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The Coming of Sound Film and the Origins of the Horror Genre
UNCANNY BODIES UNCANNY BODIES THE COMING OF SOUND FILM AND THE ORIGINS OF THE HORROR GENRE Robert Spadoni UNIVERSITY OF CALIFORNIA PRESS BERKELEY LOS ANGELES LONDON University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more informa- tion, visit www.ucpress.edu. A previous version of chapter 1 appeared as “The Uncanny Body of Early Sound Film” in The Velvet Light Trap 51 (Spring 2003): 4–16. Copyright © 2003 by the University of Texas Press. All rights reserved. The cartoon on page 122 is © The New Yorker Collection 1999 Danny Shanahan from cartoonbank.com. All rights reserved. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2007 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data Spadoni, Robert. Uncanny bodies : the coming of sound film and the origins of the horror genre / Robert Spadoni. p. cm. Includes bibliographical references and index. isbn 978-0-520-25121-2 (cloth : alk. paper) isbn 978-0-520-25122-9 (pbk. : alk. paper) 1. Horror films—United States—History and criticism. 2. Sound motion pictures—United States— History and criticism. I. Title. pn1995.9.h6s66 2007 791.43'6164—dc22 2006029088 Manufactured in the United States -
Photo Journalism, Film and Animation
Syllabus – Photo Journalism, Films and Animation Photo Journalism: Photojournalism is a particular form of journalism (the collecting, editing, and presenting of news material for publication or broadcast) that employs images in order to tell a news story. It is now usually understood to refer only to still images, but in some cases the term also refers to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography (e.g., documentary photography, social documentary photography, street photography or celebrity photography) by complying with a rigid ethical framework which demands that the work be both honest and impartial whilst telling the story in strictly journalistic terms. Photojournalists create pictures that contribute to the news media, and help communities connect with one other. Photojournalists must be well informed and knowledgeable about events happening right outside their door. They deliver news in a creative format that is not only informative, but also entertaining. Need and importance, Timeliness The images have meaning in the context of a recently published record of events. Objectivity The situation implied by the images is a fair and accurate representation of the events they depict in both content and tone. Narrative The images combine with other news elements to make facts relatable to audiences. Like a writer, a photojournalist is a reporter, but he or she must often make decisions instantly and carry photographic equipment, often while exposed to significant obstacles (e.g., physical danger, weather, crowds, physical access). subject of photo picture sources, Photojournalists are able to enjoy a working environment that gets them out from behind a desk and into the world. -
Soviet Film Archives Provide Americana Two Missing Works of D.W. Griffith
/:*« The Museum of Modern Art No. kO V(/est 53 Street, New York, N.Y. 10019 Tel. 245-3200 Cable: Modernart Monday, March 2k, I969 FOR IMMEDIATE RELEASE SOVIET FILM ARCHIVES PROVIDE AMERICANA TWO MISSING WORKS OF D.W. GRIFFITH Two early valued works of David Wark Griffith, father of American films, were discovered in the State Film Archives of the Soviet Union. The missing films, made in 1918 and 1919; have been donated by the Soviets to The Museum of Modern Art, which in turn has given to the Russians some early newsreels referring to events in Russian history. A world-wide search was made among film archivists and private collectors to locate