Inmediaciones De La Comunicación
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Innovators: Filmmakers
NBER WORKING PAPER SERIES INNOVATORS: FILMMAKERS David W. Galenson Working Paper 15930 http://www.nber.org/papers/w15930 NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 April 2010 The views expressed herein are those of the author and do not necessarily reflect the views of the National Bureau of Economic Research. NBER working papers are circulated for discussion and comment purposes. They have not been peer- reviewed or been subject to the review by the NBER Board of Directors that accompanies official NBER publications. © 2010 by David W. Galenson. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source. Innovators: Filmmakers David W. Galenson NBER Working Paper No. 15930 April 2010 JEL No. Z11 ABSTRACT John Ford and Alfred Hitchcock were experimental filmmakers: both believed images were more important to movies than words, and considered movies a form of entertainment. Their styles developed gradually over long careers, and both made the films that are generally considered their greatest during their late 50s and 60s. In contrast, Orson Welles and Jean-Luc Godard were conceptual filmmakers: both believed words were more important to their films than images, and both wanted to use film to educate their audiences. Their greatest innovations came in their first films, as Welles made the revolutionary Citizen Kane when he was 26, and Godard made the equally revolutionary Breathless when he was 30. Film thus provides yet another example of an art in which the most important practitioners have had radically different goals and methods, and have followed sharply contrasting life cycles of creativity. -
{Dоwnlоаd/Rеаd PDF Bооk} Citizen Kane Ebook, Epub
CITIZEN KANE PDF, EPUB, EBOOK Harlan Lebo | 368 pages | 01 May 2016 | Thomas Dunne Books | 9781250077530 | English | United States Citizen Kane () - IMDb Mankiewicz , who had been writing Mercury radio scripts. One of the long-standing controversies about Citizen Kane has been the authorship of the screenplay. In February Welles supplied Mankiewicz with pages of notes and put him under contract to write the first draft screenplay under the supervision of John Houseman , Welles's former partner in the Mercury Theatre. Welles later explained, "I left him on his own finally, because we'd started to waste too much time haggling. So, after mutual agreements on storyline and character, Mank went off with Houseman and did his version, while I stayed in Hollywood and wrote mine. The industry accused Welles of underplaying Mankiewicz's contribution to the script, but Welles countered the attacks by saying, "At the end, naturally, I was the one making the picture, after all—who had to make the decisions. I used what I wanted of Mank's and, rightly or wrongly, kept what I liked of my own. The terms of the contract stated that Mankiewicz was to receive no credit for his work, as he was hired as a script doctor. Mankiewicz also threatened to go to the Screen Writers Guild and claim full credit for writing the entire script by himself. After lodging a protest with the Screen Writers Guild, Mankiewicz withdrew it, then vacillated. The guild credit form listed Welles first, Mankiewicz second. Welles's assistant Richard Wilson said that the person who circled Mankiewicz's name in pencil, then drew an arrow that put it in first place, was Welles. -
Catalogo-Festivaldorio-2015.Pdf
