Universal Classic Monsters: the Essential Collection

Total Page:16

File Type:pdf, Size:1020Kb

Universal Classic Monsters: the Essential Collection FÖR ATT FIRA UNIVERSALS 100-ÅRS JUBILEUM PRESENTERAR VI ÅTTA RYSARKLASSIKER SOM BANADE VÄG FÖR HOLLYWOODS SKRÄCKGENRE - DIGITALT REMASTRADE OCH PÅ BLU-RAY™ FÖR FÖRSTA GÅNGEN UNIVERSAL CLASSIC MONSTERS: THE ESSENTIAL COLLECTION STOCKHOLM, 3 juli 2012 – Inför Halloween släpper vi den 10 oktober åtta av de mest ikoniska mästerverken inom skräckgenren på Blu-rayTM för första gången i form av Universal Classic Monsters: The Essential Collection. Digitalt restaurerade, med perfekt high-definition bild och ljud, samlas här Universals legendariska monster, de fantasifulla och tekniskt banbrytande skräckhistorierna som banade vägen för en ny Hollywoodgenre. Denna kompletta samling innehåller åtta filmer på Blu-ray TM, en illustrerad booklet med fotografier från inspelningarna, filmaffischer, brev och mycket mer. Varje film inkluderar en samling bonusmaterial runt filmskapandet och dess historia, som dokumentärer, kommentarer, intervjuer, storyboards, fotografier och trailers. Något som bör intressera de mest hängivna fansen är den helt nya minidokumentären om restaureringsarbetet bakom Dracula och 3D Blu-ray TM versionen av Creature from the Black Lagoon. Från stumfilmseran ända fram till idag har Universal Pictures gett liv åt flertalet monster. Universal Classic Monsters: The Essential Collection hedrar studions långa banbrytande historia inom genren med ikoniska klassiker som Dracula, Frankenstein, The Mummy, The Invisible Man, Bride of Frankenstein, The Wolf Man, Phantom of the Opera and Creature from the Black Lagoon. Här samlas legendariska skådespelare verksamma inom skräck- genren som Bela Lugosi, Boris Karloff, Lon Chaney, Jr., Claude Rains och Elsa Lanchester. Dessa åtta filmer fortsätter att influera dagens filmskapare med sina då banbrytande specialeffekter och innovativa make-up. Bonus Material & Synopsis (engelska versioner) Dracula (1931) The original 1931 movie version of Bram Stoker’s classic tale has for generations defined the iconic look and terrifying persona of the famed vampire. Dracula owes its continued appeal in large part due to Bela Lugosi’s indelible portrayal of the immortal Count Dracula and the flawless direction of horror auteur Tod Browning. The Universal Classic Monsters: The Essential Collection includes the original version of this chilling and evocative tale, as well as the rarely seen Spanish version of Dracula. Filmed simultaneously with the English language version, the Spanish version of Dracula is an equally ominous vision of the horror classic shot with the same sets and script. Cinematographer George Robinson and a vibrant cast including Carlos Villarias and Lupita Tovar deliver a chilling and evocative tale filled with the same terror, mystery, and intrigue. Bonus Features: Dracula, the 1931 Spanish version, with Introduction by Lupita Tovar Kohner The Road to Dracula Lugosi: The Dark Prince Dracula: The Restoration – New Featurette Available for The First Time! Monster Tracks: Interactive Pop-Up Facts About the Making of Dracula Dracula Archives Score by Philip Glass performed by the Kronos Quartet Feature Commentary by Film Historian David J. Skal Feature Commentary by Steve Haberman, Screenwriter of Dracula: Dead and Loving It Trailer Gallery Frankenstein (1931) Boris Karloff stars as the screen’s most tragic and iconic monster in what many consider to be the greatest horror film ever made. Dr. Henry Frankenstein (Colin Clive) dares to tamper with the essential nature of life and death by creating a monster (Karloff) out of lifeless human body parts. Director James Whale’s adaptation of the Mary Shelley novel and Karloff’s compassionate portrayal of a creature groping for identity make Frankenstein a timeless masterpiece. Bonus Features: The Frankenstein Files: How Hollywood Made a Monster Karloff: The Gentle Monster Monster Tracks: Interactive Pop-Up Facts About The Making of Frankenstein Universal Horror Frankenstein Archives Boo!: A Short Film Feature Commentary with Film Historian Rudy Behlmer Feature Commentary with Historian Sir Christopher Frayling 100 Years Of Universal: Restoring the Classics Trailer Gallery The Mummy (1932) Horror icon Boris Karloff stars in the original 1932 version of The Mummy in which a team of British archaeologists accidentally revives a mummified high priest after 3,700 years. Alive again, he sets out on an obsessive—and deadly—quest to find his lost love. Over 50 years after its first release, this brooding dream- like horror classic remains a cinematic masterpiece. Bonus Features: Mummy Dearest: A Horror Tradition Unearthed He Who Made Monsters: The Life and Art Of Jack Pierce Unraveling the Legacy of The Mummy The Mummy Archives Feature Commentary by Rick Baker, Scott Essman, Steve Haberman, Bob Burns and Brent Armstrong Feature Commentary by Film Historian Paul M. Jensen 100 Years Of Universal: The Carl Laemmle Era