It Happened One Midnight Free

Total Page:16

File Type:pdf, Size:1020Kb

It Happened One Midnight Free FREE IT HAPPENED ONE MIDNIGHT PDF Julie Anne Long | 384 pages | 25 Jun 2013 | HarperCollins Publishers Inc | 9780062118073 | English | New York, United States It Happened One Night - Wikipedia Build up your Halloween Watchlist with our list of the most popular horror titles on Netflix in October. See the list. Title: It Happened One Night Ellie Andrews has just tied the knot with society aviator King Westley when she is whisked away to her father's yacht and out of King's clutches. Ellie jumps ship and eventually winds up on a bus headed back to her husband. Reluctantly she must accept the help of out-of- work reporter Peter Warne. Actually, Warne doesn't give her any choice: either she sticks with him until he gets her back to her husband, or he'll blow the whistle on Ellie to her father. Either It Happened One Midnight, Peter gets what he thinks! Written by A. Ellie Andrews is the daughter of a Wall Street mogul. Her father is highly protective of her and isn't pleased when she elopes, marrying a man she hardly knows. Ellie runs away from her father sets off across country to get to her husband in New York. On the bus she meets a recently-fired reporter, Peter Warne. The two don't get along but, figuring out who she is, and knowing that her father will have every route into New York covered with private detectives, he offers to help her get to a husband. In exchange he wants an exclusive on her story. The two tag along together, getting through some interesting adventures. Over time they even get to like each other A gem of a film from legendary director Frank Capra. I was expecting a rather standard romantic drama but It Happened One Night is so much better than that. Warm, and hilariously funny at times, it's certainly not your average romantic comedy. Dialogue is incredibly fresh and snappy and even the romantic side is not straightforward, keeping the schmaltz to a minimum and taking some unpredictable twists and turns. The great direction by Capra and It Happened One Midnight solid script are aided by wonderful performances from Clark Gable and Claudette Colbert in the lead roles. It Happened One Midnight chemistry between them is great and their It Happened One Midnight is spot-on. The movie was the well-deserved Best Picture Oscar winner. Looking for some great streaming picks? Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist. Visit our What to Watch page. Sign In. Keep track of everything you watch; tell your friends. Full Cast and Crew. Release Dates. Official Sites. Company Credits. Technical Specs. Plot It Happened One Midnight. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. A spoiled heiress running It Happened One Midnight from her family is helped by a man who is actually a It Happened One Midnight in need of a story. Director: Frank Capra. Added to Watchlist. From metacritic. The Best Horror Movies on Netflix. AFI top movies I have watched. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Top Rated Movies Won 5 Oscars. Edit Cast Complete credited cast: Clark Gable Peter Warne Claudette Colbert Ellie Andrews Walter Connolly Alexander Andrews Roscoe Karns Oscar Shapeley Jameson Thomas King Westley Alan Hale Danker Arthur Hoyt Zeke Blanche Friderici Zeke's Wife Charles C. Edit Storyline Ellie Andrews has just tied the knot with society aviator King Westley when she is whisked away to her father's yacht and out of King's clutches. Taglines: Together for the first time! Edit Did You Know? Trivia While shooting the scene where he undresses, Clark Gable had trouble removing his undershirt while keeping his humorous flow going and took too long. As a result, the undershirt was abandoned altogether. It then became cool to not wear an undershirt, which resulted in a large drop in undershirt sales around the country. Legend has it that in response, some underwear manufacturers tried to sue Columbia. Goofs After Peter gets the car from the "thief", Peter's luggage is in the back seat. As he stops the car to pick It Happened One Midnight Ellie the luggage falls to the floor. When Ellie steps into the car the luggage is back on the seat. When the car pulls away, the luggage disappears again. Quotes Oscar Shapeley : Believe you me! Ellie Andrews : Believe you me, you bore me to distraction. Was this review helpful to you? Yes No Report this. Q: What is the song everyone was singing on the bus? Q: Any recommendations for other screwball comedies from the s? Language: English. Runtime: min 65 min cut TV. Color: Black and White. Edit page. October Streaming It Happened One Midnight. Back to School Picks. Clear your history. Ellie Andrews. Alexander Andrews. Oscar It Happened One Midnight. King Westley. Looking Back at "It Happened One Night" | Far Flungers | Roger Ebert More titles may be available to you. Sign in to see the full collection. More than one beautiful woman's hopeshave been dashed on the rocky shoals ofJonathan Redmond's heart. With his rivetinggood looks and Redmond wealth and power,the world is his oyster--until an ultimatumfrom his father and a chilling gypsy prophecysend him hurtling headlong toward a fatehe'll do anything to avoid: matrimony. Intoxicating, elusive Thomasina de It Happened One Midnight the bloods of London at her feet. But noneof them knows the It Happened One Midnight Tommy--the one witha shocking pedigree, a few too many secrets,and a healthy scorn for rakes like Jonathan. She's It Happened One Midnight Jonathan never wanted. But on It Happened