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House on 92Nd Street
House on 92nd street click here to download The House on 92nd Street is a black-and-white American spy film directed by Henry Hathaway. The film, shot mainly in New York City, was released. x 39 The House on 92nd Street () William Eythe, Signe Hasso, and Lloyd Nolan in The House on 92nd Street (Lloyd Nolan in The House on. In this drama, the FBI learns of the presence of several suspicious persons in Washington DC. William Eythe is a German-American college. www.doorway.ru: The House on 92nd Street (Fox Film Noir): William Eythe, Lloyd Nolan, Signe Hasso, Gene Lockhart, Leo G. Carroll, Lydia St. Clair, William Post . Overview of The House on 92nd Street, , directed by Henry Hathaway, with William Eythe, Lloyd Nolan, Signe Hasso, at Turner Classic Movies. Fresh from wrapping the George Raft costumer Nob Hill (), Henry Hathaway was eager to get off the lot at 20th Century Fox and try something new. Created during America's ham-fisted effort at producing propaganda films during the early s era of World War II, “The House On 92nd. The great Henry Hathaway (23 Paces to Baker Street) directed this classic film noir set in New York City during World War II - The House On 92nd Street is a. The House on 92nd Street. New York Jewish Film Festival. Film. Monday, January 26, 6 – pm. Walter Reade Theater, W 65th St. A twisted. The House on 92nd Street. Twentieth-Fox, employing somewhat the technique of The March of Time has parlayed the latter with facilities and files of the FBI in. -
Hathaway Collection
Finding Aid for the Henry Hathaway Collection Collection Processed by: Yvette Casillas, 7.29.19 Finding Aid Written by: Yvette Casillas, 7.29.19 OVERVIEW OF THE COLLECTION: Origination/Creator: Hathaway, Henry Title of Collection: Henry Hathaway Collection Date of Collection: 1932 - 1970 Physical Description: 84 volumes, bound Identification: Special Collection #26 Repository: American Film Institute Louis B. Mayer Library, Los Angeles, CA RIGHTS AND RESTRICTIONS: Access Restrictions: Collection is open for research. Copyright: The copyright interest in this collection remain with the creator. For more information, contact the Louis B. Mayer Library. Acquisition Method: Donated by Henry Hathaway, circa 1975 . BIOGRAPHICAL/HISTORY NOTE: Henry Hathaway (1898 – 1985) was born Henri Leopold de Fiennes on March 13, 1889, in Sacramento, California, to actress Jean Weil and stage manager Henry Rhody. He started his career as a child film actor in 1911. In 1915 Hathaway quit school and went to work at Universal Studios as a laborer, later becoming a property man. He was recruited for service during World War I in 1917, Hathaway saw his time in the army as an opportunity to get an education. He was never deployed, contracting the flu during the 1918 influenza pandemic. After being discharged from the army in 1918, Hathaway pursued a career in financing but returned to Hollywood to work as a property man at Samuel Goldwyn Studios and Paramount Studios. By 1924 Hathaway was working as an Assistant Director at Paramount Studios, under directors such as Josef von Sternberg, Victor Fleming, Frank Lloyd, and William K. Howard. Hathaway Collection – 1 In 1932 Hathaway directed his first film HERITAGE OF THE DESERT, a western. -
John Wayne at Fox — the Westerns
JOHN WAYNE AT FOX — THE WESTERNS ohn Wayne at Fox – not a lot of films, Bernstein’s music is as iconic and big as the federate who decides to burn his plantation but some extraordinarily entertaining Duke himself. (rather than leave it to the carpetbaggers) Jones. Interestingly, John Wayne’s first and take his people to Mexico. Wayne is a credited screen appearance, The Big Trail, A year earlier, the John Wayne Fox western Union soldier trying to sell horses – the two was for Fox. The 1930 western should have was North to Alaska, a big, sprawling comedy former enemies join up and there follows made him a star – but it didn’t. Wayne toiled western starring the Duke, Stewart Granger, much excitement, drunken brawls, a romance in all kinds of films for all kinds of studios enticing Capucine, Ernie Kovacs and teen between Wayne’s adopted Indian son and and it took John Ford and his smash hit film, heartthrob Fabian. The director was Henry Hudson’s daughter, and more excitement, all Stagecoach, to make Wayne an “overnight Hathaway, a regular at Fox, who’d helmed rousingly scored by Hugo Montenegro. sensation” and box-office star. Unlike many such classics as The House on 92nd Street, of the stars of that era, Wayne wasn’t tied to Call Northside 777, Kiss of Death, Fourteen Montenegro, born in 1925, began as an or- one studio – he bounced around from studio Hours, Niagara, Prince Valiant and many chestra leader in the mid-1950s, then going to studio, maintaining his independence. He others, as well as several films with Wayne, to Time Records, where he did several great returned to Fox in 1958 not for a western but including The Shepherd of the Hills, Legend albums in the early 1960s. -
