Notes on Film Noir Author(S): Paul Schrader Source: Film Comment, Vol
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Widescreen Weekend 2007 Brochure
The Widescreen Weekend welcomes all those fans of large format and widescreen films – CinemaScope, VistaVision, 70mm, Cinerama and Imax – and presents an array of past classics from the vaults of the National Media Museum. A weekend to wallow in the best of cinema. HOW THE WEST WAS WON NEW TODD-AO PRINT MAYERLING (70mm) BLACK TIGHTS (70mm) Saturday 17 March THOSE MAGNIFICENT MEN IN THEIR Monday 19 March Sunday 18 March Pictureville Cinema Pictureville Cinema FLYING MACHINES Pictureville Cinema Dir. Terence Young France 1960 130 mins (PG) Dirs. Henry Hathaway, John Ford, George Marshall USA 1962 Dir. Terence Young France/GB 1968 140 mins (PG) Zizi Jeanmaire, Cyd Charisse, Roland Petit, Moira Shearer, 162 mins (U) or How I Flew from London to Paris in 25 hours 11 minutes Omar Sharif, Catherine Deneuve, James Mason, Ava Gardner, Maurice Chevalier Debbie Reynolds, Henry Fonda, James Stewart, Gregory Peck, (70mm) James Robertson Justice, Geneviève Page Carroll Baker, John Wayne, Richard Widmark, George Peppard Sunday 18 March A very rare screening of this 70mm title from 1960. Before Pictureville Cinema It is the last days of the Austro-Hungarian Empire. The world is going on to direct Bond films (see our UK premiere of the There are westerns and then there are WESTERNS. How the Dir. Ken Annakin GB 1965 133 mins (U) changing, and Archduke Rudolph (Sharif), the young son of new digital print of From Russia with Love), Terence Young West was Won is something very special on the deep curved Stuart Whitman, Sarah Miles, James Fox, Alberto Sordi, Robert Emperor Franz-Josef (Mason) finds himself desperately looking delivered this French ballet film. -
December 2014 ONECELEBRATEWITHUS Join the Celebration As We Usher in a New Year of Cinema in Iowa City
A COLLABORATION WITH DEC FilmScene Staff THE EYE OPENER 12-21 Joe Tiefenthaler, Executive Director Andy Brodie, Program Director Complete info at www.icfilmscene.org/flam Andrew Sherburne, Sunday, December 14th Associate Director A curated week of new releases and restored classics on literature, art and music. Tickets: $35 for non-members / $25 for members / Emily Salmonson, Series Pass: $30 non-members / $20 members. Regular price for individual shows. $15 for supporting role and leading role members Director of Operations / FREE for Founders Circle and Screen Legend Ross Meyer, Head Projectionist and Facilities Manager Join FilmScene in celebrating the one year Dan DeMarco, Theater Staff anniversary of the opening of our downtown Jon Graf, Theater Staff Aaron Holmgren, Theater Staff cinema with a delicious brunch of chicken & DIALOGUE: Director Q&A NEWLY RESTORED! NEWLY RESTORED! waffles, scrambled eggs with local cheeses, Phil Ochs, Theater Staff MUSIC OF THE BURROUGHS: ROME, OPEN CITY Tony Pomales, Theater Staff beignets, mini donuts, mimosas and a cash MOMENT THE MOVIE (1983) (2014) Dir. Roberto Emily Brown, Projectionist bar. While you eat, be entertained by music (2014) Dir. Kevin Wisor. Dir. Howard Brookner. Rossellini. Legendary Kelly Gallagher, Projectionist from the films of our first year and the Iowa A locally-made feature The first and only doc Italian drama about the Kasia Plazinska, Projectionist premiere of an acclaimed short film. doc exploring the art of made with the Nazi occupation of Board of Directors improvised music, shot full participation of writer Rome and the brave few Michael Finlayson, Chair FILMFOODDRINKSMUSIC in Iowa City. William S. -
153682NCJRS.Pdf
