The Zoomar Lens J
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Leituras Freudianas E Lacanianas Do Espaço Simbólico Hitchcock's Films O
Universidade de Aveiro Departamento de Línguas e Culturas Ano 2017 Mark William Poole Os Filmes de Hitchcock no Sofá: Leituras Freudianas e Lacanianas do Espaço Simbólico Hitchcock’s Films on the Couch: Freudian and Lacanian Readings of Symbolic Space Universidade de Aveiro Departamento de Línguas e Culturas Ano 2017 Mark William Poole Os Filmes de Hitchcock no Sofá: Leituras Freudianas e Lacanianas do Espaço Simbólico Hitchcock’s Films on the Couch: Freudian and Lacanian Readings of Symbolic Space Tese apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Estudos Culturais, realizada sob a orientação científica do Doutor Anthony David Barker, Professor Associado do Departamento de Línguas e Culturas da Universidade de Aveiro o júri Doutor Carlos Manuel da Rocha Borges de Azevedo, Professor Catedrático, Faculdade de Letras, Universidade do Porto. Doutor Mário Carlos Fernandes Avelar, Professor Catedrático, Universidade Aberta, Lisboa. Doutor Anthony David Barker, Professor Associado, Universidade de Aveiro (orientador). Doutor Kenneth David Callahan, Professor Associado, Universidade de Aveiro. Doutor Nelson Troca Zagalo, Professor Auxiliar, Universidade do Minho. presidente Doutor Nuno Miguel Gonçalves Borges de Carvalho, Reitor da Universidade de Aveiro. agradecimentos Primarily, I would like to thank Isabel Pereira, without whose generosity this entire process would not have been possible. She believes in supporting all types of education and I cannot express my gratitude enough. I express equal gratitude to Marta Correia, who has been the Alma Reville of this thesis. She has had the patience to listen to my ideas and offer her invaluable insights, while proofreading and criticising the chapters as this thesis evolved. -
FROM HERE to ETERNITY / 1953 (Até À Eternidade)
CINEMATECA PORTUGUESA-MUSEU DO CINEMA E A VIDA CONTINUA 16 de julho de 2020 FROM HERE TO ETERNITY / 1953 (Até à Eternidade) um filme de Fred Zinnemann Realização: Fred Zinnemann / Argumento: Daniel Taradash, segundo o romance homónimo de James Jones / Fotografia: Burnett Guffey / Montagem: William A. Lyon / Som: John P. Livadary / Direcção Artística: Cary Odell / Música: George Dunning / Interpretação: Burt Lancaster (Sargento Milton Warden), Montgomery Clift (Soldado Robert E. Lee “Prew” Prewitt), Frank Sinatra (Angelo Maggio), Donna Reed (Alma”Lorene”), Philip Ober (Capitão Dana Holmes), Ernest Borgnine (Sargento “Fatso” Judson), Jack Warden (Cabo Buskley), John Dennis (Sarg. Ike Galovitch), Merle Travis (Sal Anderson), Tim Ryan (Sarg. Pete Karelsen), Arthur Keegan (Treadwell), Barbara Morrison (Mrs. Kipfer), Jean Willes (Annette), Claude Akins (Sarg. Baldy Dhom), Robert Karnes (Sarg. Trup Thornill), Robert Wilke (Sarg. Henderson), Douglas Henderson (Cabo Champ Wilson), George Reeves (Sarg. Mylon Stark), Don Dubbins (Friday Clark), John Cason (Cabo Paluso), Kristine Miller (Georgette), John Bryant (Com. Ross). Produção: Buddy Adler, para a Columbia / Produtor Executivo: Harry Cohn / Cópia: 35mm, preto e branco, legendada em espanhol e eletronicamente em português, 118 minutos / Estreia Mundial: Agosto de 1953 / Estreia em Portugal: Eden e Império, a 15 de Novembro de 1954 / Reposição: S. Luis e Alvalade, a 2o de Setembro de 1968. _________________________ From Here to Eternity foi um “caso”. Em primeiro lugar pelo número de Oscars que conquistou, oito, o que fez dele , até 1958, o segundo filme mais premiado de sempre, depois de Gone With the Wind. Depois pelos problemas que teve na produção e o impacto no futuro imediato. Se não é um grande filme é por outras razões. -
On the History and Ideology of Film Lighting Peter Baxter During The
