DOCSLIB.ORG

Abel Gance and the End of Silent Cinema

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Abel Gance and the End of Silent Cinema Abel Gance and the End of Silent Cinema Paul Cuff Abel Gance and the End of Silent Cinema Sounding out Utopia Paul Cuff Warwick University Coventry, UK ISBN 978-3-319-38817-5 ISBN 978-3-319-38818-2 (eBook) DOI 10.1007/978-3-319-38818-2 Library of Congress Control Number: 2016958116 © The Editor(s) (if applicable) and The Author(s) 2016 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifi c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the pub- lisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Cover illustration: © Adrien Barrère, ‘Abel Gance: Cinéaste a explosion’, illustration in Fantasio (December 1930) (Author’s collection) Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Springer International Publishing AG Switzerland The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland NOTE ON FORMATTING REFERENCES I have used the Harvard system for citations within the text (author | year: volume/page). Square parentheses [ ] within a citation indicate a fi rst publication date. Please see the Bibliography and Filmography for a detailed explanation of source material. EMPHASES All italicized emphases within quoted material appear in the original sources. NAMES For the sake of agreement with original material, my text retains the native spelling of French names and titles. TITLES To distinguish them from works of literature, titles of fi lm projects are formatted in small caps. v vi NOTE ON FORMATTING TRANSLATIONS Unless otherwise noted, all translations of French-language material are my own. For other foreign-language material, I have tried (wherever pos- sible) to use the most modern and reliable English editions available. CONTENTS List of Figures xi Acknowledgements xiii Preface: The Sublime and the Ridiculous xv Part I Overcoming the Past 1 Introduction 3 1 In the Shadow of War 5 Medium and Message 5 Accusations 8 Fate 15 Reclaiming History 17 Notes 20 2 Towards Utopia 21 Art as Religion 21 Utopian Narratives 30 Notes 39 vii viii CONTENTS 3 Prophets of the Future 41 Cinematic Messiahs 41 Embodying Revolution 45 Taking Action 53 Note 55 4 Cinema and the Life of Space 57 Citizens of Space 57 The Psychic Universe 61 Art and Metaphysics 67 Magic, Music, Light 72 Note 77 Summary 79 Part II Impossible Dreams 81 Introduction 83 5 Artistic Integrity and Industrial Change 85 Author and Industry 85 World Cinema 91 The Coming of Sound 98 Notes 104 6 A History of Incompletion 105 Leadership and Recruitment 105 Sacred Labour 110 Crises 115 Distribution 121 Reverberations 125 Notes 129 Summary 133 Note 135 CONTENTS ix Part III The Marvel of Ruins 137 Introduction 139 7 Passion and Performance 143 Premonitions 143 Projecting the Voice 151 Rivals 154 Film as Testament 160 Notes 165 8 Fighting to be Heard 167 The Speed of Exchange 167 Voices of Authority 169 Resolutions 172 Note 176 9 The World on Fire 177 Absence and Excess 177 Orgies 182 The End 190 Epilogue 197 Note 198 Summary 199 Notes 204 Conclusion: ‘Why have I been only what I am?’ 205 The Burden of Reality 205 Alternative Histories 210 Looking to the Future 214 Filmography and Bibliography 217 Index 237 LIST OF FIGURES Fig. 1 Adrien Barrère, ‘Abel Gance: Cinéaste a explosion’, illustration in Fantasio (December 1930) (Author’s collection) xix Fig. 2 Jean-Adrien Mercier, poster for LA FIN DU MONDE (1930–31) (Courtesy of Gaumont) xxiii Fig. 3 Photograph of a truck advertizing LA FIN DU MONDE (1930?) (Author’s collection) xxiv Fig. 2.1 Reproduction of manuscript diagram by Abel Gance (1928) 26 Fig. 3.1 Front cover of Cinémagazine (January 1931) (Author’s collection) 46 Fig. 3.2 Image capture from LA FIN DU MONDE (Courtesy of Gaumont) 47 Fig. 5.1 Advertisement for J’ACCUSE, Kinematograph Weekly (22 April 1920) 87 Fig. 6.1 Advertisement for DAS ENDE DER WELT, Film-Kurier (Berlin) (9 August 1930) 119 Fig. 6.2 Advertisement for DAS ENDE DER WELT, Film-Kurier (Berlin) (11 April 1931) 123 Fig. 6.3 Advertisement fl yer for LA FIN DU MONDE (1931) (Author’s collection) 124 Fig. 7.1 Image capture from LA FIN DU MONDE (Courtesy of Gaumont) 147 Fig. 7.2 Image capture from LA FIN DU MONDE (Courtesy