Techniques Used to Establish the First Person Narrator and Perspective in Double Indemnity and Murder, My Sweet
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Widescreen Weekend 2007 Brochure
The Widescreen Weekend welcomes all those fans of large format and widescreen films – CinemaScope, VistaVision, 70mm, Cinerama and Imax – and presents an array of past classics from the vaults of the National Media Museum. A weekend to wallow in the best of cinema. HOW THE WEST WAS WON NEW TODD-AO PRINT MAYERLING (70mm) BLACK TIGHTS (70mm) Saturday 17 March THOSE MAGNIFICENT MEN IN THEIR Monday 19 March Sunday 18 March Pictureville Cinema Pictureville Cinema FLYING MACHINES Pictureville Cinema Dir. Terence Young France 1960 130 mins (PG) Dirs. Henry Hathaway, John Ford, George Marshall USA 1962 Dir. Terence Young France/GB 1968 140 mins (PG) Zizi Jeanmaire, Cyd Charisse, Roland Petit, Moira Shearer, 162 mins (U) or How I Flew from London to Paris in 25 hours 11 minutes Omar Sharif, Catherine Deneuve, James Mason, Ava Gardner, Maurice Chevalier Debbie Reynolds, Henry Fonda, James Stewart, Gregory Peck, (70mm) James Robertson Justice, Geneviève Page Carroll Baker, John Wayne, Richard Widmark, George Peppard Sunday 18 March A very rare screening of this 70mm title from 1960. Before Pictureville Cinema It is the last days of the Austro-Hungarian Empire. The world is going on to direct Bond films (see our UK premiere of the There are westerns and then there are WESTERNS. How the Dir. Ken Annakin GB 1965 133 mins (U) changing, and Archduke Rudolph (Sharif), the young son of new digital print of From Russia with Love), Terence Young West was Won is something very special on the deep curved Stuart Whitman, Sarah Miles, James Fox, Alberto Sordi, Robert Emperor Franz-Josef (Mason) finds himself desperately looking delivered this French ballet film. -
Los Angeles Noir
Los Angeles Noir (Questions) 1. Who was Harry Chandler, and what was his goal for LA? 2. How did Prohibition threaten Chandler’s control over LA? 3.What were some of the historical effects of the conflict between Parker and Cohen? 4. Why didn’t Cohen want Parker to become police chief? Why did he prefer Brown? 5. How was LA marketed at first to potential settlers? 6. What changed for the LAPD in 1902? 7. How did some cops justify their violent behavior toward those they arrested? 8. What tactics were used by police to provoke confessions? 9. Why did Al Capone take notice of Cohen as soon as he arrived in Chicago? 10. How did Porter end up winning the mayoral election in 1930? 11.What effect did Proposition 14 have on the balance of power in LA politics? 12. How did the 21st Amendment change the Syndicate? 13. How did Cohen’s first bookmaking operation end? Why wasn’t it protected? 14. How did the protections for police put in place by Parker cause problems in the Kynette case? 15. How did Mayor Bowron clean house at the LAPD? 16. What events made it difficult to prosecute Siegel for murder? 17. How did the politics of the New York and Chicago crime families lead to Cohen fleeing to Phoenix? 18. How did the attack on Pearl Harbor in 1941 give Parker another chance to demonstrate his worth? 19. Why wasn’t Las Vegas easy to establish as a travel destination at first? 20. What was the cause of LA’s “gas attack”? 21. -
HOLLYWOOD – the Big Five Production Distribution Exhibition
HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927 -
Edward Dmytryk / Crossfire (Feux Croisés), États-Unis 1947, 86 Minutes]
Document generated on 09/26/2021 8:03 a.m. Séquences La revue de cinéma 1947, Crossfire Edward Dmytryk Crossfire (Feux croisés), États-Unis 1947, 86 minutes Maurice Elia Cannes 50 ans Number 189-190, 1997 URI: https://id.erudit.org/iderudit/49335ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review Elia, M. (1997). Review of [1947, Crossfire : edward Dmytryk / Crossfire (Feux croisés), États-Unis 1947, 86 minutes]. Séquences, (189-190), 19–19. Tous droits réservés © La revue Séquences Inc., 1997 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Cannes 5° 1947 >^ans CROSSFIRE Edward Dmytryk rand classique du film noir américain, Crossfire restera dans les Juifs qui l'a poussé à l'irrépa annales du cinéma comme une des premières œuvres à avoir abordé rable. Prix divers: Jacques Becker G de plein fouet le problème de l'antisémitisme. Adapté d'un roman L'œuvre d'Edward Dmy (Antoine et Antoinette, FR) de Richard Brooks (qui deviendra lui-même scénariste et metteur en scène tryk a souvent oscillé entre René Clément (Les Maudits, FR) quelques années plus tard), Crossfire demeure un des meilleurs films amé une sorte de réalisme violent ricains des années 40, celui qui épousait avec franchise les idées libérales et un néo-expressionnisme Edward Dmytryk (Crossfire, USA) d'une société qui venait de sortir de guerre (la même année, Gendeman's proche de l'univers kafkaïen. -
ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No
Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology. -
38 Eve Wersocki Morris, Q33606, Pp. 359-67
‘He had a Horse Called Bill’ (Yellow Sky): The Appropriation of Shakespeare in the Western. Eve Wersocki Morris Studying film from the perspective of genre theory requires analysis of cinematic techniques and contextual culture (filmic and social). Christine Gledhill claims that genre provides ‘a framework of structuring rules […] which act as a form of ‘supervision’ over the work of film-makers and the work of reading by an audience’.1 This definition indicates that each genre adheres to a fixed hierarchal form. Alternatively, Anthony Easthope argues that genre should be understood as an abstract, theoretical structure, which is transformed by each new production so ‘any instance of a genre will be necessarily different’.2 Easthope implies that the ‘structuring rules’ are not fixed but allow filmmakers ideological concerns and social and cultural environments to influence their individual films and aid in developing the genre framework itself. My essay shall adhere to this latter argument. In agreement with Easthope, Mary Bandy and Kevin Stoehr have argued that, post- World War Two, the Western experienced a ‘gradual transformation of genre’3 towards more ‘psychologically expressive Westerns’4 which was due to the public’s desire for darker subject matter. Alan Lovell specifies that these new Westerns did not alter the genre but simply imposed ‘a new sensibility on the old forms’,5 retaining the classic wild west scenery of the 19th Century American frontier. Andre Bazin has called these new Westerns ‘superwesterns’6 and Lovell refers to them as ‘adult westerns’.7 However, for the purposes of this essay, I shall be adopting Bandy’s term ‘psychological western’ because of its explicit allusions to the increased interest in exploring characters’ inner struggles. -
Billy Wilder: Film Noir Inventor and Genius -- #1
Billy Wilder: Film Noir Inventor and Genius -- #1 #3 — Websites: Use these websites as to research Double Indemnity, Billy Wilder and the history of Noir Films. Billy Wilder Movies and Reviews http://www.csmonitor.com/durable/1998/01/30/feat/tv.1.html The Christian Science monitor reviews the American Masters PBS series, "Billy Wilder: The Human Comedy." Classic Turner Films review Billy Wilder’s work http://www.filmsite.org/suns.html Review of the film Sunset Boulevard http://www.filmsite.org/apar.html Review of the film The Apartment http://www.prairienet.org/ejahiel/arisemyl.htm Review of the film Arise, My Love http://www.prairienet.org/ejahiel/ballfire.htm Review of the film A Ball of Fire http://www.prairienet.org/ejahiel/foraffai.htm Review of the film The Major and The Minor http://www.boxoff.com/cgi/getreview.pl?filename=All&where=Name&terms=SABRINA+\(1954\) Review of the film Sabrina http://www.filmsite.org/seve.html Review of the film, The Seven Year Itch http://www.filmsite.org/some.html Review of the film, Some Like It Hot Movie Tributes, Posters and Databases http://www.eonline.com/Facts/People/0,12,37822,00.html E-Online -- A list of Billy Wilder's films with links to information about each of them http://kennedy-center.org/honors/years/wilder.html Kennedy Center Tribute to Billy Wilder http://www.reelclassics.com/Directors/Wilder/wilder.htm Movie posters and links to Billy Wilder’s movies http://www.german-way.com/cinema/bwilder.html General information about Billy Wilder and different film genres http://us.imdb.com/M/person-exact?Wilder%2C+Billy An Internet movie Database Double Indemnity Resources http://www.filmunlimited.co.uk/Century_Of_Films/Story/0,4135,91758,00html Information about Double Indemnity http://www.filmsite.org/doub.html General descritption and analysis of the film, Double Indemnity http://www.filmunlimited.co.uk/Century_Of_Films/Story/0,4135,91758,00.html#top Description of Billy Wilder’s work, Double Indemnity and other good links to essays about the author, actors and writers. -