Sumário TABLE OF CONTENTS 012 APRESENTAÇÃO PRESENTATION 023 GALA DE ABERTURA OPENNING NIGHT GALA 025 GALA DE ENCERRAMENTO CLOSING NIGHT GALA 033 PREMIERE BRASIL PREMIERE BRASIL 079 PANORAMA GRANDES MESTRES PANORAMA: MASTERS 099 PANORAMA DO CINEMA MUNDIAL WORLD PANORAMA 2015 141 EXPECTATIVA 2015 EXPECTATIONS 2015 193 PREMIERE LATINA LATIN PREMIERE 213 MIDNIGHT MOVIES MIDNIGHT MOVIES 229 MIDNIGHT DOCS MIDNIGHT DOCS 245 FILME DOC FILM DOC 251 ITINERÁRIOS ÚNICOS UNIQUE ITINERARIES 267 FRONTEIRAS FRONTIERS 283 MEIO AMBIENTE THREATENED ENVIRONMENT 293 MOSTRA GERAÇÃO GENERATION 303 ORSON WELLS IN RIO ORSON WELLS IN RIO 317 STUDIO GHIBLI - A LOUCURA E OS SONHOS STUDIO GHIBLI - THE MADNESS AND THE DREAMS 329 LIÇÃO DE CINEMA COM HAL HARTLEY CINEMA LESSON WITH HAL HARTLEY 333 NOIR MEXICANO MEXICAN FILM NOIR 343 PERSONALIDADE FIPRESCI LATINO-AMERICANA DO ANO FIPRESCI’S LATIN AMERICAN PERSONALITY OF THE YEAR 349 PRÊMIO FELIX FELIX AWARD 357 HOMENAGEM A JYTTE JENSEN A TRIBUTE TO JYTTE JENSEN 361 FOX SEARCHLIGHT 20 ANOS FOX SEARCHLIGHT 20 YEARS 365 JÚRIS JURIES 369 CINE ENCONTRO CINE CHAT 373 RIOMARKET RIOMARKET 377 A ETERNA MAGIA DO CINEMA THE ETERNAL MAGIC OF CINEMA 383 PARCEIROS PARTNERS AND SUPPLIES 399 CRÉDITOS E AGRADECIMENTOS CREDITS AND AKNOWLEDGEMENTS 415 ÍNDICES INDEX CARIOCA DE CORPO E ALMA CARIOCA BODY AND SOUL Cidade que provoca encantamento ao olhar, o Rio Enchanting to look at, Rio de Janeiro will once de Janeiro estará mais uma vez no primeiro plano again take centre stage in world cinema do cinema mundial entre os dias 1º e 14 de ou- between the 1st and 14th of October. -
Episode One: Bugs
EPISODE ONE: BUGS BEN MANKIEWICZ: why do you think there are so many presumptions about you? PETER BOGDANOVICH: I don't know, You know, I became successful, famous early on, that irritates people, some people. And, um, I don't know. Jealousy, envy, irritation. Maybe they don't like my pictures. Well, I probably was too outspoken or something. I don't know. I don't really know. I, I don't think that the picture that was painted of me was really close to accurate. I didn't think I was an arrogant bastard. But maybe I was. I, I certainly had self- confidence to a degree, which I think scares people sometimes. I don’t know Ben I don’t know. [THEME MUSIC] BEN MANKIEWICZ: I’m Ben Mankiewicz, and this is season one of The Plot Thickens - a new podcast from Turner Classic Movies… each season, we’ll bring you an in-depth story about the movies and the people who made them. We’re starting off with a familiar story in Hollywood… one of remarkable success at a very young age….and failure just a few years later... PETER BOGDANOVICH: success is very hard to handle. And then failure after success is even harder. NEWS MONTAGE: Peter Bogdanovich is a man of many Passions/Peter Bogdanovich burst upon the film world/Peter Bogdanovich is best known as a Director of films like The Last Picture Show BEN MANKIEWICZ: Peter Bogdanovich helped change the way movies were made in Hollywood, starting with his first hit in 1971, The Last Picture Show. -
THE OTHER SIDE of the WIND; a LOST MOTHER, a MAVERICK, ROUGH MAGIC and a MIRROR: a PSYCHOANALYTIC PERSPECTIVE on the CINEMA of ORSON WELLES by Jack Schwartz
Schwartz, J. (2019). The Other Side of the Wind…A psychoanalytic perspective on the cinema of Orson Welles. MindConsiliums, 19(8), 1-25. THE OTHER SIDE OF THE WIND; A LOST MOTHER, A MAVERICK, ROUGH MAGIC AND A MIRROR: A PSYCHOANALYTIC PERSPECTIVE ON THE CINEMA OF ORSON WELLES By Jack Schwartz ABSTRACT Arguably, Orson Welles is considered America’s most artistic and influential filmmaker from the golden era of American movies, even though most people are only familiar with his first feature, Citizen Kane (1941). Any film buff can easily recognize his signature camera work, his use of lighting and overlapping dialogue, along with so many cinematic nuisances that define his artistry. Despite being on the “pantheon” (Sarris, 1969) of American directors, he never established any real sustaining commercial success. Even though he leaves behind many pieces of a giant beautiful cinematic puzzle, Welles will always be considered one of the greats. Prompted by Welles’ posthumously restored last feature The Other Side of the Wind (2018), the time is ripe for a psychoanalytic re-evaluation of Welles’ cinematic oeuvre, linking the artist’s often tumultuous creative journey to the dynamic structure of Welles’ early and later childhood experiences through the frame of his final film. INTRODUCTION From early in its invention, movies have offered the gift of escaping the grind of daily life, even when movies are sometimes about the grind of daily life. Movies move us, confront us, entertain us, break our hearts, help mend our broken hearts, teach us things, give us a place to practice empathy or express anger and point to injustice. -
