XX:4) Jules Dassin, NIGHT and the CITY (1950, 96 Min)

Total Page:16

File Type:pdf, Size:1020Kb

XX:4) Jules Dassin, NIGHT and the CITY (1950, 96 Min) February 2, 2010 (XX:4) Jules Dassin, NIGHT AND THE CITY (1950, 96 min) Directed by Jules Dassin Screenplay by Jo Eisinger Based on the novel by Gerald Kersh Produced by Samuel G. Engel. Original Music by Benjamin Frankel (British version), Franz Waxman (American version) Cinematography by Mutz Greenbaum (director of photography, as Max Greene) Film Editing by Nick DeMaggio and Sidney Stone Constant Nymph (1933), Hindle Wakes (1931), Amours viennoises (1931), Die Försterchristl (1931), Zwei Menschen (1930), Zwei Richard Widmark...Harry Fabian Welten (1930, Der Präsident (1928), Frauenraub in Marokko Gene Tierney...Mary Bristol (1928), Das goldene Kalb (1925), Das tanzende Herz (1916), and Googie Withers...Helen Nosseross Hampels Abenteuer (1915). Hugh Marlowe...Adam Dunn Francis L. Sullivan...Philip Nosseross RICHARD WIDMARK (December 26, 1914, Sunrise Township, Herbert Lom...Kristo Minnesota—March 24, 2008, Roxbury, Connecticut, from Stanislaus Zbyszko...Gregorius complications following a fall) appeared in 75 films and tv series, Mike Mazurki...The Strangler some of which were True Colors (1991), Against All Odds (1984), Charles Farrell...Mickey Beer National Lampoon's Movie Madness (1982) The Swarm (1978), Ada Reeve...Molly the Flower Lady Twilight's Last Gleaming (1977), Murder on the Orient Express Ken Richmond...Nikolas of Athens (1974), "Madigan" (6 episodes, 1972-1973), Death of a Gunfighter (1969), Madigan (1968), Alvarez Kelly (1966), The Bedford JULES DASSIN (18 December 1911, Middletown, Connecticut, Incident (1965), Cheyenne Autumn (1964), How the West Was Won USA—31 March 2008, Athens, Greece, complications from flu) (1962), Judgment at Nuremberg (1961), Two Rode Together (1961), directed 25 films, including Circle of Two/Obsession (1980), The The Alamo (1960), Warlock (1959), The Law and Jake Wade Rehearsal (1974), Promise at Dawn (1970), 10:30 P.M. Summer (1958), Saint Joan (1957), Broken Lance (1954) Garden of Evil (1966), Topkapi (1964), Phaedra (1962), Pote tin Kyriaki/Never on (1954), Hell and High Water (1954), Take the High Ground! Sunday (1960), La legge/The Law (1959), Celui qui doit mourir/He (1953), Pickup on South Street (1953), Don't Bother to Knock Who Must Die (1957), Du rififi chez les hommes/Rififi (1955), Night (1952), Halls of Montezuma (1950), No Way Out (1950), Panic in and the City (1950), Thieves' Highway (1949), The Naked City the Streets (1950), Night and the City (1950), Slattery's Hurricane (1948), Brute Force (1947), The Canterville Ghost (1944), Nazi (1949), Down to the Sea in Ships (1949), and Kiss of Death (1947). Agent (1942), The Tell-Tale Heart (1941). Nominated Oscar: Best Writing, Story and Screenplay—Written Directly for the Screen- GENE TIERNEY (November 19, 1920, Brooklyn, New York— Pote tin Kyriaki (1961); Nominated Oscar: Best Director- Pote tin November 6, 1991, Houston, Texas, of emphysema) appeared in 41 Kyriaki (1961). films and tv series, some of which were "Scruples" (1980), "The F.B.I." (1 episode, 1969), Toys in the Attic (1963), Advise & MUTZ GREENBAUM (Max Greene)( February 3, 1896, Berlin, Consent (1962), The Left Hand of God (1955), Black Widow (1954), Germany—July 1968, London, England) was the cinematographer The Egyptian (1954), The Mating Season (1951), Where the for 146 films and tv series, some of which were Heavens Above! Sidewalk Ends (1950), Night and the City (1950), Whirlpool (1949), (1963), A French Mistress (1960), I'm All Right Jack (1959), Lucky The Iron Curtain (1948), The Ghost and Mrs. Muir (1947), The Jim (1957), Trent's Last Case (1952), Night and the City (1950), So Razor's Edge (1946), Dragonwyck (1946), Leave Her to Heaven Evil My Love (1948), Wanted for Murder (1946), Squadron Leader (1945), A Bell for Adano (1945), Laura (1944), Heaven Can Wait X (1943), Thunder Rock (1942), They Flew Alone (1942), This (1943), The Shanghai Gesture (1941) , Sundown (1941), Belle Starr England (1941), Return of the Scarlet Pimpernel (1937), The Dassin—NIGHT AND THE CITY—2 (1941), Tobacco Road (1941), and The Return of Frank James conscious of this, and of the daily problem of eating. And it was (1940). cold...it was always so cold.” Dassin was educated at Morris High School in the Bronx. HERBERT LOM (Herbert Charles Angelo Kuchacevich It is clear that he was already interested in the theatre and show Schluderpacheru, September 11, 1917, Prague, Bohemia, Austria- business—a passion apparently inherited from his grandfather, who Hungary [now Czech Republic]) appeared in 112 films and tv dabbled in local productions while working as a village wigmaker series, some of which were Marple: The Murder at the Vicarage in Russia. Upon graduating he spent two years traveling through (2004), Masque of the Red Death (1991), The Pope Must Die Europe to study theatre while supporting himself with odd jobs. His (1991), River of Death (1989), Ten Little Indians (1989), Whoops “most beautiful memory” of this vast tour was “a King Lear heard Apocalypse (1986), King Solomon's Mines (1985), The Dead Zone in Yiddish in Moscow, from the mouth of Michoels, an actor who (1983), Curse of the Pink Panther (1983), Trail of the Pink Panther was almost a dwarf but who was thirty feet tall dramatically.” (1982), Hopscotch (1980), The Man with Bogart's Face (1980), The Returning to New York in 1936, he learned Yiddish in order to act Lady Vanishes (1979), Revenge of the Pink Panther (1978), The with the Yiddish theatre companies that flourished at the time. He Pink Panther Strikes Again (1976), The Return of the Pink Panther also joined the Artef Players, a Jewish socialist collective, and (1975), Asylum (1972/I), Dorian Gray (1970), Doppelgänger appeared in their productions of The Good Soldier Schweik (1937) (1969), Villa Rides (1968), "The Man from U.N.C.L.E." (2 and Clinton Street (1939). In 1937 he played the lead in Revolt of episodes, 1967), Return from the Ashes (1965), "The Human the Beavers, a Marxist musical for children staged by the WPA Jungle"(26 episodes, 1963-1964), A Shot in the Dark (1964), The Federal Theater Project. For five summers during this period Dassin Phantom of the Opera (1962), El Cid (1961), Spartacus (1960), The worked as an entertainment director of a Jewish camp in the Roots of Heaven (1958), I Accuse! (1958), Fire Down Below Catskills. where, among other things, he engaged the young (1957), War and Peace (1956), The Ladykillers (1955), The Man campers in productions of Shakespeare. At this time he was briefly Who Watched Trains Go By (1952), Night and the City (1950), a member of the Communist party but, according to his own Portrait from Life (1948), Night Boat to Dublin (1946), The Dark account, left it in 1939. Tower (1943), Secret Mission (1942), The Young Mr. Pitt (1942), By 1940, Dassin was writing for Kate Smith’s radio show and Zena pod krízem (1937). and adapting literary classics for fifteen-minute radio broadcasts. His adaptation of Gogol’s story “the Overcoat” drew the attention MIKE MAZURKI (Mikhail Mazurwski, December 25, 1907, of producer Martin Gabel, who then gave him his first assignment Tarnopol, Galicia, Austria-Hungary [now Ternopil, Ukraine]— as a director with Medicine Show, a plea for socialized medicine December 9, 1990, Glendale, California) appeared in 152 films and staged as a “living newspaper.” John Mason Brown wrote that the tv series, some of which were Mob Boss (1990), Dick Tracy (1990), piece was “directed with uncommon felicity,” and although it was Amazon Women on the Moon (1987), Doin' Time (1985), "Fantasy not particularly successful, it brought Dassin to the attention of Island" (2 episodes, 1983), Alligator (1980), "The Rockford Files" RKO talent scouts. (1 episode, 