Documentary Movies
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Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
It 2.007 Vc Italian Films On
1 UW-Madison Learning Support Services Van Hise Hall - Room 274 rev. May 3, 2019 SET CALL NUMBER: IT 2.007 VC ITALIAN FILMS ON VIDEO, (Various distributors, 1986-1989) TYPE OF PROGRAM: Italian culture and civilization; Films DESCRIPTION: A series of classic Italian films either produced in Italy, directed by Italian directors, or on Italian subjects. Most are subtitled in English. Individual times are given for each videocassette. VIDEOTAPES ARE FOR RESERVE USE IN THE MEDIA LIBRARY ONLY -- Instructors may check them out for up to 24 hours for previewing purposes or to show them in class. See the Media Catalog for film series in other languages. AUDIENCE: Students of Italian, Italian literature, Italian film FORMAT: VHS; NTSC; DVD CONTENTS CALL NUMBER Il 7 e l’8 IT2.007.151 Italy. 90 min. DVD, requires region free player. In Italian. Ficarra & Picone. 8 1/2 IT2.007.013 1963. Italian with English subtitles. 138 min. B/W. VHS or DVD.Directed by Frederico Fellini, with Marcello Mastroianni. Fellini's semi- autobiographical masterpiece. Portrayal of a film director during the course of making a film and finding himself trapped by his fears and insecurities. 1900 (Novocento) IT2.007.131 1977. Italy. DVD. In Italian w/English subtitles. 315 min. Directed by Bernardo Bertolucci. With Robert De niro, Gerard Depardieu, Burt Lancaster and Donald Sutherland. Epic about friendship and war in Italy. Accattone IT2.007.053 Italy. 1961. Italian with English subtitles. 100 min. B/W. VHS or DVD. Directed by Pier Paolo Pasolini. Pasolini's first feature film. In the slums of Rome, Accattone "The Sponger" lives off the earnings of a prostitute. -
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
Donald Trump Shoots the Match1 Sharon Mazer
Donald Trump Shoots the Match1 Sharon Mazer The day I realized it can be smart to be shallow was, for me, a deep experience. —Donald J. Trump (2004; in Remnick 2017:19) I don’t care if it’s real or not. Kill him! Kill him! 2 He’s currently President of the USA, but a scant 10 years ago, Donald Trump stepped into the squared circle, facing off against WWE owner and quintessential heel Mr. McMahon3 in the “Battle of the Billionaires” (WrestleMania XXIII). The stakes were high. The loser would have his head shaved by the winner. (Spoiler alert: Trump won.) Both Trump and McMahon kept their suits on—oversized, with exceptionally long ties—in a way that made their heads appear to hover, disproportionately small, over their bulky (Trump) and bulked up (McMahon) bodies. As avatars of capitalist, patriarchal power, they left the heavy lifting to the gleamingly exposed, hypermasculinist bodies of their pro-wrestler surrogates. McMahon performed an expert heel turn: a craven villain, egging the audience to taunt him as a clueless, elitist frontman as he did the job of casting Trump as an (unlikely) babyface, the crowd’s champion. For his part, Trump seemed more mark than smart. Where McMahon and the other wrestlers were working around him, like ham actors in an outsized play, Trump was shooting the match: that is, not so much acting naturally as neglecting to act at all. He soaked up the cheers, stalked the ring, took a fall, threw a sucker punch, and claimed victory as if he (and he alone) had fought the good fight (WWE 2013b). -
Tisch School of the Arts
18 Visible TISCH SCHOOL New York University EOFvidence THE ARTS August 11-14, 2011 NEW YORK, WELCOME EVER VIGILANT, IS THE CITY THAT never sleeps, a perfect setting for an international TO YOU ALL! conference on documentary film. We extend our thanks to Tisch School of the Arts, Cinema Studies Pro- WITHIN THE BROADER CONTEXT fessor, and Visible Evidence 18 Conference Director, Jon- of our Moving Image Archiving and Preservation Program athan Kahana for his energetic efforts to bring the confer- and Certificate Program in Culture and Media, the De- ence to the Big Apple. Professor Kahana has deployed his superb organizational skills to assemble an impressive set of partment of Cinema Studies at NYU is committed to sponsoring institutions and panelists over the four days of the developing both pedagogy and practice in the field conference and we are grateful to him and the legion of vol- of documentary. The fact that this year we are unteers and participating institutions who made hosting Visible Evidence 18 is a demonstra- this event possible. The Visible Evidence 18 Con- ference is a bittersweet occasion: we celebrate a tion of that commitment as well as a validation, great filmmaker, the “dean” of documentary film, as Jonathan Kahana writes, of documentary film-mak- George Stoney, Professor Emeritus in the Tisch ers’ long love affair with New York. I want to congratulate School’s Kanbar Institute of Film and Television, Professor Kahana for putting together this stellar conference and we pay tribute to our school’s beloved and renowned theorist and historian, the late Rob- and mobilizing such a wide range of institutional collabora- ert Sklar, Professor Emeritus in the department tors across the city. -
