DOCSLIB.ORG

Scripting Memory: Hollywood, the Federal Government, And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

SCRIPTING MEMORY: HOLLYWOOD, THE FEDERAL GOVERNMENT, AND PUBLIC MEMORY IN WWII by Jason Jonathan Rivas, B.A. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Arts with a Major in History December 2020 Committee Members: Nancy K. Berlage, Chair Ellen D. Tillman Angela F. Murphy COPYRIGHT by Jason Jonathan Rivas 2020 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Jason Jonathan Rivas, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. DEDICATION To my mother, Blanca, for never giving up on me. Your eagle finally found his wings. To my fiancée, Courtney Stevens, for being the Linda to my Paul McCartney. Ram on. To every high school dropout with a dream. We are more than just a statistic. I’m rooting for you. ACKNOWLEDGEMENTS I first want to thank my mother, Blanca, and my fiancée, Courtney Stevens, for their love and support. Mom, I would not be me if it were not for you showing me that it is okay to be so. Courtney, there are no words to describe the incredible support you provide me and my work throughout the years. As such, please consider the previously mentioned words a tribute to those unattainable words. To my little brother, Julio, for being the man I look up to every day. To my little sister, Kelly, for always believing in me. To my dad, Julio, for making amends and cheering me on. Thank you all for always encouraging me to be better every day. To Chris Chappell, Cory Barnes, Charles Turney, Maria Aguirre-Borrero, Conor Farrell, Nicholas Garelick, Lauren Hainley, David Hale, Don Randy Krinsky, Fred Lazare, Cassie Randall, Carol Stevens and all my friends who have supported me through the years. I am nothing without y’all’s friendship. To my thesis committee for their support through the process. To Dr. Nancy Berlage for patiently working with my insane commitments to anything non-thesis related. To Dr. Ellen Tillman for encouraging me to maintain my unique voice in my writings. To Dr. Angela Murphy for her support and guidance of my work in her General Research seminar. I would also like to acknowledge the professors who directly and indirectly helped in my graduate study endeavors. To Dr. Nancy Lopez, Dr. Melissa Hovsepian, Dr. Abigail Koenig, and Dr. Mohsen Mobasher for encouraging me throughout my v experience at the University of Houston-Downtown. To Mr. Dan Utley for being a mentor and "goating" me to be the best public historian I can be. To Dr. Thomas Alter and Dr. Sara Damiano for allowing me a platform to develop my teaching voice under their tutelage. To Dr. Shannon Duffy for encouraging me to take advantage of opportunities provided by the history department. To Dr. Rebecca Montgomery for providing me with an opportunity to finesse my teaching abilities. To Dr. Todd Ahlman, Dr. Ron Brown, Dr. Jeffrey Helgeson, Dr. Jeffrey Mauck, Dr. Josh Paddison, Dr. Caroline Ritter, Dr. Justin Randolph, and Dr. Louie Valencia for listening and reading my work, as well as sharing their thoughts throughout my time at Texas State. To Ms. Madelyn Patlan and Ms. Roberta Ann Ruiz for being the MVPs of the history department. And, finally, to every professor of the Texas State History Department for any interactions we shared. It takes a village to raise a child. To the students of Dr. Angela Murphy's General Research seminar: Mikayla Brown (the unsung hero for many of us), Emily Cecil, Francisco Delgado, Lauren Kahre- Campbell, Valeria Estrada, Evan Moore, Sonya Prado, Courtney Stevens, Dalyn Smith, and Peter Sutherland. Y’all’s feedback served as a good reference point for the rest of my work. The same goes for my fellow graduate students who shared their thoughts and offered tips throughout the process, in particular: Blake Gandy, Rayanna Hoeft, Nikolas Koetting, Maddy Mayhan, Cori McDonald, and Tye Williams. And thank you to everyone else who helped me through my journey from high school dropout to graduate student. vi To Anjali Zutshi and the Friends of the Texas Historical Commission for the opportunity to craft my writing voice under the guidance of Carlyn Hammons, Jenny McWilliams, and Sarah McCleskey of the Texas Historical Commission. To Texas State University and the Graduate College for the opportunity to pursue and earn my master’s degree. To Abigail Miller of the Graduate College for working with me through the thesis formatting process. To the Margaret Herrick Library in Beverly Hills, California and the National Archives at College Park, Maryland for the wealth of information I researched and used in my thesis. And to