1978), "Charlie's Angels" (1 episode, 1978), Won Ton Ton, the Dog Who Saved Hollywood (1976), "Kung Fu" .... Hannibal (1 episode, 1973), "Gunsmoke" (1 episode, 1971), "Bonanza" (2 episodes, 1968-1969), "Gilligan's Island" (1 episode, 1966), Requiem for a Gunfighter (1965), "Perry Mason" (2 episodes, 1963-1964), It's a Mad Mad Mad Mad World (1963), Donovan's Reef (1963), "The Untouchables" (2 episodes, 1959- 1962), "Have Gun—Will Travel" (3 episodes, 1958-1962), "M Squad" (1 episode, 1959), Around the World in Eighty Days (1956), Kismet (1955), New York Confidential (1955), The Egyptian (1954), Night and the City (1950), Samson and Delilah (1949), The Noose Hangs High (1948), I Walk Alone (1948), Sinbad the Sailor (1947), Dick Tracy (1945), Bud Abbott and Lou Costello in Hollywood (1945), Murder, My Sweet (1944), The Canterville Ghost (1944), Mission to Moscow (1943), The Moon and Sixpence (1942), The Shanghai Gesture (1941), Black Fury (1935), and Belle of the Nineties (1934). Jules Dassin, from World Film Directors, Vol. I. Ed. John Wakeman. H.W. Wilson Company, NY, 1987. American director, scenarist, and producer, Jules Dassin was born Julius Dassin in Middletown, Connecticut. He was one of the eight children of Samuel Dassin, a barber, and the former Berthe Vogel, In 1941 he was invited to Hollywood by RKO as an both Russian Jewish immigrants. The family moved to New York apprentice director. For six months he did nothing but “sit and City when Dassin was still a small child and settled in Harlem. “We observe” the shooting of Alfred Hitchcock’s Mr. and Mrs. Smith were so poor it was ridiculous,” he said. “At that time Harlem and Garson Kanin’s They Knew What They Wanted, receiving $200 wasn’t entirely black. There were about three or four minority a week for the privilege. Not surprisingly, he learned most from groups living in the ghetto, at each other’s throats all the time: Hitchcock, though he felt greater rapport with Kanin. Hitchcock Jewish, Negro, Irish, and some Italian, divided among themselves liked “to amuse himself at the expense of innocents. He would and taking out their wrath and their poverty upon each other.
Recommended publications
  • Noviembre 2010
    F I L M O T E C A E S P A Ñ O L A Sede: Cine Doré C/ Magdalena nº 10 c/ Santa Isabel, 3 28012 Madrid 28012 Madrid Telf.: 91 4672600 Telf.: 913691125 (taquilla) Fax: 91 4672611 913692118 [email protected] (gerencia) http://www.mcu.es/cine/MC/FE/index.html Fax: 91 3691250 NIPO (publicación electrónica) :554-10-002-X MINISTERIO DE CULTURA Precio: Normal: 2,50€ por sesión y sala 20,00€ abono de 10 PROGRAMACIÓN sesiones. Estudiante: 2,00€ por sesión y sala noviembre 15,00€ abono de 10 sesiones. 2010 Horario de taquilla: 16.15 h. hasta 15 minutos después del comienzo de la última sesión. Venta anticipada: 21.00 h. hasta cierre de la taquilla para las sesiones del día siguiente hasta un tercio del aforo. Horario de cafetería: 16.15 - 00.00 h. Tel.: 91 369 49 23 Horario de librería: 17.00 - 22.00 h. Tel.: 91 369 46 73 Lunes cerrado (*) Subtitulaje electrónico NOVIEMBRE 2010 Don Siegel (y II) III Muestra de cine coreano (y II) VIII Mostra portuguesa Cine y deporte (III) I Ciclo de cine y archivos Muestra de cine palestino de Madrid Premios Goya (II) Buzón de sugerencias: Hayao Miyazaki Cine para todos Las sesiones anunciadas pueden sufrir cambios debido a la diversidad de la procedencia de las películas programadas. Las copias que se exhiben son las de mejor calidad disponibles. Las duraciones que figuran en el programa son aproximadas. Los títulos originales de las películas y los de su distribución en España figuran en negrita.
    [Show full text]
  • 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.
    [Show full text]
  • Pr-Dvd-Holdings-As-Of-September-18
    CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd.
    [Show full text]
  • 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.