If you have issues viewing or accessing this file contact us at NCJRS.gov. .. .; J , ..~. .;"~ • .' ~ .~ _... '> .' UJ.l.IU.ll Calendar No. 605 102n CONGRESS REPORT HOUSE OF REPRESENTATIVES 2d Session 102-1070 • ANNUAL REPORT FOR THE YEAR 1991 REPORT OF THE • SELECT COMMITTEE ON NARCOTICS ABUSE AND CONTROL ONE HUNDRED SECOND CONGRESS FIRST SESSION SCNAC-102-1-14 N'CJRS ACQUISITKON,; Printed for the use of the Select Committee on Narcotics Abuse and Control U.s. GOVERNMENT PRINTING OFFICE • o WASHINGTON : 1992 :au • SELECI' COMMITTEE ON NARCOTICS ABUSE AND CONTROL (102D CoNGRESS) CHARLES B. RANGEL, New York, Chairman JACK BROOKS, Texas LAWRENCE COUGHLIN, Pennsylvania FORTNEY H. (PETE) STARK, California BENJAMIN A. GILMAN, New York JAMES H. SCHEUER, New York MICHAEL G. OXLEY, Ohio CARDISS COLLINS, TIlinois F. JAMES SENSENBRENNER, JR., FRANK J. GUARINI, New Jersey Wisconsin DANTE B. FASCELL, Florida ROBERT K. DORNAN, California WILLIAM J. HUGHES, New Jersey TOM LEWIS, Florida • MEL LEVINE, California JAMES M. INHOFE, Oklahoma SOWMON P. ORTIZ, Texas WALLY HERGER, California LAWRENCE J. SMITH, Florida CHRISTOPHER SHAYS, Connecticut EDOLPHUS "ED" TOWNS, New York BILL PAXON, New York JAMES A. TRAFICANT, JR., Ohio WILLIAM F. CLINGER, JR., Pennsylvania KWEISI MFUME, Maryland HOWARD COBLE, North Carolina NITA M. WWEY, New York PAUL E. GILLMOR, Ohio DONALD M. PAYNE, New Jersey JIM RAMSTAD, Minnesota ROMANO L. MAZZOLI, Kentucky RON DE LUGO, Virgin Islands GEORGE J. HOCHBRUECKNER, New York CRAIG A. WASHINGTON, Texas ROBERT E. ANDREWS, New Jersey COMMI'ITEE STAFF EDWARD H. JURlTH, Staff Director P&'rER J. CoNIGLIO, Minority Staff Director (Ill 153682 U.S. Department of Justice National Institute of Justice . -
Los Angeles Noir
Los Angeles Noir (Questions) 1. Who was Harry Chandler, and what was his goal for LA? 2. How did Prohibition threaten Chandler’s control over LA? 3.What were some of the historical effects of the conflict between Parker and Cohen? 4. Why didn’t Cohen want Parker to become police chief? Why did he prefer Brown? 5. How was LA marketed at first to potential settlers? 6. What changed for the LAPD in 1902? 7. How did some cops justify their violent behavior toward those they arrested? 8. What tactics were used by police to provoke confessions? 9. Why did Al Capone take notice of Cohen as soon as he arrived in Chicago? 10. How did Porter end up winning the mayoral election in 1930? 11.What effect did Proposition 14 have on the balance of power in LA politics? 12. How did the 21st Amendment change the Syndicate? 13. How did Cohen’s first bookmaking operation end? Why wasn’t it protected? 14. How did the protections for police put in place by Parker cause problems in the Kynette case? 15. How did Mayor Bowron clean house at the LAPD? 16. What events made it difficult to prosecute Siegel for murder? 17. How did the politics of the New York and Chicago crime families lead to Cohen fleeing to Phoenix? 18. How did the attack on Pearl Harbor in 1941 give Parker another chance to demonstrate his worth? 19. Why wasn’t Las Vegas easy to establish as a travel destination at first? 20. What was the cause of LA’s “gas attack”? 21. -
Sight & Sound Films of 2007
Sight & Sound Films of 2007 Each year we ask a selection of our contributors - reviewers and critics from around the world - for their five films of the year. It's a very loosely policed subjective selection, based on films the writer has seen and enjoyed that year, and we don't deny them the choice of films that haven't yet reached the UK. And we don't give them much time to ponder, either - just about a week. So below you'll find the familiar and the obscure, the new and the old. From this we put together the top ten you see here. What distinguishes this particular list is that it's been drawn up from one of the best years for all-round quality I can remember. 