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A Foreign Affair (1948)
Chapter 3 IN THE RUINS OF BERLIN: A FOREIGN AFFAIR (1948) “We wondered where we should go now that the war was over. None of us—I mean the émigrés—really knew where we stood. Should we go home? Where was home?” —Billy Wilder1 Sightseeing in Berlin Early into A Foreign Affair, the delegates of the US Congress in Berlin on a fact-fi nding mission are treated to a tour of the city by Colonel Plummer (Millard Mitchell). In an open sedan, the Colonel takes them by landmarks such as the Brandenburg Gate, the Reichstag, Pariser Platz, Unter den Lin- den, and the Tiergarten. While documentary footage of heavily damaged buildings rolls by in rear-projection, the Colonel explains to the visitors— and the viewers—what they are seeing, combining brief factual accounts with his own ironic commentary about the ruins. Thus, a pile of rubble is identifi ed as the Adlon Hotel, “just after the 8th Air Force checked in for the weekend, “ while the Reich’s Chancellery is labeled Hitler’s “duplex.” “As it turned out,” Plummer explains, “one part got to be a great big pad- ded cell, and the other a mortuary. Underneath it is a concrete basement. That’s where he married Eva Braun and that’s where they killed them- selves. A lot of people say it was the perfect honeymoon. And there’s the balcony where he promised that his Reich would last a thousand years— that’s the one that broke the bookies’ hearts.” On a narrative level, the sequence is marked by factual snippets infused with the snide remarks of victorious Army personnel, making the fi lm waver between an educational program, an overwrought history lesson, and a comedy of very dark humor. -
The Only Defense Is Excess: Translating and Surpassing Hollywood’S Conventions to Establish a Relevant Mexican Cinema”*
ANAGRAMAS - UNIVERSIDAD DE MEDELLIN “The Only Defense is Excess: Translating and Surpassing Hollywood’s Conventions to Establish a Relevant Mexican Cinema”* Paula Barreiro Posada** Recibido: 27 de enero de 2011 Aprobado: 4 de marzo de 2011 Abstract Mexico is one of the countries which has adapted American cinematographic genres with success and productivity. This country has seen in Hollywood an effective structure for approaching the audience. With the purpose of approaching national and international audiences, Meximo has not only adopted some of Hollywood cinematographic genres, but it has also combined them with Mexican genres such as “Cabaretera” in order to reflect its social context and national identity. The Melodrama and the Film Noir were two of the Hollywood genres which exercised a stronger influence on the Golden Age of Mexican Cinema. Influence of these genres is specifically evident in style and narrative of the film Aventurera (1949). This film shows the links between Hollywood and Mexican cinema, displaying how some Hollywood conventions were translated and reformed in order to create its own Mexican Cinema. Most countries intending to create their own cinema have to face Hollywood influence. This industry has always been seen as a leading industry in technology, innovation, and economic capacity, and as the Nemesis of local cinema. This case study on Aventurera shows that Mexican cinema reached progress until exceeding conventions of cinematographic genres taken from Hollywood, creating stories which went beyond the local interest. Key words: cinematographic genres, melodrama, film noir, Mexican cinema, cabaretera. * La presente investigación fue desarrollada como tesis de grado para la maestría en Media Arts que completé en el 2010 en la Universidad de Arizona, Estados Unidos. -
Heidegger, the Uncanny, and Jacques Tourneur's Horror Films