Hollywood films, thank you for the memories. Finally, I want to extend my gratitude to every person who ever doubted me. I was not the strongest student; I struggled in many a social setting, and often felt disrespected and underestimated by my contemporaries. Thank you to the people who dismissed me as a nowhere man throughout my life. I'm glad you did because it fed me the fuel that I needed for my fire to burn.... I am what I am; you can like it or love it. vii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS .................................................................................................v LIST OF FIGURES .............................................................................................................x CHAPTER I. INTRODUCTION ................................................................................................1 Memory and Filmmaking ............................................................................4 1930’s Hollywood ......................................................................................10 II. CHAPTER ONE ...............................................................................................16 Persuasion, Memory, and World War I .....................................................18 “War Were Declared”: The Fifth Freedom and the mobilization of the Hollywood front...............................................................................31 Movie Lot to Beachhead ............................................................................37 Why We Fight: Democracy in Film...........................................................40 Conclusion .................................................................................................41 III. CHAPTER TWO .............................................................................................43 “The Framework of the Government Information Program” ....................44 “THE ISSUES – Why we fight. What kind of peace will follow victory” ...........................................................................................46 “THE ENEMY – Whom we Fight. The Nature of our Adversary”...........47 “THE UNITED NATIONS AND PEOPLES – With whom we are allied in fighting. Our brothers-in-arms” ........................................49 “WORK AND PRODUCTION – The War at Home. How each of us can fight” ..........................................................................50 “THE HOME FRONT – What we must do. What we must Give Up to Win the Fight” .........................................................................51 “THE FIGHTING FORCES – The job of the fighting man at the front” ................................................................................................52 Case Study: Mrs. Miniver ..........................................................................53 Case Study: Casablanca and Memory .......................................................61 “As Time Goes By”: the memory of Casablanca .....................................71 viii Case Study: Bataan, the Enemy, and the Peoples’ War ............................72 Last Stand at Bataan ..................................................................................76 Conclusion .................................................................................................78 IV. CHAPTER THREE .........................................................................................80 Measuring Success .....................................................................................82 Reception of War Films .............................................................................85 Institutional Issues .....................................................................................94 Controversy and Control ............................................................................97 Conclusion ...............................................................................................103 V. CONCLUSION ...............................................................................................105 BIBLIOGRAPHY ............................................................................................................113 ix LIST OF FIGURES Figure Page 1: Mrs. Miniver, the main protagonist of the film, is front and center ..............................57 2: Mrs. Miniver discovers an injured Luftwaffe pilot near her home ................................59 3: The village church's vicar gives a speech intent on educating American moviegoers
Recommended publications
  • RESISTANCE MADE in HOLLYWOOD: American Movies on Nazi Germany, 1939-1945

