DOCSLIB.ORG

Hunters Salvation Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

FREE HUNTERS SALVATION PDF Shiloh Walker | 320 pages | 03 Jul 2007 | Penguin Putnam Inc | 9780425216323 | English | New York, United States Hunter's Salvation (The Hunters, #11) by Shiloh Walker The Salvation Hunters is an American silent Hunters Salvationwhich marked the directorial debut of the year old Josef von Sternberg. The feature stars Georgia Hale and George K. Arthurand would bring Sternberg, "a new talent", to the attention of the major movie studies, including Metro- Goldwyn-Meyer and Paramount Pictures. Film Mercury included The Salvation Hunters in its ten-best list for the films of There are important fragments of life that have been avoided by the motion picture because Thought is concerned and not the Body. A thought can create and destroy Hunters Salvation it is all the more powerful because it is born of suffering, lives in silence, and dies when it has done its work. Our aim has been to photograph a thought—A thought that guides humans who crawl close to the earth—whose Hunters Salvation are simple— who begin nowhere and end Hunters Salvation. The story begins along a bleak waterfront in an unidentified harbor. Industrial refuse litters the shore. A giant Sisypheandredge Hunters Salvation mud from a Hunters Salvation and into a massive barge. The Boya fainthearted and feckless youth, wanders aimlessly amid the wreckage. He fancies The Girl. The Child is an orphaned youngster. He silently haunts the mud barge where his parents lost their lives. The Brute is a man of indeterminate age and short-tempered. He acts as watchman aboard the barge. The Brute makes a pass at The Girl. She cuts him cold with a glare and he retreats. Frustrated, The Brute assaults The Child who has trespassed on the barge. The Boy witnesses the assault, but is frozen by his cowardice. The Hunters Salvation, with a single word, shames him into action. He gingerly collects The Child, and they flee together with The Brute in pursuit. The Girl, with a look, signals the dredge operator, who unleashes a torrent of mud on the head of The Brute. The Boy, The Girl and The Child escape from the desolate docks to the slums of an unnamed metropolis. As the threesome trudge through Hunters Salvation back alleys of the city, they are spotted by The Man and his client, The Gentl eman. The Man accosts The Boy and confirms Hunters Salvation he suspects: they are homeless and penniless. He assures The Boy that jobs are plentiful, and offers to provide a room for the trio while The Boy seeks employment. The Man's aim is to enlist The Girl as a prostitute. When they are ushered into the seedy flat, The Womana sex worker, attempts to provide them with some refreshment. As the hours pass, The Girl becomes increasingly anxious due to The Child's pleas for food. The Boy returns from his futile search for work demoralized. They are on the verge Hunters Salvation despair. The Boy indulges in a vivid fantasy, in which he, The Girl and The Child are transformed into wealthy aristocrats, who arrive at their estate escorted by servants dressed in faux-military livery. The Gentlemen, with the encouragement of the Man, enters the room expecting to negotiate sex with a prostitute. The Girl coldly considers the proposition. The Boy becomes distraught when he discerns The Girl's ambivalence. The Gentleman, grasping her dilemma, bestows a gift of money on the Girl without comment and quietly takes his leave. The Child snatches the largesse and bolts to the door, returning Hunters Salvation with provisions for a meal — the crisis past. The Man, thwarted in his endeavor, devises another plan in collusion with The Woman. They invite the young trio to an outing in the countryside. The Hunters Salvation is tasked with distracting The Boy during the seduction. The party of five arrives in the country in a touring car. Exasperated, he lashes out at The Child. The Boy, shedding his Hunters Salvation, leaps to the defense of the little boy and beats The Man into submission with his fists. The Girl rejoices that The Boy has claimed his manhood. English actor and producer George K. Sternberg contributed the bulk of his personal savings to meet budgetary shortfalls. Filming began in the fall of Due to budgetary restraints, Sternberg and Arthur employed Hollywood extras, so-called "supers", rather than featured players. Georgia Hale was a cabaret singer and dress extra on Vanity's Price when Hunters Salvation tapped for the role of The Girl. She and most of the cast agreed to "defer" salaries. Many walked out, and so did I. In the aftermath of the film's brief showing, Arthur took steps to see that a print was smuggled into the home of actor-director-producer Charlie Chaplinwhere it received a private viewing by the film