Filmographie

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Filmographie Erläuterungen: Abkürzungen: R = Regie; B = Buch; P = Produktion; AP = Associate Producer; K = Kamera; T = Ton; M = Musik; S = Schnitt; Ra: Regieassistenz; Te = Titelentwurf; Bt = Bauten; Scr = Script; Ad = Adaption; Dlg = Dialoge; VE = Visual Effects; D = Darsteller DE = Angabe des Start-/Ausstrahlungstermins in Deutschland: Diese Daten werden nur angegeben, wenn es signifikante Zeitdif- ferenzen gab zwischen eigentlichem Produktions-/Startzeitraum und der Erstaufführung in Deutschland. Dies ist interessant für die Wahrnehmung und Einschätzung des Gesamtwerkes Hitchcocks in Deutschland. Kursiv gedruckt: Abgehoben sind Filme, bei denen Hitchcock mit- gearbeitet hat, aber nicht als Regisseur aufgeführt wird. Dies be- trifft vor allem Werke aus der frühen Phase. Die folgende Filmographie stützt sich auf Truffaut: Mr. Hitchcock; McGilligan: Alfred Hitchcock sowie eigene Recherchen und Ergän- zungen aus verschiedenen weiteren Quellen. Die angegebenen Jah- reszahlen beziehen sich auf das Produktionsjahr. NUmBER THiRtEEN (unvollendet) GB 1922, Wardour & F. R/P: Alfred Hitchcock u. a. 172 Filmographie ALWaYS TELL YOUR WIFE GB 1922 Seymour Hicks R: Hugh Croise; B: Hugh Croise, Seymour Hicks nach dem Bühnen- stück von Seymour Hicks. Nachdem der Regisseur Hugh Croise krank wurde, beenden Alfred Hitchcock und Seymour Hicks den Film. WOMaN TO WOMaN GB 1923, Balcon-Saville-Freedman R: Graham Cutts; P: Michael Balcon; B: Graham Cutts, Alfred Hitch- cock nach einem Bühnenstück von Michael Morton; K: Claude L. McDonnell; Bt/Ra: Alfred Hitchcock; S: Alma Reville; D: Betty Compson (Louise), Clive Brook (David Compton/David Anson-Pond) u. a. THE WHITE SHaDOW GB 1924, Balcon-Saville-Freedman R: Graham Cutts; P: Michael Balcon; B: Graham Cutts nach dem Roman Children of Chance von Michael Morton; K: Claude L. McDonnell; Bt/Ra/S: Alfred Hitchcock; D: Betty Compson (Nancy/ Georgina Brent), Clive Brook (Robin Field) u. a. THE PRUDE’S FaLL (SEINE ZWEITE FRaU) GB 1924, Balcon-Saville-Freedman R: Graham Cutts; P: Michael Balcon; B: Alfred Hitchcock nach dem Bühnenstück von Rudolph Besier und May Edginton; K: Hal Young; Bt/Ra: Alfred Hitchcock; D: Jane Novak (Beatrice Audley), Julanne Johnston (Sonia Roubetsky) u. a..

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Silent Films of Alfred Hitchcock
The Hitchcock 9 Silent Films of Alfred Hitchcock Justin Mckinney Presented at the National Gallery of Art The Lodger (British Film Institute) and the American Film Institute Silver Theatre Alfred Hitchcock’s work in the British film industry during the silent film era has generally been overshadowed by his numerous Hollywood triumphs including Psycho (1960), Vertigo (1958), and Rebecca (1940). Part of the reason for the critical and public neglect of Hitchcock’s earliest works has been the generally poor quality of the surviving materials for these early films, ranging from Hitchcock’s directorial debut, The Pleasure Garden (1925), to his final silent film, Blackmail (1929). Due in part to the passage of over eighty years, and to the deterioration and frequent copying and duplication of prints, much of the surviving footage for these films has become damaged and offers only a dismal representation of what 1920s filmgoers would have experienced. In 2010, the British Film Institute (BFI) and the National Film Archive launched a unique restoration campaign called “Rescue the Hitchcock 9” that aimed to preserve and restore Hitchcock’s nine surviving silent films — The Pleasure Garden (1925), The Lodger (1926), Downhill (1927), Easy Virtue (1927), The Ring (1927), Champagne (1928), The Farmer’s Wife (1928), The Manxman (1929), and Blackmail (1929) — to their former glory (sadly The Mountain Eagle of 1926 remains lost). The BFI called on the general public to donate money to fund the restoration project, which, at a projected cost of £2 million, would be the largest restoration project ever conducted by the organization. Thanks to public support and a $275,000 dona- tion from Martin Scorsese’s The Film Foundation in conjunction with The Hollywood Foreign Press Association, the project was completed in 2012 to coincide with the London Olympics and Cultural Olympiad.