the two Griffith films, "A Romance of Happy Valley," starring Lillian Gish, and "Scarlet Days" with Richard Barthlemess. Both films will be screened for the public, March 2k and 25, at 2:00 p.m. and 5:30 p.m., in the Museum Auditorium, though the titles are still in Russian. English titles will be made later, Eileen Bowser, Associate Curator in charge of Collections, Department of Film, says from the complete list of original titles from D.W. Griffith films now in the Museum archives. Referring to "A Romance of Happy Valley," Mrs. Bowser described it as a pastoral romance with an especially fine performance by Lillian Gish, while "Scarlet Days," she said, is of interest because it reminds us that Griffith was among the early creators of the Western genre. He made one-reel Westerns during his Biograph period, but this is the only full-length Western made by the master film-maker. -
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
Lost Disney Film Discovered in Bfi National Archive
LOST DISNEY FILM DISCOVERED IN BFI NATIONAL ARCHIVE: OSWALD THE LUCKY RABBIT in SLEIGH BELLS (1928) WALT DISNEY ANIMATION STUDIOS’ RESTORATION IN WORLD PREMIERE SCREENING EVENT FEATURING A SELECTION OF THE STUDIOS’ HOLIDAY SHORTS INCLUDING THIS YEAR’S ACCLAIMED SHORT, FROZEN FEVER, AT BFI SOUTHBANK A scene from Sleigh Bells (1928): Oswald the Rabbit skates towards his wife, Ortensia the cat. (c) Walt Disney Animation Studios Ltd. London, 3rd November 2015. Embargoed until 6pm. The BFI National Archive and Walt Disney Animation Studios are pleased to announce the rediscovery of a rare, long-lost, Walt Disney animated film Sleigh Bells (1928) featuring the first ever Disney character, Oswald the Lucky Rabbit, a long-eared precursor to Mickey Mouse. The world premiere of the new restoration of the film by Walt Disney Animation Studios will take place at BFI Southbank on 12 December 2015 as part of a programme It’s A Disney Christmas: Seasonal Shorts, screening other festive Disney gems from the 1930’s to the present day. Oswald the Lucky Rabbit was invented by Walt Disney in 1927 and was loved for his mischievous and rebellious personality. A number of other films do survive but Sleigh Bells has been, until now, a lost film, unseen since its original release. The animation in the film was accomplished by Walt Disney and Ub Iwerks, both of whom went on to create the character of Mickey Mouse, following a contractual disagreement with Universal, for whom they had created the Oswald films. The print of Sleigh Bells (1928) was preserved in the collections of the BFI National Archive. -
WARNER ARCHIVE DVD COLLECTION – Informal Collection List As of Winter 2013
WARNER ARCHIVE DVD COLLECTION – informal collection list as of Winter 2013. For updated information or to arrange viewing, please e-mail [email protected]. Item # Title DVD8925 2 WEEKS IN ANOTHER TOWN [1962] DVD7519 20,000 YEARS IN SING SING [1933] DVD9691 24 HOURS TO KILL [1965] DVD7301 3 SAILORS AND A GIRL [1953] DVD8754 -30- [1959] DVD10749 5 TIME CHAMPION [2012] DVD9877 7 FACES OF DR. LAO [1963] DVD9174 ABBOTT AND COSTELLO MEET CAPTAIN KIDD [1952] DVD7192 ABDICATION, THE [1974] DVD7206 ABE LINCOLN IN ILLINOIS [1940] DVD7171 ABOVE AND BEYOND [1952] DVD7934 ABOVE SUSPICION [1943] DVD9781 ACROSS THE WIDE MISSOURI [1951] DVD7520 ACROSS TO SINGAPORE [1928] DVD7201 ACTRESS, THE [1953] DVD10743 ADA [1961] DVD8764 ADAM’S WOMAN [1969] DVD9634 ADVANCE TO THE REAR [1963] DVD9780 ADVENTURE [1945] DVD7191 ADVENTURES OF HUCKLEBERRY FINN, THE [1939] DVD7216 ADVENTURES OF MARK TWAIN, THE [1944] DVD7743 ADVENTURES OF ONE ESKIMO, THE [2009] DVD9976 AFFAIRS OF DOBIE GILLIS, THE [1953] DVD8554 AGATHA [1978] DVD10336 AGE OF CONSENT, THE [1932] DVD9136 AGE OF INNOCENCE, THE [1934] DVD7195 AH, WILDERNESS! [1935] DVD7669 AIRBORNE [1993] DVD9800 AKIRA KUROSAWA’S DREAMS [1990] DVD7226 AL CAPONE [1959] DVD9807 ALEX IN WONDERLAND [1970] DVD8845 ALIAS THE DOCTOR [1932] DVD8118 ALIBI IKE [1935] DVD10532 ALICE [THE COMPLETE FIRST SEASON] [DISC 1 OF 3] DVD10533 ALICE [THE COMPLETE FIRST SEASON] [DISC 2 OF 3] DVD10534 ALICE [THE COMPLETE FIRST SEASON] [DISC 3 OF 3] DVD10772 ALICE [THE COMPLETE SECOND SEASON] [DISC 1 OF 3] DVD10773 ALICE [THE COMPLETE SECOND SEASON] -
