Full Text (PDF)

Total Page:16

File Type:pdf, Size:1020Kb

Full Text (PDF) Document generated on 10/01/2021 7:22 p.m. Séquences La revue de cinéma Réalisateurs, que faites-vous? Cinéma et liberté Number 44, February 1966 URI: https://id.erudit.org/iderudit/4544ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this document (1966). Réalisateurs, que faites-vous? Séquences, (44), 66–67. Tous droits réservés © La revue Séquences Inc., 1966 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ RÉALISATEURS. QUE FAITES-VOUS? ROBERT ALDRICH va mettre en images JACQUES DEMY va réunir les deux soeurs The Legend of Lylah Clara et, avec ce Françoise Dorléac et Catherine Deneuve film, Jeanne Moreau travaillera pour la dans Les Demoiselles de La Rochelle où première fois dans les studios d'Holly­ ces deux vedettes incarneront . deux wood. soeurs. MICHELANGELO ANTONIONI ira tourner VITTORIO DE SICA sera le réalisateur de à Londres son prochain film qui a pour l'adaptation du livre autobiographique titre (provisoire) L'Histoire d'un homme de Romain Gary, La Promesse de l'aube. et d'une femme par un beau matin d'au­ Alain Delon aura le rôle du romancier tomne. et Ava Gardner celui de sa mère, une femme du monde d'origine slave. RICHARD BROOKS a acquis les droits de tournage d'un livre de l'écrivain JOHN FORD prépare Miracle at Merriford Truman Capote, In Cold Blood, qui fait où il étudiera les conséquences de l'éta­ grand bruit de ce temps-là dans les mi­ blissement d'une base aérienne améri­ lieux littéraires américains. Il s'agit d'un caine à proximité d'un paisible village reportage détaillé sur une affaire de d'Angleterre. meurtre au Kansas. HOWARD HAWKS revient au western avec CLAUDE CHABROL laisse de côté, pour Eldorado où évolueront John Wayne et un temps, les amusettes genre Tigre ou Robert Mitchum. Marie-Chantal pour s'attaquer à l'adapta­ ALFRED HITCHCOCK s'intéresse à la guer­ tion d'un livre du colonel Rémy, La Ligne re froide. Son nouveau film. Torn Cur­ de démarcation. Maurice Ronet et Leslie tain, raconte l'histoire d'un jeune savant Caron sont de la distribution. qui fait défection derrière le rideau de CHARLES CHAPLIN est en train de tour­ fer et que sa fiancée cherche à rejoindre. ner son premier film en dix ans, La Com­ Paul Newman est le savant et Julie tesse de Hong-Kong, où il ne s'est attri­ Andrews la fiancée. bué qu'un tout petit rôle pour laisser la SIDNEY LUMET va porter à l'écran un vedette à Sophia Loren et à Marlon autre roman de John Le Carré, auteur de Brando. L'Espion qui venait du froid. Ecrit avant ce grand succès, Call from the Dead met GEORGE CUKOR va travailler en Inde, où il réalisa jadis Bhowani Junction, à un film d'ailleurs en scène quelques personnages d'aventures historiques qui se situe au qui reviennent dans L'Espion, tels Smiley, XIXe siècle. The Nine-Tiqer Man. un agent anglais parvenu à la fin de sa carrière, et Mundt, un attaché com­ JULES DASSIN songe à porter à l'écran mercial qui fait de l'espionnage pour le la célèbre pièce de Jean Giraudoux, La compte de l'Allemagne de l'Est. James Folle de Chaillot. Il espère même con­ Mason et Maximilian Schell interpréteront vaincre Greta Garbo d'effectuer sa ren­ ces rôles. Le film s'intitulera A Deadly trée avec ce film. Affair. 