Representações Da Monstruosidade Na Caracterização Das Personagens Do Filme Freak (1932)

Total Page:16

File Type:pdf, Size:1020Kb

Representações Da Monstruosidade Na Caracterização Das Personagens Do Filme Freak (1932) UNIVERSIDADE ANHEMBI MORUMBI IVON MENDES DE BARROS REPRESENTAÇÕES DA MONSTRUOSIDADE NA CARACTERIZAÇÃO DAS PERSONAGENS DO FILME FREAKS (1932) SÃO PAULO 2017 IVON MENDES DE BARROS REPRESENTAÇÕES DA MONSTRUOSIDADE NA CARACTERIZAÇÃO DAS PERSONAGENS DO FILME FREAKS (1932) Dissertação de Mestrado apresentada à Banca Examinadora, como exigência parcial para a obtenção do título de Mestre do Programa de Pós- Graduação em Comunicação, área de concentração em Comunicação Audiovisual da Universidade Anhembi Morumbi, sob a orientação do Prof. Dr. Luiz Antônio Vadico. SÃO PAULO 2017 FICHA CATALOGRAFICA B277r Barros, Ivon Mendes de Representações da monstruosidade na caracterização das personagens do filme Freak (1932). / Ivon Mendes de Barros - 2017. 142f.: il.; 30 cm. Orientador: Luiz Antonio Vadico. Dissertação (Mestrado em Comunicação) - Universidade Anhembi Morumbi, São Paulo, 2017. Bibliografia: f.131-138. 1. Comunicação. 2. Cinema. 3. Monstruosidade. 4. Caracte- rização visual. 5. Personagens. 6. Freaks. I. Título. CDD 302.2 IVON MENDES DE BARROS REPRESENTAÇÕES DA MONSTRUOSIDADE NA CARACTERIZAÇÃO DAS PERSONAGENS DO FILME FREAKS (1932) Dissertação de Mestrado apresentada à Banca Examinadora, como exigência parcial para a obtenção do título de Mestre do Programa de Pós- Graduação em Comunicação, área de concentração em Comunicação Audiovisual da Universidade Anhembi Morumbi, sob a orientação do Prof. Dr. Luiz Antônio Vadico. Aprovado em 29/09/2017 Prof. Dr. Luiz Antônio Vadico Prof. Dr. Rogério Ferraraz Prof. Dr. Marcelo Denny de Toledo Leite AGRADECIMENTOS Agradeço ao meu orientador, Luiz Vadico, que me acompanhou na caminhada da pesquisa, como um pianista, de música experimental. A cada um dos professores e professoras desse curso, pelos preciosos conhecimentos repartidos. À minha família toda, em especial meu irmão Laan, que me incentivou ao mestrado e me orientou em momentos da pesquisa; meu irmão Chico, por me socorrer em ocasiões de inquietação; minha sobrinha Giovanna, meu afilhado Paulo Vitor e meu irmão Olímpio, por me ajudarem com necessidades práticas; e minha companheira de vida Andréia, por me ouvir, conversar, abraçar e acompanhar meus estudos. Sou grato a todos estudantes que estiveram comigo em sala de aula, pois no exercício do ensino - aprendizagem construímos muito conhecimento. Ao Gal Oppido, por repartir suas ideias comigo, inclusive na entrevista que me concedeu. Agradeço também a todos artistas do cinema que realizaram filmes e a todos pesquisadores que compartilharam suas ideias em textos, os quais eu tive acesso e pude construir conhecimentos e desenvolver esta pesquisa. Agradeço à força divina, por ter me dado o dom da vida e a capacidade de pensar e construir ideias. Ideias monstruosas, maneiras de encarar os monstros, que estão no cinema e dentro de mim. Hefesto, deus do fogo, era filho de Zeus e de Hera. Conta-se que a mãe, ao vê-lo tão feio e mal dotado, precipitou-o das alturas do Olimpo. Ruth Guimarães RESUMO Esta pesquisa desenvolve uma análise fílmica de Freaks (Tod Browning, 1932), com o objetivo de observar as representações da monstruosidade na caracterização visual das personagens. Essa caracterização, aqui examinada, é o design da aparência do ser ficcional; que engloba o perfil físico do intérprete, os figurinos, cabelos, maquiagens e adereços, assim como a gestualidade e a expressão facial e corporal da pessoa que encarna a personagem, somados à iluminação, aos enquadramentos, efeitos de câmera e de edição. Nesse caminho, a caracterização imprime na imagem representações que revelam características da persona gem e as situações que ela vivencia na trama. Tais representações podem significar ou simbolizar variadas coisas, e este texto observa os sinais da monstruosidade. O monstro é entendido aqui como Luiz Nazário apresenta em Da Natureza dos Monstros (1998); um ser ameaçador e cruel, que existe em oposição à humanidade, que é o “outro” do ser humano. Observa-se que várias estruturas narrativas do monstro existem no filme de Browning e algumas personagens de Freaks apresentam um visual que constrói a máscara monstruosa, independente do perfil corporal. Em 1932, quando Browning