"Sounds Like a Spy Story": the Espionage Thrillers of Alfred
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Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
TPTV Schedule Dec 10Th - 16Th 2018
TPTV Schedule Dec 10th - 16th 2018 DATE TIME PROGRAMME SYNOPSIS Mon 10 6:00 The Case of 1949. Drama. Made at Merton Park Studios, based on a true story, Dec 18 Charles Peace directed by Norman Lee. The film recounts the exploits through the trial of Charles Peace. Starring Michael Martin-Harvey. Mon 10 7:45 Stagecoach West A Place of Still Waters. Western with Wayne Rogers & Robert Bray, who Dec 18 run a stagecoach line in the Old West where they come across a wide variety of killers, robbers and ladies in distress. Mon 10 8:45 Glad Tidings 1953. Drama. Colonel's adult children object to him marrying an Dec 18 American widow. Starring Barbara Kelly and Raymond Huntley. Mon 10 10:05 Sleeping Car To 1948. Drama. Director: John Paddy Carstairs. Stars Jean Kent, Bonar Dec 18 Trieste Colleano, Albert Lieven & David Tomlinson. Agents break into an embassy in Paris to steal a diary filled with political secrets. Mon 10 11:55 Hell in the Pacific 1968. Adventure. Directed by John Boorman and starring Lee Marvin Dec 18 and Toshiro Mifune. During World War II, an American pilot and a Japanese navy captain are deserted on an island in the Pacific Ocean Mon 10 14:00 A Family At War 1971. Clash By Night. Created by John Finch. Stars John McKelvey & Dec 18 Keith Drinkel. A still-blind Phillip encounters an old enemy who once shot one of his comrades in the Spanish Civil War. (S2, E16) Mon 10 15:00 Windom's Way 1957. Drama. Directed by Ronald Neame. -
LYNNE MACEDO Auteur and Author: a Comparison of the Works of Alfred Hitchcock and VS Naipaul
EnterText 1.3 LYNNE MACEDO Auteur and Author: A Comparison of the Works of Alfred Hitchcock and V. S. Naipaul At first glance, the subjects under scrutiny may appear to have little in common with each other. A great deal has been written separately about the works of both Alfred Hitchcock and V. S. Naipaul, but the objective of this article is to show how numerous parallels can be drawn between many of the recurrent ideas and issues that occur within their respective works. Whilst Naipaul refers to the cinema in many of his novels and short stories, his most sustained usage of the filmic medium is to be found in the 1971 work In a Free State. In this particular book, the films to which Naipaul makes repeated, explicit reference are primarily those of the film director Alfred Hitchcock. Furthermore, a detailed textual analysis shows that similarities exist between the thematic preoccupations that have informed the output of both men throughout much of their lengthy careers. As this article will demonstrate, the decision to contrast the works of these two men has, therefore, been far from arbitrary. Naipaul’s attraction to the world of cinema can be traced back to his childhood in Trinidad, an island where Hollywood films remained the predominant viewing fare throughout most of his formative years.1 The writer’s own comments in the “Trinidad” section of The Middle Passage bear this out: “Nearly all the films shown, apart from those in the first-run cinemas, are American and old. Favourites were shown again and Lynne Macedo: Alfred Hitchcock and V. -
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. -
Silent Films of Alfred Hitchcock
The Hitchcock 9 Silent Films of Alfred Hitchcock Justin Mckinney Presented at the National Gallery of Art The Lodger (British Film Institute) and the American Film Institute Silver Theatre Alfred Hitchcock’s work in the British film industry during the silent film era has generally been overshadowed by his numerous Hollywood triumphs including Psycho (1960), Vertigo (1958), and Rebecca (1940). Part of the reason for the critical and public neglect of Hitchcock’s earliest works has been the generally poor quality of the surviving materials for these early films, ranging from Hitchcock’s directorial debut, The Pleasure Garden (1925), to his final silent film, Blackmail (1929). Due in part to the passage of over eighty years, and to the deterioration and frequent copying and duplication of prints, much of the surviving footage for these films has become damaged and offers only a dismal representation of what 1920s filmgoers would have experienced. In 2010, the British Film Institute (BFI) and the National Film Archive launched a unique restoration campaign called “Rescue the Hitchcock 9” that aimed to preserve and restore Hitchcock’s nine surviving silent films — The Pleasure Garden (1925), The Lodger (1926), Downhill (1927), Easy Virtue (1927), The Ring (1927), Champagne (1928), The Farmer’s Wife (1928), The Manxman (1929), and Blackmail (1929) — to their former glory (sadly The Mountain Eagle of 1926 remains lost). The BFI called on the general public to donate money to fund the restoration project, which, at a projected cost of £2 million, would be the largest restoration project ever conducted by the organization. Thanks to public support and a $275,000 dona- tion from Martin Scorsese’s The Film Foundation in conjunction with The Hollywood Foreign Press Association, the project was completed in 2012 to coincide with the London Olympics and Cultural Olympiad. -