66 SÉQUENCES 44 ALAIN RESNAIS, une fois terminé La chel Piccoli se partageront la tête d'affi­ Guerre est finie, entreprendra Je t'aime, che. ie t'aime, l'histoire d'un étrange voyage à travers le temps. ORSON WELLES a plusieurs projets : une nouvelle adaptation de Treasure Island, TONY RICHARDSON tourne en Grèce et un sujet original. Les Monstres sacrés en Italie les diverses scènes de son film avec Jeanne Moreau (encore), et la Le Marin de Gibraltar dont la vedette est mise en images du Roi Lear de Sha Jeanne Moreau. Le scénario est tiré d'un kespeare. roman de Marguerite Duras. f BILLY WILDER a retrouvé son interprète FRANCOIS TRUFFAUT a enfin pu se met- favori, Jack Lemmon, pour une nouvelle à l'oeuvre en Angleterre sur un projet comédie satirique, The Fortune Coockie. longtemps caressé : l'adaptation à l'é­ cran d'un roman de science-fiction de WILLIAM WYLER aime bien l'atmosphère Ray Bradbury, Farenheit 451. Oskar Wer­ des studios de Paris où il tourne, avec ner, qui fut le Jules de Jules et Jim, et Audrey Hepburn, Peter O'Toole et Charles Julie Christie, sacrée grande vedette par Boyer, une comédie sur l'art d'être un Darling et Doctor Zhivago, vivront des peintre faussaire. How to Steal a Million aventures étranqes dans une ville de l'a­ Dollars and Live Happily Ever After. venir où les pompiers ont pour fonction de brûler les livres, sources de subver­ FRED ZINNEMANN prépare l'adaptation sion et d'inquiétude. d'une pièce de Robert Boit, scénariste de Lawrence of Arabia et Doctor Zhivago. Il AGNÈS VARDA s'affaire à la réalisation s'agit d'un drame qui évoque la vie du de son quatrième long métrage, Les Créa­ chancelier d'Angleterre, Thomas More, tures, où le monde imaginé par un ro­ qui fut décapité sur l'ordre d'Henry VIII mancier se mêle étrangement à la réalité et que l'Eglise honore comme un saint. qui l'entoure. Catherine Deneuve et Mi­ Cela s'intitule A Man for All Seasons. Les Créatures, d'Agnès Varda .
Recommended publications
  • Smoothing the Wrinkles Hollywood, “Successful Aging” and the New Visibility of Older Female Stars Josephine Dolan
    Template: Royal A, Font: , Date: 07/09/2013; 3B2 version: 9.1.406/W Unicode (May 24 2007) (APS_OT) Dir: //integrafs1/kcg/2-Pagination/TandF/GEN_RAPS/ApplicationFiles/9780415527699.3d 31 Smoothing the wrinkles Hollywood, “successful aging” and the new visibility of older female stars Josephine Dolan For decades, feminist scholarship has consistently critiqued the patriarchal underpinnings of Hollywood’s relationship with women, in terms of both its industrial practices and its representational systems. During its pioneering era, Hollywood was dominated by women who occupied every aspect of the filmmaking process, both off and on screen; but the consolidation of the studio system in the 1920s and 1930s served to reduce the scope of opportunities for women working in off-screen roles. Off screen, a pattern of gendered employment was effectively established, one that continues to confine women to so-called “feminine” crafts such as scriptwriting and costume. Celebrated exceptions like Ida Lupino, Dorothy Arzner, Norah Ephron, Nancy Meyers, and Katherine Bigelow have found various ways to succeed as producers and directors in Hollywood’s continuing male-dominated culture. More typically, as recently as 2011, “women comprised only 18% of directors, executive producers, cinematographers and editors working on the top 250 domestic grossing films” (Lauzen 2012: 1). At the same time, on-screen representations came to be increasingly predicated on a gendered star system that privileges hetero-masculine desires, and are dominated by historically specific discourses of idealized and fetishized feminine beauty that, in turn, severely limit the number and types of roles available to women. As far back as 1973 Molly Haskell observed that the elision of beauty and youth that underpins Hollywood casting impacted upon the professional longevity of female stars, who, at the first visible signs of aging, were deemed “too old or over-ripe for a part,” except as a marginalized mother or older sister.
    [Show full text]
  • 1,000 Films to See Before You Die Published in the Guardian, June 2007
    1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation.
