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Brainteasers Brainteasers goes to Hollywood… Can you name the actor and the movie that goes with these famous quotes? 1."What we've got here is a failure to communicate." 2. "I love the smell of napalm in the morning!" 3. "Love means never having to say you're sorry." 4. "The stuff that dreams are made of." 5. "E.T. phone home." 6. "They call me Mister Tibbs!" 7. "Rosebud." 8. "Made it, Ma! Top of the world!" 9. "I'm as mad as hell, and I'm not going to take this anymore!" 10. "Louis, I think this is the beginning of a beautiful friendship." 11. “Get busy livin’ or get busy dyin’” 12. "Dave, this conversation can serve no purpose anymore. Goodbye." ANSWERS 1."What we've got here is a failure to communicate." by The Captain, played by Strother Martin; also said by Luke, played by Paul Newman, Cool Hand Luke, 1967 2. "I love the smell of napalm in the morning!" by Lt. Col. Bill Kilgore, played by Robert Duvall, Apocalypse Now, 1979 3. "Love means never having to say you're sorry." by Jennifer Cavilleri Barrett, played by Ali MacGraw, Love Story, 1970 4. "The stuff that dreams are made of." by Sam Spade, played by Humphrey Bogart, The Maltese Falcon, 1941 5. "E.T. phone home." by E.T., played by Pat Welsh, E.T. the Extra-Terrestrial, 1982 6. "They call me Mister Tibbs!" by Virgil Tibbs, played by Sidney Poitier, In the Heat of the Night, 1967 7. "Rosebud." by Charles Foster Kane, played by Orson Welles, Citizen Kane, 1941 8. "Made it, Ma! Top of the world!" by Arthur "Cody" Jarrett, played by James Cagney White Heat, 1949 9. "I'm as mad as hell, and I'm not going to take this anymore!" by Howard Beale, played by Peter Finch, Network, 1976 10. "Louis, I think this is the beginning of a beautiful friendship." By Rick Blaine, played by Humphrey Bogart, Casablanca, 1942 11. "Get busy livin' or get busy dyin'” by Morgan Freeman, The Shawshank Redemption (1994) 12. "Dave, this conversation can serve no purpose anymore. Goodbye." by HAL the computer, 2001: A Space Odyssey (1968) .

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Schwarzsehen 2003
Repositorium für die Medienwissenschaft Oliver Demny; Stefan Neubacher SchwarzSehen 2003 https://doi.org/10.25969/mediarep/14402 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Demny, Oliver; Neubacher, Stefan: SchwarzSehen. In: Burkhard Röwekamp, Astrid Pohl, Matthias Steinle u.a. (Hg.): Medien / Interferenzen. Marburg: Schüren 2003 (Film- und Fernsehwissenschaftliches Kolloquium 16), S. 38– 50. DOI: https://doi.org/10.25969/mediarep/14402. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an.
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Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
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Our Love Affair with Movies
OUR LOVE AFFAIR WITH MOVIES A movie producer and Class of ’68 alumnus recalls the cinematic passions of his senior year—and offers some advice on rekindling the romance for today’s audiences. By Robert Cort crush on movies began on a Around the World was a grand spectacle Louis Jourdan as Gaston realizing how damp November night in 1956. that ultimately claimed the Academy much he loved Gigi and pursuing her Dressed in my first suit—itchy Award for Best Picture. Beyond its exotic through Paris singing, “Gigi, what mir- MY and gray—I sat in the backseat locales, it was my first experience of char- acle has made you the way you are?” of our Oldsmobile as my parents crossed acters attempting the impossible. When Before that scene, what I’d observed the Brooklyn Bridge into Manhattan. At David Niven as Phineas Fogg realized about men and women in love was my Mama Leone’s I tasted Parmesan cheese that crossing the International Date Line parents’ marriage, and that didn’t seem for the first time. Then we walked a few had returned him to London on Day 80, something to pine for. blocks to the only theater in the world the communal exuberance was thrilling. Three Best Pictures, three years in a playing the widescreen epic comedy- A year later my brother took me to an- row: the thrill of daring men in the wide, adventure, Around the World in 80 Days. other palace, the Capitol Theater, for The wide, Todd-AO world; the horrors that I was already a regular at Saturday Bridge on the River Kwai.
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Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South
Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South.
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Superheroic, Yes, but Smart and Subversive
SATURDAY, MARCH 22, 2014 New York City mayors turn to comedy at annual show Indian Bollywood actor Sidhant Singh poses with actress Priti Sharma on the set of the Hindi Film ‘Hum Toh Loot Liye’ in Mumbai on March 20, 2014. — AFP In this March 10, 2014 photo provided by the New York City Mayor’s Office, Mayor Bill de Blasio, left, and actor ‘Captain America: The Winter Soldier’ review: Steve Buscemi lift weights during the production of a video to promote the city’s annual Inner Circle dinner, in the Brooklyn borough of New York. — AP Superheroic, yes, but udolph Giuliani donning drag. Edward Koch stepping out of the mouth of a man-eating plant. Michael Bloomberg wear- Ring a harness and flying 20 feet in the air while dressed as Spiderman. The annual Inner Circle, the New York City news smart and subversive too media’s answer to the White House Correspondents’ Association dinner, gives mayors a chance to let their hair down - or, just as likely, put on a wig - and poke fun at both themselves and the city n one of the many Paddy Chayefsky- treatise about geopolitics as much as it’s a with Fury learning he needs to open up and they lead. Their appearances, which attempt to earn goodwill with penned monologues in “Network” that movie where a ripped guy throws a shield in have faith in his fellow man, it’s actually the reporters who cover them, also can help shape their image in Istill resonate today, Peter Finch’s news- people’s faces, but it does all the things it’s Captain America who discovers that not all the public eye.
