Brief of Amici Curiae Former Officials of U.S
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
1 Evolving Authorship, Developing Contexts: 'Life Lessons'
Notes 1 Evolving Authorship, Developing Contexts: ‘Life Lessons’ 1. This trajectory finds its seminal outlining in Caughie (1981a), being variously replicated in, for example, Lapsley and Westlake (1988: 105–28), Stoddart (1995), Crofts (1998), Gerstner (2003), Staiger (2003) and Wexman (2003). 2. Compare the oft-quoted words of Sarris: ‘The art of the cinema … is not so much what as how …. Auteur criticism is a reaction against sociological criticism that enthroned the what against the how …. The whole point of a meaningful style is that it unifies the what and the how into a personal state- ment’ (1968: 36). 3. For a fuller discussion of the conception of film authorship here described, see Grist (2000: 1–9). 4. While for this book New Hollywood Cinema properly refers only to this phase of filmmaking, the term has been used by some to designate ‘either something diametrically opposed to’ such filmmaking, ‘or some- thing inclusive of but much larger than it’ (Smith, M. 1998: 11). For the most influential alternative position regarding what he calls ‘the New Hollywood’, see Schatz (1993). For further discussion of the debates sur- rounding New Hollywood Cinema, see Kramer (1998), King (2002), Neale (2006) and King (2007). 5. ‘Star image’ is a concept coined by Richard Dyer in relation to film stars, but it can be extended to other filmmaking personnel. To wit: ‘A star image is made out of media texts that can be grouped together as promotion, publicity, films and commentaries/criticism’ (1979: 68). 6. See, for example, Grant (2000), or the conception of ‘post-auteurism’ out- lined and critically demonstrated in Verhoeven (2009). -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything. -
Guide to the William K
Guide to the William K. Everson Collection George Amberg Memorial Film Study Center Department of Cinema Studies Tisch School of the Arts New York University Descriptive Summary Creator: Everson, William Keith Title: William K. Everson Collection Dates: 1894-1997 Historical/Biographical Note William K. Everson: Selected Bibliography I. Books by Everson Shakespeare in Hollywood. New York: US Information Service, 1957. The Western, From Silents to Cinerama. New York: Orion Press, 1962 (co-authored with George N. Fenin). The American Movie. New York: Atheneum, 1963. The Bad Guys: A Pictorial History of the Movie Villain. New York: Citadel Press, 1964. The Films of Laurel and Hardy. New York: Citadel Press, 1967. The Art of W.C. Fields. Indianapolis: Bobbs-Merrill, 1967. A Pictorial History of the Western Film. Secaucus, N.J.: Citadel Press, 1969. The Films of Hal Roach. New York: Museum of Modern Art, 1971. The Detective in Film. Secaucus, N.J.: Citadel Press, 1972. The Western, from Silents to the Seventies. Rev. ed. New York: Grossman, 1973. (Co-authored with George N. Fenin). Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1974. Claudette Colbert. New York: Pyramid Publications, 1976. American Silent Film. New York: Oxford University Press, 1978, Love in the Film. Secaucus, N.J.: Citadel Press, 1979. More Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1986. The Hollywood Western: 90 Years of Cowboys and Indians, Train Robbers, Sheriffs and Gunslingers, and Assorted Heroes and Desperados. Secaucus, N.J.: Carol Pub. Group, 1992. Hollywood Bedlam: Classic Screwball Comedies. Secaucus, N.J.: Carol Pub. Group, 1994. -
Anna May Wong
Anna May Wong From Laundryman’s Daughter to Hollywood Legend Graham Russell Gao Hodges Hong Kong University Press 14/F Hing Wai Centre 7 Tin Wan Praya Road Aberdeen Hong Kong www.hkupress.org © Hong Kong University Press 2012 Copyright © 2004 by Graham Russell Gao Hodges First published by Palgrave Macmillan ISBN 978-988-8139-63-7 All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Liang Yu Printing Factory Ltd. in Hong Kong, China Contents Preface to Second Edition ix Acknowledgments xi Introduction xv List of Illustrations xxiii One Childhood 1 Two Seeking Stardom 27 Three Europe 65 Four Atlantic Crossings 99 Five China 141 Six In the Service of the Motherland 159 Seven Becoming Chinese American 191 Epilogue 207 Filmography 213 Television Appearances 223 Notes 225 Selected Bibliography 251 Index 265 Introduction Anna May Wong (1905–1961) remains the premier Asian American actress. In part this distinction stems from the historical rarity of Asian actors in American cinema and theater, yet her singularity derives primarily from her laudable acting in more than fifty movies, during a career that ranged from 1919 to 1961, a record of achievement that is unmatched and likely to remain so in the foreseeable future. -
