A Comparison of the Spanish- and English-Language Versions Of
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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. -
Movie Mirror Book
WHO’S WHO ON THE SCREEN Edited by C h a r l e s D o n a l d F o x AND M i l t o n L. S i l v e r Published by ROSS PUBLISHING CO., I n c . NEW YORK CITY t y v 3. 67 5 5 . ? i S.06 COPYRIGHT 1920 by ROSS PUBLISHING CO., Inc New York A ll rights reserved | o fit & Vi HA -■ y.t* 2iOi5^ aiblsa TO e host of motion picture “fans” the world ovi a prince among whom is Oswald Swinney Low sley, M. D. this volume is dedicated with high appreciation of their support of the world’s most popular amusement INTRODUCTION N compiling and editing this volume the editors did so feeling that their work would answer a popular demand. I Interest in biographies of stars of the screen has al ways been at high pitch, so, in offering these concise his tories the thought aimed at by the editors was not literary achievement, but only a desire to present to the Motion Picture Enthusiast a short but interesting resume of the careers of the screen’s most popular players, rather than a detailed story. It is the editors’ earnest hope that this volume, which is a forerunner of a series of motion picture publications, meets with the approval of the Motion Picture “ Fan” to whom it is dedicated. THE EDITORS “ The Maples” Greenwich, Conn., April, 1920. whole world is scene of PARAMOUNT ! PICTURES W ho's Who on the Screcti THE WHOLE WORLD IS SCENE OF PARAMOUNT PICTURES With motion picture productions becoming more masterful each year, with such superb productions as “The Copperhead, “Male and Female, Ireasure Island” and “ On With the Dance” being offered for screen presentation, the public is awakening to a desire to know more of where these and many other of the I ara- mount Pictures are made. -
Lilms Perisllecl
Film History, Volume 9, pp. 5-22, 1997. Text copyrig ht © 1997 David Pierce. Design, etc. copyright© John libbey & Company. ISSN: 0892-2 160. Pri nted in Australia l'lle legion of file conclemnecl - wlly American silenf lilms perisllecl David Pierce f the approximately 1 0 ,000 feature print survives for most silent films, usually therewere films and countless short subjects re not many copies lo begin with . While newspapers leased in the United States before or magazines were printed and sold by the thou O 1928, only a small portion survive . sands, relatively few projection prints were re While so me classics existand are widelyavailable, quired for even the most popular silent films . In the many silent films survive only in reviews, stills, pos earliest days of the industry, producers sold prints, ters and the memories of the few remaining audi and measured success bythe number ofcopies sol d. ence members who saw them on their original By the feature period, beginning around 1914, release. 1 copies were leased lo subdistributors or rented lo Why did most silent films not survive the pas exhibitors, and the owners retained tight control. sage of time? The curren! widespread availability The distribution of silent features was based on a of many tilles on home video, and the popularity of staggered release system, with filmgoers paying silent film presentations with live orchestral accom more lo see a film early in its run. Films opened in paniment might give the impression that silent films downtown theatres, moved lo neighbourhood had always been held in such high regard . -
The Dark Side of Hollywood
TCM Presents: The Dark Side of Hollywood Side of The Dark Presents: TCM I New York I November 20, 2018 New York Bonhams 580 Madison Avenue New York, NY 10022 24838 Presents +1 212 644 9001 bonhams.com The Dark Side of Hollywood AUCTIONEERS SINCE 1793 New York | November 20, 2018 TCM Presents... The Dark Side of Hollywood Tuesday November 20, 2018 at 1pm New York BONHAMS Please note that bids must be ILLUSTRATIONS REGISTRATION 580 Madison Avenue submitted no later than 4pm on Front cover: lot 191 IMPORTANT NOTICE New York, New York 10022 the day prior to the auction. New Inside front cover: lot 191 Please note that all customers, bonhams.com bidders must also provide proof Table of Contents: lot 179 irrespective of any previous activity of identity and address when Session page 1: lot 102 with Bonhams, are required to PREVIEW submitting bids. Session page 2: lot 131 complete the Bidder Registration Los Angeles Session page 3: lot 168 Form in advance of the sale. The Friday November 2, Please contact client services with Session page 4: lot 192 form can be found at the back of 10am to 5pm any bidding inquiries. Session page 5: lot 267 every catalogue and on our Saturday November 3, Session page 6: lot 263 website at www.bonhams.com and 12pm to 5pm Please see pages 152 to 155 Session page 7: lot 398 should be returned by email or Sunday November 4, for bidder information including Session page 8: lot 416 post to the specialist department 12pm to 5pm Conditions of Sale, after-sale Session page 9: lot 466 or to the bids department at collection and shipment. -
