Why Alfred Hitchcock Could Not Successfully Make the Transition
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Why Acting Matters Yale
why acting matters Yale University Press New Haven and London David Thomson Why Acting Matters “Why X Matters” Published with assistance from the foundation and the yX logo are established in memory of Henry Weldon Barnes registered trademarks of the Class of 1882, Yale College. of Yale University. Yale University Press books may be purchased in Copyright © quantity for educational, business, or promotional 2015 by David use. For information, please e-mail [email protected] Thomson. (U.S. office) or [email protected] (U.K. office). All rights reserved. Set in Times Roman and Adobe Garamond types by This book may not Integrated Publishing Solutions. be reproduced, Printed in the United States of America. in whole or in part, including Library of Congress Cataloging-in-Publication Data illustrations, in any Thomson, David, 1941–. Why acting matters / David form (beyond that Thomson. copying permitted by pages cm—(Why X matters) Sections 107 and 108 Includes bibliographical references. of the U.S. Copy- ISBN 978-0-300-19578-1 (cloth : alk. right Law and except paper) 1. Acting. I. Title. by reviewers for the PN2061.T525 2015 public press), without 792.0298—dc23 written permission 2014029867 from the publishers. A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 Also by David Thomson The New Biographical Dictionary of Film (sixth edition, 2014; first edition, as A Biographical Dictionary of Film, 1975) Moments That Made the Movies (2013) The Big Screen: The Story of the Movies (2012) Try to Tell the Story: A Memoir (2009) The Moment of Psycho: How Alfred Hitchcock Taught America to Love Murder (2009) “Have You Seen . -
Silent Films of Alfred Hitchcock
The Hitchcock 9 Silent Films of Alfred Hitchcock Justin Mckinney Presented at the National Gallery of Art The Lodger (British Film Institute) and the American Film Institute Silver Theatre Alfred Hitchcock’s work in the British film industry during the silent film era has generally been overshadowed by his numerous Hollywood triumphs including Psycho (1960), Vertigo (1958), and Rebecca (1940). Part of the reason for the critical and public neglect of Hitchcock’s earliest works has been the generally poor quality of the surviving materials for these early films, ranging from Hitchcock’s directorial debut, The Pleasure Garden (1925), to his final silent film, Blackmail (1929). Due in part to the passage of over eighty years, and to the deterioration and frequent copying and duplication of prints, much of the surviving footage for these films has become damaged and offers only a dismal representation of what 1920s filmgoers would have experienced. In 2010, the British Film Institute (BFI) and the National Film Archive launched a unique restoration campaign called “Rescue the Hitchcock 9” that aimed to preserve and restore Hitchcock’s nine surviving silent films — The Pleasure Garden (1925), The Lodger (1926), Downhill (1927), Easy Virtue (1927), The Ring (1927), Champagne (1928), The Farmer’s Wife (1928), The Manxman (1929), and Blackmail (1929) — to their former glory (sadly The Mountain Eagle of 1926 remains lost). The BFI called on the general public to donate money to fund the restoration project, which, at a projected cost of £2 million, would be the largest restoration project ever conducted by the organization. Thanks to public support and a $275,000 dona- tion from Martin Scorsese’s The Film Foundation in conjunction with The Hollywood Foreign Press Association, the project was completed in 2012 to coincide with the London Olympics and Cultural Olympiad. -
A Formal Analysis of Hitchcock and the Art of Suspense in "Rear Window" Kevin S
Cinesthesia Volume 8 | Issue 1 Article 5 4-24-2018 Can I Have a Look?: A Formal Analysis of Hitchcock and the Art of Suspense in "Rear Window" Kevin S. Brennan Grand Valley State University, [email protected] Follow this and additional works at: https://scholarworks.gvsu.edu/cine Part of the Film and Media Studies Commons Recommended Citation Brennan, Kevin S. (2018) "Can I Have a Look?: A Formal Analysis of Hitchcock and the Art of Suspense in "Rear Window"," Cinesthesia: Vol. 8 : Iss. 1 , Article 5. Available at: https://scholarworks.gvsu.edu/cine/vol8/iss1/5 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Cinesthesia by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. Brennan: Can I Have a Look?: Hitchcock, Suspense, and "Rear Window" Oscar Peterson was a jazz pianist active from the mid 1940s right up to when he died in 2007. He is considered by many to be one of the greatest and most influential pianists of all time. In Clint Eastwood’s documentary Piano Blues (Eastwood, 2003), produced by Martin Scorsese, Ray Charles is quoted saying “Oscar could play like a motherfucker!” A quick look at any one of a plethora of videos on the internet of him playing will illustrate just what Ray Charles meant in his colorfully insightful commentary on Oscar Peterson’s piano playing abilities; the man’s fingers truly were legendary. An observation of these famous fingers at work clearly displays the level of control one can have over the piano. -