Alexander Mackendrick: Filmmaker, Teacher & Theorist a Centennial Celebration
FILM AT REDCAT PRESENTS Wed Feb 6 | 8:30 pm | Jack H. Skirball Series $10 [students $8, CalArts $5] Alexander Mackendrick: Filmmaker, Teacher & Theorist A Centennial Celebration The esteemed director of Sweet Smell of Success (1957) and The Ladykillers (1955), Alexander Mackendrick (1912–1993) was a pivotal figure in the history of CalArts, and his work and writings remain a major influence on contemporary narrative directors and screenwriters. For this celebration of the artist’s multifaceted contributions, Paul Cronin (editor of Mackendrick’s seminal book On Film-Making) is joined by two CalArts alums, director James Mangold and author and filmmaker F.X. Feeney. Together they honor the man who, as Dean of the School of Film/Video at CalArts and throughout his nearly 25 years of teaching, shaped an institution and inspired generations of filmmakers. This lively discussion reveals Mackendrick through personal reminiscences, film clips and critical observations on his work as a filmmaker, teacher and theorist. In person: Paul Cronin, F.X. Feeney and James Mangold “ ‘Process, not product’ was [Mackendrick’s] mantra to his students. The creative process—not the creative method, or the creative system. The process. Which never stops.” —Martin Scorsese One of the most distinguished directors ever to emerge from the British film industry, Alexander “Sandy” Mackendrick was born in the US to Scottish parents. Raised in Scotland, Mackendrick studied at the Glasgow School of Art. Afterward, he worked as a commercial illustrator, soon gravitating to making films, the first being animated advertisements followed by numerous live action short documentaries. Mackendrick’s feature debut was the Ealing Studios comedy classic Whisky Galore (1949). -
The Expansion of the Fictional Universe of the X-Files on Social TV La Expansión Del Universo Ficticio De the X-Files En La
ONLINE VERSION | Reference: Sigiliano, D. & Borges, G. (2018). The expansion of the fictional universe of The X-Files on social TV. Dígitos. Revista de Comunicación Digital, 4 The expansion of the fictional universe of The X-Files on social TV La expansión del universo ficticio de The X-Files en la social TV Daiana Sigiliano1 Gabriela Borges2 Abstract The social TV marks the convergence of television experience with social media. The phenomenon refers to content sharing through social networks and second screen apps simultaneously to television broadcasting. In this context, this article aims to discuss the features explored by Fox during The X-Files 10th season to engage the interacting viewers with social TV. We analysed the dialogue between the fictional universe of the series and the backchannelthrough a monitoring of @thexfiles profile postings on Twitter during the exhibition of series episodes. We conclude that the network's engagement strategies reinforce the social bond, stimulate the participation of the interacting viewers, and amplify the narrative arcs of The X-Files. Keywords: Social TV; Television; Twitter; The X-Files. Resumen La social TV marca la convergencia de la experiencia televisiva con los nuevos medios. El fenómeno se refiere al intercambio de contenidos hecho a través de las redes sociales y de las aplicaciones de segunda pantalla de manera síncrona al flujo televisivo. A partir de ese contexto, este artículo tiene el objetivo de reflexionar sobre las acciones de social TV adoptadas por Fox durante la décima temporada de The X-Files. Hemos analizado las publicaciones de la página (@thexfiles) gestionada por el canal en Twitter con el fin de entender cómo contribuyen al desarrollo y la comprensión del universo de ficción de la serie. -
The X-Files : Saison 1
The X-Files : Saison 1 • 1X79 - Nous ne sommes pas seuls (The X-Files : Pilot) : Les agents du FBI, Fox Mulder et Dana Scully, enquêtent sur leur premier dossier «non-classé», une série d’étranges décès que Mulder pense être liée à un enlèvement extraterrestre. Ecrit par Chris Carter – Dirigé par Robert Mandel • 1X1 - Gorge profonde (Deep throat) : Le conseil d’un indicateur très haut placé guide les agents sur la piste de pilotes d’essais mystérieusement disparus ; ils découvriront que le gouvernement tente probablement de dissimuler une zone où un OVNI se serait écrasé. Ecrit par Chris Carter – Dirigé par Daniel Sackheim • 1X2 - Compressions (Squeeze) : Mulder et Scully doivent arrêter Eugène Tooms – un tueur en série mutant qui peut se faufiler par les interstices les plus étroits et attaquer ses victimes. Ecrit par Glen Morgan et James Wong – Dirigé par Harry Longstreet • 1X3 - L’enlèvement (Conduit) : Alors