    [Show full text]
  • Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
    InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive
    [Show full text]
  • Kiss Me Deadly by Alain Silver
    Kiss Me Deadly By Alain Silver “A savage lyricism hurls us into a world in full decomposition, ruled by the dissolute and the cruel,” wrote Raymond Borde and Etienne Chaumeton about “Kiss Me Deadly” in their seminal study “Panorama du Film Noir Américain.” “To these violent and corrupt intrigues, Aldrich brings the most radical of solutions: nuclear apoca- lypse.” From the beginning, “Kiss Me Deadly” is a true sensory explosion. In the pre- credit sequence writer A.I. Bezzerides and producer/director Robert Aldrich introduce Christina (Cloris Leachman), a woman in a trench coat, who stumbles out of the pitch darkness onto a two-lane blacktop. While her breathing fills the soundtrack with am- plified, staccato gasps, blurred metallic shapes flash by without stopping. She posi- tions herself in the center of the roadway until oncoming headlights blind her with the harsh glare of their high beams. Brakes grab, tires scream across the asphalt, and a Jaguar spins off the highway in a swirl of dust. A close shot reveals Mike Hammer Robert Aldrich on the set of "Attack" in 1956 poses with the first (Ralph Meeker) behind the wheel: over the edition of "Panorama of American Film Noir." Photograph sounds of her panting and jazz on the car ra- courtesy Adell Aldrich. dio. The ignition grinds repeatedly as he tries to restart the engine. Finally, he snarls at her, satisfaction of the novel into a blacker, more sardon- “You almost wrecked my car! Well? Get in!” ic disdain for the world in general, the character be- comes a cipher for all the unsavory denizens of the For pulp novelist Mickey Spillane, Hammer's very film noir underworld.
    [Show full text]
  • SCMS 2019 Conference Program
    CELEBRATING SIXTY YEARS SCMS 1959-2019 SCMSCONFERENCE 2019PROGRAM Sheraton Grand Seattle MARCH 13–17 Letter from the President Dear 2019 Conference Attendees, This year marks the 60th anniversary of the Society for Cinema and Media Studies. Formed in 1959, the first national meeting of what was then called the Society of Cinematologists was held at the New York University Faculty Club in April 1960. The two-day national meeting consisted of a business meeting where they discussed their hope to have a journal; a panel on sources, with a discussion of “off-beat films” and the problem of renters returning mutilated copies of Battleship Potemkin; and a luncheon, including Erwin Panofsky, Parker Tyler, Dwight MacDonald and Siegfried Kracauer among the 29 people present. What a start! The Society has grown tremendously since that first meeting. We changed our name to the Society for Cinema Studies in 1969, and then added Media to become SCMS in 2002. From 29 people at the first meeting, we now have approximately 3000 members in 38 nations. The conference has 423 panels, roundtables and workshops and 23 seminars across five-days. In 1960, total expenses for the society were listed as $71.32. Now, they are over $800,000 annually. And our journal, first established in 1961, then renamed Cinema Journal in 1966, was renamed again in October 2018 to become JCMS: The Journal of Cinema and Media Studies. This conference shows the range and breadth of what is now considered “cinematology,” with panels and awards on diverse topics that encompass game studies, podcasts, animation, reality TV, sports media, contemporary film, and early cinema; and approaches that include affect studies, eco-criticism, archival research, critical race studies, and queer theory, among others.
    [Show full text]
  • And the Ship Sails On
    And The Ship Sails On by Serge Toubiana at the occasion of the end of his term as Director-General of the Cinémathèque française. Within just a few days, I shall come to the end of my term as Director-General of the Cinémathèque française. As of February 1st, 2016, Frédéric Bonnaud will take up the reins and assume full responsibility for this great institution. We shall have spent a great deal of time in each other's company over the past month, with a view to inducting Frédéric into the way the place works. He has been able to learn the range of our activities, meet the teams and discover all our on-going projects. This friendly transition from one director-general to the next is designed to allow Frédéric to function at full-steam from day one. The handover will have been, both in reality and in the perception, a peaceful moment in the life of the Cinémathèque, perhaps the first easy handover in its long and sometimes turbulent history. That's the way we want it - we being Costa-Gavras, chairman of our board, and the regulatory authority, represented by Fleur Pellerin, Minister of Culture and Communication, and Frédérique Bredin, Chairperson of the CNC, France's National Centre for Cinema and Animation. The peaceful nature of this handover offers further proof that the Cinémathèque has entered into a period of maturity and is now sufficiently grounded and self-confident to start out on the next chapter without trepidation. But let me step back in time. Since moving into the Frank Gehry building at 51 rue de Bercy, at the behest of the Ministry of Culture, the Cinémathèque française has undergone a profound transformation.
