DOCSLIB.ORG

The Incredible Shrinking Man (1957 - El Increíble Hombre Menguante), De Jack Arnold Sinopsi

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Off the Record: 22 de gener del 2009 Cinemes Imperial Sèrie B Sessions: 20.15 h i 22.30 h The incredible shrinking man (1957 - El increíble hombre menguante), de Jack Arnold Sinopsi Després de veure's sotmès a una radiació, un home descobreix que la seva grandària es va reduint a mesura que passa el temps. LA SÈRIE B Alguns directors varen fer de la necessitat virtut i a base d’imaginació aconseguiren Fitxa tècnica El concepte de cinema de sèrie B resultats sovint molt més neix a Estats Units a partir del suggerents que els d’altres films crack de 1929, que va comportar de més pressupost. Es dóna també Director · · · · · · · · · · · Jack Arnold una important caiguda de públic el fet que en una època on el Guió · · · · · · · · · Richard Matheson a les sales; va ser aleshores quan cinema dels Estats Units estava Productora · · · · · · · · · · Universal les grans companyies van controlat per un codi moral molt reaccionar oferint dos estricte i conservador, les Productor · · · · · · Albert Zugsmith llargmetratges pel preu d’un: El pel.lícules de sèrie B no patien un Pais · · · · · · · · · · · · · · · · · · EE.UU. plat fort seria una luxosa marcatge tan ferri (pel fet de que Durada · · · · · · · · · · · · · · · 81 min. producció de classe A i el no se’ls donava gaire importància) complement, un film barat de i això permetia que algunes Fotografia · · Ellis W. Carter (B/N) classe B. Aquestes pel.lícules de tinguessin alguns elements Efectes especials · · · Clifford Stine, tipus B solien ser de gènere transgressors que difícilment R.A. Hoffman (westerns, gangsters, terror o s’haurien permès en una gran ciencia-ficció) i tenien un producció. Es podien fer coses Música · · · · · · Joseph Gershenson pressupost baix, cosa que atípiques com filmar una pel.lícula implicava, entre altres coses, un de monstres sense partir de rodatge ràpid i treballar amb actors postures clarament maniqueistes poc coneguts o velles glòries en o fer una pel.lícula sobre hores baixes. Els grans estudis alienígenes adoptant el seu punt tenien unitats especialitzades en de vista enlloc de l’humà. aquest tipus de pel.lícules, però Ultimátum a la tierra (Robert també hi havia petites companyies Wise, 1951) sembla un clar al.legat Fitxa artística que s’hi dedicaven de ple pacifista. En altres casos, però, (Monogram, Republic). Aquestes seguien les directrius marcades produccions servien també per Scott Carey · Grant WilliamsLouise pel poder establert: La invasión provar el potencial dels de los ladrones de cuerpos (Don Carey · · · · · · · · · · · · Randy Stuart realitzadors i actors que hi Siegel, 1956) funciona com a treballaven. Molt pocs van Clarice · · · · · · · · · · · · · April Kent pamflet anti-comunista. D’una aconseguir passar a la categoria manera o altra, molts films de sèrie Charlie · · · · · · · · · · Paul Langton superior i la majoria dels seus B d’aquesta època reflectien un noms ens resulten avui Dr. Thomas Silver · · · · · Raymond determinat clima de paranoia que desconeguts, però hi ha notables s’havia instal.lat a la societat nord- Bailey excepcions: l’actor John Wayne o americana després del llençament Dr. Bramson · · · William Schallert els directors Jules Dassin, Jacques de la bomba atòmica i en plena Torneur i Anthony Mann, per guerra freda. A finals dels 50, amb Nan · · · · · · · · · · · · · · Billy Curtis anomenar-ne només alguns, la caiguda del sistema d’estudis i provenien de la sèrie B. La dècada la consolidació de la televisió es dels 50 va ser un període va passar a anomenar sèrie B a especialment interessant per a qualsevol pel.lícula de baix aquest tipus de produccions. pressupost i més endavant es va convertir en sinònim de cinema diferents) reforçant així la idea FILMOGRAFIA JACK ARNOLD de baixa qualitat. De tota manera que és aquest entorn de cada dia als anys 60, dins de l’àmbit del el que pot esdevenir terrorífic cinema independent nord- només canviant la perspectiva. No 1976- The Swiss Conspiracy americà, sorgeixen personatges són els efectes especials ni els (Conspiración en Suiza) com Roger Corman, que recullen trucatges, tot i que estan molt ben 1974- Boss Niger el testimoni de la sèrie B més aconseguits per a la seva època, 1974- Black Eye creativa i interessant. allò que ens fa por, sinó la 1969- Hello Down There revel.lació de la vocació terrorífica 1964- The Lively Set dels objectes. 