of Gaumont) 148 Fig. 7.3 Image capture from LA FIN DU MONDE (Courtesy of Gaumont) 149 Fig. 8.1 Image capture from AUTOUR DE LA FIN DU MONDE (Courtesy of Le Centre national du cinéma et de l’image animée) 175 xi xii LIST OF FIGURES Fig. 9.1 Image capture from LA FIN DU MONDE (Courtesy of Gaumont) 184 Fig. 9.2 Image capture from LA FIN DU MONDE (Courtesy of Gaumont) 187 Fig. 9.3 Image capture from LA FIN DU MONDE (Courtesy of Gaumont) 189 Fig. 9.4 Image capture from LA FIN DU MONDE (Courtesy of Gaumont) 190 Fig. 9.5 Image capture from LA FIN DU MONDE (Courtesy of Gaumont) 192 Fig. 9.6 Image capture from AUTOUR DE LA FIN DU MONDE (Courtesy of Le Centre national du cinéma et de l’image animée) 193 Fig. 9.7 Image capture from AUTOUR DE LA FIN DU MONDE (Courtesy of Le Centre national du cinéma et de l’image animée) 194 ACKNOWLEDGEMENTS My fi rst thanks must go to Kevin Brownlow, whose restoration of N APOLÉON is responsible for my continuing passion for the work of Abel Gance. I fi rst saw NAPOLÉON at the Royal Festival Hall in London on 4 December 2004, and a great deal of my subsequent creative activity can be traced back to this event. As a student writing my undergraduate dissertation on Gance, I discovered that Brownlow was a tremendously forthcoming correspon- dent and source of information—and I shamelessly continued to exploit his generosity. During the writing of the present book, he allowed me access to his private collection of interview and press material on Gance. For this and for countless other instances of help and kindness, I offer him my deepest thanks. This book has its origins in a chapter of my PhD thesis written in the Department of Film and Television Studies at the University of Warwick. My supervisor, Jon Burrows, patiently read through a large volume of material on LA FIN DU MONDE —even after it became clear that I would never fi t this material into my thesis. Thanks to his sagacity, this research has ultimately found its rightful place in a separate work. I also want to express my gratitude to the research culture and teaching environment at Warwick, where numerous friends, colleagues, peers, and students have enriched my thinking and my work. The archival research for this book could not have taken place without the aid of many people in person and via correspondence. I wish to thank the staff of the Bibliothèque du Film and Fort de Saint-Cyr fi lm archive of the Cinémathèque Française (Paris), the Arts du Spectacle department of the Bibliothèque nationale de France (Paris), and the Národní Filmovy xiii xiv ACKNOWLEDGEMENTS Archiv (Prague). In France, many people shared with me their knowledge and their time—I want to thank Laurent Husson, Nelly Kaplan, Christine Leteux, Laure Marchaut, Georges Mourier, Sarah Ohana, and Elodie Tamayo. For reading various parts of this book and offering invaluable sugges- tions for improvement, I am very grateful to Kevin Brownlow, Wujung Ju, Erik Schelander, and Nicholas Viale. To the latter, I also owe lifelong gratitude for taking me to see N APOLÉON in the fi rst place. I offer special thanks to my mother, Anne Cuff, for translating the German press mate- rial on Gance. At Palgrave, Lina Aboujieb has been of immense help throughout the production of this book. I would also like to thank Charles Drazin for his very kind endorsement. Finally, Natalie Stone has provided me with all the love and encourage- ment that I could ever need to believe my work was worthwhile. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked, the publisher will be pleased to make the necessary arrangements at the fi rst opportunity. PREFACE: THE SUBLIME AND THE RIDICULOUS FALLEN EAGLES At the start of 1812, Napoléon Bonaparte had completed his overthrow of several hundred years of monarchical tradition and redrawn the map of Europe in the hope of establishing universal democracy; by the end of 1812, he was fl eeing incognito from the frozen hinterland of Russia in which he had lost an army of over 500,000 men. History has disregarded most of the many excuses the Emperor offered for this unprecedented military failure, but his summary of the change in fortune is still remem- bered: ‘It is but one step from the sublime to the ridiculous’ (Pradt 1815: 215).
