Architecture in Film Movie List 2015
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Music from Peter Gunn
“The Music from ‘Peter Gunn’”--Henry Mancini (1958) Added to the National Registry: 2010 Essay by Mark A. Robinson (guest post)* Henry Mancini Henry Mancini (1924-1994) was the celebrated composer of a parade of song standards, particularly remembered for his work in television and film composition. Among his sparkling array of memorable melodies are the music for “The Pink Panther” films, the “Love Theme from ‘Romeo and Juliet’,” and his two Academy Award-winning collaborations with lyricist Johnny Mercer, “Moon River” for the 1961 film “Breakfast at Tiffany’s,” and the title song for the 1962 feature “Days of Wine and Roses.” Born Enrico Nicola Mancini in the Little Italy neighborhood of Cleveland, Ohio, Henry Mancini was raised in West Aliquippa, Pennsylvania, near Pittsburgh. Though his father wished his son to become a teacher, Mancini was inspired by the music of Hollywood, particularly that of the 1935 Cecil B. DeMille film “The Crusades.” This fascination saw him embark on a lifelong journey into composition. His first instrument of choice was the piccolo, but soon he drifted toward the piano, studying under Pittsburgh concert pianist and Stanley Theatre conductor Max Adkins. Upon graduating high school, Mancini matriculated at the Carnegie Institute of Technology, but quickly transferred to the Julliard School of Music, concentrating his studies in piano, orchestration, and composition. When America entered World War II, Mancini enlisted in the United States Army in 1943. Assigned to the 28th Air Force Band, he made many connections in the music industry that would serve him well in the post-war years. -
Beginnings and Endings in Films, Film and Film Studies
Beginnings and Endings in Films, Film and Film Studies Beginnings and Endings in Films, Film and Film Studies, University of Warwick, 13th June 2008 A report by Martin Zeller, University of York, UK This conference, organised by Tom Hughes and James MacDowell (both of University of Warwick), examined the beginnings and endings of individual films and structures of beginnings and endings in films more generally, as well as notions of beginning and ending in film studies as a discipline. With such a wide remit it is not surprising that links between the various presentations were sometimes difficult to establish. However, the wide variety of approaches to the topic ensured lively discussions. The tone for the day was set by the keynote paper delivered by Warwick's own V. F. Perkins. Examining beginnings and endings in the genre of 'multi-story' (or portmanteau) movies, Perkins elucidated the various methods used to make the author the focus of these multi-stranded narratives. Drawing on the literary cachet of their source texts, Quartet, Full House and Le Plaisir make Maugham, O. Henry and Maupassant the respective loci around which their stories revolve. Pointing out that authorial intrusions were, with the exception of Le Plaisir, used only at the beginnings of such films, Perkins suggested the possibility of a largely unexplored narrative technique available in returning to the author at the close of a film. However, it was Professor Perkin's call for, 'an aesthetics of the quite good, of the satisfactorily effective, as well as the extremes: the abject and the sublime,' that seemed to resonate most with the delegates and to become a touchstone for the day's later discussions. -
Blockbusters: Films and the Books About Them Display Maggie Mason Smith Clemson University, [email protected]