    RESISTANCE MADE in HOLLYWOOD: American Movies on Nazi Germany, 1939-1945

    1 RESISTANCE MADE IN HOLLYWOOD: American Movies on Nazi Germany, 1939-1945 Mercer Brady Senior Honors Thesis in History University of North Carolina at Chapel Hill Department of History Advisor: Prof. Karen Hagemann Co-Reader: Prof. Fitz Brundage Date: March 16, 2020 2 Acknowledgements I want to thank Dr. Karen Hagemann. I had not worked with Dr. Hagemann before this process; she took a chance on me by becoming my advisor. I thought that I would be unable to pursue an honors thesis. By being my advisor, she made this experience possible. Her interest and dedication to my work exceeded my expectations. My thesis greatly benefited from her input. Thank you, Dr. Hagemann, for your generosity with your time and genuine interest in this thesis and its success. Thank you to Dr. Fitz Brundage for his helpful comments and willingness to be my second reader. I would also like to thank Dr. Michelle King for her valuable suggestions and support throughout this process. I am very grateful for Dr. Hagemann and Dr. King. Thank you both for keeping me motivated and believing in my work. Thank you to my roommates, Julia Wunder, Waverly Leonard, and Jamie Antinori, for being so supportive. They understood when I could not be social and continued to be there for me. They saw more of the actual writing of this thesis than anyone else. Thank you for being great listeners and wonderful friends. Thank you also to my parents, Joe and Krista Brady, for their unwavering encouragement and trust in my judgment. I would also like to thank my sister, Mahlon Brady, for being willing to hear about subjects that are out of her sphere of interest.
  • A Counterintelligence Reader, Volume 2 Chapter 1, CI in World

    A Counterintelligence Reader, Volume 2 Chapter 1, CI in World

    CI in World War II 113 CHAPTER 1 Counterintelligence In World War II Introduction President Franklin Roosevelts confidential directive, issued on 26 June 1939, established lines of responsibility for domestic counterintelligence, but failed to clearly define areas of accountability for overseas counterintelligence operations" The pressing need for a decision in this field grew more evident in the early months of 1940" This resulted in consultations between the President, FBI Director J" Edgar Hoover, Director of Army Intelligence Sherman Miles, Director of Naval Intelligence Rear Admiral W"S" Anderson, and Assistant Secretary of State Adolf A" Berle" Following these discussions, Berle issued a report, which expressed the Presidents wish that the FBI assume the responsibility for foreign intelligence matters in the Western Hemisphere, with the existing military and naval intelligence branches covering the rest of the world as the necessity arose" With this decision of authority, the three agencies worked out the details of an agreement, which, roughly, charged the Navy with the responsibility for intelligence coverage in the Pacific" The Army was entrusted with the coverage in Europe, Africa, and the Canal Zone" The FBI was given the responsibility for the Western Hemisphere, including Canada and Central and South America, except Panama" The meetings in this formative period led to a proposal for the organization within the FBI of a Special Intelligence Service (SIS) for overseas operations" Agreement was reached that the SIS would act
  • Rencontre Européenne Nb. 8 Peter Sutherland

    Rencontre Européenne Nb. 8 Peter Sutherland

    41, boulevard des Capucines - 75002 Paris – France Tel. : +33 1 44 58 97 97/98 - Fax : +33 1 44 58 97 99 Site : www.notre-europe.eu - email : [email protected] RENCONTRE EUROPÉENNE NB. 8 PETER SUTHERLAND JUNE 2008 ‘To be truly Irish we have to be European first’ ‘We need the European Union to bind us to other people’ Peter Sutherland The Spire and statue of Jim Larkin on O’Connell Street Interview with Peter Sutherland A fervently pro-European Irishman, Peter Sutherland has held important political mandates in his country, as well as at the European and international level. He was appointed Attorney General of Ireland in the governments of Garret FitzGerald, before becoming European Commissioner for Competition in the first Delors Commission (1985-89). He subsequently became Director General of GATT (now WTO). Peter Sutherland is currently serving as Chairman of BP, of Goldman Sachs International and is the UN Special Representative for Migration. We met him at his house in Dublin, prior to the Irish referendum on the Lisbon Treaty. What made you such a convinced European? From a very early stage, as a university student already, I was a committed European. We could see at first hand in this country the enormous suffering created by extreme nationalism which in turn was a reaction to injustice. Nationalism – often combined with religion, as was the case in Northern Ireland – has often led to conflict throughout history. According to one opinion poll I saw years ago the Irish are the proudest people of all; they have the greatest sense of their own nationality.
  • Knowledge and Power in Occupied Japan: U.S. Censorship of Hiroshima and Nagasaki