star and associates Douglas Fairbanks, Sr. Chaplin was particularly enthusiastic about the Hunters Salvation. Cecil B. Malcolm St. With his star rising among the studio executives, Sternberg signed a long-term contract with Metro-Goldwyn-Meyer. Despite this promising entry into commercial movie-making his "association [with Metro] was doomed from Hunters Salvation start" as evidenced in his first feature The Hunters Salvation Sinner. From Wikipedia, the free encyclopedia. Release date. Running time. Films directed by Josef von Sternberg. Categories : films drama films American silent feature films American black-and-white films American films Films directed by Josef von Sternberg World Hunters Salvation Company films directorial debut films American drama films. Hidden categories: Use mdy dates from September Articles with short description Short Hunters Salvation is different from Wikidata Template film date with 1 release date. Namespaces Article Talk. Views Hunters Salvation Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Georgia Hale George K. Hunter's Salvation (Hunters Series #11) by Shiloh Walker, Paperback | Barnes & Noble® In this dazzling sequel to the bestselling novel Hunting the Hunter, Shiloh Walker returns to Hunters Salvation the story of another unique hero at the heart of a strange new Hunters Salvation. Vax was once committed to his life as a Hunter, tracking down the evil beings who prey on humans, but he opted out of the game long ago. Now, somebody, somewhere, is in danger. When you buy a book, we donate a book. Sign in. The Best Books of So Far. Jul 03, ISBN Add to Cart. Also available from:. Available from:. Paperback —. Also in The Hunters. Also by Shiloh Walker. See all books by Shiloh Walker. Product Details. Inspired by Your Browsing History. Shiloh Walker. Veil of Shadows. Gray Bishop. Visions of Hunters Salvation. Regan Hastings. Visions of Skyfire. Hunters Salvation Dreams May Come. Sherrilyn KenyonRobin D. Owens and Rebecca Hunters Salvation. White Knight. Hot Summer Bites. All That Falls. Kimberly Frost. Black Rook. Hunting Daylight. Piper Maitland. On the Hunt. Jessica AndersenShannon K. ButcherGena Showalter and Deidre Knight. Embrace of the Damned. Day of the Dragon. Rebecca York. Highland Rogue. Tess Mallory. I Spy a Naughty Game. Dire Warning. Stephanie Tyler. Inked Destiny. Wicked Whispers. A Taste of Ice. Hanna Martine. Darkness at Dawn. Elizabeth Jennings. I Spy a Hunters Salvation Obsession. Allegiance Sworn. Kylie Griffin. Sucker Bet. Erin McCarthy. Sheri Whitefeather. Heart of the Condor. Laura Renken. Alexis Morgan. Angela Knight. Real Vampires Know Size Matters. Gerry Bartlett. Rubies and Black Velvet. Denise Rossetti. Related Articles. Looking for More Great Reads? Download Hi Res. LitFlash The eBooks you want at the lowest prices. Read it Forward Hunters Salvation it first. Pass it on! Stay in Touch Sign up. Hunters Salvation are experiencing technical difficulties. Hunters Salvation try again later. Become a Member Start earning points for buying books! The Salvation Hunters () - IMDb Build up your Halloween Watchlist with our list of Hunters Salvation most popular horror titles on Netflix in October. Hunters Salvation the list. Title: The Salvation Hunters A cowardly young man, a bitter young woman and a helpless child live on the docks, spend their days full of ennui watching a dredge dig the same hole day in and day out, chased around by the dredge workers. One day they up and decide to leave for the city together, after seeing a black cat. Just watched this film and I'm not sure what to think. There was a sliver of biography preceding the film that talked about George K. Von Sternberg fashioned a story about life with Hunters Salvation harbor dredge acting as a symbol of Hunters Salvation futility as it gouges up harbor mud even as the shore crumbles back into the sea. He already has The Woman in another room, seemingly a prisoner. After a failed tryst, The Man thinks that maybe a trip to the country will make The Girl more pliable but he has to take everyone along. When The Child gets in the way of The Man's advances, he starts beating the kid so that The Boy comes to his rescue, finds his own manhood, Hunters Salvation trounces the cad. The three walk away into the sunset and "to the sun. The bio tells us that Chaplin saw this Nellie Bly Baker had been his secretary and had appeared in a few of his films and was impressed. The question remains: exactly what did these 3 giants see in this film? Looking for something to watch? Choose an adventure below and discover your next favorite movie or TV show. Visit our What to Watch page. Sign In. Keep track of everything you watch; tell your friends. Full Hunters Salvation and Crew.
Recommended publications
  • Josef Von Sternberg, L'américain

