On This Date Hitchcock Trivia Happy Birthday! Quote of The

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On This Date Hitchcock Trivia Happy Birthday! Quote of The

THE THURSDAY, AUGUST 13, 2020 On This Date 1930 – Ontario native Guy Lombardo Quote of the Day and his band the Royal Canadians recorded their hit “Go Home and “The only way to get rid Tell Your Mother.” of my fears is to make films about them.” 1961 – Construction began on the Berlin Wall. East Germany built the ~ Alfred Hitchcock barrier to prevent a “brain drain” of educated young people to the west. The wall stood as a symbol of oppression until November 1989. Happy Birthday! Alfred Hitchcock (1899–1980) was a – The sunken merchant ship 1980 famous English director who made HMS Breadalbane was discovered in a habit of popping into his films for the Northwest Passage near Beechey cameos. A master of the thoughtful Island. She had been crushed by thriller, his work polar ice and submerged in 1853. The shaped the suspense well-preserved vessel is the world’s and horror genre, northernmost found shipwreck. with such classics as Dial M for Murder, Rebecca, Notorious, Hitchcock Trivia North by Northwest, Vertigo, Rear Window, and The Man The motion picture Psycho (1960) Who Knew Too Much. Hitchcock is now regarded as one of Alfred worked with some of the biggest Hitchcock’s best efforts, but stars of his era, including Cary Grant, initially it got very mixed reviews. Jimmy Stewart, Clare Greet, and Walt Disney so detested the film Ingrid Bergman. His wife, screenwriter that he banned Hitchcock from Alma Reville, was a key collaborator entering Disneyland. on his films. ©ActivityConnection.com – The Daily Chronicles (CAN).

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Dial M for Murder' – Suspense with a Capital S Erin Hunsader , Advocate Correspondent 10:07 A.M
http://www.greenbaypressgazette.com/story/news/local/door-co/entertainment/2015/07/11/review-dial-murder-suspense-capital/30007325/ Review: 'Dial M for Murder' – suspense with a capital S Erin Hunsader , Advocate correspondent 10:07 a.m. CDT July 11, 2015 Director Alfred Hitchcock was quoted as saying, "In films murders are always very clean. I show how difficult it is and what a messy thing it is to kill someone." And things get messy for Tony, the main character in the suspense- filled thriller "Dial M for Murder" as Peninsula Players' 80th season continues this summer. Playwright Frederick Knott's best-known effort made its debut on Broadway in 1952, and Hitchcock turned it into a classic film two years later. While the play is decades old, it still has the power to bring people to the edge of their seats. The time period is set in the theater before the show begins, with music from the 1950s playing as visitors find their seats. One glance at the set, and it's clear we're in a wealthy couples apartment. Tony has grown accustomed to the lavish lifestyle made possible by his heiress wife, Margot. Convinced Margot is having an affair, Tony, But there's trouble in paradise, with the opening scene begins a sinister scheme for her demise laced with treachery and between Margot (Katherine Keberlein) and Max (Matt blackmail. From left, Neil Friedman and Katherine Kaberlein. Holzfeind), revealing they are having an affair. As they Frederick Knott’s taut thriller “Dial M for Murder” now on stage at debate whether or not to tell her husband, Tony (Jay Whittaker), he comes home unexpectedly.
