Dissecting Simplicty in the Snake Pit Research Article
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The Animated Roots of Wildlife Films: Animals, People
THE ANIMATED ROOTS OF WILDLIFE FILMS: ANIMALS, PEOPLE, ANIMATION AND THE ORIGIN OF WALT DISNEY’S TRUE-LIFE ADVENTURES by Robert Cruz Jr. A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Science and Natural History Filmmaking MONTANA STATE UNIVERSITY Bozeman, Montana April 2012 ©COPYRIGHT by Robert Cruz Jr. 2012 All Rights Reserved ii APPROVAL of a thesis submitted by Robert Cruz Jr. This thesis has been read by each member of the thesis committee and has been found to be satisfactory regarding content, English usage, format, citation, bibliographic style, and consistency and is ready for submission to The Graduate School. Dennis Aig Approved for the School of Film and Photography Robert Arnold Approved for The Graduate School Dr. Carl A. Fox iii STATEMENT OF PERMISSION TO USE In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Montana State University, I agree that the Library shall make it available to borrowers under rules of the Library. If I have indicated my intention to copyright this thesis by including a copyright notice page, copying is allowable only for scholarly purposes, consistent with “fair use” as prescribed in the U.S. Copyright Law. Requests for permission for extended quotation from or reproduction of this thesis in whole or in parts may be granted only by the copyright holder. Robert Cruz Jr. April 2012 iv TABLE OF CONTENTS 1. INTRODUCTORY QUOTES .....................................................................................1 -
Film Film Film Film
City of Darkness, City of Light is the first ever book-length study of the cinematic represen- tation of Paris in the films of the émigré film- PHILLIPS CITY OF LIGHT ALASTAIR CITY OF DARKNESS, makers, who found the capital a first refuge from FILM FILMFILM Hitler. In coming to Paris – a privileged site in terms of production, exhibition and the cine- CULTURE CULTURE matic imaginary of French film culture – these IN TRANSITION IN TRANSITION experienced film professionals also encounter- ed a darker side: hostility towards Germans, anti-Semitism and boycotts from French indus- try personnel, afraid of losing their jobs to for- eigners. The book juxtaposes the cinematic por- trayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Anatole Litvak and others with wider social and cultural debates about the city in cinema. Alastair Phillips lectures in Film Stud- ies in the Department of Film, Theatre & Television at the University of Reading, UK. CITY OF Darkness CITY OF ISBN 90-5356-634-1 Light ÉMIGRÉ FILMMAKERS IN PARIS 1929-1939 9 789053 566343 ALASTAIR PHILLIPS Amsterdam University Press Amsterdam University Press WWW.AUP.NL City of Darkness, City of Light City of Darkness, City of Light Émigré Filmmakers in Paris 1929-1939 Alastair Phillips Amsterdam University Press For my mother and father, and in memory of my auntie and uncle Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 633 3 (hardback) isbn 90 5356 634 1 (paperback) nur 674 © Amsterdam University Press, Amsterdam, 2004 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book. -
RESISTANCE MADE in HOLLYWOOD: American Movies on Nazi Germany, 1939-1945
1 RESISTANCE MADE IN HOLLYWOOD: American Movies on Nazi Germany, 1939-1945 Mercer Brady Senior Honors Thesis in History University of North Carolina at Chapel Hill Department of History Advisor: Prof. Karen Hagemann Co-Reader: Prof. Fitz Brundage Date: March 16, 2020 2 Acknowledgements I want to thank Dr. Karen Hagemann. I had not worked with Dr. Hagemann before this process; she took a chance on me by becoming my advisor. I thought that I would be unable to pursue an honors thesis. By being my advisor, she made this experience possible. Her interest and dedication to my work exceeded my expectations. My thesis greatly benefited from her input. Thank you, Dr. Hagemann, for your generosity with your time and genuine interest in this thesis and its success. Thank you to Dr. Fitz Brundage for his helpful comments and willingness to be my second reader. I would also like to thank Dr. Michelle King for her valuable suggestions and support throughout this process. I am very grateful for Dr. Hagemann and Dr. King. Thank you both for keeping me motivated and believing in my work. Thank you to my roommates, Julia Wunder, Waverly Leonard, and Jamie Antinori, for being so supportive. They understood when I could not be social and continued to be there for me. They saw more of the actual writing of this thesis than anyone else. Thank you for being great listeners and wonderful friends. Thank you also to my parents, Joe and Krista Brady, for their unwavering encouragement and trust in my judgment. I would also like to thank my sister, Mahlon Brady, for being willing to hear about subjects that are out of her sphere of interest. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Representations of Mental Illness in Women in Post-Classical Hollywood
