Littlebrook 7
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Papers of Val Lewton [Finding Aid]. Library of Congress
Val Lewton A Register of His Papers in the Library of Congress Prepared by Mary A. Lacy Revised by Mary A. Lacy with the assistance of Michael W. Giese Manuscript Division, Library of Congress Washington, D.C. 2003 Contact information: http://lcweb.loc.gov/rr/mss/address.html Finding aid encoded by Library of Congress Manuscript Division, 2004 Finding aid URL: http://hdl.loc.gov/loc.mss/eadmss.ms004005 Latest revision: 2004-07-01 Collection Summary Title: Papers of Val Lewton Span Dates: 1924-1982 Bulk Dates: (bulk 1926-1951) ID No.: MSS81531 Creator: Lewton, Val Extent: 90 items; 3 containers plus 4 oversize; 6.2 linear feet; 5 microfilm reels Language: Collection material in English Repository: Manuscript Division, Library of Congress, Washington, D.C. Abstract: Motion picture producer, screenwriter, and novelist. Correspondence, film scripts, scrapbooks, and other papers pertaining chiefly to Lewton's career as a publicity writer and as a story editor for David O. Selznick at Metro-Goldwyn-Mayer (1928-1942); as scriptwriter and producer of Cat People and other horror films for RKO Radio Pictures (1942-1947); and as novelist, especially as author of No Bed of Her Own (1932). Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. Names: Lewton, Val Selznick, David O., 1902-1965 Metro-Goldwyn-Mayer RKO Radio Pictures, inc. Lewton, Val. No bed of her own (1932) Subjects: Cat people (Motion picture) Horror films Motion picture industry--United States Publicity Occupations: Motion picture producers and directors Novelists Screenwriters Administrative Information Provenance: The papers of Val Lewton, motion picture producer, screenwriter, and novelist, were given to the Library of Congress by his son, Val Edwin Lewton, in 1992. -
Bodies Without Borders: Body Horror As Political Resistance in Classical
Bodies without Borders: Body Horror as Political Resistance in Classical Hollywood Cinema By Kevin Chabot A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies Carleton University Ottawa, Ontario ©2013 Kevin Chabot Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du 1+1Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-94622-0 Our file Notre reference ISBN: 978-0-494-94622-0 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
9781474451062 - Chapter 1.Pdf
Produced by Irving Thalberg 66311_Salzberg.indd311_Salzberg.indd i 221/04/201/04/20 66:34:34 PPMM 66311_Salzberg.indd311_Salzberg.indd iiii 221/04/201/04/20 66:34:34 PPMM Produced by Irving Thalberg Theory of Studio-Era Filmmaking Ana Salzberg 66311_Salzberg.indd311_Salzberg.indd iiiiii 221/04/201/04/20 66:34:34 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Ana Salzberg, 2020 Edinburgh University Press Ltd The Tun – Holyrood Road 12(2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 11/13 Monotype Ehrhardt by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 5104 8 (hardback) ISBN 978 1 4744 5106 2 (webready PDF) ISBN 978 1 4744 5107 9 (epub) The right of Ana Salzberg to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 66311_Salzberg.indd311_Salzberg.indd iivv 221/04/201/04/20 66:34:34 PPMM Contents Acknowledgments vi 1 Opening Credits 1 2 Oblique Casting and Early MGM 25 3 One Great Scene: Thalberg’s Silent Spectacles 48 4 Entertainment Value and Sound Cinema -
The Horror Film Series
Ihe Museum of Modern Art No. 11 jest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Saturday, February 6, I965 FOR IMMEDIATE RELEASE The Museum of Modern Art Film Library will present THE HORROR FILM, a series of 20 films, from February 7 through April, 18. Selected by Arthur L. Mayer, the series is planned as a representative sampling, not a comprehensive survey, of the horror genre. The pictures range from the early German fantasies and legends, THE CABINET OF DR. CALIGARI (I9I9), NOSFERATU (1922), to the recent Roger Corman-Vincent Price British series of adaptations of Edgar Allan Poe, represented here by THE MASQUE OF THE RED DEATH (I96IO. Milestones of American horror films, the Universal series in the 1950s, include THE PHANTOM OF THE OPERA (1925), FRANKENSTEIN (1951), his BRIDE (l$55), his SON (1929), and THE MUMMY (1953). The resurgence of the horror film in the 1940s, as seen in a series produced by Val Lewton at RR0, is represented by THE CAT PEOPLE (19^), THE CURSE OF THE CAT PEOPLE (19^4), I WALKED WITH A ZOMBIE (19*£), and THE BODY SNAT0HER (19^5). Richard Griffith, Director of the Film Library, and Mr. Mayer, in their book, The Movies, state that "In true horror films, the archcriminal becomes the archfiend the first and greatest of whom was undoubtedly Lon Chaney. ...The year Lon Chaney died [1951], his director, Tod Browning,filmed DRACULA and therewith launched the full vogue of horror films. What made DRACULA a turning-point was that it did not attempt to explain away its tale of vampirism and supernatural horrors. -