Heidegger, the Uncanny, and Jacques Tourneur’s Horror Films Curtis Bowman Most horror films are not very horrifying, and many of them are not especially frightening. This is true, of course, of the bad or mediocre productions that populate the genre. Since the failure rate among horror films is very high, it should come as no surprise that we frequently remain unmoved by what we see on the screen. But if we are honest about our reactions, then we must admit that even some of the classics neither horrify nor frighten us. They must have acquired their classic status by moving us in some significant way, but how they managed to do so is not always obvious. We need an explanation of the fact that some of the most successful horror films fail to move us as the genre seems to dictate they should. After all, we typically think that horror films are supposed to horrify and, by implication, to frighten us.1 Excessive familiarity with some films tends to deaden our response. However much we might admire the original Frankenstein (1931), it is difficult for us to be horrified or frightened by it any longer. We respond favorably to the production values, director James Whale’s magnificent visual sense, Boris Karloff’s performance as the monster, and so forth. The film no longer horrifies or frightens us, yet we still consider it a successful horror movie, and thus not merely of historical interest for fans and admirers of the genre. We can still be moved by it in ways that depend on its possessing the features that we expect to find in a horror film. -
The Field Guide to Sponsored Films
THE FIELD GUIDE TO SPONSORED FILMS by Rick Prelinger National Film Preservation Foundation San Francisco, California Rick Prelinger is the founder of the Prelinger Archives, a collection of 51,000 advertising, educational, industrial, and amateur films that was acquired by the Library of Congress in 2002. He has partnered with the Internet Archive (www.archive.org) to make 2,000 films from his collection available online and worked with the Voyager Company to produce 14 laser discs and CD-ROMs of films drawn from his collection, including Ephemeral Films, the series Our Secret Century, and Call It Home: The House That Private Enterprise Built. In 2004, Rick and Megan Shaw Prelinger established the Prelinger Library in San Francisco. National Film Preservation Foundation 870 Market Street, Suite 1113 San Francisco, CA 94102 © 2006 by the National Film Preservation Foundation Library of Congress Cataloging-in-Publication Data Prelinger, Rick, 1953– The field guide to sponsored films / Rick Prelinger. p. cm. Includes index. ISBN 0-9747099-3-X (alk. paper) 1. Industrial films—Catalogs. 2. Business—Film catalogs. 3. Motion pictures in adver- tising. 4. Business in motion pictures. I. Title. HF1007.P863 2006 011´.372—dc22 2006029038 CIP This publication was made possible through a grant from The Andrew W. Mellon Foundation. It may be downloaded as a PDF file from the National Film Preservation Foundation Web site: www.filmpreservation.org. Photo credits Cover and title page (from left): Admiral Cigarette (1897), courtesy of Library of Congress; Now You’re Talking (1927), courtesy of Library of Congress; Highlights and Shadows (1938), courtesy of George Eastman House. -
"Those Things" and "You People" : Issues Of
d “THOSE THINGS” AND “YOU PEOPLE” Issues of Racism in Zombie Cinema Kyle Allkins Judith Halberstam claims that “it would be very difficult in a horror film to show and punish racism simultaneously,” but this essay contends that zombie films show racism through their representation of African American characters and the ways zombies function as racial “others” who exemplify the nonnormative and inhuman (Skin Shows 4). Zombie films also link the colonized racial “other” to the colonized white female in interesting ways. The extermination of zombies in cinema represents racism, racial profiling, racial violence, and racial selfhatred and links racism with sexism. At times, zombie cin ema may also punish the culturally normative “we or us” for seeking violence against the racialized or feminized “them.” Cinematic zombies evoke fear in part because zombies can be anyone. Spouse, sibling, coworker, friend, priest, cop, Mayor, President, girl next door—anyone in a zombie film can be altered and “turned” in no time at all. Those that haven’t been turned are slowly being outnumbered, becoming the mi nority, becoming nonnormative themselves. Audiences have eagerly consumed films about zombies since their first appear ance in White Zombie, a 1932 horror film starring Bela Legosi. 112 Subsequent zombie films such as Jacques Tourneur’s 1943 I Walked with A Zombie, George A. Romero’s 1968 cult classic Night of the Living Dead, and even Wes Craven’s 1988 The Serpent and the Rainbow, continued to shape the genre by adding unique elements. The website http://en.wikipedia.org/wiki/ List_of_zombie_films lists the dozens of zombie films made in America and abroad over the last eight decades and attests to the genre’s continuing popularity. -