    Josef Von Sternberg, L'américain

    CINÉMA PROGRAMME Programmation de films muets en ciné-concert Visites Centre de recherche • Galerie des collections Visites guidées • Galerie des appareils Fondation Jérôme Seydoux-Pathé Josef von Sternberg, l’américain du 25 septembre au 18 octobreN°09 2019 73 avenue des Gobelins, 75013 Paris - 01 83 79 18 96 / www.fondation-jeromeseydoux-pathe.com Josef von Sternberg, l’américain du 25 septembre au 18 octobre 2019 La Fondation Jérôme Seydoux-Pathé revient sur les premiers pas de la carrière de Josef von Sternberg et plonge dans l'univers de ses films muets, d'une rare intensité. Cycle proposé et conçu par Théo Esparon, historien et programmateur, doctorant à l’Université Paris-Nanterre. Loin d’être seulement l’immigré autrichien sévère que l’on a bien voulu décrire, Josef von Sternberg fit ses premiers pas dans les studios de Fort Lee où il travaille avec les réalisateurs Emile Chautard et Maurice Tourneur. Après quelques épisodiques voyages à Londres, Berlin et Vienne, il réalise son premier film « The Salvation Hunters » en 1925, Theun Ring film © British écrit Film comme Institute une fable qui plonge dans la boue du port de San Pedro. C’est Chaplin qui, le premier, applaudit son travail ; il l’invite à écrire un scénario pour Mary Pickford et produit son film suivant, le seul pour lequel il n’est ni acteur ni réalisateur, « A Woman of The Sea ». Le premier film est abandonné et le second sera finalement détruit. La carrière de Sternberg, émaillée de faux départs, éclaire une histoire méconnue du cinéma. Elle naît dans le berceau cosmopolite de New York, se poursuit vers l’Ouest, croise la création de la Metro-Goldwyn-Mayer et le montage de la « Symphonie nuptiale » (« The Wedding March », 1928) d’Erich von Stroheim et s’assoit enfin à la Paramount avec l’immense succès des « Nuits de Chicago » (« Underworld », 1927).
  • Der Blaue Engel" Von Josef Von Sternberg

    Der Blaue Engel" Von Josef Von Sternberg

    Heinrich Manns Roman "Professor Unrat" und die Verfilmung "Der Blaue Engel" von Josef von Sternberg. Ein Vergleich Deanović, Katarina Master's thesis / Diplomski rad 2014 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: Josip Juraj Strossmayer University of Osijek, Faculty of Humanities and Social Sciences / Sveučilište Josipa Jurja Strossmayera u Osijeku, Filozofski fakultet Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:142:040046 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-26 Repository / Repozitorij: FFOS-repository - Repository of the Faculty of Humanities and Social Sciences Osijek Sveučilište J.J. Strossmayera u Osijeku Filozofski fakultet Diplomski studij njemačkog jezika i književnosti Nastavničko usmjerenje Katarina Deanović Heinrich Manns Roman „Professor Unrat“ und die Verfilmung „Der Blaue Engel“ von Josef von Sternberg. Ein Vergleich. Diplomski rad Mentor: prof.dr.sc. Željko Uvanović Osijek, 2014. Inhaltsverzeichnis 1.Einleitung 3 2. Das Verhältnis zwischen Film und Literatur 4 2.1.Film und Roman 4 2.2.Literaturverfilmung 5 2.3.Methodologische Problematik 7 2.3.1.Perspektiven und Grenzen einer vergleichenden Analyse 7 2.3.2. Der Vergleich auf der narrativen Ebene 9 2.4.Die Problematik bei der Verfilmung von literarischen Werken 10 2.4.1. Treue oder Änderung 11 2.4.2. Autonomie oder Dependenz 12 2.4.3. Kürzung oder Intaktheit 12 2.4.4. Komplexität oder Vereinfachung 13 2.4.5. Vulgarisierung 13 3. Zeitgeschichtlicher Hintergrund – Wilhelminismus 15 4. Biographie Heinrich Mann 17 4.1.Zur Entstehung des Romans „Professor Unrat“ 19 4.2. Zum Roman 20 4.3. Die Inhaltsangabe des Romans 21 4.4.
  • German Cinema As a Vehicle for Teaching Culture, Literature

