DOCSLIB.ORG

Piraten- Und Seefahrerfilm 2011

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Piraten- Und Seefahrerfilm 2011 Repositorium für die Medienwissenschaft Matthias Christen; Hans Jürgen Wulff; Lars Penning Piraten- und Seefahrerfilm 2011 https://doi.org/10.25969/mediarep/12750 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Christen, Matthias; Wulff, Hans Jürgen; Penning, Lars: Piraten- und Seefahrerfilm. Hamburg: Universität Hamburg, Institut für Germanistik 2011 (Medienwissenschaft: Berichte und Papiere 120). DOI: https://doi.org/10.25969/mediarep/12750. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0120_11.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Piraten- und Seefahrerfilme // Medienwissenschaft/Hamburg 120, 2011 /// 1 Medienwissenschaft / Hamburg: Berichte und Papiere 120, 2011: Piraten- und Seefahrerfilm. Redaktion und Copyright dieser Ausgabe: Matthias Christen, Hans J. Wulff, Lars Penning. ISSN 1613-7477. URL: http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0120_11.html Letzte Änderung: 28.4.2011. Piratenfilm: Ein Dossier gentlichen Piraten trennen, die „gegen alle Flaggen“ segelten und auf eigene Rechnung Beute machten. Inhalt: Zur Einführung: Die Motivwelt des Piratenfilms / Matthi- Selbst wenn die Helden und die sehr seltenen Hel- as Christen. dinnen die Namen authentischer Piraten wie Henry Piratenfilm: Eine Biblio-Filmographie. / Hans J. Wulff. Morgan, Edward Teach oder Anne Bonny tragen und 1. Bibliographie. 2. Filmographie der Piratenfilme. ihre Geschichte sich streckenweise an verbürgte Tat- Filmographie der Seefahrerfilme / Historische Segelschif- sachen hält, haben Piratenfilme jedoch weniger mit fahrtsfilme / Lars Penning. der historischen Realität zu tun als mit den Phantasi- en der Rezipienten, was Vincente Minnellis Musical THE PIRATE (1948) schon früh in der Geschichte des Genres zum Thema macht: Die behütete Bürgers- Zur Einführung: Die Motivwelt des tochter Manuela verliebt sich vom bloßen Hörensa- Piratenfilms gen unsterblich in den Piraten Macoco. In Erfüllung von Matthias Christen geht ihre romantische Sehnsucht jedoch nicht bei dem wirklichen Macoco, der längst unerkannt Teil der feinen Gesellschaft geworden ist, sondern bei ei- Die Handlung des Kerngenres – in der Regel zwi- nem Wanderschauspieler, der in die Rolle des ge- schen dem Beginn des 16. und dem Ende des 18. fürchteten Piraten schlüpft, um Manuela für sich zu Jahrhunderts angesiedelt – spielt auf hoher See oder gewinnen. Beispielhaft für das Genre als Ganzes exotischen Inseln, meist in der Karibik, seltener im bietet sich der Held hier als Projektionsfläche für die Mittelmeer oder im Indischen Ozean. Schauplatz Wunschträume seines Publikums an. Der Held des und Zeit entsprechen weitgehend den realen histori- Piratengenres ist eine in sich heterogene Figur: Er schen Begebenheiten. Denn ihren Höhepunkt er- verkörpert eine exotische Gegenwelt, die einer reichte die Piraterie in den ersten Jahrhunderten nach längst vergangenen Zeit angehört, liefert zugleich der Entdeckung Amerikas, als vor dessen Küsten die ein Spiegelbild der bestehenden gesellschaftlichen europäischen Großmächte Spanien, Portugal, Frank- Verhältnisse und ist zudem noch eine Figur, die als reich und England versuchten, die Handelswege in Faszinosum zu den Zuschauern hin geöffnet ist. Die- die Neue Welt unter ihre Kontrolle zu bringen. Im se Mehrdeutigkeit bestimmt die Anlage der Hauptfi- Kampf gegen das lange Zeit übermächtige Spanien gur mitsamt der dazugehörigen Handlungsmuster. setzten dabei vor allem England und Frankreich auf die Piraterie als Mittel der Kolonialpolitik. Beide Als Außenseiter, der auf hoher