Load more

Recommended publications
  • Beginnings and Endings in Films, Film and Film Studies
    Beginnings and Endings in Films, Film and Film Studies Beginnings and Endings in Films, Film and Film Studies, University of Warwick, 13th June 2008 A report by Martin Zeller, University of York, UK This conference, organised by Tom Hughes and James MacDowell (both of University of Warwick), examined the beginnings and endings of individual films and structures of beginnings and endings in films more generally, as well as notions of beginning and ending in film studies as a discipline. With such a wide remit it is not surprising that links between the various presentations were sometimes difficult to establish. However, the wide variety of approaches to the topic ensured lively discussions. The tone for the day was set by the keynote paper delivered by Warwick's own V. F. Perkins. Examining beginnings and endings in the genre of 'multi-story' (or portmanteau) movies, Perkins elucidated the various methods used to make the author the focus of these multi-stranded narratives. Drawing on the literary cachet of their source texts, Quartet, Full House and Le Plaisir make Maugham, O. Henry and Maupassant the respective loci around which their stories revolve. Pointing out that authorial intrusions were, with the exception of Le Plaisir, used only at the beginnings of such films, Perkins suggested the possibility of a largely unexplored narrative technique available in returning to the author at the close of a film. However, it was Professor Perkin's call for, 'an aesthetics of the quite good, of the satisfactorily effective, as well as the extremes: the abject and the sublime,' that seemed to resonate most with the delegates and to become a touchstone for the day's later discussions.
    [Show full text]
  • Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita Submitted in Partial Fulfillment of the Re
    The Educated Spectator: Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Casiana Elena Ionita All rights reserved ABSTRACT The Educated Spectator: Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita This dissertation draws on a wide range of sources (including motion pictures, film journals, and essays) in order to analyze the debate over the social and aesthetic role of cinema that took place in France from 1909 to 1930. During this period, as the new medium became the most popular form of entertainment, moralists of all political persuasions began to worry that cinematic representations of illicit acts could provoke social unrest. In response, four groups usually considered antagonistic — republicans, Catholics, Communists, and the first film avant- garde known as the Impressionists — set out to redefine cinema by focusing particularly on shaping film viewers. To do so, these movements adopted similar strategies: they organized lectures and film clubs, published a variety of periodicals, commissioned films for specific causes, and screened commercial motion pictures deemed compatible with their goals. Tracing the history of such projects, I argue that they insisted on educating spectators both through and about cinema. Indeed, each movement sought to teach spectators of all backgrounds how to understand the new medium of cinema while also supporting specific films with particular aesthetic and political goals. Despite their different interests, the Impressionists, republicans, Catholics, and Communists all aimed to create communities of viewers that would learn a certain way of decoding motion pictures.
    [Show full text]
  • Cowboys, Postmodern Heroes, and Anti-Heroes: the Many Faces
    COWBOYS, POSTMODERN HEROES, AND ANTI-HEROES: THE MANY FACES OF THE ALTERIZED WHITE MAN Hyon Joo Yoo Murphree, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2000 APPROVED: Diane Negra, Major Professor Olaf Hoerschelmann, Committee Member Diana York Blaine, Committee Member C. Melinda Levin, Graduate Coordinator of the Department of Radio, TV and Film Steve Craig, Chair of the Department of Radio, TV and Film C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Murphree, Hyon Joo Yoo, Cowboys, Postmodern Heroes, and Anti-heroes: The Many Faces of the Alterized White Man. Master of Arts (Radio, Television and Film), August 2000, 131 pp., references, 48 titles. This thesis investigates how hegemonic white masculinity adopts a new mode of material accumulation by entering into an ambivalent existence as a historical agent and metahistory at the same time and continues to function as a performative identity that offers a point of identification for the working class white man suggesting that bourgeois identity is obtainable through the performance of bourgeois ethics. The thesis postulates that the phenomenal transitions brought on by industrialization and deindustrialization of 50’s through 90’s coincide with the representational changes of white masculinity from paradigmatic cowboy incarnations to the postmodern action heroes, specifically as embodied by Bruce Willis. The thesis also examines how postmodern heroes’ “intero-alterity” is further problematized by antiheroes in Tim Burton’s films. TABLE OF CONTENTS INTRODUCTION...........................................................................................................................................3 1. Reading a Dynamic Connection between the 1950’s and 1990’s..........................................................6 2.
