DOCSLIB.ORG

Ernst Lubitsch

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

filmedinburgh guild PROGRAMME 2018/2019 filmedinburgh guild The Edinburgh Film Guild, established in 1929, is Between October 2018 and March 2019 the Guild How to join: the oldest continuously running film society in will be showing over 60 films, three a week: Becoming a member is easy. You must be aged 18 the world. • Sunday afternoon, starting at 4:30pm or over, and you can join in person before any of • Sunday evening, starting at 7pm our screenings or online. The Guild is run and managed by volunteers. • Friday evening, starting at 8pm Membership: Full Membership...........£60 The Guild has its own cinema and clubrooms We do not sell tickets for individual films, or (complete 2018/19 season of films) within the Filmhouse building, which are located for any particular films − members choose the Basic Membership.........£20 next to Screen 3. films that they wish to see within the terms of (5 tickets - any 5 films) their membership. Top-Up Subscription......£20 Our 30-seat cinema has a state-of-the-art digital (5 tickets - any 5 films). Those with a ‘Basic’ projector and a 5.1 sound system. membership can purchase additional ‘top-up’ blocks of 5 tickets until they reach a total of £60, You can enjoy a drink and a chat in the Guild when they automatically become Full Members. Clubrooms before a film. EDINBURGH FILM GUILD, FILMHOUSE, 88 LOTHIAN ROAD, EDINBURGH EH3 9BZ www.edinburghfilmguild.org.uk OCTOBER — NOVEMBER 2018 page PROGRAMME Film Noir | USA 04 2018/2019 Paul Fejos 05 May ’68 | 50th Anniversary 06 Lino Brocka | Philippines 07 Mexican Horror | 1950s-60s 08 Special Screening: Hallowe’en 30 ‘Kimchi & Noodle’ Westerns | Asia 09 NOVEMBER — DECEMBER 2018 Keisuke Kinoshita | Japanese War Time Films 10 Soviet Cinema | ‘Thaw’ Period 11 Ernst Lubitsch | Musicals 12 George Stevens | Comedy 13 Keith’s 5-Star Favourites 14 Anime | Japan 15 Special Screening: Christmas/AGM 30 Screening List (in date order): 16 JANUARY — FEBRUARY 2019 Whodunnit? | Crime 18 Documentaries | French Rural Life 20 Pharaohs on Film 21 Vintage British Thrillers 22 Monster Movies 23 FEBRUARY — MARCH 2019 Complicated Women | Pre-code Hollywood 24 Slovakian Cinema 25 Fabián Bielinsky | Argentina 26 Satyajit Ray | The Apu Trilogy 27 Surreal | Fantasy 28 Alt. Sci-Fi 29 FilmFilm NoirNoir | USAUSA The Narrow Margin Ride The Pink Horse Moonrise Sunday, 7 October 2018 at 4:30pm Sunday, 14 October 2018 at 4:30pm Robert Montgomery | USA | 1947 | 101 min Frank Borzage | USA | 1948 | 90 min The Narrow Margin Hollywood actor turned idiosyncratic auteur Robert “Cinema’s great poet of outcasts redeemed by love, Sunday, 21 October 2018 at 4:30pm Montgomery directs and stars in this striking crime [director] Borzage made his only foray into film noir Richard Fleischer | USA | 1952 | 71 min drama. He plays a tough-talking former GI who comes with this Southern gothic tale about a young man Nail-hard detective Walter Brown (Charles McGraw) to a small New Mexico town to shake down the gangster (Dane Clark) tormented by a legacy of guilt and is assigned to protect gangster's widow Mrs. Neall who has killed his best friend; things quickly turn nasty. violence.” Filling “the screen with symbolic images (Marie Windsor) as she rides the train from Chicago to With its relentless pace, expressive cinematography by of hunting, confinement, and unbearable tension. LA, to testify before a grand jury. "This train's headed the great Russell Metty, and punchy, clever script by Ben Lyrical, expressionistic, yet unflinching in its depiction straight for the graveyard. There's another one coming Hecht and Charles Lederer, this is an overlooked treasure of small-town bullying and intolerance, Moonrise has a along, the gravy train." from the heyday of 1940s film noir. feeling for the natural world and the traditions of rural life rarely found in noir. Atmospheric settings convey “The Narrow Margin is generally considered a “model” “Ben Hecht and Charles Lederer’s script is absolutely the...weight of the past, but also a delicate, shadowy B picture; some film buffs...labelling this...the best low- phenomenal. Highly recommended.” (Blu-ray.com) romanticism.” (IndieWire) budget studio production ever made. “ (Rotten Tomatoes) 4 OCTOBER/NOVEMBER 2018 Paul Fejos Audacious and one-of-a-kind auteur, who bridged the gap between the silent and sound eras. Lonesome Broadway | Sunday, 28 October 2018 at 4:30pm Sunday, 4 November 2018 at 4:30pm 4:30PM SUNDAYS, Paul Fejos | USA | 1928 | 69 min Paul Fejos | USA | 1929 | 104 min Two lonely people (Barbara Kent, Glenn Tryon) in the big Lonesome A naïve dancer in a Broadway show becomes involved city meet and enjoy the thrills of an amusement park, with backstage bootlegging and accidental murder. only to lose each other in the crowd after spending a great day together. Will they ever see each other again? “The great Hungarian stylist Paul Fejos received a million-dollar budget for this adaptation of George “Full of energy, sadness, love, and life itself, Paul Fejos’ Abbott’s stage success, a backstage musical with a Lonesome is an incredibly simple story with profound gangster twist. Glenn Tryon is the hapless hoofer implications, making it a love story that stands alongside trying to pry his girl from the clutches of a bootlegger, other masterpieces like F.W. Murnau’s Sunrise. though the real star is the gigantic nightclub set, a “Lonesome feels and looks very modern; it constantly tiptoes Cubist hallucination that Fejos explores through the the fine line that separates documentary and art. This type vertiginous camera movements made possible by the Broadway of poetic realism really is virtually impossible to detect in world’s largest camera crane.” (MoMA) any of the big silent films from the same era.” Blu-ray.com( ) “Paul Fejos’ film is a near-perfect amalgam of American filmmaking technique and energy combined with a rich heritage of European influences. Lonesome testifies to an internationally sophisticated visual language that few other movies of the period can equal.” (Jonathan Rosenbaum) 5 Marking the 50th anniversary of one of May ‘68 | the great upheavals in French society. Something In The Air Jonah Who Will Be 25 In The Year 2000 May Fools Something In The Air Sunday, 7 October 2018 at 7:00pm (Milou en mai) (Après mai) Alain Tanner | Switzerland | 1976 | 116 min | French Sunday, 14 October 2018 at 7:00pm Sunday, 21 October 2018 at 7:00pm with English subtitles Louis Malle | France | 1990 | 107 min | French with Olivier Assayas | France | 2012 | 122 min | French The revolutionary upheaval of 1968 rocked Europe, English subtitles with English subtitles and led to many changes. For a while, it was possible An eccentric French family meets in the country for In the months following the heady weeks of May ‘68, to think that the radical idealism of the youth protests the funeral of their matriarch, which takes place at the a group of young Europeans (Clément Métayer, André would bare fuit and be realised in the world. In this same time as the 1968 student revolts in Paris. Even Marcon, Lola Créton) search for a way to continue the film, eight people in their late twenties and early with the latest updates of the riots coming in over the revolution they believed to be only just beginning. airwaves, the family prefer to focus on petty squabbles thirties try to keep the radical flames burning, each “Olivier Assayas’ wise and wistful memory-piece on the and personal matters rather than the current political seeking an alternative life to the mainstream. revolutionary fervor that suffused his young adulthood. climate. The film was scripted by Louis Malle and Conjuring the mood and attitudes of 1970s European “It’s a heady experience following their [Tanner and Jean-Claude Carrière, director Luis Buñuel’s longtime counterculture with pinpoint detail... [and] capturing co-writer John Berger’s] agile ruminations on time, collaborator. Cast incudes: Paulette Dubost, Michel how political zeal gives way to confusion, compromise language and perception, deftly superimposed on a Piccoli, Michel Duchaussoy, Miou-Miou. film that pleases visually and formally.” Time( Out) and a dawning sense of personal identity.” (Variety) 6 OCTOBER/NOVEMBER 2018 Lino Brocka | Philippines Lino Brocka (1939–1991) is widely regarded as one of the most influential and significant figures in Philippine cinema. His films mix visceral, documentary-like realism with the narrative focus of film noir and melodrama. | SUNDAYS, 7:00PM SUNDAYS, Manila in the Claws of Light Insiang (Maynila Sa Mga Kuko Ng Liwanag) Sunday, 4 November 2018 at 7:00pm Sunday, 28 October 2018 at 7:00pm Lino Brocka | The Philippines | 1976 | 94 min | Lino Brocka | The Philippines | 1975 | 125 min | Tagalog with English subtitles Tagalog with English subtitles Jealousy and violence take centre stage in this A young fisherman (Bembol Roco) from a provincial claustrophobic melo drama, set in the slums of Manila. village arrives in the capital on a quest to track down Lino Brocka crafts an eviscerating portrait of an his girlfriend (Hilda Koronel), who was lured there innocent daughter, Insiang (Hilda Koronel), and her with the promise of work and hasn’t been heard from bitter mother (Mona Lisa) as women scorned. Insiang since. In the meantime, he takes a low-wage job at is trapped in an environment of destitution and a construction site and witnesses life on the streets, abuse against which she can only struggle violently where death strikes without warning, corruption and and vainly. Insiang is a savage commentary on the exploitation are commonplace, and protests hint at degradations of urban poverty, especially for women. escalating civil unrest. “Brocka’s portrait of familial treachery and societal “Brocka’s painting of life in the corrupt, teeming and abandonment channels its melodrama through the polluted city of Manila is the movie’s chief glory.
Recommended publications
  • The University of Chicago Looking at Cartoons

