Universal Classic Monsters: the Essential Collection
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Durham E-Theses
Durham E-Theses Pulling focus: New perspectives on the work of Gabriel Figueroa Higgins, Ceridwen Rhiannon How to cite: Higgins, Ceridwen Rhiannon (2007) Pulling focus: New perspectives on the work of Gabriel Figueroa, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2579/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Pulling Focus: New Perspectives on the Work of Gabriel Figueroa by Ceridwen Rhiannon Higgins University of Durham 2007 Submitted for Examination for Degree of PhD 1 1 JUN 2007 Abstract This thesis examines the work of Mexican cinematographer Gabriel Figueroa (1907 -1997) and suggests new critical perspectives on his films and the contexts within which they were made. Despite intense debate over a number of years, auteurist notions in film studies persist and critical attention continues to centre on the director as the sole giver of meaning to a film. -
Of Gods and Monsters: Signification in Franz Waxman's Film Score Bride of Frankenstein
This is a repository copy of Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/118268/ Version: Accepted Version Article: McClelland, C (Cover date: 2014) Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein. Journal of Film Music, 7 (1). pp. 5-19. ISSN 1087-7142 https://doi.org/10.1558/jfm.27224 © Copyright the International Film Music Society, published by Equinox Publishing Ltd 2017, This is an author produced version of a paper published in the Journal of Film Music. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Paper for the Journal of Film Music Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein Universal’s horror classic Bride of Frankenstein (1935) directed by James Whale is iconic not just because of its enduring images and acting, but also because of the high quality of its score by Franz Waxman. -
The Real "Monster" in Frankenstein
ISSN 2380-5064 | Arsenal is published by the Augusta University Libraries | http://guides.augusta.edu/arsenal Volume 1, Issue 1 (2016) The Real "Monster" in Frankenstein David O. Urizar Citation Urizar, D. O. (2016). The Real "Monster" in Frankenstein. Arsenal: The undergraduate research journal of Augusta University, 1(1), 20-27. http://doi.org/10.21633/issn.2380.5064/f.2016.01.20 © 2016 Urizar. This open access article is distributed under a Creative Commons Attribution-NonCommercial-NoDerivs 2.0 Generic License (https://creativecommons.org/licenses/by-nc-nd/2.0/) ISSN 2380-5064 10.21633/issn.2380.5064/f.2016.01.20 Real “Monster” in Frankenstein David O. Urizar Department of Biological Sciences College of Science and Mathematics Faculty Mentor: Todd Hoffman, Ph.D., Department of English and Foreign Languages The story of Frankenstein is typically seen as a battle between Victor Frankenstein and the “monster” of the story. However I argue that that the real “monster” of the story is in fact Victor Frankenstein who is suffering from paranoid schizophrenia and that the “monster” is really just a delusions that Victor uses to cope with the idea that he in fact is the killer of the story. This concept is evident in the fact that no one in the story has ever seen both Victor Frankenstein and the “monster” alive in the same place. The characteristics of the “monster’ also point towards the idea that the “monster” could not possibly exist. Even the way that Victor acts throughout the book point to the idea that he does not really care for the safety of his loved ones. -
Young Frankenstein"
"YOUNG FRANKENSTEIN" SCREENPLAY by GENE WILDER FIRST DRAFT FADE IN: EXT. FRANKENSTEIN CASTLE A BOLT OF LIGHTNING! A CRACK OF THUNDER! On a distant, rainy hill, the old Frankenstein castle, as we knew and loved it, is illuminated by ANOTHER BOLT OF LIGHTNING. MUSIC: AN EERIE TRANSYLVANIAN LULLABY begins to PLAY in the b.g. as we MOVE SLOWLY CLOSER to the castle. It is completely dark, except for one room -- a study in the corner of the castle -- which is only lit by candles. Now we are just outside a rain-splattered window of the study. We LOOK IN and SEE: INT. STUDY - NIGHT An open coffin rests on a table we can not see it's contents. As the CAMERA SLOWLY CIRCLES the coffin for a