Like Someone in Love
1 MK2 & Eurospace present A film by Abbas Kiarostami INTERNATIONAL PRESS INTERNATIONAL SALES Vanessa Jerrom & Claire Vorger MK2 11 rue du Marché Saint-Honoré - 75001 Paris (France) 55 rue Traversière - 75012 Paris (France) Email: [email protected] Juliette Schrameck - [email protected] Cell: +33 6 14 83 88 82 (Vanessa Jerrom) Dorothée Pfistner - [email protected] Cell: +33 6 20 10 40 56 (Claire Vorger) Victoire Thevenin - [email protected] In Cannes : Five Hotel 1 rue Notre-Dame - 06400 Cannes France Photos and presskit can be downloaded on www.mk2pro.com 2 3 synopsis An old man and a young woman meet in Tokyo. She knows nothing about him, he thinks he knows her. He welcomes her into his home, she offers him her body. But the web that is woven between them in the space of twenty-four hours bears no relation to the circumstances of their encounter. 4 5 new awakening Without doubt, there was an underlying sense of gnawing depravity that surfaced in Certified Copy and took me by surprise. I was sure that I already had a good understanding of the work of this film-maker that I have been lucky enough to come across so often in the past 25 years. So I was not expecting his latest film to outstrip the already high opinion I have of his work. Some people like to feel that they can describe and pigeonhole his films as ‘pseudo-simplistic modernism’. But Abbas’ films have never failed to surprise and now here, not for the first time, is a new wake-up call, for me, and I am sure many others. -
Red and White on the Silver Screen: the Shifting Meaning and Use of American Indians in Hollywood Films from the 1930S to the 1970S
RED AND WHITE ON THE SILVER SCREEN: THE SHIFTING MEANING AND USE OF AMERICAN INDIANS IN HOLLYWOOD FILMS FROM THE 1930s TO THE 1970s a dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Bryan W. Kvet May, 2016 (c) Copyright All rights reserved Except for previously published materials Dissertation Written by Bryan W. Kvet B.A., Grove City College, 1994 M.A., Kent State University, 1998 Ph.D., Kent State University, 2015 Approved by ___Kenneth Bindas_______________, Chair, Doctoral Dissertation Committee Dr. Kenneth Bindas ___Clarence Wunderlin ___________, Members, Doctoral Dissertation Committee Dr. Clarence Wunderlin ___James Seelye_________________, Dr. James Seelye ___Bob Batchelor________________, Dr. Bob Batchelor ___Paul Haridakis________________, Dr. Paul Haridakis Accepted by ___Kenneth Bindas_______________, Chair, Department of History Dr. Kenneth Bindas ___James L. Blank________________, Dean, College of Arts and Sciences Dr. James L. Blank TABLE OF CONTENTS…………………………………………………………………iv LIST OF FIGURES………………………………………………………………………v ACKNOWLEDGEMENTS……………………………………………………………...vii CHAPTERS Introduction………………………………………………………………………1 Part I: 1930 - 1945 1. "You Haven't Seen Any Indians Yet:" Hollywood's Bloodthirsty Savages……………………………………….26 2. "Don't You Realize this Is a New Empire?" Hollywood's Noble Savages……………………………………………...72 Epilogue for Part I………………………………………………………………..121 Part II: 1945 - 1960 3. "Small Warrior Should Have Father:" The Cold War Family in American Indian Films………………………...136 4. "In a Hundred Years it Might've Worked:" American Indian Films and Civil Rights………………………………....185 Epilogue for Part II……………………………………………………………….244 Part III, 1960 - 1970 5. "If Things Keep Trying to Live, the White Man Will Rub Them Out:" The American Indian Film and the Counterculture………………………260 6. -
Stars in My Crown 1950, AEB