    [Show full text]
  • Cinematographic Space As a Material and the American Territory As a Subject: ''Duel'' and ''The Sugarlan
    Cinematographic Space as a Material and the American Territory as a Subject : ”Duel” and ”The Sugarland Express” Antoine Gaudin To cite this version: Antoine Gaudin. Cinematographic Space as a Material and the American Territory as a Subject : ”Duel” and ”The Sugarland Express”. David Roche. Steven Spielberg, Hollywood Wunderkind and Humanist, Presses Universitaires de la Méditerranée, 2018, 978-2-36781-264-9. hal-02264816 HAL Id: hal-02264816 https://hal.archives-ouvertes.fr/hal-02264816 Submitted on 7 Aug 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. CINEMATOGRAPHIC SPACE AS A MATERIAL AND THE AMERICAN TERRITORY AS A SUBJECT: DUEL AND THE SUGARLAND EXPRESS1 Antoine Gaudin in David Roche (dir.), Steven Spielberg, Hollywood Wunderkind and Humanist, Presses Universitaires de la Méditerranée, 2018. As his recent film Bridge of Spies once again illustrates, Spielberg has always been a rigorous stylist of cinematic space. From the layered deep focus composite shots of Close Encounters of the Third Kind, to the malleability of the digital scenery of The Adventures of Tintin, the experimental scenery of Hook and editing of Saving Private Ryan, and the exploration of emblematic locations like the amusement park in Jurassic Park and the airport in The Terminal, this concern for space takes on various forms throughout the filmmaker’s work.
    [Show full text]
  • Abel Glance Films to Be Shown
    n The Museum of Modern Art • No. 135 West 53 street, New York, N.Y. 10019 circle 5-8900 Cable: Modernart Friday, October 28, I966 FOR IMMEDIATE RELEASE Five films by the pioneer French director, ABEL GANCE, almost unknown in this country, will be shown at The Museum of Modern Art from November I9 through December 5. The program also includes a recent film study of Gance's work photo­ graphed and directed by Nelly Kaplan, who has assisted Gance on many of his films. Screenings are daily except Wednesdays, when the Museum's regular programs of shorts at noon and films from the archive are shown. Although only a small selection of Gance's work will be shown, dating from 1922 to 1958, it is hoped, according to Gary Carey, Curatorial Writer for the Museum's Department of Film, who selected the films, that the screenings "will correct the portrait of Gance presented in too many film histories." Mr. Carey points out in the program notes that "Gance's fate in the hands of these writers is not unlike what Griffith has suffered from those who have dispassionately antho» logized his innovations but who have failed to come to grips with the power and peculiar limitations of the director's genius." Gance, who was born in I889, resides in his native France, Since I9I5, he has produced about 50 films; the most recent, CYRANO ET D'ARTAGNAN (c.1963), was intro­ duced at the Second New York Film Festival, Those to be shown at the Museum are U ROUE (1922), NAPOLEON (I925-26), LUCRECE BORGIA (1935), LOUISE (I938) and J'ACCUSE' (1938).
    [Show full text]
  • THE Permanent Crisis of FILM Criticism
    mattias FILM THEORY FILM THEORY the PermaNENT Crisis of IN MEDIA HISTORY IN MEDIA HISTORY film CritiCism frey the ANXiety of AUthority mattias frey Film criticism is in crisis. Dwelling on the Kingdom, and the United States to dem­ the many film journalists made redundant at onstrate that film criticism has, since its P newspapers, magazines, and other “old origins, always found itself in crisis. The erma media” in past years, commentators need to assert critical authority and have voiced existential questions about anxieties over challenges to that author­ N E the purpose and worth of the profession ity are longstanding concerns; indeed, N T in the age of WordPress blogospheres these issues have animated and choreo­ C and proclaimed the “death of the critic.” graphed the trajectory of international risis Bemoaning the current anarchy of inter­ film criticism since its origins. net amateurs and the lack of authorita­ of tive critics, many journalists and acade­ Mattias Frey is Senior Lecturer in Film at film mics claim that in the digital age, cultural the University of Kent, author of Postwall commentary has become dumbed down German Cinema: History, Film History, C and fragmented into niche markets. and Cinephilia, co­editor of Cine-Ethics: riti Arguing against these claims, this book Ethical Dimensions of Film Theory, Prac- C examines the history of film critical dis­ tice, and Spectatorship, and editor of the ism course in France, Germany, the United journal Film Studies. AUP.nl 9789089647177 9789089648167 The Permanent Crisis of Film Criticism Film Theory in Media History explores the epistemological and theoretical founda- tions of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory.