BETTER VIEW... A CLOCK BEGINS TO CHIME: "ONE," "TWO," "THREE," "FOUR..." We are ALMOST FACING the front of the coffin. "FIVE," "SIX," "SEVEN," "EIGHT..." The CAMERA STOPS. Now it MOVES UP AND ABOVE the satin-lined coffin. "NINE," "TEN," "ELEVEN," "T W E L V E!" CUT TO: THE EMBALMED HEAD OF BEAUFORT FRANKENSTEIN Half of still clings to the waxen balm; the other half has decayed to skull. Below his head is a skeleton, whose bony fingers cling to a metal box. A HAND reaches in to grasp the metal box. It lifts the box halfway out of the coffin -- the skeleton's fingers rising, involuntarily, with the box. Then, as of by force of will, the skeleton's fingers grab the box back and place it where it was. Now the "Hand" -- using its other hand -- grabs the box back from the skeleton's fingers. -
Discussion Questions for Frankenstein Written by Hailey Toporcer, Hiram College Class of 2019 Edited by Prof
Discussion Questions for Frankenstein Written by Hailey Toporcer, Hiram College Class of 2019 Edited by Prof. Kirsten Parkinson As you read Mary Shelley’s Frankenstein, either on your own or with a group, we invite you to use these questions to add layers to your discussion or thinking about the novel. The first section includes questions for each chapter of the novel; you will find questions reflecting on the book as a whole at the end. We have not included specific pages numbers as various editions have different page numbers, but the quotations are based on the 1831 edition of the novel. Discussion Questions for Each Chapter Letters I through IV 1. Frankenstein begins and ends with letters written by Robert Walton. Why do you think that Mary Shelley chose to have him frame the novel? How would your opinions of Victor Frankenstein and his creation differ if their story was told directly by Victor Frankenstein himself? What if the story was told solely by the creation? 2. Walton yearns for a friend, much like Victor Frankenstein’s creature does. What does this tell you about human nature? Is it in our nature to want companionship, someone to confide in, and someone to care for? 3. In Letter IV, Walton writes, “Yesterday the stranger said to me, “You may easily perceive, Captain Walton, that I have suffered great and unparalleled misfortunes. I had determined at one time that the memory of these evils should die with me, but you have won me to alter my determination. You seek for knowledge and wisdom, as I once did; and I ardently hope that the gratification of your wishes may not be a serpent to sting you, as mine has been. -
Monster Squad
The Monster Squad by Alek J. Talevich (Based on the 1987 original film) Working Draft Daschwah LABS Bellingham, WA (626) 590-4765 FADE IN EXT. SEATONVILLE HARBOR - NIGHT The brackish waters of a modest commercial marina, with rows of contract fishing and cargo trawlers hugging the concrete strip of the waterfront and warehouse blocks. Fog hangs low over the water. All's quiet on the night watch, save for the dinging of buoys and slow churn of the tides. INT. HARBORMASTER'S OFFICE The cluttered office of the Harbormaster, manned by a single operator: a night watchman in his late fifties. Hokey nautical memorabilia hugs the walls, a coffee pot brews, and the watchman reads from a dog-eared paperback while seated before several security monitors. NIGHT WATCHMAN (singsong) My father's a poor missionary… he saves pretty women from sin… The silhouette of a man moves across the monitors, unnoticed by the sentry; pacing from one screen to the next, along the perimeter fence. NIGHT WATCHMAN (still singing) … he'll save you a blonde for five dollars… Lord, how the money rolls in. The sentry flips a page, not noticing as the intruder nonchalantly LEAPS over the twelve-foot high fence without missing a step, vanishing from the security cameras' view. CUT TO: 2. EXT. SEATONVILLE HARBOR Leather dress shoes touch down on the corrugated steel roof of a warehouse, as the intruder is revealed: CHARLES RUEGER, somewhere in his forties, bespectacled, his expression haunted. Dressed in a threadbare overcoat and the dirty, ripped trappings of what was once a three-piece suit underneath. -
Frankenstein in Mary Shelley’S Novel “Frankenstein”