P-26 Motion Picture Collection Repository: Seaver Center For
P-26 Motion Picture Collection Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Span Dates: c.1872-1971, bulk 1890s-1930s Extent: 48 linear feet Language: Primarily English Conditions Governing Use: Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Conditions Governing Access: Research is by appointment only Preferred Citation: Motion Picture Collection, Seaver Center for Western History Research, Los Angeles County Museum of Natural History Related Holdings: There are numerous related collections, and these can be found by consulting the Photo and General Collection guides available at the Seaver Center’s website. They include manuscripts in general collection 1095 (Motion Pictures Collection), general collection 1269 (Motion Picture Programs and Memorabilia), general collection 1286 (Movie Posters Collection), general collection 1287 (Movie Window Cards and Lobby Cards Collection), and general collection 1288 (Motion Picture Exhibitors’ Campaign Books). Seaver Center for Western History Research P-26 Abstract: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented, including portraits by studio photographers, film and set stills, and other images, as well as related programs, brochures and clippings. Early technology and experimental work in moving pictures is represented by images about camera and projection devices and their inventors. Items related to movie production include early laboratories, sound, lighting and make-up technology. These items form Photograph Collection P-26 in the Seaver Center for Western History Research. Scope and Content: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented (including portraits by studio photographers), film stills, set stills, and other images, as well as related programs, brochures and clippings. -
Conferència D'ella Shohat
ORIENTALISM AND CINEMA Ella Shohat The phrase “the imagination of the Orient” conjures up a specific set of discourses associated with a particular geography. Most importantly the “Orient” is seen in isolation from the “West” within a rather problematic spatial dichotomy. Being here in Barcelona, offers an interesting beginning for my talk today. Certainly Spain is a perfect place to deconstruct common false dichotomies, recycling binary oppositions between East and West. In our book, Unthinking Eurocentrism: Multiculturalism and the Media (translated into Spanish as Multiculturalismo, cine y medios de comunicación: Crítica del pensamiento eurocéntrico), Robert Stam and I tried to highlight the historical links between so-called East and West, South and North, not only economically and politically, but discursively as well. As we know, in this day and age we have witnessed a kind of calamity, perhaps a rather catastrophic calamity, to this binary idea of East versus West. In the following, I am not interested in the clash-of-civilisation thesis, but rather in the ways that clash has historically become a vehicle to engage gender and geography. I am interested in undoing, on a number of levels, this false dichotomy between East and West as two isolated paradigmatic spaces. We can go back to none other than Columbus and think about how discourses about the Americans, the indigenous peoples of the Americas and transplanted Africans, are usually excluded from discourses about the East. Yet a closer look suggests that with the finalising of the Reconquista in 1492—by which 3 million Muslims and 300,000 Sephardi Jews were expelled from Spain— discourses about Muslims and Jews as agents of Satan, as devil worshippers, or as infidels travelled across the Atlantic to the Americas, and were projected onto the indigenous people. -
British Nineteenth-Century Literature and the Hollywood Studio