One Midnight fateful midnight, he's drawn intoTommy's world of risk, danger. And suddenlyhe's re-thinking everything. Fiction Romance Historical Fiction. Publisher: Avon. Kindle Book Release date: June 25, Availability can change throughout the month based on the library's budget. You can still place a hold on the title, and your hold will be automatically filled as soon as the title is available again. The OverDrive Read format of this ebook has professional narration that plays while you read in your browser. Learn more here. You've reached the maximum number of titles you can currently recommend for purchase. Your session has expired. Please sign in again so you can continue to borrow titles and access your Loans, Wish list, and Holds pages. If you're still having trouble, follow these steps to sign in. Add a library card to your account to borrow titles, place holds, and add titles to your wish list. Have a card? Add it now to start borrowing from the collection. The library card you previously added can't be used to complete this action. Please add your card again, or add a different card. If you receive an error message, please contact your library for help. Error loading page. Try refreshing the page. If that doesn't work, there may be a network issue, and you can use our self test page to see what's preventing the page from loading. Learn more about possible network issues or contact support for more help. Search Search Search Browse menu. Sign in. Feedback Recent updates Help. Recent updates. It Happened One Midnight. Description Details More than one beautiful It Happened One Midnight hopeshave been dashed on the rocky shoals ofJonathan Redmond's heart. Languages English. Julie Anne Long - Author. Why is availability limited? Sign in Cancel. Add a card. Add a card Contact support Cancel. ​It Happened One Midnight on Apple Books Jonathan may act like the devil-may-care younger son, but this dude has plans. Together these two just ooze chemistry and as their goals align, these two may just be unstoppable. It Happened One Midnight is a diamond hidden amongst gems. Want to It Happened One Midnight to a certain It Happened One Midnight Here is our It Happened One Midnight this week:. We are now including our synopses as a semi-transcription of the episode in our blog posts. You can learn more about how we compose these by reading this article. As a reminder though, our synopses are FULL of spoilers. Read ahead at your own risk :. Miss Thomasina de Ballesteros is outside the home of the Duke of Greyfolk. Thinking the It Happened One Midnight in the shadows was up to no good Jonathan drew his pistol, which causes Tommy to turn. She had no doubt he knew how to use it. Luckily the two just happened to have met earlier that day. Tommy often acts as companion of the Countess of Mirabeau who hosts a weekly salon. Jonathan had accompanied his friend Argosy there, where he met Tommy. Seeing her outside the Duke of Greyfolks home is intriguing to say the least. They exchange pleasantries and part ways. But as we know… this is just our first meeting…And Jonathan muses over the woman It Happened One Midnight he heads out of London for Pennyroyal Green. I do know how to use it, he would have known Tommy de Ballesteros was trouble. And later it was that she would remember about this particular midnight: the wicked flash of his grin in the dark, like a much more beautiful and dangerous twin of that moon. She ought to have been warned. While Jonathan is in Pennyroyal he visits with Violet who It Happened One Midnight very pregnant at this point and is using her pregnancy to get whatever she wants.
Recommended publications
  • The Representation of Women in Romantic Comedies Jordan A
    Ursinus College Digital Commons @ Ursinus College Media and Communication Studies Honors Papers Student Research 4-24-2017 Female Moments / Male Structures: The Representation of Women in Romantic Comedies Jordan A. Scharaga Ursinus College, [email protected] Adviser: Jennifer Fleeger Follow this and additional works at: https://digitalcommons.ursinus.edu/media_com_hon Part of the Communication Commons, Film and Media Studies Commons, and the Gender and Sexuality Commons Click here to let us know how access to this document benefits oy u. Recommended Citation Scharaga, Jordan A., "Female Moments / Male Structures: The Representation of Women in Romantic Comedies" (2017). Media and Communication Studies Honors Papers. 6. https://digitalcommons.ursinus.edu/media_com_hon/6 This Paper is brought to you for free and open access by the Student Research at Digital Commons @ Ursinus College. It has been accepted for inclusion in Media and Communication Studies Honors Papers by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. Female Moments/Male Structures: The Representation of Women in Romantic Comedies Jordan Scharaga April 24, 2017 Submitted to the Faculty of Ursinus College in fulfillment of the requirements for Distinguished Honors in the Media and Communication Studies Department. Abstract: Boy meets girl, boy loses girl, boy gets girl again. With this formula it seems that romantic comedies are actually meant for men instead of women. If this is the case, then why do women watch these films? The repetition of female stars like Katharine Hepburn, Doris Day and Meg Ryan in romantic comedies allows audiences to find elements of truth in their characters as they grapple with the input of others in their life choices, combat the anxiety of being single, and prove they are less sexually naïve than society would like to admit.
