Catalogo Giornate Del Cinema Muto 2011
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Herbert Brenon Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
Herbert Brenon 电影 串行 (大全) Quinneys https://zh.listvote.com/lists/film/movies/quinneys-7272298/actors The Clemenceau https://zh.listvote.com/lists/film/movies/the-clemenceau-case-3520302/actors Case Yellow Sands https://zh.listvote.com/lists/film/movies/yellow-sands-8051822/actors The Heart of Maryland https://zh.listvote.com/lists/film/movies/the-heart-of-maryland-3635189/actors The Woman With Four https://zh.listvote.com/lists/film/movies/the-woman-with-four-faces-17478899/actors Faces Empty Pockets https://zh.listvote.com/lists/film/movies/empty-pockets-62333808/actors Honours Easy https://zh.listvote.com/lists/film/movies/honours-easy-12124839/actors Wine, Women and https://zh.listvote.com/lists/film/movies/wine%2C-women-and-song-56291174/actors Song The Custard Cup https://zh.listvote.com/lists/film/movies/the-custard-cup-62595387/actors Moonshine Valley https://zh.listvote.com/lists/film/movies/moonshine-valley-6907976/actors The Eternal Sin https://zh.listvote.com/lists/film/movies/the-eternal-sin-21869328/actors Life's Shop Window https://zh.listvote.com/lists/film/movies/life%27s-shop-window-3832153/actors Laugh, Clown https://zh.listvote.com/lists/film/movies/laugh%2C-clown-1057743/actors God Gave Me Twenty https://zh.listvote.com/lists/film/movies/god-gave-me-twenty-cents-15123200/actors Cents The New Magdalen https://zh.listvote.com/lists/film/movies/the-new-magdalen-15865904/actors The Passion Flower https://zh.listvote.com/lists/film/movies/the-passion-flower-16254009/actors Sin https://zh.listvote.com/lists/film/movies/sin-16908426/actors -
My Wonderful World of Slapstick
THE THIS BOOK IS THE PROPERTY OF Georgia State Bo»r* of Education AN. PR,CLAun\;v eSupt of School* 150576 DECATUR -DeKALB LIBRARY REGIONAI SERVICE ROCKDALE COUNTY NEWTON COUNTY Digitized by the Internet Archive in 2012 with funding from Media History Digital Library http://archive.org/details/mywonderfulworldOObust MY WONDERFUL WORLD OF SLAPSTICK MY WO/VDERFUL WORLD OF SLAPSTICK BUSTER KEATON WITH CHARLES SAMUELS 150576 DOVBLEW& COMPANY, lNC.,<k*D£H C(TYt HlW Yo*K DECATUR - DeKALB LIBRARY REGiOMA! $&KZ ROCKDALE COUNTY NEWTON COUNTY Library of Congress Catalog Card Number 60-5934 Copyright © i960 by Buster Keaton and Charles Samuels All Rights Reserved Printed in the United States of America First Edition J 6>o For Eleanor 1. THE THREE KEATONS 9 2. I BECOME A SOCIAL ISSUE 29 3. THE KEATONS INVADE ENGLAND 49 4. BACK HOME AGAIN IN GOD'S COUNTRY 65 5. ONE WAY TO GET INTO THE MOVIES 85 6. WHEN THE WORLD WAS OURS 107 7. BOFFOS BY MAN AND BEAST 123 8. THE DAY THE LAUGHTER STOPPED 145 9. MARRIAGE AND PROSPERITY SNEAK UP ON ME 163 10. MY $300,000 HOME AND SOME OTHER SEMI-TRIUMPHS 179 11. THE WORST MISTAKE OF MY LIFE 199 12. THE TALKIE REVOLUTION 217 13. THE CHAPTER I HATE TO WRITE 233 14. A PRATFALL CAN BE A BEAUTIFUL THING 249 15. ALL'S WELL THAT ENDS WELL 267 THE THREE KeAtOnS Down through the years my face has been called a sour puss, a dead pan, a frozen face, The Great Stone Face, and, believe it or not, "a tragic mask." On the other hand that kindly critic, the late James Agee, described my face as ranking "almost with Lin- coln's as an early American archetype, it was haunting, handsome, almost beautiful." I cant imagine what the great rail splitter's reaction would have been to this, though I sure was pleased. -
Zeughauskino: Gretchen Und Germania
