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Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
AN ANALYTICAL STUDY of P. A. RENOIRS' PAINTINGS Iwasttr of Fint Girt
AN ANALYTICAL STUDY OF P. A. RENOIRS' PAINTINGS DISSERTATION SU8(N4ITTED IN PARTIAL FULFILMENT OF THE REQUIfJIMENTS FOR THE AWARD OF THE DEGREE OF iWasttr of fint girt (M. F. A.) SABIRA SULTANA '^tj^^^ Under the supervision of 0\AeM'TCVXIIK. Prof. ASifl^ M. RIZVI Dr. (Mrs) SIRTAJ RlZVl S'foervisor Co-Supei visor DEPARTMENT OF FINE ART ALIGARH MUSLIM UNIVERSITY ALIGARH (INDIA) 1997 Z>J 'Z^ i^^ DS28S5 dedicated to- (H^ 'Parnate ALIGARH MUSLIM UNIVERSITY CHAIRMAN DEPARTMENT OF FINE ARTS ALIGARH—202 002 (U.P.), INDIA Dated TO WHOM IT MAY CONCERN This is to certify that Sabera Sultana of Master of Fine Art (M.F.A.) has completed her dissertation entitled "AN ANALYTICAL STUDY OF P.A. RENOIR'S PAINTINGS" under the supervision of Prof. Ashfaq M. Rizvi and co-supervision of Dr. (Mrs.) Sirtaj Rizvi. To the best of my knowledge and belief the work is based on the investigations made, data collected and analysed by her and it has- not been submitted in any other university or Institution for any degree. Mrs. SEEMA JAVED Chairperson m4^ &(Mi/H>e& of Ins^tifHUion/, ^^ui'lc/aace' cm^ eri<>ouruae/riefity: A^ teacAer^ and Me^^ertHs^^r^ o^tAcsy (/Mser{xUlafi/ ^rof. £^fH]^ariimyrio/ar^ tAo las/y UCM^ accuiemto &e^£lan&. ^Co Aasy a€€n/ kuid e/KHc^ tO' ^^M^^ me/ c/arin^ tA& ^r€^b<ir<itlan/ of tAosy c/c&&erla6iafi/ and Aasy cAecAe<l (Ao contents' aMd^yormM/atlan&^ arf^U/ed at in/ t/ie/surn^. 0A. Sirta^ ^tlzai/ ^o-Su^benn&o^ of tAcs/ dissertation/ Au&^^UM</e^m^o If^fi^^ oft/us dissertation/, ^anv l>eAo/den/ to tAem/ IhotA^Jrom tAe/ dee^ o^nu^ l^eut^. -
Themenportal Europäische Geschichte
Themenportal Europäische Geschichte www.europa.clio-online.de Essay 1 EUROPA, „DIE GROßE ILLUSION“ Von Luisa Passerini Sprechen wir von „Europa“, dann sprechen wir von einer Idee, die durchaus ambivalen- te Züge aufweist. Um diese Ambivalenz der Idee „Europa“ näher zu charakterisieren, wähle ich hier den Ausdruck „Die große Illusion“. Das Wort „Illusion“ steht zuallererst für „Täuschung“, doch auf den zweiten Blick erschließen sich weitere Bedeutungen, wie diejenige, die sich aus der etymologischen Herkunft vom lateinischen Verb ludere = spielen und illudere = zum Spielen anregen, ergibt. Fragt man sich, womit denn über- haupt gespielt werden soll, so findet sich etwa im Oxford English Dictionary unter dem Begriff „Illusion“ der Verweis auf unsere Phantasie und unsere Vorstellungskraft. Die Verwendung des Ausdrucks „Illusion“ ist daher in diesem Sinne auch eine Einladung, unserer Phantasie freien Lauf zu lassen, um uns ein anderes, ein mögliches Europa vor- zustellen, ohne gleichzeitig dabei die Schwierigkeiten zu übersehen, denen Europa ge- genübersteht. Der Ausdruck „Große Illusion“ findet sich im Titel des 1910 zuerst erschienenen Bestsellers The great illusion von Sir Norman Angell (1872-1967).2 Angell, Friedens- nobelpreisträger des Jahres 1933, vertrat in diesem Buch die Position, Krieg sei wirt- schaftlich sinnlos und politischer Selbstmord. Bereits sein Buch von 1909, Europe’s optical illusion, hatte argumentiert, dass Kriegsrüstung und militärische Eroberung dem Aggressor keinen Nutzen bringe.3 The great illusion wurde durchaus zwiespältig aufge- nommen, da Angell auch dem Pazifismus, den er als „old pacifism“ bezeichnete, Senti- mentalität und Humanitätsduselei vorwarf. Nichtsdestotrotz trug das Buch, das bis in die 1930er Jahre mehrfach neu aufgelegt wurde, viel dazu bei, Kritik an Krieg und Mili- tarismus zu verbreiten. -
O La Gran Ilusión
UNA VERSIÓN CABALLERESCA: LA «GUERRA DE GUANTE BLANCO» O LA GRAN ILUSIÓN Gloria Camarero Gómez-Arteaga Universidad Carlos III de Madrid 1. Génesis e historia Corría el año de 1937 cuando Jean Renoir (1894-1979) realizó La gran ilusión, que sería la película que más fama le reportaría y también la preferida por el gran público. En esa fecha, este director francés era ya una fi gura muy re- conocida en el mundo del celuloide y se le consideraba un integrante destacado del cine frentepopulista1. 