Orson Welles, the War of the Worlds Copyright, and Why We Should Recognize Idea-Contributors As Joint Authors
Case Western Reserve Law Review Volume 66 Issue 3 Article 4 2016 An Idea of Authorship: Orson Welles, The War of the Worlds Copyright, and Why We Should Recognize Idea-Contributors as Joint Authors Timothy J. McFarlin Follow this and additional works at: https://scholarlycommons.law.case.edu/caselrev Part of the Law Commons Recommended Citation Timothy J. McFarlin, An Idea of Authorship: Orson Welles, The War of the Worlds Copyright, and Why We Should Recognize Idea-Contributors as Joint Authors, 66 Case W. Rsrv. L. Rev. 701 (2016) Available at: https://scholarlycommons.law.case.edu/caselrev/vol66/iss3/4 This Article is brought to you for free and open access by the Student Journals at Case Western Reserve University School of Law Scholarly Commons. It has been accepted for inclusion in Case Western Reserve Law Review by an authorized administrator of Case Western Reserve University School of Law Scholarly Commons. Case Western Reserve Law Review·Volume 66·Issue 3·2016 An Idea of Authorship: Orson Welles, The War of the Worlds Copyright, and Why We Should Recognize Idea- Contributors as Joint Authors Timothy J. McFarlin† Abstract Did Orson Welles co-author the infamous War of the Worlds broad- cast? The Ninth Circuit Court of Appeals has told us no, primarily because he only contributed the idea behind the broadcast, and ideas alone can’t be copyrighted. “An Idea of Authorship” challenges this premise—that ideas, no matter how significant, cannot qualify for joint authorship in collaborative works—and argues that we as a society should, under certain circumstances, recognize idea-contributors like Welles as joint authors. -
Staging Orson Welles
STAGING ORSON WELLES Matthew Christopher Gretzinger A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2010 Committee: Dr. Jonathan Chambers, Advisor Dr. Stephannie Gearhart Graduate Faculty Representative Dr. Scott Magelssen Dr. Cynthia Baron ii ABSTRACT Dr. Jonathan Chambers, Advisor In this study I consider the legacy of Orson Welles as a stage figure puppeted in a collective theatre of memory. The study builds on Jonathan Rosenbaum's observation that Welles remains a "mythical and ideological creature" and a "site for the acting out of various fantasies." Referencing Marvin Carlson's The Haunted Stage and Joseph Roach's Cities of the Dead, I apply their insights to three plays that feature Welles as a pivotal character: Jason Sherman's It's All True, Austin Pendleton's Orson's Shadow, and the Naomi Iizuka-Anne Bogart collaboration, War of the Worlds. My central concern is to consider the ways we remember and stage Welles and, in light of Rosenbaum's insight, to also question the myths and ideologies those stagings act out. A corollary to my interrogation of Welles's stage figure as a site of memory is my conviction that the collective memory of Welles's life and work might be staged more usefully. The plays considered approach Welles from different perspectives. However, all – to varying degrees – assess negative judgments. Welles's legacy has been subject to conflicting interpretations, and the arbitration of his historical and remembered significance is a process with important consequences. -
+- Vimeo Link for ALL of Bruce Jackson's and Diane Christian's Film