See zu Hause ist, ge- stellten großzügig Kaperbriefe aus, so genannte nießt der Pirat in allen Belangen des Lebens ein Maß „Letters of Marque“, die private Schiffskapitäne ge- an Autonomie, das keine Gesellschaftsordnung an gen einen Anteil an der Beute dazu ermächtigten, Land ihren Mitgliedern je zugesteht – weder die feu- feindliche Handelsschiffe zu plündern. Lizenzierte dale, mit der der Protagonist sich innerhalb der Kaperfahrer, die im Dienst der Krone unterwegs wa- Spielhandlung anlegt, noch die bürgerliche, der sein ren, ließen sich freilich nicht immer sauber von ei- Publikum angehört. Zu den genrespezifischen Frei- heiten zählt auch, dass Piraten nicht zu arbeiten Piraten- und Seefahrerfilme // Medienwissenschaft/Hamburg 120, 2011 /// 2 brauchen. Stattdessen nehmen sie sich mit Gewalt, der ersten Filme in dem von der Firma Technicolor wofür andere gearbeitet haben. Allerdings – der Pi- gerade entwickelten Zwei-Farben-Verfahren; die Fil- raten-Held führt ein Leben im permanenten Ausnah- me der 1940er nutzten besonders brillante und satte mezustand. Jederzeit kann es ein gewaltsames Ende Farbgebung von Technicolor); nehmen und der eben erbeutete Reichtum wieder - mittels der in den 1950ern aufkommenden Breit- verloren gehen. Die Art, wie der Held mit seinem wandformate (CinemaScope, Vistavision u.a.), die Leben und seinem Besitz umgeht, hat angesichts für die Darstellung vor allem der Seeszenen ein ganz dieser Gefährdung immer etwas Exzessives. Die eigens gestalterisches Potential bereitstellten. Aufteilung der Beute und das rauschende Fest, das Eine Reihe besonders spektakulärer Einstellungen sich daran anschließt, sind rituelle Bestandteile jedes sind ikonographisch zu festen Standards geworden: Piratenfilms. die auf feindliche Schiffe oder Hafenanlagen abge- feuerten Breitseiten, das Entern mit dem anschlie- Der Pirat ist ein betont körperlicher Held. Das zeigt ßenden Getümmel auf Deck, das Aufziehen der To- sich auch im Kampf, den er gewöhnlich Mann gegen tenkopfflagge („Jolly Rogers“), sowie Totalen von Mann mit dem Säbel austrägt. Schusswaffen und Schiffen in voller Fahrt mit sich blähenden Segeln. Kanonen spielen daneben eine untergeordnete Rolle Um die Produktionskosten niedrig zu halten, haben und dienen häufig nur dem Zweck, eine Situation Regisseure denn auch solche hochgradig konventio- herbeizuführen, in der der Held seine Geschicklich- nalisierten Szenen regelmäßig als „Stock Shots“ keit und seine überlegene physische Stärke beweisen wiederverwendet. kann. Das beste Beispiel hierfür liefern Burt Lancas- ter als Captain Vallo in THE CRIMSON PIRATE und Dou- Die narrativen Muster, mit deren Hilfe Piratenfilme glas Fairbanks in Albert Parkers THE BLACK PIRATE ihre Schauwerte organisieren, sind vergleichsweise (1926): Sie bringen allein durch ihre Muskelkraft einfach. Die Handlung beginnt gewöhnlich damit, und ihr artistisches Talent die Schiffe des Gegners dass zwei Paarkonstellationen aufgebaut werden, die unter ihre Kontrolle, ohne dass dabei ein einziger sich in ihrer emotionalen Wertigkeit kontrapunktisch Schuss fällt. Neben dem Kampf ist die Liebe das zueinander verhalten. Der Held trifft auf einen Riva- zweite Gebiet, auf dem die körperlichen Vorzüge des len, wahlweise einen Vertreter der Staatsmacht, sel- Helden zum Tragen kommen. Seinen Gegnern ist er tener auf einen anderen Piraten (wie in Jacques nicht allein an Kraft und Geschicklichkeit überlegen, Tourneurs ANNE OF THE INDIES, 1951, und Renny Har- sondern auch durch seinen Charme, sein attraktives lins CUTTHROAT ISLAND, 1995), mit dem ihn fortan Äußeres und seine erotische Ausstrahlung. eine anhaltende Feindschaft verbindet, und er