Affair in Trinidad Dvd
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
ATINER's Conference Paper Series HUM2014-0814
ATINER CONFERENCE PAPER SERIES No: HUM2014-0814 Athens Institute for Education and Research ATINER ATINER's Conference Paper Series HUM2014-0814 Iconic Bodies/Exotic Pinups: The Mystique of Rita Hayworth and Zarah Leander Galina Bakhtiarova Associate Professor Western Connecticut State University USA 1 ATINER CONFERENCE PAPER SERIES No: HUM2014-0814 Athens Institute for Education and Research 8 Valaoritou Street, Kolonaki, 10671 Athens, Greece Tel: + 30 210 3634210 Fax: + 30 210 3634209 Email: [email protected] URL: www.atiner.gr URL Conference Papers Series: www.atiner.gr/papers.htm Printed in Athens, Greece by the Athens Institute for Education and Research. All rights reserved. Reproduction is allowed for non-commercial purposes if the source is fully acknowledged. ISSN 2241-2891 22/1/2014 2 ATINER CONFERENCE PAPER SERIES No: HUM2014-0814 An Introduction to ATINER's Conference Paper Series ATINER started to publish this conference papers series in 2012. It includes only the papers submitted for publication after they were presented at one of the conferences organized by our Institute every year. The papers published in the series have not been refereed and are published as they were submitted by the author. The series serves two purposes. First, we want to disseminate the information as fast as possible. Second, by doing so, the authors can receive comments useful to revise their papers before they are considered for publication in one of ATINER's books, following our standard procedures of a blind review. Dr. Gregory T. Papanikos President Athens Institute for Education and Research 3 ATINER CONFERENCE PAPER SERIES No: HUM2014-0814 This paper should be cited as follows: Bakhtiarova, G. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Complete Film Noir
COMPLETE FILM NOIR (1940 thru 1965) Page 1 of 18 CONSENSUS FILM NOIR (1940 thru 1959) (1960-1965) dThe idea for a COMPLETE FILM NOIR LIST came to me when I realized that I was “wearing out” a then recently purchased copy of the Film Noir Encyclopedia, 3rd edition. My initial plan was to make just a list of the titles listed in this reference so I could better plan my film noir viewing on AMC (American Movie Classics). Realizing that this plan was going to take some keyboard time, I thought of doing a search on the Internet Movie DataBase (here after referred to as the IMDB). By using the extended search with selected criteria, I could produce a list for importing to a text editor. Since that initial list was compiled almost twenty years ago, I have added additional reference sources, marked titles released on NTSC laserdisc and NTSC Region 1 DVD formats. When a close friend complained about the length of the list as it passed 600 titles, the idea of producing a subset list of CONSENSUS FILM NOIR was born. Several years ago, a DVD producer wrote me as follows: “I'd caution you not to put too much faith in the film noir guides, since it's not as if there's some Film Noir Licensing Board that reviews films and hands out Certificates of Authenticity. The authors of those books are just people, limited by their own knowledge of and access to films for review, so guidebooks on noir are naturally weighted towards the more readily available studio pictures, like Double Indemnity or Kiss Me Deadly or The Big Sleep, since the many low-budget B noirs from indie producers or overseas have mostly fallen into obscurity.” There is truth in what the producer says, but if writers of (film noir) guides haven’t seen the films, what chance does an ordinary enthusiast have. -
281 © the Author(S) 2019 L. Rosewarne, Sex and Sexuality In