GRETCHEN UND GERMANIA HOMMAGE AN HENNY PORTEN Wie kaum eine andere deutsche Schauspielerin hat Henny Porten (1890 – 1960) zwischen 1910 und 1933 das populäre Bild der Frau in Deutschland verkörpert und geprägt. Bewunderer hatte sie in allen Bevölkerungsschichten: Soldatenräte ließen sie in den November- kämpfen 1918 hochleben; Reichstagspräsident Ebert besuchte ihre Dreharbeiten; und bei ihren Filmpremieren erlebten die Innenstädte Massenaufläufe. Ironisch und ernsthaft augenzwinkernd schlug 1922 der Literat Kurt Pinthus im linksliberalen Tagebuch vor: »Man mache Henny Porten zum Reichspräsidenten! Hier ist eine Gestalt, die in Deutschland volkstümlicher ist als der alte Fritz, als der olym- pische Goethe es je waren und sein konnten... Hier ist eine schöne Frau, die als Vereinigung von Gretchen und Germania von diesem Volke selbst als Idealbild eben dieses Volkes aufgerichtet wurde«. Bereits seit 1906 war die junge Porten in Dutzenden von Tonbildern aufgetreten, in nachgestellten kurzen Opernszenen, zu denen im Kino der entsprechende Musikpart aus dem Grammophon erklang. Mit großen Posen und Affektdarstellungen eiferten die Darsteller dieser frühen, oft nur eine Minute langen Filme den bekannten Mimen der Hoftheater nach. Bekannte, zur Ikone geronnene Darstel- lungsklischees großer Gefühle nahm die junge Filmschauspielerin auf und formte daraus ein filmspezifisches Vokabular stummen Spiels, eindringlicher Gesten und Blicke. Portens Gebärdensprache betont die vereinzelte Geste und isoliert Bedeutung, die nur in Gip- felmomenten beschleunigt, ansonsten aber ausgespielt oder ver- langsamt wird. Portens häufig wiederkehrendes Darstellungsfeld – schicksalsschwe- rer Kampf und mit Demut getragenes Leid – wird während des Ers- ten Weltkriegs Realität vieler Frauen. Henny Porten, die ihren ersten Mann in diesem Krieg verlor, erschien in ihren Figuren wie in ihrem Starleben gerade in den 1910er Jahren als ein Spiegelbild der deut- Die Heimkehr des Odysseus GRETCHEN UND GERMANIA 31 GRETCHEN UND GERMANIA schen Frauenseele. -
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Rosa Porten Also Known As: Dr. R. Portegg Lived: February 18, 1884 - May 7, 1972 Worked as: co-director, film actress, journalist, novelist, screenwriter Worked In: Germany by Annette Förster Rosa Porten’s work as a screenwriter, an actress, and a film director has been practically neglected in film history, but what she accomplished in the German silent cinema is truly noteworthy. In a two-decade career, from 1906 until 1928, she created a cinematic oeuvre that was substantial, original, versatile, and entertaining. The exact number of films to which Rosa Porten contributed is uncertain, but historical substantiation points to around forty titles. Between 1916 and 1919 alone, she wrote and co-directed at least twenty-four catching comedies and gripping social dramas and in most of them she played the protagonist. Even more notable in retrospect is that Porten’s stories often privileged the perspective of a female character who, with non-conformist pragmatism or jokey recalcitrance, seizes her chance to defy bourgeois conventions and role patterns. In the trade press, the comedies were often praised: 1e Internationale Film-Zeitung highlighted the “überschäumende Komik” [scintillating jocoseness] of Die Film- Kathi (1918) (1918, 47); Der Kinematograph noted the “herzerfrischenden” [heart-freshening] humor in Die Erzkokette (1917) (1917, n.p.); both Der Film and 1e Internationale Film- Zeitung noticed the serious undertones in Der Neueste Stern vom Varieté (1917) and Das Musikantenmädel (1918) respectively (1917, 57; 1918, 58). My fascination with Rosa Porten was triggered by Wanda’s Trick (1918), a comedy with close to feminist wit brought to my attention by Elif Rongen-Kaynakçi (EYE Filmmuseum), with whom I prepared the film program for the Women and the Silent Screen V Conference in Stockholm in 2008. -
Silent Films: Made in San Rafael by Scott Fletcher Marin History Museum Volunteer in 1914, Just Three Years After East Coast