A DESCRIPTION OF THE MAIN CHARACTER OF FRANKENSTEIN IN MARY SHELLEY’S NOVEL “FRANKENSTEIN” A PAPER WRITTEN BY RAHMA KESUMA ANJANI REG. NO: 152202056 DIPLOMA III ENGLISH STUDY PROGRAM FACULTY OF CULTURE STUDY UNIVERSITY OF NORTH SUMATERA MEDAN 2018 UNIVERSITAS SUMATERA UTARA It has been Approved by Supervisor, Dra. Diah Rahayu Pratama. M.Pd NIP. 195612141986012001 Submitted to Faculty of Culture Study. University of North Sumatera in partial fulfillment of the requirements for Diploma III in English Study Program. Approved by Head of Diploma III English Study Program, Dra. Swesana Mardia Lubis. M.Hum NIP. 19571002 198601 2 003 Approved by the Diploma III of English Study Program Faculty of Culture Study, University of North Sumatera. UNIVERSITAS SUMATERA UTARA As a Paper for the Diploma III Examination Accepted by the Board of Examiners in partial of the requirements for the D-III Examination of the Diploma III English Study Program, Faculty of Culture Study, University of North Sumatera. The examination is held 10th January 2018 Faculty of Culture Study University of North Sumatera Board of Examination : 1. Dra. Swesana Mardia Lubis. M.Hum 2. Dra. Diah Rahayu Pratama. M.Pd 3. Riko Andika Rahmat Pohan. S.S. M.Hum UNIVERSITAS SUMATERA UTARA AUTHOR’S DECLARATION I am, RAHMA KESUMA ANJANI, declare that I am the sole author of this paper. Except where reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree. No other person‟s work has been used without due acknowledgement in the main text of this paper. -
Universität Bielefeld Fakultät Für Linguistik Und Literaturwissenschaft
Universität Bielefeld Fakultät für Linguistik und Literaturwissenschaft Masterarbeit im Interamerican Studies zum Thema: The representation of the prostitute in Mexican cinema: a comparison between Santa (1931) and El Callejón de Los Milagros (1995) vorgelegt von Nora Sylvia Wallenius Erstgutachter: Prof. Dr. Wilfried Raussert Zweitgutachter: Prof. Dr. Yolanda Campos García Bielefeld, im Mai 2018 Abstract The representation of the prostitute has been one of the most prevalent female characters in the history of Mexican cinema and provides a unique vision to analyze gender roles and the position of the female in Mexico. This thesis will specifically deconstruct the myth of the prostitute through a comparison of two distinct filmic representations: the archetype of the prostitute in Santa (1931) and a more modern representation in El Callejón de Los Milagros (1995), exposing to what degree the representation of the prostitute has changed over the course of a century. A direct analysis of key scenes in the categories of romance, family, and redemption will demonstrate similarities and transgressions. This comparison is developed under the theoretical framework of the position of “the woman” in Mexican cinema, alongside interviews with significant figures in the Mexican film industry. This investigation will shed light on the symbolism of the prostitute in a patriarchal and religious society, including gender relations, power structures, the concept of sin, Mexico’s confrontation with modernity, and female stereotypes in popular media. Keywords: Mexican film, gender studies, stereotype, archetype, the prostitute Abstracto La representación de la prostituta ha sido uno de los personajes femeninos más frecuentes en la historia del cine mexicano y proporciona una visión única para analizar los roles de género y la posición de “la mujer” en México. -
Das Sprechen Der Filme. Über Verbale Sprache Im Spielfilm
Das Sprechen der Filme. Über verbale Sprache im Spielfilm. Versionsfilme und andere Sprachübertragungs- methoden – Tonfilm und Standardisierung – Die Diskussion um den Sprechfilm – Der polyglotte Film – Nationaler Film und internationales Kino Inaugural-Dissertation zur Erlangung des Grades eines Doktors der Philosophie in der Fakultät für Philologie der RUHR-UNIVERSITÄT-BOCHUM vorgelegt von Christoph Wahl 2 Gedruckt mit der Genehmigung der Fakultät der Philologie der Ruhr-Universität Bochum Referent: Prof.Dr. Wolfgang Beilenhoff Korreferent: Prof.Dr. K. Alfons Knauth Tag der mündlichen Prüfung: 12.12.2003 3 Ein guter Tonfilm ist schlechter als ein gutes Bühnenstück, doch ein guter Stummfilm ist besser als ein gutes Bühnenstück. Charlie Chaplin Es wäre logischer gewesen, wenn sich