    [Show full text]
  • The Problem Body Projecting Disability on Film
    The Problem Body The Problem Body Projecting Disability on Film - E d i te d B y - Sally Chivers and Nicole Markotic’ T h e O h i O S T a T e U n i v e r S i T y P r e ss / C O l U m b us Copyright © 2010 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data The problem body : projecting disability on film / edited by Sally Chivers and Nicole Markotic´. p. cm. Includes bibliographical references and index. ISBN 978-0-8142-1124-3 (cloth : alk. paper)—ISBN 978-0-8142-9222-8 (cd-rom) 1. People with disabilities in motion pictures. 2. Human body in motion pictures. 3. Sociology of disability. I. Chivers, Sally, 1972– II. Markotic´, Nicole. PN1995.9.H34P76 2010 791.43’6561—dc22 2009052781 This book is available in the following editions: Cloth (ISBN 978-0-8142-1124-3) CD-ROM (ISBN 978-0-8142-9222-8) Cover art: Anna Stave and Steven C. Stewart in It is fine! EVERYTHING IS FINE!, a film written by Steven C. Stewart and directed by Crispin Hellion Glover and David Brothers, Copyright Volcanic Eruptions/CrispinGlover.com, 2007. Photo by David Brothers. An earlier version of Johnson Cheu’s essay, “Seeing Blindness On-Screen: The Blind, Female Gaze,” was previously published as “Seeing Blindness on Screen” in The Journal of Popular Culture 42.3 (Wiley-Blackwell). Used by permission of the publisher. Michael Davidson’s essay, “Phantom Limbs: Film Noir and the Disabled Body,” was previously published under the same title in GLQ: A Journal of Lesbian and Gay Studies, Volume 9, no.
    [Show full text]
  • Mit 20 Partnern Hat Facebook
    10 HF3 FEUILLETON Montag, 15. Juli 2019, Nr. 161 DEFGH it 20 Partnern hat Facebook die MEDIA PLAYER digitale Weltwährung „Libra“ an- M gekündigt. Wenn man das Konsor- Chop, chop, Sweet Charlotte, singen die tium so gewähren lässt, wie das bisher mit Kinder, ein böses Hackebeilchenlied: allen Digitalservices der Fall war, wird es Der Liebhaber der jungen Charlotte, mit sich um die disruptivste Innovation unse- dem sie davonlaufen wollte, wurde res Jahrzehnts handeln. Libra steht wahr- ermordet, Hand ab, Kopf ab, und Char- scheinlich auf solideren Füßen als unser lotte erschien danach auf dem Fest, das gegenwärtiges Geldsystem, ist einfach ihr dominanter Vater gab, mit einer nutzbar und für 1,5 Milliarden Whatsapp- Menge Blut auf ihrem weißen Abend- Nutzer sofort verfügbar. 75% aller Geschäf- kleid. Ein untreuer Mann muss ster- te weltweit akzeptieren heute Visa oder ben… Das war 1927, im tiefen Süden der Mastercard, die Libra mit ihren 1,5 Millio- USA: Dekadenz, Irrsinn, Pathos, Grand nen Kunden ebenso unterstützen. Mit ei- Guignol. Mit „Hush ... Hush, Sweet Char- nem Schlag kann das Konsortium alle nur lotte/Wiegenlied für eine Leiche)“ woll- denkbaren Netzwerkeffekte im digitalen te Robert Aldrich 1964 den Erfolg seines Zahlungsbereich ausschöpfen. Damit ist Li- Schockers „Whatever Happened to bra unmittelbar und überall präsent. Eine Baby Jane“ fortsetzen, der den fiesen globale ökonomische Revolution. Schwesternkrieg zwischen Bette Davis Wer glaubt, dass nach der Einführung und Joan Crawford vorführte. Davis ist von Libra ein e-Euro oder irgendeine ande- wieder dabei, als Charlotte, ein halbes re Kryptowährung von Bedeutung sein Jahrhundert danach, aber heftig be- kann, der täuscht sich gewaltig.