lançou seu filme, ainda existiam exibições públicas em que pessoas com deficiências físicas eram apresentadas como monstros humanos, sendo que vários intérpretes do filme eram atrações desse tipo de exibição. Na maior parte do filme, enquanto duas personagens com corpos comuns assumem atitudes moralmente monstruosas, os incomuns apresentam uma prática cotidiana cordial e uma caracterização semelhante aos outros; apenas no final da trama, os incomuns passam a apresentar uma visualidade mais monstruosa. Na aparência das personagens de Freaks, Browning confronta princípios morais da plateia e semeia reflexões sobre a diversidade humana, a identidade de cada pessoa e o exercício da alteridade. Palavras-chave: Cinema. Monstruosidade. Caracterização visual. Personagens. Freaks. ABSTRACT This research develops a film analysis of Freaks (Tod Browning, 1932), in order to observe the representations of monstrosity in the visual characterization of the characters. This characterization, examined here, is the design of the appearance of the fictional being; which includes the performer physical profile, costumes, hair, makeup and props, as well as the gesture and facial and body expression of the person who embodies the character, added to lighting, framing, camera effects and editing. In this way, the characterization prints on the image, representations that reveal characteristics of the character and the situations that she experiences in the plot. Such representations may signify or symbolize various things, and this text observes the signs of monstrosity. The monster is understood here as Luiz Nazário presents in Da Natureza dos Monstros (1998); a threatening and cruel being that exists in opposition to humanity, which is the "other" of the human being. It is observed that, several narrative structures of the monster exist in Browning's film and some Freaks characters have a look that builds the monstrous mask, regardless of body profile. In 1932, when Browning released his film, there were still public exhibitions in which people with physical disabilities were presented as human monsters, and several interpreters of the film were attractions of this kind of exhibition. In most of the film, while two characters with bodies within the most common assume morally monstrous attitudes, the uncommon ones present a cordial daily practice and a characterization similar to the others; only at the end of the plot the unusual ones present a more monstrous visuality. In the appearance of the characters of Freaks, Browning confronts moral principles of the audience and sows reflections on human diversity, the identity of each person and the exercise of otherness. Keywords: Cinema. Monstrosity. Visual characterization. Characters. Freaks. SUMÁRIO INTRODUÇÃO ................................................................................................................... 15 1. O QUE É A CARACTERIZAÇÃO VISUAL DE PERSONAGENS ............................. 26 2. O QUE É UM MONSTRO .............................................................................................. 34 3. COMO NOMEAR A PERSONAGEM OU A PESSOA INCOMUM ............................ 43 4. ANÁLISE FÍLMICA DE FREAKS (TOD BROWNING, 1932): Em busca da Monstruosidade na Caracterização das Personagens ............................................................ 58 o Semelhanças na caracterização dos Comuns e dos Incomuns .................................... 61 o Sinais de monstruosidade na caracterização das personagens .................................... 70 o A Monstruosidade na interação da Caracterização com a Narrativa .......................... 80 5. A REPRESENTAÇÃO DA MONSTRUOSIDADE NA EXIBIÇÃO DO CORPO INCOMUM ........................................................................................................................... 91 6. CARACTERIZANDO MONSTROS ............................................................................. 110 o A Caracterização dos Monstros no Cinema na Década de 1930 ............................. 110 o A Caracterização dos Monstros nos Filmes de Tod Browning ............................... 117 CONCLUSÃO .................................................................................................................... 127 REFERÊNCIAS BIBLIOGRAFICAS ................................................................................ 