der Stummfilm aus dem Ton- film entwickelt hätte, als umgekehrt. Mary Pickford Was gegenwärtig vor sich geht erinnert an Aesops Fabel vom Pfau, der, seines Gefieders und hoheitsvollen Schreitens wegen ge- rühmt, auch noch mit seiner Stimme glänzen wollte und damit zum Gespött wurde. Luigi Pirandello 4 INHALT 1. EINFÜHRUNG 7 2. DER SPRACHVERSIONSFILM 11 2.1. FORSCHUNGSSTAND VERSIONSFILM 11 2.2. DIE EINHEIT VON KÖRPER UND STIMME 17 2.3. VERGLEICH UNTERSCHIEDLICHER PRODUKTIONSSTANDORTE 20 2.3.1. DEUTSCHLAND: DIE UFA 20 2.3.2. ENGLAND: DIE BRITISH INTERNATIONAL PICTURES (BIP) 26 2.3.3. USA 30 2.3.3.1. Universal 30 2.3.3.2. Warner-Bros. 32 2.3.3.3. Fox 32 2.3.3.4. RKO 32 2.3.3.5. MGM 33 2.3.3.6. Paramount 34 2.4. FILMAUSWAHL 40 2.4.1. ATLANTIC/ATLANTIK/ATLANTIS 41 2.4.1.1. -
570183Bk Son of Kong 15/7/07 8:23 PM Page 8
570188bk Frankenstein:570183bk Son of Kong 15/7/07 8:23 PM Page 8 John Morgan Widely regarded in film-music circles as a master colourist with a keen insight into orchestration and the power of music, Los Angeles-based composer John Morgan began his career working alongside such composers as Alex North and Fred Steiner before embarking on his own. Among other projects, he co-composed the richly dramatic score for the cult-documentary film Trinity and Beyond, and has won acclaim for efforts to rescue, restore and re-record lost film scores from the past. William Stromberg A veteran film composer, conductor and film archivist, William Stromberg, working with famed film music reconstructionist and composer John Morgan, has conducted numerous albums of film music for RCA, Naxos, Marco Polo and, most recently, Tribute Film Classics. Upcoming albums include the complete scores to Bernard Herrmann’s Mysterious Island, Max Steiner’s She and Herrmann’s The Kentuckian. Moscow Symphony Orchestra Founded in 1989 as the first independent orchestra in modern Russia, the Moscow Symphony Orchestra maintains a busy schedule both in the concert hall and recording studio. For more than a decade, it has become noted for its pivotal role in a long-running series of recordings devoted to classic film scores conducted by Hollywood composer William Stromberg. Their most recent collaboration was the complete film score for Erich Wolfgang Korngold’s The Sea Hawk (Naxos 8.570110-11). House of Frankenstein guests John Morgan, William Stromberg and Bill Whitaker Photo: Rick Baker 8.570188 8 570188bk Frankenstein:570183bk Son of Kong 15/7/07 8:23 PM Page 2 Hans J. -
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. -
For Immediate Release Enzian Theater Announces Universal Classic Monsters Week and Ella Fitzgerald Documentary June 26 – July
Media Contact: Valerie Cisneros [email protected] 407-629-1088 x302 FOR IMMEDIATE RELEASE ENZIAN THEATER ANNOUNCES UNIVERSAL CLASSIC MONSTERS WEEK AND ELLA FITZGERALD DOCUMENTARY JUNE 26 – JULY 2 Orlando, FL – (June 23, 2020) – Perhaps the most influential cycle of films in cinema history, the Universal Classic Monsters of the ‘30s, ‘40s, and early ‘50s have proven to be immortal—dreamlike, macabre, horrific, atmospheric, haunting, and among the most wonderfully crafted films of all time. Spawning hundreds of knock-offs, sequels, models, comic books, magazines, books, toys, t-shirts, lunch boxes and more, these iconic film masterpieces have had a profound effect on the art and culture of multiple generations of movie fans. Based on the works of famed authors such as Bram Stoker, Mary Shelley, H.G. Wells and Gaston Leroux—and featuring the filmmaking talents of celebrated directors such as Tod Browning, James Whale, and Jack Arnold, along with legendary actors like Bela Lugosi, Boris Karloff, Claude Rains, Elsa Lanchester, and Lon Chaney, Jr.—these 8 classics are where it all started for genre lovers (and you know who you are!) For the first time in Enzian’s history, all of them can be seen in the same week. Amazing! In addition to Universal Classic Monsters Week, we are thrilled to bring in Ella Fitzgerald: Just One of Those Things, a documentary that traces the story of Ella Fitzgerald’s life and explores how her music became a soundtrack for a tumultuous century. Enzian is also excited to be able to reschedule special programming that was postponed due to the pandemic.