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NAL LIBRAR GIO Y RE P A The Hobbit BOOKS S IT By J.R.R. Tolkien K And the Mountains Echoed Holes By Khaled Hoseini By Louis Sacher And Then There Were None Judgment Call By Agatha Christie BOOKS By J.A. Jance The Black Box By Michael Connelly Like Water for Chocolate ON TAP By Laura Esquivel Blasphemy By Sherman Alexie Neuromancer By William Gibson The Casual Vacancy By J.K. Rowling Notorious Nineteen Endurance: By Janet Evanovich The Circle Shackleton’s Incredible Voyage By Dave Eggers By Alfred Lansing Of Mice and Men By John Steinbeck Do Androids Dream of Electric Sheep Frankenstein By Philip K. Dick By Mary Shelley The Racketeer By John Grisham Elegance of the Hedgehog Gone Girl By Murial Barbery By Gillian Flynn The Reader By Bernard Schlink Emma The Great Gatsby By Jane Austen By F. Scott Fitzgerald Rebecca By Daphne DuMaurier Kitsap Regional Library MOVIES E.T. The Extra-Terrestrial The River of Doubt Directed by Steven Spielberg By Candace Millard Read MORE, WIN MORE The Lord of the Rings (2001-2003) A Room with a View Directed by Peter Jackson NAL LIBRAR By E.M. Forster GIO Y RE Apocalypse Now P A S Directed by Francis Ford Coppola IT The Scarlet Letter K Citizen Kane By Nathanial Hawthorne Directed by Orson Welles Dr. Strangelove The Shipping News Directed by Stanley Kubrick BOOKS By Annie Proulx Lawrence of Arabia Directed by David Lean The Sparrow ON TAP By Mary Doria Russell Raging Bull Directed by Martin Scorsese To Kill a Mockingbird Singin’ in the Rain Directed by Gene Kelly & Stanley Donen By Harper Lee Star Wars IV: A New Hope A LIterarY Where’d You Go, Bernadette Directed by George Lucas By Maria Semple Taxi Driver Pub Trivia Directed by Martin Scorsese You Are Here: The Godfather PROgram From the Compass to GPS; Directed by Francis Ford Coppola The History and Future The Wizard of Oz of How We Find Ourselves Directed by Victor Fleming 7:30 p.m. By Hiawatha Bray Vertigo on the first Wednesday Directed by Alfred Hitchcock of every month Zero Day 2001: A Space Odyssey By David Balducci Directed by Stanley Kubrick Treehouse Café A Streetcar Named Desire 4569 Lynwood Center Road Directed by Elia Kazan 01/01/15 Bainbridge Island .

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The Honorable Mentions Movies- LIST 1
The Honorable mentions Movies- LIST 1: 1. A Dog's Life by Charlie Chaplin (1918) 2. Gone with the Wind Victor Fleming, George Cukor, Sam Wood (1940) 3. Sunset Boulevard by Billy Wilder (1950) 4. On the Waterfront by Elia Kazan (1954) 5. Through the Glass Darkly by Ingmar Bergman (1961) 6. La Notte by Michelangelo Antonioni (1961) 7. An Autumn Afternoon by Yasujirō Ozu (1962) 8. From Russia with Love by Terence Young (1963) 9. Shadows of Forgotten Ancestors by Sergei Parajanov (1965) 10. Stolen Kisses by François Truffaut (1968) 11. The Godfather Part II by Francis Ford Coppola (1974) 12. The Mirror by Andrei Tarkovsky (1975) 13. 1900 by Bernardo Bertolucci (1976) 14. Sophie's Choice by Alan J. Pakula (1982) 15. Nostalghia by Andrei Tarkovsky (1983) 16. Paris, Texas by Wim Wenders (1984) 17. The Color Purple by Steven Spielberg (1985) 18. The Last Emperor by Bernardo Bertolucci (1987) 19. Where Is the Friend's Home? by Abbas Kiarostami (1987) 20. My Neighbor Totoro by Hayao Miyazaki (1988) 21. The Sheltering Sky by Bernardo Bertolucci (1990) 22. The Decalogue by Krzysztof Kieślowski (1990) 23. The Silence of the Lambs by Jonathan Demme (1991) 24. Three Colors: Red by Krzysztof Kieślowski (1994) 25. Legends of the Fall by Edward Zwick (1994) 26. The English Patient by Anthony Minghella (1996) 27. Lost highway by David Lynch (1997) 28. Life Is Beautiful by Roberto Benigni (1997) 29. Magnolia by Paul Thomas Anderson (1999) 30. Malèna by Giuseppe Tornatore (2000) 31. Gladiator by Ridley Scott (2000) 32. The Lord of the Rings: The Fellowship of the Ring by Peter Jackson (2001) 33.