2007 has seen some extraordinary films. So all of the films in the ten are must-sees and so are many more. Enjoy. - Nick James, Editor. 1 4 Months, 3 Weeks and 2 Days (Cristian Mungiu) 2 Inland Empire (David Lynch) 3 Zodiac (David Fincher) = 4 I’m Not There (Todd Haynes) The Lives of Others (Florian Henckel von Donnersmarck) 6 Silent Light (Carlos Reygadas) = 7 The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik) Syndromes and a Century (Apichatpong Weerasethakul) No Country for Old Men (Ethan and Joel Coen) Eastern Promises (David Cronenberg) 1 Table of Contents – alphabetical by critic Gilbert Adair (Critic and author, UK)............................................................................................4 Kaleem Aftab (Critic, The Independent, UK)...............................................................................4 Geoff Andrew (Critic -
Pictures Afraid You Have Your Dalys Mixed Up
What's New SUSAN HAYWARD from Coast to Coast exciting (Continued from page 10) really sisters. Their ages are: Christine, 25, Dorothy, 23, and Phyllis, 22.... Miss A. Y., Milwaukee, Wisconsin: Johnny Des- mond is on a two -month leave of absence new from the Breakfast Club program, so he can make personal appearances. He is due back on the show October 23.... Miss J. F., San Antonio, Texas: Yes, John Daly is married, and has been for many years. I'm pictures afraid you have your Dalys mixed up. In- JEFF HUNTER cidentally, John recently signed a long- term contract with the American Broad- casting Company as a vice -president in of charge of news. He will continue to be Off-Guard Candids Your the emcee on What's My Line? however. To all of the readers who wrote about Frank Dane, who played Knap Drewer on Favorite Movie Stars the Hawkins Falls show: Frank is no longer on the program because the part of Drewer is no longer in the script. Knap chartered All the selective skill of our ace a private plane to fly from London to the * Isle of Man, in the story, and was killed cameramen went into the making when the plane crashed into the Irish of these startling, 4 x 5, quality DORIS DAY Sea. glossy prints. What ever Happened To . ? John Beal, the movie actor, who used to appear on the Freedom Rings TV show? Since leaving this show, John hasn't been * New poses and names are con- on any regular program, but has been stantly added. -
Film, Photojournalism, and the Public Sphere in Brazil and Argentina, 1955-1980
ABSTRACT Title of Document: MODERNIZATION AND VISUAL ECONOMY: FILM, PHOTOJOURNALISM, AND THE PUBLIC SPHERE IN BRAZIL AND ARGENTINA, 1955-1980 Paula Halperin, Doctor of Philosophy, 2010 Directed By: Professor Barbara Weinstein Department of History University of Maryland, College Park My dissertation explores the relationship among visual culture, nationalism, and modernization in Argentina and Brazil in a period of extreme political instability, marked by an alternation of weak civilian governments and dictatorships. I argue that motion pictures and photojournalism were constitutive elements of a modern public sphere that did not conform to the classic formulation advanced by Jürgen Habermas. Rather than treating the public sphere as progressively degraded by the mass media and cultural industries, I trace how, in postwar Argentina and Brazil, the increased production and circulation of mass media images contributed to active public debate and civic participation. With the progressive internationalization of entertainment markets that began in the 1950s in the modern cities of São Paulo, Rio de Janeiro, and Buenos Aires there was a dramatic growth in the number of film spectators and production, movie theaters and critics, popular magazines and academic journals that focused on film. Through