Mark Kitchell
A film by Mark Kitchell 101 min, English, Digital (DCP/Blu-ray), U.S.A, 2012, Documentary FIRST RUN FEATURES The Film Center Building | 630 Ninth Ave. #1213 | New York, NY 10036 (212) 243-0600 | Fax (212) 989-7649 | [email protected] www.firstrunfeatures.com www.firstrunfeatures.com/fiercegreenfire About the Film A FIERCE GREEN FIRE: The Battle for a Living Planet is the first big-picture exploration of the environmental movement – grassroots and global activism spanning fifty years from conservation to climate change. Directed and written by Mark Kitchell, Academy Award- nominated director of Berkeley in the Sixties, and narrated by Robert Redford, Ashley Judd, Van Jones, Isabel Allende and Meryl Streep, the film premiered at Sundance Film Festival 2012, won acclaim at festivals around the world, and in 2013 begins theatrical release as well as educational distribution and use by environmental groups. Inspired by the book of the same name by Philip Shabecoff and informed by advisors like E.O. Wilson and Tom Lovejoy, A FIERCE GREEN FIRE chronicles the largest movement of the 20th century and one of the keys to the 21st. It brings together all the major parts of environmentalism and connects them. It focuses on activism, people fighting to save their homes, their lives, the future – and succeeding against all odds. The film unfolds in five acts, each with a central story and character: • David Brower and the Sierra Club’s battle to halt dams in the Grand Canyon • Lois Gibbs and Love Canal residents’ struggle against 20,000 tons of toxic chemicals • Paul Watson and Greenpeace’s campaigns to save whales and baby harp seals • Chico Mendes and Brazilian rubbertappers’ fight to save the Amazon rainforest • Bill McKibben and the 25-year effort to address the impossible issue – climate change Surrounding these main stories are strands like environmental justice, going back to the land, and movements of the global south such as Wangari Maathai in Kenya. -
Feature Films
NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 .......................... -
A Pilot Method for Movie Selection and Initial Results
Movies for use in Public Health Training: A Pilot Method for Movie Selection and Initial Results Nick Wilson,* Rachael Cowie, Michael G Baker, Philippa Howden-Chapman Department of Public Health, University of Otago, Wellington, New Zealand October 2009 *Correspondence to: Dr Nick Wilson Department of Public Health, University of Otago, Wellington PO Box 7343 Wellington South, New Zealand. Phone (64)-4-385 5541 ext. 6469 Fax (64)-4-389 5319 Email: [email protected] Abstract Background: A method for systematically identifying, selecting, and ranking high quality movies for public health training does not exist. We therefore aimed to pilot a method and use it to generate an initial selection of suitable movies in a range of public health categories. Methods: To identify possible movies, systematic searches were undertaken of two large movie databases. If meeting minimal criteria for entertainment value (using public and critic ratings), the movies were then systematically evaluated for training suitability. Results: Using the search strategy we developed, it appeared feasible to systematically identify movies of potential educational value for public health training. Out of a total of 29 movies selected for viewing and more detailed assessment, the top ranked 15 were selected as having reasonable potential for training. There was a high correlation between scores of the movie assessors (Spearman’s rho = 0.80, p<0.00001). Also 75% of the top 15 movies were found to be referred to in Medline-indexed publications. Conclusion: This pilot study was able to develop a method for systematically identifying and selecting movies that could potentially be used for public health training. -
Against All Odds? the Red-Green Victory Norpoth, Helmut; Gschwend, Thomas
www.ssoar.info Against all odds? The red-green victory Norpoth, Helmut; Gschwend, Thomas Veröffentlichungsversion / Published Version Zeitschriftenartikel / journal article Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: SSG Sozialwissenschaften, USB Köln Empfohlene Zitierung / Suggested Citation: Norpoth, H., & Gschwend, T. (2003). Against all odds? The red-green victory. German Politics and Society, 21(1), 15-34. https://nbn-resolving.org/urn:nbn:de:0168-ssoar-258148 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under Deposit Licence (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, non- Gewährt wird ein nicht exklusives, nicht übertragbares, transferable, individual and limited right to using this document. persönliches und beschränktes Recht auf Nutzung dieses This document is solely intended for your personal, non- Dokuments. Dieses Dokument ist ausschließlich für commercial use. All of the copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the above-stated vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder conditions of use. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an. -
