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Durham E-Theses
Durham E-Theses Pulling focus: New perspectives on the work of Gabriel Figueroa Higgins, Ceridwen Rhiannon How to cite: Higgins, Ceridwen Rhiannon (2007) Pulling focus: New perspectives on the work of Gabriel Figueroa, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2579/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Pulling Focus: New Perspectives on the Work of Gabriel Figueroa by Ceridwen Rhiannon Higgins University of Durham 2007 Submitted for Examination for Degree of PhD 1 1 JUN 2007 Abstract This thesis examines the work of Mexican cinematographer Gabriel Figueroa (1907 -1997) and suggests new critical perspectives on his films and the contexts within which they were made. Despite intense debate over a number of years, auteurist notions in film studies persist and critical attention continues to centre on the director as the sole giver of meaning to a film. -
Nostalgia for El Indio
FILMS NOSTALGIA FOR EL INDIO Fernando Fuentes This biography of Emilio Fernández, pacity creates a clear photographic Origins, Revolutions, Emigration one of Mexico's most famous film di- identity whether he portrays the Me- rectors of the so-called Golden Age of xican countryside or the urban scene. Emilio Fernández, known in the film Mexican film, was written with the All the solemn moments in his world as El Indio, was born in what is analytic professionalism and historic films are impregnated by a nostalgia now a ghost town but was part of a vision characteristic of Emilio García for the Revolution on the nationalist mining zone called Mineral de Hon- Riera. level, and by nostalgia for virginity do, in the municipality of Sabinas, In his detailed revision of El Indio on an emotional level, whether the Coahuila. He was the only child of Fernández' cinematographic work, film is set in the violence of the pro- Sara Romo, a Kikapoo Indian, and the author provides a critical evalu- vinces or in urban cabarets or bur- of Emilio Fernández Garza. ation of the film maker's produc- dels. The rhythm of his stories is He participated in the Revolution tion, and generally refers exactly to marked by impulses of a energetic as a boy, or at least, he dedicated his sources, be these material from sensibility and an admirable artistic himself to taking mental photos: "I newspapers, magazines or books, or capacity. had what all boys dream about: a pis- testimonies of those who lived or El Indio Fernández is a poet of tol, a horse and a battleground. -
Orson Welles: CHIMES at MIDNIGHT (1965), 115 Min
October 18, 2016 (XXXIII:8) Orson Welles: CHIMES AT MIDNIGHT (1965), 115 min. Directed by Orson Welles Written by William Shakespeare (plays), Raphael Holinshed (book), Orson Welles (screenplay) Produced by Ángel Escolano, Emiliano Piedra, Harry Saltzman Music Angelo Francesco Lavagnino Cinematography Edmond Richard Film Editing Elena Jaumandreu , Frederick Muller, Peter Parasheles Production Design Mariano Erdoiza Set Decoration José Antonio de la Guerra Costume Design Orson Welles Cast Orson Welles…Falstaff Jeanne Moreau…Doll Tearsheet Worlds" panicked thousands of listeners. His made his Margaret Rutherford…Mistress Quickly first film Citizen Kane (1941), which tops nearly all lists John Gielgud ... Henry IV of the world's greatest films, when he was only 25. Marina Vlady ... Kate Percy Despite his reputation as an actor and master filmmaker, Walter Chiari ... Mr. Silence he maintained his memberships in the International Michael Aldridge ...Pistol Brotherhood of Magicians and the Society of American Tony Beckley ... Ned Poins and regularly practiced sleight-of-hand magic in case his Jeremy Rowe ... Prince John career came to an abrupt end. Welles occasionally Alan Webb ... Shallow performed at the annual conventions of each organization, Fernando Rey ... Worcester and was considered by fellow magicians to be extremely Keith Baxter...Prince Hal accomplished. Laurence Olivier had wanted to cast him as Norman Rodway ... Henry 'Hotspur' Percy Buckingham in Richard III (1955), his film of William José Nieto ... Northumberland Shakespeare's play "Richard III", but gave the role to Andrew Faulds ... Westmoreland Ralph Richardson, his oldest friend, because Richardson Patrick Bedford ... Bardolph (as Paddy Bedford) wanted it. In his autobiography, Olivier says he wishes he Beatrice Welles .. -
Filmkatalog IAI Stand Februar 2015 Alph.Indd