INDEX1 A Alice Through the Looking Glass À bout de souffle (Breathless), 155, 182 (1928), 166 About Last Night, 154 Alice Through the Looking Glass Abre los ojos (Open Your Eyes), (2016), 166 19n32, 163 A-List: Dallas, The, 191 Ace Ventura: Pet Detective, 227 A-List: New York, 191 Adventures of Robin Hood, The, 69 All About Eve, 49, 152, 158 Adventures of Shirley Holmes, The, All American Christmas Carol, 36 122n320 All that Heaven Allows, 192 Advertising, see Marketing All the King’s Men (1949), 18n20 Affair in Trinidad, 14, 160 All the King’s Men (2006), 18n20 Against All Odds, 151, 182, 218 Always, 4, 81–82, 217, 274n6 Air America, 167 Amanda’s, 39 Aladdin and His Wonderful Lamp, 99 Amazing Spider-Man, The, 105, 271 Alfie (1966), 19n34, 62–65, 273n2 American Beauty, 191, 227 Alfie (2004), 62–65, 273n2 American Booty, 227 Alfie Darling, 19n34 American Gigolo, 166, 168 Algiers, 216 American Pie, 190 Alice Adams (1923), 14, 53 Amorous Adventures of Moll Flanders, Alice Adams (1935), 14, 53 The, 152 Alice in Wonderland (1903), 166 An Affair to Remember, 165 Alice in Wonderland (2010), 166 And Then Came Lola, 114–115n64, 191 1 Note: Page numbers followed by ‘n’ refer to notes. © The Author(s) 2019 281 L. Rosewarne, Sex and Sexuality in Modern Screen Remakes, https://doi.org/10.1007/978-3-030-15891-0 282 INDEX Angels & Demons, 226 Ball of Fire, 112n14 Anna and the King, 203 Bangkok Dangerous (2000), 273n3 Anna and the King of Siam, 203 Bangkok Dangerous (2008), 273n3 Anna Karenina (1910), 153 Barbershop, 41, 48 Anna Karenina (2012), 153 -
Film Noir Database
www.kingofthepeds.com © P.S. Marshall (2021) Film Noir Database This database has been created by author, P.S. Marshall, who has watched every single one of the movies below. The latest update of the database will be available on my website: www.kingofthepeds.com The following abbreviations are added after the titles and year of some movies: AFN – Alternative/Associated to/Noirish Film Noir BFN – British Film Noir COL – Film Noir in colour FFN – French Film Noir NN – Neo Noir PFN – Polish Film Noir www.kingofthepeds.com © P.S. Marshall (2021) TITLE DIRECTOR Actor 1 Actor 2 Actor 3 Actor 4 13 East Street (1952) AFN ROBERT S. BAKER Patrick Holt, Sandra Dorne Sonia Holm Robert Ayres 13 Rue Madeleine (1947) HENRY HATHAWAY James Cagney Annabella Richard Conte Frank Latimore 36 Hours (1953) BFN MONTGOMERY TULLY Dan Duryea Elsie Albiin Gudrun Ure Eric Pohlmann 5 Against the House (1955) PHIL KARLSON Guy Madison Kim Novak Brian Keith Alvy Moore 5 Steps to Danger (1957) HENRY S. KESLER Ruth Ronan Sterling Hayden Werner Kemperer Richard Gaines 711 Ocean Drive (1950) JOSEPH M. NEWMAN Edmond O'Brien Joanne Dru Otto Kruger Barry Kelley 99 River Street (1953) PHIL KARLSON John Payne Evelyn Keyes Brad Dexter Frank Faylen A Blueprint for Murder (1953) ANDREW L. STONE Joseph Cotten Jean Peters Gary Merrill Catherine McLeod A Bullet for Joey (1955) LEWIS ALLEN Edward G. Robinson George Raft Audrey Totter George Dolenz A Bullet is Waiting (1954) COL JOHN FARROW Rory Calhoun Jean Simmons Stephen McNally Brian Aherne A Cry in the Night (1956) FRANK TUTTLE Edmond O'Brien Brian Donlevy Natalie Wood Raymond Burr A Dangerous Profession (1949) TED TETZLAFF George Raft Ella Raines Pat O'Brien Bill Williams A Double Life (1947) GEORGE CUKOR Ronald Colman Edmond O'Brien Signe Hasso Shelley Winters A Kiss Before Dying (1956) COL GERD OSWALD Robert Wagner Jeffrey Hunter Virginia Leith Joanne Woodward A Lady Without Passport (1950) JOSEPH H. -
Dancing Lady Robert Z. Leonard M-G-M USA 1933 16Mm 5/6/1972
