7J4ns [Ebook Pdf] Albert Lewin : Un Esthète À Hollywood Online
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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. -
The Oxford History of World Cinema EDITED by GEOFFREY NOWELL-SMITH
The Oxford History of World Cinema EDITED BY GEOFFREY NOWELL-SMITH OXFORD UNIVERSITY PRESS Great Clarendon Street, Oxford OX2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogota Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris Sao Paulo Singapore Taipei Tokyo Toronto Warsaw and associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries Published in the United States by Oxford University Press Inc., New York © Oxford University Press 1996 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 1996 First published in paperback 1997 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available ISBN 0-19-811257-2 ISBN 0-19-874242-8 (Pbk.) 7 9 10 8 6 Printed in Great Britain on acid-free paper by Butler & Tanner Ltd Frome and London I should like to dedicate this book to the memory of my father, who did not live to see it finished, and to my children, for their enjoyment. -
Albert Lewin
AU CINEMA LE 23 AVRIL 2014 VERSION RESTAURÉE HD Galeshka MORAVIOFF présente PANDORA (Pandora and the Flying Dutchman) Le chef-d’œuvre d’Albert Lewin Avec Ava Gardner et James Mason Durée : 1h58 – Grande-Bretagne – 1951 DCP 2K – Couleur – 1.33 – Mono VERSION RESTAUREE EN HAUTE DEFINITION AU CINEMA LE 23 AVRIL 2014 www.films-sans-frontieres.fr/pandora Presse et distribution FILMS SANS FRONTIERES Christophe CALMELS 70, bd Sébastopol - 75003 Paris Tel : 01 42 77 01 24 / 06 03 32 59 66 Fax : 01 42 77 42 66 Email : [email protected] SYNOPSIS A Esperanza, un village de la côte espagnole, Pandora, une jeune Américaine, est indifférente aux riches prétendants qui la courtisent. Après avoir finalement accepté d’épouser un coureur automobile, elle rencontre le propriétaire d’un yacht, Hendrick Van der Zee, qui n’est autre que le Hollandais Volant de la légende, condamné à errer sur les mers et à ne redevenir humain que six mois tous les sept ans. Or, sa malédiction ne sera levée que s’il rencontre une femme qui, par amour, acceptera de mourir pour lui… ALBERT LEWIN (1894-1968) Né à Brooklyn en 1894, Albert Lewin grandit à Newark. Il obtient une maîtrise à Harvard et enseigne l'anglais à l'Université du Missouri-Columbia. Durant la première guerre mondiale, il sert dans l'armée, et par la suite, il est nommé directeur national adjoint de l'American Jewish Relief Committee. Plus tard, il devient critique de théâtre et de film pour le Jewish Tribune jusqu'au début des années 1920, époque à laquelle il va à Hollywood pour devenir lecteur de Samuel Goldwyn. -
Finding Aid for the Oral History Collection
Finding Aid for the Oral History Collection Collection Processed by: Marissa Vassari, 8.8.12 Revised, Emily Wittenberg, 11.1.18 Finding Aid Written by: Marissa Vassari, 9.18.12 Revised, Emily Wittenberg, 11.1.18 Contributions by Caroline Jorgenson, Samuel Henley, Jessica Garcia, Yvette Casillas OVERVIEW OF THE COLLECTION: Origination/Creator: American Film Institute, UCLA Title of Collection: Oral History Collection Date of Collection: Physical Description: 57 boxes Identification: Special Collection #6 Repository: American Film Institute Louis B. Mayer Library, Los Angeles, CA Abstract: The Oral History Collection contains interviews with prominent individuals who worked in the filmmaking industry mainly during the early to mid twentieth century. RIGHTS AND RESTRICTIONS: Access Restrictions: Collection is open for research. Copyright: The copyright interests in this collection remain with the creator. For more information, contact the Louis B. Mayer Library. Acquisition Method: A joint project between the American Film Institute and the University of Los Angeles, California. BIOGRAPHICAL/HISTORY NOTE: The Oral History Program began in 1969 and was funded initially by the Mayer Foundation with two three-year grants that ran through 1975. Oral history interviews with noted individuals who worked within the motion picture industry were conducted, recorded and many transcribed. Several of the interviews were conducted jointly with the University of California, Los Angeles and have been noted as such in the container list below. If citing from those oral histories, permission will need to be obtained from both the American Film Institute and UCLA. Audio recordings of the interviews are housed in the Productions Archive; while we always recommend viewing the transcripts, not all are available in print form. -
OFFICIAL BALLOT You Ain't Heard Nothin' Yet!