    [Show full text]
  • Quand La Chanson Connaît La Chanson Marc Gruas, Lenoble Martine
    Quand la chanson connaît la chanson Marc Gruas, Lenoble Martine To cite this version: Marc Gruas, Lenoble Martine. Quand la chanson connaît la chanson. Centro de Investigação Cientí- fica, 2005, pp.1-31. halshs-00403934 HAL Id: halshs-00403934 https://halshs.archives-ouvertes.fr/halshs-00403934 Submitted on 15 Jul 2009 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. CIC – Centro de Investigação Científica do ISLA de Lisboa Quand la chanson connaît la chanson Marc Gruas Martine Lenoble WP n º 05/05 Avril 2005 1 Résumé : A partir d’un corpus de cinquante albums de chansons francophones produits entre 2000 et 2003, nous nous proposons de suivre les traces de transtextualité sous ses différentes formes (intertextualité vs hypertextualité) et ses fonctions au regard des avant-textes qui la constituent. «Encore un chanteur. J’en ai marre. Mais qu’est-ce que vous avez tous à chanter ? Pourquoi vous faites pas de la peinture ? D’accord, la peinture à l’huile, c’est bien difficile, mais c’est bien plus beau que la chanson à l’eau de rose […]1» Dans un récent entretien publié dans la revue Chorus , l’auteur-compositeur- interprète Jean-Louis Murat déclare non sans provocation que «[…] nous les chanteurs de maintenant, avons déjà tellement à lutter pour exister qu’on ne peut pas toujours être écrasé, par l’ombre de nos aînés.
    [Show full text]
  • January 27, 2009 (XVIII:3) Samuel Fuller PICKUP on SOUTH STREET (1953, 80 Min)
    January 27, 2009 (XVIII:3) Samuel Fuller PICKUP ON SOUTH STREET (1953, 80 min) Directed and written by Samuel Fuller Based on a story by Dwight Taylor Produced by Jules Schermer Original Music by Leigh Harline Cinematography by Joseph MacDonald Richard Widmark...Skip McCoy Jean Peters...Candy Thelma Ritter...Moe Williams Murvyn Vye...Captain Dan Tiger Richard Kiley...Joey Willis Bouchey...Zara Milburn Stone...Detective Winoki Parley Baer...Headquarters Communist in chair SAMUEL FULLER (August 12, 1912, Worcester, Massachusetts— October 30, 1997, Hollywood, California) has 53 writing credits and 32 directing credits. Some of the films and tv episodes he directed were Street of No Return (1989), Les Voleurs de la nuit/Thieves After Dark (1984), White Dog (1982), The Big Red One (1980), "The Iron Horse" (1966-1967), The Naked Kiss True Story of Jesse James (1957), Hilda Crane (1956), The View (1964), Shock Corridor (1963), "The Virginian" (1962), "The from Pompey's Head (1955), Broken Lance (1954), Hell and High Dick Powell Show" (1962), Merrill's Marauders (1962), Water (1954), How to Marry a Millionaire (1953), Pickup on Underworld U.S.A. (1961), The Crimson Kimono (1959), South Street (1953), Titanic (1953), Niagara (1953), What Price Verboten! (1959), Forty Guns (1957), Run of the Arrow (1957), Glory (1952), O. Henry's Full House (1952), Viva Zapata! (1952), China Gate (1957), House of Bamboo (1955), Hell and High Panic in the Streets (1950), Pinky (1949), It Happens Every Water (1954), Pickup on South Street (1953), Park Row (1952), Spring (1949), Down to the Sea in Ships (1949), Yellow Sky Fixed Bayonets! (1951), The Steel Helmet (1951), The Baron of (1948), The Street with No Name (1948), Call Northside 777 Arizona (1950), and I Shot Jesse James (1949).