    [Show full text]
  • Press Information April | May 2016 Christian Petzold Complete Works
    Press Information April | May 2016 The Austrian Film Museum is pleased to welcome two outstanding figures of contemporary cinema to Vienna – Kelly Reichardt and Christian Petzold . Petzold will be present for five days of Q&A sessions, holding a seminar and a masterclass, and launching a full retrospective of his work and a substantial Carte Blanche program (April 7 – May 4). Kelly Reichardt will discuss her early features with the Vienna audience on May 5. A further program will focus on Kevin B. Lee , a chief protagonist of the exceedingly virulent video essay genre (April 18-20). Inspired by Christian Petzold’s The State I Am In and Phoenix , the Film Museum also presents the thematic series Unreconciled (April 22 – May 4), relating to filmmaker and RAF member Holger Meins (1941–1974), the German Film and Television Academy ( dffb ) of the 1960s and the early work of Jean-Marie Straub and Danièle Huillet . Straub-Huillet are at the center of a new English-language volume in the Film Museum’s book series , to be published in April and coinciding with a major touring retrospective of their films . The tour will start on May 6 at MoMA, New York, to be followed by many presentations in North America and Europe, including the Centre Pompidou in Paris. Christian Petzold Complete Works and Carte Blanche When the Austrian Film Museum first dedicated a retrospective to Christian Petzold (b. 1960), his film Die innere Sicherheit (The State I Am In, 2000) had just “launched him from an insiders’ tip to one of German cinema’s most important protagonists” – an assessment that has since been confirmed several times over.
    [Show full text]
  • A Guild Is Born Dorothy Arzner
    80-YEAR ANNIVERSARY The Screen KING VIDOR 1938 >“Women’s dramatic sense is “Directors Guild DOROTHY invaluable to the motion picture was organized industry,” said Dorothy Arzner, solely by ARZNER whose contributions include and for the First Female 80 YEARS STRONG motion picture being the first female member Member 1933 >The formation of the Directors director…. We of the Directors Guild. In early A GUILD Guild had been percolating for a are not anti- Hollywood, Arzner was a typist, number of years. Amid nationwide anything: the screenwriter, editor, and ultimately, director. IS BORN labor unrest in the country, the Guild being She is believed to have developed the boom mic, studios had been squeezing directors formed for the enabling actors to move and speak more easily purpose of both financially and creatively. The first step toward in early talkies. At one time under contract to assisting and Paramount, Arzner is organizing a guild occurred in 1933 outside the Hol- improving the lywood Roosevelt Hotel, after a meeting in which best known for directing director’s work such strong personalities the studios announced a 50 percent across-the-board in the form of pay cut. After the meeting, King Vidor and a handful a collective as Clara Bow, Claudette of directors congregated on the sidewalk and knew body, rather Colbert, Katharine something had to be done. They understood, as Vidor than as an Hepburn, and Joan put it, “We must have a guild to speak [for us], and individual. Crawford in films such not the individual, who can be hurt by standing up as Honor Among Lovers “I worked on my for his rights.” That guild was born in late 1935 and ” (1931) and Christopher first project under Strong (1933).