que les agents enquêtent sur l’étrange disparition d’une adolescente, Mulder doit affronter ses sentiments vis-à-vis de l’enlèvement de sa sœur par les extraterrestres. Ecrit par Alex Gansa et Howard Gordon – Dirigé par Daniel Sackheim • 1X4 - Le diable du New Jersey (The Jersey devil) : Mulder et Scully enquêtent sur une série de meurtres attribuée à une créature légendaire, mi-homme, mi-bête. Ecrit par Chris Carter – Dirigé par Joe Napolitano • 1X5 - L’ombre de la mort (Shadows) : Mulder enquête avec Scully sur une série de meurtres étranges commis par une force inconnue. Mulder est persuadé d’être en présence d’un fantôme. Ecrit par Glen Morgan et James Wong – Dirigé par Michael Katleman • 1X6 - Un fantôme dans l’ordinateur (Ghost in the machine) : Mulder et Scully affrontent un ordinateur doté d’une intelligence artificielle et capable de tuer pour préserver son existence. -
The X-Files : Saison 2
The X-Files : Saison 2 • 2X1 - Les petits hommes verts (Little green men) : Le service des affaires non classées est fermé. Mulder se rend clandestinement à Porto Rico, sur un site de contact éventuel, tandis que Scully fait son possible pour le couvrir. Ecrit par Glen Morgan et James Wong – Dirigé par David Nutter • 2X2 - L’hôte (The host) : En enquêtant sur un meurtre perpétré dans le système des égouts du New Jersey, Mulder découvre par hasard un mutant, l’homme-douve. Ecrit par Chris Carter – Dirigé par Daniel Sackheim • 2X3 - Mauvais sang (Blood) : Plusieurs résidents d’une petite communauté fermière deviennent soudain violents, dangereux, sous l’impulsion de messages sur écrans digitaux qui leur enjoignent de tuer. Ecrit par Glen Morgan et James Wong, d’après une histoire de Darin Morgan – Dirigé par David Nutter • 2X4 - Insomnies (Sleepless) : Mulder se voit attribuer un nouveau partenaire, Alex Krycek, et ils enquêtent sur une expérience secrète remontant à la guerre du Viêt-nam : des tentatives de suppression du sommeil qui se révèlent fatales pour leurs derniers survivants. Ecrit par Howard Gordon – Dirigé par Rob Bowman • 2X5 - Duane Barry 1/2 (Duane Barry) : Mulder est chargé des négociations au cours d’une prise d’otages, dont le responsable, Duane Barry, prétend avoir été le cobaye d’extraterrestres. Ecrit et dirigé par Chris Carter • 2X6 - Duane Barry 2/2 (Ascension) : Mulder poursuit Duane Barry pour tenter à tout prix de retrouver Scully. Ecrit par Paul Brown – Dirigé par Michael Lange • 2X7 - Les vampires (3) : Mulder enquête à Hollywood sur une série de meurtres vampiriques et commence à tomber amoureux d’une femme qui est sa suspecte n°1. -
Tatiana Maslany Canada’S Favourite Clone on Orphan Black and International Acclaim
Your guide to compelling drama, tongue-in-cheek comedy, unscripted shenanigans, engaging children’s programming and much more! Tatiana Maslany Canada’s favourite clone on Orphan Black and international acclaim Why Canada is booming in a borderless business Going Global: Canadian producers on taking their content to the world Contents 2 Canadian TV Scene: DRAMA the Big Picture 4 Opening Credits: A Message from the Editor The Canadian Media Producers Association is Canada’s leading trade 5 Be a Canadian association for independent producers, representing more than 350 Television Critic— companies engaged in the production and distribution of English-language See the World television programs, feature films and digital media. The CMPA works on behalf of members to promote and stimulate the Canadian production industry. Our goal is to ensure the continued success of Canada’s Television Genres independent production sector and a future for content that is made by Canadians for both Canadian and international audiences. 10 Drama 33 Comedy 42 Unscripted 64 Children’s & Youth 78 Foreign Location & Service Production P. 10 Feature Interview COMEDY UNSCRIPTED Tatiana Maslany p.8 Going Global: Canadian Producers on Taking Their Content to the World David Cormican p.18 Karen Walton p.28 Catherine Reitman p.38 P.33 P.42 Cal Shumiatcher p.52 CHILDREN’S & YOUTH FOREIGN PRODUCTIONS cmpa.ca Vince Commisso p.70 Follow us on Twitter @The_CMPA Like us on Facebook at facebook.com/theCMPA All photography property of ABC, ABC Spark, Amazon, AMI, Animal Planet, -
The X-Files : Saison 4
