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Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
Peep Behind the Curtain – the Impact of Pornography
Peep Behind the Curtain – the Impact of Pornography What is the scope of the issue? Research of popular pornography films found that 88% of the scenes- not just the movies, but the scenes in these movies- there was verbal and physical aggression, usually toward a woman. The more interesting finding is that 95% of the time when someone is violent with another person in porn, usually a man toward a woman, the recipient is shown as either liking that violence or having no objection. Ana J. Bridges, “Pornography’s Effects on Interpersonal Relationships,” in The Social Costs of Pornography, eds. James R. stoner and Donna M. Hughes (Princeton, NJ: Witherspoon Institute, 2010), doi: 10.1177/1077801210382866 Researchers coded 269 mainstream videos that were uploaded to PornHub between 2008 and 2016. PornHub was chosen because it is one of the world’s top adult websites and the 36th most visited site on the internet in 2017, with more than 81 million daily visits. Pornhub reports that in 2016, people watched 4.6 billion hours of pornography on its site alone; 61% of visits occurred via smartphone. In 2017 alone, Pornhub got 28.5 billion visits. That’s almost 1,000 visits a second, or 78.1 million a day—way more than the population of the entire United Kingdom. That number has since jumped to 33.5 billion site visits in 2018. Pornhub, “Pornhub’s 2016 Year in Review,” (2016). Eleven pornography sites are among the world’s top 300 most popular Internet sites. The most popular such site “xvideo”, at number 18, outranks the likes of eBay, MSN, and Netflix. -
Feature Films
NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 .......................... -
Festival Centerpiece Films
50 Years! Since 1965, the Chicago International Film Festival has brought you thousands of groundbreaking, highly acclaimed and thought-provoking films from around the globe. In 2014, our mission remains the same: to bring Chicago the unique opportunity to see world- class cinema, from new discoveries to international prizewinners, and hear directly from the talented people who’ve brought them to us. This year is no different, with filmmakers from Scandinavia to Mexico and Hollywood to our backyard, joining us for what is Chicago’s most thrilling movie event of the year. And watch out for this year’s festival guests, including Oliver Stone, Isabelle Huppert, Michael Moore, Taylor Hackford, Denys Arcand, Liv Ullmann, Kathleen Turner, Margarethe von Trotta, Krzysztof Zanussi and many others you will be excited to discover. To all of our guests, past, present and future—we thank you for your continued support, excitement, and most importantly, your love for movies! Happy Anniversary to us! Michael Kutza, Founder & Artistic Director When OCTOBEr 9 – 23, 2014 Now in our 50th year, the Chicago International Film Festival is North America’s oldest What competitive international film festival. Where AMC RIVER EaST 21* (322 E. Illinois St.) *unless otherwise noted Easy access via public transportation! CTA Red Line: Grand Ave. station, walk five blocks east to the theater. CTA Buses: #29 (State St. to Navy Pier), #66 (Chicago Red Line to Navy Pier), #65 (Grand Red Line to Navy Pier). For CTA information, visit transitchicago.com or call 1-888-YOUR-CTA. Festival Parking: Discounted parking available at River East Center Self Park (lower level of AMC River East 21, 300 E. -
Film Film Film Film
City of Darkness, City of Light is the first ever book-length study of the cinematic represen- tation of Paris in the films of the émigré film- PHILLIPS CITY OF LIGHT ALASTAIR CITY OF DARKNESS, makers, who found the capital a first refuge from FILM FILMFILM Hitler. In coming to Paris – a privileged site in terms of production, exhibition and the cine- CULTURE CULTURE matic imaginary of French film culture – these IN TRANSITION IN TRANSITION experienced film professionals also encounter- ed a darker side: hostility towards Germans, anti-Semitism and boycotts from French indus- try personnel, afraid of losing their jobs to for- eigners. The book juxtaposes the cinematic por- trayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Anatole Litvak and others with wider social and cultural debates about the city in cinema. Alastair Phillips lectures in Film Stud- ies in the Department of Film, Theatre & Television at the University of Reading, UK. CITY OF Darkness CITY OF ISBN 90-5356-634-1 Light ÉMIGRÉ FILMMAKERS IN PARIS 1929-1939 9 789053 566343 ALASTAIR PHILLIPS Amsterdam University Press Amsterdam University Press WWW.AUP.NL City of Darkness, City of Light City of Darkness, City of Light Émigré Filmmakers in Paris 1929-1939 Alastair Phillips Amsterdam University Press For my mother and father, and in memory of my auntie and uncle Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 633 3 (hardback) isbn 90 5356 634 1 (paperback) nur 674 © Amsterdam University Press, Amsterdam, 2004 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book. -
California Hard Core