close analysis of images distributed widely in international media circuits I reconstruct and analyze Brazilian and Argentine postwar visual economies from a transnational perspective to understand the constitution of the public sphere and how modernization, Latin American identity, nationhood, and socio-cultural change and conflict were represented and debated in those media. Cinema and the visual after World War II became a worldwide locus of production and circulation of discourses about history, national identity, and social mores, and a space of contention and discussion of modernization. -
El Cid and the Circumfixion of Cinematic History: Stereotypology/ Phantomimesis/ Cryptomorphoses
9780230601253ts04.qxd 03/11/2010 08:03 AM Page 75 Chapter 2 The Passion of El Cid and the Circumfixion of Cinematic History: Stereotypology/ Phantomimesis/ Cryptomorphoses I started with the final scene. This lifeless knight who is strapped into the saddle of his horse ...it’s an inspirational scene. The film flowed from this source. —Anthony Mann, “Conversation with Anthony Man,” Framework 15/16/27 (Summer 1981), 191 In order, therefore, to find an analogy, we must take flight into the misty realm of religion. —Karl Marx, Capital, 165 It is precisely visions of the frenzy of destruction, in which all earthly things col- lapse into a heap of ruins, which reveal the limit set upon allegorical contempla- tion, rather than its ideal quality. The bleak confusion of Golgotha, which can be recognized as the schema underlying the engravings and descriptions of the [Baroque] period, is not just a symbol of the desolation of human existence. In it transitoriness is not signified or allegorically represented, so much as, in its own significance, displayed as allegory. As the allegory of resurrection. —Walter Benjamin, The Origin of German Tragic Drama, 232 The allegorical form appears purely mechanical, an abstraction whose original meaning is even more devoid of substance than its “phantom proxy” the allegor- ical representative; it is an immaterial shape that represents a sheer phantom devoid of shape and substance. —Paul de Man, Blindness and Insight, 191–92 Destiny Rides Again The medieval film epic El Cid is widely regarded as a liberal film about the Cold War, in favor of détente, and in support of civil rights and racial 9780230601253ts04.qxd 03/11/2010 08:03 AM Page 76 76 Medieval and Early Modern Film and Media equality in the United States.2 This reading of the film depends on binary oppositions between good and bad Arabs, and good and bad kings, with El Cid as a bourgeois male subject who puts common good above duty. -
Martin Ritt 19:00 PROVIDENCE - Alain Resnais 21:00 the FAN - Ed Bianchi
Domingo 9 17:00 THE SPY WHO CAME IN FROM THE COLD - Martin Ritt 19:00 PROVIDENCE - Alain Resnais 21:00 THE FAN - Ed Bianchi Lunes 10 CGAC 17:00 L’AVEU - Constantin Costa-Gavras 19:30 L’AMOUR À MORT - Alain Resnais 21:15 THE RAIN PEOPLE - Francis Ford Coppola Martes 11 17:00 A DANDY IN ASPIC - Anthony Mann, Laurence Harvey 19:00 THE DEADLY AFFAIR - Sidney Lumet 21:00 DER HIMMEL ÜBER BERLIN - Wim Wenders Miércoles 12 16:30 SECHSE KOMMEN DURCH DIE WELT - Rainer Simon 18:00 TILL EULENSPIEGEL - Rainer Simon 19:45 JADUP UND BOEL - Rainer Simon 21:30 DIE FRAU UND DER FREMDE - Rainer Simon Jueves 13 17:45 WENGLER & SÖHNE, EINE LEGENDE - Rainer Simon 19:30 DER FALL Ö - Rainer Simon 21:15 WORK IN PROGRESS: CORTOMETRAJES DE MARCOS NINE - Marcos Nine Viernes 14 16:00 FÜNF PATRONENHÜLSEN - Frank Beyer 17:30 NACKT UNTER WÖLFEN - Frank Beyer 19:45 KARBID UND SAUERAMPFER - Frank Beyer 21:15 JAKOB, DER LÜGNER - Frank Beyer 23:00 DER VERDACHT - Frank Beyer Miércoles 19 21:30 DER TUNNEL - Roland Suso Richter Jueves 20 16:00 CARLOS - Olivier Assayas 21:45 DIE STILLE NACH DEM SCHUSS - Volker Schlöndorff Venres 21 16:00 8MM-KO ERREPIDEA - Tximino Kolektiv (Ander Parody, Pablo Maraví, Itxaso Koto, Mikel Armendáriz) 17:00 PROXECTO NIMBOS (SELECCIÓN DE CORTOMETRAJES) - Varios autores 17:45 WORK IN PROGRESS: O LUGAR DOS AVÓS - Víctor Hugo Seoane 20:15 EL CORRAL Y EL VIENTO - Miguel Hilari 21:15 OUROBOROS - Carlos Rivero, Alonso Valbuena Sábado 22 17:00 VIDEOCREACIÓNS - Olalla Castro 18:30 A HISTÓRIA DE UM ERRO - Joana Barros 20:15 TRUE ROMANCE. -