    The University of Chicago Looking at Cartoons

    THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174
  • HOLLYWOOD – the Big Five Production Distribution Exhibition

    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
  • Richard Fleischer

    Richard Fleischer

    Richard Fleischer Un grande de Hollywood No cuenten con Richard Fleischer, nacido en Brooklyn en 1916, hijo de uno de los maestros de la animación de Hollywood, el creador de Betty Boop y de Popeye, rival de Walt Disney, etc., para gemir romántica, hipócrita o inmaduramente sobre los infranqueables obstáculos a los que hay que enfrentarse cuando se lleva un nombre famoso y se ha nacido en el serrallo. (...) Se diría que el haber nacido allí acentuó sus cualidades innatas: la serenidad en las relaciones con su ego, la discreción, la modestia, una especie de equilibrio interno en su forma de trabajar, de abordar y profundizar un tema, ya se trate del más anodino o el más atroz. Incluso antes de abordar los aspectos de su obra que le señalan como autor, en el sentido estético filosófico que ese término ha adoptado en el seno de la expresión "política de los autores", conviene definirlo como el autor de una serie de hazañas, el superdotado de la puesta en escena que, en cada uno de los géneros que probó (y sabe Dios que fueron muchos) buscó consciente o inconscientemente, pero siempre con la misma paradójica humildad, regalar la película más lograda, la más increíble, la de mayor inventiva, la definitiva. Hasta el punto de que muchos espectadores que apenas conocen su nombre guardan en lo más profundo de sus recuerdos cinematográficos un lugar especial para una u otra de sus obras maestras. Citemos en revoltijo algunos de sus logros: le debemos entre otras cosas la mejor película de aventuras históricas (Los vikingos, documentada y lírica y, en su terreno, nunca superada), la mejor adaptación de Julio Verne (Veinte mil leguas de viaje submarino), una obra que es también una de las mejores películas para niños en el doble sentido del término, a saber: película que debe complacer a los niños y a los adultos.
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013

    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013

    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
  • Film Appreciation Wednesdays 6-10Pm in the Carole L

    Film Appreciation Wednesdays 6-10Pm in the Carole L

    Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced.
  • French Film Final Inne.Autosave