lernt eine Frau kennen, die er für sich gewinnen will. Die Die Schauwerte des klassischen Piratenfilms unter- beiden Handlungsfäden sind oft dadurch miteinander streichen die gesteigerte Sinnlichkeit seines Protago- verflochten, dass die Geliebte dem Widersacher als nisten. Sie erreichten eine hohe Attraktionalität Braut bestimmt (THE SPANISH MAIN) oder aber eine - mittels der Kostüme, deren oft rot oder schwarz ge- nahe Verwandte desselben ist (Michael Curtiz‘ haltene Farbgebung und körperbetonter Schnitt den CAPTAIN BLOOD, 1935, Lew Landers‘ LAST OF THE Helden signalhaft sichtbar von seinen uniformierten BUCCANEERS, 1950, Anthony Quinns THE BUCCANEER, Gegenspielern absetzen; 1958, André De Toths und Primo Zeglios MORGAN IL - mittels der exotischen Schauplätze; PIRATA, 1960). Ist dieser doppelte Konflikt erst ein- - mittels gefährlicher Stunts, die in einzelnen Fällen mal etabliert, bilden das Duell mit dem Erzrivalen sogar die Stars (Lancaster, Fairbanks) selbst über- und die Vereinigung mit der Geliebten für den Rest nahmen; des Films den Fluchtpunkt der Erzählung, die einen - mittels diverser Spezialeffekte (pyrotechnische Gutteil der Spannung daraus bezieht, dass beides, Tricks, Modellaufnahmen, Rückprojektionen, in Liebesglück und abschließender Zweikampf, immer Form von „Matte Paintings“ eingefügte Hintergrün- wieder aufgeschoben wird. Dass Held und Heldin de, neuerdings auch digital bearbeitete Sequenzen); erst am Ende des Films ein Paar werden, liegt jedoch - mittels der nach Möglichkeit eingesetzten Farbig- nicht allein daran, dass sie durch unvorhergesehene keit des Filmes (THE BLACK PIRATE, 1925, war einer Zwischenfälle immer wieder auseinandergerissen Piraten- und Seefahrerfilme // Medienwissenschaft/Hamburg 120, 2011 /// 3 werden; die Probleme ergeben sich aus der Bezie- die er liebt. Als Angehörige der (feinen) Gesellschaft hung
Load more

Recommended publications
  • Pacini, Parody and Il Pirata Alexander Weatherson
    “Nell’orror di mie sciagure” Pacini, parody and Il pirata Alexander Weatherson Rivalry takes many often-disconcerting forms. In the closed and highly competitive world of the cartellone it could be bitter, occasionally desperate. Only in the hands of an inveterate tease could it be amusing. Or tragi-comic, which might in fact be a better description. That there was a huge gulf socially between Vincenzo Bellini and Giovanni Pacini is not in any doubt, the latter - in the wake of his highly publicised liaison with Pauline Bonaparte, sister of Napoleon - enjoyed the kind of notoriety that nowadays would earn him the constant attention of the media, he was a high-profile figure and positively reveled in this status. Musically too there was a gulf. On the stage since his sixteenth year he was also an exceptionally experienced composer who had enjoyed collaboration with, and the confidence of, Rossini. No further professional accolade would have been necessary during the early decades of the nineteenth century On 20 November 1826 - his account in his memoirs Le mie memorie artistiche1 is typically convoluted - Giovanni Pacini was escorted around the Conservatorio di S. Pietro a Majella of Naples by Niccolò Zingarelli the day after the resounding success of his Niobe, itself on the anniversary of the prima of his even more triumphant L’ultimo giorno di Pompei, both at the Real Teatro S.Carlo. In the Refettorio degli alunni he encountered Bellini for what seems to have been the first time2 among a crowd of other students who threw bottles and plates in the air in his honour.3 That the meeting between the concittadini did not go well, this enthusiasm notwithstanding, can be taken for granted.