131 ANEXO: ENTREVISTA COM GAL OPPIDO ................................................................. 139 LISTA DE IMAGENS * Todas as imagens do filme Freaks foram retiradas da reprodução do DVD “Monstros”, de Tod Browning, distribuído pela Magnus Opus Collection. Imagem 1: Dolores Costello no artigo: PINHEIRO, Erasmo. Atrizes lendárias do cinema. Piratini: 2015. .......................................................... ............................................................... 61 Imagem 2: Foto de Marlene Dietrich para Desire. ................................................................... 61 Imagem 3: personagem Cleópatra * .............................. ............ ............ ....... ........................ 61 Imagem 4: personagem Vênus * ...................................... .............. ............ ............ ............... 61 Imagem 5: personagem Frieda * ............................. ............ .......................... ....................... 62 Imagem 6: personagens Violet e
Recommended publications
  • Di Tod Browning. Freaks: Da Cut Movie a Cult Movie
    Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in Storia delle arti e conservazione dei beni artistici. Tesi di Laurea La pellicola “maudit” di Tod Browning. Freaks: da cut movie a cult movie. Relatore Prof. Fabrizio Borin Correlatore Prof. Carmelo Alberti Laureando Giulia Brondin Matricola 815604 Anno Accademico 2012 / 2013 Ringrazio il Prof. Fabrizio Borin Thomas mamma, papà, Martina Indice Introduzione........................................................................................................ pag. 3 1. Mostri 1.Mostri e Portenti........................................................................................... » 8 2. Freak Show.................................................................................................. » 30 2. La pellicola “maudit” 1. Il cinema dei mostri.................................................................................... » 42 2. Freaks: Tod Browning................................................................................ » 52 2.1. Brevi considerazioni................................................................................ » 117 3. Un rifiuto durato trent’anni......................................................................... » 123 4. Il piccolo contro il grande............................................................................ » 134 5. La pellicola ambulante: morte e rinascita................................................... » 135 3. Da cut movie a cult movie 1. Freak out!.....................................................................................................
    [Show full text]
  • The Imagery of Interior Spaces
    the imagery of interior spaces Before you start to read this book, take this moment to think about making a donation to punctum books, an independent non-profit press, @ https://punctumbooks.com/support/ If you’re reading the e-book, you can click on the image below to go directly to our donations site. Any amount, no matter the size, is appreciated and will help us to keep our ship of fools afloat. Contri- butions from dedicated readers will also help us to keep our commons open and to cultivate new work that can’t find a welcoming port elsewhere. Our ad- venture is not possible without your support. Vive la Open Access. Fig. 1. Hieronymus Bosch, Ship of Fools (1490–1500) the imagery of interior spaces. Copyright © 2019 by the editors and au- thors. This work carries a Creative Commons BY-NC-SA 4.0 International li- cense, which means that you are free to copy and redistribute the material in any medium or format, and you may also remix, transform and build upon the material, as long as you clearly attribute the work to the authors (but not in a way that suggests the authors or punctum books endorses you and your work), you do not use this work for commercial gain in any form whatsoever, and that for any remixing and transformation, you distribute your rebuild under the same license. http://creativecommons.org/licenses/by-nc-sa/4.0/ First published in 2019 by punctum books, Earth, Milky Way. https://punctumbooks.com ISBN-13: 978-1-950192-19-9 (print) ISBN-13: 978-1-950192-20-5 (ePDF) doi: 10.21983/P3.0248.1.00 lccn: 2019937173 Library of Congress Cataloging Data is available from the Library of Congress Book design: Vincent W.J.
