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Kosmorama076 033 Artikel12.Pdf
rende og pinagtigt portræt af geniets gråd Jerry Lewis har for længst slået sit talent fast. kvalte barnagtighed og despotiske ophøjethed, Han er i dag USAs originaleste filmkomiker. og den groteske komik kunne næppe nogen Er det trivielt at fremhæve det? Han er dog anden have formet mere lystigt og bedrøveligt. ikke accepteret i samme omfang som Marx Carlsen udnytter alt dette roligt og årvågent, Brothers eller Gøg og Gokke er det. Måske men han har alene vanskeligt ved at give disse burde hans „The Nutty Professor'1 med jævne lange sæt af repetitioner en sådan dramatisk mellemrum have repremiere med efterfølgende placering, at vi begriber den forstærkelse af landsdækkende distribution. Den er et højde desperationen, som udvikler sig frem mod den punkt og et vendepunkt i hans produktion og sidste desperate afgørelse. i den moderne filmfarce. Den tegner det mest Sin største indsats som personinstruktør konsekvente billede af Jerry Lewis’ kunstne yder Carlsen i de scener, hvor filmen koncen riske ambitioner, som ban i film efter film trerer sig om eventyrets Ylajali, spillet helt havde arbejdet sig frem til. Fra den synes vidunderligt af Gunnel Lindblom. „Hvad er han at stræbe efter en spaltning af sine figu dog dette ?“ stønner den forvirrede Hamsun, rer. I „The Patsy", „The Family Jewels" og da Ylajali og han er ene og kærligheden viser nu i „Three on a Couch" søger han at præsen sig at være nok en dæmon i denne dæmoniske tere sig selv så „almindelig" som mulig, sam tilværelse. Den store kærlighedsscene mellem tidig med at han spiller andre roller eller Gunnel Lindblom og Per Oscarsson er i alle lader sin hovedskikkelse komme i situationer, henseender filmens højdepunkt og markerer i der kræver, at han „agerer" andre roller. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
Cinematicbody.Pdf
The Cinematic Body Sandra Buckley, Brian Massumi, and Michael Hardt TKECE? OUT OF BOUNDS ...UNCONTAINED BY THE DISCIPLINES, INSUBORDINATE... PRACTICES OF RESISTANCE ...Inventing, excessively, in the between... PROCESSES 2 The Cinematic Body Steven Shaviro 1 The Coming Community GiorgioAgamben OF HYBRIDIZATION The Cinematic Body Steven Shaviro Theory out of Bounds Volume 2 University of Minnesota Press Minneapolis • London Copyright 1993 by the Regents of the University of Minnesota All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Published by the University of Minnesota Press 111 Third Avenue South, Suite 290, Minneapolis, MN 55401-2520 http://www.upress.umn.edu Printed in the United States of America on acid-free paper Fifth printing 2006 LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Shaviro, Steven. The cinematic body / Steven Shaviro. p. cm.—(Theory out of bounds : v. 2) Includes bibliographical references (p. ) and index. 1. Motion pictures—Aesthetics. 2. Film criticism—Philosophy. I. Title. II. Series. PN1995.S484 1993 791.43'01—dc20 92-41517 The University of Minnesota is an equal-opportunity educator and employer. Contents Preface vii i Film Theory and Visual Fascination i Appendix: Deleuie and Guattari's Theory of Sexuality 67 ii Contagious Allegories: George Romero 83 in Comedies of Abjection: Jerry Lewis 107 iv Bodies of Fear: David Cronenberg 127 v Masculinity, Spectacle, and the Body of Querelle 159 vi Warhol's Bodies 201 vii A Note on Bresson 241 VIM Conclusions 255 References 269 Index 275 This page intentionally left blank Preface The Cinematic Body is a transversal, exploratory work, one that cuts across disci- plinary boundaries and seeks to engage new currents in critical thought. -
Jerry Lewis Compilação De Textos Distribuídos Em Acompanhamento Das Projeções Dos Filmes De E Com Jerry Lewis Na Cinemateca Índice
Jerry Lewis Compilação de textos distribuídos em acompanhamento das projeções dos filmes de e com Jerry Lewis na Cinemateca Índice The Stooge / O Estoira Vergas (1951) 3 Money From Home / Dinheiro em Caixa (1953) 4 Three Ring Circus / O Rei do Circo (1954) 5 Artists and Models/ Pintores e Raparigas (1955), Manuel Cintra Ferreira 7 Hollywood or Bust / Um Espada Para Hollywood (1956), Maria João Madeira 8 The Sad Sack / O Herói do Regimento (1957), Manuel Cintra Ferreira 9 Rock ‑a ‑Bye Baby / Jerry Ama ‑Seca (1958), João Lopes 10 The Geisha Boy / Jerry no Japão (1958), Luís Miguel Oliveira 12 Don’t Give Up the Ship / Capitão Sem Barco (1959), Manuel Cintra Ferreira 13 CinderFella / Cinderelo dos Pés Grandes (1960), Joana Ascensão 14 The Bellboy / Jerry no Grande Hotel (1960), Antonio Rodrigues 15 Visit to a Small Planet / Jerry, Primeiro Turista no Espaço (1960), Manuel S. Fonseca 17 The Ladies’ Man / O Homem das Mulheres (1961), Maria João Madeira 18 The Errand Boy / O Mandarete (1961), Manuel Cintra Ferreira 20 It’s Only Money / Dinheiro e Só Dinheiro (1962), Manuel Cintra Ferreira 21 The Nutty Professor / As Noites Loucas do Dr. Jerryll (1963), Luís Miguel Oliveira 22 Who’s Minding the Store? / Um Namorado com Sorte (1963), Luís Miguel Oliveira 23 The Patsy / Jerry, Oito e Três Quartos (1964), Manuel Cintra Ferreira 24 The Disorderly Orderly / Jerry, Enfermeiro Sem Diploma (1964), Manuel Cintra Ferreira 25 The Family Jewels / Jerry e os Seis Tios (1965), Manuel Cintra Ferreira 26 Three on a Couch / Uma Poltrona Para Três (1966), Manuel -