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Alan Lawson.Pdf
Alan Lawson, Cameraman Copyright ACTT History Project September 1987 Interviewer, Arthur Graham Arthur Graham: Where and when were you born? Alan Lawson: I was born in Gidea Park, a suburb of Romford in July 1912, we moved to London 3 years later. Arthur Graham: Whereabouts? Alan Lawson: Hampstead Garden Suburb where I more or less lived ever since. Arthur Graham: What kind of schooling did you receive? Alan Lawson: I went to a small kindergarten for about a term which my father was very fed up about and then I went to the ordinary primary school and from there I went to what is now, then was called the County School Hendon. I think it was Hendon County Grammar School. Something like a grammar school I suppose. There were scholarships and entrance exams, I took the scholarship which I didn't get. I took the entrance exam which I didn't get because I had a brother and a sister at the school they reluctantly took me. Arthur Graham: This was the type of school which took you onto matriculation. Alan Lawson: Yes, which I didn't get actually. Arthur Graham: Did you receive any specialised training, did you go to technical college. Alan Lawson: The only specialised training I had was I had aspirations of being a kind of Bobby Howes so I learned tap and soft shoe dancing with a very well know coach called Matheson Jones who had little school in the Vermalton Pub in Great Portland St and he used to coach Cecily Courtnidge and Jack Hulbert and people like that in his spare time and I was there and that was where I started hopefully to blossom into a Bobby Howes which unfortunately did not come about.
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* Hc Omslag Film Architecture 22-05-2007 17:10 Pagina 1
* hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns. Tim Bergfelder is Professor of Film at the University of Southampton. He is the author of International Adventures (2005), and co- editor of The German Cinema Book (2002) and The Titanic in Myth and Memory (2004). Sarah Street is Professor of Film at the Uni- versity of Bristol. She is the author of British Cinema in Documents (2000), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcis- sus (2004). Sue Harris is Reader in French cinema at Queen Mary, University of London. She is the author of Bertrand Blier (2001) and co-editor of France in Focus: Film
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Télécharger Le PDF Amélie BAYARD Hitchcock
Biographie 13/08/1899 Naissance d’Alfred Hitchcock à Londres. 1926 Séjour à la UFA. Il signe son premier fi lm comme réalisateur. 1939 Hitchcock se fi xe aux États-Unis. 1950 Il produit et anime la série de télé- vision Alfred Hitchcock presents. 29/04/1980 Alfred Hitchcock meurt à Los Angeles. MEP BAYARD.indd 1 21/09/2012 11:42:01 Biographie 1899 Naissance, le 13 août, d’Alfred qui jouera un rôle important dans la car- Joseph Hitch cock à Leytonstone (Londres). rière d’Hitchcock, Charles Laughton, futur Son père est William Hitchcock, né le 4 interprète de Jamaica Inn et The Paradine septembre 1862, sa mère Emma Jane Whe- Case, George Cukor, Irving Thalberg, Ja- lan, d’origine irlandaise. Le grand-père mes Cagney, Hal B. Wallis et Charles Ben- maternel du jeune Hitchcock appartient à nett qui sera l’un des scénaristes réguliers la police. Alfred Hitchcock est le troisième d’Hitchcock. et dernier enfant du couple, après William, « Tout le monde est un peu “tordu”. Si né en 1890, et Eileen « Nellie », née le 14 l’on se penche sur le miroir, il y a toujours septembre 1892. William Hitchcock habite un refl et qui réfracte une cause. Mon père et tient un magasin de primeurs au 517 était un grand ner veux ; ma famille ado- High Road à Leytonstone, effec tuant par rait le théâtre. C’était, quand j’y pense, un ailleurs des ventes sur le marché de Covent petit groupe assez excentrique. J’ai profi té Garden. Alfred Hitchcock s’en souviendra de l’excentricité ; eux pas, voilà tout1.» sans doute lorsqu’il tournera Sabotage et Alfred Hitchcock Frenzy.