OFFICIAL BALLOT You ain't heard nothin' yet! May the Force be with you. There's no place like home. Frankly, my dear, I don't give a damn. Show me the money! American Film Institute is grateful to for their support of AFI’s ongoing celebration of the cinema centennial. Dear Juror: You have been chosen to participate in a historic moment in American film. Ten years ago, AFI invited leaders from across the film community—artists, scholars, critics and historians—to select the 100 greatest American movies of all time. It was an event designed to celebrate the cinema centennial and to catalyze a national conversation about the movies. And it worked. AFI’s 100 Years…100 Movies and the annual specials that have followed continue to draw attention to the classics of American film—driving audiences to watch and re-watch the movies and stimulating discussion from the watercooler to the Internet. This year, to honor the 10th Anniversary of the AFI’s 100 Years… Series, AFI is repolling the experts and asking, “What are the greatest American films of all time? And which is the greatest?” AFI’s 100 Years…100 Movies—10th Anniversary Edition will allow us to add the past decade of American films to the debate, as well as to consider a changing cultural perspective. This is a poll we will conduct every ten years across the 21st century, so now is the time to cast your vote for the decade and help AFI begin the conversation for a new generation. The celebration begins here—with you. -
ACE VENTURA All-Righty Then! SHERLOCK HOLMES Elementary
1 ACE VENTURA All-righty then! ACE VENTURA, PET DETECTIVE Warner Bros., 1994 ACTOR Jim Carrey SCREENWRITERS Jack Bernstein, Tom Shadyac, Jim Carrey DIRECTOR Tom Shadyac PRODUCER James G. Robinson 2 SHERLOCK HOLMES Elementary, my dear Watson. THE ADVENTURES OF SHERLOCK HOLMES Twentieth Century Fox, 1939 ACTOR Basil Rathbone SCREENWRITERS Edwin Blum, William A. Drake DIRECTOR Alfred L. Werker PRODUCER Darryl F. Zanuck 3 TERRY McKAY Oh, it was nobody's fault but my own. I was looking up. It was the nearest thing to heaven. You were there. AN AFFAIR TO REMEMBER Twentieth Century Fox, 1957 ACTOR Deborah Kerr SCREENWRITERS Delmer Daves, Leo McCarey DIRECTOR Leo McCarey PRODUCER Jerry Wald 4 CHARLIE ALLNUT A man takes a drop too much once in a while, it's only human nature. ROSE SAYER "Nature,” Mr. Allnut, is what we are put into this world to rise above. THE AFRICAN QUEEN United Artists, 1951 ACTORS Humphrey Bogart, Katharine Hepburn SCREENWRITERS James Agee, John Huston DIRECTOR John Huston PRODUCER S. P. Eagle (Sam Spiegel) 5 TED STRIKER Surely you can't be serious. DR. RUMACK I am serious. And don't call me Shirley. AIRPLANE! Paramount, 1980 ACTORS Robert Hays, Leslie Nielsen SCREENWRITERS Jim Abrahams, David Zucker, Jerry Zucker DIRECTORS Jim Abrahams, David Zucker, Jerry Zucker PRODUCERS Jon Davison, Howard W. Koch 6 STEVE McCROSKEY Looks like I picked the wrong week to stop sniffing glue. AIRPLANE! Paramount, 1980 ACTOR Lloyd Bridges SCREENWRITERS Jim Abrahams, David Zucker, Jerry Zucker DIRECTORS Jim Abrahams, David Zucker, Jerry Zucker PRODUCERS Jon Davison, Howard W. Koch 7 CAPT. -
The Ciné “Never Sets…”: British Cinema As a Transatlantic
THE CINÉ “NEVER SETS…”: BRITISH CINEMA AS A TRANSATLANTIC CULTURAL COMMODITY, 1927-1938 By KAREN E. BEASLEY DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at The University of Texas at Arlington May, 2016 Supervising Committee: Elisabeth A. Cawthon, Supervising Professor Imre J. Demhardt Sam W. Haynes ABSTRACT THE CINÉ “NEVER SETS…”: BRITISH CINEMA AS A TRANSATLANTIC CULTURAL COMMODITY, 1927-1938 Karen E. Beasley, PhD The University of Texas at Arlington, 2016 Supervising Professor: Elisabeth A. Cawthon This dissertation exemplifies how the application of a transatlantic commodity approach can broaden understanding of film as a mass medium, its business, and its cultural influences. By employing a more inclusive national cinema framework, this study is able to investigate sites of interaction between the British and Hollywood film industries as a two-way exchange as well as engage those sites at their peripheries, including those between the cultural product and its consumer throughout the broader Atlantic community. This dissertation focuses on the diversity of British audiences throughout a “British world” and the distribution and exhibition methods used to reach them. Based less on the profitability of internationally-exported British films, this British film history enlarges the frame to draw upon these transatlantic connections to adjust and provide a more comprehensive look at British Cinema of the 1930s. A British imperial film culture propagated cultural ties to the homeland through the government’s support of a domestic industry, the endeavors of British filmmakers to build a competitive and distinctively British film product, and the machinations of businessmen attempting to distribute this British output to consumers worldwide with a particular focus upon fellow British and English-speaking peoples, especially with the advent of sound motion pictures.