Silent Films: Made in San Rafael By Scott Fletcher Marin History Museum Volunteer In 1914, just three years after East Coast motion picture companies had begun to relocate to Hollywood, San Rafael’s Sun Valley neighborhood became the home to one of the premier movie-making studios of the young film industry. The California Motion Picture Corporation was the brainchild of Comstock mining heir, Herbert Payne, who wanted to make films to promote tourism and industry in California. He hired friend and San Francisco automobile dealer George Middleton to help him produce the films. The company built their state-of-the-art studio on land between present-day Forbes and 5th Avenues and J and K Streets. They had selected the site for its proximity to numerous natural environments in which to film, and its nearly year-round sunny climate; an absolute necessity before interior lighting technology had been developed. In its early days, the studio produced a series of travelogue films for eastern and mid- western theater circuits called, The Golden Gate Weekly. But George Middleton and his wife, Beatriz Michelena had greater aspirations. Beatriz was a beautiful opera prima donna on the San Francisco stage who had immense star power. She and her husband recognized the emerging popularity and profitability of motion pictures and were soon producing, directing and acting in prominent feature-length films. They chose for their first “filmatization,” a Bret Harte short story, Salomy Jane’s Kiss, a western romance that was released as Salomy Jane. Michelena’s natural beauty and acting experience gave her the tools to make the transition to silent film and, for a time, rival the popularity of silent film star Mary Pickford. -
Early Film Studios in Santa Cruz County
Early Film Studios in Santa Cruz County By Ann Young I. “Moving the Movies to Santy Kruz" II. The Beginnings: A Western Pioneer Village III. The Establishment of the DeLaveaga Park Studio IV. The 1920's: Two Boardwalk Studios and Theodore Wharton V. Bibliography The content of this article is the responsibility of the individual author. It is the library’s intent to provide accurate information, however, it is not possible for the library to completely verify the accuracy of all information. If you believe that factual statements in a local history article are incorrect and can provide documentation, please contact the library. 1 I. "Moving the Movies to Santy Kruz"* "Other arts...have been communal, focusing the energies, hopes, and beliefs of many. But the art of film would be vastly public, and have the public as its patron. Its future was full of mystery and of promise suggested in the early twentieth century, when it suddenly became the most popular American art. The "movies" (which entered our written language about 1912) recreated all the world's dimensions with bold abandon." Daniel J. Boorstin, The Creators In the 1910's and '20's, audiences around the world were both mesmerized and thrilled by a new technology that put pictures in motion. Fascination with the medium's novelty, its apparent magic, created a nearly insatiable appetite for movies. For many fledgling studios, speed of production was thus often of the essence. The fact that a film's content might suffer as a result of this was generally overlooked by eager theater patrons anxiously awaiting the newest releases. -
Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita Submitted in Partial Fulfillment of the Re
The Educated Spectator: Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Casiana Elena Ionita All rights reserved ABSTRACT The Educated Spectator: Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita This dissertation draws on a wide range of sources (including motion pictures, film journals, and essays) in order to analyze the debate over the social and aesthetic role of cinema that took place in France from 1909 to 1930. During this period, as the new medium became the most popular form of entertainment, moralists of all political persuasions began to worry that cinematic representations of illicit acts could provoke social unrest. In response, four groups usually considered antagonistic — republicans, Catholics, Communists, and the first film