KATALOG DER FILMSAMMLUNG Erwerbungen 2006 - 2014 CATÁLOGO DE LA COLECCIÓN DE CINE Adquisiciones 2006 - 2014 Inhalt Argentinien............................................................................. 4 Bolivien....................................................................................18 Brasilien...................................................................................18 Chile.........................................................................................31 Costa Rica................................................................................36 Cuba.........................................................................................36 Ecuador....................................................................................43 Guatemala...............................................................................46 Haiti.........................................................................................46 Kolumbien...............................................................................47 Mexiko.....................................................................................50 Nicaragua.................................................................................61 Peru.........................................................................................61 Spanien....................................................................................62 Uruguay...................................................................................63 Venezuela................................................................................69 -
Richard Burton
Richard Burton For other people named Richard Burton, see Richard Burton (disambiguation). Richard Burton, CBE (/ˈbɜrtən/; 10 November 1925 – 5 August 1984) was a Welsh stage and cinema actor[1] noted for his mellifluous baritone voice and his great act- ing talent.[2][3] Establishing himself as a formidable Shakespearean ac- tor in the 1950s, with a memorable performance of Hamlet in 1964, Burton was called “the natural suc- cessor to Olivier" by critic and dramaturg Kenneth Ty- nan. An alcoholic,[3] Burton’s failure to live up to those expectations[4] disappointed critics and colleagues and fu- [3][5] eled his legend as a great thespian wastrel. Burton was born in Pontrhydyfen, where his father and some of Burton was nominated seven times for an Academy his brothers were coal miners Award without ever winning. He was a recipient of BAFTA, Golden Globe and Tony Awards for Best Ac- ing with Cecilia, Burton attended nearby Eastern Primary tor. In the mid-1960s Burton ascended into the ranks of School on Incline Row.[13] Burton said later that his sister the top box office stars,[6] and by the late 1960s was one became “more mother to me than any mother could have of the highest-paid actors in the world, receiving fees of ever been ... I was immensely proud of her ... she felt all $1 million or more plus a share of the gross receipts.[7] tragedies except her own”. Burton’s father would occa- Burton remains closely associated in the public con- sionally visit the homes of his grown daughters but was sciousness with his second wife, actress Elizabeth Taylor. -
The Walsh Brothers in Hollywood
Volume XXXX, No. 11 • January (Eanáir), 2015 The Walsh Brothers in Hollywood .........................................................................................................Raoul and George Walsh got their start wrote. The movie starred silent cinema jackrabbit jumped through a windshield as in New York City, born not to the stage superstar Anna Q. Nilsson as a society he was driving. He gave up the part (but and screen, but both made their marks woman turned social worker who aids the not the directing job), and never acted upon both - Raoul as an actor, director, and regeneration of a Bowery gang leader. again. Warner Baxter won an Oscar for the founding member of the Academy of role Walsh was originally slated to play. Walsh later directed The Thief of Motion Picture Arts and Sciences, George Bagdad (1924) starring Douglas Fairbanks Walsh would wear an eye patch for the rest as an actor. and Anna May Wong, and What Price of his life. Raoul Walsh was born in New York as Glory? (1926) starring Victor McLaglen In the early days of sound with Fox, Albert Edward Walsh to Elizabeth T. and Dolores del Río. Walsh directed the first widescreen Bruff, the daughter of Irish Catholic spectacle, The Big Trail (1930), an epic immigrants, and Thomas W. Walsh, an wagon train western shot on location Englishman of Irish descent. Like his across the West. The movie starred then younger brother, he was part of Omega unknown John Wayne, whom Walsh Gamma Delta during his high school discovered as prop-boy Marion Morrison. days. Growing up in New York, Raoul Walsh renamed Morrison after Revolu- Walsh was also a friend of the Barrymore tionary War general Mad Anthony Wayne, family. -