    [Show full text]
  • The Films of Raoul Walsh, Part 1
    Contents Screen Valentines: Great Movie Romances Screen Valentines: Great Movie Romances .......... 2 February 7–March 20 Vivien Leigh 100th ......................................... 4 30th Anniversary! 60th Anniversary! Burt Lancaster, Part 1 ...................................... 5 In time for Valentine's Day, and continuing into March, 70mm Print! JOURNEY TO ITALY [Viaggio In Italia] Play Ball! Hollywood and the AFI Silver offers a selection of great movie romances from STARMAN Fri, Feb 21, 7:15; Sat, Feb 22, 1:00; Wed, Feb 26, 9:15 across the decades, from 1930s screwball comedy to Fri, Mar 7, 9:45; Wed, Mar 12, 9:15 British couple Ingrid Bergman and George Sanders see their American Pastime ........................................... 8 the quirky rom-coms of today. This year’s lineup is bigger Jeff Bridges earned a Best Actor Oscar nomination for his portrayal of an Courtesy of RKO Pictures strained marriage come undone on a trip to Naples to dispose Action! The Films of Raoul Walsh, Part 1 .......... 10 than ever, including a trio of screwball comedies from alien from outer space who adopts the human form of Karen Allen’s recently of Sanders’ deceased uncle’s estate. But after threatening each Courtesy of Hollywood Pictures the magical movie year of 1939, celebrating their 75th Raoul Peck Retrospective ............................... 12 deceased husband in this beguiling, romantic sci-fi from genre innovator John other with divorce and separating for most of the trip, the two anniversaries this year. Carpenter. His starship shot down by U.S. air defenses over Wisconsin, are surprised to find their union rekindled and their spirits moved Festival of New Spanish Cinema ....................
    [Show full text]
  • A Pirate's Life for Me
    A Pirate’s Life for Me 1| Page April 13th Kutztown University of Pennsylvania Table of Contents Staff Introductions…………………………………………………………………………………..……....3-4 Crisis Overview………………………………………………………………………………………......…...5 Pirate History………………………………..……………………………………………….…………....….6-10 Features of the Caribbean……………...…………………………………………….……………....….11-13 Dangers of the Sea………………………………………………………………………………….………..13-14 Character List…………………….…………………………………………………………….…...…….......14-24 Citations/Resources………..…………………………………………………………………..…………...25-26 Disclaimers…………….…………………………………………………………...………………………......26-27 2| Page Staff Introductions Head Crisis Staff - Sarah Hlay Dear Delegates, Hello and welcome to the “It’s A Pirate’s Life For Me” Committee! I am very excited to have all of you as a part of my committee to learn and explore the era that is the Golden Era of Piracy. My name is Sarah Hlay and I will be your Crisis Director for this committee. I am a junior at Kutztown University and this is my fourth semester as a part of Kutztown Model UN. This is my second Kumunc but first time running my own crisis. I am excited for you all to be part of my first crisis and to use creative problem solving together over the course of our committee. Pirate history is something that has always fascinated me and is a topic I enjoy learning more about each day. I’m excited to share my love and knowledge of this topic within one of the best eras that have existed. I hope to learn as much from me as I will from you. At Kutztown, I am studying Art Education and although I am not part of the Political Science department does not mean that debating and creative thinking is something I’m passionate about.
    [Show full text]
  • Complicated Views: Mainstream Cinema's Representation of Non
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e.
    [Show full text]
  • Steinhart Runaway Hollywood Chapter3
    Chapter 3 Lumière, Camera, Azione! the personnel and practices of hollywood’s mode of international production as hollywood filmmakers gained more experience abroad over the years, they devised various production strategies that could be shared with one another. A case in point: in May 1961, Vincente Minnelli was preparing the production of Two Weeks in Another Town (1962), part of which he planned to shoot in Rome. Hollywood flmmaker Jean Negulesco communicated with Minnelli, ofering some advice on work- ing in Italy, where Negulesco had directed portions of Tree Coins in the Fountain (1954) and Boy on a Dolphin (1957) and at the time was producing his next flm, Jessica (1962): I would say that the most difcult and the most important condition of mak- ing a picture in Italy is to adapt yourself to their spirit, to their way of life, to their way of working. A small example: Tis happened to me on location. As I arrive on the set and everything is ready to be done at 9 o’clock—the people are having cofee. Now, your assistant also is having cofee—and if you are foolish enough to start to shout and saying you want to work, right away you’ll have an unhappy crew and not the cooperation needed for the picture. But if you have cofee with them, they will work for you with no time limit or no extra expense.1 Negulesco’s letter underscores a key lesson that Hollywood moviemakers learned overseas when confronted with diferent working hours, production practices, and cultural customs.