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BFI Poll Reveals UK's Favourite Black Star Performance
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Blaxploitation and the Cinematic Image of the South
Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South.
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Singapore (Virgil Tibbs) Online
Pvju5 [Mobile pdf] Singapore (Virgil Tibbs) Online [Pvju5.ebook] Singapore (Virgil Tibbs) Pdf Free John Ball DOC | *audiobook | ebooks | Download PDF | ePub Download Now Free Download Here Download eBook #3648814 in Books 2015-10-06Formats: Audiobook, MP3 Audio, UnabridgedOriginal language:EnglishPDF # 1 6.75 x .50 x 5.25l, Running time: 6 HoursBinding: MP3 CD | File size: 15.Mb John Ball : Singapore (Virgil Tibbs) before purchasing it in order to gage whether or not it would be worth my time, and all praised Singapore (Virgil Tibbs): 0 of 0 people found the following review helpful. Tibbs to the rescueBy ex-gruntJohn Ball did an excellent job in any book he wrote. This is the last of the Virgil Tibbs series of books that started with "In the Heat of the Night." Without spoiling the plot, At the request of the US government, Tibbs goes to Singapore to assist in a politically sensitive murder investigation. You'll have to read the book for the rest.0 of 0 people found the following review helpful. Another great Virgil Tibbs novel - once I have read the ...By Iiro HyrskyAnother great Virgil Tibbs novel - once I have read the first one, I just had to read the rest! When Madame Motamboru, widow of the assassinated President of Bakara, is framed for murder in Singapore, she requests that her old friend Virgil Tibbs take part in the investigation. Because of U.S. interests in the area, Tibbs is cleared for passage.Upon arrival, Tibbs finds that the police there are convinced of Madame Motamboru's guilt.
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Spotlight Features and Shines the Spotlight on Hollywood Blockbusters, Award Winners and Memorable Movies
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In the Heat of the Night
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Evil in the 'City of Angels'
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Films with 2 Or More Persons Nominated in the Same Acting Category
FILMS WITH 2 OR MORE PERSONS NOMINATED IN THE SAME ACTING CATEGORY * Denotes winner [Updated thru 88th Awards (2/16)] 3 NOMINATIONS in same acting category 1935 (8th) ACTOR -- Clark Gable, Charles Laughton, Franchot Tone; Mutiny on the Bounty 1954 (27th) SUP. ACTOR -- Lee J. Cobb, Karl Malden, Rod Steiger; On the Waterfront 1963 (36th) SUP. ACTRESS -- Diane Cilento, Dame Edith Evans, Joyce Redman; Tom Jones 1972 (45th) SUP. ACTOR -- James Caan, Robert Duvall, Al Pacino; The Godfather 1974 (47th) SUP. ACTOR -- *Robert De Niro, Michael V. Gazzo, Lee Strasberg; The Godfather Part II 2 NOMINATIONS in same acting category 1939 (12th) SUP. ACTOR -- Harry Carey, Claude Rains; Mr. Smith Goes to Washington SUP. ACTRESS -- Olivia de Havilland, *Hattie McDaniel; Gone with the Wind 1941 (14th) SUP. ACTRESS -- Patricia Collinge, Teresa Wright; The Little Foxes 1942 (15th) SUP. ACTRESS -- Dame May Whitty, *Teresa Wright; Mrs. Miniver 1943 (16th) SUP. ACTRESS -- Gladys Cooper, Anne Revere; The Song of Bernadette 1944 (17th) ACTOR -- *Bing Crosby, Barry Fitzgerald; Going My Way 1945 (18th) SUP. ACTRESS -- Eve Arden, Ann Blyth; Mildred Pierce 1947 (20th) SUP. ACTRESS -- *Celeste Holm, Anne Revere; Gentleman's Agreement 1948 (21st) SUP. ACTRESS -- Barbara Bel Geddes, Ellen Corby; I Remember Mama 1949 (22nd) SUP. ACTRESS -- Ethel Barrymore, Ethel Waters; Pinky SUP. ACTRESS -- Celeste Holm, Elsa Lanchester; Come to the Stable 1950 (23rd) ACTRESS -- Anne Baxter, Bette Davis; All about Eve SUP. ACTRESS -- Celeste Holm, Thelma Ritter; All about Eve 1951 (24th) SUP. ACTOR -- Leo Genn, Peter Ustinov; Quo Vadis 1953 (26th) ACTOR -- Montgomery Clift, Burt Lancaster; From Here to Eternity SUP.
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