“Un Indio En El Cine De América Latina: El Insólito Indigenismo De Emilio Fernández”
Torres, Galo. “Un indio en el cine de América Latina: el insólito indigenismo de Emilio Fernández”. Fuera de Campo, Vol. 1, No. 2 (2016): 64-75. Emilio (El Indio) Fernández 64 Torres, Galo. “Un indio en el cine de América Latina: el insólito indigenismo de Emilio Fernández”. Fuera de Campo, Vol. 1, No. 2 (2016): 64-75. Un indio en el cine de América Latina: el insólito indigenismo de Emilio Fernández Galo Alfredo Torres Universidad de Cuenca Cuenca, Ecuador [email protected] 65 Resumen TÍTULO: Un indio en el cine de América Latina: el insólito indigenismo de Emilio Fernández Todo retrato del otro es necesariamente un punto de vista. En la historia de esa repre- sentación ha imperado el relativismo, o lo que en cine se llama el «efecto Rashomón». La ficción es el reino de la verosimilitud y no de la veracidad, es hacer interpretaciones que generan otras. Uno de los directores más celebrados de la Edad de Oro del cine mexicano fue Emilio «El Indio» Fernández, quien en buena parte de sus películas profesó un indige- nismo mítico y constructivo, propio de todo discurso del prestigio, y por ello susceptible de ser cuestionado y discutido. Su compañero de fórmula, el fotógrafo Gabriel Figueroa, le aportó composición, luces y sombras, a unas imágenes celebratorias y abundantes sobre el mundo indígena mexicano. Criticables, como cualquier retrato sobre el otro indígena, las películas de dueto mexicano están allí para alimentar el debate. Sin embargo, quizá lo más importante, más allá de la candidez de su indigenismo nacionalista, sea que varias décadas después esas películas siguen iluminando al cine de América Latina, gracias a sus parti- culares lecciones sobre el riesgoso y fascinante perspectivismo que significa todo retrato y autorretrato cinematográfico. -
The Physician at the Movies Peter E
The physician at the movies Peter E. Dans, MD Kenneth Branagh (center) is Viktor Cherevin in Jack Ryan: Shadow Recruit. © MMXIV Paramount Pictures Corporation. All Rights Reserved. Photo credit: Anatoliy Vorobev. Jack Ryan: Shadow Recruit therapy. She can’t date patients but when she is no longer his Starring Chris Pine, Keira Knightley, Kevin Costner, and caregiver and has embarked on her ophthalmology residency, Kenneth Branagh. they begin a relationship. After he leaves the hospital, Ryan is Directed by Kenneth Branagh. Rated PG-13. Running time recruited by CIA operative Thomas Harper (Kevin Costner) as 105 minutes. an analyst to monitor the Russians who are plotting to destroy the dollar. We are treated to screensful of computer-generated he film opens in London on September 11, 2001, where figures and assorted mumbo-jumbo that essentially show that John Patrick Ryan (Chris Pine) is pursuing an economics the Russians are hiding numerous accounts and could dump degree.T The 9/11 attack leads him to join the Marines. Cut next billions in treasury bonds on the market at a critical time, to to Afghanistan where he and other Marines are being trans- devastating effect. Ryan is sent to Moscow, where he escapes ported in a helicopter while discussing the relative merits of killers, helps advise the tracking down of terrorists, all the the Baltimore Ravens and Cincinnati Bengals. (This dialogue while racing against the clock to prevent a stock market col- was probably an homage to Tom Clancy, a Baltimorean and lapse. He is almost killed by the person who is sent to meet the author of the Jack Ryan novels.) This is the only Ryan story him at the airport to “protect” him. -
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. -
Academy Award™-Winner Christopher Plummer Re-Creates