HOLLYWOOD – the Big Five Production Distribution Exhibition
HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927 -
Edward Dmytryk / Crossfire (Feux Croisés), États-Unis 1947, 86 Minutes]
Document generated on 09/26/2021 8:03 a.m. Séquences La revue de cinéma 1947, Crossfire Edward Dmytryk Crossfire (Feux croisés), États-Unis 1947, 86 minutes Maurice Elia Cannes 50 ans Number 189-190, 1997 URI: https://id.erudit.org/iderudit/49335ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review Elia, M. (1997). Review of [1947, Crossfire : edward Dmytryk / Crossfire (Feux croisés), États-Unis 1947, 86 minutes]. Séquences, (189-190), 19–19. Tous droits réservés © La revue Séquences Inc., 1997 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Cannes 5° 1947 >^ans CROSSFIRE Edward Dmytryk rand classique du film noir américain, Crossfire restera dans les Juifs qui l'a poussé à l'irrépa annales du cinéma comme une des premières œuvres à avoir abordé rable. Prix divers: Jacques Becker G de plein fouet le problème de l'antisémitisme. Adapté d'un roman L'œuvre d'Edward Dmy (Antoine et Antoinette, FR) de Richard Brooks (qui deviendra lui-même scénariste et metteur en scène tryk a souvent oscillé entre René Clément (Les Maudits, FR) quelques années plus tard), Crossfire demeure un des meilleurs films amé une sorte de réalisme violent ricains des années 40, celui qui épousait avec franchise les idées libérales et un néo-expressionnisme Edward Dmytryk (Crossfire, USA) d'une société qui venait de sortir de guerre (la même année, Gendeman's proche de l'univers kafkaïen. -
Aster of Suspense: Alfred Hitchcock
Visual arts example A IB DIPLOMA- VISUAL ARTS EXTENDED ESSAY aster of Suspense: Alfred Hitchcock How does Alfred Hitchcock visually guide viewers as he creates suspense in films such as ''The Pleasure Garden,''''The Lodger,'' ''Strangers on a Train'' and 'Psycho''? Candidate Number: Word Count: 3780 IMAGES: Please note that until copyright has been confirmed, all images have been removed. Apologies for the inconvenience. Extended essay 1 Visual arts example A IB VISUAL ARTS - EXTENDED ESSAY Contents INTRODUCTION ...................................................................................................................... 3 THE BEGINNING OF FILM .................................................................................................... 4 BACKGROUND OF ALFRED HITCHCOCK ......................................................................... 5 EARLY SILENT FILMS ............................................................................................................ 6 THE AMERICAN FILMS FROM THE 1950s ONWARDS ................................................... 11 Strangers on a Train (1951) .............................................................................................................. 11 Pyscho (1963) .................................................................................................................................... 13 INFLUENCE ON CONTEMPORARYFILMS ...................................................................... 17 CONCLUSION .......................................................................................................................