    Knowledge and Power in Occupied Japan: U.S. Censorship of Hiroshima and Nagasaki

    Bard College Bard Digital Commons Senior Projects Spring 2018 Bard Undergraduate Senior Projects Spring 2018 Knowledge and Power in Occupied Japan: U.S. Censorship of Hiroshima and Nagasaki May E. Grzybowski Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2018 Part of the Asian History Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Grzybowski, May E., "Knowledge and Power in Occupied Japan: U.S. Censorship of Hiroshima and Nagasaki" (2018). Senior Projects Spring 2018. 134. https://digitalcommons.bard.edu/senproj_s2018/134 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Knowledge and Power in Occupied Japan: U.S. Censorship of Hiroshima and Nagasaki Senior Project Submitted to The Division of Social Studies of Bard College by May Grzybowski Annandale-on-Hudson, New York May 2018 Table of Contents Introduction……………………………………………………………………………………………1 Chapter One: Censorship Under SCAP………………………………………………………………..5 Chapter Two: Censored Texts…………………………………………………………..……….…....20 Chapter Three: Effects of Censorship………………………………………………………………...52 Conclusion…………………………………………………………………………………………….66 Bibliography……………………………………………………………………………………...……69 Acknowledgements I would not have been able to finish this project without the support of many people.
  • P111,3 Peter Sutherland.Indd

    P111,3 Peter Sutherland.Indd

    UNCTAD XII Free trade and the global economy INTERVIEW WITH PETER SUTHERLAND CHAIRMAN, GOLDMAN SACHS INTERNATIONAL AND CHAIRMAN, BP PLC Can global free trade ever benefit both the do not believe provide the same security for global developing and developed worlds equally? trade and which will create difficulties in terms of the Well over a billion people have been lifted out of poverty mixed bag of access arrangements that will follow, globally in the last ten years, out of a total population of particularly for small and medium sized industries. just over five billion. That’s never happened before in Such agreements do not provide the same security or the history of mankind and it has come about, primarily have the same authority as the WTO, which in effect in Asia, as a benefit of globalisation and free trade. As for provides a quasi-judicial mechanism for adjudicating those who have not been beneficiaries of global trade, it is on disputes with global authority. Whereas with most not that global trade agreements are negatively affecting bilateral arrangements, particularly between the them, it is that globalisation is passing them by. Why? developed and the developing countries, the cards are PETER SUTHERLAND Because they neither have the physical nor the human stacked in favour of the developed countries because of is Chairman of BP plc infrastructure, in terms of education and so on, to enable their enhanced power of negotiation, and the absence since 1997 and Chairman them to be part of it. After all globalisation really is, and of a credible adjudication mechanism.
  • FINANCIAL STATEMENTS for the Year Ended 31 July 2015 CONTENTS

    FINANCIAL STATEMENTS for the Year Ended 31 July 2015 CONTENTS

    FINANCIAL STATEMENTS for the year ended 31 July 2015 CONTENTS 2 Report of the Chairman of the Court of Governors 3 Report of the Director of the School 4-16 Report of the Directors 17-19 Accounting Policies 20 Consolidated Income and Expenditure Account 21 Statement of Total Recognised Gains and Losses 22 Balance Sheets 23 Consolidated Cash Flow Statement 24-39 Notes to the Accounts 40 Five Year Group Financial Summary 41-44 Corporate Governance and Internal Control Statement 45 Environmental Policy 46 Endowment Investment Performance 47 Report of the Auditors 49 Directors of the School and Members of the Council REPORT OF THE CHAIRMAN OF THE COURT OF GOVERNORS I am delighted to have been appointed Chairman of the LSE. It would be a privilege 2 at any time to be associated with such a prestigious educational establishment, but these are especially exciting times, as the School celebrates the 120th anniversary of its foundation. I am committed to ensuring that during my tenure the School remains focused and ambitious in its commitment to its core mission, delivering world- class teaching, research and public engagement. I am exceedingly grateful to my predecessor, Peter Sutherland, for his dedicated service to the School as Chairman, and trust that he remains a friend to us following his retirement, and despite his extensive and prestigious portfolio of continuing responsibilities. Since taking up my role in February, I have instituted a full-scale review As ever, the School has put on an enviable programme of public lectures of governance, to ensure that everyone within and outside the School and events, and among other illustrious speakers we welcomed this year community understands and respects the workings of the institution.
  • Ruth Prawer Jhabvala's Adapted Screenplays

