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Index Academy Awards (Oscars), 34, 57, Antares , 2 1 8 98, 103, 167, 184 Antonioni, Michelangelo, 80–90, Actors ’ Studio, 5 7 92–93, 118, 159, 170, 188, 193, Adaptation, 1, 3, 23–24, 69–70, 243, 255 98–100, 111, 121, 125, 145, 169, Ariel , 158–160 171, 178–179, 182, 184, 197–199, Aristotle, 2 4 , 80 201–204, 206, 273 Armstrong, Gillian, 121, 124, 129 A denauer, Konrad, 1 3 4 , 137 Armstrong, Louis, 180 A lbee, Edward, 113 L ’ Atalante, 63 Alexandra, 176 Atget, Eugène, 64 Aliyev, Arif, 175 Auteurism , 6 7 , 118, 142, 145, 147, All About Anna , 2 18 149, 175, 187, 195, 269 All My Sons , 52 Avant-gardism, 82 Amidei, Sergio, 36 L ’ A vventura ( The Adventure), 80–90, Anatomy of Hell, 2 18 243, 255, 270, 272, 274 And Life Goes On . , 186, 238 Anderson, Lindsay, 58 Baba, Masuru, 145 Andersson,COPYRIGHTED Karl, 27 Bach, MATERIAL Johann Sebastian, 92 Anne Pedersdotter , 2 3 , 25 Bagheri, Abdolhossein, 195 Ansah, Kwaw, 157 Baise-moi, 2 18 Film Analysis: A Casebook, First Edition. Bert Cardullo. © 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc. 284 Index Bal Poussière , 157 Bodrov, Sergei Jr., 184 Balabanov, Aleksei, 176, 184 Bolshevism, 5 The Ballad of Narayama , 147, Boogie , 234 149–150 Braine, John, 69–70 Ballad of a Soldier , 174, 183–184 Bram Stoker ’ s Dracula , 1 Bancroft, Anne, 114 Brando, Marlon, 5 4 , 56–57, 59 Banks, Russell, 197–198, 201–204, Brandt, Willy, 137 206 BRD Trilogy (Fassbinder), see FRG Barbarosa, 129 Trilogy Barker, Philip, 207 Breaker Morant, 120, 129 Barrett, Ray, 128 Breathless , 60, 62, 67 Battle -
Beneath the Surface *Animals and Their Digs Conversation Group
FOR ADULTS FOR ADULTS FOR ADULTS August 2013 • Northport-East Northport Public Library • August 2013 Northport Arts Coalition Northport High School Sunday Monday Tuesday Wednesday Thursday Friday Saturday Courtyard Concert EMERGENCY Volunteer Fair presents Jazz for a Yearbooks Wanted GALLERY EXHIBIT 1 Registration begins for 2 3 Friday, September 27 Children’s Programs The Library has an archive of yearbooks available Northport Gallery: from August 12-24 Summer Evening 4:00-7:00 p.m. Friday Movies for Adults Hurricane Preparedness for viewing. There are a few years that are not represent- *Teen Book Swap Volunteers *Kaplan SAT/ACT Combo Test (N) Wednesday, August 14, 7:00 p.m. Northport Library “Automobiles in Water” by George Ellis Registration begins for Health ed and some books have been damaged over the years. (EN) 10:45 am (N) 9:30 am The Northport Arts Coalition, and Safety Northport artist George Ellis specializes Insurance Counseling on 8/13 Have you wanted to share your time If you have a NHS yearbook that you would like to 42 Admission in cooperation with the Library, is in watercolor paintings of classic cars with an Look for the Library table Book Swap (EN) 11 am (EN) Thursday, August 15, 7:00 p.m. and talents as a volunteer but don’t know where donate to the Library, where it will be held in posterity, (EN) Friday, August 2, 1:30 p.m. (EN) Friday, August 16, 1:30 p.m. Shake, Rattle, and Read Saturday Afternoon proud to present its 11th Annual Jazz for emphasis on sports cars of the 1950s and 1960s, In conjunction with the Suffolk County Office of to start? Visit the Library’s Volunteer Fair and speak our Reference Department would love to hear from you. -
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 -
It's a Woman's World: Almodóvar's Fighting Girls Vs. the Struggles Of
It’s a Woman’s World: Almodóvar’s Fighting Girls vs. the Struggles of the 90s Casey Watson Marshall University Spanish Capstone Watson 2 Pedro Almodóvar is a well-known director that centers his films around his home country of Spain. Almodóvar was one of the heads of the arts movement called La Movida Madrileña. Dr. Mark Allinson wrote the book A Spanish Labyrinth: Films of Pedro Almodóvar, which analyzes Almodóvar’s background and breaks down his films, “Pedro Almodóvar symbolized free and democratic Spain – as its chronicler and as its agent provocateur…” (Allinson 3). Almodóvar has been seen as a provocateur for his shock-filled and controversial films. His films have been seen as a starter of a movement of liberating Spain from its oppressed past and a look into the dark sides of the world. Almodóvar used his film, All about My Mother to fight against the oppression of women and the LGBTQ community from Spain’s history and to bring forth the struggles that were faced in the 1990s. The oppression of these groups is rooted in Spain’s history that goes back to the coup d’état of the Republic and the dictatorship of Franco. The Republic, 1931-1939, was a golden age of for women in Spain. “According to the historian Mirta Núñez (2004), the Republic prompted women to have and seek an autonomous presence in the public sphere, a presence not subordinated to men. It pushed them to seek and find paid employment in order to make a living on their own, and it also tried to instill equality in early education” (Ayerra 247). -