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Under Capricorn Symposium Were Each Given a 30 Minute Slot to Deliver Their Paper and Respond to Questions
Papers based on the Symposium held at Kings College, University of London, 5th & 6th September, 2019 1 Introductory Note Speakers at the Under Capricorn Symposium were each given a 30 minute slot to deliver their paper and respond to questions. In preparing for this collection, all the papers have been revised and several have been considerably developed to provide additional context, argument and analysis. Apart from changes in format introduced to create a unified document (and in one or two cases to integrate images), the papers appear as the writers submitted them. The papers are arranged in the order of the symposium programme, with one exception. Bertrand Tavernier was unfortunately unable to attend and his paper is the first the reader will encounter. Papers that do not appear in this collection are marked by an asterisk in the programme. 2 Under Capricorn at 70 King’s College, University of London th th 5 and 6 September 2019 Day 1 5 September 9:00 - 9:30 Registration 9:30 - 10:00 Welcome & Introductions 10:00 - 10:30 An Overview of Under Capricorn Stéphane Duckett 10:30 - 11:00 Hitchcock and Ireland Charles Barr * 11:00 - 11:30 Bewitched, Bothered and Bewildered. A Fairy Tale of Old Ireland Richard Blennerhassett 11:30 - 12:00 Teas & Coffees 12:00 - 12:30 Under Capricorn and Helen de Guerry Simpson Ed Gallafent 12:30 - 1:00 Under Capricorn and The Paradine Case Douglas Pye 1:00 - 2:00 Lunch 2:00 - 2:30 “Between P & B- The Past and the Bottle” or Ingrid Bergman’s Acting and Opinions on Acting Tytti Soila 2:30 - 3:00 Under Capricorn
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From Hollywood Hits to Bollywood Blockbusters
Journal of Religion & Film Volume 11 Issue 2 October 2007 Article 4 October 2007 Found in Translation: From Hollywood Hits to Bollywood Blockbusters Ally Ostrowski University of Colorado, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Ostrowski, Ally (2007) "Found in Translation: From Hollywood Hits to Bollywood Blockbusters," Journal of Religion & Film: Vol. 11 : Iss. 2 , Article 4. Available at: https://digitalcommons.unomaha.edu/jrf/vol11/iss2/4 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Found in Translation: From Hollywood Hits to Bollywood Blockbusters Abstract Bollywood cinema is a proverbial machine, cranking out upwards of 800 new films each eary . Recently, however, Indian directors have begun looking toward Hollywood for an abundance of storylines to reform for Bollywood consumers. In most cases the original Hollywood plotline is indiscernible amidst the Bollywood panacea of singing and dancing and Indian religious references are often inserted to validate and legitimate characterizations, situations and bring an Indian cultural atmosphere that Bollywood audiences require. This paper examines the translation of several Hollywood hits into Bollywood blockbusters and explores why religion is an integral trope utilized in making sensitive plotlines derived from an American culture palpable to an Indian audience. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol11/iss2/4 Ostrowski: Found in Translation Religion is nearly synonymous with the Indian film industry.
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"Enhanced Filmography." Hitchcock's Appetites
McKittrick, Casey. "Enhanced Filmography." Hitchcock’s Appetites: The corpulent plots of desire and dread. New York: Bloomsbury Academic, 2016. 176–192. Bloomsbury Collections. Web. 25 Sep. 2021. <http://dx.doi.org/10.5040/9781501311642.0013>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 17:41 UTC. Copyright © Casey McKittrick 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. Enhanced Filmography 1) The Pleasure Garden (1925) Screenplay : Eliot Stannard, based on the novel The Pleasure Garden by Oliver Sandys Producer : Michael Balcon, Erich Pommer, Bavaria Film, Gainsborough Pictures, M ü nchner Lichtspielkunst AG (Emelka) Runtime : 75 minutes Cast : Virginia Valli, Carmelita Geraghty, Miles Mander, John Stuart, Ferdinand Martini, Florence Helminger During two intercut dinner table sequences, two couples sit with tea sets and small plates in front of them; the couple that is eating and drinking end up falling in love. 2) The Lodger (also titled The Lodger: A Story of the London Fog ) (1927) Screenplay : Eliot Stannard, Alfred Hitchcock (uncredited), based on the novel The Lodger and the play Who Is He? , both by Marie Belloc Lowndes Producer : Gainsborough Pictures, Carlyle Blackwell Productions, Michael Balcon, Carlyle Blackwell Runtime : 68 minutes Cast : Marie Ault, Arthur Chesney, June, Malcolm Keen, Ivor Novello When the Lodger (Ivor Novello) arrives at the Buntings ’ boardinghouse, he immediately requests some bread, butter, and a glass of milk. Hitchcock wanted to suggest that he was preserving his waiﬁ sh ﬁ gure. 3) Downhill ( When Boys Leave Home ) (1927) Screenplay : Constance Collier (play), Ivor Novello (play), Eliot Stannard (adaptation) Producer : Gainsborough Pictures, Michael Balcon, C.