DR.JERRV5 HRSIGTER Per Calum
1000DR.JERRV5 HRSIGTER Per Calum Jerry Lewis på sin specielt konstruerede kamerakran under optagelserne til den krasse pubertets-komedie »The Ladies’ Man«. 1 ___ • r t i *. RI (Hl 411 j t .il! j l [ 11 222 Rædslen lurer om hjørnet. Bag klovnens sigende drømte han allerede dengang om at er den scene, hvor Lewis dirigerer et ima muntre maske anes sommetider tragedien, blive filmstjerne. ginært orkester (big band-musik på lydbån og når maskespillet er omme, røbes for en Som teenager praktiserede han, hvad der det). Der er ikke megen mening med num kort stund afskyen og angsten for daglig i showverdenens slangsprog kaldes et meret, men det er under alle omstændig dagens gru. Med klovnen ræddes vi, og »dumb« act: han mimede til en grammofon heder komisk at se på. Først i Lewis' tredje med klovnen ler vi for ikke at græde. I et plade, som han også gjorde det i »The film »The Errand Boy« får virtuosnum skræmmende øjeblik i »The Family Jewels« Patsy«, og som i filmen har vejen til top meret en mening i sammenhængen. lader Jerry Lewis os se klovnen uden maske, pen været lang og trang. Men i 1942 får Bedst i »The Bellboy« er en scene, hvor og i et kort nu er der ægte tragedie at han relativt pæn succes som komiker på en Jerry Lewis ironiserer over stjernedyrkelse finde i en i øvrigt mislykket film. Men natklub i New York, og i 1946 danner han og frikadelle-manerer. I en dobbeltrolle filmen er værd at huske for denne ene og Dean Martin par og får tilsyneladende spiller Lewis både piccolo og sig selv (af sekvens. -
Maestros Del Cine Moderno (V): JERRY LEWIS (In Memoriam)
Cineclub Universitario / Aula de Cine P r o g r a m a c i ó n d e enero 2 0 1 8 Un rostro en la pantalla (IV) & Maestros del cine moderno (V): JERRY LEWIS (in memoriam) La noticia de la primera sesión del Cineclub de Granada Periódico “Ideal”, miércoles 2 de febrero de 1949. El CINECLUB UNIVERSITARIO se crea en 1949 con el nombre de “Cineclub de Granada”. Será en 1953 cuando pase a llamarse con su actual denominación. Así pues en este curso 2017-2018 cumplimos 64 (68) años. Martes 9 / Tuesday 9th • 21 h. EL CENICIENTO (1960) Frank Tashlin (CINDERFELLA) v.o.s.e. / OV film with Spanish subtitles Viernes 12 / Friday 12th • 21 h. EL TERROR DE LAS CHICAS (1961) Jerry Lewis (THE LADIES MAN) v.o.s.e. / OV film with Spanish subtitles Martes 16 / Tuesday 16th • 21 h. UN ESPÍA EN HOLLYWOOD (1961) Jerry Lewis (THE ERRAND BOY) v.o.s.e. / OV film with Spanish subtitles Viernes 19 / Friday 19th • 21 h. EL PROFESOR CHIFLADO (1963) Jerry Lewis (THE NUTTY PROFESSOR) v.o.s.e. / OV film with Spanish subtitles Martes 23 / Tuesday 23th • 21 h. LÍO EN LOS GRANDES ALMACENES (1963) Frank Tashlin (WHO’S MINDING THE STORE?) v.o.s.e. / OV film with Spanish subtitles Viernes 26 / Friday 26th • 21 h. CASO CLÍNICO EN LA CLÍNICA (1964) Frank Tashlin (THE DISORDERLY ORDERLY) v.o.s.e. / OV film with Spanish subtitles Martes 30 / Tuesday 30th • 21 h. LOS COMEDIANTES (1995) Peter Chelsom (Funny bones) v.o.s.e. -
Jerry Lewis's Smorgasbord (Cracking
Smorgasbord Steven Shaviro [email protected] Smorgasbord (retitled Cracking Up by the distributor) is Jerry Lewis’s last self- directed feature film. It first opened in France in 1983; it never received a proper American release. (In the US, it was immediately relegated to cable television — which is where I saw it for the first time). And Smorgasbord still isn’t very well known today — even among Lewis aficionados. (It is, for instance, the only one of Lewis’s self-directed films not to appear in the index to Enfant Terrible, an academic essay collection edited by Murray Pomerance in 2002, which otherwise covers Lewis’ film career quite comprehensively). Yet I think that Smorgasbord is one of Jerry Lewis’s greatest films; in what follows, I will try to explain why. Let’s begin with some general observations. It is often said — indeed, it is almost a cliché — that comedy is born of despair. Laughter is an outlet for misery. Turn- ing horrible circumstances into a joke is a way of detaching oneself from such circumstances, and as a result avoiding madness and despair. Comedy thus offers us a kind of catharsis. However, this is not a purgation of terror and pity, as Aris- totle maintained in the case of tragedy. Rather, it is a purgation of awkwardness and discomfort; or, more intensely, of shame, embarrassment, and humiliation. But how is such a purgation to be accomplished? Fear and terror are sublime; they point to an overwhelming force, whose advent involves a complete rupture. In the fate of Oedipus or King Lear, a whole world is destroyed.