A Cinema of Confrontation
A CINEMA OF CONFRONTATION: USING A MATERIAL-SEMIOTIC APPROACH TO BETTER ACCOUNT FOR THE HISTORY AND THEORIZATION OF 1970S INDEPENDENT AMERICAN HORROR _______________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts _____________________________________________________ by COURT MONTGOMERY Dr. Nancy West, Thesis Supervisor DECEMBER 2015 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled A CINEMA OF CONFRONTATION: USING A MATERIAL-SEMIOTIC APPROACH TO BETTER ACCOUNT FOR THE HISTORY AND THEORIZATION OF 1970S INDEPENDENT AMERICAN HORROR presented by Court Montgomery, a candidate for the degree of master of English, and hereby certify that, in their opinion, it is worthy of acceptance. _________________________________ Professor Nancy West _________________________________ Professor Joanna Hearne _________________________________ Professor Roger F. Cook ii ACKNOWLEDGEMENTS I would like to express my deepest appreciation to my committee chair, Dr. Nancy West, for her endless enthusiasm, continued encouragement, and excellent feedback throughout the drafting process and beyond. The final version of this thesis and my defense of it were made possible by Dr. West’s critique. I would like to thank my committee members, Dr. Joanna Hearne and Dr. Roger F. Cook, for their insights and thought-provoking questions and comments during my thesis defense. That experience renewed my appreciation for the ongoing conversations between scholars and how such conversations can lead to novel insights and new directions in research. In addition, I would like to thank Victoria Thorp, the Graduate Studies Secretary for the Department of English, for her invaluable assistance with navigating the administrative process of my thesis writing and defense, as well as Dr. -
Uncut! First Time In
45833_AFI_AGS 3/30/04 11:38 AM Page 1 THE AMERICAN FILM INSTITUTE GUIDE April 23 - June 13, 2004 ★ TO THEATRE AND MEMBER EVENTS VOLUME 1 • ISSUE 10 AFIPREVIEW UNCUT! FIRST TIME IN DC! GODZILLA!GODZILLA! Plus: Great World War II Films, Filmfest DC, Val Lewton Centennial, Three by Alfred Hitchcock, Natalie Wood Tribute MC5*A TRUE TESTIMONIAL POINT OF ORDER A STREETCAR NAMED DESIRE CITY LIGHTS GODSEND SYLVIA BLOWUP DARK VICTORY SEPARATE BUT EQUAL STORMY WEATHER CAT ON A HOT TIN ROOF WAR AND PEACE PHOTO NEEDED WORD WARS 45833_AFI_AGS 3/30/04 11:39 AM Page 2 Features 2, 3, 4, 7, 13 2 POINT OF ORDER MEMBERS ONLY SPECIAL EVENT! 3 MC5 *A TRUE TESTIMONIAL, GODZILLA GODSEND MEMBERS ONLY 4WORD WARS, CITY LIGHTS ●M ADVANCE SCREENING! 7 KIRIKOU AND THE SORCERESS Wednesday, April 28, 7:30 13 WAR AND PEACE, BLOWUP When an only child, Adam (Cameron Bright), is tragically killed 13 Two by Tennessee Williams—CAT ON A HOT on his eighth birthday, bereaved parents Rebecca Romijn-Stamos TIN ROOF and A STREETCAR NAMED DESIRE and Greg Kinnear are befriended by Robert De Niro—one of Romijn-Stamos’s former teachers and a doctor on the forefront of Filmfest DC 4 genetic research. He offers a unique solution: reverse the laws of nature by cloning their son. The desperate couple agrees to the The Greatest Generation 6-7 experiment, and, for a while, all goes well under 6Featured Showcase—America Celebrates the the doctor’s watchful eye. Greatest Generation, including THE BRIDGE ON The “new” Adam grows THE RIVER KWAI, CASABLANCA, and SAVING into a healthy and happy PRIVATE RYAN young boy—until his Film Series 5, 11, 12, 14 eighth birthday, when things start to go horri- 5 Three by Alfred Hitchcock: NORTH BY bly wrong. -
BAM Presents NYC Horror, Oct 31—Nov 5, a Series of New York Nightmares
BAM presents NYC Horror, Oct 31—Nov 5, a series of New York nightmares October 3, 2019/Brooklyn, NY—From Thursday, October 31 through Tuesday, November 5, BAM presents NYC Horror, a series that explores the terrors, both supernatural and quotidian, of life in New York City. The series begins with Michael Almereyda’s downtown vampire film, Nadja (1994), which blends poetic horror and deadpan comedy, accompanied by lustrous black-and-white cinematography and a dreamy soundtrack featuring My Bloody Valentine and Portishead. Other films include Bill Gun’s visionary, avant- garde mélange of vampire tales and Afrocentric mythologies Ganja & Hess (1973), which filmed at the Brooklyn Museum; Brian De Palma’s