avant- garde known as the Impressionists — set out to redefine cinema by focusing particularly on shaping film viewers. To do so, these movements adopted similar strategies: they organized lectures and film clubs, published a variety of periodicals, commissioned films for specific causes, and screened commercial motion pictures deemed compatible with their goals. Tracing the history of such projects, I argue that they insisted on educating spectators both through and about cinema. Indeed, each movement sought to teach spectators of all backgrounds how to understand the new medium of cinema while also supporting specific films with particular aesthetic and political goals. Despite their different interests, the Impressionists, republicans, Catholics, and Communists all aimed to create communities of viewers that would learn a certain way of decoding motion pictures. -
Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated -
Herbert Brenon Филм ÑÐ ¿Ð¸ÑÑ ŠÐº (ФилмографиÑ)
Herbert Brenon Филм ÑÐ ¿Ð¸ÑÑ ŠÐº (ФилмографиÑ) Quinneys https://bg.listvote.com/lists/film/movies/quinneys-7272298/actors The Clemenceau Case https://bg.listvote.com/lists/film/movies/the-clemenceau-case-3520302/actors Yellow Sands https://bg.listvote.com/lists/film/movies/yellow-sands-8051822/actors The Heart of Maryland https://bg.listvote.com/lists/film/movies/the-heart-of-maryland-3635189/actors The Woman With Four Faces https://bg.listvote.com/lists/film/movies/the-woman-with-four-faces-17478899/actors Empty Pockets https://bg.listvote.com/lists/film/movies/empty-pockets-62333808/actors Honours Easy https://bg.listvote.com/lists/film/movies/honours-easy-12124839/actors Wine, Women and Song https://bg.listvote.com/lists/film/movies/wine%2C-women-and-song-56291174/actors The Custard Cup https://bg.listvote.com/lists/film/movies/the-custard-cup-62595387/actors Moonshine Valley https://bg.listvote.com/lists/film/movies/moonshine-valley-6907976/actors The Eternal Sin https://bg.listvote.com/lists/film/movies/the-eternal-sin-21869328/actors Life's Shop Window https://bg.listvote.com/lists/film/movies/life%27s-shop-window-3832153/actors Laugh, Clown https://bg.listvote.com/lists/film/movies/laugh%2C-clown-1057743/actors Sorrell and Son https://bg.listvote.com/lists/film/movies/sorrell-and-son-1058426/actors God Gave Me Twenty Cents https://bg.listvote.com/lists/film/movies/god-gave-me-twenty-cents-15123200/actors Peter Pan https://bg.listvote.com/lists/film/movies/peter-pan-1537132/actors The Case of Sergeant Grischa https://bg.listvote.com/lists/film/movies/the-case-of-sergeant-grischa-1548848/actors -
Gallery/Maquinista
EL MAQUINISTA DE LA GENERAL Menuda MENUDA FILMO Filmo CINE PARA TODOS LOS PÚBLICOS EL MAQUINISTA DE LA GENERAL UN CÓMICO MUY SERIO THE GENERAL EEUU · 1926 · 74’ El maquinista de La General es una película de cine silente cuyo protagonista es una de las fi guras más importantes del cine cómico: Buster Keaton (1895- GUIÓN Y DIRECCIÓN Buster 1966). Este actor, guionista, productor y director desarrolló un estilo propio Keaton y Clyde Bruckman en sus fi lms. Buster comenzó su carrera como cómico de niño: sus padres EFECTOS ESPECIALES Buster trabajaban en vodeviles, tocando música y cantando, y le incluyeron en el Keaton PRODUCCIÓN Buster espectáculo disfrazándolo para que pareciera un enano y no un niño. Realizaba Keaton DIRECCIÓN ARTÍSTICA acrobacias y hacía reír al público. Fred Gabourie INTÉRPRETES Buster Keaton, Marion Mack, Glen Keaton empezó en el cine como actor pero pronto dirigió sus propios Cavender, Jim Farley cortometrajes, en los que continuó siendo el protagonista. Se le reconoce por su expresión siempre seria, según sus palabras “cuanto más serio estaba, más se reía la gente”. En sus cortometrajes mezcla los trucos de magia del vodevile con espectaculares equilibrios; con la llegada del largometraje la historia pasó a ser lo más importante, y los momentos mágicos desaparecieron. Ideó escenas arriesgadas, peligrosas en muchos casos, con las que dejar al público con la boca abierta: saltos desde altas azoteas o acrobacias en cataratas sin ninguna protección. Tampoco utilizaba dobles, aunque en ocasiones hizo de doble de SINOPSIS otros actores en sus películas. El maquinista de un tren, al que no han dejado alistarse durante la Los fi lms de Buster Keaton son comedias visuales, lo que signifi ca que la Guerra de Secesión, demuestra su imagen debe contar la historia. -
