A Catalog of Motion Pictures Social Sciences
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Unseen Horrors: the Unmade Films of Hammer
Unseen Horrors: The Unmade Films of Hammer Thesis submitted by Kieran Foster In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2019 Abstract This doctoral thesis is an industrial study of Hammer Film Productions, focusing specifically on the period of 1955-2000, and foregrounding the company’s unmade projects as primary case studies throughout. It represents a significant academic intervention by being the first sustained industry study to primarily utilise unmade projects. The study uses these projects to examine the evolving production strategies of Hammer throughout this period, and to demonstrate the methodological benefits of utilising unmade case studies in production histories. Chapter 1 introduces the study, and sets out the scope, context and structure of the work. Chapter 2 reviews the relevant literature, considering unmade films relation to studies in adaptation, screenwriting, directing and producing, as well as existing works on Hammer Films. Chapter 3 begins the chronological study of Hammer, with the company attempting to capitalise on recent successes in the mid-1950s with three ambitious projects that ultimately failed to make it into production – Milton Subotsky’s Frankenstein, the would-be television series Tales of Frankenstein and Richard Matheson’s The Night Creatures. Chapter 4 examines Hammer’s attempt to revitalise one of its most reliable franchises – Dracula, in response to declining American interest in the company. Notably, with a project entitled Kali Devil Bride of Dracula. Chapter 5 examines the unmade project Nessie, and how it demonstrates Hammer’s shift in production strategy in the late 1970s, as it moved away from a reliance on American finance and towards a more internationalised, piece-meal approach to funding. -
List of Shows Master Collection
Classic TV Shows 1950sTvShowOpenings\ AdventureStory\ AllInTheFamily\ AManCalledShenandoah\ AManCalledSloane\ Andromeda\ ATouchOfFrost\ BenCasey\ BeverlyHillbillies\ Bewitched\ Bickersons\ BigTown\ BigValley\ BingCrosbyShow\ BlackSaddle\ Blade\ Bonanza\ BorisKarloffsThriller\ BostonBlackie\ Branded\ BrideAndGroom\ BritishDetectiveMiniSeries\ BritishShows\ BroadcastHouse\ BroadwayOpenHouse\ BrokenArrow\ BuffaloBillJr\ BulldogDrummond\ BurkesLaw\ BurnsAndAllenShow\ ByPopularDemand\ CamelNewsCaravan\ CanadianTV\ CandidCamera\ Cannonball\ CaptainGallantOfTheForeignLegion\ CaptainMidnight\ captainVideo\ CaptainZ-Ro\ Car54WhereAreYou\ Cartoons\ Casablanca\ CaseyJones\ CavalcadeOfAmerica\ CavalcadeOfStars\ ChanceOfALifetime\ CheckMate\ ChesterfieldSoundOff\ ChesterfieldSupperClub\ Chopsticks\ ChroniclesOfNarnia\ CimmarronStrip\ CircusMixedNuts\ CiscoKid\ CityBeneathTheSea\ Climax\ Code3\ CokeTime\ ColgateSummerComedyHour\ ColonelMarchOfScotlandYard-British\ Combat\ Commercials50sAnd60s\ CoronationStreet\ Counterpoint\ Counterspy\ CourtOfLastResort\ CowboyG-Men\ CowboyInAfrica\ Crossroads\ DaddyO\ DadsArmy\ DangerMan-S1\ DangerManSeason2-3\ DangerousAssignment\ DanielBoone\ DarkShadows\ DateWithTheAngles\ DavyCrockett\ DeathValleyDays\ Decoy\ DemonWithAGlassHand\ DennisOKeefeShow\ DennisTheMenace\ DiagnosisUnknown\ DickTracy\ DickVanDykeShow\ DingDongSchool\ DobieGillis\ DorothyCollins\ DoYouTrustYourWife\ Dragnet\ DrHudsonsSecretJournal\ DrIQ\ DrSyn\ DuffysTavern\ DuPontCavalcadeTheater\ DupontTheater\ DustysTrail\ EdgarWallaceMysteries\ ElfegoBaca\ -
Giorgio Monicelli
Prefazione Trovo sempre difficile parlare del passato. I trent’anni spesi nell’industria cinematografica mi hanno insegnato a pianificare, creare e realizzare per il futuro. Per un produttore, sceneggiatore e regista, un film finito è qualcosa che deve essere giudicato dagli altri, lui lo ha esaminato infinite volte. Ogni film diventa il meglio che il materiale che lo ha prodotto era capace di dare. Quando è finito è solo una cosa del passato e quello che conta è solo il successivo... La selezione del materiale, lo sviluppo della sceneggiatura, la programmazione ed il budget. Il reperimento delle finanze, la scelta degli attori, dei tecnici, dell’equipaggiamento e quindi, quando tutto è