Trailer Gallery The Invisible Man (1933) Claude Rains delivers an unforgettable performance in his screen debut as a mysterious doctor who discovers a serum that makes him invisible. Covered by bandages and dark glasses, Rains arrives in a small English village and attempts to hide his amazing discovery, but the drug’s side effects slowly drive him to commit acts of unspeakable terror. Based on H.G. Welles’ classic novel and directed by the master of macabre, James Whale, The Invisible Man fueled a host of sequels and features revolutionary special effects that are still imitated today. Bonus Features: Now You See Him: The Invisible Man Revealed Production Photographs Feature Commentary with Film Historian Rudy Behlmer 100 Years of Universal: Unforgettable Characters Bride of Frankenstein (1935) The acclaimed sequel to the original Frankenstein has become one of the most popular horror classics in film history. The legendary Boris Karloff reprises his role as the screen’s most misunderstood monster, now longing for a mate of his own. Colin Clive is back as the proud and overly ambitious Dr. Frankenstein, who creates the ill-fated bride (Elsa Lanchester). The last horror film directed by James Whale features a haunting musical score that helps make The Bride of Frankenstein one of the finest and most touching thrillers of its era. Bonus Features: She’s Alive! Creating The Bride Of Frankenstein The Bride Of Frankenstein Archive Feature Commentary with Scott MacQueen 100 Years of Universal: Restoring the Classics Trailer Gallery The Wolf Man (1941) Originally released in 1941, The Wolf Man introduced the world to a new Universal movie monster and redefined the mythology of the werewolf forever. Featuring a heartbreaking performance by Lon Chaney Jr. and groundbreaking make-up by Jack Pierce, The Wolf Man is the saga of Larry Talbot, a cursed man who transforms into a deadly werewolf when the moon is full. The dreamlike atmospheres, elaborate settings and chilling musical score combine to make The Wolf Man a masterpiece of the genre. Bonus Features: Monster by Moonlight The Wolf Man: From Ancient Curse to Modern Myth Pure in Heart: The Life and Legacy of Lon Chaney, Jr. He Who Made Monsters: The Life and Art of Jack Pierce The Wolf Man Archives Feature Commentary with Film Historian Tom Weaver 100 Years of Universal: The Lot Trailer Gallery Phantom of the Opera (1943) This lavish retelling of Gaston Leroux's immortal horror tale stars Claude Rains as the masked phantom who haunts the Paris Opera House. A crazed composer who schemes to make beautiful young soprano Christine DuBois (Susanna Foster) the star of the opera company, the Phantom also wreaks revenge on those he believes stole his music. Nelson Eddy, as the heroic baritone, tries to win the affections of Christine as he tracks down the murderous, horribly disfigured Phantom. Bonus Features: The Opera Ghost: A Phantom Unmasked Production Photographs Feature Commentary with Film Historian Scott MacQueen 100 Years of Universal: The Lot Theatrical Trailer Creature from the Black Lagoon (1954) Captured and imprisoned for scientific study, a living ―amphibious missing link‖ becomes enamored with the head researcher’s female assistant (Julie Adams). When the hideous creature escapes and kidnaps the object of his affection, a crusade is launched to rescue the helpless woman and cast the terrifying creature back to the depths from which he came. Featuring legendary makeup artist Bud Westmore’s brilliantly designed monster, Creature from the Black Lagoon is an enduring tribute to the imaginative genius of its Hollywood creators. Bonus Features: The Creature From The Black Lagoon in Blu-ray TM 3D Back to The Black Lagoon Production Photographs Feature Commentary with Film Historian Tom Weaver 100 Years of Universal: The Lot Trailer Gallery Release datum: 10/10/2012 Copyright: 2012 Universal Studios. All Rights Reserved. Universal Pictures firar stolt 100 år av oförglömliga filmer som har underhållit publiken och berört människor världen över. För att fira våra första 100 år så presenterar Universal Pictures Nordic stolt ett urval av många av våra mest älskade filmer som en del av ett omfattande program där vi i år vill lyfta fram studions rika filmiska historia och outplånliga kulturella intryck. UPIE är en del av NBCUniversal, ett av världens ledande företag inom media och underhållning som utvecklar, producerar och marknadsför underhållning, nyheter och information till en internationell publik. NBCUniversal äger och kontrollerar en värdefull portfolio av tv-kanaler inom nyhets- och underhållningssektorn, samt ett framstående filmproduktionsbolag, betydelsefulla tv-produktionsbolag, ett ledande tv-bolag, och en världsberömd nöjespark. Comcast Corperations äger en majoritet i NBCUniversal med sina 51%, där GE äger 49%. För mer information, kontakta: Anna K Hagnefur, PR Manager, Universal Pictures Nordic [email protected] +46 8 629 68 96 .
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]