Introduction
Introduction Crime Film and the Messy City Many a commercial film or television production is a genuine achievement besides being a commodity. Germs of new beginnings may develop within a thoroughly alienated environment. —Siegfried Kracauer, Theory of Film ❧ n 1974, Vincent Canby wrote a piece for the New York Times, titled “New York Woes Are Good For Box Office,” that puzzled over the Ispate of films that had been made in the city over the last few years. What confused Canby was why so many recent films that portrayed New York so unfavorably—he cites Serpico (1973), The Super Cops (1974), Law and Disorder (1974), Mean Streets (1973), Death Wish (1974), For Pete’s Sake (1974), and The Taking of Pelham One Two Three (1974)—were seemingly so popular: New York is a mess, say these films. It’s run by fools. Its citi- zens are at the mercy of its criminals who, as often as not, are protected by an unholy alliance of civil libertarians and crooked cops. The air is foul. The traffic is impossible. Services are diminishing and the morale is such that ordering a cup of coffee in a diner can turn into a request for a fat lip. (1) 1 © 2018 State University of New York Press, Albany 2 Welcome to Fear City Pointing out that New York has been a mess for much of its history, Canby was less fretful about the negative portrayal of the city in these films than curious as to why, at this moment, the mess of the city had become a subject of interest. -
Sound Evidence: an Archaeology of Audio Recording and Surveillance in Popular Film and Media
Sound Evidence: An Archaeology of Audio Recording and Surveillance in Popular Film and Media by Dimitrios Pavlounis A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Screen Arts and Cultures) in the University of Michigan 2016 Doctoral Committee: Associate Professor Sheila C. Murphy, Chair Emeritus Professor Richard Abel Professor Lisa Ann Nakamura Associate Professor Aswin Punathambekar Professor Gerald Patrick Scannell © Dimitrios Pavlounis 2016 For My Parents ii ACKNOWLEDGMENTS My introduction to media studies took place over ten years ago at McGill University where Ned Schantz, Derek Nystrom, and Alanna Thain taught me to see the world differently. Their passionate teaching drew me to the discipline, and their continued generosity and support made me want to pursue graduate studies. I am also grateful to Kavi Abraham, Asif Yusuf, Chris Martin, Mike Shortt, Karishma Lall, Amanda Tripp, Islay Campbell, and Lees Nickerson for all of the good times we had then and have had since. Thanks also to my cousins Tasi and Joe for keeping me fed and laughing in Montreal. At the University of Toronto, my entire M.A. cohort created a sense of community that I have tried to bring with me to Michigan. Learning to be a graduate student shouldn’t have been so much fun. I am especially thankful to Rob King, Nic Sammond, and Corinn Columpar for being exemplary scholars and teachers. Never have I learned so much in a year. To give everyone at the University of Michigan who contributed in a meaningful way to the production of this dissertation proper acknowledgment would mean to write another dissertation-length document. -
Notes on Film Noir Author(S): Paul Schrader Source: Film Comment, Vol
notes on film noir Author(s): Paul Schrader Source: Film Comment, Vol. 8, No. 1 (SPRING 1972), pp. 8-13 Published by: Film Society of Lincoln Center Stable URL: http://www.jstor.org/stable/43752885 Accessed: 16-02-2018 15:07 UTC 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]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Film Society of Lincoln Center is collaborating with JSTOR to digitize, preserve and extend access to Film Comment This content downloaded from 160.39.38.192 on Fri, 16 Feb 2018 15:07:58 UTC All use subject to http://about.jstor.org/terms Paul Schräder is editor of Cinema (Los Angeles) and medium cool seems naive and romantic. As and author of Transcendental Style on Film, soon the current polical mood hardens, filmgoers and to be published by University of California Press. filmmakers will find the film noir of the late Forties This article originated as program notes for a series increasingly attractive. The Forties may be to the of seven film noir, screened as part of the first Los Seventies what the Thirties were to the Sixties. Angeles International Film Exposition , November Film noir is equally interesting to critics. It offers 1971. -