World War II Meets French 331: Using Au Revoir Les Enfants to Discuss Religion, Ethics, And
World War II Meets French 331: Using Au revoir les enfants to Discuss Religion, Ethics, and Values _________________________________ Laura Dennis-Bay University of the Cumberlands Williamsburg, Kentucky Abstract This paper examines the treatment of religious and ethical themes in relation to the holocaust in Louis Malle’s film Au revoir les enfants, and suggests ways in which the film can enable discussion of religion, ethics and values in the French classroom.The film raises issues of philosophical and spiritual significance as it forces the viewer to grapple with some of the most atrocious events in human history. “Can we watch a movie?” Many college foreign language profes- sors hear all too often some variation of this refrain. Whatever the response, it seems that more often than not, the request is followed by something like “my high school teacher let us watch Beauty and the Beast in French.” Already suspecting, perhaps fearing the answer, the instructor might re- spond “Oh, the beautiful black and white film by Surrealist director and poet Jean Cocteau?” The answer, too many times, is a perplexed “No, I mean the Disney cartoon,” at which point it’s time to move on. This is not to argue against the use of film in the classroom. In fact, in the past few years I have added an increasing number of films at the Intermediate level and beyond, and even developed an entire course on film adaptations of literary works. Not only do films in the target language en- courage development of linguistic skills, particularly listening, in some cases they also serve as valuable cultural and historical artifacts. -
Becoming Autistic: How Do Late Diagnosed Autistic People
Becoming Autistic: How do Late Diagnosed Autistic People Assigned Female at Birth Understand, Discuss and Create their Gender Identity through the Discourses of Autism? Emily Violet Maddox Submitted in accordance with the requirements for the degree of Master of Philosophy The University of Leeds School of Sociology and Social Policy September 2019 1 Table of Contents ACKNOWLEDGEMENTS ................................................................................................................................... 5 ABSTRACT ....................................................................................................................................................... 6 ABBREVIATIONS ............................................................................................................................................. 7 CHAPTER ONE ................................................................................................................................................. 8 INTRODUCTION .............................................................................................................................................. 8 1.1 RESEARCH OBJECTIVES ........................................................................................................................................ 8 1.2 TERMINOLOGY ................................................................................................................................................ 14 1.3 OUTLINE OF CHAPTERS .................................................................................................................................... -
A Communication Study of Contemporary Documentary Film
University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2007 Art and Persuasion: A Communication Study of Contemporary Documentary Film Lauren Elizabeth Freeman Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Recommended Citation Freeman, Lauren Elizabeth, "Art and Persuasion: A Communication Study of Contemporary Documentary Film" (2007). Honors Theses. 2004. https://egrove.olemiss.edu/hon_thesis/2004 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. ART AND PERSUASION: A COMMUNICATION STUDY OF CONTEMPORARY DOCUMENTARY FILM By Lauren Elizabeth Freeman A thesis submitted to the faculty of the University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2007 Approved by , , L Ad^or: Professor Joe Atkins Readei1p^fessoLPmch£ll££maiiuel,PhD Reader: Professor Charles Gates, PhD ©2007 Lauren Elizabeth Freeman ALL RIGHTS RESRERVED ACKNOWLEDGEMENTS The author of this paper incurs many debts of gratitude throughout the long and tedious process of completing this honors senior thesis. A special expression of gratitude goes to my thesis adviser, Professor Joseph Atkins, for his supportive direction throughout the preparation of this research project. Sincere appreciation is extended to niy thesis readers. Dr. Michelle Emanuel and Dr. Charles Gates, and to those filmmakers who shared their time and thoughts with me on documentary filmmaking. I extend my heartfelt gratitude to my family and fnends for their continued support and encouragement.