    German Cinema As a Vehicle for Teaching Culture, Literature

    DOCUMENT7RESUMEA f ED 239 500 FL 014 185 AUTHOR' Duncan, Annelise M. TITLE German Cinema as a Vehicle for Teaching Culture, . Literature and Histoy. 01 PUB DATE Nov 83 . NOTE Pp.; Paper presented at the Annual' Meeting of the. AmeriCan Council on the Teaching of Foreign Languages (San Franci co, , November 24-26, 1993), PUB TYPE Guides - Cla r om User Guides (For Teachers) (052) Speeches/Conference Papers "(150) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Art Education; *Cultural Education; . *Film Study; *German; Higher Educati-on; History InStruction; Instructional Materials; Interdisciplinary Approach; *Literature Appreciation; *SeCond Language Instruction; Social HiStory ABSTRACT The use of German film in four instructional; contexts, based on experiences in developinga university course,, is aiScussed. One use is as part ofa German culture course taught in German, emphasizing the role of film as a cultural statement of ,its time, intended to be'either a social criticismor a propaganda tool.t A second use is integration of the film intoa literature course taught in German, employing a series of television' plays acquired from the Embassy of Wkst Germany. Experience with filmas part of an interdisciplinary German/journalism course offers ideas for,a third use: a curriculum, offered in Engl4sh, to explore a hi toric pdriod or film techniques. A fourth use is as an element of p riod course taught either in German or,if interdepartmental, En fish, such as a. course on t'he artistic manifestations of expres (Author/MSE) O 9- * * * * * * * * * * * * * * * * * * * * * * * * ** * * * * * * * * * * * * * * * * * * * * * 4* * ** * * * * * * * * * *********** Reproductions supplied by EDRS are the best thatcan be made '* from the original document.
  • I^Tisssn MUSIC by Dean SCHWARTZ W ( CATHERINE BALL! J«*Cs3ee2e3e3e*S Re a Ballroom Dancing, Rhythm, Poise, Icing, Stretching, Routines-, Positions for MRS

    I^Tisssn MUSIC by Dean SCHWARTZ W ( CATHERINE BALL! J«*Cs3ee2e3e3e*S Re a Ballroom Dancing, Rhythm, Poise, Icing, Stretching, Routines-, Positions for MRS

    'AMUSEMENTS.'* 2 THE SfcDAY STATU TTASHINGTON, T>. C., OCTOBER 14, 1928—PART 4.' AMUSEMENTS/ BELIEVES IN YOUTH Every One a Talkie. More of Craig’s “Macbeth.” AMES says he does not SILENCE IN THE STUDIOS I? VERY picture made by First Na- ¦yjy/INTHROP *“* Personality Counts. fear youth in the theater. tional hereafter will be a dialogue picture. His career producer of notable J~)QUGLAS ROSS, the producer, who > and epitomize pure evil, hate and de- as a This announcement was made by A1 plays is marked by his discovery of 1-1 AS your family cat screen per- who struts her stuff at sls a is staging Gordon Craig’s produc- . struction. The witches are not playful a Rockett, production and studio man- x 1 ¦, chicken , little dames; they are the anti-type of ager upon sonality? ! day and keeps so busy uplifting the 4tion of “Macbeth,” a George C. Tyler number of players who since have be- at the Burbank plant, his re- angels. turn from New York recently. If no. there's a chance for him—or standard of screen acting that she promised coming come prominent on the stage. When her—in scarcely lay eggs, attraction of the sea- “The castle courtyard, with its men- I While in the East he conferred with Hollywood. ! has time to son, has this to say: acing masses, will suggest mystery, a he brought out Maurice Maeterlinck's Irving Cats playing just extra roles, so to i A monkey that has played in more firm belief D. Rossheim. president of the speak, 50 dollar pictures “My in this production is sense of dread.
  • Something Like an Autobiography.Pdf