FRAMING FEMININITY AS INSANITY: REPRESENTATIONS OF MENTAL ILLNESS IN WOMEN IN POST-CLASSICAL HOLLYWOOD Kelly Kretschmar, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Harry M. Benshoff, Major Professor Sandra Larke-Walsh, Committee Member Debra Mollen, Committee Member Ben Levin, Program Coordinator Alan B. Albarran, Chair of the Department of Radio, Television and Film Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Kretschmar, Kelly, Framing Femininity as Insanity: Representations of Mental Illness in Women in Post-Classical Hollywood. Master of Arts (Radio, Television, and Film), May 2007, 94 pp., references, 69 titles. From the socially conservative 1950s to the permissive 1970s, this project explores the ways in which insanity in women has been linked to their femininity and the expression or repression of their sexuality. An analysis of films from Hollywood’s post-classical period (The Three Faces of Eve (1957), Lizzie (1957), Lilith (1964), Repulsion (1965), Images (1972) and 3 Women (1977)) demonstrates the societal tendency to label a woman’s behavior as mad when it does not fit within the patriarchal mold of how a woman should behave. In addition to discussing the social changes and diagnostic trends in the mental health profession that define “appropriate” female behavior, each chapter also traces how the decline of the studio system and rise of the individual filmmaker impacted the films’ ideologies with regard to mental illness and femininity. Copyright 2007 by Kelly Kretschmar ii TABLE OF CONTENTS Page Chapter 1. INTRODUCTION ......................................................................................... 1 Historical Perspective ........................................................................ 5 Women and Mental Illness in Classical Hollywood ............................... -
Filming the End of the Holocaust War, Culture and Society
Filming the End of the Holocaust War, Culture and Society Series Editor: Stephen McVeigh, Associate Professor, Swansea University, UK Editorial Board: Paul Preston LSE, UK Joanna Bourke Birkbeck, University of London, UK Debra Kelly University of Westminster, UK Patricia Rae Queen’s University, Ontario, Canada James J. Weingartner Southern Illimois University, USA (Emeritus) Kurt Piehler Florida State University, USA Ian Scott University of Manchester, UK War, Culture and Society is a multi- and interdisciplinary series which encourages the parallel and complementary military, historical and sociocultural investigation of 20th- and 21st-century war and conflict. Published: The British Imperial Army in the Middle East, James Kitchen (2014) The Testimonies of Indian Soldiers and the Two World Wars, Gajendra Singh (2014) South Africa’s “Border War,” Gary Baines (2014) Forthcoming: Cultural Responses to Occupation in Japan, Adam Broinowski (2015) 9/11 and the American Western, Stephen McVeigh (2015) Jewish Volunteers, the International Brigades and the Spanish Civil War, Gerben Zaagsma (2015) Military Law, the State, and Citizenship in the Modern Age, Gerard Oram (2015) The Japanese Comfort Women and Sexual Slavery During the China and Pacific Wars, Caroline Norma (2015) The Lost Cause of the Confederacy and American Civil War Memory, David J. Anderson (2015) Filming the End of the Holocaust Allied Documentaries, Nuremberg and the Liberation of the Concentration Camps John J. Michalczyk Bloomsbury Academic An Imprint of Bloomsbury Publishing Plc LONDON • OXFORD • NEW YORK • NEW DELHI • SYDNEY Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2014 Paperback edition fi rst published 2016 © John J. -
Viewed One of the First “Films Parlants” in 1930 in London