Bulletin Online 12.2018
bulletin online 12.2018 Two props from 2018 FIAF Award winner Apichatpong Weerasethakul’s œuvre now preserved by the Thai Film Archive in Bangkok: the “spaceship” built by people in Nabua (Northern Thailand) as part of Apichatpong’s Primitive installation; the ape featuring in his film Uncle Boonmee Who Can Recall His Past Lives (2010). bulletin online 12.2018 Editorial As our 80th anniversary year is drawing to a close (we’ll say goodbye to our much-liked special logo on 31 December), we can look back on it and be proud of our global community’s many achievements over the last twelve months. Our training and outreach programme, introduced a couple of years ago, keeps gaining strength and supports a number of key events that make a real difference for film archivists and film heritage institutions around the world, while giving visibility to our cause. What better examples of this than our highly successful partnership with the Film Heritage Foun- dation on the Film Preservation & Restoration India 2019 in Kolkata last month, or with the Cineteca di Bologna and its lab on the FIAF Film Resto- ration Summer School in Bologna a little earlier in the year? As for our new Internship Fund, which allows members of the FIAF community to further their knowledge and skills in a specific and targeted area of film archiving at another FIAF archive, it is yet another fine example of the continued relevance of our global network of solidarity 80 years after its creation. Christophe Dupin I would also like once again to encourage you to visit the FIAF website (both its public and private areas) and make use of all the great resources regularly added to it; for instance, the Treasures database, the JFP archive, the Commissions’ resources, and the annual reports of (almost) all our CONTENTS affiliates – an often overlooked yet invaluable source of information on the state of our field. -
“Silents” at Iverson Movie Ranch
“Silents” at Iverson Movie Ranch Silent Movies Did you know... • The first American silent film was the western, The Great Train Robbery (1903) • The first documentary story film was Life of a Fireman (1903) • The last silent film created was Legong: Dance of the Virgins (1935) • 75% of silent feature films produced in the U.S. have been lost D.W. Griffith (right), Director A Brief History: Iverson Movie Ranch • Located in Chatsworth, California (Just a few miles from downtown Hollywood). • The first outdoor movie studio. • Over three thousand film-television and other productions filmed there. • Many industry “firsts” happened at the Ranch. • The Ranch played the backdrop for scenes such as deserts, jungles, Western towns, and even other planets; from the past, present and future. Movies at Iverson Ranch Interesting facts... • D.W. Griffith inspired the development of Iverson Ranch into a movie studio • The term “Movie Ranch” was coined at Iverson Ranch • The Squaw Man (1914) was the first movie Cecil B. Demille directed at the Ranch • Many silent movie features were shot at the Ranch, such as: The Silent Man (1917), The Tiger Man (1918), Rin Tin Tin (1925), Ben Hur (1925) and Noah’s Ark (1928) D.W. Griffith The Silent Man (1917) The Tiger Man (1918) Rin Tin Tin (1925) Ben Hur (1925) Noah’s Ark (1928) Man–Woman-Marriage • Released: March, 1921 • Director: Allen Holubar • Starring: Dorothy Phillips and Ramon Novarro (Margaret Mann, J. Barney Sherry, Ralph Lewis, Shannon Day) • Distributor: First National Pictures • Original working title, “The Amazonians” • May be one surviving copy, but not available and not seen since released “Give them the Sword, You Women!” A gigantic scene of the Amazons of the Matriarchal age preparing for battle to protect their children. -