Downloaded from On the History and Ideology of Film Lighting http://screen.oxfordjournals.org Peter Baxter During the 1880's, the major theatres of Europe and America began to convert their stage lighting systems from the gas which had come into widespread use in the twenty or thirty previous years to electricity. It is true that arc lighting had been installed at the Paris Opera as early as 1846, but the superior efficiency of gas illumination at the time, and the surety of its supply, had brought at Universidade Estadual de Campinas on April 27, 2010 it into prominent use during the third quarter of the century when it attained no small operational sophistication. From a single control board gas light could be selectively brightened or dimmed, even completely shut down and re-started. The theatrical term ' limelight' originally referred to a block of lime heated to incan- descence by a jet of gas, which could throw a brilliant spot of light on the stage to pick out and follow principal actors. Henry Irving so much preferred gas to electric light that he used it for his productions at the Lyceum Theatre, and achieved spectacular results, into the twentieth century, when the rest of theatrical London had been electrified for some years. But despite the mastery that a man like Irving could attain over gas lighting, for most stages it was ' strictly for visibility and to illuminate the scenery. The Victorians painted that scenery to incorporate motivated light meticulously. A window would be painted and the light coming through the window would be painted in. -
Travels of a Country Woman
Travels of a Country Woman By Lera Knox Travels of a Country Woman Travels of a Country Woman By Lera Knox Edited by Margaret Knox Morgan and Carol Knox Ball Newfound Press THE UNIVERSITY OF TENNESSEE LIBRARIES, KNOXVILLE iii Travels of a Country Woman © 2007 by Newfound Press, University of Tennessee Libraries All rights reserved. Newfound Press is a digital imprint of the University of Tennessee Libraries. Its publications are available for non-commercial and educational uses, such as research, teaching and private study. The author has licensed the work under the Creative Commons Attribution-Noncommercial 3.0 United States License. To view a copy of this license, visit <http://creativecommons.org/licenses/by-nc/3.0/us/>. For all other uses, contact: Newfound Press University of Tennessee Libraries 1015 Volunteer Boulevard Knoxville, TN 37996-1000 www.newfoundpress.utk.edu ISBN-13: 978-0-9797292-1-8 ISBN-10: 0-9797292-1-1 Library of Congress Control Number: 2007934867 Knox, Lera, 1896- Travels of a country woman / by Lera Knox ; edited by Margaret Knox Morgan and Carol Knox Ball. xiv, 558 p. : ill ; 23 cm. 1. Knox, Lera, 1896- —Travel—Anecdotes. 2. Women journalists— Tennessee, Middle—Travel—Anecdotes. 3. Farmers’ spouses—Tennessee, Middle—Travel—Anecdotes. I. Morgan, Margaret Knox. II. Ball, Carol Knox. III. Title. PN4874 .K624 A25 2007 Book design by Martha Rudolph iv Dedicated to the Grandchildren Carol, Nancy, Susy, John Jr. v vi Contents Preface . ix A Note from the Newfound Press . xiii part I: The Chicago World’s Fair. 1 part II: Westward, Ho! . 89 part III: Country Woman Goes to Europe . -
ASC Founders
The 15 Founders of the American Society of Cinematographers Biographies By Robert S. Birchard The American Society of Cinematographers succeeded two earlier organizations — the Cinema Camera Club, started by Edison camerapersons Philip E. Rosen, Frank Kugler and Lewis W. Physioc in New York in 1913; and the Static Club of America, a Los Angeles–based society first headed by Universal cameraperson Harry H. Harris. From the beginning, the two clubs had a loose affiliation, and eventually the West Coast organization changed its name to the Cinema Camera Club of California. But, even as the center of film production shifted from New York to Los Angeles — the western cinematographers’ organization was struggling to stay afloat. Rosen came to Los Angeles in 1918. When he sought affiliation with the Cinema Camera Club of California, president Charles Rosher asked if he would help reorganize the faltering association. Rosen sought to create a national organization, with membership by invitation and with a strong educational component. The reorganization committee met in the home of William C. Foster on Saturday, December 21, 1918 and drew up a new set of bylaws. The 10-member committee and five invited Cinema Camera Club member visitors were designated as the board of governors for the new organization. The next evening, in the home of Fred LeRoy Granville, officers for the American Society of Cinematographers were elected — Philip E. Rosen, president; Charles Rosher, vice president; Homer A. Scott, second vice president; William C. Foster, treasurer; and Victor Milner, secretary. The Society was chartered by the State of California on January 8, 1919. -