The Representation of Reality and Fantasy in the Films of Powell and Pressburger: 1939-1946
The Representation of Reality and Fantasy In the Films of Powell and Pressburger 1939-1946 Valerie Wilson University College London PhD May 2001 ProQuest Number: U642581 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642581 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Representation of Reality and Fantasy In the Films of Powell and Pressburger: 1939-1946 This thesis will examine the films planned or made by Powell and Pressburger in this period, with these aims: to demonstrate the way the contemporary realities of wartime Britain (political, social, cultural, economic) are represented in these films, and how the realities of British history (together with information supplied by the Ministry of Information and other government ministries) form the basis of much of their propaganda. to chart the changes in the stylistic combination of realism, naturalism, expressionism and surrealism, to show that all of these films are neither purely realist nor seamless products of artifice but carefully constructed narratives which use fantasy genres (spy stories, rural myths, futuristic utopias, dreams and hallucinations) to convey their message. -
Hitchcock's Appetites
McKittrick, Casey. "The pleasures and pangs of Hitchcockian consumption." Hitchcock’s Appetites: The corpulent plots of desire and dread. New York: Bloomsbury Academic, 2016. 65–99. Bloomsbury Collections. Web. 28 Sep. 2021. <http:// dx.doi.org/10.5040/9781501311642.0007>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 28 September 2021, 16:41 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. 3 The pleasures and pangs of Hitchcockian consumption People say, “ Why don ’ t you make more costume pictures? ” Nobody in a costume picture ever goes to the toilet. That means, it ’ s not possible to get any detail into it. People say, “ Why don ’ t you make a western? ” My answer is, I don ’ t know how much a loaf of bread costs in a western. I ’ ve never seen anybody buy chaps or being measured or buying a 10 gallon hat. This is sometimes where the drama comes from for me. 1 y 1942, Hitchcock had acquired his legendary moniker the “ Master of BSuspense. ” The nickname proved more accurate and durable than the title David O. Selznick had tried to confer on him— “ the Master of Melodrama ” — a year earlier, after Rebecca ’ s release. In a fi fty-four-feature career, he deviated only occasionally from his tried and true suspense fi lm, with the exceptions of his early British assignments, the horror fi lms Psycho and The Birds , the splendid, darkly comic The Trouble with Harry , and the romantic comedy Mr. -
Publisher's Note
Adam Matthew Publications is an imprint of Adam Matthew Digital Ltd, Pelham House, London Road, Marlborough, Wiltshire, SN8 2AG, ENGLAND Telephone: +44 (1672) 511921 Fax: +44 (1672) 511663 Email: [email protected] POPULAR NEWSPAPERS DURING WORLD WAR II Parts 1 to 5: 1939-1945 (The Daily Express, The Mirror, The News of The World, The People and The Sunday Express) Publisher's Note This microfilm publication makes available complete runs the Daily Express, The Daily Mirror, the News of the World, The People, and the Sunday Express for the years 1939 through to 1945. The project is organised in five parts and covers the newspapers in chronological sequence. Part 1 provides full coverage for 1939; Part 2: 1940; Part 3: 1941; Part 4: 1942-1943; and finally, Part 5 covers 1944-1945. At last social historians and students of journalism can consult complete war-time runs of Britain’s popular newspapers in their libraries. Less august than the papers of record, it is these papers which reveal most about the impact of the war on the home front, the way in which people amused themselves in the face of adversity, and the way in which public morale was kept high through a mixture of propaganda and judicious reporting. Most importantly, it is through these papers that we can see how most ordinary people received news of the war. For, with a combined circulation of over 23 million by 1948, and a secondary readership far in excess of these figures, the News of the World, The People, the Daily Express, The Daily Mirror, and the Sunday Express reached into the homes of the majority of the British public and played a critical role in shaping public perceptions of the war. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter. -