Clemson University TigerPrints Presentations University Libraries 5-2017 Blockbusters: Films and the Books About Them Display Maggie Mason Smith Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/lib_pres Part of the Library and Information Science Commons Recommended Citation Mason Smith, Maggie, "Blockbusters: Films and the Books About Them Display" (2017). Presentations. 105. https://tigerprints.clemson.edu/lib_pres/105 This Display is brought to you for free and open access by the University Libraries at TigerPrints. It has been accepted for inclusion in Presentations by an authorized administrator of TigerPrints. For more information, please contact [email protected]. Blockbusters: Films and the Books About Them Display May 2017 Blockbusters: Films and the Books About Them Display Photograph taken by Micki Reid, Cooper Library Public Information Coordinator Display Description The Summer Blockbuster Season has started! Along with some great films, our new display features books about the making of blockbusters and their cultural impact as well as books on famous blockbuster directors Spielberg, Lucas, and Cameron. Come by Cooper throughout the month of May to check out the Star Wars series and Star Wars Propaganda; Jaws and Just When you thought it was Safe: A Jaws Companion; The Dark Knight trilogy and Hunting the Dark Knight; plus much more! *Blockbusters on display were chosen based on AMC’s list of Top 100 Blockbusters and Box Office Mojo’s list of All Time Domestic Grosses. - Posted on Clemson University Libraries’ Blog, May 2nd 2017 Films on Display • The Amazing Spider-Man. Dir. Marc Webb. Perf. Andrew Garfield, Emma Stone, Rhys Ifans. -
Citizen Kane
A N I L L U M I N E D I L L U S I O N S E S S A Y B Y I A N C . B L O O M CC II TT II ZZ EE NN KK AA NN EE Directed by Orson Welles Produced by Orson Welles Distributed by RKO Radio Pictures Released in 1941 n any year, the film that wins the Academy Award for Best Picture reflects the Academy ' s I preferences for that year. Even if its members look back and suffer anxious regret at their choice of How Green Was My Valley , that doesn ' t mean they were wrong. They can ' t be wrong . It ' s not everyone else ' s opinion that matters, but the Academy ' s. Mulling over the movies of 1941, the Acade my rejected Citizen Kane . Perhaps they resented Orson Welles ' s arrogant ways and unprecedented creative power. Maybe they thought the film too experimental. Maybe the vote was split between Citizen Kane and The Maltese Falcon , both pioneering in their F ilm Noir flavor. Or they may not have seen the film at all since it was granted such limited release as a result of newspaper baron William Randolph Hearst ' s threats to RKO. Nobody knows, and it doesn ' t matter. Academy members can ' t be forced to vote for the film they like best. Their biases and political calculations can ' t be dissected. To subject the Academy to such scrutiny would be impossible and unfair. It ' s the Academy ' s awards, not ours. -
This Action Thriller Futuristic Historic Romantic Black Comedy Will Redefine Cinema As We Know It
..... this action thriller futuristic historic romantic black comedy will redefine cinema as we know it ..... XX 200-6 KODAK X GOLD 200-6 OO 200-6 KODAK O 1 2 GOLD 200-6 science-fiction (The Quiet Earth) while because he's produced some of the Meet the Feebles, while Philip Ivey composer for both action (Pitch Black, but the leading lady for this film, to Temuera Morrison, Robbie Magasiva, graduated from standing-in for Xena beaches or Wellywood's close DIRECTOR also spending time working on sequels best films to come out of this country, COSTUME (Out of the Blue, No. 2) is just Daredevil) and drama (The Basketball give it a certain edginess, has to be Alan Dale, and Rena Owen, with Lucy to stunt-doubling for Kill Bill's The proximity to green and blue screens, Twenty years ago, this would have (Fortress 2, Under Siege 2) in but because he's so damn brilliant. Trelise Cooper, Karen Walker and beginning to carve out a career as a Diaries, Strange Days). His almost 90 Kerry Fox, who starred in Shallow Grave Lawless, the late great Kevin Smith Bride, even scoring a speaking role in but there really is no doubt that the been an extremely short list. This Hollywood. But his CV pales in The Lovely Bones? Once PJ's finished Denise L'Estrange-Corbet might production designer after working as credits, dating back to 1989 chiller with Ewan McGregor and will next be and Nathaniel Lees as playing- Quentin Tarantino's Death Proof. South Island's mix of mountains, vast comes down to what kind of film you comparison to Donaldson who has with them, they'll be bloody gorgeous! dominate the catwalks, but with an art director on The Lord of the Dead Calm, make him the go-to guy seen in New Zealand thriller The against-type baddies. -