In 193X, Constance Rourke's Book American Humor Was Reviewed In
OUR LIVELY ARTS: AMERICAN CULTURE AS THEATRICAL CULTURE, 1922-1931 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Schlueter, M.A. ***** The Ohio State University 2007 Dissertation Committee: Approved by Professor Thomas Postlewait, Adviser Professor Lesley Ferris Adviser Associate Professor Alan Woods Graduate Program in Theatre Copyright by Jennifer Schlueter c. 2007 ABSTRACT In the first decades of the twentieth century, critics like H.L. Mencken and Van Wyck Brooks vociferously expounded a deep and profound disenchantment with American art and culture. At a time when American popular entertainments were expanding exponentially, and at a time when European high modernism was in full flower, American culture appeared to these critics to be at best a quagmire of philistinism and at worst an oxymoron. Today there is still general agreement that American arts “came of age” or “arrived” in the 1920s, thanks in part to this flogging criticism, but also because of the powerful influence of European modernism. Yet, this assessment was not, at the time, unanimous, and its conclusions should not, I argue, be taken as foregone. In this dissertation, I present crucial case studies of Constance Rourke (1885-1941) and Gilbert Seldes (1893-1970), two astute but understudied cultural critics who saw the same popular culture denigrated by Brooks or Mencken as vibrant evidence of exactly the modern American culture they were seeking. In their writings of the 1920s and 1930s, Rourke and Seldes argued that our “lively arts” (Seldes’ formulation) of performance—vaudeville, minstrelsy, burlesque, jazz, radio, and film—contained both the roots of our own unique culture as well as the seeds of a burgeoning modernism. -
Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing -
Sparrows (1926)
Sparrows (1926) Closing Night Gala: Sunday 21 March 2021 Music composed by: Taylor and Cameron Graves Sparrows, released in 1926, marks the final time Mary Pickford plays a youngster on the big screen and it was her next to last silent film. She was 33 years old and had already starred in 40 features and more than 100 short films. Over the 17 years she had been making movies, she had become a creative producer, a savvy businesswoman and the highest paid and best-known actress in the world. She was also one of the hardest working people in the business. Between 1912 and 1919, Pickford jumped between a variety of studios, increasing her paychecks astronomically each time until she risked it all to produce her own movies and join with Douglas Fairbanks, D.W. Griffith and Charlie Chaplin to form United Artists to distribute them. She married Fairbanks in 1920 and they ruled the filmmaking world from their Beverly Hills home dubbed Pickfair. They built their own Pickford Fairbanks studio on Santa Monica Blvd and on those 18 acres, they each had their administration offices as well as crew and craftsmen to write, direct and film their movies. Mary had her own bungalow where Doug often joined her for lunch and they came to the studio together in the morning and went home – often very late – together at night. Only a few months before deciding on Sparrows, Mary’s portion of the lot had been a turn of the century, New York tenement for her film Little Annie Rooney. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
+- Vimeo Link for ALL of Bruce Jackson's and Diane
Virtual February 9, 2021 (42:2) William A. Wellman: THE PUBLIC ENEMY (1931, 83 min) Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. Cast and crew name hyperlinks connect to the individuals’ Wikipedia entries +- Vimeo link for ALL of Bruce Jackson’s and Diane Christian’s film introductions and post-film discussions in the Spring 2021 BFS Vimeo link for our introduction to The Public Enemy Zoom link for all Fall 2020 BFS Tuesday 7:00 PM post-screening discussions: Meeting ID: 925 3527 4384 Passcode: 820766 Selected for National Film Registry 1998 Directed by William A. Wellman Written by Kubec Glasmon and John Bright Produced by Darryl F. Zanuck which are 1958 Lafayette Escadrille, 