    French Film Final Inne.Autosave

    Edinburgh Glasgow Dundee Aberdeen Inverness London Manchester Warwick Birmingham Cardiff In association with 7 – 20 March 2008 www.frenchfilmfestival.org.uk INDEX PROFILES Roll call of guests 5 / 6 LA FÊTE DU CIN ÉMA PREVIEW Introduction / Index What better way to start the year than sailing The spread of the festival is wider too – Avril (15) 7 down the Seine on a pacquebot filled to the screenings will take place for the first time Change of Address / Changement d’adresse (15) 8 gunnels with buyers, sales agents, producers, in Inverness at Eden Court and we return to the Her Name is Sabine / Elle s’appelle Sabine (12A) 8 actors, directors, journalists and others, all Warwick Arts Centre after a gap of several years. Intimate Enemies / L’Ennemi intime (15) 9 united by a common passion for French cinema? A special association with Cineworld cinemas Priceless / Hors de prix (15) 9 It marked the culmination of three hectic allows the festival to embrace Cardiff, A Secret / Un Secret (15) 11 Substitute (15) 11 Parisian days in darkest January of deal-making, Birmingham, Manchester-Didsbury and London- encounters and screenings. West India Quay as well as our regular venues in PANORAMA Edinburgh (Filmhouse), Glasgow (GFT), Dundee Introduction / Index 13 The tenth edition of the annual Rendezvous with Before I Forget / Avant que j’oublie (18) 14 (DCA), Aberdeen (Belmont), Riverside Studios, French Cinema, organised by Unifrance, provides Conversation With My Gardener the ICA Cinema and London (CineLumiere). / Dialogue avec mon jardinier (12A) 15 proof of the pride and pleasure the French take Could This Be Love? / Je crois que je l’aime (15) 16 in promoting the diversity of their film culture Film students will be able to engage with Don’t Worry, I’m Fine / Je vais bien, ne t’en fais pas (12A) 17 to the wider world.
  • Series 28: 10) ND Louis Malle, VANYA on 42 STREET 1994, 119 Minutes)

    Series 28: 10) ND Louis Malle, VANYA on 42 STREET 1994, 119 Minutes)

    April 8, 2014 (Series 28: 10) ND Louis Malle, VANYA ON 42 STREET 1994, 119 minutes) Directed by Louis Malle Written by Anton Chekhov (play “Dyadya Vanya”), David Mamet (adaptation) and Andre Gregory (screenplay) Cinematography by Declan Quinn Phoebe Brand ... Nanny Lynn Cohen ... Maman George Gaynes ... Serybryakov Jerry Mayer ... Waffles Julianne Moore ... Yelena Larry Pine ... Dr. Astrov Brooke Smith ... Sonya Wallace Shawn ... Vanya Andre Gregory ... Himself LOUIS MALLE (director) (b. October 30, 1932 in Thumeries, Nord, France—d. November 23, 1995 (age 63) in Beverly Hills, Los Angeles, California) directed 33 films and television shows, including 1994 Vanya on 42nd Street, 1992 Damage, 1990 May and 1954 Station 307 (Short)—and was the cinematographer for Fools, 1987 Au Revoir Les Enfants, 1986 “God's Country” (TV 5: 1986 “God's Country” (TV Movie documentary), 1986 “And Movie documentary), 1986 “And the Pursuit of Happiness” (TV the Pursuit of Happiness” (TV Movie documentary), 1962 Vive Movie documentary), 1985 Alamo Bay, 1984 Crackers, 1981 My le tour (Documentary short), 1956 The Silent World Dinner with Andre, 1980 Atlantic City, 1978 Pretty Baby, 1975 (Documentary), and 1954 Station 307 (Short). Black Moon, 1974 A Human Condition (Documentary), 1974 Lacombe, Lucien, 1971 Murmur of the Heart, 1969 Calcutta ANTON CHEKHOV (writer—play “Dyadya Vanya”) (b. Anton (Documentary), 1967 The Thief of Paris, 1965 Viva Maria!, 1963 Pavlovich Chekhov, January 29, 1860 in Taganrog, Russian The Fire Within, 1962 A Very Private Affair, 1960 Zazie dans le Empire [now Rostov Oblast, Russia]—d. July 15, 1904 (age 44) metro, 1958 The Lovers, 1958 Elevator to the Gallows, and 1953 in Badenweiler, Baden-Württemberg, Germany) Crazeologie (Short).
  • Nosferatu. Revista De Cine (Donostia Kultura)

    Nosferatu. Revista De Cine (Donostia Kultura)