    [Show full text]
  • Adaptations, Heritage Film & Costume Dramas
    source guides adaptations, heritage film & costume dramas National Library adaptations, heritage film and costume drama 16 + Source Guide contents THE CONTENTS OF THIS PDF CAN BE VIEWED QUICKLY BY USING THE BOOKMARKS FACILITY INFORMATION GUIDE STATEMENT . .i BFI NATIONAL LIBRARY . .ii ACCESSING RESEARCH MATERIALS . .iii APPROACHES TO RESEARCH, by Samantha Bakhurst . .iv Introduction...........................................................................................................................................................1 E.M. FORSTER: MERCHANT IVORY ADAPTATIONS.........................................................................................2 A Room With a View.............................................................................................................................................3 Maurice...................................................................................................................................................................5 Howards End..........................................................................................................................................................8 JANE AUSTEN Pride and Prejudice.............................................................................................................................................12 Sense and Sensibility .........................................................................................................................................13 Emma....................................................................................................................................................................14
    [Show full text]
  • The National Film Preserve Ltd. Presents the This Festival Is Dedicated To
    THE NATIONAL FILM PRESERVE LTD. PRESENTS THE THIS FESTIVAL IS DEDICATED TO Stanley Kauffmann 1916–2013 Peter O’Toole 1932–2013 THE NATIONAL FILM PRESERVE LTD. PRESENTS THE Julie Huntsinger | Directors Tom Luddy Kim Morgan | Guest Directors Guy Maddin Gary Meyer | Senior Curator Mara Fortes | Curator Kirsten Laursen | Chief of Staff Brandt Garber | Production Manager Karen Schwartzman | SVP, Partnerships Erika Moss Gordon | VP, Filmanthropy & Education Melissa DeMicco | Development Manager Joanna Lyons | Events Manager Bärbel Hacke | Hosts Manager Shannon Mitchell | VP, Publicity Justin Bradshaw | Media Manager Jannette Angelle Bivona | Executive Assistant Marc McDonald | Theater Operations Manager Lucy Lerner | SHOWCorps Manager Erica Gioga | Housing/Travel Manager Beth Calderello | Operations Manager Chapin Cutler | Technical Director Ross Krantz | Technical Wizard Barbara Grassia | Projection and Inspection Annette Insdorf | Moderator Mark Danner | Resident Curators Pierre Rissient Peter Sellars Paolo Cherchi Usai Publications Editor Jason Silverman (JS) Chief Writer Larry Gross (LG) Prized Program Contributors Sheerly Avni (SA), Paolo Cherchi Usai (PCU), Jesse Dubus (JD), Geoff Dyer (GD), Gian Luca Farinelli (GLF), Mara Fortes (MF), Scott Foundas (SF), Guy Maddin (GM), Leonard Maltin (LM), Jonathan Marlow (JM), Todd McCarthy (TM), Gary Meyer (GaM), Kim Morgan (KM), Errol Morris (EM), David Thomson (DT), Peter von Bagh (PvB) Tribute Curator Short Films Curators Student Prints Curator Chris Robinson Jonathan Marlow Gregory Nava and Bill Pence 1 Guest Directors Sponsored by Audible.com The National Film Preserve, Ltd. Each year, Telluride’s Guest Director serves as a key collaborator in the A Colorado 501(c)(3) nonprofit, tax-exempt educational corporation Festival’s programming decisions, bringing new ideas and overlooked films.
    [Show full text]
  • Curriculum Vitae
    Richard I. Suchenski Director, Center for Moving Image Arts Associate Professor, Film and Electronic Arts Bard College 55 Blithewood Avenue Annandale-on-Hudson, NY 12504 845-752-2406 [email protected] http://www.bard.edu/cmia Education Ph.D. Yale University, Film Studies and History of Art (Joint Ph.D.), with distinction, 2011 Master of Philosophy Yale University, Film Studies and History of Art, 2008 Master of Arts Yale University, History of Art, 2007 Bachelor of Arts Princeton University, 2005 (East Asian Studies, Phi Beta Kappa, magna cum laude) Positions Held Founder and Director, Center for Moving Image Arts (July 2013-Present), Bard College Associate Professor of Film and Electronic Arts (July 2016-Present), Bard College Assistant Professor of Film and Electronic Arts (July 2010-June 2016), Bard College Affiliate status in Art History and Asian Studies Books Cinema’s Symbolist Inheritance [Book manuscript in progress] Projections of Memory: Romanticism, Modernism, and the Aesthetics of Film (Oxford and New York: Oxford University Press, 2016) Projections of Memory is an exploration of a body of innovative cinematic works that utilize their extraordinary scope to construct monuments to the imagination that promise profound transformations of vision, selfhood, and experience. This form of 2 cinema acts as a nexus through which currents from the other arts can interpenetrate. By examining the strategies of these projects in relation to one another and to the larger historical forces that shape them--tracing the shifts and permutations of their forms and aspirations--Projections of Memory remaps film history around some of its most ambitious achievements and helps to clarify the stakes of cinema as a twentieth-century art form.