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The Blackguard
THE BLACKGUARD GRAHAM CUTTS, GREAT BRITAIN/GERMANY, 1925 Screening: Sunday 22nd April, 9am Studios during and after the Second CAST World War – had encouraged Hitchcock to study the production methods of UFA, and, in an attempt to capitalise upon the Jane Novak ... European market, Balcon sent Cutts and Hitchcock to Berlin for the production of Prinzessin Maria The Blackguard. Cutts – the director re- Idourska / Princess Ma- sponsible for the BBFC-baiting Cocaine rie Idourska (1922) screened as part of Friday’s ‘What Walter Rilla ... The Silent Censor Saw’ presentation – had collaborated with Hitchcock on a Michael Caviol, The number of occasions. The Blackguard rep- Blackguard resents Hitchcock’s last role as art direc- Image courtesy of bfi Stills, Posters and tor, but he had previously work under Frank Stanmore ... Designs Graham Cutts in that role on four occa- Pompouard sions: Woman to Woman (1923), The White Shadow (1924), The Prude’s Fall (1924) and Bernhard Goetzke ... Graham Cutts’ 1925 film, The Black- The Passionate Adventure (1924). The Black- guard, precedes probably his most fa- guard, however, is the first instance of a Adrian Levinsky mous work, the Ivor Novello vehicle The Gainsborough film being shot abroad, and Rat, by one year, and is notable for Al- was budgeted at considerable expense for fred Hitchcock’s significant contribution the time. It was released in multilingual – he fulfilled the role of scenarist by versions, being retitled Die Prinzessin und adapting the original Raymond Paton der Geiger for the German market. novel for the silver screen, and also con- tributed his considerable talents to the Based on the 1917 Raymond Paton novel art direction of the film, while being re- of the same name, The Blackguard’s plot is sponsible for some second-unit photog- a melodrama set during the Russian Revo- raphy.
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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.
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Simply-Hitchcock-1587911892. Print
Simply Hitchcock Simply Hitchcock DAVID STERRITT SIMPLY CHARLY NEW YORK Copyright © 2017 by David Sterritt Cover Illustration by Vladymyr Lukash Cover Design by Scarlett Rugers All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher at the address below. [email protected] ISBN: 978-1-943657-17-9 Brought to you by http://simplycharly.com Dedicated to Mikita, Jeremy and Tanya, Craig and Kim, and Oliver, of course Contents Praise for Simply Hitchcock ix Other Great Lives xiii Series Editor's Foreword xiv Preface xv Acknowledgements xix 1. Hitch 1 2. Silents Are Golden 21 3. Talkies, Theatricality, and the Low Ebb 37 4. The Classic Thriller Sextet 49 5. Hollywood 61 6. The Fabulous 1950s 96 7. From Psycho to Family Plot 123 8. Epilogue 145 End Notes 147 Suggested Reading 164 About the Author 167 A Word from the Publisher 168 Praise for Simply Hitchcock “With his customary style and brilliance, David Sterritt neatly unpacks Hitchcock’s long career with a sympathetic but sharply observant eye. As one of the cinema’s most perceptive critics, Sterritt is uniquely qualified to write this concise and compact volume, which is the best quick overview of Hitchcock’s work to date—written with both the cineaste and the general reader in mind.
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Film Architecture and the Transnational Imagination : Set Design in 1930S European Cinema 2007
Repositorium für die Medienwissenschaft Tim Bergfelder; Sue Harris; Sarah Street Film Architecture and the Transnational Imagination : Set Design in 1930s European Cinema 2007 https://doi.org/10.5117/9789053569801 Buch / book Empfohlene Zitierung / Suggested Citation: Bergfelder, Tim; Harris, Sue; Street, Sarah: Film Architecture and the Transnational Imagination : Set Design in 1930s European Cinema. Amsterdam University Press 2007 (Film Culture in Transition). DOI: https://doi.org/10.5117/9789053569801. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons BY-NC 3.0/ This document is made available under a creative commons BY- Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz NC 3.0/ License. For more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc/3.0/ https://creativecommons.org/licenses/by-nc/3.0/ * hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns.
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The 15Th British Silent Film Festival
www.britishsilents.co.uk KIPPS: THE STORY OF A SIMPLE SOUL 1.30pm Sun 22 April British Silents, the BFI and Cambridge Arts Picturehouse present The 15th British Silent Film Festival 19-22 April 2012 The 15th British WELCOME Silent Film Festival British Silents, the BFI and Cambridge Arts Picturehouse welcome you to the 15th Annual British Silent Film Festival. The year that has seen The Artist sweep the board at the BAFTAs and Oscars is the perfect moment to celebrate silent film. In our most ambitious and packed programme to date, we are bringing you the best of the British silent films held in the BFI National Archive along with must-see titles from collections around the UK and abroad. Highlights include Jacques Feyder’s stunning Visages d’Enfants, a unique programme of unseen British short films held at the EYE Film institute, Amsterdam and the fabulous Dodge Brothers playing their unique brand of Americana to Soviet prison drama, The Ghost That Never Returns. To celebrate 15 years of the British Silent Film Festival we have selected some favourite films from past events including: A Couple of Down and Outs, a moving precursor to War Horse, Hepworth’s wonderfully pictorial Mist in the Valley and Henry Edwards’ charming Owd Bob. A touch of horror is supplied by Fred Paul’s Grand Guignol films and witty satire by Ivor Montagu and chums. There are also plenty of new discoveries with a literary twist, including the silent adaptations of P.G Wodehouse’s golfing tales and W.W. Jacobs’ lyrical portraits of coastal life.