    [Show full text]
  • National Film Registry Titles Listed by Release Date
    National Film Registry Titles 1989-2017: Listed by Year of Release Year Year Title Released Inducted Newark Athlete 1891 2010 Blacksmith Scene 1893 1995 Dickson Experimental Sound Film 1894-1895 2003 Edison Kinetoscopic Record of a Sneeze 1894 2015 The Kiss 1896 1999 Rip Van Winkle 1896 1995 Corbett-Fitzsimmons Title Fight 1897 2012 Demolishing and Building Up the Star Theatre 1901 2002 President McKinley Inauguration Footage 1901 2000 The Great Train Robbery 1903 1990 Life of an American Fireman 1903 2016 Westinghouse Works 1904 1904 1998 Interior New York Subway, 14th Street to 42nd Street 1905 2017 Dream of a Rarebit Fiend 1906 2015 San Francisco Earthquake and Fire, April 18, 1906 1906 2005 A Trip Down Market Street 1906 2010 A Corner in Wheat 1909 1994 Lady Helen’s Escapade 1909 2004 Princess Nicotine; or, The Smoke Fairy 1909 2003 Jeffries-Johnson World’s Championship Boxing Contest 1910 2005 White Fawn’s Devotion 1910 2008 Little Nemo 1911 2009 The Cry of the Children 1912 2011 A Cure for Pokeritis 1912 2011 From the Manger to the Cross 1912 1998 The Land Beyond the Sunset 1912 2000 Musketeers of Pig Alley 1912 2016 Bert Williams Lime Kiln Club Field Day 1913 2014 The Evidence of the Film 1913 2001 Matrimony’s Speed Limit 1913 2003 Preservation of the Sign Language 1913 2010 Traffic in Souls 1913 2006 The Bargain 1914 2010 The Exploits of Elaine 1914 1994 Gertie The Dinosaur 1914 1991 In the Land of the Head Hunters 1914 1999 Mabel’s Blunder 1914 2009 1 National Film Registry Titles 1989-2017: Listed by Year of Release Year Year
    [Show full text]
  • CTCS 464: the Romantic Comedy in Classical, Postwar, and Reactionary/Revolutionary Hollywood (1929 – 1976)
    CTCS 464: The Romantic Comedy In Classical, Postwar, and Reactionary/Revolutionary Hollywood (1929 – 1976) Summer 2009 (First Session) Monday & Wednesdays 1 p.m to 5:30 p.m. Norris Theater Instructor: Dr. Drew Casper The Alma and Alfred Hitchcock Professor of American Film Course Description: An in-depth analysis the myths, conventions and iconographies of the romantic comedy genre in its Classical, Postwar and Reactionary/Revolutionary periods, this course will explore its extra-cinematic determinants (major historical events, economic situations, societal issues and other popular leisure activities) and cinematic determinants (business, technology, censorship, generic patterns, major directors, the star and the star system). Finally, this course will also examine the major theoretical issues of the genre. Teaching Assistants: Kate Fortmueller ([email protected]) & David Lerner ([email protected]). Office Hours: IMS Building, 2nd Floor, Monday and Wednesday 11:30 – 12:30pm Dr. Casper’s Office Hours: 12:00 – 1:00pm, Monday and Wednesday 323 School of Cinematic Arts Building – (213) 740-3334 If you wish to see Dr. Casper during his office hours, you must make an appointment in advance by signing up on the appointment sheet at the front desk of the Critical Studies office (SCA 320). Course Requirements: I. Attendance: Prompt and regular attendance for the full class period is of extreme importance. Missing the screening of any film will seriously limit your success in the course. NOT ALL OF THE FILMS SCREENED IN CLASS ARE AVAILABLE ON VIDEOTAPE OR DVD. It is your responsibility to make up any missed screenings and to obtain detailed notes from another student.