    [Show full text]
  • September 2014 Calendar
    September 2014 EXHIBITS In the Main Gallery 12 FRIDAY 17 WEDNESDAY 24 WEDNESDAY KARIN BATTEN: New York Aerial View SANDWICHED IN: The Star Spangled Ban- FRACKING: Patti Wood, executive director “JOE” (2013-117 min.). Ex-con Joe (Nicolas Paintings, September 3 through 30. The Art ner. September 14, 2014 marks the 200th of Grassroots Environmental Education, Cage) becomes an unlikely role model for Advisory Council hosts a reception for the anniversary of our national anthem. It was hosts a screening and discussion of Gasland 15-year-old Gary (Tye Sheridan). Screen- artist on Saturday, September 13 from 2 to written by Francis Scott Key following the (2010–107 min). This award winning film fol- writer Gary Hopkins adapted Larry Brown’s 4 p.m. Story in this issue. AAC British naval bombardment of Fort McHen- lows filmmaker Josh Fox on a cross-country novel for director David Gordon Green. ry during the War of 1812. Pianist Linda odyssey to uncover the facts behind the Recommended for adults. 7:30 p.m. In the Martin Vogel Photography Gallery Pratt and baritone Frank Hendricks will controversial new natural gas drilling tech- PORT WRITES: The group meets on the SUNDAY perform songs and musical compositions nology known as “fracking.” Early start time. ALAN M. RICHARDS: Get the Picture? from the era, concluding with a rendition of 7 p.m. Story in this issue. HAC fourth Wednesday of each month to discuss 7 their work and how to get it published. Fa- September 6 through October 31. These NEW YORK CLASSIC FILM CLUB: Dr.
    [Show full text]
  • The Cultural Impact of Science in the Early Twentieth Century
    In the early decades of the twentieth century, engagement with science was commonly used as an emblem of modernity. This phenomenon is now attracting increasing attention in different historical specialties. Being Modern builds on this recent scholarly interest to explore engagement with science across culture from the end of the nineteenth century to approximately 1940. Addressing the breadth of cultural forms in Britain and the western world from the architecture of Le Corbusier to working class British science fiction, Being Modern paints a rich picture. Seventeen distinguished contributors from a range of fields including the cultural study of science and technology, art and architecture, English The Cultural Impact of culture and literature examine the issues involved. The book will be a valuable resource for students, and a spur to scholars to further examination of culture as an Science in the Early interconnected web of which science is a critical part, and to supersede such tired formulations as ‘Science and culture’. Twentieth Century Robert Bud is Research Keeper at the Science Museum in London. His award-winning publications in the history of science include studies of biotechnology and scientific instruments. Frank James and Morag Shiach James and Morag Frank Robert Greenhalgh, Bud, Paul Edited by Paul Greenhalgh is Director of the Sainsbury Centre at the University of East Anglia, Edited by and Professor of Art History there. He has published extensively in the history of art, design, and the decorative arts in the early modern period. Robert Bud Paul Greenhalgh Frank James is Professor of History of Science at the Royal Institution and UCL.