    Something Like an Autobiography.Pdf

    Akira KUROSAWA Something Like an Autobiography Translated by Audie E. Bock VINTAGE BOOKS A DIVISION OF RANDOM HOUSE NEW YORK First Vintage Books Edition, May 1983 Copyright © 1982 by Akira Kurosawa Appendix copyright 1975 by Toho Company, Ltd., Japan All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Random House, Inc., New York, and simultaneously in Canada by Random House of Canada Limited, Toronto. Originally published by Alfred A. Knopf, Inc. in 1982. This book is published under a program designed to encourage the translation and publication of major Japanese writings not previously available in English. The program was conceived by the Japanese Society of New York, and Alfred A. Knopf, Inc., is grateful to the Society for its continued support. Library of Congress Cataloging in Publication Data Kurosawa, Akira, 1910- Something like an autobiography. Translation of: Gama no abura. Includes index. 1. Kurosawa, Akira, 1910- 2. Moving-picture producers and directors—Japan—Biography. I. Title. PN1998.A3K789413 1983 791.43'0233'0924 [B] 82-48900 ISBN 0-394-71439-3 Illustrations follow page 119 Manufactured in the United States of America Cover photos courtesy of Akihide Tamura/Japan Society and The Museum of Modern Art Film Stills Archive Cover woodblock print by Hiroshige courtesy of Keith Sheridan. Translator's Preface I AWAITED my first meeting with Kurosawa Akira with a great deal of curiosity and a fair amount of dread. I had heard stories about his "imperial" manner, his severe demands and difficult temper. I had heard about drinking problems, a suicide attempt, rumors of emo­ tional disturbance in the late sixties, isolation from all but a few trusted associates and a contempt for the ways of the world.
  • Angel Sings the Blues: Josef Von Sternberg's the Blue Angel in Context

    Angel Sings the Blues: Josef Von Sternberg's the Blue Angel in Context

    FILMHISTORIA Online Vol. 30, núm. 2 (2020) · ISSN: 2014-668X REVIEW ESSAYS . Angel Sings the Blues: Josef von Sternberg’s The Blue Angel in Context ROBERT J. CARDULLO University of Michigan Abstract This essay reconsiders The Blue Angel (1930) not only in light of its 2001 restoration, but also in light of the following: the careers of Josef von Sternberg, Emil Jannings, and Marlene Dietrich; the 1905 novel by Heinrich Mann from which The Blue Angel was adapted; early sound cinema; and the cultural-historical circumstances out of which the film arose. In The Blue Angel, Dietrich, in particular, found the vehicle by which she could achieve global stardom, and Sternberg—a volatile man of mystery and contradiction, stubbornness and secretiveness, pride and even arrogance—for the first time found a subject on which he could focus his prodigious talent. Keywords: The Blue Angel, Josef von Sternberg, Emil Jannings, Marlene Dietrich, Heinrich Mann, Nazism. Resumen Este ensayo reconsidera El ángel azul (1930) no solo a la luz de su restauración de 2001, sino también a la luz de lo siguiente: las carreras de Josef von Sternberg, Emil Jannings y Marlene Dietrich; la novela de 1905 de Heinrich Mann de la cual se adaptó El ángel azul; cine de sonido temprano; y las circunstancias histórico-culturales de las cuales surgió la película. En El ángel azul, Dietrich, en particular, encontró el vehículo por el cual podía alcanzar el estrellato global, y Sternberg, un hombre volátil de misterio y contradicción, terquedad y secretismo, orgullo e incluso arrogancia, por primera vez encontró un tema en el que podía enfocar su prodigioso talento.
  • Au Cinema Le 2 Avril 2014