1 Sobre Jean Renoir puede consultarse: AA.VV. Jean Renoir. Ci- nemateca Portuguesa. Lisboa, 1994. BAZIN, A. Jean Renoir. Periodos, Filmes y documentos. Paidós. Barcelona, 1999. BERTIN, C. Jean Renoir, cineaste. Gallimard. París, 1944. BESSY, M. y BEYLIE, C. Jean Renoir. Pygmalion. París, 1989. BRAUDY, L. Jean Renoir. The world of his films. Doubleday. Nueva York, 1972. CAULIEZ, A. J. Jean Renoir. Editions Uni- versitaires. París, 1962. CUROT, F (dir.). «Renoir en France». Cahiers, 1, 1999. Centre d’Etude du XXe siècle. Publications de l’Université Paul Va- léry Montpellier III. Montpellier, 1999. DE VINCENTI, G. Jean Renoir. La vita i film. Marsilio Editori. Venecia, 1996. DURGNAT, R. Jean Renoir. University of California Press. Berkeley, 1974. FAULKNER, CH. The so- cial cinema of Jean Renoir. Princeton University Press. Princeton, 1986. FERNANDEZ CUENCA, C. Jean Renoir. Filmoteca Nacional de España. Madrid, 1966. HAFFNER, P. Jean Renoir. Editions Rivages. París, 1988. LEPHOHON, P. Jean Renoir. Editions Segners. París, 1967. PELAYO, A 15 Fue entonces cuando se interesó por el alcance de la I Guerra Mundial y decidió situar la acción de La gran ilusión en dicha contienda, que conocía de primera mano porque había servido en el ejercito francés como piloto en las tareas de reconocimiento de las líneas alemanas e in- cluso había estado preso en un campo alemán, entre 1916 y 1918. -
The Inventory of the Richard Roud Collection #1117
The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills. -
La Première Nuit D'amour Du Cinéma Français » : Les Amants De
Diplôme national de master Domaine - Sciences humaines et sociales Mention – Histoire civilisations patrimoine 2017 Spécialité - Cultures de l’écrit et de l’image juin / « La première nuit d’amour du cinéma français » : Les Amants de Louis Malle et ses réceptions émoire de master 1 master de émoire M Paul Bacharach Sous la direction de Evelyne Cohen Professeure d’histoire et anthropologie culturelles (XXe siècle) – École nationale supérieure des Sciences de l’information et des bibliothèques (ENSSIB – Université de Lyon) Remerciements Je tiens tout d’abord à remercier Mme Evelyne Cohen, ma directrice de mémoire, qui a montré un intérêt, une confiance et une exigence sans lesquels ce travail n’aurait pas été possible. Je remercie les personnels de la Bibliothèque Raymond Chirat de l’Institut Lumière et de la Bibliothèque du Film de la Cinémathèque Française qui m’ont orienté dans mes recherches. J’adresse ma gratitude aux amis qui m’ont aidé, en m’adressant des conseils, en discutant de mon travail, et en me relisant. J’exprime enfin un remerciement particulier à Pierre Laborie, qui avait pris la peine de me répondre, et à Nadine Cadot-Laborie, qui m’a livré son joli témoignage. BACHARACH Paul | Master I | Mémoire | juin 2017 - 3 – Résumé : Les Amants est un film de Louis Malle réalisé en 1958 et adapté du conte Point de lendemain, de Vivant Denon (1812). Il raconte comment une femme mariée issue de la bourgeoisie rencontre un inconnu, passe une nuit avec lui, et quitte sa famille pour vivre une histoire d’amour. Le film provoqua un scandale international qui commença lors de sa présentation au festival de Venise de septembre 1958. -
Classic Frenchfilm Festival
Three Colors: Blue NINTH ANNUAL ROBERT CLASSIC FRENCH FILM FESTIVAL Presented by March 10-26, 2017 Sponsored by the Jane M. & Bruce P. Robert Charitable Foundation A co-production of Cinema St. Louis and Webster University Film Series ST. LOUIS FRENCH AND FRANCOPHONE RESOURCES WANT TO SPEAK FRENCH? REFRESH YOUR FRENCH CULTURAL KNOWLEDGE? CONTACT US! This page sponsored by the Jane M. & Bruce P. Robert Charitable Foundation in support of the French groups of St. Louis. Centre Francophone at Webster University An organization dedicated to promoting Francophone culture and helping French educators. Contact info: Lionel Cuillé, Ph.D., Jane and Bruce Robert Chair in French and Francophone Studies, Webster University, 314-246-8619, [email protected], facebook.com/centrefrancophoneinstlouis, webster.edu/arts-and-sciences/affiliates-events/centre-francophone Alliance Française de St. Louis A member-supported nonprofit center engaging the St. Louis community in French language and culture. Contact info: 314-432-0734, [email protected], alliancestl.org American Association of Teachers of French The only professional association devoted exclusively to the needs of French teach- ers at all levels, with the mission of advancing the study of the French language and French-speaking literatures and cultures both in schools and in the general public. Contact info: Anna Amelung, president, Greater St. Louis Chapter, [email protected], www.frenchteachers.org Les Amis (“The Friends”) French Creole heritage preservationist group for the Mid-Mississippi River Valley. Promotes the Creole Corridor on both sides of the Mississippi River from Ca- hokia-Chester, Ill., and Ste. Genevieve-St. Louis, Mo. Parts of the Corridor are in the process of nomination for the designation of UNESCO World Heritage Site through Les Amis. -