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title California Hard Core Permalink https://escholarship.org/uc/item/0g37b09q Author Duong, Joseph Lam Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California California Hard Core By Joseph Lam Duong A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Waldo E. Martin, Chair Professor Kerwin Lee Klein Professor Linda Williams Spring 2014 Copyright 2014 by Joseph Lam Duong Abstract California Hard Core by Joseph Lam Duong Doctor of Philosophy in History University of California, Berkeley Professor Waldo E. Martin, Chair California Hard Core is a narrative history of the pornographic film industry in California from 1967 to 1978, a moment when Americans openly made, displayed, and watched sexually explicit films. Two interrelated questions animate this project: Who moved the pornographic film from the margins of society to the mainstream of American film culture? What do their stories tell us about sex and sexuality in the U.S. in the last third of the twentieth century? The earlier academic literature concentrates on pornographic film and political debates surrounding it rather than industry participants and their contexts. The popular literature, meanwhile, is composed almost entirely of book-length oral histories and autobiographies of filmmakers and models. California Hard Core helps to close the divide between these two literatures by documenting not only an eye-level view of work from behind the camera, on the set, and in the movie theater, but also the ways in which consumers received pornographic films, placing the reader in the viewing position of audience members, police officers, lawyers, judges, and anti-pornography activists. -
Cinema E Literatura: Um Exemplo De Como Os Modos De Produção Fílmica Podem Influenciar As Questões Da Adaptação
revista Fronteiras – estudos midiáticos 14(1): 3-12, janeiro/abril 2012 © 2012 by Unisinos – doi: 10.4013/fem.2012.141.01 Cinema e literatura: um exemplo de como os modos de produção fílmica podem influenciar as questões da adaptação Film and literature: An example of how cinematic modes of production can influence issues of adaptation Marcelo Ikeda1 RESUMO Este trabalho procura discutir as questões da adaptação fílmica, tensionando as relações entre cinema e literatura para além do mero comparativismo, que busca uma “fidelidade” como ponto central de uma teoria de adaptação. Procura-se apontar que, quando se transpõe um livro para o cinema, as questões da adaptação não se resumem somente às questões estéticas, ou próprias da transposição da linguagem literária para a cinematográfica, mas podem também sofrer a influência de seu modelo de produção enquanto processo econômico, através do circuito mercadológico em que essa obra cinematográfica circula, seus modos de produção, suas fontes de financiamento e seus públicos-alvo. Para tanto, comparamos três distintas adaptações fílmicas do livro Alice no País das Maravilhas, de Lewis Carroll. Palavras-chave: cinema e literatura, teoria da adaptação, Alice no País das Maravilhas. ABSTRACT This paper discusses the issues of film adaptation, looking for relationships between cinema and literature beyond mere comparativism, which aims to establish “loyalty” as the centerpiece of a theory of adaptation. The paper points out that when transforming a book into film, the issues of adaptation are not just about aesthetic issues, but can also be influenced by its mode of production as an economic process, according to the marketplace on which this film is distributed, funding sources and its audiences. -
12 Big Names from World Cinema in Conversation with Marrakech Audiences
The 18th edition of the Marrakech International Film Festival runs from 29 November to 7 December 2019 12 BIG NAMES FROM WORLD CINEMA IN CONVERSATION WITH MARRAKECH AUDIENCES Rabat, 14 November 2019. The “Conversation with” section is one of the highlights of the Marrakech International Film Festival and returns during the 18th edition for some fascinating exchanges with some of those who create the magic of cinema around the world. As its name suggests, “Conversation with” is a forum for free-flowing discussion with some of the great names in international filmmaking. These sessions are free and open to all: industry professionals, journalists, and the general public. During last year’s festival, the launch of this new section was a huge hit with Moroccan and internatiojnal film lovers. More than 3,000 people attended seven conversations with some legendary names of the big screen, offering some intense moments with artists, who generously shared their vision and their cinematic techniques and delivered some dazzling demonstrations and fascinating anecdotes to an audience of cinephiles. After the success of the previous edition, the Festival is recreating the experience and expanding from seven to 11 conversations at this year’s event. Once again, some of the biggest names in international filmmaking have confirmed their participation at this major FIFM event. They include US director, actor, producer, and all-around legend Robert Redford, along with Academy Award-winning French actor Marion Cotillard. Multi-award-winning Palestinian director Elia Suleiman will also be in attendance, along with independent British producer Jeremy Thomas (The Last Emperor, Only Lovers Left Alive) and celebrated US actor Harvey Keitel, star of some of the biggest hits in cinema history including Thelma and Louise, The Piano, and Pulp Fiction. -
Wenders Has Had Monumental Influence on Cinema