Stars in my Crown 1950, AEB par Amerikako B serieko zinemak ezusteko atseginak gorde izan ditu beti, Iplazer indartsu baina gertagaitzak nahiago izan dituztenentzat, lehenik Ho- llywoodeko goren urteetan estudio handiek eta gero komunikazioko konglo- : Jacques Tourneur; : Margaret Z G meratu erraldoien garapena gaur egun kontrolatzen duten talde ekonomikoek Fitts, Joe David Brown (Eleberria: prestatutako ekoizpen estandarizatuko ohiko zapore komunak baino. Joe David Brown); Pr: Metro- B serie zinematografikoan (memoriagatik: film oso merkeak, ordubete eta Goldwyn-Mayer (MGM); A: Charles gutxi irauten dutenak, Star System deritzoneko lehen lerroko aktoreak ez di- Edgar Schoenbaum; M: Adolph tuztenak, hamabost egun eskasean filmatuak eta nabarmenki “generokoak” Deutsch; A: Joel McCrea, Dean direnak, “osagarri” gisako film gisa sortuak), beti egon izan da lanbideko hi- Stockwell, Alan Hale, Ellen Drew; zkeran “Nervous-A” film-izenarekin ezagutzen dena, lan horiek inskribatzen Z/B, 86 min. DCP ziren testuinguruko mugez gainetik burua altxatu nahi zuten lanak zirela adierazteko. Ideia horrek berak balio diezaguke goratutako garrantzia esteti- koa duten lantzat har daitezkeen lanak dituzten zuzendari batzuk kokatzeko. Zalantzarik gabe, kategoria horretan sartzeko lehen hautagaia Jacques Tourneur da; noranahiko zinemagilea, zinema “eraginkor eta zehatza” egite- ko gai dena eta AEBetako zinema “soka baten gainean eta amets baten be- zala” zeharkatu duena (Jean-Louis Comolliren hitzetan). Pasa den mendeko hirurogeiko hamarkadaren hasieran jada -
Out of the Past, 1947, 97 Minutes
September 30, 2003 (VII:6) JACQUES TOURNEUR (12 November 1904, Paris—19 December, 1977, Bergerac, France). Bio from IMDB.Com: “ Tourneur went to Hollywood with his father, director Maurice Tourneur around 1913. He started out as a script clerk and editor for his father, then graduated to such jobs as directing shorts (often with the pseudonym Jack Turner), both in France and America. He was hired to run the second unit for David O. Selznick's 1935 A Tale of Two Cities where he first met Val Lewton. In 1942, when Lewton was named to head the new horror unit at RKO, he asked Tourneur to be his first director. The result was the highly artistic (and commercially successful) Cat People. Tourneur went on to direct masterpieces in many different genres, all showing a great command of mood and atmosphere.” In the 1950s and 60s he also did a lot of tv work on such series as “The Barbara Stanwyk Show,” “The Twilight Zone,” and “Bonanza.” Some of Tourneur’s other films are Wichita (1955), Berlin Express (1948), Days of Glory (1944) and I Walked with a Zombie (1943). Out of the Past, 1947, 97 minutes Entered into the National Film DANIEL MAINWARING (27 February 1902, Oakland, California—31 JanuarY 1977, Los Registry in 1991 Angeles) is a novelist who also scripted about 45 Hollywood films, among them The George Raft Story (1961), Space Master X-7 (1958, aka Blood Ruse and Mutiny in Outer Space), Robert Mitchum.... Jeff Bailey, aka Cole Younger, Gunfighter (1958), Baby Face Nelson (1957), Invasion of the Body Snatchers Jeff Markham (1956), The Phenix City Story (1955), This Woman Is Dangerous (1952), They Made Me a Jane Greer....Kathie Moffat Killer (1946), Tokyo Rose (1946) and Secrets of the Underground (1942). -
September 13, 2016 (XXXIII:4) Jacques Tourneur: out of the PAST (1947, 97 Min)
September 13, 2016 (XXXIII:4) Jacques Tourneur: OUT OF THE PAST (1947, 97 min) DIRECTED BY Jacques Tourneur WRITTEN BY Daniel Mainwaring (screenplay/novel, as Geoffrey Homes), James M. Cain (uncredited) and Frank Fenton (uncredited) PRODUCED BY Warren Duff MUSIC Roy Webb CINEMATOGRAPHY Nicholas Musuraca FILM EDITOR Samuel E. Beetley ART DIRECTION Albert S. D'Agostino and Jack Okey SET DECORATION Darrell Silvera COSTUME DESIGN Edward Stevenson VISUAL EFFECTS Linwood G. Dunn National Film Registry, 1991 CAST Robert Mitchum…Jeff Jane Greer…Kathie different genres, all showing a great command of mood and Kirk Douglas…Whit atmosphere.” In the 1950s and ‘60s he also did a significant Rhonda Fleming…Meta