1964- A Global Affair D’altra banda, la pel.lícula, a partir 1961- Bachelor in Paradise LA PEL·LÍCULA d’un moment donat, funciona (Soltero en el paraíso) perfectament com una cinta 1959- The Mouse that Roared El director, Jack Arnold, ja havia d’aventures, amb una bona varietat (Un golpe de gracia) realitzat algunes incursions en el de situacions resoltes amb gràcia 1959- No Name on the bullet cinema fantàstic i de terror abans i nervi. També és en aquest punt 1958- The Space Children de filmar, el 1957, El increíble de la història, quan el protagonista 1958- Monster on the Campus hombre menguante. Tant La abandona la seva passivitat i passa 1958- High School Confidential mujer y el monstruo (Creature a l’acció, que el film esdevé una 1958- The Lady Takes from the Black Lagoon,1954) com mica una al.legoria de la lluita per (Escala en Tokyo) Tarántula (1955) ja contenien la supervivència de l’ésser humà 1957- Man in the Shadow elements que les diferenciaven i de la seva capacitat d’adaptació (Sangre en el rancho) d’altres films del mateix gènere. a nous entorns i noves situacions. 1957- The Tattered Dress Però en aquest film que ens ocupa Encara que la pel.lícula no és gens 1957- The Incredible Shrinking Arnold aconsegueix anar més pretenciosa, és evident que la Man enllà, amb un plantejament del tot història, sobretot quan es porta la (El increíble hombre inusual. D’entrada, una de les situació al límit, té un rerafons menguante) coses que fa la pel.lícula més inevitablement metafísic: l’home, 1956- Outside the Law atractiva i inquietant és el fet del sol davant del (micro) cosmos 1956- Red Sundown descobriment d’allò monstruós infinit s’interroga sobre el sentit 1955- The Man From Bitter dins de l’esfera d’allò quotidià. de la seva existència. Aquesta Bridge Això ja es troba en la novel.la de questió, encara que hi era per força 1955- Tarantula Richard Matheson, que ell mateix d’una manera latent degut a la 1955- Revenge of the Creature va adaptar per al cinema (havent pròpia naturalesa de la història, 1954- Creature From the Black de canviar una estructura a base no estava expressada d’una Lagoon de Flash back cap a una narració manera explícita en la novel.la. Sí (La mujer y el monstruo) de tipus lineal). Però el director que hi és al final de la pel.lícula, 1953- The Glass Web sap emfatisar molt bé aquest per una imposició de la productora (Ensayo dramático) aspecte utilitzant eines i que, segons Arnold, va acceptar 1953- It came From Outer Space estrictament cinematogràfiques. com a mal menor ja que la 1952- Girls in the Night Per exemple, al principi del film proposta inicial dels productors 1950- With these Hands s’entretén a mostrar-nos tots els era fer que el protagonista elements i escenaris quotidians, recuperés la seva talla normal per que més endavant esdevindran a un final feliç. L’al.lusió de caire monstruosos degut al canvi de religiós que conté va fer protestar perspectiva, en un moment en què Matheson enèrgicament. De tota nosaltres no podem sospitar quin manera, la pel.lícula no queda paper acabaran jugant. La subtilitat tampoc mal acabada d’aquesta amb què ens mostra els primers manera, amb un toc entre metafísic símptomes de transformació i poètic. (reducció) del protagonista fan la situació especialment angoixant, Cèsar Giravent precisament per la seva senzillesa i quotidianitat. També és encertada l’opció de no veure mai minvar el personatge, sinó que l’anem veient actuar en escenaris cada cop més grans respecte la seva mida (en van haver de fer fins a catorze de Es demana puntualitat. Es demana als espectadors que desconnectin els telèfons mòbils i qualsevol altre aparell acústic abans de començar la projecció. Gràcies. la projecció. de començar acústic abans aparell altre mòbils i qualsevol telèfons Es demana puntualitat. els Es demana als espectadors que desconnectin.
Recommended publications
  • The Tragedy of 3D Cinema