    Au Cinema Le 2 Avril 2014

    GALESHKA MORAVIOFF présente AU CINEMA LE 2 AVRIL 2014 L’ANGE BLEU Le chef-d’œuvre de Josef von Sternberg Avec Marlene Dietrich et Emil Jannings Durée : 1h48 – Allemagne – 1930 DCP 2K – N&B – 1.33 – Mono VERSION RESTAUREE EN HAUTE DEFINITION AU CINEMA LE 2 AVRIL 2014 www.films-sans-frontieres.fr/angebleu Presse et distribution FILMS SANS FRONTIERES Christophe CALMELS 70, bd Sébastopol - 75003 Paris Tel : 01 42 77 01 24 / 06 03 32 59 66 Fax : 01 42 77 42 66 Email : [email protected] SYNOPSIS Dans l'Allemagne provinciale des années 20, un vieux professeur de lycée, qui règne sur ses élèves en despote, se retrouve un jour dans un cabaret mal famé, L'ange bleu. Sa rencontre avec la chanteuse vedette, Lola Lola, bouleverse son existence routinière, et l'entraîne dans un tourbillon passionnel et destructeur... Premier film parlant du cinéma allemand, L'ange bleu dresse le portrait poignant d'un homme victime de son propre désir, servi par une prestation hors-pair du "monstre sacré" Emil Jannings. Mais c'est avant tout la rencontre entre la flamboyance visuelle de Josef von Sternberg et la plastique provocante de Marlene Dietrich qui fait de L'ange bleu un des joyaux inestimables du 7ème art. L’ANGE BLEU – LA NAISSANCE D’UN MYTHE Symbole éternel d'une féminité destructrice et irrésistible, Marlene Dietrich restera à jamais associée à L'ange bleu, ainsi qu'à son génial Pygmalion, Josef von Sternberg, avec qui elle réalisera ses plus beaux films. C'est ce dernier qui, la découvrant sur une scène de théâtre en 1929, lui fait passer une audition et l'impose pour le rôle de Lola Lola, contre l'avis de la maison de production, la UFA, et de la star masculine du film, Emil Jannings.
  • Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress

    Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress

    INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
  • LES STUDIOS D'hollywood UA

    LES STUDIOS D'hollywood UA

    LES STUDIOS d’HOLLYWOOD UA Pour de nombreux amateurs de cinéma, la United Artists Corporation ne représente que le studio à qui l'on doit les aventures de l'agent 007. D'autres la perçoivent plutôt comme une simple sous-filiale de la Metro-Goldwyn-Mayer. Pourtant, la United Artists constitue l'un des studios les plus âgés de l'histoire du cinéma, prenant pleinement racine dans le trio des ¨Minors¨ au début du siècle. Son catalogue se compose de films prestigieux; City Lights (1931) de Charlie Chaplin, Henry V (1944) de Laurence Olivier, 12 Angry Men (1957) de Sidney Lumet, The Misfits (1961) de John Huston, West Side Story (1961), One Flew Over the Cuckoo's Nest (1975) et Rocky (1976). Une association d'artistes à l'origine du studio La United Artists fut fondé en 1919 par quatre personnalités du cinéma: Douglas Fairbanks, Charlie Chaplin, Mary Pickford et le réalisateur D.W. Griffith. Dès ses débuts, la United Artists adopta une stratégie axée sur la distribution des productions indépendantes. Elle privilégia ainsi les créateurs en leur octroyant un droit de contrôle artistique et commercial. Préférant renoncer à l'achat de salles de cinéma et de plateaux de tournage, la compagnie opta plutôt pour une structure simplifiée et s'abstint de financer les films de son répertoire. Contrairement aux pratiques de mise durant la période 1920-1940, la United Artists évita en plus de participer à la réservation en lot (block- booking) de sa production. Cette stratégie marketing visait à forcer un exploitant ou une chaîne d'exploitation à louer un ensemble indivis de films.
  • The Salvation Hunters»

    The Salvation Hunters»

    2017 20:00 04.03.Grand Auditorium Samedi / Samstag / Saturday Ciné-Concerts «Sternberg: The Salvation Hunters» Brad Mehldau piano Joris Roelofs clarinette Michael Wilson violoncelle Film: The Salvation Hunters (1925) Josef von Sternberg scénario, réalisation George K. Arthur, Georgia Hale, Bruce Guerin… acteurs Brad Mehldau musique (2015) ~ 65’ sans pause Restoration by UCLA Film & Television Archive. Restoration funded by The Stanford Theatre Foundation. Scan and Digital Restoration (2015) by the Austrian Film Museum. Coproduction Cinémathèque de la Ville de Luxembourg et Philharmonie Luxembourg « Aux damnés de la terre » Stéphane Benaïm « Rapidement, je montai le film bout à bout et écrivit le texte des intertitres. Dans ma hâte, et dans les affres de l’épuisement, j’écrivis des choses qui me font encore frissonner maintenant. Un texte annonçait : « Les filles bien ne fument pas ». Mais à tout prendre, je trouvais le film réussi par rapport à ce que j’avais prévu. Au générique, je mentionnai que c’était le premier film que je réalisais et le dédiais « aux damnés de la terre ». Josef von Sternberg à propos de The Salvation Hunters, in De Vienne à Shanghai, les tribulations d’un cinéaste, Flammarion, 1989 The Salvation Hunters est la première œuvre de Josef von Sternberg comme réalisateur. Elle témoigne déjà de toute l’originalité du cinéaste qui, dès ses premiers pas, marque sa singularité dans un paysage hollywoodien assez uniforme et déjà très codifié. À l’inverse des autres productions de l’époque, The Salvation Hunters possède un rythme assez lent, presque contemplatif, à l’image de toute la www.mercedes-benz.lu première partie qui se déroule dans le port et qui se complaît à montrer le va-et-vient incessant des mâchoires d’acier des chalands Consommation de carburant cycle urbain/extra-urbain/mixte : 7,6 – 6,3/5,1 – 4,4/5,9 – 5,1 l/100 km qui creusent le fond des eaux boueuses pour tenter de les nettoyer.
  • THE FILMS of JOSEF VON STERNBERG by Andrew Sarris