ADAPTATION AS AN INTERTEXTUAL MODE OF PRACTICE: British Nineteenth-Century Literature and the Hollywood Studio Era Penny Chalk BA (Hons), MA This thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth April 2018 1 DECLARATION While registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in the thesis are the work of the named candidate and have not been submitted for any other academic award. Signed……………………………………… Date…………………………………… Total word count 71,051 i ABSTRACT This thesis is an interdisciplinary study of adaptations produced in the Hollywood studio era, focussing on British nineteenth-century literature adapted between the years 1930 to 1949. Based on the critical fields of adaptation criticism and historical scholarship of film, it emphasizes adaptations in relation to production practices, examining how and why a range of British literary texts were adapted in this era. The study uses a specially-created dataset collected from the American Film Institute Catalog of Motion Pictures, and archival evidence from the Margaret Herrick library, New York Public Library and British Film Institute. The introductory chapter provides an overview of the period, considering the impact of economic constraints, censorship, and war. This chapter argues that adaptations were an integral part of the industry in this period, driving innovation and production trends. Following this overview of the period, five case studies are presented in order to consider the diverse range of strategies employed in the adaptation of literary texts. -
Bert Lytell and Betty Compson in to Have and to Hold (C
Bert Lytell and Betty Compson in To Have and To Hold (c. 1923); see page 26. 22 ARLINGTON HISTORJCAL MAGAZINE A Century of Jamestown in the Cinema BY STEPHEN PATRICK For exactly one hundred years, filmed accounts and derivatives of the Jamestown story illustrated and romanticized this history onto the silver screen. And for this past century, Arlingtonians have enjoyed those narratives in a changing spectrum of cinematic venues. Arlington County citizens marked the fourth century of the founding of Jamestown in 2007 through celebrations, performances, exhibits, book clubs, tree plantings, and on and on. Repeatedly, an innocent question was asked about the relationship between far ago Stuart England's colonization of far away Jamestown with the northern Virginia county of Arlington. True, Captain John Smith, leader of the colony, explored the Chesapeake Bay and its tributaries in 1608, and sailed up the Potomac to the spot that now is the Arlington shoreline, but seemingly any direct connections rest there. But Arlingtonians have a far deeper and more personal connection to early Jamestown, and that history is one hundred years old this year. 1 The Jamestown Tercentennial Exposition centered on the 1907 World's Fair; a sprawling celebration near Norfolk with exhibition buildings, states' showcase houses, reenactment tableaux for the audiences, and an exuberant presentation of the American past seen through the lens of the Progressive Era historians who portrayed the American story as a steady theme focused on the rights of man and the pursuit of happiness. Perhaps some people from Arlington were fortunate to travel by train or overnight steamship from Washington to Norfolk to see the Exhibition, but many more saw it in film. -
Before the Sheik: Rudolph Valentino and Sexual Melancholia
Before The Sheik: Rudolph Valentino and Sexual Melancholia. Abstract: Once he was cast as the powerful, yet sexually-on-display Ahmed Ben Hassan in The Sheik (George Melford, 1921), Rudolph Valentino rose to super-stardom, the bearer of a conflicted image defined by a fragmented patriarchal discourse. The enduring resonance of the ‘Sheik’ identification, combined with a lack of critical attention to Valentino’s performance, have obscured the different qualities he projected in earlier leading roles, at the dawn of his star trajectory. This paper focuses on Valentino’s three other surviving films from 1921, which preceded The Sheik in rapid succession. It argues that here Valentino’s narrative roles, and most especially his performance, are increasingly defined by a sense of loss, powerlessness, and lack of control, informing his predominantly erotic function on screen. Drawing on the work of Leo Bersani and Sigmund Freud, this paper highlights how a key strand of Valentino’s performance suggests the body’s failure to control and connect with the world beyond the Self. In an expression of sexual melancholia, Valentino’s intensity of desire, mourning, and pain marks his physical presence, constructing an erotic identity that attempts yet always fails to defer loss. In contrast with his ‘sexual menace’ image, cristallised by the Sheik persona and tempered by his ambivalent relation to the gaze, in these earlier films Valentino provides a different antidote to patriarchal brutality, embodying the essentially melancholic nature of erotic experience. ………………………………………………………………………………………….. 1 The opening of Camille (Ray C. Smallwood, 1921) introduces its male protagonist Armand Duval (Rudolph Valentino, fig.1) through his first, fateful encounter with Marguerite Gautier (Alla Nazimova, fig.2), the woman he will be obsessed with throughout the film. -