    The Tragedy of 3D Cinema

    Film History, Volume 16, pp. 208–215, 2004. Copyright © John Libbey Publishing ISSN: 0892-2160. Printed in United States of America The tragedy of 3-D cinema The tragedy of 3-D cinema Rick Mitchell lmost overlooked in the bicoastal celebrations The reason most commonly given was that of the 50th anniversary of the introduction of audiences hated to wear the glasses, a necessity for ACinemaScope and the West Coast revivals of 3-D viewing by most large groups. A little research Cinerama was the third technological up- reveals that this was not totally true. According to heaval that occurred fifty years ago, the first serious articles that appeared in exhibitor magazines in attempt to add real depth to the pallet of narrative 1953, most of the objections to the glasses stemmed techniques available to filmmakers. from the initial use of cheap cardboard ones that Such attempts go back to 1915. Most used the were hard to keep on and hurt the bridge of the nose. anaglyph system, in which one eye view was dyed or Audiences were more receptive to plastic rim projected through red or orange filters and the other glasses that were like traditional eyeglasses. (The through green or blue, with the results viewed cardboard glasses are still used for anaglyph pres- through glasses with corresponding colour filters. entations.) The views were not totally discrete but depending on Another problem cited at the time and usually the quality of the filters and the original photography, blamed on the glasses was actually poor projection. this system could be quite effective.
  • THE MENTOR 89 Page 2 Is That TM Is Really Going to Be Irregular - You Will See It If and When I But, I Suppose That This Is All Sour Grapes

    THE MENTOR 89 Page 2 Is That TM Is Really Going to Be Irregular - You Will See It If and When I But, I Suppose That This Is All Sour Grapes

    THE MENTOR #89 January 1996 JANUARY 1996 page 1 MY HOLY SATAN FISHER, VARDIS THE EDITORIAL SLANT PEACE LIKE A RIVER(THE PASSION WITHIN) FISHER, VARDIS VALLEY OF VISION, THE FISHER, VARDIS GOLDEN BOUGH, THE FRAZER, J. G. by Ron Clarke INTERPRETATION OF DREAMS, THE FREUD, SIGMUND LEONARDO FREUD, SIGMUND TALE OF THE MILITARY SECRET GAIDAR, ARKADY In thish of TM there is quite a discussion about the “differ- EARLY IRISH MYTHS AND SAGAS GANTZ, JEFFREY trans ences” between men and women. In the media lately there have also FAUST Part 1 GOETHE been comments about women, politics and gender bias. I quote the first FAUST Part 2 GOETHE paragraph of Patrick Cook’s column in the August 22, 1995 BULLETIN DEAD SOULS GOGOL SACRED FIRE GOLDBERG, B. Z. (one of the oldest magazines in Oz, first published in 1880): TRUE FACE OF JACK THE RIPPER, THE HARRIS, MELVIN “Women forced into politics: The final insult. DIARY OF JACK THE RIPPER, THE HARRISON, SHIRLEY narr “Men spent the whole of the 19th century forcing women up PROSTITUTION IN EUROPE & THE NEW WORLD HENRIQUES, FERNANDO chimneys and down coalmines to load trolleys full of pit ponies and haul LOVE IN ACTION HENRIQUES, FERNANDO PRETENCE OF LOVE, THE HENRIQUES, FERNANDO them for hundreds of miles on their knees. Other men fed women on PICTOR'S METAMORPHOSES HESSE, HERMANN cream cakes against their will to engorge their livers which then became HITE REPORT HITE, SHERE a delicacy. Yet further men saw women as mere playthings, to be tossed A HISTORY OF THE SOVIET UNION HOSKING, GEOFFREY NATURE OF THE UNIVERSE, THE HOYLE, FRED back and forth over nets at the beach, or carried up and down football DIANETICS HUBBARD, L.
  • Science Fiction Films of the 1950S Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, Bnoonan@Lsu.Edu