    THE FILMS of JOSEF VON STERNBERG by Andrew Sarris

    te Museum oi rnArt Uif t 53 Street, New York, N.Y. 10019 Circle 5-890U ^aole: Modernart No. 112 cs Wednesday, October 27, 1965 FOR IMMEDIATE RELEASE THE FILMS OF JOSSF VON STERNBERG From November 1 through January 1, The Museum of Modern Art will present 16 films? directed by Josef von Sternberg between 1925 and 1953* The series, the most compre­ hensive ever held of the artistfs films, was selected by Andrew Sarris, movie critic and lecturer, columnist for The Village VoiceM and commentator of a weekly program on the movies for WBAI. "Sternberg," says Mr* Sarris in his forthcoming monograph*, "has always been interested less in men and their societies than in men and women, or more precisely, in man's, confrontation of the myths of womanhood, the underlying theme of Sternberg!an cinema from THE SALVATION HUNTERS to ANATAHAN. What has always seemed oblique and obscure in Sternberg's art as compared with that of his contemporaries is the director's reluctance to reveal everything about his characters •••<, There is usually more to Sternberg's characters than meets the eye, and after the advent of the talkies, the ear." Included in the series are von Sternberg's four silent films: his first and rarely seen film, THE SALVATION HUNTERS (1925); THE LAST COMMAND (1927-28); and, two of his gangster films: UNDERWORLD (1927) and THE DOCKS OF NEW YORK (1928), THE BLUE ANGEL (1930), the great success in which von Sternberg introduced Marlene Dietrich as. the "femme fat ale" to the screen, will be shown, as will six other films in which the actress starred: MOROCCO (1930), DISHONORED (1931), SHANGHAI EXPRESS (1932), BLONDE VENUS (1932), THE SCARLET EMPRESS (193k) and THE DEVIL IS A WOMAN (1935).
  • Report to the U. S. Congress for the Year Ending December 31, 2010

    Report to the U. S. Congress for the Year Ending December 31, 2010

    Report to the U.S. Congress for the Year Ending December 31, 2010 Created by the U.S. Congress to Preserve America’s Film Heritage Created by the U.S. Congress to Preserve America’s Film Heritage April 14, 2011 Dr. James H. Billington The Librarian of Congress Washington, D.C. 20540-1000 Dear Dr. Billington: In accordance with The Library of Congress Sound Recording and Film Preservation Programs Reauthorization Act of 2008 (Public Law 110-336), I submit to the U.S. Congress the 2010 Report of the National Film Preservation Foundation. Twelve years have passed since the NFPF gave its first film preservation grant, and it is tremendously heartening to see how far we have come. At that time, only the largest institutions had the money and know-how to preserve their film collections. Now, thanks to the federal funding secured by the Library of Congress and resources contributed by the entertainment industry, we have broadened the playing field and enabled 217 archives, libraries, and museums across 48 states to step up to the plate. These efforts have rescued 1,706 films that might otherwise have been lost—newsreels, docu- mentaries, silent-era features, avant-garde films, home movies, industrials, and independent productions that record our history and culture. Films preserved through the NFPF programs are used widely in education and reach audiences everywhere through exhibition, television, video, and the Internet. Repatriation is the newest film preservation frontier. In 2009, I reported the beginnings of a ground- breaking collaboration to preserve and make available American silent-era films discovered at the New Zealand Film Archive.