Dracula by Gary Rhodes
Dracula By Gary Rhodes Few characters in the history of literature and film have proven as deathless as Count Dracula, the vampire that has haunted nightmares for well over a centu- ry. His existence and initial fame depend- ed upon author Bram Stoker, who creat- ed him for the 1897 novel. But there is a second reason the character has flour- ished in popular culture: Tod Browning’s 1931 film “Dracula.” Vampires certainly have deeper roots in America than Count Dracula, with ac- counts of them published in colonial newspapers as early as 1732. Then, dur- ing the nineteenth century, Americans enjoyed such stage plays as Planché's The Vampyre, or The Bride of the Isles (1820) and Boucicault's The Phantom (1852, aka The Vampire). Nevertheless, the definition of "vampire" changed no- ticeably in the fin de siécle period. The popularity of Philip Burne-Jones' painting The Vampire (1897) and Rudyard Kip- ling's poem of the same name trans- formed the term such that – instead of conjuring a supernatural creature – it in- stead suggested a powerful woman capa- ble of draining a man dry, both emotional- ly and financially. The nascent American cinema furthered this new definition, par- Advertisement in 1931 edition of Silver Screen magazine features ticularly in such movies as “A Fool There Bela Lugosi in his Dracula costume. Courtesy Media History Was” (1915) with Theda Bara. Digital Library. Film director Tod Browning saw matters quite differ- screen. In 1929, Carl Laemmle, Jr. assumed control ently. In 1920, he approached Universal Pictures of production at Universal Pictures. -
The Heralds of the Dawn: a History of the Motion Picture Industry in the State of Florida, 1908-2019
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2019 The Heralds of the Dawn: A History of the Motion Picture Industry in the State of Florida, 1908-2019 David Morton University of Central Florida Part of the Film Production Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Morton, David, "The Heralds of the Dawn: A History of the Motion Picture Industry in the State of Florida, 1908-2019" (2019). Electronic Theses and Dissertations, 2004-2019. 6365. https://stars.library.ucf.edu/etd/6365 “THE HERALDS OF THE DAWN:” A HISTORY OF THE MOTION PICTURE INDUSTRY IN THE STATE OF FLORIDA, 1908-2019 by DAVID D. MORTON B.A. East Stroudsburg University, 2009 M.A. University of Central Florida, 2014 A dissertation submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in the Department of Texts and Technology in the Department of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2019 Major Professor: Scot French © 2019 David Morton ii ABSTRACT Often overlooked in its contribution to cinema history, the State of Florida has the distinction of being among just a handful of regions in the United States to have a continuous connection with the American motion picture industry. -
UCLA FESTIVAL of PRESERVATION
UCLA FESTIVAL of PRESERVATION 2017 UCLA FESTIVAL of PRESERVATION 03.03.17–03.27.17 1 FROM THE DIRECTOR Putting on this year’s Festival of Preservation was unexpectedly challenging due, ences was found in Prague then repatriated to UCLA for this restoration. This in part, to UCLA Film & Television Archive’s move to a new preservation facility may be the first public screening of this film in this country, probably since its in Santa Clarita at the end of 2015. Our Festival nevertheless still represents the original release. Archive's efforts to preserve and restore our national moving image heritage. As in past years, we have put together a mix of classic Hollywood and independent As in past years, we are proud to present new restorations of a number of film features, documentaries, and television work, reflecting the Archive’s many stel- noirs, not just from Hollywood, but also from Latin America. The Argentine lar collections of film and video material. film, Los tallos amargos (Fernando Ayala, 1956), features noirish cinematography and a surrealistic dream sequence straight out of German expressionism, while We open the Festival with Ernst Lubitsch’s Trouble in Paradise (1932), one of the John Alton, the master cameraman of Hollywood noir, shot He Walked by Night most sophisticated and complex adult comedies ever made in the old studio sys- (Alfred L. Werker, Anthony Mann, 1948), a crime drama shot on the streets of Los tem. Lubitsch is, in fact, a master of the double entendre, nowhere more clearly Angeles. John Reinhardt, whose low budget noirs are masterpieces of narrative than in this pre-Code romantic comedy that parodies every other romantic economy, directed another classic, Open Secret (1948).