    Nosferatu. Revista de cine (Donostia Kultura) Título: The Narrow Margin (Richard Fleischer, 1951). Autor/es: Casas, Quim Citar como: Casas, Q. (2006). The Narrow Margin (Richard Fleischer, 1951). Nosferatu. Revista de cine. (53):146-147. Documento descargado de: http://hdl.handle.net/10251/41484 Copyright: Reserva de todos los derechos (NO CC) La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+D+i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de Biblioteca y Documentación Científica y del Área de Sistemas de Información y Comunicaciones (ASIC) del Vicerrectorado de las Tecnologías de la Información y de las Comunicaciones de la Universitat Politècnica de València. Entidades colaboradoras: ~ 'l--· ·-- 146 The Narrow Margin (Richard Fleischer, 1951) Quim Casas he NatTOW Margin ( 1951) es la última tor un proceso de aprendizaje, y podríamos decir, película de serie B realizada por Richard utilizando un símil escolar, que se graduó con nota F leischer, que pocos meses después alta antes de aventurarse en empresas mayores. T completaría T he Happy T ime ( 1952), Como tantas otras películas policiacas no beneficia­ según la obra de Sam Taylor y la opereta de Rod­ das de la mitología Bogart, fueran de presupuesto A gers-Hanunerstein, para rodar a continuación Arena o B, estuvo muchos años arrinconada hasta que, ( 1953) en 3-D y sumergirse en las profundidades de curiosamente, volvió a salir a la luz gracias al remake los estudios Disney para materializar las obsesiones que de ella reali zó Peter 1-lyams, Testigo accidental del capitán Nema.
  • Wheeler Winston Dixon

    Wheeler Winston Dixon

    WHEELER WINSTON DIXON Curriculum Vitae EDUCATION: 1980 - 82 Ph.D. Rutgers University, New Brunswick, NJ Major Focus: 20th Century American and British Literature; Film Studies. 1976 - 80 M.A., M.Phil. Rutgers University, New Brunswick, NJ 1969 - 72 A.B. Livingston College, New Brunswick, NJ APPOINTMENTS HELD: 2010 – Present Coordinator, Film Studies Program 2003 – 2005 Coordinator, Film Studies Program 2000 – Present James P. Ryan Endowed Professor of Film Studies 1999 – 2003 Chairperson, Film Studies Program; Professor, English, University of Nebraska, Lincoln. 1997 Visiting Professor, Department of Communications, The New School University, New York, Summer, 1997. 1992 - 1998 Chairperson, Film Studies Minor; Professor, English, University of Nebraska, Lincoln. 1988 - 1992 Chairperson, Film Studies Program; Associate Professor, English, University of Nebraska, Lincoln. 1984 - 1988 Assistant Professor, English and Art, University of Nebraska - Lincoln. 1983 Visiting Professor, Film Studies, The New School for Social Research, New York, NY. 1974 - 1984 Instructor, English, Rutgers University, New Brunswick. 1969 - 1972 Instructor, Film Studies, Department of Art, Livingston College. COURSES TAUGHT: 2013 Film History, Film Genre: Action and Suspense, 1960s Outlaw Cinema 2012 Film History, Film Genre, Contemporary World Cinema, Science Fiction 2011 Film History, Film Genre, Film Theory 2010 Film History, Film Genre: The Musical, Noir Films 2009 Film History, Film Genre: The Western, Science Fiction Films 2008 Film History, Film Genre: Classic
  • Monumental Melodrama: Mikhail Kalatozov’S Retrospective Return to 1920S Agitprop Cinema in I Am Cuba Tim Harte Bryn Mawr College, Tharte@Brynmawr.Edu

    Monumental Melodrama: Mikhail Kalatozov’S Retrospective Return to 1920S Agitprop Cinema in I Am Cuba Tim Harte Bryn Mawr College, [email protected]

    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Russian Faculty Research and Scholarship Russian 2013 Monumental Melodrama: Mikhail Kalatozov’s Retrospective Return to 1920s Agitprop Cinema in I Am Cuba Tim Harte Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/russian_pubs Part of the Film and Media Studies Commons Custom Citation Harte, Tim. "Monumental Melodrama: Mikhail Kalatozov’s Retrospective Return to 1920s Agitprop Cinema in I Am Cuba." Anuari de filologia. Llengües i literatures modernes 3 (2013) 1-12. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/russian_pubs/2 For more information, please contact [email protected]. Tim Harte Bryn Mawr College “Monumental Melodrama: Mikhail Kalatozov’s Retrospective Return to 1920s Agitprop Cinema in I Am Cuba ” October 2013 Few artists have bridged the large thirty-year divide between the early Soviet avant-garde period of the 1920s and the post-Stalinist Thaw of the late 1950s and early 1960s like the filmmaker Mikhail Kalatozov. Thriving in these two periods of relative artistic freedom and innovation for Soviet culture, the Georgian-born Kalatozov—originally Kalatozishvili— creatively merged the ideological with the kinesthetic, first through his constructivist-inspired silent work and then through his celebrated Thaw-era films. Having participated in the bold experiment that was early Soviet cinema, Kalatozov subsequently maintained some semblance of cinematic productivity under Stalinism; but then in the late 1950s he suddenly transformed himself and his cinematic vision.
  • Films from the Archives of the Museum of Modern Art and the George Eastman House