Jean Renoir, Ses Environnement
Jean Renoir, ses environnements, sa créativité Thomas Rabeyron Professeur de psychologie clinique et psychopathologie Université de Lorraine (Interpsy ; Psyclip) 1 1. Introduction L’étude de l’activité créatrice aide à mieux saisir la nature des processus de transformation au cœur de la psyché, processus qui se caractérisent notamment par une articulation complexe avec l’environnement. Nous proposons donc dans ce travail d’étudier son rôle dans la création cinématographique à partir de l’œuvre du réalisateur français Jean Renoir (1894 -1979). Renoir apparaît en effet comme un sujet de choix pour aborder le rôle de l’environnement dans le processus de création, évoquant à de multiples reprises son intérêt pour cette thématique : « Je crois que tout être humain, artiste ou non, est en grande partie un produit de son environnement » (p.8). Nous proposerons ainsi quelques réflexions visant à éclairer la créativité de Renoir à partir des différents environnements qu’il a pu traverser et ce qu’il a pu nous en dire dans ses écrits1 (Renoir, 1962, 1974, 1996, 2005). 2. Genèse d’une vocation et environnement familial Quelques éléments tout d’abord concernant la genèse de la vocation de Renoir dans le cadre de son environnement familial, ce qui nous conduira dans un premier temps à relever certains éléments biographiques, pour mieux saisir son parcours de création. Renoir découvre le cinéma grâce à Gabrielle, sa nourrice, cousine de sa mère et modèle de son père. Gabrielle le conduit un jour aux grands magasins Dufayeloù se déroule une projection lors de laquelle le jeune Renoir, effrayé par le bruit rythmé de la Croix de Malte, découvre à l’écran une rivière et un crocodile. -
H-France Review Vol. 19 (February 2019), No
H-France Review Volume 19 (2019) Page 1 H-France Review Vol. 19 (February 2019), No. 25 Prakash Younger, Boats on the Marne: Jean Renoir’s Critique of Modernity. Bloomington: Indiana University Press, 2017. xxv + 326 pp. $90.00 U.S. (cl). ISBN 978-0-253-02901-0; $38.00 U.S. (pb). ISBN 978-0-253- 02926-3. Review by Colin Davis, Royal Holloway, University of London. The back cover of Boats on the Marne describes the book as offering “an original interpretation of Jean Renoir’s celebrated films of the 1930s.” This is a bold promise given how intensely the films Renoir directed in the decade before the Second World War have been studied in both French- and English- language scholarship. The preface begins with a personal anecdote about the author’s first experience of the enigmatic power of La règle du jeu and his subsequent attempts to understand it. “Most of the critical consensus was in place,” he tells us, “[but] nobody seemed willing to take the final step and say…what the film was ultimately about” (p. xiv). Indeed, existing scholarship is accused of “unconscious evasiveness” (p. xvii). However, the introduction gives a more modest statement of the aims of the book: “This book does not purport to offer a better or more comprehensive account of Renoir’s films, French culture or politics in the 1930s, the philosophical legacies of Plato or Rousseau, or any of the other subjects it examines along the way, though it should, I hope, offer a different and liberating way of looking at all of these things….” (p. -
La Regle Du Jeu: the Rules of the Game Pdf, Epub, Ebook