    [Show full text]
  • Ye Intruders Beware: Fantastical Pirates in the Golden Age of Illustration
    YE INTRUDERS BEWARE: FANTASTICAL PIRATES IN THE GOLDEN AGE OF ILLUSTRATION Anne M. Loechle Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of the History of Art Indiana University November 2010 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee _________________________________ Chairperson, Sarah Burns, Ph.D. __________________________________ Janet Kennedy, Ph.D. __________________________________ Patrick McNaughton, Ph.D. __________________________________ Beverly Stoeltje, Ph.D. November 9, 2010 ii ©2010 Anne M. Loechle ALL RIGHTS RESERVED iii Acknowledgments I am indebted to many people for the help and encouragement they have given me during the long duration of this project. From academic and financial to editorial and emotional, I was never lacking in support. I am truly thankful, not to mention lucky. Sarah Burns, my advisor and mentor, supported my ideas, cheered my successes, and patiently edited and helped me to revise my failures. I also owe her thanks for encouraging me to pursue an unorthodox topic. From the moment pirates came up during one of our meetings in the spring of 2005, I was hooked. She knew it, and she continuously suggested ways to expand the idea first into an independent study, and then into this dissertation. My dissertation committee – Janet Kennedy, Patrick McNaughton, and Beverly Stoeltje – likewise deserves my thanks for their mentoring and enthusiasm. Other scholars have graciously shared with me their knowledge and input along the way. David M. Lubin read a version of my third chapter and gave me helpful advice, opening up to me new ways of thinking about Howard Pyle in particular.
    [Show full text]
  • September 8, 2009 (XIX:2) Raoul Walsh HIGH SIERRA (1941, 100 Min)
    September 8, 2009 (XIX:2) Raoul Walsh HIGH SIERRA (1941, 100 min) Directed by Raoul Walsh Screenplay by John Huston and W.R. Burnett Cinematography by Tony Gaudio Ida Lupino...Marie Humphrey Bogart...Roy Earle Alan Curtis...'Babe' Arthur Kennedy...'Red' Joan Leslie...Velma Henry Hull...'Doc' Banton Henry Travers...Pa Jerome Cowan...Healy Minna Gombell...Mrs. Baughmam Barton MacLane...Jake Kranmer Elisabeth Risdon...Ma Cornel Wilde...Louis Mendoza George Meeker...Pfiffer Zero the Dog...Pard RAOUL WALSH (11 March 1887, NYC—31 December 1980, Simi Valley, CA), directed 136 films, the last of which was A Distant Trumpet (1964). Some of the others were The Naked and the Dead (1958), Band of Angels (1957), The King and Four Queens (1956), officials they kept it under lock and key for 25 years because they Battle Cry (1955), Blackbeard, the Pirate (1952), Along the Great were convinced that if the American public saw Huston’s scenes of Divide (1951), Captain Horatio Hornblower R.N.(1951), White American soldiers crying and suffering what in those days was Heat (1949), Cheyenne (1947), The Horn Blows at Midnight called “shellshock” and “battle fatigue” they would have an even (1945), They Died with Their Boots On (1941), High Sierra more difficult time getting Americans to go off and get themselves (1941), They Drive by Night (1940), The Roaring Twenties (1939), killed in future wars. One military official accused Huston of being Sadie Thompson (1928), What Price Glory (1926), Thief of “anti-war,” to which he replied, “If I ever make a pro-war film I Baghdad (1924), Evangeline (1919), Blue Blood and Red (1916), hope they take me out and shoot me.” During his long career he The Fatal Black Bean (1915), Who Shot Bud Walton? (1914) and made a number of real dogs e.g.