What Is “Noir”? 8 the Perfect Crime 32 the Fatalistic Nightmare 48 The
What is “Noir”? 8 The Perfect Crime 32 The Caper Film 74 Docu-noir 96 Introduction Double Indemnity / Human Desire / Armored Car Robbery / The Asphalt Jungle / Call Northside 777 / Crossfire / Dragnet / The Lady from Shanghai / The Postman The Burglar / Criss Cross / Drive a Crooked Follow Me Quietly / He Walked by Night / Always Rings Twice Road / The File on Thelma Jordon / Framed / The House on 92nd Street / The Lawless / Gun Crazy / House of Bamboo / Kansas The Naked City / Obsession / The Phenix City Confidential / The Killers / The Killing / City Story / The Postman Always Rings Odds Against Tomorrow / Phantom Lady / Twice / Raw Deal / Side Street / Thieves’ Plunder Road / Rififi / White Heat Highway / T-Men The Fatalistic Nightmare 48 The Burden of the Past 60 Love on the Run 116 Male Violence 130 Bluebeard / The Chase / Detour / D. O. A. / Cornered / Cry Vengeance / The Dark Corner / The Big Combo / Fury / Gun Crazy / My Name A Double Life / A Kiss before Dying / The Big Fourteen Hours / Night and the City / Phantom The Fallen Sparrow / I Married a Communist / Is Julia Ross / Shockproof / They Live by Night / Heat / The Blue Dahlia / Broadway / Brute Force / Lady / Pitfall / Ruthless / Side Street / Scarlet The Killers / Laura / Out of the Past / Secret Tomorrow Is Another Day / The Undercover Hangover Square / High Sierra / House by the Street / The Strange Woman Beyond the Door / Spellbound / Tomorrow Man / Where Danger ives / You Only Live Once River / In a Lonely Place / Kiss Me Deadly / Is Forever The Lineup / Moonrise / -
Post-War America, the Hollywood Left and the Problem with Film Noir
Re-examining the Maladjusted Text: Post-war America, the Hollywood Left and the Problem with Film Noir Robert John Manning PhD Thesis University of East Anglia School of Film, Television and Media Studies October 2015 “This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution.” Re-examining the Maladjusted Text: Post-war America, the Hollywood Left and the Problem with Film Noir Film noir is a term created after fact and applied back to films from a previous period and studies have often conflated very different films and privileged some facets over others in an endeavour to structure a definition. Some scholars have identified that a relatively small group of films came to be seen by the Hollywood Left as highly significant; and that their discussions of these films were the products of deeper anxieties faced by this group in the immediate post-war period. Subsequent conclusions were made that the Hollywood Left was opposed to this generalised categorisation similar to contemporary understandings of film noir. The thesis examines those films now considered as film noir in their original contexts. Studying the reception of films generally considered to be representative of contemporary understandings of film noir, such as Boomerang (Elia Kazan, 1947) The Big Sleep (Howard Hawks, 1946) and Crossfire (Edward Dmytryk, 1947) shows how they were parts of very different cycles at the time and not seen critically as a homogeneous group. -
Churches Derstood to Be Spirit, While Ths Op and Preparing the Courae and in Loner C3ub Will Be Held in St
\ ‘9 m iD A T , SEPTEIdBER 10, 1948 rA(JE FOURTEEil' wary CHENEY i r : iSIanr^pBt^r lEorttfng Ifm ilb The W oh tlM r Aw enf Dolljr Net Preoe Ron ] e f tJ. B. Weotho Fer Hw Meath ef Aogiml 194B H' Group A of Center church wom has set the datlT of Saturday. Sep Partly dee tember 18, for a food eale at nine en, Mrs. Abbot Chase, leader, will •eel teoight: About Town have a box supper, Wednesday, o'clock m Hale’s store, with Miss 9,243 September 15, at elx o’clock on OUve Irons and Mrs. W. U Ysrks e f the AadM lEupnittg H h rw feir aa In charge. ’ K !"3 Cevid Lodge o f Odd Fel* the west lawn at the church. Ice cream and punch will bo provided lows wUl pl»y eoftbell •geJnet On Sept. 20 the Klwanla Mancheeter^A City of Village Charm Owsbstuck Lodge of WlUlmanUc' by the refreshment comnuttee, of which Mrs. WHHam Oralf la chair will have a Round Table meeting * '• i W ct South WInrthsw. Sunday at two at noon and on the same day wrlH man. If the weather is unfavor AdrerllMag ao Page 14) MANCHESTER, CONN., SATURDAY, SEPTEMBER 11, 1948 (SIXTEEN PAGES) PRICE POUR CENTS 2i o’clock. All players and members able the supper will be served In hold a corn rqast at "Tom” Bent ^ Vi VOL. LXVIL, NO. 291 Pi are requested to attend and to the parish house and a busineas ley’s. The roast will start at about t ^ meet at Coach Joseph Hublard’a meeting wlU follow. -
Download Current Schedule