LA REGLE DU JEU: THE RULES OF THE GAME PDF, EPUB, EBOOK V. F. Perkins | 96 pages | 04 Sep 2012 | British Film Institute | 9780851709659 | English | London, United Kingdom La Regle du Jeu: The Rules of the Game PDF Book All of which helps explain why, for such a great film, it isn't discussed as often as other great films. Things are definitely not going to end well…. This book analyses the supposed erosion of the authority of EU law from various perspectives: legislation, jurisprudence of national supreme and constituti Close Menu Search Criterion. Francis Willughby's Book of Games, published here for the first time, is a remarkable work and an invaluable resource for anyone with an interest in early Dalio, Carette, Toutain and Renoir are excellent. The Impact of Justice on the Roman Empire discusses ways in which notions, practice and the ideology of justice impacted on the Roman Empire through three The context: Jean Renoir , writer and director of Rules of the Game , was destined for fame. The backdrop in two examples: a mildly offensive black figurine widely collected in the s or Asian historical faces or artifacts, which two characters essentially pose with. We're about to get all French up in here. The photograph at the top is by Richard Avedon. Here are ten of his favorites. Meanwhile, the hired help have their own game of musical beds going on: a poacher is hired to work as a servant at the estate and immediately makes plans to seduce the gamekeeper's wife, while the gamekeeper recognizes him only as the man who's been trying to steal his rabbits. -
Final Weeks of Popular Jean Renoir Retrospective at the Museum of Modern Art
The Museum of Modern Art For Immediate Release November 1994 FINAL WEEKS OF POPULAR JEAN RENOIR RETROSPECTIVE AT THE MUSEUM OF MODERN ART The Museum of Modern Art's popular retrospective of the complete extant work of director Jean Renoir (1894-1979), one of cinema's great masters, continues through November 27, 1994. Presented in commemoration of the centenary of the director's birth, the exhibition comprises thirty-seven works, including thirty-three films by Renoir and a 1993 BBC documentary about the filmmaker by David Thompson. Twenty-three of the works by Renoir have been drawn from the Museum's film archives. Many of the remaining titles are also from the Cinematheque frangaise, Paris, and Interama, New York. The son of the Impressionist painter Pierre-Auguste Renoir, Jean Renoir produced a rich and complex oeuvre that mined the spectacle of life, in all its fascinating inconstancy. In 1967 he said, "I'm trying to discover human beings, and sometimes I do." Although critics and scholars disagree on how to categorize Renoir's films -- some believe that his work can be divided into periods, while others argue that his films should be viewed as an indivisible whole -- there is no dissent about their integrity. His works are unfailingly humane, psychologically acute, and bursting with visual and aural moments that propel the narratives. - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 Highlights of the second half of the program include a new 35mm print of La Bete humaine (The Beast in Man, 1938), a powerful adaptation of a novel by Emile Zola, previously available in the United States only in 16mm. -
List of Restored Films
Restored Films by The Film Foundation Since 1996, the Hollywood Foreign Press Association has contributed over $4.5 million to film preservation. The following is a complete list of the 89 films restored/preserved through The Film Foundation with funding from the HFPA. Abraham Lincoln (1930, d. D.W. Griffith) Age of Consent, The (1932, d. Gregory La Cava) Almost a Lady (1926, d. E. Mason Hopper) America, America (1963, d. Elia Kazan) American Aristocracy (1916, d. Lloyd Ingraham) Aparjito [The Unvanquished] (1956, d. Satyajit Ray) Apur Sansar [The World of APU] (1959, d. Satyajit Ray) Arms and the Gringo (1914, d. Christy Carbanne) Ben Hur (1925, d. Fred Niblo) Bigamist, The (1953, d. Ida Lupino) Blackmail (1929, d. Alfred Hitchcock) – BFI Bonjour Tristesse (1958, d. Otto Preminger) Born in Flames (1983, d. Lizzie Borden) – Anthology Film Archives Born to Be Bad (1950, d. Nicholas Ray) Boy with the Green Hair, The (1948, d. Joseph Losey) Brandy in the Wilderness (1969, d. Stanton Kaye) Breaking Point, The (1950, d. Michael Curtiz) Broken Hearts of Broadway (1923, d. Irving Cummings) Brutto sogno di una sartina, Il [Alice’s Awful Dream] (1911) Charulata [The Lonely Wife] (1964, d. Satyajit Ray) Cheat, The (1915, d. Cecil B. deMille) Civilization (1916, dirs. Thomas Harper Ince, Raymond B. West, Reginald Barker) Conca D’oro, La [The Golden Shell of Palermo] (1910) Come Back To The Five and Dime, Jimmy Dean, Jimmy Dean (1982, d. Robert Altman) Corriere Dell’Imperatore, Il [The Emperor’s Message] (1910, d. Luigi Maggi) Death of a Salesman (1951, d. Laslo Benedek) Devi [The Godess] (1960, d.