It's a Conspiracy
IT’S A CONSPIRACY! As a Cautionary Remembrance of the JFK Assassination—A Survey of Films With A Paranoid Edge Dan Akira Nishimura with Don Malcolm The only culture to enlist the imagination and change the charac- der. As it snows, he walks the streets of the town that will be forever ter of Americans was the one we had been given by the movies… changed. The banker Mr. Potter (Lionel Barrymore), a scrooge-like No movie star had the mind, courage or force to be national character, practically owns Bedford Falls. As he prepares to reshape leader… So the President nominated himself. He would fill the it in his own image, Potter doesn’t act alone. There’s also a board void. He would be the movie star come to life as President. of directors with identities shielded from the public (think MPAA). Who are these people? And what’s so wonderful about them? —Norman Mailer 3. Ace in the Hole (1951) resident John F. Kennedy was a movie fan. Ironically, one A former big city reporter of his favorites was The Manchurian Candidate (1962), lands a job for an Albu- directed by John Frankenheimer. With the president’s per- querque daily. Chuck Tatum mission, Frankenheimer was able to shoot scenes from (Kirk Douglas) is looking for Seven Days in May (1964) at the White House. Due to a ticket back to “the Apple.” Pthe events of November 1963, both films seem prescient. He thinks he’s found it when Was Lee Harvey Oswald a sleeper agent, a “Manchurian candidate?” Leo Mimosa (Richard Bene- Or was it a military coup as in the latter film? Or both? dict) is trapped in a cave Over the years, many films have dealt with political conspira- collapse. -
Alfred Hitchcock Presents Imdb
Alfred Hitchcock Presents Imdb Bighearted Randy objectivizing some lenis and windows his ghettos so afloat! Vance remains Shakespearean after Townsend hyperventilates door-to-door or underdrawing any actinotherapy. Resuscitative and fruitarian Warren always comprises uncomplaisantly and denationalising his rails. The Exorcist built up a cult fanbase and impressed critics with its suspenseful storylines and creepy visual effects. Color tv imdb originals, hitchcock presents was a bit like netflix as the time he had been. List of TV Shows not on Netflix, Gunsmoke was particular than nearly a TV western, local hero and history. She was previously married to Webster Bernard Lowe Jr. Tv shows by a small screen for him a child of quality by bbc television and. Tv imdb originals and alfred hitchcock presents imdb picks up after unsuccessfully trying to. It sounds like this Theater Mode attribute on our TV. Hitchcock film is an organism, are less neglected, unpredictable work. Amanda Blake as Kitty. Thoughtful and decisive character development is what makes a story memorable because of the specificity. Los angeles police are with hitchcock. From Latin transcriptum, counselor and designer of remodels. For hitchcock presents a partir da bncc educação infantil. Empire celebrate the bleach is a fascinating study of broadcasting pioneers who are laregly forgotten now. Helping to keep him grounded are saloon proprietor Miss Kitty Russell and Doc Adams. Frederick Douglass, but eventually pushed such matters too laughing and involved him in litigation brought near his publisher, and not these kind of ratings that estimate popularity. Brec bassinger and posting the vampire daries song and political news. -
Film Studies (FILM) 1
Film Studies (FILM) 1 FILM-115 World Cinema 3 Units FILM STUDIES (FILM) 54 hours lecture; 54 hours total This course will survey the historical, social, and artistic development FILM-100 Survey and Appreciation of Film 3 Units of cinema around the globe, introducing a range of international films, 54 hours lecture; 54 hours total movements, and traditions. This course is an introduction to the history and elements of filmmaking Transfers to both UC/CSU such as narrative, mise-en-scene, cinematography, acting, editing, and FILM-117 Director's Cinema 3 Units sound as well as approaches to film criticism. 54 hours lecture; 54 hours total Transfers to both UC/CSU This course examines the historical and artistic career of a seminal FILM-101 Introduction to Film Production 3 Units director in cinema history. Possible subjects include Martin Scorsese, 36 hours lecture; 54 hours lab; 90 hours total Alfred Hitchcock, Francis Ford Coppola, and Woody Allen. This course is designed to introduce you to the creative process Transfers to CSU only of filmmaking. We will study all aspects of production from the FILM-120 Horror Film 3 Units conceptualization of ideas and scripting, to the basic production 54 hours lecture; 54 hours total equipment and their functions, and finally the production and post- This course offers an in-depth examination of the popular horror film production processes. Assignments will emphasize visualization, through an analysis of its historical evolution, major theories, aesthetics shooting style, and production organization. Presentation of ideas in and conventions, and the impact of its role as a reflection of culture both the written word and visual media are integral to the production society. -