    [Show full text]
  • Black Representation in American Short Films, 1928-1954
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2002 Black representation in American short films, 1928-1954 Christopher P. Lehman University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Lehman, Christopher P., "Black representation in American short films, 1928-1954 " (2002). Doctoral Dissertations 1896 - February 2014. 914. https://scholarworks.umass.edu/dissertations_1/914 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. m UMASS. DATE DUE UNIVERSITY LIBRARY UNIVERSITY OF MASSACHUSETTS AMHERST BLACK REPRESENTATION IN AMERICAN ANIMATED SHORT FILMS, 1928-1954 A Dissertation Presented by CHRISTOPHER P. LEHMAN Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2002 W. E. B. DuBois Department of Afro-American Studies © Copyright by Christopher P. Lehman 2002 All Rights Reserved BLACK REPRESENTATION IN AMERICAN ANIMATED SHORT FILMS, 1928-1954 A Dissertation Presented by CHRISTOPHER P. LEHMAN Approved as to style and content by: Ernest Allen, Chair Johnl|L Bracey, Jr., Member Robert P. Wolff, Member Lynda Morgan, Member Esther Terry, Department Head Afro-American Studies W. E. B. DuBois Department of ACKNOWLEDGMENTS Several archivists have enabled me to find sources for my research. I thank Tom Featherstone of Wayne State University's Walter Reuther Library for providing a copy of the film Brotherhood ofMan for me.
    [Show full text]
  • Freaks and Masculinity: Sideshow Performers in German and American Cinema
    FREAKS AND MASCULINITY: SIDESHOW PERFORMERS IN GERMAN AND AMERICAN CINEMA Alexandra McCollum A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS DECEMBER 2013 Committee: Dr. Geoffrey Howes, Co-advisor Dr. Edgar Landgraf, Co-advisor ii ABSTRACT Dr. Geoffrey Howes, Co-advisor Dr. Edgar Landgraf, Co-advisor This project examines the portrayals of male sideshow performers in German and American cinema and literature. Specifically it investigates the manner in which the social expectations of the masculine social role are altered by the perceived physical and mental otherness in the figure of the freak. The main freak performers discussed here are the somnambulist Cesare from Das Cabinet des Dr. Caligari, Hans the dwarf from Freaks, Stan Carlisle from Nightmare Alley, who eventually becomes a geek with a travelling carnival, and Oskar Matzerath, the hunchbacked dwarf who is the protagonist of Die Blechtrommel. The examination of the male freak characters focuses upon three major areas which these works have in common: the portrayal of the freak as an unreliable narrator or signifying the presence of unreliable narration; the problematic interactions between the male freak and female characters, including romantic interests, and various manifestations of the male freak’s denial of responsibility. iii ACKNOWLEDGMENTS I would like to thank my advisors, Dr. Geoffrey Howes and Dr. Edgar Landgraf, as well as the members of Dr. Landgraf’s Fall 2012 thesis workshop course, for their contributions to and assistance with this work. iv TABLE OF CONTENTS Page INTRODUCTION ................................................................................................................. 1 The History of the Freak ...........................................................................................
    [Show full text]
  • THE CHARLES AVERY RESIDENCE 904 North Benton Way; 2615-2617 West Marathon Street CHC-2018-478-HCM ENV-2018-479-CE
    THE CHARLES AVERY RESIDENCE 904 North Benton Way; 2615-2617 West Marathon Street CHC-2018-478-HCM ENV-2018-479-CE Agenda packet includes: 1. Final Determination Staff Recommendation Report 2. Commission/ Staff Site Inspection Photos—March 22, 2018 3. Amended Findings Adopted by the Commission on February 15, 2018 4. Supplemental Application Materials Submitted by Applicant on March 15, 2018 5. Under Consideration Staff Recommendation Report 6. Historic-Cultural Monument Application 7. Materials Submitted by Owner on February 15, 2018 8. Correspondence from Owner’s Representative, Dated March 30, 2018 9. Letters from Members of the Public Please click on each document to be directly taken to the corresponding page of the PDF. Los Angeles Department of City Planning RECOMMENDATION REPORT CULTURAL HERITAGE COMMISSION CASE NO.: CHC-2018-478-HCM ENV-2018-479-CE HEARING DATE: April 19, 2018 Location: 904 North Benton Way TIME: 10:00 AM 2615-2617 West Marathon Street PLACE: City Hall, Room 1010 Council District: 13 – O’Farrell 200 N. Spring Street Community Plan Area: Silver Lake - Echo Park – Los Angeles, CA 90012 Elysian Valley Area Planning Commission: East Los Angeles EXPIRATION DATE: May 1, 2018 Neighborhood Council: Silver Lake Legal Description: Rowland Heights Tract, Lot 39 PROJECT: Historic-Cultural Monument Application for THE CHARLES AVERY RESIDENCE REQUEST: Declare the property a Historic-Cultural Monument OWNERS: Steve Gaon Martin J. Gamboa, Et al. Lacdargent LLC c/o Jose Gamboa, Jr. 5470 Los Feliz Boulevard 7226 Idyllwild Lane Los Angeles, CA 90027 Riverside, CA 92505 APPLICANT: Georgene Smith Goodin Silver Lake Heritage Trust 3924 West Sunset Boulevard Los Angeles, CA 90026 RECOMMENDATION That the Cultural Heritage Commission: 1.