The Inventory of the Richard Roud Collection #1117
The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills. -
The New Hollywood Films
The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d. -
The Ideology of the Long Take in the Cinema of Alfonso Cuarón by BRUCE ISAACS
4.3 Reality Effects: The Ideology of the Long Take in the Cinema of Alfonso Cuarón BY BRUCE ISAACS Between 2001 and 2013, Alfonso Cuarón, working in concert with long-time collaborator, cinematographer Emmanuel Lubezki, produced several works that effectively modeled a signature disposition toward film style. After a period of measured success in Hollywood (A Little Princess [1995], Great Expectations [1998]), Cuarón and Lubezki returned to Mexico to produce Y Tu Mamá También (2001), a film designed as a low- budget, independent vehicle (Riley). In 2006, Cuarón directed Children of Men, a high budget studio production, and in March 2014, he won the Academy Award for Best Director for Gravity (2013), a film that garnered the praise of the American and European critical establishment while returning in excess of half a billion dollars worldwide at the box office (Gravity, Box Office Mojo). Lubezki acted as cinematographer on each of the three films.[1] In this chapter, I attempt to trace the evolution of a cinematographic style founded upon the “long take,” the sequence shot of excessive duration. Reality Effects Each of Cuarón’s three films under examination demonstrates a fixation on the capacity of the image to display greater and more complex indices of time and space, holding shots across what would be deemed uncomfortable durations in a more conventional mode of cinema. As Udden argues, Cuarón’s films are increasingly defined by this mark of the long take, “shots with durations well beyond the industry standard” (26-27). Such shots are “attention-grabbing spectacles,” displaying the virtuosity of the filmmaker over and above the requirement of narrative unfolding. -
October 2019
FILMS RATED/CLASSIFIED From 01 Oct 2019 to 31 Oct 2019 Films and Trailers FILM TITLE DIRECTOR RUN TIME DATE APPROVED DESCRIPTION MEDIA NAME #AnneFrank. Parallel Stories Sabina Fedeli/Anna 2.07 22/10/2019 PG Trailer Migotto 1917 Sam Mendes 2.27 15/10/2019 M Trailer 3 From Hell Rob Zombie 115.49 18/10/2019 R18 Graphic violence, sexual violence, horror & offensive language Film - DCP Abominable Jill Culton, Todd 97 24/10/2019 G Film - DVD Wilderman Ad Astra James Gray 122.55 8/10/2019 M Violence, offensive language & content that may disturb Film - DVD Addams Family, The Greg Tiernan, 86.58 17/10/2019 PG Coarse language Film - DCP Conrad Vernon Aeronauts, The Tom Harper 100.23 8/10/2019 PG Film - DCP All at Sea Robert Young 88.2 10/10/2019 M Film - DCP Am Cu Ce Pride Hannah 19 25/10/2019 PG Offensive language Film - DCP Weissenborn André Rieu: 70 Years Young André Rieu and 1 15/10/2019 G Trailer Michael Wiseman Angel Has Fallen Ric Roman Waugh 121 7/10/2019 R16 Violence & offensive language Film - Harddrive Arctic Justice Aaron Woodley 92 24/10/2019 G Film - DCP Ardab Mutiyaran Manav Shah 139.3 15/10/2019 PG Violence & coarse language Film - DCP At Last Yiwei Liu 1.05 22/10/2019 M Trailer Badlands Terrence Malick 93.37 15/10/2019 M Violence Film - DCP Bala Amar Kaushik 2.47 22/10/2019 M Sexual references Trailer Barefoot Bandits, The: Behind the Voices Ryan Cooper, Alex 4.56 4/10/2019 G Film - DCP Leighton, Tim Evans Barefoot Bandits, The: Glow Your Own Way Comp Ryan Cooper, Alex 0.31 4/10/2019 G Film - DCP Leighton, Tim Evans For Further -
Film Film Film Film