Listed Screening Season Title Director Studio Country Year Format runtime Date Notes Dancing Lady Robert Z. Leonard M-G-M USA 1933 16mm 5/6/1972 The first screening ever! 11/25/1972 Per Trib article from 11/23/1972, "our meeting this Saturday will be our last until after the Holidays" Go Into Your Dance Archie Mayo Warner Bros. USA 1935 16mm 1/18/1975 per Chuck Schaden's Nostalgia Newsletter 1/1975 Sunny Side Up David Butler Fox Film Corp. USA 1929 16mm 1/25/1975 per Chuck Schaden's Nostalgia Newsletter 1/1975 Shall We Dance Mark Sandrich RKO USA 1937 16mm 2/1/1975 per Chuck Schaden's Nostalgia Newsletter 1/1975 You'll Never Get Rich Sidney Lanfield Columbia USA 1941 16mm 2/8/1975 per Chuck Schaden's Nostalgia Newsletter 2/1975 - subbed in for A Night at the Opera Stand-In Tay Garnett United Artists USA 1937 16mm 2/15/1975 per Chuck Schaden's Nostalgia Newsletter 2/1975 - subbed in for No Man Of Her Own Now And Forever Henry Hathaway Paramount USA 1934 16mm 2/22/1975 per Chuck Schaden's Nostalgia Newsletter 2/1975 Spy Smasher Returns William Witney Republic USA 1942 16mm 3/1/1975 per Chuck Schaden's Nostalgia Newsletter 3/1975 - subbed in for Sing You Sinners White Woman Stuart Walker Paramount USA 1933 16mm 3/8/1975 per Chuck Schaden's Nostalgia Newsletter 1/1975 Broadway Gondolier Lloyd Bacon Warner Bros. USA 1935 16mm 3/15/1975 per Chuck Schaden's Nostalgia Newsletter 4/1975 Argentine Nights Albert S. -
Columbia Pictures: Portrait of a Studio
University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 1992 Columbia Pictures: Portrait of a Studio Bernard F. Dick Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Dick, Bernard F., "Columbia Pictures: Portrait of a Studio" (1992). Film and Media Studies. 8. https://uknowledge.uky.edu/upk_film_and_media_studies/8 COLUMBIA PICTURES This page intentionally left blank COLUMBIA PICTURES Portrait of a Studio BERNARD F. DICK Editor THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1992 by The University Press of Kentucky Paperback edition 2010 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Cataloging-in-Publication Data for the hardcover edition is available from the Library of Congress ISBN 978-0-8131-3019-4 (pbk: alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. -
Beyond the Looking Glass: the Narcissistic Woman Reflected and Embodied in Classic Hollywood Film
Beyond the Looking Glass: The Narcissistic Woman Reflected and Embodied in Classic Hollywood Film Ana Salzberg PhD, Film Studies University of Edinburgh 2010 Declaration I declare that the following work is my own, and that I have clearly cited all external sources. This work has not been submitted for any other degree or qualification. Abstract Linking the images of stars as contrasting as Bette Davis, Marilyn Monroe, and Gloria Swanson, and uniting genres like romantic comedy, film noir, and melodrama, the figure of the narcissistic woman stands as a versatile, ever-present extra- and intra- diegetic force in the dream factory of classical Hollywood. She is, in fact, the lead in what sociologist Edgar Morin conceptualizes in The Stars (1957) as a golden-age “myth of love”: Calling upon the psychic and sensory investment of her fans with her otherworldly aura and material impact, the female star emerges as both the active subject of romantic narratives and the admired on-screen partner in a love affair with the spectator. Like Ovid‟s original Narcissus before her, the narcissistic woman of Hollywood exists, as Morin describes it, to “focus…love‟s magic on [herself].” Contemporary film theory, however, has interpreted the star not as a subjective force in this dialogical “magic” between actress and spectator but rather as the product of a patriarchal system of filmmaking, one that objectifies women both on the screen and in the audience. In an effort to further analyze the questions of identity and representation evoked by the female star and her audience, this thesis will seek an alternative to the binaries that tend to characterize the traditional understanding of women in classic Hollywood (that is, spectator/star, narcissistic subject/idealized object; male/female, active/passive). -