FROM GOLDEN AGE TO SILVER SCREEN: FRENCH MUSIC-HALL CINEMA FROM 1930-1950 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Rebecca H. Bias, M.A. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor Judith Mayne, Advisor Professor Diane Birckbichler _________________________ Advisor Professor Charles D. Minahen Graduate Program in French and Italian Copyright by Rebecca H. Bias 2005 ABSTRACT This dissertation examines French music-hall cinema from 1930-1950. The term “music-hall cinema” applies to films that contain any or all of the following: music-hall performers, venues, mise en scène, revues, and music- hall songs or repertoire. The cinema industry in France owes a great debt to the music-hall industry, as the first short films near the turn of the century were actually shown as music-hall acts in popular halls. Nonetheless, the ultimate demise of the music hall was in part due to the growing popularity of cinema. Through close readings of individual films, the dynamics of music-hall films will be related to the relevant historical and cultural notions of the period. The music-hall motif will be examined on its own terms, but also in relation to the context or genre that underlies each particular film. The music-hall motif in films relies overwhelmingly on female performers and relevant feminist film theory of the 1970s will help support the analysis of female performance, exhibition, and relevant questions of spectatorship. Music-hall cinema is an important motif in French film, and the female performer serves as the prominent foundation in these films. -
570183Bk Son of Kong 15/7/07 5:40 PM Page 12
570184bk Bette:570183bk Son of Kong 15/7/07 5:40 PM Page 12 Rachmaninov, Tchaikovsky and Nikolay Tcherepnin. The orchestra also stays busy recording music for contemporary films. Critical accolades for the orchestra’s wide-ranging recordings are frequent, including its important film music re-recordings with conductor William Stromberg and reconstructionist John Morgan for Marco Polo. Fanfare critic Royal S. Brown, reviewing the complete recording of Hans J. Salter and Paul Dessau’s landmark House of Frankenstein score, saluted the CD as a “valuable document on the kind of craftsmanship and daring in film scoring that passed by all but unnoticed because of the nature of the films.” Film Score Monthly praised the orchestra’s recording of Korngold’s Another Dawn score, adding that “Stromberg, Morgan and company could show some classical concert conductors a thing or two on how Korngold should be played and recorded.” The same magazine described a recording of suites from Max Steiner’s music for Virginia City and The Beast With Five Fingers as “full-blooded and emphatic.” And Rad Bennett of The Absolute Sound found so much to praise in the orchestra’s film music series he voiced a fervent desire that Marco Polo stay put in Moscow and “record film music forever”. Many of these recordings are now being reissued in the Naxos Film Music Classics series. William Stromberg (behind) and John Morgan 8.570184 570184bk Bette:570183bk Son of Kong 15/7/07 5:40 PM Page 2 Max Steiner (1888–1971) passed away July 2002. She was always excited about memories for her. -
Films from the THIRTIES: PART II 1935-39
t% The Museum of Modern Art 1] West 53 Street, New York, N.Y. 10019 Tel. 245-3200 Cable: Modernart No. 83 FOR RELEASE: Friday, August 25, I968 Films from THE THIRTIES: PART II 1935-39 The Museum of Modern Art, will present a retrospective of films from the thirties beginning August 23, and running through October 6. The Thirties, according to Willard Van Dyke, Director of the Department of Film, will consist of 39 pictures, representing some of the richest creative talent in American cinema at a time that has been called "the dear, dead days not beyond recall." Two years ago the Museum presented The Thirties, U.S.A., Part I, covering the first half of the decade. The films being shown now as Part II were made from 1935 ^^ 193 '• Among the pictures to be shown are: Frank Capra's "Lost Horizon"; Paul Muni in "The Life of Emile Zola," the Story of a Northern Jew's lynching in the South; the great thriller "Night Must Fall," an adaptation of the Emlyn Williams play starring Robert Montgomery; and "The Good Earth," a spectacle film in black and white, from Pearl Buck's popular novel, for which Luise Rainer won her second Academy Award, with Paul Muni in the starring role. The latter part of the thirties was characterized by further achievements in the musical film, largely due to the talents of Fred Astaire, who with Ginger Rogers starred in "Top Hat," and "Shall We Dance," both of which are in the retrospective. The most important contributions to the annals of films made in the thirties was the series of "snowball" comedies Hollywood turned out at a time of grim, economic hardships. -
1948-02-20, [P ]