    [Show full text]
  • Filming the End of the Holocaust War, Culture and Society
    Filming the End of the Holocaust War, Culture and Society Series Editor: Stephen McVeigh, Associate Professor, Swansea University, UK Editorial Board: Paul Preston LSE, UK Joanna Bourke Birkbeck, University of London, UK Debra Kelly University of Westminster, UK Patricia Rae Queen’s University, Ontario, Canada James J. Weingartner Southern Illimois University, USA (Emeritus) Kurt Piehler Florida State University, USA Ian Scott University of Manchester, UK War, Culture and Society is a multi- and interdisciplinary series which encourages the parallel and complementary military, historical and sociocultural investigation of 20th- and 21st-century war and conflict. Published: The British Imperial Army in the Middle East, James Kitchen (2014) The Testimonies of Indian Soldiers and the Two World Wars, Gajendra Singh (2014) South Africa’s “Border War,” Gary Baines (2014) Forthcoming: Cultural Responses to Occupation in Japan, Adam Broinowski (2015) 9/11 and the American Western, Stephen McVeigh (2015) Jewish Volunteers, the International Brigades and the Spanish Civil War, Gerben Zaagsma (2015) Military Law, the State, and Citizenship in the Modern Age, Gerard Oram (2015) The Japanese Comfort Women and Sexual Slavery During the China and Pacific Wars, Caroline Norma (2015) The Lost Cause of the Confederacy and American Civil War Memory, David J. Anderson (2015) Filming the End of the Holocaust Allied Documentaries, Nuremberg and the Liberation of the Concentration Camps John J. Michalczyk Bloomsbury Academic An Imprint of Bloomsbury Publishing Plc LONDON • OXFORD • NEW YORK • NEW DELHI • SYDNEY Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2014 Paperback edition fi rst published 2016 © John J.
    [Show full text]
  • 101 Films for Filmmakers
    101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers.
    [Show full text]
  • It Happened One Night Linda Mizejewski
    IT HAPPENED ONE NIGHT LINDA MIZEJEWSKI A John Wiley & Sons, Ltd., Publication 99781405173896_1_pretoc.indd781405173896_1_pretoc.indd iiiiii 77/9/2009/9/2009 44:17:50:17:50 PPMM 99781405173896_6_Index.indd781405173896_6_Index.indd 114242 77/9/2009/9/2009 44:16:09:16:09 PPMM Praise for It Happened One Night “Mizejewski is marvelously alert to the romance, sex, class feeling and star power that made It Happened One Night a landmark comedy. An indispensable guide to what “It” is all about.” Maria DiBattista, Princeton University “Linda Mizejewski’s It Happened One Night, like Frank Capra’s, is tough-minded and tender, politically and discursively astute, yet open to the humor and mystery of “young people in love.” Her command of the scholarship is impressive, her prose is nimble and sharp. A landmark study of a landmark film.” Leland Poague, Iowa State University “What a wonderful read! Mizejewski’s witty and lucid study of It Happened One Night offers a knowledgeable introduction not only to this important film but to the genre of romantic comedy and the scholarship it has inspired.” Kathleen Rowe Karlyn, University of Oregon 99781405173896_1_pretoc.indd781405173896_1_pretoc.indd i 77/9/2009/9/2009 44:17:50:17:50 PPMM Wiley-Blackwell Studies in Film and Television Series Editors: Diane Negra and Yvonne Tasker Experienced media studies teachers know that real breakthroughs in the classroom are often triggered by texts that an austere notion of the canon would disqualify. Unlike other short book series, Wiley-Blackwell Studies in Film and Television works from a broad field of prospective film and television programs, selected less for their adherence to defi- nitions of “art” than for their resonance with audiences.