    Ruth Prawer Jhabvala's Adapted Screenplays

    Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone.
  • Secrets of Victory: the Office of Censorship and the American

    Secrets of Victory: the Office of Censorship and the American

    Studies in Intelligence Vol. 46 No. 3 (2002) Secrets of Victory: The Office of Censorship and The American Press and Radio in World War II Intelligence in Recent Public Literature By Michael S. Sweeney. Chapel Hill & London: University of North Carolina Press, 2001. 274 pages. Reviewed by Robert J. Hanyok On 17 August 1942, a nationally syndicated columnist wrote that she had received “a very stern letter” about her remarks on the weather, “… and so from now on I shall not tell you whether it rains or whether the sun shines where I happen to be.” The columnist was Eleanor Roosevelt and she was referring to an article in which she had described weather conditions during one of her official visits around the country with her husband, President Franklin Delano Roosevelt, during World War II. That the First Lady would receive such a reprimand reveals much about the nature, scope, and effectiveness of censorship in wartime America. How and why such information restrictions succeeded are the subjects of Michael Sweeney’s history of the Office of Censorship, Secrets of Victory. Wartime censorship is a seldom-mentioned relative of intelligence. Operations Security is the primary method of denying a wartime opponent Op y is the prima y m ying a w e opp access to official channels of information or intelligence. In a robust democracy like the United States, however, public channels of information —whether derived from official or unofficial sources, or developed by investigative techniques—represent an arena of exchange more or less exempt from government restrictions. Controlling the public’s access to information during a war is a controversial proposition.
  • What Future for Federalism? About the CER

    What Future for Federalism? About the CER

    Gilles Andréani ★ What future for federalism? about the CER The Centre for European Reform is a think-tank devoted to improving the quality of the debate on the European Union. It is a forum for people with ideas from Britain and across the contintent to discuss the many social, political and economic challenges facing Europe. It seeks to work with similar bodies in other European countries, North America and elsewhere in the world. The CER is pro-European but not uncritical. It regards European integration What future as largely beneficial but recognises that in many respects the Union does not work well. The CER therefore aims to promote new ideas and policies for reforming the European Union. ★ for Director: CHARLES GRANT ADVISORY BOARD PERCY BARNEVIK................................................................................ Chairman, AstraZeneca CARL BILDT................................................................................ Former Swedish Prime Minister federalism? ANTONIO BORGES............................................................................... Former Dean of INSEAD NICK BUTLER (CHAIR)............................... Group Vice President for Policy Development, BP p.l.c. LORD DAHRENDORF ............ Former Warden of St Antony’s College, Oxford & EU Commissioner VERNON ELLIS..................................................................... International Chairman, Accenture JOHN GRAY........................................................................ Professor of European Thought, LSE LORD HANNAY.........................................................
  • CTCS 464: the Romantic Comedy in Classical, Postwar, and Reactionary/Revolutionary Hollywood (1929 – 1976)

    CTCS 464: the Romantic Comedy in Classical, Postwar, and Reactionary/Revolutionary Hollywood (1929 – 1976)

