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Plusinside Senti18 Cmufilmfest15
Pittsburgh Opera stages one of the great war horses 12 PLUSINSIDE SENTI 18 CMU FILM FEST 15 ‘BLOODLINE’ 23 WE-2 +=??B/<C(@ +,B?*(2.)??) & THURSDAY, MARCH 19, 2015 & WWW.POST-GAZETTE.COM Weekend Editor: Scott Mervis How to get listed in the Weekend Guide: Information should be sent to us two weeks prior to publication. [email protected] Send a press release, letter or flier that includes the type of event, date, address, time and phone num- Associate Editor: Karen Carlin ber of venue to: Weekend Guide, Pittsburgh Post-Gazette, 34 Blvd. of the Allies, Pittsburgh 15222. Or fax THE HOT LIST [email protected] to: 412-263-1313. Sorry, we can’t take listings by phone. Email: [email protected] If you cannot send your event two weeks before publication or have late material to submit, you can post Cover design by Dan Marsula your information directly to the Post-Gazette website at http://events.post-gazette.com. » 10 Music » 14 On the Stage » 15 On Film » 18 On the Table » 23 On the Tube Jeff Mattson of Dark Star City Theatre presents the Review of “Master Review of Senti; Munch Rob Owen reviews the new Orchestra gets on board for comedy “Oblivion” by Carly Builder,”opening CMU’s film goes to Circolo. Netflix drama “Bloodline.” the annual D-Jam show. Mensch. festival; festival schedule. ALL WEEKEND SUNDAY Baroque Coffee House Big Trace Johann Sebastian Bach used to spend his Friday evenings Trace Adkins, who has done many a gig opening for Toby at Zimmermann’s Coffee House in Leipzig, Germany, where he Keith, headlines the Palace Theatre in Greensburg Sunday. -
37 Agenda Bibliomediateca Dal 26.10 Al 01.11.2012 Ok
Agenda settimanale degli eventi in Bibliomediateca da venerdì 26 ottobre a giovedì 1 novembre 2012 Bibliomediateca “Mario Gromo” - Sala Eventi Via Matilde Serao 8/A, Torino tel. +39 011 8138 599 - email: [email protected] Sommario: 29.10 – SHAKESPEARE A HOLLYWOOD – La sottana di ferro di Ralph Thomas (ore 15.30) 30.10 – NUOVI ORIZZONTI DELLA TEORIA E DELLA STORIOGRAFIA – Il cinema italiano negli anni ’30: nuove ricerche (15.00) LUNEDI’ 29 OTTOBRE – ORE 15.30 Ultimo appuntamento della rassegna SHAKESPEARE A HOLLYWOOD con la proiezione del film La sottana di ferro di Ralph Thomas. Ultimo appuntamento della rassegna SHAKESPEARE A HOLLYWOOD. Ben Hecht sceneggiatore con la proiezione, lunedì 29 ottobre , alle ore 15.30 , nella sala eventi della Bibliomediateca, del film La sottana di ferro di Ralph Thomas. Realizzato nel 1956 da Ralph Thomas, il film fu sceneggiato in origine da Ben Hecht che aveva scelto un titolo completamente differente: Not For Money. Svariate vicissitudini produttive e l’arrivo di Bob Hope nel ruolo del co-protagonista (inizialmente assegnato a Cary Grant) causarono non pochi problemi: Hope e i suoi scrittori modificarono intere parti di sceneggiatura tagliando le maggiori scene con la Hepburn e modificando il titolo in The Iron Petticoat. Questa operazione non piacque a Hecht che decise di abbandonare il progetto rifiutandosi persino di apparire nei credits. La commedia, fortemente influenzata da Ninotchka - film del 1939 di Ernst Lubitsch - nonostante l'abbandono di Hecht, conserva, in alcune parti, il “tocco” dello sceneggiatore americano nei classici dialoghi/battibecchi tra i due protagonisti e nell'ironia con cui si prende gioco dei tipici cliché anticomunisti dell'epoca. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter. -
Film Criticism