    [Show full text]
  • Film Facts 5 Or More Competitive Awards
    FILM FACTS 5 OR MORE COMPETITIVE AWARDS [Updated thru 88th Awards (2/16)] 11 AWARDS Ben-Hur, Metro-Goldwyn-Mayer, 1959 (12 nominations) Titanic, 20th Century Fox and Paramount, 1997 (14 nominations) The Lord of the Rings: The Return of the King, New Line, 2003 (11 nominations) 10 AWARDS West Side Story, United Artists, 1961 (11 nominations) 9 AWARDS Gigi, Metro-Goldwyn-Mayer, 1958 (9 nominations) The Last Emperor, Columbia, 1987 (9 nominations) The English Patient, Miramax, 1996 (12 nominations) 8 AWARDS Gone with the Wind, Metro-Goldwyn-Mayer, 1939 (13 nominations) (plus 1 special Oscar and 1 Sci/Tech Award) From Here to Eternity, Columbia, 1953 (13 nominations) On the Waterfront, Columbia, 1954 (12 nominations) My Fair Lady, Warner Bros., 1964 (12 nominations) Cabaret, Allied Artists, 1972 (10 nominations) Gandhi, Columbia, 1982 (11 nominations) Amadeus, Orion, 1984 (11 nominations) Slumdog Millionaire, Fox Searchlight, 2008 (10 nominations) 7 AWARDS Going My Way, Paramount, 1944 (10 nominations) The Best Years of Our Lives, RKO Radio, 1946 (8 nominations) (plus 1 special Oscar to Harold Russell) The Bridge on the River Kwai, Columbia, 1957 (8 nominations) Lawrence of Arabia, Columbia, 1962 (10 nominations) Patton, 20th Century-Fox, 1970 (10 nominations) The Sting, Universal, 1973 (10 nominations) Out of Africa, Universal, 1985 (11 nominations) Dances With Wolves, Orion, 1990 (12 nominations) Schindler's List, Universal, 1993 (12 nominations) Shakespeare in Love, Miramax, 1998 (13 nominations) Gravity, Warner Bros., 2013 (10 nominations)
    [Show full text]
  • Sexism and the Academy Awards
    Tripodos, number 48 | 2020 | 85-102 Rebut / Received: 28/03/20 ISSN: 1138-3305 Acceptat / Accepted: 30/06/20 85 Oscar Is a Man: Sexism and the Academy Awards Kenneth Grout Owen Eagan Emerson College (USA) TRIPODOS 2020 | 48 This study analyzes the implicit bias of an to be nominated for a supporting the Academy Awards and Oscar’s his- performance in a Best Picture winner. toric lack of gender equity. While there This research considers these factors, are awards for Best Actor and Actress, identifies potential reasons for them, a comparative analysis of these awards and draws conclusions regarding the and the Best Picture prize reveals that decades of gender bias in the Academy a man is more than twice as likely as a Awards. Further, this study investigates woman to receive an Oscar for leading the dissolution of the Hollywood stu- work in a Best Picture. A man is also dio system and how, though brought nearly twice as likely to be nominated on in part by two of the film industry’s as a leading performer in a Best Pic- leading ladies, the crumbling of that ture winner. Supporting women in Best system ultimately hurt the industry’s Pictures fare a bit better with actual women more than its men. trophies, but, when considering nom- inations, a man is still more than one- Keywords: Oscars, Academy Awards, and-a-half times as likely as a wom- sexism, gender inequity, Best Picture. he Academy Awards have been given out annually for 92 years to, among others, the top actor and actress as voted on by the members of the film T academy.
    [Show full text]
  • Mr. Capra Goes to Washington Author(S): Michael P
    Mr. Capra Goes to Washington Author(s): Michael P. Rogin and Kathleen Moran Source: Representations, No. 84, In Memory of Michael Rogin (Autumn, 2003), pp. 213-248 Published by: University of California Press Stable URL: http://www.jstor.org/stable/3176119 Accessed: 02/07/2010 11:08 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ucal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Representations. http://www.jstor.org MICHAEL P. ROGIN AND KATHLEEN MORAN Mr. Capra Goes to Washington "IF ARISTOPHAENES CAME BACK TODAY," imagined the West Indian Marxist C.