Crazy Narrative in Film. Analysing Alejandro González Iñárritu's Film
Case study – media image CRAZY NARRATIVE IN FILM. ANALYSING ALEJANDRO GONZÁLEZ IÑÁRRITU’S FILM NARRATIVE TECHNIQUE Antoaneta MIHOC1 1. M.A., independent researcher, Germany. Corresponding author: [email protected] Abstract Regarding films, many critics have expressed their dissatisfaction with narrative and its Non-linear film narrative breaks the mainstream linearity. While the linear film narrative limits conventions of narrative structure and deceives the audience’s expectations. Alejandro González Iñárritu is the viewer’s participation in the film as the one of the directors that have adopted the fragmentary narrative gives no control to the public, the narration for his films, as a means of experimentation, postmodernist one breaks the mainstream con- creating a narrative puzzle that has to be reassembled by the spectators. His films could be included in the category ventions of narrative structure and destroys the of what has been called ‘hyperlink cinema.’ In hyperlink audience’s expectations in order to create a work cinema the action resides in separate stories, but a in which a less-recognizable internal logic forms connection or influence between those disparate stories is the film’s means of expression. gradually revealed to the audience. This paper will analyse the non-linear narrative technique used by the In the Story of the Lost Reflection, Paul Coates Mexican film director Alejandro González Iñárritu in his states that, trilogy: Amores perros1 , 21 Grams2 and Babel3 . Film emerges from the Trojan horse of Keywords: Non-linear Film Narrative, Hyperlink Cinema, Postmodernism. melodrama and reveals its true identity as the art form of a post-individual society. -
Feature Films
NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 .......................... -
'-Ifl/Of THESIS COMMITTEE MEMBER (TYPED) ~Wsignature DATE' ------FILM LUMIERE: NEW GENRE OR NEW LOOK at an OLD GENRE?
CALIFORNIA STATE UNIVERSITY SAN MARCOS THESIS SIGNATURE PAGE THESIS SUBMITTED FOR PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS IN LITERATURE AND WRITING STUDIES THESIS TITLE Film Lumi~re: New Genre or New Look at an Old Genre? AUTHOR: Margie Garrett DATE OF SUCCESSFUL DEFENSE: May31,2001 THE THESIS HAS BEEN ACCEPTED BY THE THESIS COMMITTEE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN LITERATURE AND WRITING STUDIES. s-h~ Dr. Oliver Berghof Ql l THESIS COMMITTEE CHAIR (TYPED) SIGN~ TUR DATE Dr. Yuan Yuan THESIS COMMITTEE MEMBER (TYPED) SIGNATURE Professor Brandon Cesmat -'-ifl/of THESIS COMMITTEE MEMBER (TYPED) ~wSIGNATURE DATE' - ------------------------------------------------------------------------------------------------------------------------------ -- FILM LUMIERE: NEW GENRE OR NEW LOOK AT AN OLD GENRE? A Thesis for the Master of Arts Degree in Literature and Writing studies by Margie Garrett May 31, 2001 3 TABLE OF CONTENTS Filmography 4 Dedication and Acknowledgments 5 Chapter 1 What is Lyricism? 7 Chapter 2 A Preliminary Look at Lyrical Film 28 Chapter 3 Narrative and Lyric: Natural Enemies or Marriage of Convenience? 38 Chapter 4 The Psychology of Lyricism: Kristeva•s Chora 46 Chapter 5 The Fusion of Lyric and Epic in Film 51 Chapter 6 Lyrical Film as Objective Correlative: Music, Poetry, and Film 61 Chapter 7 The Lyrical Pattern and Film Lumiere 67 Chapter 8 Film Lumiere and its Relatives: A Continuum 82 Chapter 9 Film Technology and the Lyrical Pattern 85 Chapter 10 An In-depth Look at Several Lyrical Films 99 Chapter 11 The Major Films Compared and Contrasted 119 Chapter 12 Music of the Spheres: The Value of the Lyrical Universe 126 Works Cited 132 4 FILMOGRAPHY Films About Music and Poetry: The Piano (1993) Il Postino (1994) Blue (1993) The Double Life of Veronique (1991) Non-narrative Films: Koyaanitsqatsi (1983) Microcosmos (1996) Epics: Dr. -