Copyrighted Material
bindex.qxd 3/22/06 10:15 AM Page 286 Index Page numbers in italics indicate illustrations Abbott, Betty, 100–101 Allen, Satchel, 73–74 Another Time, Another Place Abbott, George, 23 Allen, Woody, 3, 70–75, 73, (film), 255 Acosta, Mercedes de, 81 152 Another World (TV series), 17, Act, The (play), 183 All for a Girl (play), 209 122 Adams, Neile, 161–63 Allman, Elijah Blue, 47 Anthony, Marc, 157 Adams, Nick, 268 Allman, Gregg, 46–47 Apache (film), 204 Adler, Larry, 34 All the Fine Young Cannibals Arch of Triumph (film), 34 Adolphson, Edvin, 32 (film), 266, 268 Arliss, George, 66 Adventures of Baron Mun- All This, and Heaven Too Armageddon (film), 155, 198 chausen, The (film), 241 (film), 66 Arnaz, Desi, 20–25, 23 Adventures of Huck Finn, The Along Came Polly (film), 19 Arnaz, Desi, Jr., 21, 25, (1993) (film), 122 Ambassador, The (film), 102 181–83 Affair, The (TV film), 264, 269 Ambush (film), 232 Arnaz, Lucie, 21, 25 Affair in Trinidad (film), 120 American Life (record album), Arnold, Dorothy, 189–90 Affleck, Ben, 151–57, 155, 245 170 Arnst, Bobbe, 258, 260, 262 Affleck, Casey, 154–55 Anastasia (film), 35 Arsenic and Old Lace (play), African Queen, The (film), Anchors Aweigh (film), 88 80 180–81 Anders, Glenn, 118 Arthur (film), 183 Against the Ropes (film), 228 Anderson, Gordon, 146–47, Asher, Betty, 96 Airplane 2: The Sequel (film), 149–50 Ashley, Lady Sylvia, 211–12 47 Anderson, Lee, 98 Ash Wednesday (book), 245 Alamo, The (film), 228 Anderson, Loni, 3–9, 5 Asphalt Jungle, The (film), Alba, Maria, 211 Andress, Ursula, 13 187, 189 Albert, -
Joaquim Da Silva Fontes, Significação E Estabilidade Do Género No Cinema Noir Americano Sources, Signification and Genre Stab
Universidade de Aveiro Departamento de Línguas e Culturas 2011 Joaquim da Silva Fontes, Significação e Estabilidade do Género no Cinema Noir Americano Sources, Signification and Genre Stability in American Film Noir Universidade de Aveiro Departamento de Línguas e Culturas 2011 Joaquim da Silva Fontes, Significação e Estabilidade do Género no Cinema Noir Americano Sources, Signification and Genre Stability in American Film Noir Tese apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Cultura, realizada sob a orientação científica do Prof. Dr. Anthony David Barker, Professor Associado do Departamento de Línguas e Culturas da Universidade de Aveiro To Antonio, who made this possible. O Júri Presidente Prof. Doutor Vítor José Babau Torres Professor Catedrático da Universidade de Aveiro Vogais Prof. Doutor Mário Carlos Fernandes Avelar Professor Catedrático da Universidade Aberta Prof. Doutor Abílio Hernandez Cardoso Professor Associado da Faculdade de Letras da Universidade de Coimbra Prof. Doutor Anthony David Barker Professor Associado da Universidade de Aveiro (orientador) Prof. Doutor Kenneth David Callahan Professor Associado da Universidade de Aveiro Prof. Doutora Margarida Isabel Esteves da Silva Pereira Professora Auxiliar do Instituto de Letras e Ciências Humanas da Universidade do Minho This long journey of research will have proved invaluable all by itself Acknowledgements by virtue of the hundreds of films that I have watched (nearly two hundred and some more than once), all of them listed alphabetically at the end in the Filmography section. Some three years of watching films several times a week, most of them from my home collection and dozens and dozens of others seen at film festivals held across major American cities, mainly those of San Francisco, Los Angeles and Seattle. -