ALEXANDER FEDOROV FILM CRITICISM FEDOROV, A. FILM CRITICISM. МOSCOW: ICO “INFORMATION FOR ALL”. 2015. 382 P. COPYRIGHT © 2015 BY ALEXANDER FEDOROV [email protected] ALL RIGHT RESERVED. 10 9 8 7 6 5 4 2 1 FEDOROV, ALEXANDER. 1954-. FILM CRITICISM / ALEXANDER FEDOROV. P. CM. INCLUDES BIBLIOGRAPHICAL REFERENCES. 1. FILM CRITICISM. 2. FILM STUDIES. 3. MEDIA LITERACY. 4. MEDIA EDUCATION. 5. MEDIA STUDIES. 6. FILM EDUCATION. 7. STUDENTS. 8. CINEMA. 9. FILM. 10. MASS MEDIA. 11. STUDY AND TEACHING. 2 Contents The Mystery of Russian Cinema ………………………………..…... ..6 Phenomenon of Russian Film-Hits ………………………………….. 10 Russian Screen Distribution …………………………………..………..12 Video-pirates from Russia ……………………………………..…….. 15 Film Criticism and Press in Russia …………………………………… 17 Russian Cinematography and the Screen Violence ………………....….21 The Gloom of Russian Fantastic Movie-Land …………….………..….27 Sex-Cinema: Made in Russia …………………………………… ..….. 29 America, America… ……………………………………………….… .31 French Motives and Russian Melodies ………………………….…… .33 Fistful of Russian Movies ……………………………………….…… .41 Nikita Mikhalkov before XXI Century ………………………….…… 78 Karen Shakhnazarov: a Fortune's Favorite? ……………………….… 86 Pyotr Todorovsky: Dramatic Romance ……………………….……. 92 Oleg Kovalov, Former Film Critic .........................................................99 How to Shoot the “True” Film about Russia …………………………102 Locarno Film Fest: The View of a Film Educator ……………………103 The Analysis of Detective Genre at Film Education in Students’ Audience ……………………………………………… ……….…..106 Hermeneutical -
Mark Downsale
COVERAGE FROM the Middle oT1f Anywhere™ to the middle of NO CREDIT * R REFUSED www.badcock.com RobJanuary 14 - 20, & 2018 Bladen Co SALE Mark STARTS Madnessdown JAN. 16TH Begin again SAVE 201.95 SAVE 301.90 $ $ tribeca 298 880712/13 698 119347 SUGAR PALMS Table & 4 chairs REG. $499.95 5PC: Queen bed (headboard, footboard, rails), dresser & mirror REG. $999.90 SAVE 201.95 $ peyton 498 SAVE 882489 newman reclining sofa $ REG. Dining table & 4 dining chairs REG. $699.95 119018/19 301.95 $899.95 reclining console loveseat $598 598 Sarah Jessica Parker 1950 N ROBERTS AVE • LUMBERTON, NC 28358 • (910) 738 -3761 in “Divorce” * Certain restrictions and exclusions apply. Applicants must meet all State and Federal identification verification requirements and State age requirements. Offer not available to applicants in default on a Badcock account, in an active bankruptcy or have a discharged bankruptcy within the past two years. Offer valid through January 29, 2018 at participating stores only. COVERAGE FROM the Middle of Anywhere™ to the middle of Rob & Bladen Co Store hours We look forwardforward to to seeing seeing you. you. Store hours Mon-FriMon - Fri 9am-7pm - 9am - 7pm Lumberton SatSat 9am-6pm - 9am - 6pm 1727 N. N. Roberts Roberts Ave. Ave. SunSun 12noon-5pm - 12noon - 5pm 910-739-1123 9107391123 4G LTE not available in all areas. See uscellular.com/4G for complete coverage details. 4G LTE service provided through King Street Wireless, a partner of U.S. Cellular. LTE is a trademark of ETSI.©2018 U.S. Cellular NoContract_CoverageBlue_Print_DI_11_62x16 7064738 4G LTE not available in all areas. -
Sunday Morning Grid 3/15/15 Latimes.Com/Tv Times
