein David O. Urizar Department of Biological Sciences College of Science and Mathematics Faculty Mentor: Todd Hoffman, Ph.D., Department of English and Foreign Languages The story of Frankenstein is typically seen as a battle between Victor Frankenstein and the “monster” of the story. However I argue that that the real “monster” of the story is in fact Victor Frankenstein who is suffering from paranoid schizophrenia and that the “monster” is really just a delusions that Victor uses to cope with the idea that he in fact is the killer of the story. This concept is evident in the fact that no one in the story has ever seen both Victor Frankenstein and the “monster” alive in the same place. The characteristics of the “monster’ also point towards the idea that the “monster” could not possibly exist. Even the way that Victor acts throughout the book point to the idea that he does not really care for the safety of his loved ones. -
Movies & Languages 2013-2014 Hotel Transylvania
Movies & Languages 2013-2014 Hotel Transylvania About the movie (subtitled version) DIRECTOR Genndy Tartakovsky YEAR / COUNTRY 2012 U.S.A GENRE Comedy, Animation ACTORS Adam Sandler, Andy Samberg, Steve Buscemi, Selena Gomez PLOT The Hotel Transylvania is Dracula's lavish five-stake resort he built for his beloved wife Martha and their daughter Mavis. Monsters and their families are invited to Mavis's 118th birthday party where they can live it up, free from meddling with the human world. But here's a little known fact about Dracula: he is not only the Prince of Darkness; he is also a dad. Over-protective of his teenage daughter, Mavis, Dracula fabricates tales of elaborate dangers to dissuade her adventurous spirit. As a haven for Mavis, he opens the Hotel Transylvania, where his daughter and some of the world's most famous monsters – Frankenstein and his bride, the Mummy, the Invisible Man, a family of werewolves, gremlins and more – can kick back in safety and peace. For Drac, catering to all of these legendary monsters is no problem but his world could come crashing down when one ordinary guy discovers the hotel and takes a shine to Mavis. LANGUAGE Simple English spoken in Eastern European, American and French accents GRAMMAR INDEPENDENT ELEMENTS/INTERJECTIONS Introductory - Oh! ah! alas! Ha ha, ha! hollo! hurrah! pshaw! etc. express sudden bursts of feeling. As they have no grammatical relation to any other word in the sentence, we say that they are independent. Words belonging to other parts of speech become interjections when used as mere exclamations: What! are you going? Well! you surprise me Other words besides interjections may be used independently: Come on boys Well, we will try it Now, that is strange Why, this looks right There is reason in this Boys simply arrests the attention of the persons addressed. -
Discussion Questions for Frankenstein Written by Hailey Toporcer, Hiram College Class of 2019 Edited by Prof
Discussion Questions for Frankenstein Written by Hailey Toporcer, Hiram College Class of 2019 Edited by Prof. Kirsten Parkinson As you read Mary Shelley’s Frankenstein, either on your own or with a group, we invite you to use these questions to add layers to your discussion or thinking about the novel. The first section includes questions for each chapter of the novel; you will find questions reflecting on the book as a whole at the end. We have not included specific pages numbers as various editions have different page numbers, but the quotations are based on the 1831 edition of the novel. Discussion Questions for Each Chapter Letters I through IV 1. Frankenstein begins and ends with letters written by Robert Walton. Why do you think that Mary Shelley chose to have him frame the novel? How would your opinions of Victor Frankenstein and his creation differ if their story was told directly by Victor Frankenstein himself? What if the story was told solely by the creation? 2. Walton yearns for a friend, much like Victor Frankenstein’s creature does. What does this tell you about human nature? Is it in our nature to want companionship, someone to confide in, and someone to care for? 3. In Letter IV, Walton writes, “Yesterday the stranger said to me, “You may easily perceive, Captain Walton, that I have suffered great and unparalleled misfortunes. I had determined at one time that the memory of these evils should die with me, but you have won me to alter my determination. You seek for knowledge and wisdom, as I once did; and I ardently hope that the gratification of your wishes may not be a serpent to sting you, as mine has been. -
Shakespeare, William Shakespeare