The Orphanista Manifesto: Orphan Films and the Politics of Reproduction
Visual Anthropology REVIEW ESSAYS The Orphanista Manifesto: Orphan Films and the Politics of Reproduction EMILY COHEN New York University ABSTRACT In this essay, I review the works of filmmakers Bill Morrison and Gregorio Rocha and contextualize their work within agrowing apocalyptic cultural movement of film preservationists who identify as “orphanistas.” As orphanistas they struggle to reshape and reproduce cultural memory and heritage through reviving “orphans”—films abandoned by their makers. Moving images mimic cognitive memory, yet, depending on reproduc- tive technologies, copies of moving images may organize mass publics and influence cultural imaginaries. Traditionally consid- ered conservative, preservation in the midst of destruction is not FIGURE 1. The aftermath of the fire at the Cinemath´ eque` only a creative but also an avant-garde act of breathing new life Franc¸aise on August 3, 1980. Image from Nitrate Won’t Wait (1992) by Anthony Slide. into storytelling and the reproduction of cultural memory. In this essay, I discuss how the surrealist works of Morrison and Rocha radically confront dominant cultural imaginings of race and na- imminent demise, an old decaying silent film provokes an tion, and I argue that film preservation has the potential of being emotional landscape of urgency. socially transformative. An interview with Gregorio Rocha follows. Today, people who struggle to preserve and make avail- [Keywords: film archives, cultural memory, reproduction, race, able forgotten films that are decaying in archives, garages, nation] and basements call these dying films “orphans.” As an or- phanage, the film archive is transformed into a place of Prior to 1949, all motion pictures were made of nitro- forgotten, abandoned images and texts. -
Liste Des Films Cinémathèque Suisse Droits CH
Liste des films Cinémathèque suisse Droits CH N° Titre Réalisateur Année Prod. 1 13 Rue Madeleine Hathaway, Henry 1947 Fox 2 A-Haunting We Will Go Werker, Alfred l. 1942 Fox 3 Across the Pacific Huston, John 1942 Warner 4 Adam's Rib Cukor, George 1949 Loew's / MGM 5 Alexander's Ragtime Band King, Henry 1938 Fox 6 Anchors Aweigh Sidney, George 1945 MGM 7 And Then There Were None Clair, René 1945 Fox 8 Anna and the King of Siam Cromwell, John 1946 Fox 9 Anna Karenina Duvivier, Julien 1948 Fox 10 Anna Karenina Brown, Clarence 1935 MGM 11 Anne of the Indies Tourneur, Jacques 1951 Fox 12 Apartment for Peggy Seaton, George 1948 Fox 13 Arrangement, The Kazan, Elia 1969 Athena 14 Babes in Arms Berkeley, Busby 1939 MGM 15 Baby Face Green, Alfred E. 1933 Warner 16 Band of Angels Walsh, Raoul 1957 Warner 17 Banjo on My Knee Cromwell, John 1936 Fox 18 Battleground Wellman, William A. 1949 MGM 19 Beautiful Blonde from Bashful Bend, Sturges, Preston 1949 Fox the 20 Bell for Adano, A King, Henry 1945 Fox 21 Ben Hur Wyler, William 1958 MGM 22 Beyond a Reasonable Doubt Lang, Fritz 1956 Friedlob 23 Beyond the Forest Vidor, King 1949 Warner 24 Big Noise, the St Clair, Malcolm 1944 Fox 25 Black Rose, the Hathaway, Henry 1950 Fox 26 Black Swan, the King, Henry 1942 Fox 27 Blackboard Jungle Brooks, Richard 1955 MGM 28 Blood and Sand Mamoulian, Rouben 1941 Fox 29 Blow Up Antonioni, Michelan- 1966 MGM gelo 30 Blue Bird, the Lang, Walter 1940 Fox 31 Boom Town Conwack, Jack 1940 MGM 32 Boomerang Kazan, Elia 1947 Fox 33 Border Incident Mann, Anthony 1949 MGM 34 Bordertown Mayo, Archie L. -