The X-Files : Saison 4 ° 4X1 - Tout ne doit pas mourir (Herrenvolk) : Tandis que la mère de Mulder s’éteint, Jeremiah Smith l’emmène dans des plantations où travaillent des enfants muets. Mulder est abasourdi de découvrir que touts les filles sont des clones de sa sœur disparue, Samantha. Pendant ce temps, les recherches de Scully permettent d’entrevoir un plan concernant l’utilisation des cicatrices de variole pour cataloguer secrètement tous les êtres humains inoculés. Monsieur X est assassiné mais laisse un message cryptique pour Mulder dans son propre sang, ce qui mène Mulder vers une nouvelle source d’information de l’intérieur. Ecrit par Chris Carter – Dirigé par R.W. Goodwin ° 4X2 - Les hurleurs (Unruhe) : Un kidnapping accompagné d’un meurtre à Traverse City, Michigan, met Mulder et Scully sur le piste d’un assassin tordu qui enlève de jeunes femmes et leur effectue des lobotomies transorbitales avant de les libérer. Une série de photographes dépeignant les femmes juste avant leur agression semble être des exemples de photographes psychiques. Ecrit par Vince Gilligan – Dirigé par Rob Bowman ° 4X3 - La meute (Home) : En enquêtant sur la mort d’un enfant hideusement déformé, retrouvé dans une tombe de la petite communauté rurale de Home, Pennsylvanie, Mulder et Scully découvrent une famille dont les hommes sont affligés de multiples défauts congénitaux. Les unions consanguines ont déformé leur corps en quelque chose se situant entre l’homme et l’animal. (Cet épisode fait apparaître un shérif local appelé Andy Taylor avec son adjoint nommé Barney). Ecrit par Glen Morgan et James Wong – Dirigé par Kim Manners ° 4X4 - Teliko (Teliko) : Das Afro-Américains disparaissent. -
Film Production Current Academic Cinema
DOCUMENT. RESUME ED 081 053 CS 500 404 AUTHOR Staples, Donald E. TITLE A Look at the Role of the American Cinematographer Through a Selected List of Films. PUB DATE 29 Mar 68 NOTE 19p.; Paprr presented at a meeting of the Society of Cinematologists (New York, March 1968) EDRS PRICE MF-$0.65 HC-$3.29 DESCRIPTORS Art Expression; Audiovisual Communication; Creative Activities; *Film Production; *Film Production Specialists; *Films; *Film Study; Visual Arts IDENTIFIERS *Cinematographers; Film History ABSTRACT The stress given to film directors and stars in current academic cinema studies unjustifiably ignores the artistic contributions of cinematographers..Frequently, cinematographers are responsible for much of the artistic expression and inventiveness in films. Although determination of the extent of the cinematographer's contribution is difficult, it is possible to assess the frequency with which cameramen are credited for their contributions to award-winning films. k'survey of 339 of the "best" feature films produced between 1930 and 1964 indicated that writers, directors, and editors were credited more frequently than cinematographers. It also indicated that a relatively small group of "top" cameramen were acknowledged as contributing to the "best" films of the period.. (CH) FILMED FROM BESTAVAILABLE CO U S DEPARTMENT OF HEALTH. EDUCATION & WELFARE NATIONAL INSTITUTE OF EDUCATION THIS DOCUMENT HAS BEEN REPRO OUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGIN ATING It POINTS OF VIEW OR OPINIONS STATED 00 NOT NECESSARILY REPRE SENT OFFICIAL NATIONAL INSTITUTE OF EDUCATION POSITION OF POLICY Society of Cinematolooists A LOOK AT THE ROLE OF TIE AMERICANCINEMATOGRAPHER THROUGH A SELECTED LIST OF FILMS by "PERMISSION TO REPRODUCE THIS COPY. -
Saving Innocents: Tracing the Umh an Monster Hunter’S Hetero-Normative Agenda from the 1970S to Today Adam Kem Yerima Wayne State University
Wayne State University Wayne State University Dissertations 1-1-2016 Saving Innocents: Tracing The umH an Monster Hunter’s Hetero-Normative Agenda From The 1970s To Today Adam Kem Yerima Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the African American Studies Commons, Feminist, Gender, and Sexuality Studies Commons, and the Film and Media Studies Commons Recommended Citation Yerima, Adam Kem, "Saving Innocents: Tracing The umH an Monster Hunter’s Hetero-Normative Agenda From The 1970s oT Today" (2016). Wayne State University Dissertations. Paper 1608. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. SAVING INNOCENTS: TRACING THE HUMAN MONSTER HUNTER’S HETERO-NORMATIVE AGENDA FROM THE 1970S TO TODAY by ADAM KEM YERIMA DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2016 MAJOR: ENGLISH (Film & Media Studies) Approved By: ____________________________________________ Advisor Date ____________________________________________ ____________________________________________ ____________________________________________ ____________________________________________ DEDICATION I dedicate this project to my mother and sister. Thank you for enduring my absence during the holidays and my years away from home. Your understanding and patience allowed me to fully devote my energies to writing and completing this dissertation. ii ACKNOWLEDGEMENTS I cannot express enough thanks to my committee for their patience, help, and encouragement during this project’s development and completion: Dr. Chera Kee, my committee chair; Dr. Steven Shaviro; Dr.