The Myth of the Good Italian in the Italian Cinema
ISSN 2039-2117 (online) Mediterranean Journal of Social Sciences Vol 5 No 16 ISSN 2039-9340 (print) MCSER Publishing, Rome-Italy July 2014 The Myth of the Good Italian in the Italian Cinema Sanja Bogojević Faculty of Philosophy, University of Montenegro Doi:10.5901/mjss.2014.v5n16p675 Abstract In this paper we analyze the phenomenon called the “myth of the good Italian” in the Italian cinema, especially in the first three decades of after-war period. Thanks to the recent success of films such as Tarantino’s Inglorious Basterds or Academy Award- winning Benigni’s film La vita è bella and Spielberg’s Schindler’s List it is commonly believed that the Holocaust is a very frequent and popular theme. Nevertheless, this statement is only partly true, especially when it comes to Italian cinema. Soon after the atrocities of the WWII Italian cinema became one of the most prominent and influential thanks to its national film movement, neorealism, characterized by stories set amongst the poor and famished postwar Italy, celebrating the fight for freedom under the banners of Resistance and representing a nation opposed to the Fascist and Nazi regime. Interestingly, these films, in spite of their very important social engagement, didn’t even mention the Holocaust or its victims and it wasn’t until the 1960’s that Italian cinema focused on representing and telling this horrific stories. Nevertheless, these films represented Italians as innocent and incapable of committing cruel acts. The responsibility is usually transferred to the Germans as typically cold and sadistic, absolving Italians of their individual and national guilt. -
Gender and the Family in Contemporary Chinese-Language Film Remakes
Gender and the family in contemporary Chinese-language film remakes Sarah Woodland BBusMan., BA (Hons) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Languages and Cultures 1 Abstract This thesis argues that cinematic remakes in the Chinese cultural context are a far more complex phenomenon than adaptive translation between disparate cultures. While early work conducted on French cinema and recent work on Chinese-language remakes by scholars including Li, Chan and Wang focused primarily on issues of intercultural difference, this thesis looks not only at remaking across cultures, but also at intracultural remakes. In doing so, it moves beyond questions of cultural politics, taking full advantage of the unique opportunity provided by remakes to compare and contrast two versions of the same narrative, and investigates more broadly at the many reasons why changes between a source film and remake might occur. Using gender as a lens through which these changes can be observed, this thesis conducts a comparative analysis of two pairs of intercultural and two pairs of intracultural films, each chapter highlighting a different dimension of remakes, and illustrating how changes in gender representations can be reflective not just of differences in attitudes towards gender across cultures, but also of broader concerns relating to culture, genre, auteurism, politics and temporality. The thesis endeavours to investigate the complexities of remaking processes in a Chinese-language cinematic context, with a view to exploring the ways in which remakes might reflect different perspectives on Chinese society more broadly, through their ability to compel the viewer to reflect not only on the past, by virtue of the relationship with a source text, but also on the present, through the way in which the remake reshapes this text to address its audience. -
CZECH CINEMA: NEW WAVE and BEYOND Coordinators: Robert
CZECH CINEMA: NEW WAVE AND BEYOND Coordinators: Robert Gerace and Eva Vogel We survey films from the Czech cinema after WW II, beginning with the German and Soviet Occupations, continuing with the Czech New Wave and the Prague Spring of the 1960’s, and ending with more contemporary films of the modern era. Our materials on Czech and Slovak history and culture provide a framework and context for critical evaluation. We ask which policies and attitudes of the prevailing Soviet and German authorities are satirized in these films? How do the directors attempt to bypass strict censorship of this veiled government criticism? We come to understand the importance of the Czech film industry and how it reflected the historic struggles and aspirations