    Science Fiction Films of the 1950S Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected]

    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 "Science in skirts": representations of women in science in the "B" science fiction films of the 1950s Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Noonan, Bonnie, ""Science in skirts": representations of women in science in the "B" science fiction films of the 1950s" (2003). LSU Doctoral Dissertations. 3653. https://digitalcommons.lsu.edu/gradschool_dissertations/3653 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “SCIENCE IN SKIRTS”: REPRESENTATIONS OF WOMEN IN SCIENCE IN THE “B” SCIENCE FICTION FILMS OF THE 1950S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English By Bonnie Noonan B.G.S., University of New Orleans, 1984 M.A., University of New Orleans, 1991 May 2003 Copyright 2003 Bonnie Noonan All rights reserved ii This dissertation is “one small step” for my cousin Timm Madden iii Acknowledgements Thank you to my dissertation director Elsie Michie, who was as demanding as she was supportive. Thank you to my brilliant committee: Carl Freedman, John May, Gerilyn Tandberg, and Sharon Weltman.
  • Ronald Davis Oral History Collection on the Performing Arts

    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.
  • WLBT Archives MSS.366

    WLBT Archives MSS.366

    Note: To navigate the sections of this PDF finding aid, click on the Bookmarks tab or the Bookmarks icon on the left side of the page. Mississippi State University Libraries Special Collections Department Manuscripts Division P.O. Box 5408, Mississippi State, MS 39762-5408 Phone: (662) 325–7679 E-mail: [email protected] WLBT archives MSS.366 Dates: 1967-1980 Extent: 155 cubic feet Preferred Citation: WLBT archives, Special Collections Department, Mississippi State University Libraries. Access: Open to all researchers. Copyright Statement: Any requests for permission to publish, quote, or reproduce materials from this collection must be submitted in writing to the Manuscripts Librarian for Special Collections. Permission for publication is given on behalf of Mississippi State University as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained. Donor: Communications Improvement, Incorporated, August 1982. Scope and Contents The WLBT archives have been arranged in the following series: Hewitt Griffin joined WLBT in 1961 as program manager, the position he continued to hold throughout Communications Improvement, Incorporated’s (CII) tenure with the exception of the period from January to September 1973. Series 1, 1967-1979, consists of Griffin's files, which primarily concern programming. The series has been grouped into ten divisions: General/personal, Programming, Programs Available, Programs Aired, Network Affiliates, Ratings/research, Promotional Materials (including photographs), TV Guide (1974-1978), Programming Logs (June 14, 1971 - December 31, 1977), and Discrepancy Sheets. See also Series 7. 38 cubic feet. In 1972 William H. Dilday, Jr.
  • Nosferatu. Revista De Cine (Donostia Kultura)

    Nosferatu. Revista De Cine (Donostia Kultura)

    Nosferatu. Revista de cine (Donostia Kultura) Título: La ciencia-ficción en el cine de Jack ArnoId. El espacio ambiguo de la monstruosidad Autor/es: Heredero, Carlos F. Citar como: Heredero, CF. (1994). La ciencia-ficción en el cine de Jack ArnoId. El espacio ambiguo de la monstruosidad. Nosferatu. Revista de cine. (14):100-115. Documento descargado de: http://hdl.handle.net/10251/40894 Copyright: Reserva de todos los derechos (NO CC) La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+D+i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de Biblioteca y Documentación Científica y del Área de Sistemas de Información y Comunicaciones (ASIC) del Vicerrectorado de las Tecnologías de la Información y de las Comunicaciones de la Universitat Politècnica de València. Entidades colaboradoras: Revenge of the Creature (1 955), de Jack Arnold La ciencia-ficción en el cine de JackArnold El espacio ambiguo de la monstruosidad Carlos E Heredero asta comienzos de los rar en su actividad. Tampoco amanuense contratado ocasio­ años setenta, la figura y la desde las páginas antagonistas nalmente por diferentes estudios Hfilmografia de un cineas­ de Positif, y ni siquiera desde la de un Hollywood en crisis. ta llamado Jack Amold habían perspectiva militante de Ber­ pasado completamente desaper­ trand Tavemier (un apasionado Será necesario esperar, por tan­ cibidos para los ojos de la crítica "apóstol de la serie B", con el ol­ to, a las llamadas de atención del y de la historiografía.
  • JACK ARNOLD Di Renato Venturelli