    [Show full text]
  • L'orient Klez' Destination Québec
    NOVEMBRE 28TH to DECEMBRE 12TH 2015 FESTIVALSEFARAD.CA INFO : 514-733-4998 ONLINE BOX OFFICE : theatreoutremont.ca MEMBRE OF THE CUMMINGS CENTRE? PURCHASE A COMBO OF 3 SHOWS : 15 % OFF PRESENT YOUR 2015-16 MEMBERSHIP CARD (OUTREMONT THEATRE - MAIN VENUE ONLY) AT THE CSUQ (MULTIPLE DISCOUNT OFFERS CANNOT BE COMBINED) AND TAKE ADVANTAGE OF A 25 % DISCOUNT ON ALL OUR SHOWS! novembre BAKASHOT AND decembre FUSION D’ORIENT 28 PIYOUTIM 1 & ONDES SACRÉES tuesday Liturgical Evening tuesday 8 pm The famous cantor Moshe Louk (Israel), accompanied by twelve Hazanim 7:30 pm Moshé Louk (Israël) and Anouar Berrada (reciting Sufi, Morocco) weave a Or Hahayim from Montreal under the direction of cantor Daniel Lasry, presents an evening Outremont timeless encounter of the sacred. Both of Moroccan origins, they each master Oriental and Andalusian traditions of their respective religions. In a gesture Synagogue of liturgical songs. Theatre $ 40 of musical and spiritual unity, these two renowned artists accompanied by a FREE ADMISSION choir and musicians from Canada and the Middle East, with conductor, Khalil Moqadem, are sure to present a unique concert. decembre UN SIÈCLE EN CHANSON 3 A tribute to a century of French songs decembre SOIRÉE DE LA RELÈVE thursday Philippe Noireaut proposes a musical journey of memories and timeless My First Outremont songs with guests : Charles Bensoussan, Isaac Bensoussan, Alex Fredo, 7:30 pm 5 Sarah, Claud Michaud, Claire Garand and Raphael Torr. saturday The best young talent of 2015 Outremont Theatre Second part : Raphael Torr will pay tribute to Joe Dassin 8 pm This evening is dedicated to showcasing young talent under the age of 29.
    [Show full text]
  • Register of Entertainers, Actors and Others Who Have Performed in Apartheid South Africa
    Register of Entertainers, Actors And Others Who Have Performed in Apartheid South Africa http://www.aluka.org/action/showMetadata?doi=10.5555/AL.SFF.DOCUMENT.nuun1988_10 Use of the Aluka digital library is subject to Aluka’s Terms and Conditions, available at http://www.aluka.org/page/about/termsConditions.jsp. By using Aluka, you agree that you have read and will abide by the Terms and Conditions. Among other things, the Terms and Conditions provide that the content in the Aluka digital library is only for personal, non-commercial use by authorized users of Aluka in connection with research, scholarship, and education. The content in the Aluka digital library is subject to copyright, with the exception of certain governmental works and very old materials that may be in the public domain under applicable law. Permission must be sought from Aluka and/or the applicable copyright holder in connection with any duplication or distribution of these materials where required by applicable law. Aluka is a not-for-profit initiative dedicated to creating and preserving a digital archive of materials about and from the developing world. For more information about Aluka, please see http://www.aluka.org Register of Entertainers, Actors And Others Who Have Performed in Apartheid South Africa Alternative title Notes and Documents - United Nations Centre Against ApartheidNo. 11/88 Author/Creator United Nations Centre against Apartheid Publisher United Nations, New York Date 1988-08-00 Resource type Reports Language English Subject Coverage (spatial) South Africa Coverage (temporal) 1981 - 1988 Source Northwestern University Libraries Description INTRODUCTION. REGISTER OF ENTERTAINERS, ACTORS AND OTHERS WHO HAVE PERFORMED IN APARTHEID SOUTH AFRICA SINCE JANUARY 1981.
    [Show full text]
  • Ancient Greek Myth and Drama in Greek Cinema (1930–2012): an Overall Approach
    Konstantinos KyriaKos ANCIENT GREEK MYTH AND DRAMA IN GREEK CINEMA (1930–2012): AN OVERALL APPROACH Ι. Introduction he purpose of the present article is to outline the relationship between TGreek cinema and themes from Ancient Greek mythology, in a period stretching from 1930 to 2012. This discourse is initiated by examining mov- ies dated before WW II (Prometheus Bound, 1930, Dimitris Meravidis)1 till recent important ones such as Strella. A Woman’s Way (2009, Panos Ch. Koutras).2 Moreover, movies involving ancient drama adaptations are co-ex- amined with the ones referring to ancient mythology in general. This is due to a particularity of the perception of ancient drama by script writers and di- rectors of Greek cinema: in ancient tragedy and comedy film adaptations,3 ancient drama was typically employed as a source for myth. * I wish to express my gratitude to S. Tsitsiridis, A. Marinis and G. Sakallieros for their succinct remarks upon this article. 1. The ideologically interesting endeavours — expressed through filming the Delphic Cel- ebrations Prometheus Bound by Eva Palmer-Sikelianos and Angelos Sikelianos (1930, Dimitris Meravidis) and the Longus romance in Daphnis and Chloë (1931, Orestis Laskos) — belong to the origins of Greek cinema. What the viewers behold, in the first fiction film of the Greek Cinema (The Adventures of Villar, 1924, Joseph Hepp), is a wedding reception at the hill of Acropolis. Then, during the interwar period, film pro- duction comprises of documentaries depicting the “Celebrations of the Third Greek Civilisation”, romances from late antiquity (where the beauty of the lovers refers to An- cient Greek statues), and, finally, the first filmings of a theatrical performance, Del- phic Celebrations.