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The Dynamics of Proximity : Hitchcock's Cinema of Claustrophobia
University of the Pacific Scholarly Commons University of the Pacific Theses and Dissertations Graduate School 1988 The dynamics of proximity : Hitchcock's cinema of claustrophobia Scott Edward Peeler University of the Pacific Follow this and additional works at: https://scholarlycommons.pacific.edu/uop_etds Part of the Film Production Commons, History Commons, Other Film and Media Studies Commons, and the Visual Studies Commons Recommended Citation Peeler, Scott Edward. (1988). The dynamics of proximity : Hitchcock's cinema of claustrophobia. University of the Pacific, Thesis. https://scholarlycommons.pacific.edu/uop_etds/2151 This Thesis is brought to you for free and open access by the Graduate School at Scholarly Commons. It has been accepted for inclusion in University of the Pacific Theses and Dissertations by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. THE DYNAMICS OF PROXIMITY: HITCHCOCK'S CINEMA OF CLAUSTROPHOBIA by Scott E. Peeler An Essay Presented to the Faculty of the Graduate School University of the Pacific In Partial Fulfillment of the Requirements for the Degree Master of Arts February 1988 ACKNOWLEDGMENTS I would like to thank my corr~ittee members, Drs. Louis H. Leiter, Diane M. Borden, and Robert T. Knighton, for devoting their valuable time, knowledge, and especially enthusiasm to the creation and revision of this essay and its critical perspective. I would also like to thank Judith Peeler and Bruce Crowell for their much needed encouragement. iii TABLE OF CONTENTS ACKNOWLEDGMENTS iii INTRODUCTION. 1 I. CLAUSTROM AS WORLD. 3 II. CLAUSTROM AS HOME 7 I I I. CLAUSTROM AS PSYCHE 12 IV.
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Rear Window Intro by Pamela Robertson Wojcik, University of Notre Dame
Rear Window Intro By Pamela Robertson Wojcik, University of Notre Dame Tonight’s film is Alfred Hitchcock’sRear Window – likely the best known and most critically acclaimed Woolrich adaptation. As I suggested earlier today, its status as adaptation is complex. At a certain level, the film takes Woolrich’s basic premise and turns it into a narrative about not only window witnessing and murder, but also masculinity in crisis – or, put simply, a film in which a seemingly heterosexual man does not want to kiss Grace Kelly. Despite its inclusion here, the film is generally not viewed as noir. It is a thriller certainly, but the Hitchcockian elements seem more important than any genre designation – and that is true of Hitchcock films generally. James Naremore describes features of the Hitchcock canon that “make his films appear slightly alien to the noir universe” and ultimately argues that Hitchcock transcends the genre of noir even as he can be seen as “central to the larger, more broadly cultural history of noir.” Robin Wood describes it as a light comedy. It is a thriller, certainly, but lacks the existential despair, sense of doomed fate, and expressionistic style that characterizes noir. Usually discussed as an auteurist film,Rear Window stands as an exemplar of Hitchcock’s manipulation of point-of-view and sound; it contains numerous Hitchcock motifs, including his famous cameos, his use of handbags and jewelry, and a fall from a high place; it is one of his single set films, along withRope , Lifeboat, and Dial M for Murder; it is one of the Jimmy Stewart films, along withRope , Vertigo and The Man Who Knew Too Much; and one of the Grace Kelly films, sandwiched betweenDial M for Murder and To Catch a Thief.
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Music for ALFRED HITCHCOCK
Music for ALFRED HITCHCOCK BERNARD HERRMANN 1 The Man Who Knew Too Much: Concert Overture (1956; ed. Mauceri)* 1:57 FRANZ WAXMAN 2 Rebecca: Suite (1940; ed. Mauceri) 8:22 Rear Window: Suite (1954; ed. Mauceri) 9:20 3 I Prelude 2:14 4 II Lisa – Intermezzo 3:10 5 III Ballet 1:46 6 IV Lisa – Finale 2:10 DIMITRI TIOMKIN 7 Strangers on a Train: Suite (1951; ed. Mauceri)* 8:39 8 Dial M for Murder: Suite (1954; ed. Mauceri)* 7:47 BERNARD HERRMANN Vertigo (1958) 9:32 9 Prelude 2:58 10 Scène d’Amour 6:46 11 North by Northwest: main titles (1959) 2:47 12 Psycho: A Narrative for String Orchestra (1960/1968; restored and ed. Mauceri)* 15:42 ARTHUR BENJAMIN 13 The Man Who Knew Too Much: The Storm Clouds – Cantata (1934; arr. Herrmann, 1956) 9:33 DANNY ELFMAN 14 Hitchcock: Music from the End Credits (2012) 4:50 *FIRST RECORDINGS THE MUSIC OF ALFRED HITCHCOCK by John Mauceri Directors don’t write music, of course. They hire composers. They collaborate with composers. They make demands on composers. And they can fire composers. Alfred Hitchcock was not a composer, and yet because of his intense understanding of the crucial partnership between the cinematic image and the aura created by music, he was the enabling partner of the composers who created hundreds of Live recording made on 23 and 24 November 2012 in DR Koncerthuset, The Concert Hall, Copenhagen hours of important orchestral music that remain a major legacy of the twentieth century. His profound Recording producer: Bernhard Güttler importance as a film-maker is bound to the musical world that informs his films.