“WENDERS HAS HAD MONUMENTAL INFLUENCE ON CINEMA. THE TIME IS RIPE FOR A CELEBRATION OF HIS WORK.” —FORBES WIM WENDERS PORTRAITS ALONG THE ROAD A RETROSPECTIVE THE GOALIE’S ANXIETY AT THE PENALTY KICK / ALICE IN THE CITIES / WRONG MOVE / KINGS OF THE ROAD THE AMERICAN FRIEND / THE STATE OF THINGS / PARIS, TEXAS / TOKYO-GA / WINGS OF DESIRE DIRECTOR’S NOTEBOOK ON CITIES AND CLOTHES / UNTIL THE END OF THE WORLD ( CUT ) / BUENA VISTA SOCIAL CLUB JANUSFILMS.COM/WENDERS THE GOALIE’S ANXIETY AT THE PENALTY KICK PARIS, TEXAS ALICE IN THE CITIES TOKYO-GA WRONG MOVE WINGS OF DESIRE KINGS OF THE ROAD NOTEBOOK ON CITIES AND CLOTHES THE AMERICAN FRIEND UNTIL THE END OF THE WORLD (DIRECTOR’S CUT) THE STATE OF THINGS BUENA VISTA SOCIAL CLUB Wim Wenders is cinema’s preeminent poet of the open road, soulfully following the journeys of people as they search for themselves. During his over-forty-year career, Wenders has directed films in his native Germany and around the globe, making dramas both intense and whimsical, mysteries, fantasies, and documentaries. With this retrospective of twelve of his films—from early works of the New German Cinema Alice( in the Cities, Kings of the Road) to the art-house 1980s blockbusters that made him a household name (Paris, Texas; Wings of Desire) to inquisitive nonfiction looks at world culture (Tokyo-ga, Buena Vista Social Club)—audiences can rediscover Wenders’s vast cinematic world. Booking: [email protected] / Publicity: [email protected] janusfilms.com/wenders BIOGRAPHY Wim Wenders (born 1945) came to international prominence as one of the pioneers of the New German Cinema in the 1970s and is considered to be one of the most important figures in contemporary German film. -
Index to Volume 26 January to December 2016 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background -
The Dreadful Credibility of Absurd Things: a Tendency in Fantasy Theory 1
Mark Bould The Dreadful Credibility of Absurd Things: A Tendency in Fantasy Theory 1 In Britain it has been estimated that 10% of all books sold are fantasy. And of that fantasy, 10% is written by Terry Pratchett. So, do the sums: 1% of all books sold in Britain are written by Terry Pratchett. Coo. 2 Although it is unclear whether, by ‘fantasy’, Butler intends a narrow denition (generic fantasy, i.e., imitation Tolkien heroic or epic fantasy and sword ’n’ sorcery) or a broad denition (the fantastic genres, i.e., generic fantasy, sf (science ction), horror, super- natural gothic, magic realism, etc.), such statistics nonethless make the need for a Marxist theory – or preferably, Marxist theories – of the fantastic self- evident. The last twenty or thirty years have witnessed a remarkable expansion in the study of fantastic texts and genres. Literary studies has embraced the gothic, fairy tales and sf, and screen studies has developed a complex critique of horror and is now beginning 1 With profound thanks to China Miéville, Kathrina Glitre, Greg Tuck – friends, colleagues, comrades. Thanks also to Historical Materialism ’s anonymous readers, and to José B. Monleón for translating a passage from Benito Pérez Galdós’ s The Reason of Unreason (1915) and thereby providing me with a title. 2 Butler 2001, p. 7. Historical Materialism , volume 10:4 (51–88) ©Koninklijke Brill NV, Leiden, 2002 Also available online – www.brill.nl 52 Mark Bould to come to terms with sf. However, there is a remarkable absence in all this endeavour. The rst major Marxist sf theorist, Darko Suvin, notoriously described (narrowly-dened) fantasy as ‘just a subliterature of mystication’ and asserted that the ‘[c]ommerical lumping of it into the same category as SF is thus a grave disservice [to sf] and a rampantly socio-pathological phenomenon’. -
Forced Entry 30Th November 2015
Forced Entry th 30 November 2015 Acknowledgements I would like to thank Shaun Costello for taking time to answer my questions, and Martin Brooks, Oliver Carter, and Tony Richards for their valuable suggestions. ‘There is no better way to know death than to link it through some licentious image’ The Marquis De Sade (Quoted in Bataille 1986: 11) Forced Entry (Shaun Costello, 1972) is a sexually violent feature film which blurs perceptions of 1970s American hardcore cinema as a ‘golden age’ of creative ambition, commercial possibility and broader mainstream acceptance, a phenomenon that has been identified most resonantly as ‘porno chic’. This term originated in Ralph Blumenthal’s (1973) New York Times article bearing the same name, and soon entered into discussions on pornography’s role within that decade’s liberal trends of morality and sexuality, before achieving later ubiquity in various inquiries into porn’s 21st century cultural status (See McNair 2012). This was prompted by the succès de scandale of Deep Throat (Gerard Damiano, 1972), Behind The Green Door (Artie and Jim Mitchell, 1972), The Resurrection of Eve (Jon Fontana and Artie Mitchell, 1973) and The Devil in Miss Jones (Gerard Damiano, 1973). All of these films were male authored, but dealt in some way with both the potential and the limitations of a female protagonist’s sexual assertion relative to masculine primacy, in scenarios which were either conventionally dramatic, comedic or even steeped in the supernatural. However, in Forced Entry, not only is the film male authored, but its point of view is channelled through a psychologically disturbed Vietnam war veteran - now a New York gas station attendant - who stalks selected female customers before raping and murdering them in their homes, seemingly as a punishment for sexual assertiveness and social independence which threaten his fragile claims to masculine authority.