    [Show full text]
  • PRICES REALIZED DETAIL - Hollywood Auction Auction 89, Auction Date
    26662 Agoura Road, Calabasas, CA 91302 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Hollywood Auction Auction 89, Auction Date: LOT ITEM PRICE PREMIUM 1 ROSCOE “FATTY” ARBUCKLE SIGNED OVERSIZE MASTER STUDIO $600 $120 PHOTOGRAPHIC PORTRAIT BY WITZEL. 2 JEAN ARTHUR RARE SIGNED OVERSIZE PHOTOGRAPH. $375 $105 3 FRED ASTAIRE AND GINGER ROGERS (2) SIGNED OVERSIZE PHOTOGRAPHS. $400 $80 4 GINGER ROGERS AND FRED ASTAIRE SIGNED OVERSIZE PRODUCTION $850 $238 PHOTOGRAPH FROM FOLLOW THE FLEET. 5 BOB HOPE, BING CROSBY, AND JACK BENNY (3) SIGNED OVERSIZE $375 $75 PHOTOGRAPHS. 6 LUCILLE BALL (2) SIGNED OVERSIZE PHOTOGRAPHS. $600 $168 7 LAUREN BACALL RARE SIGNED OVERSIZE PHOTOGRAPH. $325 $65 8 JOHN BARRYMORE AND LIONEL BARRYMORE (2) SIGNED OVERSIZE $325 $65 PHOTOGRAPHS. 9 CLARA BOW AND FAMILY (7) RARE SIGNED OVERSIZE PHOTOGRAPHS. $1,500 $420 10 WILLIAM BOYD (2) SIGNED OVERSIZE PHOTOGRAPHS. $325 $91 11 LOUISE BROOKS RARE SIGNED OVERSIZE PHOTOGRAPH BY RICHEE. $5,000 $1,000 12 JAMES CAGNEY SIGNED OVERSIZE PHOTOGRAPH BY HURRELL. $350 $70 13 JEFF CHANDLER AND MAUREEN O’HARA (2) SIGNED OVERSIZE $400 $112 PHOTOGRAPHS. 14 LON CHANEY SR. EXCEEDINGLY RARE SIGNED OVERSIZE PHOTOGRAPH FROM $1,500 $420 TELL IT TO THE MARINES INSCRIBED TO PRODUCER SOL LESSER. 15 LON CHANEY SR. AS “QUASIMODO” FROM THE HUNCHBACK OF NOTRE DAME $19,000 $5,320 EXCESSIVELY RARE SIGNED OVERSIZE PHOTOGRAPH BY FREULICH. 16 LON CHANEY SR. RARE SIGNED PHOTOGRAPH. $600 $120 Page 1 of 98 26662 Agoura Road, Calabasas, CA 91302 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Hollywood Auction Auction 89, Auction Date: LOT ITEM PRICE PREMIUM 17 [CASABLANCA] CO-STARS CLAUDE RAINS AND SYDNEY GREENSTREET (2) $800 $160 SIGNED OVERSIZE PHOTOGRAPHS.