Identifying Classic Films by the TV Numbers Data of a Survey Spanning 2018-2020
Identifying Classic Films by the TV Numbers Data of a Survey Spanning 2018-2020 Each entry below consists of the name of a film, the year of its release, an abbreviation of the network(s) that presented it, and the number of its overall presentations. Networks and their respective abbreviations are: American Movie Classics (AMC) Paramount Television Network (PARA) BBC America (BBCA) Showtime (SHOW) FREE (FREE) STARZ (STARZ) FX Movie Channel (FXM) SYFY (SYFY) Home Box Office (HBO) Turner Broadcasting System (TBS) IFC (IFC) THIS TV (THIS) MOVIES! TV Network (MOVIES) TNT (TNT) Ovation TV (OVA) Turner Classic Movies (TCM) 1989 150 Films 4,958 Presentations 33,1 Average A Deadly Silence (1989) MOVIES 1 A Dry White Season (1989) TCM 4 A Nightmare on Elm Street 5: The Dream Child (1989) SYFY 7 All Dogs Go to Heaven (1989) THIS 7 Always (1989) STARZ 69 American Ninja 3: Blood Hunt (1989) STARZ 2 An Innocent Man (1989) HBO 5 Back to the Future Part II (1989) MAX/STARZ/SHOW/SYFY 272 Batman (1989) SYFY/TNT/AMC/IFC 24 Best of the Best (1989) STARZ 16 Bill & Ted’s Excellent Adventure (1989) STARZ 140 Black Rain (1989) SHOW/MOVIES/MAX 85 Blind Fury (1989) THIS 15 1 [email protected] Born on the Fourth of July (1989) MAX/BBCA/OVA/STARZ/HBO 201 Breaking In (1989) THIS 5 Brewster’s Millions (1989) STARZ 2 Bridge to Silence (1989) THIS 9 Cabin Fever (1989) MAX 2 Casualties of War (1989) SHOW 3 Chances Are (1989) MOVIES 9 Chattahoochi (1989) THIS 9 Cheetah (1989) TCM 1 Cinema Paradise (1989) MAX 3 Coal Miner’s Daughter (1989) STARZ 1 Collision -
The Rita Hayworth Version Peter William Evans
Putting the Blame on Carmen: The Rita Hayworth Version Peter William Evans Coupled again with Glenn Ford (as in Gilda, 1946 and Affair in Trinidad, 1952), Rita Hayworth in The Loves of Carmen (Charles Vidor, 1948), is caught between, on the one hand, late 1940s Hollywood versions of sexual difference and ethnic/racial otherness and, on the other, what Richard Dyer (1978), writing about Gilda, has defined as the star’s ‘resistance through charisma’. The Loves of Carmen links its interest in the otherness of the Spanish/Gypsy settings with anxieties over sexual difference focussed, above all, on its star vehicle, Rita Hayworth, in whose languid, mocking and treacherous sensuality this film, as in other Hayworth vehicles such as Blood and Sand (1941), The Lady from Shanghai (1948) or Salome (1953), gets more than it bargained for. The essay explores the various competing discourses of The Loves of Carmen mainly through questions about the shifting and contradictory meanings of the persona or ‘masquerade’ of Rita Hayworth. After a theoretical and historical introduction it moves to discuss Hayworth’s Carmen in terms of the erasure of Gypsy ethnicity through Americanization, and Carmen’s betrayal of don José as another example of the betrayal of the femme fatale of American noir. The essay concludes by positing both Hayworth and her Carmen in terms of mimicry and masquerade. Ethnicity (Gypsy), cultural representations of Femme fatale Hayworth, Rita Masquerade Star persona Vidor, Charles: The Loves of Carmen Introduction Rita Hayworth’s transformation from Margarita Carmen Cansino— her real name—into ‘Rita Hayworth’, the revered 1940s sex goddess, crystallizes in miniature the larger processes of narrativization of gender and history in one of her most characteristic films, The Loves of Carmen (Charles Vidor, 1948), the principal role in which her own middle name seemed to make her destined to play.