    CTCS 464: The Romantic Comedy In Classical, Postwar, and Reactionary/Revolutionary Hollywood (1929 – 1976) Summer 2009 (First Session) Monday & Wednesdays 1 p.m to 5:30 p.m. Norris Theater Instructor: Dr. Drew Casper The Alma and Alfred Hitchcock Professor of American Film Course Description: An in-depth analysis the myths, conventions and iconographies of the romantic comedy genre in its Classical, Postwar and Reactionary/Revolutionary periods, this course will explore its extra-cinematic determinants (major historical events, economic situations, societal issues and other popular leisure activities) and cinematic determinants (business, technology, censorship, generic patterns, major directors, the star and the star system). Finally, this course will also examine the major theoretical issues of the genre. Teaching Assistants: Kate Fortmueller ([email protected]) & David Lerner ([email protected]). Office Hours: IMS Building, 2nd Floor, Monday and Wednesday 11:30 – 12:30pm Dr. Casper’s Office Hours: 12:00 – 1:00pm, Monday and Wednesday 323 School of Cinematic Arts Building – (213) 740-3334 If you wish to see Dr. Casper during his office hours, you must make an appointment in advance by signing up on the appointment sheet at the front desk of the Critical Studies office (SCA 320). Course Requirements: I. Attendance: Prompt and regular attendance for the full class period is of extreme importance. Missing the screening of any film will seriously limit your success in the course. NOT ALL OF THE FILMS SCREENED IN CLASS ARE AVAILABLE ON VIDEOTAPE OR DVD. It is your responsibility to make up any missed screenings and to obtain detailed notes from another student.
  • Power, Gender & New Story Structures

    Power, Gender & New Story Structures

    Power, Gender & New Story Structures a 2-day workshop with Stephen Cleary VIEWING LIST: NB: Asterisked titles are not going to be looked at in detail. The Silence of the Lambs Writer: Ted Tally Based on a novel by Thomas Harris Director: Jonathan Demme https://play.google.com/store/movies/details/The_Silence_of_the_Lambs?id=ayA38BR2OTE&hl=en OR https://www.amazon.com/Silence-Lambs-Jodie- Foster/dp/B002CMV1N4/ref=sr_1_1?keywords=Silence+of+the+lambs&qid=1560731268&s=instant- video&sr=1-1 The Handmaid's Tale, series 1 Created by: Bruce Miller Based on the novel of the same name by Margaret Atwood https://www.lightbox.co.nz/series/the-handmaids-tale Orange is the New Black, series 1 Created by: Jenji Kohan Available on Netflix: https://www.netflix.com/title/70242311 Mrs Miniver - William Wyler* Screenplay: Arthur Wimperis, George Froeschel, James Hilton & Claudine West Based on the book by Jan Struther Director: William Wyler https://www.amazon.com/Mrs-Miniver-Greer-Garson/dp/B004HGM5JM Erin Brokovich Screenplay: Susannah Grant Director: Steven Soderbergh https://www.amazon.com/Erin-Brockovich-Julia-Roberts/dp/B00D5DP7KM Killing Eve - series 1 Based on the Villanelle novel series by Luke Jennings Season 1 Head writer: Phoebe Waller-Bridge https://www.tvnz.co.nz/shows/killing-eve Winter's Bone Based on a novel by Daniel Woodrell Screenplay: Debra Granik & Anne Rosellini Director: Debra Granik Amazon Prime: https://www.amazon.com/Winters-Bone-Jennifer- Lawrence/dp/B00498TQV8?ref_=nav_signin&captcha_verified=1& Babette's Feast Based on a short story by Karen Blixen Writer/Director: Gabriel Axel https://play.google.com/store/search?q=babette%27s%20feast&c=movies&hl=en I Daniel Blake Writer: Paul Laverty Directors: Ken Loach & Obiols (movement director) https://www.amazon.com/I-Daniel-Blake-Dave-Johns/dp/B074N8LV7S Ladies in Black Based on the novel by Madeleine St.
  • Hofstra University Film Library Holdings

    Hofstra University Film Library Holdings

    Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987.