    [Show full text]
  • Filmregister
    Filmregister apocalypse now (USA 1979, Francis Ford 198, 199, 200, 201, 203, 204, 206, 209, Coppola) 5, 39, 40, 41, 42, 43, 44, 45, 217, 221, 248, 292, 325, 330, 340 140, 141, 241, 332, 335, 337, 339, 353 attack! (USA 1956, Robert Aldrich) 71, 297, hamburger hill (USA 1987, John Irvin) 5, 190 330 holocaust (USA 1978) 325 a walk in the sun (USA 1945, Lewis Milestone) 25, 309, 311, 318 immortal sergeant (USA 1943, John M. Stahl) 161 band of brothers (GB/USA 2001) 325 in the valley of elah (USA 2007, Paul bataan (USA 1943, Tay Garnett) 48, 138, 141, Haggis) 330 204, 205, 206, 207, 208, 209, 210, 213, 216, 217, 219, 221, 241, 245, 248, 252, jarhead (D/USA 2005, Sam Mendes) 335, 254 336, 337, 338, 339, 340, 346 beachhead to berlin (USA 1945) 151, 154, 156, 231, 232 kz falkenau, vision de l’impossible (F 1988, black hawk down (GB/USA 2001, Ridley Emil Weiss) 324 Scott) 322 les jeux sont faits (F 1947, Jean casualties of war (USA 1989, Brian de Delannoy) 227 Palma) 330, 334, 335, 348 letters from iwo jima (USA 2006, Clint Eastwood) 187 d-day in colour (GB/USA 2004) 154 december 7th (USA 1943, John Ford, Gregg merrill’s marauders (USA 1961, Sam Toland) 53, 160, 164, 165, 166, 167, 168, Fuller) 295 169, 170, 171, 174, 175, 176, 182, 186, mr. smith goes to washington (USA 1939, 187, 188, 217, 218, 221, 231, 233, 234, Frank Capra) 68, 69 240, 248, 311 my darling clementine (USA 1946, John duel in the sun (USA 1946, King Vidor) 162 Ford) 162 first blood (USA 1982, Ted Kotcheff) 191 patton (USA 1969/70, Franklin J.
    [Show full text]
  • The Proto-Filmic Monstrosity of Late Victorian Literary Figures
    Bamberger Studien zu Literatur, 14 Kultur und Medien “Like some damned Juggernaut” The proto-filmic monstrosity of late Victorian literary figures Johannes Weber 14 Bamberger Studien zu Literatur, Kultur und Medien Bamberger Studien zu Literatur, Kultur und Medien hg. von Andrea Bartl, Hans-Peter Ecker, Jörn Glasenapp, Iris Hermann, Christoph Houswitschka, Friedhelm Marx Band 14 2015 “Like some damned Juggernaut” The proto-filmic monstrosity of late Victorian literary figures Johannes Weber 2015 Bibliographische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliographie; detaillierte bibliographische Informationen sind im Internet über http://dnb.d-nb.de/ abrufbar. Diese Arbeit hat der Fakultät Geistes- und Kulturwissenschaften der Otto-Friedrich- Universität Bamberg als Dissertation vorgelegen. 1. Gutachter: Prof. Dr. Christoph Houswitschka 2. Gutachter: Prof. Dr. Jörn Glasenapp Tag der mündlichen Prüfung: 28. Januar 2015 Dieses Werk ist als freie Onlineversion über den Hochschulschriften-Server (OPUS; http://www.opus-bayern.de/uni-bamberg/) der Universitätsbibliothek Bamberg erreichbar. Kopien und Ausdrucke dürfen nur zum privaten und sons- tigen eigenen Gebrauch angefertigt werden. Herstellung und Druck: Docupoint, Magdeburg Umschlaggestaltung: University of Bamberg Press, Anna Hitthaler Umschlagbild: Screenshot aus Vampyr (1932) © University of Bamberg Press Bamberg 2015 http://www.uni-bamberg.de/ubp/ ISSN: 2192-7901 ISBN: 978-3-86309-348-8 (Druckausgabe) eISBN: 978-3-86309-349-5 (Online-Ausgabe) URN: urn:nbn:de:bvb:473-opus4-267683 Danksagung Mein besonderer Dank gilt meinem Bruder Christian für seinen fachkundigen Rat und die tatkräftige Unterstützung in allen Phasen dieser Arbeit. Ich danke meinem Doktorvater Prof. Dr. Christoph Houswitschka für viele wichtige Denkanstöße und Freiräume.
    [Show full text]