SUNDAY MORNING GRID 3/15/15 LATIMES.COM/TV TIMES 7 am 7:30 8 am 8:30 9 am 9:30 10 am 10:30 11 am 11:30 12 pm 12:30 2 CBS CBS News Sunday Face the Nation (N) Road to the Final Four College Basketball Atlantic 10 Tournament, Final: Teams TBA. (N) Basketball 4 NBC News (N) Å Meet the Press (N) Å Hockey Detroit Red Wings at Pittsburgh Penguins. (N) Å PGA Tour Golf 5 CW 2015 LA Marathon (N) (TVG) Å L.A. Marathon Post Show In Touch Hour Of Power 7 ABC News (N) Å This Week News (N) NBA Basketball Chicago Bulls at Oklahoma City Thunder. (N) Å Basketball 9 KCAL News (N) Joel Osteen Mike Webb Paid Woodlands Paid Program 11 FOX Paid Joel Osteen Fox News Sunday Paid Program NASCAR Racing 13 MyNet Paid Program Movie 18 KSCI Paid Program Church Faith Paid Program 22 KWHY Como Local Local Local Local Local Local Local Local Local Transfor. Transfor. 24 KVCR Healing ADD With Dr. Daniel Amen, MD Suze Orman’s Financial Solutions for You (TVG) Classical Rewind (TVG) Å Mága 28 KCET Raggs Space Travel-Kids Biz Kid$ News Asia Biz Aging Backwards Healthy Hormones BrainChange-Perlmutter 30 ION Jeremiah Youssef In Touch Bucket-Dino Bucket-Dino Doki (TVY7) Doki (TVY7) Dive, Olly Dive, Olly 10,000 B.C. ›› (2008) 34 KMEX Paid Program Al Punto (N) Paid Program Fútbol Central (N) Fútbol Mexicano Primera División 40 KTBN Walk in the Win Walk Prince Carpenter Liberate In Touch PowerPoint It Is Written B. -
Popular Media and the Framing of a Cold War Enemy, 1949-1962
American Dreams and Red Nightmares: Popular Media and the Framing of a Cold War Enemy, 1949-1962 A thesis presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Meredith K. Hohe November 2010 © 2010 Meredith K. Hohe. All rights reserved. 1 This thesis titled American Dreams and Red Nightmares: Popular Media and the Framing of a Cold War Enemy, 1949-1962 by MEREDITH K. HOHE has been approved for the Department of History and the College of Arts and Sciences by _______________________________________________ Katherine Jellison Professor of History ________________________________________________ Benjamin M. Ogles Dean, College of Arts and Sciences 2 Abstract HOHE, MEREDITH K., M.A., November 2010, History American Dreams and Red Nightmares: Popular Media and the Framing of a Cold War Enemy, 1949-1962 (131 pp.) Director of Thesis: Katherine Jellison The visual image of the Soviet Union during the early Cold War period played a significant role in contributing to average Americans‟ understanding of their new national nemesis. However, while films, television, and popular magazines all helped to frame understanding of the Soviet threat, the portrait of the enemy they displayed was not a simplistic narrative of enemy demonization. Popular media both warned against and mocked the Soviet communist leadership. They portrayed the Soviet military and forces of scientific and technological production as both a leviathan of epic proportions and a lie built upon thievery and espionage. In focusing on the threat posed by Soviet agents working undercover within the United States, visual media outlined the danger posed but also mitigated the threat with images of the covert agents rounded up time after time by a triumphant F.B.I. -
Harry Saltzman
HARRY SALTZMAN Tony Richardson affectionately dubbed his Woodfall partner Harry Saltzman “a huckster, a sublime huckster.” The Canadian- American impresario is fondly remembered by all who knew him as a truly larger-than-life character, the walking, talking epitome of the showbiz wheeler-dealer, forever on the lookout for the main chance. But to suggest that Herschel (not Harold) Saltzman was solely interested in personal financial advantage would be to do the man a considerable disservice. He helped set up UNESCO’s film division in 1945, bailed out Orson Welles’ late masterpiece Chimes at Midnight (1965)—absolutely nobody’s idea of a sure-fire moneymaker—by purchasing international distribution rights for $750,000, and at the end of his long, colourful career produced Serbian maverick Emir Kusturica’s Time of the Gypsies (1988), winner of the Best Director prize at Cannes. Like Welles and Kusturica, Saltzman always ploughed his own BORN: SHERBROOKE (QUÉBEC, furrow—to the point of volatile eccentricity, his restless energy forever CANADA), 27TH OCTOBER 1915 brimming with ideas and schemes. Born in Québec and brought up in New Brunswick until the age of seven, he then moved with his family DIED: PARIS, 2 to Ohio before running away from home at the age of 15—he joined a 8TH SEPTEMBER 1994 circus two years later, enjoying a long spell on the road. The showbusiness bug evidently bit deep: in the 1930s he moved to Paris—ostensibly to study political science and economics—but quickly carved a niche as a talent-scout supplying performers to music-halls all over Europe. -
This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Roberts, Steven F Title: High Fidelity Widescreen Cinema VistaVision Film Production and Style in Britain and the USA General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. High Fidelity Widescreen Cinema: VistaVision Film Production and Style in Britain and the USA Steven Francis Roberts A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Doctor of Philosophy in the Faculty of Arts, Department of Film and Television September 2019 68079 words Abstract In the 1950s, widescreen cinema transcended industry standards of aspect ratio and film size on an international scale. -
Film Criticism
ALEXANDER FEDOROV FILM CRITICISM Файл загружен с http://www.ifap.ru FEDOROV, A. FILM CRITICISM. МOSCOW: ICO “INFORMATION FOR ALL”. 2015. 382 P. COPYRIGHT © 2015 BY ALEXANDER FEDOROV [email protected] ALL RIGHT RESERVED. 10 9 8 7 6 5 4 2 1 FEDOROV, ALEXANDER. 1954-. FILM CRITICISM / ALEXANDER FEDOROV. P. CM. INCLUDES BIBLIOGRAPHICAL REFERENCES. 1. FILM CRITICISM. 2. FILM STUDIES. 3. MEDIA LITERACY. 4. MEDIA EDUCATION. 5. MEDIA STUDIES. 6. FILM EDUCATION. 7. STUDENTS. 8. CINEMA. 9. FILM. 10. MASS MEDIA. 11. STUDY AND TEACHING. 2 Contents The Mystery of Russian Cinema ………………………………..…... ..6 Phenomenon of Russian Film-Hits ………………………………….. 10 Russian Screen Distribution …………………………………..………..12 Video-pirates from Russia ……………………………………..…….. 15 Film Criticism and Press in Russia …………………………………… 17 Russian Cinematography and the Screen Violence ………………....….21 The Gloom of Russian Fantastic Movie-Land …………….………..….27 Sex-Cinema: Made in Russia …………………………………… ..….. 29 America, America… ……………………………………………….… .31 French Motives and Russian Melodies ………………………….…… .33 Fistful of Russian Movies ……………………………………….…… .41 Nikita Mikhalkov before XXI Century ………………………….…… 78 Karen Shakhnazarov: a Fortune's Favorite? ……………………….… 86 Pyotr Todorovsky: Dramatic Romance ……………………….……. 92 Oleg Kovalov, Former Film Critic .........................................................99 How to Shoot the “True” Film about Russia …………………………102 Locarno Film Fest: The View of a Film Educator ……………………103 The Analysis of Detective Genre at Film Education in Students’ Audience ……………………………………………… -
A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