    [Show full text]
  • Film Title Sequence
    DES 251 Digital Media Design III UIC School of Design Motion Graphics Monday/Wednesday 9:00–11:40 AM Final Film Title Sequence We will use After Effects to develop a film title sequence. Before we begin the animation development in After Effects, we must first plan out the storyboard by visually explaining the idea. Motion Design requires planning and a strong conceptual and compositional foundation from which to build. Technical requirements: Minimum resolution: Width: 1280 px Height: 720 px Better resolution: Width: 1920 Height: 1080p Pixel Aspect Ratio: Square Pixels Frame Rate: 29.97 Resolution: Full Duration: 150 seconds (2.5 minutes) Project parts: 1. Storyboard (Concept) 2. Imagery (Media) 3. Sound (Audio) 4. AE development (Motion) Possible Films: M, 1931, Fritz Lang Duck Soup, 1933, Leo McCarey It Happened One Night, 1934, Frank Capra Wizard of Oz, 1939, Victor Fleming The Big Sleep, 1946, Howard Hawks Out of the past, 1947, Jacques Tourneur The Third Man, 1949, Carol Reed Sunset Boulevard, 1950, Billy Wilder Strangers on a Train, 1951, Alfred Hitchcock Singin’ in the Rain, 1952, Stanley Donan, Gene Kelly The Greatest Show on Earth, 1952, Cecil B. DeMille The Wages Of Fear, 1953, Henri-Georges Couzot 2 Dial M For Murder, 1954, Alfred Hitchcock Rear Window, 1954, Alfred Hitchcock 12 Angry Men, 1957, Sidney Lumet Some Like it Hot, 1959, Billy Wilder La Dolce Vita, 1961, Frederico Fellini The Manchurian Candidate, 1962, John Frankenheimer The Birds, 1963, Alfred Hitchcock A Shot In The Dark, 1964, Blake Edwards The good, the bad,
    [Show full text]
  • Ib Film Ii Summer Films and Reading
    IB FILM II SUMMER FILMS AND READING WHAT YOU WILL NEED • A “Netflix” or an “I Love Video” or “Vulcan Video” account to view movies. • A journal/notebook (prefer a notebook that you can bring to class). You will be writing journal entry responses to the films you watch. • Access to internet and MyBack • Mr. Regan’s email: o [email protected] REQUIREMENTS (to be completed by the first day of classes in August): This is worth three exam grades, a total of 300 points, literally the weight of your first three exams. 1) Select 15 films from the list provided (watch as many as you can!). You should watch 1 film from each of the categories, and the rest is your choice. 2) Write journal responses (1-2 pages each) for each of the films. Each response should be in paragraph form and should be about your observations, insight, comments, and connections that you are making between the reading and the movies you watch. Your writing will be much richer if you research information about the film you watch before you write – simply stating your opinion will not give you much material to write about and you will not be able to go beyond your own opinion – for example, read articles written on the film by critics (news paper articles from the New York Times, rogerebert.com, IMDB.com, filmsite.org, etc). You can also read the screenplay for the film at scriptcity.com or script-o-rama.com to get further insight. ----------------------------------------------------------------------------------------------------------- BOOKS TO BUY AND READ: • Understanding Movies (12th Edition) [Paperback ] • Film Directing: Shot by Shot – by Steven D.
    [Show full text]
  • Bam 2018 Annual Report
    BAM 2018 2 1ANNUAL REPORT 0 8 BAM’s mission is to be the home for adventurous artists, audiences, and ideas. 3—5 DanceMotion USASM, 32–33 GREETINGS Membership, 34—35 President & Board Chair Letter, 4 36—43 BAM Campus, 5 WHO WE ARE 6—35 BAM Board, 37 WHAT WE DO BAM Supporters, 38–41 2017 Next Wave Festival, 7–9 BAM Staff, 42–43 2018 Winter/Spring Season, 10–11 44—46 BAM Rose Cinemas, 12–17 NUMBERS First-run Films, 13 BAM Financial Statements, 45–46 BAMcinématek, 14–15 BAMcinemaFest, 16 47—50 HD Screenings, 17 THE TRUST BAMcafé Live | Also on BAM’s Stages, 18 BET Chair Letter, 48 BAM Hamm Archives, 19 BET Financial Statements, 49–50 Digital Media, 20 Education, 21–23 Humanities, 24–26 Visual Art, 27–28 Community, 29–31 Report covering July 2017—June 2018 2 TKTKTKTK Cover: 2017 Next Wave | Tanztheater Wuppertal Pina Bausch in The Rite of Spring | Photo: Stephanie Berger GREETINGS 3 TKTKTKTK Greetings2017 Next Wave | Olivier Py Sings Les Premiers Adieux de Miss Knife | Photo: Rebecca Greenfield Hello to friends new and old! The most recent year brought many Gabriel Kahane, Hofesh Shechter Company, in addition to screenings, featured engaging Chefer, Suzy Davis, Alexa Davidson Suskin, changes to BAM, but, at its core, Suzanne Bocanegra, and Rashaun Mitchell/ talks and special events with directors and Lorraine Lynch, and Emma Wolfe. we continue to grow as a home for Silas Riener/Charles Atlas. New productions collaborators, and first-run features entertain adventurous artists, audiences, and ideas. came from near and far, including Matthew audiences of all ages and interests.
    [Show full text]