Staten Island-set, lurid psychosexual thriller Sisters (1973); Mary Harron’s controversial, bloody satire of Wall Street greed and white male privilege American Psycho (2000); Michael Winner’s satanism-in-Brooklyn shocker The Sentinel (1977); Larry Cohen’s subversive, sci-fi portrait of society gone mad God Told Me To (1976), as well as his Q (1982), the director’s homage to Ray Harryhausen-style creature-features; and Michael Wadleigh’s werewolf flick-cum-gentrification critique Wolfen (1981). The series continues with Mark Robson and B-movie producer extraordinaire Val Lewton’s Greenwich Village-set The Seventh Victim (1943), one of the most haunting, transgressive horror films of Hollywood’s Golden Age; the Wes Craven-directed Eddie Murphy cult comedy Vampire in Brooklyn (1995); George P. Cosmatos’ darkly relatable tale of man-versus-rat, Of Unknown Origin (1983); writer- director-producer-star James Bond III’s stylish monster horror Def by Temptation (1990), shot by legendary cinematographer Ernest Dickerson; and cult auteur Larry Fessenden’s portrait of alcoholic paranoia and emotional (and possibly literal) vampirism, Habit (1995). -
Val Lewton, Entre Dos Sombras
Ramón Moreno Cantero Val Lewton, entre dos sombras 2003 - Reservados todos los derechos Permitido el uso sin fines comerciales Ramón Moreno Cantero Val Lewton, entre dos sombras «¿A qué cosa crees que tiene más miedo la gente? A la oscuridad, porque en ella todo cobra vida propia...» El productor Jonathan Shields (Kirk Douglas) explicando a su director cómo hacer un film sobre hombres pantera en The Bad and the Beautiful (Vicente Minnelli, 1952). Vladimir Ivan Leventon fue definido por Jacques Tourneur como una persona «de apariencia serena, bastante sólida, pero que bulle en su interior; y eso fue lo que le mató, creo». En buena medida, esa opinión podría constituir un epitafio cinematográfico, ya que cualquiera de los nueve films fantásticos que escribió (en mayor o menor medida) y produjo entre 1942 y 1946 esconden algo más que historias sobre zombies, mujeres pantera, profanadores de tumbas o adoradores de Satán: estos personajes son aprovechados como meros esqueletos iconológicos que darán cuerpo a un entramado simbólico, un cortinaje de sombras sobre la realidad que se descorre parcialmente (o se transparenta) dejando ver otra realidad, menos aprehensible, pero no por ello menos existente. Como se verá, los protagonistas de Lewton destacan por su aspecto normal, casi cotidiano, con una «apariencia serena» que oculta, por lo menos, una personalidad dual: es decir, «bullen en su interior». No sólo los personajes de Lewton se movían entre sombras (externas e internas), sino su propia carrera, basculando entre dos: una le persiguió -
Censorship and Holocaust Film in the Hollywood Studio System Nancy Copeland Halbgewachs
University of New Mexico UNM Digital Repository Sociology ETDs Electronic Theses and Dissertations 2-1-2012 Censorship and Holocaust Film in the Hollywood Studio System Nancy Copeland Halbgewachs Follow this and additional works at: https://digitalrepository.unm.edu/soc_etds Recommended Citation Halbgewachs, Nancy Copeland. "Censorship and Holocaust Film in the Hollywood Studio System." (2012). https://digitalrepository.unm.edu/soc_etds/18 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Sociology ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Nancy Copeland Halbgewachs Candidate Department of Sociology Department This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Committee: Dr. George A. Huaco , Chairperson Dr. Richard Couglin Dr. Susan Tiano Dr. James D. Stone i CENSORSHIP AND HOLOCAUST FILM IN THE HOLLYWOOD STUDIO SYSTEM BY NANCY COPELAND HALBGEWACHS B.A., Sociology, University of Kansas, 1962 M.A., Sociology, University of Kansas, 1966 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Sociology The University of New Mexico Albuquerque, New Mexico December, 2011 ii DEDICATION In memory of My uncle, Leonard Preston Fox who served with General Dwight D. Eisenhower during World War II and his wife, my Aunt Bonnie, who visited us while he was overseas. My friend, Dorothy L. Miller who as a Red Cross worker was responsible for one of the camps that served those released from one of the death camps at the end of the war. -
Westerns…All'italiana