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Selznick Memos Concerning Gone with the Wind-A Selection
Selznick memos concerning Gone with the Wind-a selection Memo from David O. Se/znick, selected and edited by Rudy Behlmer (New York: Viking, 1972) 144 :: MEMO FROM DAVID O. SELZNICK Gone With the Wind :: 145 To: Mr. Wm. Wright January 5, 1937 atmosphere, or because of the splendid performances, or because of cc: Mr. M. C. Cooper George's masterful job of direction; but also because such cuts as we . Even more extensive than the second-unit work on Zenda is the made in individual scenes defied discernment. work on Gone With the Wind, which requires a man really capable, We have an even greater problem in Gone With the Wind, because literate, and with a respect for research to re-create, in combination it is so fresh in people's minds. In the case of ninety-nine people out with Cukor, the evacuation of Atlanta and other episodes of the war of a hundred who read and saw Copperfield, there were many years and Reconstruction Period. I have even thought about [silent-fllm between the reading and the seeing. In the case of Gone With the director1 D. W. Griffith for this job. Wind there will be only a matter of months, and people seem to be simply passionate about the details of the book. All ofthis is a prologue to saying that I urge you very strongly indeed Mr. Sidney Howard January 6, 1937 against making minor changes, a few of which you have indicated in 157 East 8znd Street your adaptation, and which I will note fully.
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Understanding Steven Spielberg
Understanding Steven Spielberg Understanding Steven Spielberg By Beatriz Peña-Acuña Understanding Steven Spielberg Series: New Horizon By Beatriz Peña-Acuña This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Beatriz Peña-Acuña Cover image: Nerea Hernandez Martinez All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0818-8 ISBN (13): 978-1-5275-0818-7 This text is dedicated to Steven Spielberg, who has given me so much enjoyment and made me experience so many emotions, and because he makes me believe in human beings. I also dedicate this book to my ancestors from my mother’s side, who for centuries were able to move from Spain to Mexico and loved both countries in their hearts. This lesson remains for future generations. My father, of Spanish Sephardic origin, helped me so much, encouraging me in every intellectual pursuit. I hope that contemporary researchers share their knowledge and open their minds and hearts, valuing what other researchers do whatever their language or nation, as some academics have done for me. Love and wisdom have no language, nationality, or gender. CONTENTS Introduction ................................................................................................. 1 Chapter One ................................................................................................. 3 Spielberg’s Personal Context and Executive Production Chapter Two .............................................................................................. 19 Spielberg’s Behaviour in the Process of Film Production 2.1.
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Greatest Year with 476 Films Released, and Many of Them Classics, 1939 Is Often Considered the Pinnacle of Hollywood Filmmaking
The Greatest Year With 476 films released, and many of them classics, 1939 is often considered the pinnacle of Hollywood filmmaking. To celebrate that year’s 75th anniversary, we look back at directors creating some of the high points—from Mounument Valley to Kansas. OVER THE RAINBOW: (opposite) Victor Fleming (holding Toto), Judy Garland and producer Mervyn LeRoy on The Wizard of Oz Munchkinland set on the MGM lot. Fleming was held in high regard by the munchkins because he never raised his voice to them; (above) Annie the elephant shakes a rope bridge as Cary Grant and Sam Jaffe try to cross in George Stevens’ Gunga Din. Filmed in Lone Pine, Calif., the bridge was just eight feet off the ground; a matte painting created the chasm. 54 dga quarterly photos: (Left) AMpAs; (Right) WARneR BRos./eveRett dga quarterly 55 ON THEIR OWN: George Cukor’s reputation as a “woman’s director” was promoted SWEPT AWAY: Victor Fleming (bottom center) directs the scene from Gone s A by MGM after he directed The Women with (left to right) Joan Fontaine, Norma p with the Wind in which Scarlett O’Hara (Vivien Leigh) ascends the staircase at Shearer, Mary Boland and Paulette Goddard. The studio made sure there was not a Twelve Oaks and Rhett Butler (Clark Gable) sees her for the first time. The set single male character in the film, including the extras and the animals. was built on stage 16 at Selznick International Studios in Culver City. ight) AM R M ection; (Botto LL o c ett R ve e eft) L M ection; (Botto LL o c BAL o k M/ g znick/M L e s s A p WAR TIME: William Dieterle (right) directing Juarez, starring Paul Muni (center) CROSS COUNTRY: Cecil B.