MOVIES A TO Z AUGUST 2021 –––––––––––––––––––––– A ––––––––––––––––––––––– R The Barbarian (1933) 8/12 y Cat Ballou (1965) 8/2 a ADVENTURE a Abandon Ship (1957) 8/22 R The Barretts of Wimpole Street (1934) 8/31 c The Chapman Report (1962) 8/13 c Abbott and Costello in Hollywood (1945) 8/7 m Bathing Beauty (1944) 8/8 D The Chase (1966) 8/18 c COMEDY c Abbott and Costello Meet Captain Kid (1952) 8/7 w Battle Cry (1955) 8/20 D A Child Is Waiting (1962) 8/15 c Abbott and Costello Meet Dr. Jekyll and Mr. Hyde c Bell, Book And Candle (1958) 8/3 D Chilly Scenes of Winter (1979) 8/17 z CRIME (1953) 8/7 sD Ben-Hur (1925) 8/12 c Chimes at Midnight (1967) 8/5 c Abbott and Costello Meet Frankenstein (1948) 8/7 u Berlin Express (1948) 8/27 D The China Syndrome (1979) 8/13 o DOCUMENTARY c Abbott and Costello Meet The Invisible D The Best Years of Our Lives (1946) 8/31 R Christopher Strong (1933) 8/21 Man (1951) 8/7 y The Big Country (1958) 8/14 R The Clock (1945) 8/15 D DRAMA c Abbott and Costello Meet the Mummy (1955) 8/7 z The Big Heat (1953) 8/17 D The Cobweb (1955) 8/17 sa Across to Singapore (1928) 8/12 c The Big Parade of Comedy (1964) 8/7 D The Comedians (1967) 8/2 e EPIC u Act of Violence (1949) 8/20 u The Big Steal (1949) 8/6 c Comrade X (1940) 8/23 D D Act One (1963) 8/10 D The Black Rose (1950) 8/22 Confession (1937) 8/9 HORROR/SCIENCE-FICTION c Adam’s Rib (1949) 8/21 c Blithe Spirit (1945) 8/5 D The Corn Is Green (1945) 8/1 a The Adventures of Huckleberry Finn (1960) 8/26 c Blonde Fever (1944) 8/17 c Count Your Blessings (1959) 8/24 m MUSICAL D The Adventures of Mark Twain (1944) 8/31 D Blood and Sand (1941) 8/22 y The Cowboy and the Lady (1938) 8/27 c Africa Screams (1949) 8/7 y Blood on the Moon (1948) 8/6 u Crime by Night (1944) 8/25 R ROMANCE D c u Crossfire (1947) 8/17 Agnes of God (1985) 8/13 Blume in Love (1973) 8/10 H c Alice Adams (1935) 8/21 c Boys’ Night Out (1962) 8/26 SHORTS R R –––––––––––––––––––––– D ––––––––––––––––––––––– All This, and Heaven Too (1940) 8/1 Break of Hearts (1935) 8/21 s D Allotment Wives (1945) 8/9 c The Bride Came C.O.D. -
Gendering the American Enemy in Early Cold War Soviet Films (1946–1953)
Gendering the American Enemy in Early Cold War Soviet Films (1946–1953) ✣ Oleg Riabov “Greta Garbo Wins Elections,” proclaimed a conservative Italian newspaper when reporting the defeat of the Italian Communist Party in the 1948 par- liamentary elections.1 The results of the vote constituted one of the turning points of the Cold War in which the spread of Communism to the West was inhibited. The widespread distribution in Italy of the 1939 Hollywood film Ninotchka (starring Garbo and directed by Ernst Lubitsch) had in fact been among the numerous efforts sponsored by the U.S. Central Intelligence Agency (CIA) during the election campaign. At the same time, the film could be seen as nothing more than a love story between a Western man and a Soviet woman. The plot of Ninotchka concerns the devoted Communist Nina Yakushova, who defects from the USSR because of her love for Count Leon d’Algout. Her choice, nonetheless, is ultimately determined by the superiority of Western men over their Soviet counterparts as well as the material abun- dance of capitalist society, which gives women the opportunity to be attractive and feminine. This episode allows us to suppose that gender discourse served as an effective Cold War weapon that was actively used in cinema. The intersections of gender and national discourses in U.S. filmmak- ing during the Cold War have been intensively explored over the past two decades. This research demonstrates the mutual influence of collective iden- tity and gender rhetoric and investigates the role that the two superpowers’ cinematic representations of gender orders played in constructing the Soviet enemy, creating American-ness, and legitimizing and delegitimizing the po- litical system of the United States.2 As for Soviet cinema, the historiography 1.