    JACK ARNOLD Di Renato Venturelli

    JACK ARNOLD di Renato Venturelli Tra gli autori della fantascienza anni ‘50, che rinnovò la tradizione del cinema fantastico e dell’horror, il nome che si impone con più evidenza è quello di Jack Amold. Il motivo di questo rilievo non sta tanto nell’ aver diretto i capolavori assoluti del decennio (La cosa è di Hawks, L’invasione degli ultracorpi è di Siegel...), quanto nell’aver realizzato un corpus di film compatto per stile e notevole nel suo insieme per quantità e qualità. Gli otto film fantastici realizzati fra il 1953 e il 1959 testimoniano cioè un autore riconoscibile, oltre a scandire tappe fondamentali per la mitologia del cinema fantastico, dalla Creatura della Laguna Nera (unico esempio degli anni ‘50 ad essere entrato nel pantheon dei mostri classici) alla gigantesca tarantola, dalla metafora esistenziale di Radiazioni B/X agli scenari desertici in cui l’uomo si trova improvvisamente di fronte ai limiti delle proprie conoscenze razionali. Uno dei motivi di compattezza del lavoro di Amold sta nella notevole autonomia con cui poté lavorare. Il suo primo film di fantascienza, Destinazione… Terra (1953), segnava infatti il primo tentativo in questa direzione (e nelle tre dimensioni) da parte della Universal-International. Il successo che ottenne, e che assieme agli incassi del Mostro della laguna nera risollevò la compagnia da una difficile situazione economica, fu tale da permettere ad Arnold di ritagliarsi una zona di relativa autonomia all’interno dello studio: “Nessuno a quell’epoca era un esperto nel fare film di fantascienza, così io pretesi di esserlo. Non lo ero, naturalmente, ma lo studio non lo sapeva, e così non si misero mai a discutere, qualsiasi cosa facessi”.
  • List of Shows Master Collection

    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\
  • The Hollywood Cinema Industry's Coming of Digital Age: The

    The Hollywood Cinema Industry's Coming of Digital Age: The

    The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication.
  • The Museum of Modern Art Department of Film

    The Museum of Modern Art Department of Film

    The Museum of Modern Art Department of Film 11 West 53 Street, New York, N.Y. 10019 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART THE ARTS FOR TELEVISION an exhibition organized by The Museum of Contemporary Art, Los Angeles and the Stedelijk Museum, Amsterdam THE ARTS FOR TELEVISION is the first major museum exhibition to examine television as a form for contemporary art : television as a gallery or theater or alternative space, even television as art . An international selection of artworks made for broadcast, the exhibi- tion documents the crossovers and collaborations that take place on this new television, between and among dancers, musicians, play- wrights, actors, authors, poets, and visual and video artists . And it investigates the artists' own investigation of one medium -- be it dance or music or literature -- through another . It examines the transformations video makes and the possibilities it allows . These provocative uses of television time and technology are organized in THE ARTS FOR TELEVISION according to the medium transformed by the electronic image ; the six categories are Dance for Television, Music for Television, Theatre for Television, Literature for Television, The Video Image (works that address video as a visual art, that make reference to the traditional visual arts and to seeing itself), and Not Necessarily Television (works that address the usual content of TV, and transform it) . The ARTS FOR TELEVISION also presents another level of collaboration in artists' television . It documents the involvement of television stations in Europe and America with art and artists' video . It recognizes their commitment and acknowledges the risks they take in allowing artists the opportunity to realize works of art .
  • Αφηγηση Και Εστιαση Στισ Επικιν∆Υνεσ Σχεσεισ Του Choderlos De Laclos Kai Τισ Τεσσερισ Κινηματογραφικεσ Μεταφορεσ Του Μυθιστορηματοσ

    Αφηγηση Και Εστιαση Στισ Επικιν∆Υνεσ Σχεσεισ Του Choderlos De Laclos Kai Τισ Τεσσερισ Κινηματογραφικεσ Μεταφορεσ Του Μυθιστορηματοσ