pronto, bisogna superare il frenetico periodo delle riprese quando tutto deve fruttare al meglio ed ogni penny speso influenza il costo finale. E un lavoro creativo, frustrante, esilarante, ma sopra di tutto è un lavoro appagante. Alla fine viene il periodo più tranquillo di assestamento ed organizzazione di quanto fatto fino a quel momento, il mio periodo preferito. Il montaggio del materiale girato, i vari “proviamo a farlo così” per poi arrivare a quello che sembra essere il taglio migliore. Gli effetti sonori, la musica, il doppiaggio e finalmente la copia con il colore giusto, Il film è finito. Adesso mi si chiede specificatamente di guardare indietro per giudicare la vita della Hammer, dei 121 film che in qualche modo mi hanno visto protagonista, per affermare la loro importanza nella storia del cinema. Una cosa impossibile, almeno per me. Quando ripenso ad un certo film, rivedo immediatamente la gente che lo ha fatto, i posti dove è stato girato, i drammi ed i piaceri delle fasi di lavorazione. -
{PDF EPUB} House of Horror the Complete Hammer Films Story by Allen Eyles Jimmy Sangster
Read Ebook {PDF EPUB} House of Horror The Complete Hammer Films Story by Allen Eyles Jimmy Sangster. James Henry "Jimmy" Kinmel Sangster (born December 2, 1927 in Kinmel Bay, Wales , † August 19, 2011 in London ) was a British director , screenwriter and writer , who was mainly through his manuscripts for the central horror film productions of Hammer Film Productions got known. contents. Sangster came to film in 1941 as a second camera assistant. From 1946 to 1954 he worked on numerous films (including for Ealing Studios ) as an assistant director, including no fewer than 29 B-productions for Hammer, before he was promoted to production manager . After the enormous success of the SF thriller Schock , in which he had worked with the second unit for a few nights , he sat with the hammer producers Anthony Hinds and Michael Carreras and discussed possible further science fiction plots. Thirty minutes later he was hired by Hinds as a screenwriter for XX unknown : "If we like it, we'll pay you. If we don't, tough shit. You're still on the payroll as a production manager so what have you got to lose. " With his manuscripts for the remakes of famous horror film classics such as Frankenstein's Curse , Dracula and The Revenge of the Pharaohs , which were staged by Terence Fisher , he was instrumental in the success story of the small British production company towards the end of the 1950s. Fisher paid him respect in the early 1970s. Regarding the great success of the Gothic horror film Frankenstein's Curse , he said: "The greatest credit ought to go to Jimmy Sangster, who wrote the scripts and managed to make the original story so cinematic". -
Columbia Pictures: Portrait of a Studio
University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 1992 Columbia Pictures: Portrait of a Studio Bernard F. Dick Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Dick, Bernard F., "Columbia Pictures: Portrait of a Studio" (1992). Film and Media Studies. 8. https://uknowledge.uky.edu/upk_film_and_media_studies/8 COLUMBIA PICTURES This page intentionally left blank COLUMBIA PICTURES Portrait of a Studio BERNARD F. DICK Editor THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1992 by The University Press of Kentucky Paperback edition 2010 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Cataloging-in-Publication Data for the hardcover edition is available from the Library of Congress ISBN 978-0-8131-3019-4 (pbk: alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. -
University of Edinburgh Postgraduate Journal of Culture and the Arts Issue 02 | Spring 2006