Transatlantica, 1 | 2020 Admirable Alterity on the Frontier: French Women’S Agency in the Hollywood We
Transatlantica Revue d’études américaines. American Studies Journal 1 | 2020 Conjunctions of the Literary and the Philosophical in Twentieth- and Twenty-First-Century American Writing Admirable Alterity on the Frontier: French Women’s Agency in the Hollywood Western (1931-1980) Lara Cox Electronic version URL: https://journals.openedition.org/transatlantica/15812 DOI: 10.4000/transatlantica.15812 ISSN: 1765-2766 Publisher Association française d'Etudes Américaines (AFEA) Electronic reference Lara Cox, “Admirable Alterity on the Frontier: French Women’s Agency in the Hollywood Western (1931-1980)”, Transatlantica [Online], 1 | 2020, Online since 01 December 2020, connection on 21 September 2021. URL: http://journals.openedition.org/transatlantica/15812 ; DOI: https://doi.org/ 10.4000/transatlantica.15812 This text was automatically generated on 21 September 2021. Transatlantica – Revue d'études américaines est mise à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Admirable Alterity on the Frontier: French Women’s Agency in the Hollywood We... 1 Admirable Alterity on the Frontier: French Women’s Agency in the Hollywood Western (1931-1980) Lara Cox Acknowledgements: I am grateful to James Stilley for his expertise on the sumptuous rug of Cimarron, and to Siham Bel, whose insight into the commercial workings of the film industry have been invaluable. 1 In February 2020, Le Monde film reviewer Mathieu Macheret remarked that David Perrault’s Western Savage State (L’État sauvage, 2019) was refreshing and novel. As Macheret observes, Savage State tells of the under-recognized history (“l’histoire trop méconnue”) of the French presence on the US Western frontier. -
Castaneda, Antonia I
THE BRITISH LIBRARY WOMEN IN THE TRANS-MISSISSIPPI WEST, 1840-1900: A GUIDE TO MATERIALS IN THE BRITISH LIBRARY by Jean Kemble THE ECCLES CENTRE FOR AMERICAN STUDIES CONTENTS Introduction States Alaska Arkansas Arizona California Colorado Hawaii Idaho Iowa Kansas Minnesota Missouri Montana Nebraska Nevada New Mexico North Dakota Oklahoma Oregon South Dakota Texas Utah Washington Wyoming Regions Prairies Plains Northwest Southwest West--general Topics Army Black Women Ethnic Women Family Life Female/Male Relations Fiction Historiography Homesteading Overland Journey Photography/Art Prostitutes Religious Women Suffrage, Feminism, Women’s Rights Teachers Women and Native Americans Women in Their Own Words and Others’ Eyes Letters Diaries and Journals Oral Histories, Memoirs and Autobiographies Biographies Work INTRODUCTION Few regions, in any country, at any time, have so indelibly shaped their nation’s identity and its international image as the late nineteenth century American West. For nearly a century this West was portrayed in fiction, film, folklore and art as a vast arena of mythic struggles between rugged individuals, a hostile environment and even more hostile inhabitants. It was a place populated almost exclusively by single men: cowboys, miners, loggers, gold-panners and ranchers, single-mindedly creating new lives for themselves in unknown and challenging terrain. Women rarely featured, even in the work of historians, and when they did it was invariably as one of three types: genteel civilisers, sunbonneted helpmates or prostitutes. During the past two decades, however, historians of both women and the West have increasingly turned their attention to western women’s diaries, letters, journals, memoirs, novels, poems and oral histories.