    [Show full text]
  • 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.
    [Show full text]
  • To Download The
    FREE EXAM Complete Physical Exam Included New Clients Only Must present coupon. Offers cannot be combined Wellness Plans Extended Hours Multiple Locations www.forevervets.com4 x 2” ad Your Community Voice for 50 Years Your Community Voice for 50 Years RRecorecorPONTE VEDVEDRARA dderer entertainmentEEXTRATRA! ! Featuringentertainment TV listings, streaming information, sports schedules,X puzzles and more! September 24 - 30, 2020 INSIDE: has a new home at The latest House & Home THE LINKS! Listings Chris Rock gets 1361 S. 13th Ave., Ste. 140 Page 21 Jacksonville Beach dramatic as Offering: · Hydrafacials ‘Fargo’ returns · RF Microneedling · Body Contouring Chris Rock stars in the Season 4 premiere · B12 Complex / of “Fargo” Sunday on FX. Lipolean Injections Get Skinny with it! (904) 999-0977 www.SkinnyJax.com1 x 5” ad Now is a great time to It will provide your home: List Your Home for Sale • Complimentary coverage while the home is listed • An edge in the local market Kathleen Floryan LIST IT because buyers prefer to purchase a Broker Associate home that a seller stands behind • Reduced post-sale liability with [email protected] ListSecure® 904-687-5146 WITH ME! https://www.kathleenfloryan.exprealty.com BK3167010 I will provide you a FREE https://expressoffers.com/exp/kathleen-floryan America’s Preferred Ask me how to get cash offers on your home! Home Warranty for your home when we put it on the market. 4 x 3” ad BY JAY BOBBIN FX brings Chris Rock to ‘Fargo’ for series’ fourth season What’s Available NOW Though the last visit to “Fargo” was a and pitched him what I wanted to do, and while ago, it’s still on the television map.
    [Show full text]
  • 38 Eve Wersocki Morris, Q33606, Pp. 359-67
    ‘He had a Horse Called Bill’ (Yellow Sky): The Appropriation of Shakespeare in the Western. Eve Wersocki Morris Studying film from the perspective of genre theory requires analysis of cinematic techniques and contextual culture (filmic and social). Christine Gledhill claims that genre provides ‘a framework of structuring rules […] which act as a form of ‘supervision’ over the work of film-makers and the work of reading by an audience’.1 This definition indicates that each genre adheres to a fixed hierarchal form. Alternatively, Anthony Easthope argues that genre should be understood as an abstract, theoretical structure, which is transformed by each new production so ‘any instance of a genre will be necessarily different’.2 Easthope implies that the ‘structuring rules’ are not fixed but allow filmmakers ideological concerns and social and cultural environments to influence their individual films and aid in developing the genre framework itself. My essay shall adhere to this latter argument. In agreement with Easthope, Mary Bandy and Kevin Stoehr have argued that, post- World War Two, the Western experienced a ‘gradual transformation of genre’3 towards more ‘psychologically expressive Westerns’4 which was due to the public’s desire for darker subject matter. Alan Lovell specifies that these new Westerns did not alter the genre but simply imposed ‘a new sensibility on the old forms’,5 retaining the classic wild west scenery of the 19th Century American frontier. Andre Bazin has called these new Westerns ‘superwesterns’6 and Lovell refers to them as ‘adult westerns’.7 However, for the purposes of this essay, I shall be adopting Bandy’s term ‘psychological western’ because of its explicit allusions to the increased interest in exploring characters’ inner struggles.
    [Show full text]