University of Edinburgh Postgraduate Journal of Culture and the Arts Issue 02 | Spring 2006 Title Notes on the Terror Film Author Keith Hennessey Brown Publication FORUM: University of Edinburgh Postgraduate Journal of Culture and the Arts Issue Number 02 Issue Date Spring 2006 Publication Date 05/06/2006 Editors Joe Hughes & Beth Schroeder FORUM claims non-exclusive rights to reproduce this article electronically (in full or in part) and to publish this work in any such media current or later developed. The author retains all rights, including the right to be identified as the author wherever and whenever this article is published, and the right to use all or part of the article and abstracts, with or without revision or modification in compilations or other publications. Any latter publication shall recognise FORUM as the original publisher. FORUM ‘Fear and Terror’ 1 1 Notes on the Terror Film Keith Hennessey Brown (University of Edinburgh) Horror is, without question, among film's most enduring genres; audiences in search of thrills have been able to find a chiller to attend since the turn of the century. Even the studio of film pioneer Thomas Edison produced a 16-minute version of the Frankenstein story in 1910. The remarkable longevity of the genre does not, however, guarantee that a near century's worth of fans have all been lining up for the same motion picture show. (Lake Crane: 23) As Jonathan Lake Crane's perceptive comments indicate, the horror film is a remarkably resilient and adaptable film genre, one that has been able to meet the needs of successive generations of audiences in a way that others, like musicals and westerns, apparently have not, in the light of their declining production in recent decades. -
MICHAEL CARRERAS Biografia
MICHAEL CARRERAS Biografia Nato a Londra il 21 dicembre 1927 comincia a lavorare con il padre James Carreras (poi sir) nel 1943 come contabile ed addetto ad incarichi vari della Hammer, la compagnia di produzione della famiglia. Finita la guerra, dopo aver prestato servizio nella Grenadier Guards nel 1946, partecipa alla fondazione della “nuova Hammer” nel 1947 diventando da allora produttore di alcuni dei film più importanti di quel periodo contribuendo in modo definitivo al successo dell’horror negli anni Cinquanta e Sessanta. Firma la sua prima regia con il cortometraggio Cyril Stapleton and the Show Band (1955) mentre il suo primo lungometraggio è The steel bayonet (1957). Il primo film diretto nel genere fantastico è Maniac (1963). All’inizio degli anni Sessanta abbandona la Hammer per creare la sua compagnia, la Capricorn, ma rientra all’ovile nel 1971 per diventare, l’anno dopo, presidente della Hammer sostituendo il padre. Lascia la compagnia, dopo trent’ anni, nel 1978. Come Henry Younger ha firmato diverse sceneggiature. Intervista condotta da Marco Zatterin al “While Elephant Club”, Mayfair, Londra il 12 febbraio 1986. E’ stata integrata con estratti da altre interviste concesse da Michael Carreras a ‘‘The Littie Shop of Horrors’’ e ‘‘Halls of Horror”. Lei ha cominciato a lavorare per la Hammer che era giovanissimo... Avevo poco più di sedici anni, c’era ancora la guerra. La Exclusive, la compagnia che mio nonno Henry aveva fondato una decina di anni prima, era solo una casa di distribuzione. Fui chiamato, così, per dare una mano a fare i conti e per coordinare l’attacchinaggio dei film che venivano dati alle sale. -
Interacting with Horror: Archaeology of the Italian Horror Genre from Its Origins Until the Eighties
Durham E-Theses Interacting with Horror: Archaeology of the Italian Horror Genre from its Origins until the Eighties. Riccardo Freda, Mario Bava and Dario Argento CONTI, GIANPIERA How to cite: CONTI, GIANPIERA (2015) Interacting with Horror: Archaeology of the Italian Horror Genre from its Origins until the Eighties. Riccardo Freda, Mario Bava and Dario Argento, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11016/ 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 2 Interacting with Horror: Archaeology of the Italian Horror Genre from its Origins until the Eighties. Riccardo Freda, Mario Bava and Dario Argento Gianpiera Conti Thesis submitted for the Degree of Doctor of Philosophy School of Modern Languages and Cultures 2014 1 Interacting with Horror: Archaeology of the Italian Horror Genre from its Origins until the Eighties. Riccardo Freda, Mario Bava and Dario Argento ABSTRACT This research examines Italian horror cinema from its origins (1957) until the late 1980s, with particular focus on the productions of three Italian directors: Riccardo Freda, Mario Bava and Dario Argento. -
Hammer Films' Psychological Thrillers, 1950–1972