    ΑΦΗΓΗΣΗ ΚΑΙ ΕΣΤΙΑΣΗ ΣΤΙΣ ΕΠΙΚΙΝ∆ΥΝΕΣ ΣΧΕΣΕΙΣ ΤΟΥ CHODERLOS DE LACLOS KAI ΤΙΣ ΤΕΣΣΕΡΙΣ ΚΙΝΗΜΑΤΟΓΡΑΦΙΚΕΣ ΜΕΤΑΦΟΡΕΣ ΤΟΥ ΜΥΘΙΣΤΟΡΗΜΑΤΟΣ Της ∆έσποινας Κακλαµανίδου ∆ιδακτορική διατριβή που υποβλήθηκε στο Τµήµα Αγγλικής Γλώσσας και Φιλολογίας, της Φιλοσοφικής Σχολής του Αριστοτελείου Πανεπιστηµίου Θεσσαλονίκης, Ελλάδα Η διατριβή ολοκληρώθηκε σύµφωνα µε τις απαιτήσεις του διπλώµατος του ∆ιδάκτορα Φιλοσοφίας 2005 2 ΠΕΡΙΕΧΟΜΕΝΑ ΠΡΟΛΟΓΟΣ ......1 1. ΜΕΤΑΦΟΡΑ ΜΥΘΙΣΤΟΡΗΜΑΤΩΝ ΣΤΟΝ ΚΙΝΗΜΑΤΟΓΡΑΦΟ 1.1. Εισαγωγή ......6 1.2. Σχέσεις µεταξύ κινηµατογράφου-λογοτεχνίας ......12 1.2.1. ∆ιαφορές µεταξύ κινηµατογράφου-λογοτεχνίας ......13 1.2.2. Οπτική γωνία ......28 1.3. Σύντοµη ιστορική αναδροµή µεταφοράς µυθιστορηµάτων στον κινηµατογράφο ......30 1.4. Μεταφορά µυθιστορηµάτων στον κινηµατογράφο ......33 1.5. Σοβαρή και µαζική τέχνη ......40 2. ΑΦΗΓΗΣΗ – ΕΣΤΙΑΣΗ: ΠΟΙΟΣ ΜΙΛΑ (ΑΦΗΓΗΤΗΣ) – ΠΟΙΟΣ ΒΛΕΠΕΙ (ΕΣΤΙΑΣΤΗΣ); 2.1. Εισαγωγή ......43 2.2. Η αφηγηµατολογική προσέγγιση των Greimas και Genette ......45 2.3. Αφηγητής και εστιαστής στη λογοτεχνία ......50 2.4. Αφήγηση και εστίαση στον κινηµατογράφο ......59 2.5. Επιλογή θεωρητικού εργαλείου ......67 3. ΕΠΙΛΟΓΗ ΚΕΙΜΕΝΩΝ 3.1. Εισαγωγή ......70 3.2. Παρατηρήσεις µε βάση το corpus ......72 3.3. Κριτήρια επιλογής του έργου του Laclos ......79 4. ΟΙ ΕΠΙΚΙΝ∆ΥΝΕΣ ΣΧΕΣΕΙΣ: ΤΟ ΜΥΘΙΣΤΟΡΗΜΑ 4.1. Choderlos de Laclos (1741-1803) και η γαλλική κοινωνία του . 18ου αιώνα .....86 4.2. Η πορεία των Επικίνδυνων Σχέσεων ......90 4.3. Σύντοµη περίληψη των Επικίνδυνων Σχέσεων ......95 4.4. Η χρήση των επιστολών ......96 4.5. Ανάλυση της Γραµµατικής των Επικίνδυνων Σχέσεων: ......101 Πρόσωπα ......107 4.5.1. Συνταγµατική ανάλυση των Επικίνδυνων Σχέσεων . 4.5.2. Τα αφηγηµατικά προγράµµατα των πρωταγωνιστών των .....125 Επικίνδυνων Σχέσεων ......129 4. 6. Αφήγηση και εστίαση στις Επικίνδυνες Σχέσεις ......133 ......144 4.6.1.
  • Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress

    Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress

    INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.