    [Show full text]
  • Hofstra University Film Library Holdings
    Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987.
    [Show full text]
  • Download This PDF File
    The International Journal of Screendance Fall 2016 • Volume 7 ISSN 2154–6878 GUEST EDITORS Claudia Kappenberg with Sarah Whatley EDITORS Harmony Bench and Simon Ellis EDITORIAL ASSISTANT Rebecca Weber ADDITIONAL EDITORIAL SUPPORT Teoma Jackson Naccarato Emilie Gallier Carol Breen Claire Ridge The International Journal of Screendance Editorial Board DR. ANN COOPER ALBRIGHT KATRINA MCPHERSON Professor of Theater and Dance Independent artist Oberlin College Glenferness, UK ELLEN BROMBERG MIRANDA PENNELL Associate Professor, Department of Independent film and video artist Modern Dance London, UK University of Utah DOUGLAS ROSENBERG DR. HARMONY BENCH Professor of Art, Department of Art Assistant Professor, Department of Dance University of Wisconsin–Madison The Ohio State University DR. THERON SCHMIDT DR. ERIN BRANNIGAN Lecturer in Theatre and Performance Senior Lecturer, Dance Studies, School of the Arts & Media University of New South Wales UNSW Australia DR. SIMON ELLIS SILVINA SZPERLING Senior Research Fellow Director, Internacional Festival de Centre for Dance Research (C-DaRE) Videodanza Coventry University Buenos Aires, Argentina DR. FRANK GRAY DR. SARAH WHATLEY Director of Screen Archive South East Professor of Dance, Coventry School of (SASE) Art and Design University of Brighton Coventry University CLAUDIA KAPPENBERG DR. MARISA ZANOTTI Principal Lecturer, Performance and Senior Lecturer, Dance Visual Art, School of Media University of Chichester University of Brighton Cover Design Andrew Barker www.andrewbarker.co.uk Publication
    [Show full text]
  • Virginia Woolf, Hd, Germaine Dulac, and Walter Benjamin
    LYRIC NARRATIVE IN LATE MODERNISM: VIRGINIA WOOLF, H.D., GERMAINE DULAC, AND WALTER BENJAMIN DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Cheryl Lynn Hindrichs, M.A. * * * * * The Ohio State University 2006 Dissertation Committee: Professor Sebastian Knowles, Adviser Approved by Professor Brian McHale ______________________________ Professor James Phelan Adviser Graduate Program in English ABSTRACT This dissertation redefines lyric narrative—forms of narration that fuse the associative resonance of lyric with the linear progression of narrative—as both an aesthetic mode and a strategy for responding ethically to the political challenges of the period of late modernism. Underscoring the vital role of lyric narrative as a late- modernist technique, I focus on its use during the period 1925-1945 by British writer Virginia Woolf, American expatriate poet H.D., French filmmaker Germaine Dulac, and German critic Walter Benjamin. Locating themselves as outsiders free to move across generic and national boundaries, each insisted on the importance of a dialectical vision: that is, holding in a productive tension the timeless vision of the lyric mode and the dynamic energy of narrative progression. Further, I argue that a transdisciplinary, feminist impulse informed this experimentation, leading these authors to incorporate innovations in fiction, music, cinema, and psychoanalysis. Consequently, I combine a narratological and historicist approach to reveal parallel evolutions of lyric narrative across disciplines—fiction, criticism, and film. Through an interpretive lens that uses rhetorical theory to attend to the ethical dimensions of their aesthetics, I show how Woolf’s, H.D.’s, Dulac’s, and Benjamin’s lyric narratives create unique relationships with their audiences.
    [Show full text]