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The Dynamics of Proximity : Hitchcock's Cinema of Claustrophobia
University of the Pacific Scholarly Commons University of the Pacific Theses and Dissertations Graduate School 1988 The dynamics of proximity : Hitchcock's cinema of claustrophobia Scott Edward Peeler University of the Pacific Follow this and additional works at: https://scholarlycommons.pacific.edu/uop_etds Part of the Film Production Commons, History Commons, Other Film and Media Studies Commons, and the Visual Studies Commons Recommended Citation Peeler, Scott Edward. (1988). The dynamics of proximity : Hitchcock's cinema of claustrophobia. University of the Pacific, Thesis. https://scholarlycommons.pacific.edu/uop_etds/2151 This Thesis is brought to you for free and open access by the Graduate School at Scholarly Commons. It has been accepted for inclusion in University of the Pacific Theses and Dissertations by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. THE DYNAMICS OF PROXIMITY: HITCHCOCK'S CINEMA OF CLAUSTROPHOBIA by Scott E. Peeler An Essay Presented to the Faculty of the Graduate School University of the Pacific In Partial Fulfillment of the Requirements for the Degree Master of Arts February 1988 ACKNOWLEDGMENTS I would like to thank my corr~ittee members, Drs. Louis H. Leiter, Diane M. Borden, and Robert T. Knighton, for devoting their valuable time, knowledge, and especially enthusiasm to the creation and revision of this essay and its critical perspective. I would also like to thank Judith Peeler and Bruce Crowell for their much needed encouragement. iii TABLE OF CONTENTS ACKNOWLEDGMENTS iii INTRODUCTION. 1 I. CLAUSTROM AS WORLD. 3 II. CLAUSTROM AS HOME 7 I I I. CLAUSTROM AS PSYCHE 12 IV.
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Entertainment Memorabilia Wednesday 12 December 2012 at 12Noon Knightsbridge, London
Entertainment Memorabilia Wednesday 12 December 2012 at 12noon Knightsbridge, London Entertainment Memorabilia: Including Property From The Harrison Family Collection Wednesday 12 December 2012 at 12noon Knightsbridge, London Bonhams Enquiries Customer Services The following symbol is used Montpelier Street Director Monday to Friday 8.30am to 6pm to denote that VAT is due on the hammer price and buyer’s Knightsbridge Stephanie Connell +44 (0) 20 7447 7447 premium London SW7 1HH +44 (0) 20 7393 3844 www.bonhams.com [email protected] Please see back of catalogue † VAT 20% on hammer price for important notice to bidders and buyer’s premium Viewing Senior Specialist Sunday 9 December Katherine Williams Illustrations * VAT on imported items at 11am to 3pm +44 (0) 20 7393 3871 Front cover: Lot 300 a preferential rate of 5% on Monday 10 December [email protected] Courtesy of Astrid Kirchherr hammer price and the prevailing 9am to 4.30pm Collection/ Ginzburg Fine Arts, LLC rate on buyer’s premium Consultant Specialist Back cover: Lot 35 Tuesday 11 December W These lots will be removed to Stephen Maycock Inside front: Lot 21 9am to 4.30pm Bonhams Park Royal Warehouse Wednesday 12 December +44 (0) 20 7393 3844 Inside back cover: Lot 148 after the sale. Please read the 9am to 10am [email protected] sale information page for more details. Bids Sale Number: 19801 +44 (0) 20 7447 7448 Y These lots are subject to CITES +44 (0) 20 7447 7401 fax Catalogue: £15 regulations, please read the To bid via the internet please visit information in the back of the catalogue.
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British Newspapers and Films in the Interwar Period: a History and a Review
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output The representation of London nights in British popu- lar press and ﬁlm, 1919-1939 https://eprints.bbk.ac.uk/id/eprint/40490/ Version: Public Version Citation: Arts, Mara (2020) The representation of London nights in British popular press and ﬁlm, 1919-1939. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email The Representation of London Nights in British Popular Press and Film, 1919-1939 Candidate name: Mara Arts Submitted for the degree of Doctor of Philosophy Birkbeck, University of London 1 Declaration of original work I hereby confirm that the work presented in this thesis is my own. 2 Abstract This thesis explores the representation of night-time activities in the capital in popular British newspapers and films of the period. It argues that, whilst an increasingly democratised night allowed for more opportunities for previously marginalised groups, popular media of the period largely promoted adherence to the status quo. The thesis draws on extensive primary source material, including eighty British feature films and newspaper samples of the Daily Mail, Daily Express and Daily Mirror to systematically analyse the representation of London’s nightlife in the British interwar period. This period saw the consolidation of the popular daily newspaper industry and, after government intervention, an expansion of the domestic film industry. The interwar period also saw great social change with universal suffrage, technological developments and an economic crisis.
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