1955 Blood Cinematography by Devereaux Jennings Alley, 1954 Track of the Cat, 1954 The High and the Film Editing by Edward M. McDermott Mighty, 1953 Island in the Sky, 1951 Westward the Makeup Department Perc Westmore Women, 1951 It's a Big Country, 1951 Across the Wide Missouri, 1949 Battleground, 1948 Yellow Sky, James Cagney... Tom Powers 1948 The Iron Curtain, 1947 Magic Town, 1945 Story Jean Harlow... Gwen Allen of G.I. Joe, 1945 This Man's Navy, 1944 Buffalo Bill, Edward Woods... Matt Doyle 1943 The Ox-Bow Incident, 1939 The Light That Joan Blondell... Mamie Failed, 1939 Beau Geste, 1938 Men with Wings, 1937 Donald Cook... Mike Powers Nothing Sacred, 1937 A Star Is Born, 1936 Tarzan Leslie Fenton... Nails Nathan Escapes, 1936 Small Town Girl, 1936 Robin Hood of Beryl Mercer.. -
Hitchcock's the Paradine Case (1947)
1 The Paradine Case Reviewed by Garry Victor Hill Directed by Alfred Hitchcock. Produced by David O. Selznick. Screenplay by David O. Selznick from adaptations by Alfred Hitchcock, Alma Reville and James Bridie. Based on the novel by Robert Hichens. Production design: J. MacMillan 2 Johnson. Cinematography by Lee Garmes. Original Music by Franz Waxman. Edited by Hal C. Kern. Key Costumer: Travis Banton. Cinematic length: 132 minutes. Distributed by Selznick Studio. Cinematic release December 29th 1947: DVD release 2007 edited down to 110 minutes. Television release 94 minutes Check for ratings. Rating 80%. All images are taken from the public domain and wiki derivatives with permission. Cast Gregory Peck as Anthony Keane Ann Todd as Gay Keane Alida Valli as Mrs. Maddalena Paradine Charles Laughton as the Judge, Lord Thomas Horfield Ethel Barrymore as Lady Sophie Horfield Charles Coburn as Sir Simon Flaquer, Joan Tetzel as Judy Flaquer, Louis Jourdan as André Latour, Leo G. Carroll as the counsel for the prosecution Isobel Elsom as the Innkeeper in Cumberland Review Despite having many qualities, this film did not do well on its release, either critically or commercially. The film was initially about the downfall of a great, good and happy man brought down by his figurative blindness when involved in a puzzling law case. However the film changes direction, putting the greater theme into second place. Instead the focus goes onto the murder trial and the legal 3 preparations. At its heart The Paradine Case has a mystery: Did Mrs Paradine poison her blind, aged husband? If she did not, then what happened? Her barrister, Anthony Keane (Gregory Peck) sums up the possibilities succinctly: either he committed suicide, she did it as charged or her husband’s sinister manservant André La Tour (Lois Jordan) murdered him for a bequest - or in an assisted suicide. -
Dan Duryea Page 1 Of6
Dan Duryea Page 1 of6 Dan Duryea - Charming Villain By Frank Dolven Dan Duryea was typecast by his own skill. He was almost too good at creating disturbing portraits of pathological villains, especially in film noir roles. In real life, he was an old-fashioned family man, the opposite of his screen persona. He was born in White Plains, New York, on January 23, 1907, and was educated at Cornell University, Ithaca, New York. In the 1930s he worked in advertising before finding his true calling. He made his acting debut on Broadway in Sidney Kingsley's Dead End . He won critical acclaim for his role as the weakling "Leo Hubbard" in Lillian Hellman's The Little Foxes on Broadway in 1939. Hollywood scouts took notice of his remarkable performance. Soon he was playing "Leo" in William Wyler's film version of the play. With his slicked-back blonde hair and malicious smile, he became the premier louse of the movies. He developed a repertoire of understated body language with a shrug of the shoulders, a slight raising of the eyebrow, a twitch of the mouth, and a subtle "take-it-or- leave-it-or-go-to-hell" movement of the hand. Duryea became a master, playing to the camera, "as he wielded his reedy, high voice like an irritating, cutting scimitar," one critic wrote. He left many gems among performances in over 70 films spanning 47 years. Film buffs especially remember him for his odious treatment of women. In an interview with Hedda Hopper in the early '50s, Duryea gave a very interesting answer when Miss Hopper asked how he prepared for roles.