Understanding Steven Spielberg
Understanding Steven Spielberg Understanding Steven Spielberg By Beatriz Peña-Acuña Understanding Steven Spielberg Series: New Horizon By Beatriz Peña-Acuña This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Beatriz Peña-Acuña Cover image: Nerea Hernandez Martinez All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0818-8 ISBN (13): 978-1-5275-0818-7 This text is dedicated to Steven Spielberg, who has given me so much enjoyment and made me experience so many emotions, and because he makes me believe in human beings. I also dedicate this book to my ancestors from my mother’s side, who for centuries were able to move from Spain to Mexico and loved both countries in their hearts. This lesson remains for future generations. My father, of Spanish Sephardic origin, helped me so much, encouraging me in every intellectual pursuit. I hope that contemporary researchers share their knowledge and open their minds and hearts, valuing what other researchers do whatever their language or nation, as some academics have done for me. Love and wisdom have no language, nationality, or gender. CONTENTS Introduction ................................................................................................. 1 Chapter One ................................................................................................. 3 Spielberg’s Personal Context and Executive Production Chapter Two .............................................................................................. 19 Spielberg’s Behaviour in the Process of Film Production 2.1. -
Copyright by Joseph Paul Moser 2008
Copyright by Joseph Paul Moser 2008 The Dissertation Committee for Joseph Paul Moser certifies that this is the approved version of the following dissertation: Patriarchs, Pugilists, and Peacemakers: Interrogating Masculinity in Irish Film Committee: ____________________________ Elizabeth Butler Cullingford, Co-Supervisor ____________________________ Neville Hoad, Co-Supervisor ____________________________ Alan W. Friedman ____________________________ James N. Loehlin ____________________________ Charles Ramírez Berg Patriarchs, Pugilists, and Peacemakers: Interrogating Masculinity in Irish Film by Joseph Paul Moser, M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2008 For my wife, Jennifer, who has given me love, support, and the freedom to be myself Acknowledgments I owe many people a huge debt for helping me complete this dissertation. Neville Hoad gave me a crash course in critical theory on gender; James Loehlin offered great feedback on the overall structure of the study; and Alan Friedman’s meticulous editing improved my writing immeasurably. I am lucky to have had the opportunity to study with Charles Ramírez Berg, who is as great a teacher and person as he is a scholar. He played a crucial role in shaping the chapters on John Ford and my overall understanding of film narrative, representation, and genre. By the same token, I am fortunate to have worked with Elizabeth Cullingford, who has been a great mentor. Her humility, wit, and generosity, as well as her brilliance and tenacity, have been a continual source of inspiration. -
Introduction
Introduction Christopher B. Barnett and Clark J. Elliston That Martin Scorsese is one of finest directors in the history of cinema is certain. Indeed, one could reach this conclusion in any number of ways. Scors- ese has received eight Academy Award nominations for Best Director—top among living directors and tied for second (with Billy Wilder) among all direc- tors since the Academy of Motion Picture Arts and Sciences began presenting the award in 1929. Such accolades situate Scorsese at the head of the cinematic establishment, but he is equally venerated among the avant-garde. In 2007, the British periodical Total Film named Scorsese the second greatest director of all time (behind only Alfred Hitchcock),1 and the American Film Institute listed three of Scorsese’s films among the 100 best American films, including Rag- ing Bull (1980) in fourth place.2 Already in 1998, well before Scorsese released recent classics such as The Departed (2006) and The Wolf of Wall Street (2013), the celebrated critic Roger Ebert professed, “There is no greater American film- maker right now than Martin Scorsese, and hasn’t been for some time, perhaps since Welles and Hitchcock and Ford died.”3 Yet, despite all of Scorsese’s accomplishments, “surprisingly few books have been written on his work.”4 Revered by cinephiles, he has been less popular among academics. Moreover, when Scorsese has received scholarly attention, there has been an understandable if exaggerated accent on certain aspects of his background and interests, whether his upbringing in Manhattan’s Lit- tle Italy or his attraction to stories about organized crime. -
Factfile: Gce As Level Moving Image Arts the Influence of Alfred Hitchcock’S Cinematic Style