of the citizens of Bohemia and Slovakia. Readings and other Required Materials: Subscription to Netflix is required. Class handouts and Web references will be provided. They include film reviews, director biographies and articles on Czech and Slovak history and culture. Robert has coordinated study groups on Greenwich Village Writers, Italian Neo Realism, and French New Wave Cinema. Eva is an enthusiast of Czech and Slovak films that reflect her family’s experience of the WWII German occupation and her own life during the Soviet occupations after 1968. * * * * * * * * Syllabus * * * * * * * * After viewing the films at home we consider assigned questions about theme, character development, cinematography and director’s style. We evaluate our answers as we view and discuss film clips of the highlights shown in class. Students are encouraged to submit their own questions for class discussion. Assigned background readings include: "Prague Spring: Russian tanks in the streets and a New Wave in the cinema," Peter Hames, The Manchester Guardian, 1999. -
The Filmic Qualities of Tennessee Williams' Plays and Stories, Their
PEDRO ALMODÓVAR’S “HOMAGE” TO TENNESSEE WILLIAMS MICHAEL S. D. HOOPER “A Streetcar Named Desire has marked my life.”1 The filmic qualities of Tennessee Williams’ plays and stories, their perceived adaptability and the writer’s own willingness to explore the possibilities of an emergent Hollywood cinema in the early part of his career have contributed in no small part to the wide reach of his success and reputation. Indeed, his experimentation with dramatic forms, evident as early as 1944 with The Glass Menagerie and its “plastic theatre”,2 has been seen as an extension of the techniques Williams no doubt assimilated from a youth spent in movie houses: The drama of Tennessee Williams derives its lyric naturalism from the adaptation of the modern short story for the cinematic theatre. Throughout the canon, film techniques undermine the conventions of stage realism. Music comes out of nowhere. Lighting is symbolic.3 Williams often seems to have had one eye on a broader canvas, one which eschews the limitations of theatrical mimesis and which measurably assisted the transition of his work to the big screen. Notwithstanding these artistic overlaps, we have, in the post-war Hollywood versions of his plays, a second Tennessee Williams, one that may, for a variety of reasons, have reached a receptive public 1 Manuela in Todo sobre mi madre, directed by Pedro Almodóvar, El Deseo, 1999. 2 In his “Production Notes” for The Glass Menagerie, Williams writes about this as a concept that “must take the place of the exhausted theatre of realistic conventions”. See Tennessee Williams, The Glass Menagerie, in The Theatre of Tennessee Williams, New York: New Directions, 1971, I, 131. -
Jiří Menzel Ostre Sledované Vlaky/ Closely Watched Trains 1966 93
October 16, 2007 (XV:8) Jií Menzel Ostre sledované vlaky/ Closely Watched Trains 1966 93 minutes Directed by Jií Menzel Written by Bohumil Hrabal (also novel), Jirí Menzel Produced by Zdenek Oves and Carlo Ponti Original Music by Jirí Sust Cinematography by Jaromír Sofr Film Editing by Jirina Lukesová Václav Neckár... Trainee Milos Hrma Josef Somr...Train dispatcher Hubicka Vlastimil Brodsk...Counselor Zednicek Vladimír Valenta...Stationmaster Max Alois Vachek...Novak Ferdinand Kruta... Masa's Uncle Noneman Jitka Bendová...Conducteress Masa Jitka Zelenohorská...Zdenka Nada Urbánková...Victoria Freie Libuse Havelková...Max's wife Kveta Fialová...The countess Pavla Marsálková...Mother Milada Jezková...Zdenka's mother Academy Award for Best Foreign Language Film JIÍ MENZEL (23 February 1938, Prague, Czechoslovakia) has directed 26 films and acted in many more. Some of the films he directed are Obsluhoval jsem anglického krále/ I Served the King of England (2006), Zebrácká opera/The Beggar’s Opera (1991), Konec starych casu/The End of Old Times (1989), Postriziny/Cutting it Short (1981), Promeny krajiny/Altered Landscapes (1974), Zlocin v dívcí skole/Crime at the Girls School (1965), and Domy z panelu/Prefabricated Houses (1960). from World Film Directors, Vol. II. Ed. John Wakeman. The H.W. Wilson Company NY 1988 Jií Menzel (February 12, 1938— ), Czech film and theatre director, scenarist, and actor, was born in Prague. He is the son of Josef Menzel, a journalist who became a children’s author and then turned to writing scripts for puppet