IN A LONELY PLACE | 1950 july 5, 2008 FROM THE Director: Nicholas Ray “I make it a point never to see the pictures I write.” Humphrey BOOTH Bogart, for once playing a character with a name worthy of There’s a lot of change afoot as his visage: Dixon Steele, a disgruntled screenwriter who we embark on our 36th year. First speaks exclusively in quips so eloquently constructed yet is obvious: we’re now the Bank of effortlessly caustic that one yearns to read his screenplays. Despite only having recently become a part of it, Nicholas from the booth America Cinema. Although the packaging is different, we haven’t Ray poured an ocean of rage at the Hollywood system into his fourth film as a director—the first scene alone contains changed the recipe, and we’re more vitriol than a dozen viewings of The Player. Adding to still dedicated to showing the the pathos is Ray’s casting of his soon to be ex-wife Gloria finest films classic Hollywood has Grahame as the love interest, which might account for the to offer. Second, after five years most cynical meet-cute in screen history with Bogart as a of programming and projecting, murder suspect and Grahame his alibi. Often pigeonholed Michael King is leaving us for as noir, thanks in no small part to the crackling script and a new job, so say hello to Kyle Bogart’s erratic, electric performance, In a Lonely Place is Westphal and Becca Hall, the the kind of film you could quote all day, and its conflicted takes on domesticity (a subject Ray new faces behind the counter exploded in Bigger Than Life) and Hollywood are illustrated in a couple of early exchanges: Q: “Don’t you like to talk anymore?” A: “Not to people who have my number,” and “There and up in the booth. -
Interpol Calling!
Freeview 81 Film Club Sky 328 newsletter Freesat 306 MARCH/APRIL 2021 Virgin 445 You can always call us V 0808 178 8212 Or 01923 290555 Dear Supporters of Film and TV History, Well, ‘Saturday Morning Pictures’ are back, and it seems so many of you have been enjoying the revival of these memories. It’s been fascinating reading your snippets of what ‘Saturday Morning Pictures’ has meant to you. We are working hard behind the scenes as always and I am pleased to say that Champion The Wonder Horse is on its way, plus more Children’s Film Foundation films, with a very young Melvyn Hayes and an even younger Frazer Hines. Who spotted a young Michael Crawford in shorts? This month we bring you a brilliant new box set – following on from the success of Music Hall & Variety Act Memories Volume One, here’s Volume Two, which includes my fascinating insight into life behind the doors of The Windmill Theatre, along with Top of the Bill with Davy Kaye and Sally Barnes – a real treat for Music Hall fans. Also included is the long-awaited release of the rare filmMurder at the Windmill, once thought lost, which features Garry Marsh, Jon Pertwee, Jack Livesey and Jimmy Edwards. Other performers featured in the collection include Max Bygraves, The Beverley Sisters, Dora Bryan, Frank Randle, Robert Morley, Roy Hudd, Roy Castle, Norman Wisdom and Max Wall, plus much more, all with optional subtitles, see pages 2-3. There’s also some very special limited £10 offers this month and if you haven’t yet got hold of Music Hall Volume 1, a special deal is on page 4. -
MOVIES! TV Network
Schedule for 9/27/21 to 10/3/21 (Central Time) MONDAY 9/27/21 TIME TITLE GENRE 5:00am Pony Soldier (1952) Western A green mountain policeman goes on a mission to save two hostages from Indians. Featuring: Tyrone Power, Cameron Mitchell 6:45am Edge of Eternity (1959) Crime A trio of mysterious and brutal murders lead an Arizona sheriff and his girlfriend into the middle of a gold smuggling operation. Featuring: Cornel Wilde, Victoria Shaw 8:30am Little Caesar (1930) Crime A small time criminal sets his sights on the big city and all that he can become. Featuring: Edward G. Robinson, Douglas Fairbanks Jr. 10:10am A Big Hand for the Little Lady (1966) Western A pioneer woman replaces her ailing husband in a poker game after he loses most of their money. Featuring: Henry Fonda, Joanne Woodward 12:20pm The Culpepper Cattle Co. (1972) Western Young farmboy who always wanted to be a cowhand talks a tough trail boss into hiring him on a cattle drive. Featuring: Gary Grimes, Billy Green Bush 2:20pm Rudy (1993) Drama A young man dreams of playing football for Notre Dame, despite everything that holds him back in his small town. Featuring: Sean Astin, Jon Favreau 4:50pm Major League (1989) Comedy The new owner of the Cleveland Indians puts together a purposely horrible team so they'll lose and she can move the team. But when the plot is uncovered, they start winning just to spite her. Featuring: Tom Berenger, Charlie Sheen 7:00pm Clash of the Titans (1981) Adventure When Zeus' mortal son falls in love, the other gods create obstacles that he must overcome.