Shakespeare, William Shakespeare. Julius Caesar The Shakespeare Ralph Richardson, Anthony SRS Caedmon 3 VG/ Text Recording Society; Quayle, John Mills, Alan Bates, 230 Discs VG+ Howard Sackler, dir. Michael Gwynn Anthony And The Shakespeare Anthony Quayle, Pamela Brown, SRS Caedmon 3 VG+ Text Cleopatra Recording Society; Paul Daneman, Jack Gwillim 235 Discs Howard Sackler, dir. Great Scenes The Shakespeare Anthony Quayle, Pamela Brown, TC- Caedmon 1 VG/ Text from Recording Society; Paul Daneman, Jack Gwillim 1183 Disc VG+ Anthony And Howard Sackler, dir. Cleopatra Titus The Shakespeare Anthony Quayle, Maxine SRS Caedmon 3 VG+ Text Andronicus Recording Society; Audley, Michael Horden, Colin 227 Discs Howard Sackler, dir. Blakely, Charles Gray Pericles The Shakespeare Paul Scofield, Felix Aylmer, Judi SRS Caedmon 3 VG+ Text Recording Society; Dench, Miriam Karlin, Charles 237 Discs Howard Sackler, dir. Gray Cymbeline The Shakespeare Claire Bloom, Boris Karloff, SRS- Caedmon 3 VG+ Text Recording Society; Pamela Brown, John Fraser, M- Discs Howard Sackler, dir. Alan Dobie 236 The Comedy The Shakespeare Alec McCowen, Anna Massey, SRS Caedmon 2 VG+ Text Of Errors Recording Society; Harry H. Corbett, Finlay Currie 205- Discs Howard Sackler, dir. S Venus And The Shakespeare Claire Bloom, Max Adrian SRS Caedmon 2 VG+ Text Adonis and A Recording Society; 240 Discs Lover's Howard Sackler, dir. Complaint Troylus And The Shakespeare Diane Cilento, Jeremy Brett, SRS Caedmon 3 VG+ Text Cressida Recording Society; Cyril Cusack, Max Adrian 234 Discs Howard Sackler, dir. King Richard The Shakespeare John Gielgud, Keith Michell and SRS Caedmon 3 VG+ Text II Recording Society; Leo McKern 216 Discs Peter Wood, dir. -
La Novia De Frankenstein La Rara Proeza De Mejorar La Obra Inicial Y Acercarse Mucho Al Nivel De Lo Que Se Puede Entender Como Una Obra Maestra
Una de las obras cumbre del género fantástico FICHA TÉCNICA: Título original: Bride of Frankenstein Nacionalidad: EEUU Año: 1935 Dirección: James Whale Guión: William Hurlbut, John Balderston (sugerido por la novela Frankenstein o el moderno Prometeo de Mary W. Shelley) Producción: Carl Laemmle Jr. Dirección de Fotografía: John Mescall Montaje: Ted Kent Dirección Artística: Charles D. Hall Música: Franz Waxman Maquillaje: Jack Pierce Efectos Especiales: John P. Fulton Reparto: Boris Karloff ( El Monstruo ), Colin Clive (Barón Henry Frankenstein ), Valerie Hobson ( Eli- zabeth ), Ernest Thesiger ( Dr. Septimus Pretorius ), Elsa Lanchester ( Mary W. Shelley / Compañera del Monstruo ), Gavin Gordon ( Lord Byron ), Douglas Walton ( Percy Bysshe Shelley ), Una O'Connor (Minnie ), E.E. Clive ( Burgomaestre ), Lucien Prival (Albert, el Mayordomo ), Dwight Frye ( Karl, el Jo- robado ) Duración: 75 min. (B/N) SINOPSIS: Durante su convalecencia, Henry Frankenstein recibe la visita de un hombre extravagante que dice ser el Dr. Pretorious , quien le pide que colabore con él en sus experimentos para la creación de la vida. Con objeto de animarle a ello, Pretorious le muestra una colección de homúnculos que reviven durante unos segundos un mundo mágico ante la mirada fascinada de Henry . No obstante, Frankenstein no se deja tentar y rehúsa el ofrecimiento. Pero Pretorious contará con una baza inesperada a su favor: El Monstruo . Juntos obligan a Henry a crear una mujer que sea la compañera del monstruo. HOJA INFORMAT IVA Nº 68 Abril 2005 COMENTARIOS: Cuatro años después de su éxito inicial con El Dr. Frankenstein y tras haber rodado, entre otras, la magnífica adaptación cinematográfica de la novela El Hombre Invisible de H.G. -
BEYOND the BASICS Supplemental Programming for Leonard Bernstein at 100
BEYOND THE BASICS Supplemental Programming for Leonard Bernstein at 100 BEYOND THE BASICS – Contents Page 1 of 37 CONTENTS FOREWORD ................................................................................. 4 FOR FULL ORCHESTRA ................................................................. 5 Bernstein on Broadway ........................................................... 5 Bernstein and The Ballet ......................................................... 5 Bernstein and The American Opera ........................................ 5 Bernstein’s Jazz ....................................................................... 6 Borrow or Steal? ...................................................................... 6 Coolness in the Concert Hall ................................................... 7 First Symphonies ..................................................................... 7 Romeos & Juliets ..................................................................... 7 The Bernstein Beat .................................................................. 8 “Young Bernstein” (working title) ........................................... 9 The Choral Bernstein ............................................................... 9 Trouble in Tahiti, Paradise in New York .................................. 9 Young People’s Concerts ....................................................... 10 CABARET.................................................................................... 14 A’s and B’s and Broadway ....................................................