    Films from the Archives of the Museum of Modern Art and the George Eastman House

    'il The Museum of Modem Art FOR ™IATE RRLEASF yvest 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart KINO EYE OF THE 20s FEATURES FILM MASTERPIECES Films from the Archives of The Museum of Modern Art and The George Eastman House The Museum of Modern Art, in collaboration with the George Eastman House in Roches­ ter, will present several film masterpieces as part of its program "Kino Eye of the 20s," starting July 23 with Ilya Trauberg's "China Express." The program, scheduled through August 26, will also include such film classics as Carl Dreyer's "The Passion of Joan of Arc;" Pudovkin's "Mother;" Erich von Stroheim's "Greed;" F.W. Murnau's "The Last Laugh;" Eisenstein's "Potemkin;" and "The Cabinet of Dr. Caligari," one of the most controversial films of its time. Thirty-seven pictures were selected by Beaumont Newhall, Director of the George Eastman House, who is responsible for organizing the current photographic exhibition, "Photo Eye of the 20s," to which "Kino Eye of the 20s" is a companion program. Mr. Newhall will appear at the Thursday evening performance, July 30 at 8 p.m., fjhen he will introduce the Murnau film "Sunrise" and discuss the series. A strong kinship between photography and film existed in this decade, when the film found its syntax and structure, according to Mr. NeT;hall. "In a quarter of a century the movies had grown from a vaudeville novelty to a distinct and po';erful art form." The decade saw the production of some of the greatest films ever made.
  • Appendix 5 Selected Films in English of Operettas by Composers for the German Stage

    Appendix 5 Selected Films in English of Operettas by Composers for the German Stage

    Appendix 5 Selected Films in English of Operettas by Composers for the German Stage The Merry Widow (Lehár) 1925 Mae Murray & John Gilbert, dir. Erich von Stroheim. Metro- Goldwyn-Mayer. 137 mins. [Silent] 1934 Maurice Chevalier & Jeanette MacDonald, dir. Ernst Lubitsch. MGM. 99 mins. 1952 Lana Turner & Fernando Lamas, dir. Curtis Bernhardt. Turner dubbed by Trudy Erwin. New lyrics by Paul Francis Webster. MGM. 105 mins. The Chocolate Soldier (Straus) 1914 Alice Yorke & Tom Richards, dir. Walter Morton & Hugh Stanislaus Stange. Daisy Feature Film Company [USA]. 50 mins. [Silent] 1941 Nelson Eddy, Risë Stevens & Nigel Bruce, dir. Roy del Ruth. Music adapted by Bronislau Kaper and Herbert Stothart, add. music and lyrics: Gus Kahn and Bronislau Kaper. Screenplay Leonard Lee and Keith Winter based on Ferenc Mulinár’s The Guardsman. MGM. 102 mins. 1955 Risë Stevens & Eddie Albert, dir. Max Liebman. Music adapted by Clay Warnick & Mel Pahl, and arr. Irwin Kostal, add. lyrics: Carolyn Leigh. NBC. 77 mins. The Count of Luxembourg (Lehár) 1926 George Walsh & Helen Lee Worthing, dir. Arthur Gregor. Chadwick Pictures. [Silent] 341 Downloaded from https://www.cambridge.org/core. IP address: 170.106.33.14, on 01 Oct 2021 at 07:31:57, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781108614306 342 Appendix 5 Selected Films in English of Operettas Madame Pompadour (Fall) 1927 Dorothy Gish, Antonio Moreno & Nelson Keys, dir. Herbert Wilcox. British National Films. 70 mins. [Silent] Golden Dawn (Kálmán) 1930 Walter Woolf King & Vivienne Segal, dir. Ray Enright.