Using Film and Critical Pedagogy in the Standards-Based Classroom
AN ABSTRACT OF THE THESIS OF John D. Divelbiss for the degree of Master of Arts in English presented on April 28, 2014. Title: Re-Viewing the Canon: Using Film and Critical Pedagogy in the Standards-based Classroom Abstract approved: __________________________________________________________________ Jon R. Lewis This thesis analyzes the efficacy of emancipatory (critical) pedagogical practices in an educational climate of standards-based reform. Using two films noir of the blacklist era—Body and Soul and Crossfire—as the core texts of a unit in a secondary school curriculum, I argue that an emphasis on student agency and a de-centering of curriculum and instruction is not only compatible with national reforms like the Common Core State Standards but is essential for English/language arts classrooms in the 21st century. In addition to a scholarly review of critical pedagogy and media literacy, and close readings of the two films themselves, this thesis also ends with an informal case study in which both films-as-texts were taught to 9th grade students. By combining theory and practice, I was able to model the praxis at the heart of critical pedagogy, what Paulo Freire calls in Pedagogy of the Oppressed, “reflection and action upon the world in order to transform it.” The films of the blacklist match current national mandates for relevant texts, for media and visual literacy, and for authentic and emancipatory pedagogy. Narrowing down even further on two highly-regarded films released in 1947, the same year the blacklist was initiated, allows for an analysis of the artistic and aesthetic complexities of the texts as well as the high-stakes terms of the political engagements of the blacklist. -
ABSTRACT Title of Document: from the BELLY of the HUAC: the RED PROBES of HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philos
ABSTRACT Title of Document: FROM THE BELLY OF THE HUAC: THE RED PROBES OF HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philosophy, 2009 Directed By: Dr. Maurine Beasley, Journalism The House Un-American Activities Committee, popularly known as the HUAC, conducted two investigations of the movie industry, in 1947 and again in 1951-1952. The goal was to determine the extent of communist infiltration in Hollywood and whether communist propaganda had made it into American movies. The spotlight that the HUAC shone on Tinsel Town led to the blacklisting of approximately 300 Hollywood professionals. This, along with the HUAC’s insistence that witnesses testifying under oath identify others that they knew to be communists, contributed to the Committee’s notoriety. Until now, historians have concentrated on offering accounts of the HUAC’s practice of naming names, its scrutiny of movies for propaganda, and its intervention in Hollywood union disputes. The HUAC’s sealed files were first opened to scholars in 2001. This study is the first to draw extensively on these newly available documents in an effort to reevaluate the HUAC’s Hollywood probes. This study assesses four areas in which the new evidence indicates significant, fresh findings. First, a detailed analysis of the Committee’s investigatory methods reveals that most of the HUAC’s information came from a careful, on-going analysis of the communist press, rather than techniques such as surveillance, wiretaps and other cloak and dagger activities. Second, the evidence shows the crucial role played by two brothers, both German communists living as refugees in America during World War II, in motivating the Committee to launch its first Hollywood probe. -
Spotlight Features and Shines the Spotlight on Hollywood Blockbusters, Award Winners and Memorable Movies