Virtual February 16, 2021 (42:3) Orson Welles: THE MAGNIFICEN AMBERSONS (1942, 88 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 virtual BFS Vimeo link for our introduction to The Magnificent Ambersons Zoom link for all Fall 2021 BFS Tuesday 7:00 PM post-screening discussions: Meeting ID: 925 3527 4384 Passcode: 820766 Tim Holt…George Minafer The Magnificent Ambersons (1942) Agnes Moorehead...Fanny Minafer Ray Collins...Jack Amberson Director Orson Welles (with additional uncredited Erskine Sanford...Roger Bronson sequences by Fred Fleck and Robert Wise) Richard Bennett...Major Amberson Writing Orson Welles (with uncredited additional Orson Welles...Narrator (voice) scenes by Joseph Cotten and Jack Moss) adapted the script from a novel by Booth Tarkington. Orson Welles (b. George Orson Welles on May 6, Producer Orson Welles 1915 in Kenosha, Wisconsin—d. October 10, 1985, Cinematography Stanley Cortez (photography) and age 70, Hollywood, California) did it all: actor, Orson Welles director, writer, producer, editor, cinematographer, Music Bernard Herrmann shill for Gallo Wines. His 1938 radio adaptation of Editing Robert Wise H.G. Wells "War of the Worlds" panicked thousands of listeners. His made his first film Citizen Kane The film was nominated for 4 Oscars in 1943 and was (1941), which tops nearly all lists of the world's selected for the National Film Registry by the greatest films, when he was only 25. -
An American in King Henry's Court: Orson Welles' Chimes at Midnight
LINGUACULTURE No. 2/2017 AN AMERICAN IN KING HENRY'S COURT: ORSON WELLES' CHIMES AT MIDNIGHT ROBERT HORTON Seattle University Abstract Orson Welles, a boy from Kenosha, Wisconsin, was one of the most audacious Shakespearians who ever lived. He recited soliloquies as a child, wrote a book on the plays as a teenager, and at age 17 roamed across Ireland before brazenly (and successfully) presenting himself at the Abbey Theatre as a distinguished American actor. Welles also created three of the most ambitious Shakespeare films. As an American pretender, a colonial presuming to re-interpret the greatest British writer, Welles approached Shakespeare with a mix of bravado and insecurity. This paper explores how Welles' American nature informs these roles and, especially, his final Shakespeare film, Chimes at Midnight (1965). In this production, Welles plays Falstaff and is understandably identified with the role, but it could be argued that he speaks more directly through Prince Hal, whose anxiety about inheriting the throne might be reflected in the way an American Shakespearian seeks to be accepted by the British keepers of the text. The words of Hal's father, Henry IV— Uneasy lies the head that wears the crown —might apply to Welles' American-inflected depictions of kings and princes who do not entirely believe in their own royal agency. The tension between Welles‘ brashness and his fretfulness created some of the most memorable Shakespeare in the cinema. Keywords: Orson Welles, American Shakespearians, anxiety, Falstaff, adaptation, self- portraiture, cinematic language In 1933, seventeen-year-old Orson Welles was in the middle of the Atlantic Ocean, aboard a freighter called the Exermont, bound for Morocco and adventure. -
0320.1.00.Pdf
cinema’s doppelgängers Before you start to read this book, take this moment to think about making a donation to punctum books, an independent non-profit press, @ https://punctumbooks.com/support/ If you’re reading the e-book, you can click on the image below to go directly to our donations site. Any amount, no matter the size, is appreciated and will help us to keep our ship of fools afloat. Contri- butions from dedicated readers will also help us to keep our commons open and to cultivate new work that can’t find a welcoming port elsewhere. Our ad- venture is not possible without your support. Vive la Open Access. Fig. 1. Hieronymus Bosch, Ship of Fools (1490–1500) cinema’s doppelgängers. Copyright © 2021 by Doug Dibbern. This work carries a Creative Commons BY-NC-SA 4.0 International license, which means that you are free