Basil Radford Филм ÑÐ ¿Ð¸ÑÑ ŠÐº (ФилмографиÑ)
Basil Radford Филм ÑÐ ¿Ð¸ÑÑ ŠÐº (ФилмографиÑ) Secret Journey https://bg.listvote.com/lists/film/movies/secret-journey-7444031/actors Girl in the News https://bg.listvote.com/lists/film/movies/girl-in-the-news-5564481/actors Dead of Night https://bg.listvote.com/lists/film/movies/dead-of-night-2298679/actors Jump for Glory https://bg.listvote.com/lists/film/movies/jump-for-glory-6311163/actors Young and https://bg.listvote.com/lists/film/movies/young-and-innocent-498983/actors Innocent There Goes the https://bg.listvote.com/lists/film/movies/there-goes-the-bride-7782716/actors Bride Millions Like Us https://bg.listvote.com/lists/film/movies/millions-like-us-2947152/actors Crook's Tour https://bg.listvote.com/lists/film/movies/crook%27s-tour-5187757/actors The Galloping https://bg.listvote.com/lists/film/movies/the-galloping-major-7735650/actors Major Quartet https://bg.listvote.com/lists/film/movies/quartet-7269336/actors Passport to Pimlico https://bg.listvote.com/lists/film/movies/passport-to-pimlico-884686/actors Unpublished Story https://bg.listvote.com/lists/film/movies/unpublished-story-7897319/actors The Winslow Boy https://bg.listvote.com/lists/film/movies/the-winslow-boy-1193290/actors Chance of a https://bg.listvote.com/lists/film/movies/chance-of-a-lifetime-5070753/actors Lifetime It's Not Cricket https://bg.listvote.com/lists/film/movies/it%27s-not-cricket-6090430/actors Whisky Galore! https://bg.listvote.com/lists/film/movies/whisky-galore%21-1455926/actors The Captive Heart https://bg.listvote.com/lists/film/movies/the-captive-heart-2349553/actors -
La Mort Aux Trousses
LA MORT AUX TROUSSES North by northwest DE ALFRED HITCHCOCK FICHE TECHNIQUE lm fi USA - 1959 - 2h16 Réalisateur : che fi Alfred Hitchcock Scénario : Ernest Lehmann Montage : George Tomasini Photo : Robert Burks Musique : Bernard Herrmann Interprètes : Roger Thornhill, pris pour un espion dénommé Kaplan, est Cary Grant enlevé par deux hommes qui essaient de le tuer. Thornhill se rend au palais des Nations-Unies pour retrouver (Roger Thornhill) SYNOPSIS Townsend, qu’il croit être un de ses ravisseurs. Townsend Eva-Marie Saint est assassiné et Thornhill, pris pour le meurtrier, se sauve (Eve Kendall) à Chicago par le train. Pendant le voyage, il est séduit par James Mason Eve Kendall, qui l’aide à se cacher. Thornhill obtient un (Philip Vandamm) rendez-vous avec Kaplan dans un champ désert. Jessie Royce Landis CRITIQUE (Clara Thornhill) Leo G. Carroll Considéré par Hitchcock comme un “divertissement très amusant”, La mort aux trousses naît d’abord du désir du (Le «professeur») cinéaste de tourner une séquence sur le mont Rushmore, Philip Ober dans le Dakota du Sud (célèbre pour les figures géantes (Lester Townsend) des présidents américains sculptées à même la roche). A Josephine Hutchinson l’origine, Hitchcock voulait intituler son film, “L’Homme sur le nez de Lincoln”. Dès la première ébauche du scéna- (Mrs. Townsend) rio, le rôle est prévu pour James Stewart. Mais au fur et à Martin Landau mesure que se dessine le personnage, Hitchcock réalise (Leonard) que Cary Grant correspond mieux au personnage de Roger 1 Thornhill, personnage cynique, lant que «le réalisateur garde le contre, Thornhill ne peut qu’en- égoïste et puéril. -
Simply-Hitchcock-1587911892. Print
Simply Hitchcock Simply Hitchcock DAVID STERRITT SIMPLY CHARLY NEW YORK Copyright © 2017 by David Sterritt Cover Illustration by Vladymyr Lukash Cover Design by Scarlett Rugers All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher at the address below. [email protected] ISBN: 978-1-943657-17-9 Brought to you by http://simplycharly.com Dedicated to Mikita, Jeremy and Tanya, Craig and Kim, and Oliver, of course Contents Praise for Simply Hitchcock ix Other Great Lives xiii Series Editor's Foreword xiv Preface xv Acknowledgements xix 1. Hitch 1 2. Silents Are Golden 21 3. Talkies, Theatricality, and the Low Ebb 37 4. The Classic Thriller Sextet 49 5. Hollywood 61 6. The Fabulous 1950s 96 7. From Psycho to Family Plot 123 8. Epilogue 145 End Notes 147 Suggested Reading 164 About the Author 167 A Word from the Publisher 168 Praise for Simply Hitchcock “With his customary style and brilliance, David Sterritt neatly unpacks Hitchcock’s long career with a sympathetic but sharply observant eye. As one of the cinema’s most perceptive critics, Sterritt is uniquely qualified to write this concise and compact volume, which is the best quick overview of Hitchcock’s work to date—written with both the cineaste and the general reader in mind.