June 2015 HDNet Movies delivers the ultimate movie watching experience – uncut - uninterrupted – all in high definition. HDNet Movies showcases a diverse slate of box-office hits, iconic classics and award winners spanning the 1950s to 2000s. HDNet Movies also features kidScene, a daily and Friday Night program block dedicated to both younger movie lovers and the young at heart. For complete movie schedule information, visit www.hdnetmovies.com. Follow us on Twitter: @HDNetMovies and on Facebook. Each Month HDNet Movies rolls out the red carpet Spotlight Features and shines the spotlight on Hollywood Blockbusters, Award Winners and Memorable Movies The Big Lebowski Glory rd th June 3 , 7:30pm June 10 , 8:10pm Starring Jeff Bridges, John Goodman, Julianne Moore. Starring Matthew Broderick, Denzel Washington, Directed by Joel Coen Cary Elwes. Directed by Edward Zwick Black Hawk Down Highlander st June 1 , 8:45pm June 6th, 8:00pm Starring Josh Harnett, Ewan McGregor, Tom Starring Christopher Lambert, Roxanne Hart, Sean Sizemore. Directed by Ridley Scott Connery. Directed by Russell Mulcahy Flight of the Phoenix (Premiere) Tears of the Sun th June 6 , 6:05pm June 10th 5:35pm Starring Dennis Quaid, Tyrese Gibson, Giovanni Ribisi. Starring Bruce Willis, Monica Bellucci, Cole Hauser. Directed by John Moore Directed by Antoine Fuqua Make kidScene your destination every day. Check program schedule or www.hdnetmovies.com for all scheduled broadcasts. Annie Like Mike 2 Starring Albert Finney, Carol Burnett, Tim Curry. Starring Jascha Washington, Kel Mitchell, Michael Beach. Directed by John Huston Directed by David Nelson Aquamarine Muppets Take Manhattan Starring Emma Roberts, Joanna Levesque, Sara Featuring voices of Jim Henson, Frank Oz and starring Paxton. -
The Hero Is Hardboiled
Page 1 of 3 The Hero Is Hard-Boiled 'The Big Sleep' introduced Philip Marlowe and a new kind of mystery novel By LEONARD CASSUTO August 26, 2006 Raymond Chandler was the rare mystery writer who didn't care whodunit. "The Big Sleep," his first novel, appeared in 1939 and introduced Philip Marlowe, a detective who shows at least as much talent for wisecracks as for sleuthing. Marlowe's weathered dignity set the course of American detective fiction for generations. When Leigh Brackett collaborated on the screenplay for "The Big Sleep" in 1946 with William Faulkner (yes, that William Faulkner), the two found themselves so stymied by the plot turns that they couldn't tell who had murdered the chauffeur. Director Howard Hawks sent Chandler a telegram asking him who knocks the character off. "No idea," Chandler cabled in response. A grimy story involving pornography, drugs, and a particularly nasty hired killer in the employ of organized crime, "The Big Sleep" offers none of the clean, cathartic redemption that typically ended detective stories. "Crusts and fragments of greasy newspaper" litter Chandler's Depression-era Los Angeles, along with used condoms and "oil-scummed water." Marlowe solves the murders, more or less, but the solution doesn't leach the "hidden sadism" (as Chandler later called it) from his surroundings. A sordid mystery with a plot so incoherent that you can't tell who killed whom would not appear destined for classic status. In fact, "The Big Sleep" had a rocky debut. Though issued by the prestigious publisher Alfred A. Knopf, the novel sold a meager 12,500 copies in the U.S. -
+- Vimeo Link for ALL of Bruce Jackson's and Diane
Virtual February 9, 2021 (42:2) William A. Wellman: THE PUBLIC ENEMY (1931, 83 min) Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. Cast and crew name hyperlinks connect to the individuals’ Wikipedia entries +- Vimeo link for ALL of Bruce Jackson’s and Diane Christian’s film introductions and post-film discussions in the Spring 2021 BFS Vimeo link for our introduction to The Public Enemy Zoom link for all Fall 2020 BFS Tuesday 7:00 PM post-screening discussions: Meeting ID: 925 3527 4384 Passcode: 820766 Selected for National Film Registry 1998 Directed by William A. Wellman Written by Kubec Glasmon and John Bright Produced by Darryl F. Zanuck which are 1958 Lafayette Escadrille, 1955 Blood Cinematography by Devereaux Jennings Alley, 1954 Track of the Cat, 1954 The High and the Film Editing by Edward M. McDermott Mighty, 1953 Island in the Sky, 1951 Westward the Makeup Department Perc Westmore Women, 1951 It's a Big Country, 1951 Across the Wide Missouri, 1949 Battleground, 1948 Yellow Sky, James Cagney... Tom Powers 1948 The Iron Curtain, 1947 Magic Town, 1945 Story Jean Harlow... Gwen Allen of G.I. Joe, 1945 This Man's Navy, 1944 Buffalo Bill, Edward Woods... Matt Doyle 1943 The Ox-Bow Incident, 1939 The Light That Joan Blondell... Mamie Failed, 1939 Beau Geste, 1938 Men with Wings, 1937 Donald Cook... Mike Powers Nothing Sacred, 1937 A Star Is Born, 1936 Tarzan Leslie Fenton... Nails Nathan Escapes, 1936 Small Town Girl, 1936 Robin Hood of Beryl Mercer..