Issue #70 Featuring: TURN I’ll KILL YOU, THE FAR SIDE OF JERICHO, Spaghetti Western Poster Art, Spaghetti Western Film Locations in the U.S.A., Tim Lucas interview, DVD reviews WAI! #70 The Swingin’ Doors Welcome to another on-line edition of Westerns…All’Italiana! kicking off 2008. Several things are happening for the fanzine. We have found a host or I should say two hosts for the zine. Jamie Edwards and his Drive-In Connection are hosting the zine for most of our U.S. readers (www.thedriveinconnection.com) and Sebastian Haselbeck is hosting it at his Spaghetti Westerns Database for the European readers (www.spaghetti- western.net). Our own Kim August is working on a new website (here’s her current blog site http://gunsmudblood.blogspot.com/ ) that will archive all editions of the zine starting with issue #1. This of course will take quite a while to complete with Kim still in college. Thankfully she’s very young as she’ll be working on this project until her retirement 60 years from now. Anyway you can visit these sites and read or download your copy of the fanzine whenever you feel the urge. Several new DVD and CD releases have been issued since the last edition of WAI! and co-editor Lee Broughton has covered the DVDs as always. The CDs will be featured on the last page of each issue so you will be made aware of what is available. We have completed several interviews of interest in recent months. One with author Tim Lucas, who has just recently released his huge volume on Mario Bava, appears in this issue. -
Strangers in Purgatory: on the “Jewish Experience,” Film Noir, and Émigré Actors Fritz Kortner and Ernst Deutsch Marc Svetov April 23, 2017
Enter your search... ABOUT ARTISTS MOVIES GENRES TV & STREAMING BOOKS CONTRIBUTORS SUBSCRIBE ADS 3 ACTORS & PERSONALITIES · NOIR · WAR Strangers in Purgatory: On the “Jewish Experience,” Film Noir, and Émigré Actors Fritz Kortner and Ernst Deutsch Marc Svetov April 23, 2017 BLFJ Flip by BLFJ Read Magazine LINKS Ernst Deutsch in The Third Man (screenshot) Weird Band Names An examination of two of these émigrés – Fritz Kortner and Ernst Deutsch, major Central European actors, very well known in their home countries before leaving them in duress, both of whom relocated to Hollywood – offers exemplary lessons of what it meant for artists to be forced to leave Europe. * * * Two German Jews are sitting in a Berlin park Vouchers for Top UK Stores in the early years of the Nazi rule. One of them is reading the Völkische Beobachter, the Nazi rag. The other German Jew is reading the Jewish Aufbau and is slowly getting excited. Finally, he asks his countryman, “Why are you reading that Jew-baiting rag?” The first German Jew stares at the floor a few seconds, then replies: “Look here. What’s printed in your newspaper? Everywhere Jews are refugees. They persecute us. They kill us. They are burning down our synagogues, seize our property and ban us from our professions. When I’m reading the Nazi paper, I read: ‘Jews own the banks!’, ‘Jews own all the big corporations!’, ‘Jews are so smart and clever they control the world!’ I tell you it makes me feel great!” I was reminded of this classic Jewish joke while reading Vincent Brook’s Driven to Darkness (2009), about the influence of the “Jewish experience” on film noir. -
I Walked with a Zombie: Colonialism and Intertextuality*
23 23 I Walked with a Zombie: Colonialism and Intertextuality* Teresa de Lauretis Recibido: 09.02.2021 — Aceptado: 02.03.2021 Título / Titre / Titolo able sur le langage cinématographique. En recadrant le roman classique victorien Jane Eyre dans un cadre caribéen, le film met en évidence les failles de l’entre- I Walked with a Zombie: Colonialismo e intertextualidad prise coloniale européenne bien avant l’avènement des études postcoloniales. Le I Walked with a Zombie: Colonialisme et intertextualité roman en partie autobiographique de Jean Rhys, Wide Sargasso Sea (1966), réécrit I Walked with a Zombie: Colonialismo e intertestualità Jane Eyre dans une perspective féministe et postcoloniale. Dans le roman El beso de la mujer araña de Manuel Puig, le cinéma et les films, dontI Walked with a Zombie, Abstract / Resumen / Résumé / Riassunto sont les moyens intertextuels de la création du personnage littéraire et de la figure d’un amour qui n’a pas de nom. This article is about some uses of intertextuality between cinema and lit- erature. I Walked with a Zombie (1943) is the second of nine films produced by Val Lewton that shaped the horror genre and had a lasting influence Questo articolo tratta di alcuni usi dell’intertestualità tra cinema e letteratura. I on the language of cinema. Reframing the classic Victorian novel Jane Eyre Walked with a Zombie (1943) è il secondo dei nove film prodotti da Val Lewton in a Caribbean setting, the film outlines the fault-lines of the European che hanno dato forma al genere horror e hanno avuto un’influenza duratura colonial enterprise long before the advent of postcolonial studies.