    [Show full text]
  • A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
    MOVIES A TO Z OCTOBER 2020 S m 1776 (1972) 10/14 h The Black Sleep (1956) 10/9 h The Curse of Frankenstein (1957) 10/19 a y 3:10 to Yuma (1957) 10/25 u Blind Adventure (1933) 10/13 ADVENTURE –––––––––––––––––––––– ––––––––––––––––––––––– h The Blob (1958) 10/23 D –––––––––––––––––––––– A ––––––––––––––––––––––– h Blood and Black Lace (1964) 10/5 c Daisies (1966) 10/6 c COMEDY D Abe Lincoln in Illinois (1940) 10/14 h The Body Snatcher (1945) 10/31 h Dalek’s: Invasion Earth 2150 A.D. (1966) 10/12 S z Absolute Quiet (1936) 10/23 c Bombshell (1933) 10/8 D Danzon (1991) 10/14 z CRIME D Ace in the Hole (1951) 10/24 z Born to Kill (1947) 10/9 D Dark Passage (1947) 10/9 y Across the Wide Missouri (1951) 10/3 D Born to Love (1932) 10/22 c A Day at the Races (1937) 10/2 o DOCUMENTARY o Alaska Lifeboat (1956) 10/3 h The Brain That Wouldn’t Die (1962) 10/16 h Dead of Night (1945) 10/16 Hm Alice in Movieland (1940) 10/9 h Brainstorm (1983) 10/24 R Dear Heart (1964) 10/18 D DRAMA D All My Good Countrymen (1968) 10/11 c Breakfast for Two (1937) 10/20 h Death Curse of Tartu (1966) 10/29 D All the King’s Men (1949) 10/28 D The Breaking Point (1950) 10/22 P D Death of a Scoundrel (1956) 10/23 e EPIC R All This, and Heaven Too (1940) 10/25 z A Brighter Summer Day (1991) 10/8 P D The Defiant Ones (1958) 10/3 D Alona the Sarong Seas (1942) 10/10 y The Brink of Doom (1937) 10/10 h Dementia 13 (1963) 10/16 HORROR/SCIENCE-FICTION y Along the Rio Grande (1941) 10/27 m Bye Bye Birdie (1963) 10/4 c Designing Woman (1957) 10/5 y Angel and The Badman (1947) 10/17 R Desire Me (1947) 10/28 m MUSICAL a Angel on My Shoulder (1946) 10/29 –––––––––––––––––––––– C ––––––––––––––––––––––– z Destination Murder (1950) 10/17, 10/18 D Angry Inuk (2016) 10/6 D Calling Dr.
    [Show full text]
  • The American Dime Museum: Bodily Spectacle and Social Midways in Turn-Of-The-Century American Literature and Culture
    University of Kentucky UKnowledge Theses and Dissertations--English English 2015 The American Dime Museum: Bodily Spectacle and Social Midways in Turn-of-the-Century American Literature and Culture James C. Fairfield University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Fairfield, James C., "The American Dime Museum: Bodily Spectacle and Social Midways in Turn-of-the- Century American Literature and Culture" (2015). Theses and Dissertations--English. 50. https://uknowledge.uky.edu/english_etds/50 This Doctoral Dissertation is brought to you for free and open access by the English at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--English by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Lon Chaney a Thousand Faces (2000)