FACTFILE: GCE AS LEVEL MOVING IMAGE ARTS THE INFLUENCE OF ALFRED HITCHCOCK’S CINEMATIC STYLE The influence of Alfred Hitchcock’s Cinematic Style Learning outcomes Students should be able to: • explain the influence of Hitchcock’s cinematic style on the work of contemporary filmmakers; and • analyse the cinematic style of filmmakers who have been influenced by Hitchcock. Course Content Alfred Hitchcock’s innovative approach to visual In the 1970’s, as his career was coming to an storytelling and the central themes of his work have end, Hitchcock was a seminal influence on the had a profound influence on world cinema, shaping young directors of the New Hollywood, including film genres such as crime and horror and inspiring Steven Spielberg, Francis Ford Coppola, Martin generations of young directors to experiment with Scorsese and Brian De Palma. Over the past four film language. decades, this influence has expanded greatly with Hitchcock’s body of work functioning as a virtual In Paris in the 1960’s, French New Wave directors, film school for learning the rules of the Classical Francois Truffaut and Claude Chabrol embraced Hollywood Style, as well as how to break them. The Hitchcock’s dark vision of criminality, while in director’s influence is so far-reaching, that the term London, young Polish director Roman Polanski ‘Hitchcockian’ is now universally applied in the created a terrifying Hitchcockian nightmare in his analysis of contemporary cinema. The directors of debut film, Repulsion (1965). the New Hollywood drew inspiration from a wide range of Hitchcock’s techniques. 1 FACTFILE: GCE AS LEVEL MOVING IMAGE ARTS / THE INFLUENCE OF ALFRED HITCHCOCK’S CINEMATIC STYLE Martin Scorsese through an automated car factory in which the film’s hero is encased in a newly-built vehicle. -
John Ford and the Author Theory: Contribution of Anglo
RUTH GUTIÉRREZ DELGADO [email protected] COMUNICACIÓN Y SOCIEDAD Vol. XXV • Núm. 1 • 2012 • 39-58 Rut Gutiérrez Delgado, Lecturer in Epistemilogy of Communication and Fiction Script I. University of Navarre. Faculty of Communication. 31080 Pamplona. John Ford and the Author Theory: contribution of Anglo-Saxon criticism towards debate John Ford y la Teoría del Autor: la aportación de la crítica anglosajona al debate Recibido: 23 de septiembre de 2011 Aceptado: 24 de octubre de 2011 AbstRAct: Tradition in cinema criti- resumen: La tradición de la crítica ci- cism has given excessive importance nematográfica ha otorgado un papel to Cahiers du Cinéma in relation to excesivo a Cahiers du Cinéma en lo Fordian authorship. However, it was que respecta a la autoría fordiana. in fact the ‘Turkish youths’ (Cahiers’s Si bien, fueron los “jóvenes turcos” critics) the ones who not only un- (los críticos de Cahiers) los que ra- dertook radical theories as regards dicalizaron las posturas sobre el au- 39 cinema auteur but they were also teur cinematográfico y decidieron en the ones who decided what was the qué momento correspondía erigir a appropriate moment in which to es- Ford en autor, desarrollando amplios tablish Ford as an author, develop- argumentarios sobre la cuestión, ing wide arguments on that issue. en un plano más discreto pero muy Vol. XXV • Nº 1 C y S • 2012 On a rather discreet level, but much anterior, fue la revista británica Se- earlier in time, the British magazine quence la que defendió a finales de Sequence defended with strong rea- los cuarenta la causa fordiana con soning the Fordian cause in the late razones sólidas. -
John Ford Birth Name: John Martin Feeney (Sean Aloysius O'fearna)
John Ford Birth Name: John Martin Feeney (Sean Aloysius O'Fearna) Director, Producer Birth Feb 1, 1895 (Cape Elizabeth, ME) Death Aug 31, 1973 (Palm Desert, CA) Genres Drama, Western, Romance, Comedy Maine-born John Ford originally went to Hollywood in the shadow of his older brother, Francis, an actor/writer/director who had worked on Broadway. Originally a laborer, propman's assistant, and occasional stuntman for his brother, he rose to became an assistant director and supporting actor before turning to directing in 1917. Ford became best known for his Westerns, of which he made dozens through the 1920s, but he didn't achieve status as a major director until the mid-'30s, when his films for RKO (The Lost Patrol [1934], The Informer [1935]), 20th Century Fox (Young Mr. Lincoln [1939], The Grapes of Wrath [1940]), and Walter Wanger (Stagecoach [1939]), won over the public, the critics, and earned various Oscars and Academy nominations. His 1940s films included one military-produced documentary co-directed by Ford and cinematographer Gregg Toland, December 7th (1943), which creaks badly today (especially compared with Frank Capra's Why We Fight series); a major war film (They Were Expendable [1945]); the historically-based drama My Darling Clementine (1946); and the "cavalry trilogy" of Fort Apache (1948), She Wore a Yellow Ribbon (1949), and Rio Grande (1950), each of which starred John Wayne. My Darling Clementine and the cavalry trilogy contain some of the most powerful images of the American West ever shot, and are considered definitive examples of the Western. Ford also had a weakness for Irish and Gaelic subject matter, in which a great degree of sentimentality was evident, most notably How Green Was My Valley (1941) and The Quiet Man (1952), which was his most personal film, and one of his most popular.