    [Show full text]
  • The Mise-En-Scène of a Decade: Visualizing the 70S Adam Charles Hart
    REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES IMAGINATIONS JOURNAL OF CROSS-CULTURAL IMAGE STUDIES | REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE CONTRIBUTORS ANDREW PENDAKIS Publication details, including open access policy NATHAN HOLMES ISSUE 9-1 COLIN WILLIAMSON and instructions for contributors: K. R. CORNETT FRASER MCCALLUM http://imaginations.glendon.yorku.ca THE MISE-EN-SCÈNE OF A DECADE: VISUALIZING THE 70S VISUALIZING DECADE: A OF THE MISE-EN-SCÈNE ADAM CHARLES HART KAITLIN POMERANTZ SEB ROBERTS The Mise-en-scène of a Decade: Visualizing the 70s October 29, 2018 REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES THE MISE-EN-SCÈNE OF A DECADE: VISUALIZING THE 70S ISSUE 9-1, 2018 To cite this article: Roberts, Seb. “Strange Vices: Transgression and the Production of Difference in the Giallo.” Imaginations, vol. 9, no. 1, 2018: Web (date accessed), pp. 115-131. DOI 10.17742/IMAGE.p70s.9.1.9. To link to this article: http://dx.doi.org/10.17742/IMAGE.p70s.9.1.9 The copyright for each article belongs to the author and has been published in this journal under a Creative Commons Attribution NonCommercial NoDerivatives 3.0 license that allows others to share for non-commercial purposes the work with an acknowledgement of the work’s authorship and initial publication in this journal. The content of this article represents the author’s original work and any third-party content, either image or text, has been included under the Fair Dealing exception in the Canadian Copyright Act, or the author has provided the required publication permissions.
    [Show full text]
  • Glorious Technicolor: from George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 the G
    Glorious Technicolor: From George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 The Garden of Allah. 1936. USA. Directed by Richard Boleslawski. Screenplay by W.P. Lipscomb, Lynn Riggs, based on the novel by Robert Hichens. With Marlene Dietrich, Charles Boyer, Basil Rathbone, Joseph Schildkraut. 35mm restoration by The Museum of Modern Art, with support from the Celeste Bartos Fund for Film Preservation; courtesy The Walt Disney Studios. 75 min. La Cucaracha. 1934. Directed by Lloyd Corrigan. With Steffi Duna, Don Alvarado, Paul Porcasi, Eduardo Durant’s Rhumba Band. Courtesy George Eastman House (35mm dye-transfer print on June 5); and UCLA Film & Television Archive (restored 35mm print on July 21). 20 min. [John Barrymore Technicolor Test for Hamlet]. 1933. USA. Pioneer Pictures. 35mm print from The Museum of Modern Art. 5 min. 7:00 The Wizard of Oz. 1939. USA. Directed by Victor Fleming. Screenplay by Noel Langley, Florence Ryerson, Edgar Allan Woolf, based on the book by L. Frank Baum. Music by Harold Arlen, E.Y. Harburg. With Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Ray Bolger, Margaret Hamilton, Billie Burke. 35mm print from George Eastman House; courtesy Warner Bros. 102 min. Saturday, June 6 2:30 THE DAWN OF TECHNICOLOR: THE SILENT ERA *Special Guest Appearances: James Layton and David Pierce, authors of The Dawn of Technicolor, 1915-1935 (George Eastman House, 2015). James Layton and David Pierce illustrate Technicolor’s origins during the silent film era. Before Technicolor achieved success in the 1930s, the company had to overcome countless technical challenges and persuade cost-conscious producers that color was worth the extra effort and expense.
    [Show full text]
  • Going on the Account: Examining Golden Age Pirates As a Distinct
    GOING ON THE ACCOUNT: EXAMINING GOLDEN AGE PIRATES AS A DISTINCT CULTURE THROUGH ARTIFACT PATTERNING by Courtney E. Page December, 2014 Director of Thesis: Dr. Charles R. Ewen Major Department: Anthropology Pirates of the Golden Age (1650-1726) have become the stuff of legend. The way they looked and acted has been variously recorded through the centuries, slowly morphing them into the pirates of today’s fiction. Yet, many of the behaviors that create these images do not preserve in the archaeological environment and are just not good indicators of a pirate. Piracy is an illegal act and as a physical activity, does not survive directly in the archaeological record, making it difficult to study pirates as a distinct maritime culture. This thesis examines the use of artifact patterning to illuminate behavioral differences between pirates and other sailors. A framework for a model reflecting the patterns of artifacts found on pirate shipwrecks is presented. Artifacts from two early eighteenth century British pirate wrecks, Queen Anne’s Revenge (1718) and Whydah (1717) were categorized into five groups reflecting behavior onboard the ship, and frequencies for each group within each assemblage were obtained. The same was done for a British Naval vessel, HMS Invincible (1758), and a merchant vessel, the slaver Henrietta Marie (1699) for comparative purposes. There are not enough data at this time to predict a “pirate pattern” for identifying pirates archaeologically, and many uncontrollable factors negatively impact the data that are available, making a study of artifact frequencies difficult. This research does, however, help to reveal avenues of further study for describing this intriguing sub-culture.