Carson amount of TV work on such series as “The Barbara Stanwyk Richard Webb…Jim Show,” “The Twilight Zone,” and “Bonanza.” Some of Steve Brodie…Fisher Tourneur’s other films are Wichita (1955), Berlin Express Virginia Huston…Ann (1948), Days of Glory (1944) and I Walked with a Zombie Paul Valentine….Joe (1943). Dickie Moore…The Kid Ken Niles….Eels DANIEL MAINWARING (b. February 27, 1902 in Oakland, California—d. January 31, 1977 in Los Angeles, California) is a JACQUES TOURNEUR (b. November 12, 1904 in Paris—d. 19 novelist who also scripted 45 Hollywood films, among them December, 1977 in Bergerac, France) went to Hollywood in The George Raft Story (1961), Space Master X-7 (1958, aka 1913 with his father, director Maurice Tourneur. Starting out as Blood Ruse and Mutiny in Outer Space), Cole Younger, a script clerk and editor for his father, the younger Tourneur Gunfighter (1958), Baby Face Nelson (1957), Invasion of the then graduated to such jobs as directing shorts (often with the Body Snatchers (1956), The Phoenix City Story (1955), This pseudonym Jack Turner), both in France and America. -
Reflections on 'Rivette in Context'
ARTICLES · Cinema Comparat/ive Cinema · Vol. I · No. 1. · 2012 · 61-65 Reflections on ‘Rivette in Context’ Jonathan Rosenbaum ABSTRACT The author discusses two programmes that he curated under the title ‘Rivette in Context’, which took place at the National Film Theatre in London in August 1977 and at the Bleecker Street Cinema in New York in February 1979. Composed of 15 thematic programmes, the latter sets the films of Jacques Rivette in relation to other films, mostly from the US (including films by Mark Robson, Alfred Hitchcock, Jacques Tourneur, Fritz Lang, Otto Preminger). The essay notes and comments on the reactions of the US film critics to this programme, and also elaborates on the motivations that led him to the selection of films, which took as a reference the critical corpus elaborated by Rivette in Cahiers du cinéma alongside the influences that he had previously acknowledged in several interviews. Finally the article considers the impact of Henri Langlois’s programming method in the work of film-makers such as Jean-Luc Godard, Alain Resnais or Luc Moullet, concluding that it generated a new critical space for writers, programmers and film-makers, based on the comparisons and rhymes between films. KEYWORDS Jacques Rivette, double programmes, American cinema, National Film Theatre, Bleecker Street Cinema, Henri Langlois, film criticism, thematic programmes, comparative cinema, montage. 61 REFLECTIONS ON ‘Rivette in ConteXT’ «Rivette in Context» had two separate Fuller, 1955); Hawks’ Monkey Business (1952); The incarnations, -
Collezione 16Mm
Elenco pellicole collezione “16mm GEH” TITOLO ORIGINALE TITOLO COPIA REGIA NAZIONE ANNO FORM. RULLI 20.000 YEARS IN SING SING 20.000 YEARS IN SING SING Michael Curtiz USA 1932 16 3 2001: A SPACE ODISSEY 2001: A SPACE ODISSEY Stanley Kubrick UK/USA 1968 16 4 2001: A SPACE ODISSEY 2001: A SPACE ODISSEY Stanley Kubrick UK/USA 1968 16 4 3 GODFATHERS 3 GODFATHERS John Ford USA 1948 16 3 3 MEN IN WHITE THREE IN WHITE Willis Goldbeck USA 1944 16 2 36 HOURS 36 HOURS George Seaton USA 1965 16 4 42ND STREET 42ND STREET Lloyd Bacon USA 1933 16 3 7 FACES OF DR. LAO 7 FACES OF DR. LAO George Pal USA 1964 16 3 7 WOMEN 7 WOMEN John Ford USA 1966 16 3 A CHRISTMAS CAROL A CHRISTMAS CAROL Edwin L. Marin USA 1938 16 2 A DATE WITH JUDY A DATE WITH JUDY Richard Thorpe USA 1948 16 3 A DAY AT THE RACES A DAY AT THE RACES Sam Wood USA 1937 16 3 A FAMILY AFFAIR A FAMILY AFFAIR George B. Seitz USA 1937 16 2 Elenco pellicole collezione “16mm GEH” Pagina 1 TITOLO ORIGINALE TITOLO COPIA REGIA NAZIONE ANNO FORM. RULLI A FREE SOUL A FREE SOUL Clarence Brown USA 1931 16 3 A GUY NAMED JOE A GUY NAMED JOE Victor Fleming USA 1943 16 3 A KISS IN THE DARK A KISS IN THE DARK Delmer Daves USA 1949 16 3 A LIFE FOR A LIFE A LIFE FOR A LIFE Stephen Whittaker UK 1998 16 2 A MIDSUMMER NIGHTʼS DREAM A MIDSUMMER NIGHTʼS DREAM William Dieterle, Max Reinhardt USA 1935 16 3 A MODERN HERO A MODERN HERO G.W.