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DIAL M for MURDER Rings up Classic Suspense at Peninsula Players
BWW Reviews: http://www.broadwayworld.com/milwaukee/article/BWW-Reviews-DIAL-M-FOR-MURDER-Rings-Up-Classic-Suspense-at-Peninsula-Players-20150716# By Peggy Sue Dunigan July 16, 2015 6:57 AM DIAL M FOR MURDER Rings Up Classic Suspense at Peninsula Players Ever wondered what was going to happen when the phone's ring wakes someone from a drowsy sleep? While technology may have changed since the 1950's, the premise and fear of the unknown ring-ring and who might be calling remains equally fascinating. After sipping a drink under the stars before the performance at Peninsula Players Theatre (PPT) and silencing those cell phones, eagerly enjoy their thriller on stage this July written by Britain's Frederick Knott, his iconic Dial M for Murder. A play set in London during the 1950's, the psychological murder mystery entered movie fame when legendary Alfred Hitchcock directed Grace Kelly and Ray Milland and became a cult film for Hitchcock aficionados. PPT lives up the play's illustrious pedigree with exquisite sets designed by Sarah E. Ross, costumes designed by Kärin Simonson Kopischke, and an experienced cast directed by Joe Foust to be equally From left: Jay Whittaker, Tim Monsion, Katherine enthralled. Keberlein, Matt Holzfeind in Peninsula Players’ Dial M for Murder. For theatergoers unfamiliar with the classic film or play, Dial M for Murder centers around Margot and Tony Wendice--a wealthy socialite and a former Wimbledon tennis professional who married Margot for her money. When Tony discovers Margot might leave him poorer for the devoted attention of American mystery writer Max Halliday, Tony invents what he considers the perfect murder to collect his wife's inheritance.
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Cryptic Match-Ups: Alfred Hitchcock Mindfood Wheel Words
Match-ups: Alfred Hitchcock Cryptic Work out all the missing parts of these cities and countries from Use the cryptic clues below to solve this crossword with a twist. around the world and find the words hidden in the box of letters. The letters left over will spell out some major cities. B E A C O N E U C A L Y P T T H W F N U M B E R T E S A Y A S X R P R E C I P I T A T E F I T E W R A W E N K E N L T E L L A E C V M O O M A M C D E B E H H L I F E B O A T L O O F A H P D N I S O R C U P T C S E R E E V T T A G L C U O O S R U O I D R Y D O C K S S W E D E N B H R Y M N R T O R E N N A H C T I S A A N T R N T E U F A P R I N C E T H O U S A N D R P R I D A G A S O T E V A G S R P U I N V E N T O P E N I N G S D F S U N I I S P M R S F G R R W S G S E N G E N N I K S I S E B O G E A G E R B E A V E R S E E R U S A E L P V T I O R L Y A T N R O C I R P A C R I C H A N A G R A M S E X C I S E S F A R M E R S E C R E T ACROSS 2.
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Film History
Indiana University Press http://www.jstor.org/stable/3815615 . Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=iupress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Indiana University Press is collaborating with JSTOR to digitize, preserve and extend access to Film History. http://www.jstor.org FilmHistory, Volume 14, pp. 121-135, 2002. Copyright© John Libbey ISSN:0892-2160. Printedin Malaysia The Catholic Vision in Hollywood:Ford, Capra, Borzage and Hitchcock MarfaElena de las CarrerasKuntz This articleexplores the differentways in which fear of being involvedin anythingevil. I alwaystried a Catholicview of the human conditionis re- to avoid it',he acknowledgedto Truffaut.4 flected in the cinema of John Ford, Frank FrankCapra was the most explicitof the four Borzage, FrankCapra and AlfredHitchcock.
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Dial M for Murder the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
Insights A Study Guide to the Utah Shakespeare Festival Dial M for Murder The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Melinda Pfundstein (left), David Ivers, and John Taylor Phillips in Dial M for Murder, 2011. Contents Information on the Play Synopsis 4 DialCharacters M for Murder 5 About the Playwrights 6 Scholarly Articles on the Play The Psychology of Our Adversaries 8 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: Dial M for Murder In London, 1952, the wealthy Margot Wendice has convinced her professional tennis player husband, Tony, to give up playing to spend more time with her. He now sells sports equipment, and, to Margot, their life together is a happy one.
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ALFRED HITCHCOCK Rear Window
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