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Représentations dans le monde anglophone – Janvier 2017 Dr Jekyll and Mr Hyde, from Rouben Mamoulian (1932) to Victor Fleming (1941): Remaking a Horror Myth, Aesthetics, Ideology and Gender Issues Gilles Menegaldo, University of Poitiers, FORELL B3 Key words: remake, representation, transgressive, normative, double, masculine, feminine, montage, sex, fantasy. Mot-clés : remake, représentation, transgressif, normatif, double, masculin, féminin, montage, sexe, fantasme. Robert Louis Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde (1886) has been a favourite literary work for movie makers almost from the beginning of cinema. The motion pictures have indeed contributed to the development of one of the greatest modern gothic or “fantastic” myths along with Dracula and Frankenstein. The original story has a tremendous popular appeal (it was more widely read in the USA than Mary Shelley’s Frankenstein), as well as a visual, spectacular potential due to the very notion of duality and metamorphosis which it entails. It also represents an important challenge for an actor as well as for a cinematographer and set designer. It was thus transposed to the screen no less than eight times between 1910 and 1920. In 1908, the Selig Polyscope Company released The Modern Dr Jekyll. Another short one reeler was produced in 1911 by Thanhouser, starring James Cruze in the dual role of Jekyll and Hyde. It was followed in 1913 by a longer adaptation (20 mn) produced by Carl Laemmle (IMP, Universal), directed by Herbert Brenon with King Baggott, and another from the British Kineto-Kinemacolor company. However 1920 is really a landmark in the development of the myth since it saw the release of several films, including Murnau’s Head of Janus with Conrad Veidt as leading actor (a film unfortunately considered as lost), three different American versions including a feature produced by Louis B.
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The Companion Film to the EDITED by Website, Womenfilmeditors.Princeton.Edu)
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H-TGS Laberge on Fleming, 'Paul Bern: The Life and Famous Death of the MGM Director and Husband of Harlow' Review published on Wednesday, December 8, 2010 E.J Fleming. Paul Bern: The Life and Famous Death of the MGM Director and Husband of Harlow. Jefferson: Mcfarland, 2008. 396 pp. $45.00 (paper), ISBN 978-0-7864-3963-8. Reviewed by Yves Laberge (Université Laval, Département de sociologie)Published on H-TGS (December, 2010) Commissioned by Alexander Freund The Man Who Was Jean Harlow's Husband This overlooked book is not a scholarly essay, but rather a very detailed biography of famous media mogul and film producer Paul Bern (1889-1932), the “Number Two” at Metro Goldwyn Mayer Studios. Born in northern Germany not far from Hamburg, Bern succeeded in Hollywood like many other Germans did during the silent era. As E. J. Fleming puts it, Bern was a beloved figure in the studios for all his life, but his reputation changed completely the day he died; he fell into disgrace and became infamous (p. 1). In his book, Fleming revisits Bern’s life, career, successes, and death. To most people in the ephemeral world of celebrities, he remains, as the title indicates, a film producer and the second husband of the famous actress Jean Harlow (1911-37). Bern’s original name was Paul Levy; his family emigrated to New York City in 1898. Bern did not need much time to secure a position at the center of the Hollywood community. In the mid 1920s, his friends were the most influential directors in the business (Charlie Chaplin and Ernst Lubitsch), and his powerful position at MGM allowed him to date the prettiest actresses of the day, from Lya De Putti and Mary Duncan to Jeannette Loff and Joan Crawford.
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