Hammer Films’ Psychological Thrillers, 1950–1972 ALSO BY DAVID HUCKVALE The Occult Arts of Music: An Esoteric Survey from Pythagoras to Pop Culture (2013) Ancient Egypt in the Popular Imagination: Building a Fantasy in Film, Literature, Music and Art (2012) Visconti and the German Dream: Romanticism, Wagner and the Nazi Catastrophe in Film (2012) Touchstones of Gothic Horror: A Film Genealogy of Eleven Motifs and Images (2010) Hammer Film Scores and the Musical Avant-Garde (2008) James Bernard, Composer to Count Dracula: A Critical Biography (2006; paperback 2012) Hammer Films’ Psychological Thrillers, 1950–1972 DAVID HUCKVALE McFarland & Company, Inc., Publishers Jefferson, North Carolina LIBRARY OF CONGRESS CATALOGUING-IN-PUBLICATION DATA Huckvale, David. Hammer films’ psychological thrillers, 1950–1972 / David Huckvale. p. cm. Includes bibliographical references and index. ISBN 978-0-7864-7471-4 (softcover : acid free paper) ♾ ISBN 978-1-4766-0421-3 (ebook) 1. Thrillers (Motion pictures)—Great Britain—History— 20th century. 2. Motion pictures—Psychological aspects. 3. Hammer Film Productions. I. Title. PN1995.9.S87H73 2014 791.430941—dc23 2013047471 BRITISH LIBRARY CATALOGUING DATA ARE AVAILABLE © 2014 David Huckvale. All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher. On the cover: Poster art for the 1961 Hammer film Scream of Fear (aka Taste of Fear) depicting actress Susan Strasberg (Columbia Pictures/Photofest) Manufactured in the United States of America McFarland & Company, Inc., Publishers Box 611, Jefferson, North Carolina 28640 www.mcfarlandpub.com To Lionel Cummings This page intentionally left blank Table of Contents Introduction . -
Convert Finding Aid To
Hoblitzelle Interstate Theatre Circuit: A Container List of the Advertising Collection at the Harry Ransom Center Descriptive Summary Creator: Hoblitzelle Interstate Theatre Circuit Title: Hoblitzelle Interstate Theatre Circuit Advertising Collection Dates: 1930s-1970s Extent: 85 document boxes (35.70 linear feet) Abstract: This collection features movie stills, posters, lobby cards, and other advertising ephemera from the Hoblitzelle Interstate Theatre Circuit dating from the 1930s-1970s. Call Number: Film Collection FI-00015 Language: English Access: Open for research. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. Part or all of this collection is housed off-site and may require up to three business days’ notice for access in the Ransom Center’s Reading and Viewing Room. Please contact the Center before requesting this material: [email protected] Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility. Restrictions on Certain restrictions apply to the use of electronic files. Researchers Use: must agree to the Materials Use Policy for Electronic Files before accessing them. -
Artistic Imagery in Dario Argento's Cinema
Artistic Imagery in Dario Argento’s Cinema A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2012 Giulio Giusti School of Languages, Linguistics and Cultures List of Contents LIST OF CONTENTS ............................................................................. 2 LIST OF FIGURES ................................................................................................. 5 ABSTRACT ............................................................................................................. 7 DECLARATION ...................................................................................................... 8 COPYRIGHT STATEMENT ................................................................................... 8 ACKNOWLEDGMENTS ....................................................................................... 9 INTRODUCTION ................................................................................................. 10 CHAPTER 1: Contextualising Dario Argento within Italian Horror ............................................ 30 1.1. The Italian Classic Horror Cycle (1956-1966) .................................................... 31 1.1.1. Central themes and visual tropes of the Italian Classic Horror Cycle ........ 34 1.2. The Giallo Cycle (1970-1982) ........................................................................ 37 1.2.1. Central themes of the Bava-Argento formula .......................................... 39 1.2.2. Visual tropes of the