    [Show full text]
  • SEA DEVILS / 1953 (Gigantes Em Fúria)
    CINEMATECA PORTUGUESA-MUSEU DO CINEMA OS MARES DA EUROPA 7 de maio de 2021 SEA DEVILS / 1953 (Gigantes em Fúria) Um filme de RAOUL WALSH Realização: Raoul Walsh / Argumento: Borden Chase, vagamente inspirado em “Les Travailleurs de la Mer” de Victor Hugo / Fotografia: Wilkie Cooper / Direcção Artística: Wilfred Singleton / Música: Richard Addinsell / Figurinos: Elizabeth Agombar / Montagem: John Seabourne / Intérpretes: Yvonne De Carlo (Drouette), Rock Hudson (Gilliatt), Maxwell Reed (Rantaine), Denis O’Dea (Lethierry), Michael Goodliffe (Ragan), Bryan Forbes (Willie), Jacques Brunius (Joseph Fouché), Gérard Oury (Napoleão), Ivor Barnard (Benson), Arthur Wontner (Barão de Vaudrec), Laurie Taylor (Blasquito), Keith Pyott (General Latour), René Poirier (Dupré). Produção: David E. Rose, para a RKO / Cópia: do Norsk Filminstitutt (Oslo), em 35mm, colorida, versão original com legendas em norueguês e legendada eletronicamente em português, 87 minutos / Estreia Mundial: Junho de 1953 / Estreia em Portugal: Politeama, em 5 de Agosto de 1954 / Reposto comercialmente na década de 60. _____________________________ Costuma dizer-se que os grandes cineastas estão sempre a fazer o “mesmo” filme. Para além da recorrência de temas, personagens, etc., destaca-se também a abordagem sucessiva que um realizador faz, por vezes, da mesma história, surgindo cada filme como uma “variação” dela. O exemplo tradicional é Howard Hawks com a trilogia Rio Bravo, El Dorado e Rio Lobo, mas a este juntam-se muitos outros, que tocam na mesma tecla, frequentemente a pretexto de uma “nova” versão de um filme já feito, forma de expor as mesmas personagens em idênticas situações, mas com reacções e discussões amadurecidas pela experiência dos anos de vida que o autor leva em cima.
    [Show full text]
  • How Slaves Used Northern Seaports' Maritime Industry to Escape And
    Eastern Illinois University The Keep Faculty Research & Creative Activity History May 2008 Ports of Slavery, Ports of Freedom: How Slaves Used Northern Seaports’ Maritime Industry To Escape and Create Trans-Atlantic Identities, 1713-1783 Charles Foy Eastern Illinois University, [email protected] Follow this and additional works at: http://thekeep.eiu.edu/history_fac Part of the United States History Commons Recommended Citation Foy, Charles, "Ports of Slavery, Ports of Freedom: How Slaves Used Northern Seaports’ Maritime Industry To Escape and Create Trans-Atlantic Identities, 1713-1783" (2008). Faculty Research & Creative Activity. 7. http://thekeep.eiu.edu/history_fac/7 This Article is brought to you for free and open access by the History at The Keep. It has been accepted for inclusion in Faculty Research & Creative Activity by an authorized administrator of The Keep. For more information, please contact [email protected]. © Charles R. Foy 2008 All rights reserved PORTS OF SLAVERY, PORTS OF FREEDOM: HOW SLAVES USED NORTHERN SEAPORTS’ MARITIME INDUSTRY TO ESCAPE AND CREATE TRANS-ATLANTIC IDENTITIES, 1713-1783 By Charles R. Foy A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Graduate Program in History written under the direction of Dr. Jan Ellen Lewis and approved by ______________________ ______________________ ______________________ ______________________ ______________________ New Brunswick, New Jersey May, 2008 ABSTRACT OF THE DISSERTATION PORTS OF SLAVERY, PORTS OF FREEDOM: HOW SLAVES USED NORTHERN SEAPORTS’ MARITIME INDUSTRY TO ESCAPE AND CREATE TRANS-ATLANTIC IDENTIES, 1713-1783 By Charles R. Foy This dissertAtion exAmines and reconstructs the lives of fugitive slAves who used the mAritime industries in New York, PhilAdelphiA and Newport to achieve freedom.
    [Show full text]