d Friday, February 20,1948 TOLEDO UNION JOURNAL Page Five “My Girl Tisa” Esther Williams ■y ■v Battling 7 lie Keys ''-n ‘ '■! / ' * HOLLYWOOD — Esther Williams is trying to dupli cate her speed in the swim ming pool on a typewriter. The amphibious Metro- Goldwyn-Mayer star, re Fortune Tn Jewels cently returned from a per Teen-Agers Find Hollywood sonal appearance tour in Screen-Tested AVith connection with the Tech Barbara Stanwyck nicolor musical, “This Time Land Of Opportunity HOLLYWOOD — A fortune For Keeps,” is battling a January 1 deadline. HOLLYWOOD—Hollywood is the teen-agers best booster. in jewels to be worn by Barbara % In no other field of professional activity do ambitious adol Stanwyck in Hal Wallis’ “Sorry, Scheduled for summer escents get so many opportunities of putting their talents to work release> Miss Williams’ with such profitable results in keeping the piggy bank full. The Wrong Humber” was screen- 41 / fy. Ok' AA-Aa^A^A book, “Or Would You tested at Paramount when a Rather Be A Fish?” must movie-makers have long made a jractice of keeping their talent reach publishers Doubleday, scouts on the lookout fo promis quarter of a million dollars in Doran and Company, be ing teen-age material for future T7i roiving Gurred diamonds and other precious stardom. stones were photographed. 0 "W'J fore the New Year. Petite Wanda Hendrix, whose A guide to swimming, A heavy squad of studio five feet, two inches hardly ta. the book covers all angles measure up to her large abilities % police was stationed on Stage 7 of the aquatic art. -
Introduction Guide for Teachers
Guide for Teachers Nazism and the Holocaust Hitler’s Road to Power and Anti-Semitism page 2 From Discrimination to Holocaust page 2 Resistance and Rescue page 3 The End of the War and a Future for Survivors page 4 The Warsaw Ghetto page 5 Additional Readings and Films page 7 Propaganda Nazi Propaganda page 8 American War-Era Propaganda page 10 Additional Readings and Films page 11 The Film page 12 Introduction Whether asking about the roots of genocide or the motivation behind heroic individual acts of kindness and self-sacrifice, a key concept for students learning about the Holocaust is empathy. Yael Hersonski’s A Film Unfinished is an especially powerful classroom resource because of Hersonski’s multi-faceted approach to empathy. We are asked to empathize with the innocent people trapped on screen and the reactions of Ghetto survivors reliving their pasts while watching the film. We see Hersonski probe testimony by the Nazi cameraman responsible for the footage, questioning his failure to empathize with his unwilling subjects. Finally, we are asked to reevaluate our sometimes-numbing relationship to Holocaust documentary footage and acknowledge the essential humanity of each person on screen – either through a freeze-frame of a telling look into the lens or by the devastating reminder that each body sliding into a mass grave is a fellow human being, someone’s mother, father, sibling, or child. The film offers many different layers of possible analysis and classroom discussion; it could be used as a jumping-off point for a broader lesson about the Holocaust, or it could promote further discussion at the end of a Holocaust curriculum. -
Twentieth Century Fox: 1935-1965
The Museum of Modern Art For Immediate Release June 1990 Twentieth Century Fox: 1935-1965 July 1 - September 11, 1990 This summer, The Museum of Modern Art pays tribute to Twentieth Century Fox with a retrospective of over ninety films made between 1935 and 1965. Opening on July 1, 1990, TWENTIETH CENTURY FOX: 1935-1965 traces three key decades in the history of the studio, celebrating the talents of the artists on both sides of the cameras who shaped this period. The exhibition continues through September 11. Formed in 1915, the Fox Film Corporation merged in 1935 with the much younger Twentieth Century to launch a major new studio. Under the supervision of Darryl F. Zanuck, Twentieth Century Fox developed a new house style, emphasizing epic biographies such as John Ford's The Prisoner of Shark Island (1936) and Allan Dwan's Suez (1938) and snappy urban pictures such as Sidney Lanfield's Hake Up and Live (1937) and Roy Del Ruth's Thanks a Million (1935). The studio also featured such fresh screen personalities as Tyrone Power, Alice Faye, and Shirley Temple. From this time on, the studio masterfully anticipated and shaped the tastes of the movie-going public. During World War II, Twentieth Century Fox made its mark with a series of exuberant Technicolor musicals featuring such actresses as Betty Grable and Carmen Miranda. After the war, the studio shifted focus and began to highlight other genres including films noirs such as Edmund Goulding's Nightmare Alley (1947) and Otto Preminger's Where the Sidewalk Ends (1950), wry satirical films such as Joseph L.