Star Channels, July 15-21
JULY 15 - 21, 2018 staradvertiser.com COLLISION COURSE Loyalties will be challenged as humanity sits on the brink of Earth’s potential extinction. Learn if order can continue to suppress chaos on a new episode of Salvation. Airs Monday, July 16, on CBS Let’s bring over 70 candidates into view. Watch Candidates In Focus on ¶ũe^eh<aZgg^e-2' ?hk\Zg]b]Zm^bg_h%]^[Zm^lZg]_hknfl%oblbmolelo.org/vote JULY 16AUGUST 10 olelo.org MF, 7AM & 7PM | SA & SU, 7AM, 2PM & 7PM ON THE COVER | SALVATION Impending doom Multiple threats plague Armed with this new, time-sensitive informa- narrative. The actress notes that, while “the tion, Darius and Liam head to the Pentagon show is mostly about this impeding asteroid — season 2 of ‘Salvation’ and deliver the news to the Department of the sort of scaring, impending doom of that,” Defense’s deputy secretary, Harris Edwards people are “still living [their lives],” as the truth By K.A. Taylor (Ian Anthony Dale, “Hawaii Five-0”). Harris makes it difficult for people to accept, which TV Media and DOD public affairs press secretary Grace leads them to set out a course of action that Barrows (Jennifer Finnigan, “Tyrant”) have no reveals what’s truly important to them. Now cience fiction is increasingly becoming choice but to let these two skilled scientists that “the public knows” and “the secret is out science fact. The dreams of golden era into a covert operation called Sampson, re- ... people go bananas.” An event such as this Swriters and directors, while perhaps a vealing that the government was already well will no doubt “bring out the best” or to “bring bit exaggerated, are more prevalent now than aware of the threat but had chosen to keep it out the worst [in us],” but ultimately, Finnigan ever before. -
1. Coversheet Thesis
Eleanor Rees The Kino-Khudozhnik and the Material Environment in Early Russian and Soviet Fiction Cinema, c. 1907-1930. January 2020 Submitted for the degree of Doctor of Philosophy School of Slavonic and East European Studies University College London Supervisors: Dr. Rachel Morley and Dr. Philip Cavendish !1 I, Eleanor Rees confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Word Count: 94,990 (including footnotes and references, but excluding contents, abstract, impact statement, acknowledgements, filmography and bibliography). ELEANOR REES 2 Contents Abstract 5 Impact Statement 6 Acknowledgments 8 Note on Transliteration and Translation 10 List of Illustrations 11 Introduction 17 I. Aims II. Literature Review III. Approach and Scope IV. Thesis Structure Chapter One: Early Russian and Soviet Kino-khudozhniki: 35 Professional Backgrounds and Working Practices I. The Artistic Training and Pre-cinema Affiliations of Kino-khudozhniki II. Kino-khudozhniki and the Russian and Soviet Studio System III. Collaborative Relationships IV. Roles and Responsibilities Chapter Two: The Rural Environment 74 I. Authenticity, the Russian Landscape and the Search for a Native Cinema II. Ethnographic and Psychological Realism III. Transforming the Rural Environment: The Enchantment of Infrastructure and Technology in Early-Soviet Fiction Films IV. Conclusion Chapter Three: The Domestic Interior 114 I. The House as Entrapment: The Domestic Interiors of Boris Mikhin and Evgenii Bauer II. The House as Ornament: Excess and Visual Expressivity III. The House as Shelter: Representations of Material and Psychological Comfort in 1920s Soviet Cinema IV.