to copy and redistribute the material in any medium or for- mat, and you may also remix, transform and build upon the material, as long as you clearly attribute the work to the authors (but not in a way that suggests the authors or punctum books endorses you and your work), you do not use this work for commercial gain in any form whatsoever, and that for any remixing and transformation, you distribute your rebuild under the same license. http:// creativecommons.org/licenses/by-nc-sa/4.0/ First published in 2021 by punctum books, Earth, Milky Way. https://punctumbooks.com ISBN-13: 978-1-953035-62-2 (print) ISBN-13: 978-1-953035-56-1 (ePDF) doi: 10.53288/0320.1.00 lccn: 2021939314 Library of Congress Cataloging Data is available from the Library of Congress Book Design: Vincent W.J. -
Orson Welles' Intermedial Versions of Shakespeare in Theatre, Radio and Film
ORSON WELLES’ INTERMEDIAL VERSIONS OF SHAKESPEARE IN THEATRE, RADIO AND FILM by Clara Fernández-Vara B.A. English Studies, Universidad Autónoma de Madrid (Spain), 2000 Thesis Supervisor: Peter S. Donaldson Submitted to the Department of Comparative Media Studies in partial fulfilment of the requirements for the degree of Master of Science in Comparative Media Studies at the Massachusetts Institute of Technology, September 2004. © 2004 Clara Fernández-Vara. All rights reserved The author thereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part. 2 3 INDEX ABSTRACT .......................................................................................................................... 5 INTRODUCTION ................................................................................................................ 9 PARADOXES AND AMBIGUITIES IN ORSON WELLES’ OEUVRE ............................................ 17 ORSON WELLES AS AUTEUR ............................................................................................... 23 THESIS STRUCTURE............................................................................................................ 31 CHAPTER 1: 1937-1939: THE FEDERAL THEATRE PROJECT AND FAUSTUS; THE MERCURY THEATRE AND JULIUS CAESAR .................................................. 36 THE FABRICATION OF A THEATRE STAR ............................................................................ 36 THE FEDERAL THEATRE PROJECT: THE -
WELLES ORSON WELLES Nous Célébrons En 2015 Le Centenaire De La Naissance D’Orson Welles
magazine de l’institut lumiÈre 3 juin - 12 juillet 2015 RueDu Premier Film 110 ORSON WELLES ORSON WELLES Nous célébrons en 2015 le centenaire de la naissance d’Orson Welles. L’occasion de rendre hommage à un cinéaste qui fait tout autant référence qu’il a été à la marge du système hollywoodien, inventant, innovant, construisant une œuvre audacieuse, libre, dont la valeur et l’admiration qu’elle suscite ne font que croître à chaque redécouverte. Itinéraire d’un enfant surdoué, homme de radio et de théâtre, cinéaste américain à l’œuvre apatride, d’une personnalité démesurée SOIRÉE D’OUVERTURE — shakespearienne ! —, honnie et fascinante. Jeudi 4 juin à 19h Présentée par Fabrice Calzettoni En partenariat avec la Cinémathèque française qui propose Citizen Kane d’Orson Welles également une rétrospective Orson Welles, du 17 juin au 2 août 2015. CONFÉRENCE ET FILM Je 4/06 à 19h Présenté par Fabrice Calzettoni - Ve 5/06 à 16h30 Ve 5/06 à 19h Présenté par Alban Liebl - Di 7/06 à 14h30 - Je Sa 6/06 à 20h30 - Di 7/06 à 18h30 - Di 5/07 à 16h30 11/06 à 21h - Ve 12/06 à 17h - Ma 16/06 à 21h15 Mardi 9 juin Citizen Kane La Splendeur des Amberson En présence de François Thomas Enquête sur la vie de Charles Foster Kane, géant mégalomane Eugène Morgan, veuf, revient dans sa ville natale après vingt Professeur à la Sorbonne Nouvelle et collaborateur de la presse, dont le dernier mot avant de mourir fut ans d'absence. Lors d’un bal donné par le riche clan des de Positif, coauteur d'Orson Welles au travail « Rosebud »..