    Lon Chaney a thousand faces (2000) A PHOTOPLAY PRODUCTION for TURNER CLASSIC MOVIES In association with UCLA FILM and TELEVISION ARCHIVE Executive Producer HUGH M HEFNER Directed and Edited by KEVIN BROWNLOW Produced by PATRICK STANBURY Special Consultant MICHAEL F BLAKE Original Music NIC RAINE Associate Film Editor CHRISTOPHER BIRD Narrated by KENNETH BRANAGH INTERVIEWEES INCLUDE: Forrest Ackerman, Michael Blake, Ray Bradbury, Lon Chaney Jr, Ron Chaney, Jackie Coogan, Arthur Gardner, Sara Karloff, Patsy Ruth Miller, Edward Montagne, Malcolm Sabiston, Budd Schulberg, Willard Sheldon, Orson Welles, Loretta Young Ini- including clips from: ALAS AND ALACK (1915) THE BLACKBIRD (1926) DOLLY’S SCOOP (1916) HE WHO GETS SLAPPED (1924) THE HOLLYWOOD REVUE OF 1929 THE HUNCHBACK OF NOTRE DAME(1923) LAUGH, CLOWN, LAUGH (1928) THE MIRACLE MAN (1919) MOCKERY (1927) THE MONSTER (1925) MR WU (1927) OUTSIDE THE LAW (1921) THE PENALTY (1920) THE PHANTOM OF THE OPERA (1925) RIDDLE GAWNE (1918) THE ROAD TO MANDALAY (1926) SHADOWS (1922) THE SHOCK (1923) TELL IT TO THE MARINES (1927) THUNDER (1929) THE TRAP (1923) THE UNHOLY THREE (1925) THE UNHOLY THREE (1930) THE UNKNOWN (1927) WEST OF ZANZIBAR (1928) THE WICKED DARLING (1919) WHILE THE CITY SLEEPS (1928) RUNNING TIME: 85minutes Lon Chaney a thousand faces As movie stars go, there is no modern equivalent to Lon Chaney. Physical contortion and misunderstood madness were his stock in trade. So famous was he for being unrecognis- able that people joked, ‘Don’t step on that spider! It might be Lon Chaney’ and the Holly- wood Revue of 1929 featured the number, ‘Lon Chaney’s gonna get you if you don’t watch out!’.
    [Show full text]
  • O Cinema Autoral De Tod Browning
    VII Simpósio Nacional de História Cultural HISTÓRIA CULTURAL: ESCRITAS, CIRCULAÇÃO, LEITURAS E RECEPÇÕES Universidade de São Paulo – USP São Paulo – SP 10 e 14 de Novembro de 2014 O CORPO NA TELA: O CINEMA AUTORAL DE TOD BROWNING Verônica D’Agostino Piqueira* Em outubro de 1962, o diretor de cinema aposentado Tod Browning é encontrado sem vida no banheiro de sua mansão em Malibu, na Califórnia, mesmo ano em que o seu nome sairia de um ostracismo de quase três décadas. Ironicamente, ele seria redescoberto por meio da exibição de Freaks (1932), filme mais controverso de toda a sua carreira. Essa produção da MGM, banida logo após a sua estreia nas salas de cinema, com os direitos de exibição vendidos a uma distribuidora de filmes sensacionalistas e 1 1 reclassificada dentro do gênero exploitation , retornaria em 1962 sob o olhar atento de Página novos expectadores. Naquela ocasião, a crítica, imprensa especializada, produtores e * Historiadora, Bacharel (2007) e Licenciada (2007) em História pela Pontifícia Universidade Católica de São Paulo (PUC-SP), onde também cursou Extensão Universitária em Cinema, História e Linguagem (2007), Cinema e Televisão (2008) e Estética e Teoria do Audiovisual (2009). Mestre em História Cultural (2013) pela Universidade Presbiteriana Mackenzie de São Paulo (MACK-SP), estuda a área de História do Audiovisual, com ênfase em História do Cinema de Hollywood entre as décadas de 1920 e 1930, o cinema underground das décadas de 1960 e 1970 e a apropriação de sua estética pelo mainstream contemporâneo. Como professora, atuou no Ensino Fundamental II e Ensino Médio. 1 Exploitation pode ser traduzido como cinema apelativo, fazendo parte de uma categoria de filmes onde a temática é abordada de forma sensacionalista por meio de efeitos especiais exagerados, sexo, violência e consumo de drogas, entre outros.
    [Show full text]