Press Contact: Harry Forbes, WNET 212-560-8027 or [email protected] Press materials: www.thirteen.org/pressroom/gperf Academy Award™-Winner Christopher Plummer Re-creates His Tony Award-Winning Performance as John Barrymore In “Barrymore” on THIRTEEN’s Great Performances Friday, January 31 at 9 p.m. ET on PBS An acting legend portrays an acting icon in an astonishing tour de force After Christopher Plummer’s multiple awards wins for Beginners in 2010 (Oscar, Golden Globe, BAFTA and more), the distinguished star of stage and screen went on to deliver another highly affecting performance, when he re-created his Tony Award-winning role of legendary actor John Barrymore in the film adaptation of William Luce’s Broadway play of the same name. Barrymore will air on Great Performances, Friday, January 31 at 9 p.m., ET on PBS (check local listings). Set in 1942, Barrymore shines a dramatic spotlight on the acclaimed—and notorious— John Barrymore, capturing the famously combative star in the final months of his life as he struggles to prepare for a backer’s audition to stage a revival of his 1920 Broadway triumph in Richard III. Once among the most acclaimed stage actors of his generation, as well as a central member of Broadway and Hollywood’s most famous acting dynasty, Barrymore is now in the twilight of his career, no longer a leading box office draw and wrestling with the ravages of his life of excess. With equal parts lacerating wit and piercing despair, the faded icon revisits the highs and lows of his theatrical triumphs and remarkable life. -
Joseph Tomes Papers
http://oac.cdlib.org/findaid/ark:/13030/kt5w1036c6 No online items Inventory of the Joseph Tomes Papers Sara Gunasekara Department of Special Collections General Library University of California, Davis Davis, CA 95616-5292 Phone: (530) 752-1621 Fax: (530) 754-5758 Email: [email protected] © 2011 The Regents of the University of California. All rights reserved. Inventory of the Joseph Tomes D-066 1 Papers Creator: Tomes, Joseph, 1912-1998 Title: Joseph Tomes Papers Date (inclusive): 1928-1990 Extent: 0.9 linear feet Abstract: Joseph Tomes was a founding member of the Fresno Community Theater in Fresno, California. The collection contains correspondence, photographs, programs, and memorabilia, many of which are related to Fresno Community Theater productions. Also included are short letters from theatrical personalities including Helen Hayes, Lynn Fontanne, Laurence Olivier, John Barrymore, and James Mason. Physical location: Researchers should contact Special Collections to request collections, as many are stored offsite. Repository: University of California, Davis. General Library. Dept. of Special Collections. Davis, California 95616-5292 Collection number: D-066 Language of Material: Collection materials in English. Biography Joseph Tomes, a native of Indianapolis, Indiana, graduated from Butler University. He apprenticed as an actor at the Pasadena Community Playhouse and performed in Laurence Oliver's production of Romeo and Juliet. Tomes was a founding member of the Fresno Community Theater in Fresno, California, in 1955. Scope and Content The collection contains correspondence, photographs, programs, and memorabilia, many of which are related to Fresno Community Theater productions. Also included are short letters from theatrical personalities including Helen Hayes, Lynn Fontanne, Laurence Olivier, John Barrymore, and James Mason. -
THE MAD GENIUS: a RETROSPECT to John Barrymore
Warners’ Edward G. Robinson, will now go THE MAD GENIUS: A RETROSPECT to John Barrymore. No reason is given for the switch, but surely Warners, delighted by By Greg Mank Svengali, wants a follow-up similar in style and scope. For 1931 moviegoers, beholding At Last! Barrymore on the screen is akin to 2010 audi- The Great John BARRYMORE ences watching a rock star—a crazy, unbridled At His Zenith! talent, shooting off sparks of what Greta Garbo –Warner Bros. Publicity for later hailed as the man’s “divine madness.” The Mad Genius, 1931 Barrymore himself had discussed film- ing Hamlet for Warner Bros., but The Genius Monday, March 9, 1931. impressed the studio as the perfect vehicle Bella Vista is an estate, almost fairy- to follow Svengali—fresh enough to avoid tale in its extravagance, nestled on a seeming a carbon copy, and melodramatic mountain in Beverly Hills. In the pre-dawn enough to allow the star to explode in his darkness, the virtual castle, with a tower, frenetic fashion. pools, and aviary, glistens under a waning While Svengali traced back to George Du full moon. The entranceway gate bears a Maurier’s venerable 1894 novel Trilby, many coat of arms, personally designed by Bella stage productions, and at least three film Vista’s master and revealing his repellent versions, The Genius has no such pedigree. Marian Marsh as Trilby and John Barrymore as the title character in Svengali self-image: a serpent wearing a crown. (1931). Warner Bros.’ high hopes for this film’s popularity inspired production It’s based on a Broadway-bound play by As the master arises, he probably doesn’t of The Mad Genius.