City of Darkness, City of Light is the first ever book-length study of the cinematic represen- tation of Paris in the films of the émigré film- PHILLIPS CITY OF LIGHT ALASTAIR CITY OF DARKNESS, makers, who found the capital a first refuge from FILM FILMFILM Hitler. In coming to Paris – a privileged site in terms of production, exhibition and the cine- CULTURE CULTURE matic imaginary of French film culture – these IN TRANSITION IN TRANSITION experienced film professionals also encounter- ed a darker side: hostility towards Germans, anti-Semitism and boycotts from French indus- try personnel, afraid of losing their jobs to for- eigners. The book juxtaposes the cinematic por- trayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Anatole Litvak and others with wider social and cultural debates about the city in cinema. Alastair Phillips lectures in Film Stud- ies in the Department of Film, Theatre & Television at the University of Reading, UK. CITY OF Darkness CITY OF ISBN 90-5356-634-1 Light ÉMIGRÉ FILMMAKERS IN PARIS 1929-1939 9 789053 566343 ALASTAIR PHILLIPS Amsterdam University Press Amsterdam University Press WWW.AUP.NL City of Darkness, City of Light City of Darkness, City of Light Émigré Filmmakers in Paris 1929-1939 Alastair Phillips Amsterdam University Press For my mother and father, and in memory of my auntie and uncle Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 633 3 (hardback) isbn 90 5356 634 1 (paperback) nur 674 © Amsterdam University Press, Amsterdam, 2004 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book. -
The Void in the Celluloid Skyline
The Void in the Celluloid Skyline Terri Meyer Boake BES BArch, MArch Associate Professor, School of Architecture, University of Waterloo Draft version of article submitted to Datutop for 2007 Fall Issue, publication pending The idea of the New York skyline is critical to the general discussion of the film influence of New York, as although the skyline has long been employed as a key identifying element in film, it is also one of the pieces of film set that has been altered to suit the mood, budget and technological limitations of the film. The degree of manipulation has varied widely as a function of the use of created environments versus on-site shooting. Since the creation of the “Mayor’s Office of Film, Theatre and Broadcasting” in 1966, much of the literature written to date has concentrated on the more historic films, as well as live action filming that has taken place in New York1, and has ignored much of the more recent digital and model based work. There have been thousands of films that have been purposefully set in New York. As of May 6, 2007, IMDB.com2 listed: 8,940 films with “New York City” in their list of film shoot locations, “Manhattan” 1,921, “Empire State Building” 67, “World Trade Center” 36, and “Chrysler Building”, 77. Technological developments over the last 40 years have seen a slow shift to the incorporation of digital manipulation in almost all films, resulting in an almost seamless blending of digital and actual environments. Therefore the accuracy of the representation of the skyline has varied throughout the history of film due to a multitude of factors – some less “visible” than others. -
Thomas Hardy: Scripting the Irrational
1 Thomas Hardy: Scripting the Irrational Alan Gordon Smith Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds York St John University School of Humanities, Religion and Philosophy April 2019 2 3 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Alan Gordon Smith to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. 4 5 Acknowledgements I am extremely grateful to have been in receipt of the valuable support, creative inspiration and patience of my principal supervisor Rob Edgar throughout my period of study. This has been aided by Jo Waugh’s meticulous attention to detail and vast knowledge of nineteenth-century literature and the early assistance of big Zimmerman fan JT. I am grateful to the NHS for still being on this planet, long may its existence also continue. Much thought and thanks must also go to my late, great Mother, who in the early stages of my life pushed me onwards, initially arguing with the education department of Birmingham City Council when they said that I was not promising enough to do ‘O’ levels. Tim Moore, stepson and good friend must also be thanked for his digital wizardry. Finally, I am immensely grateful to my wife Joyce for her valued help in checking all my final drafts and the manner in which she has encouraged me along the years of my research; standing right beside me as she has always done when I have faced other challenging issues.