Mirror and the Lamp 2017
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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 -
Final Copy 2019 05 07 Lash
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Lash, Dominic Title: Lost and Found Studies in Confusing Films General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Lost and Found studies in confusing films Dominic John Alleyne Lash A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Doctor of Philosophy in the Faculty of Arts Department of Film and Television December 2018 76,403 words abstract This thesis uses the concepts of disorientation and confusion as a means of providing detailed critical accounts of four difficult films, as well as of addressing some more general issues in the criticism and theory of narrative film. -
INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo Graph and Reproduce This Manuscript from the Microfilm Master
"On the hole business is very good."-- William Gaddis' rewriting of novelistic tradition in "JR" (1975) Item Type text; Thesis-Reproduction (electronic) Authors Thomas, Rainer Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 10:15:18 Link to Item http://hdl.handle.net/10150/291833 INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Catalogue-2018 Web W Covers.Pdf
A LOOK TO THE FUTURE 22 years in Hollywood… The COLCOA French Film this year. The French NeWave 2.0 lineup on Saturday is Festival has become a reference for many and a composed of first films written and directed by women. landmark with a non-stop growing popularity year after The Focus on a Filmmaker day will be offered to writer, year. This longevity has several reasons: the continued director, actor Mélanie Laurent and one of our panels will support of its creator, the Franco-American Cultural address the role of women in the French film industry. Fund (a unique partnership between DGA, MPA, SACEM and WGA West); the faithfulness of our audience and The future is also about new talent highlighted at sponsors; the interest of professionals (American and the festival. A large number of filmmakers invited to French filmmakers, distributors, producers, agents, COLCOA this year are newcomers. The popular compe- journalists); our unique location – the Directors Guild of tition dedicated to short films is back with a record 23 America in Hollywood – and, of course, the involvement films selected, and first films represent a significant part of a dedicated team. of the cinema selection. As in 2017, you will also be able to discover the work of new talent through our Television, Now, because of the continuing digital (r)evolution in Digital Series and Virtual Reality selections. the film and television series industry, the life of a film or series depends on people who spread the word and The future is, ultimately, about a new generation of foreign create a buzz. -
Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
Extra Vorpremiere Programm
woxx | 26 12 2014 | Nr 1299-1300 AGENDA 9 KINO I 26.12. - 30.12. KINO Wenns kein Pony zu Weihnachten gab, bleibt immer noch der Gang ins Kino: „Bibi und Hinweis! Tina“, neu in Utopia, Utopolis Belval und Kirchberg. Dieses Kinoprogramm gilt nur für die Woche vom Freitag, dem 26. bis zum Dienstag, dem 30. Dezember 2014. extra Michel, passionné de jazz, vient de Das nächste reguläre Programm escheint dénicher un album rare qu’il rêve am 8. Januar, in unserer ersten Ausgabe d’écouter tranquillement dans son des Jahres 2015. salon. Mais le monde entier semble The Hobbit Marathon s’être ligué contre lui : sa femme Das Programm der Cinémathèque USA 2012 + 2013 + 2014 von Peter choisit justement ce moment pour präsentieren wir Ihnen hingegen dieses Jackson. Mit Ian McKellen, Martin lui faire une révélation inopportune, Mal ausnahmsweise ohne Texte jedoch Freeman und Richard Armitage. 169’ + son fils débarque à l’improviste, un gleich für den ganzen Monat Januar. In der 161’ + 145.’ Ab 6. Dt. Fass. de ses amis frappe à la porte, tandis Ausgabe 1301 vom 8. Januar, werden wir que sa mère ne cesse de l’appeler sur den 10-tägigen Rhythmus mit gewohntem Sura son portable… Sans parler du fait qu’il Erscheinungsbild wieder aufnehmen. s’agit ce jour-là de la fameuse Fête Für all jene die nicht mehr wissen des voisins… Manipulateur, menteur, worum es in den zwei ersten Teilen Michel est prêt à tout pour avoir la ging. paix. XXX = excellent XX = bon vorpremiere programm X = moyen 0 = mauvais Commentaires: Staatsgeheimnis - Keng Panik, Annie da = David Angel näischt verfasst USA 2014 von Wil Gluck. -
Media Release. Tiff Reveals Best Films of the Decade
November 27, 2019 MEDIA RELEASE. TIFF REVEALS BEST FILMS OF THE DECADE Featuring works by Lucrecia Martel, Barry Jenkins, Jean-Luc Godard, and more TORONTO — TIFF today unveiled The Best of the Decade: An Alternative View, featuring a total of 19 films figuring in the top 10 list — the first two of which were directed by women. All films will play at TIFF Bell Lightbox January 23 through March 11, 2020 to mark the 30th anniversary of TIFF’s Cinematheque. TIFF asked film curators, historians, and archivists from Canada and around the world to choose the best films of the 2010s — any length, genre, or format. TIFF created its first Best of the Decade poll at the turn of the millennium in 2000, and sparked a huge sensation when a relatively unknown film, Victor Erice’s The Quince Tree Sun (Dream of Light), placed first. The 2010 survey named Apichatpong Weerasethakul’s Syndromes and a Century the best film of the 2000s. “Many of the films in the poll’s top 10 address the perilous era we have just lived through, with such prescient works as Film Socialisme, Neighboring Sounds, and Sieranevada predicting various types of ecological, political, and social calamity,” said Senior Programmer James Quandt. “The film of the decade, Lucrecia Martel’s astonishing Zama, transforms an existential novel into a fiercely political work that comments on both its racist, colonialist period setting and our own dire times.” The Best of the Decade: An Alternative View comprises: 1 Zama (2017), dir. Lucrecia Martel 2 Toni Erdmann (2016), dir. Maren Ade 3 Adieu au langage (2014), dir. -
Liste Des Films Disponibles En DVD
Liste des films disponibles en DVD A ABE La Fée Dominique Abel A ABO Aya de Yopougon Marguerite Abouet A ABR Garage Lenny Abrahamson A ABR La Cité rose Julien Abraham A ABR Super 8 J.J. Abrams A ABR Y a-t-il un pilote dans l'avion ? Jim Abrahams A ABU Paradise now Hany Abu-Assad A ACK Numéro 9 Shane Acker A ADE Everyone else Maren Ade A ADL Bagdad Café Percy Adlon A ADU Ezra Newton I. Aduaka A ADV New-York Masala Nikhil Advani A AFF Argo Ben Affleck A AGO L'Age heureux A AGU La Influencia Pedro Aguilera A AIN Le Ciel de Suely Karim Aïnouz A AKI Crossing the Bridge Fatih Akin A AKI De l'autre côté Fatih Akin A AKI Engrenage Fatih Akin A AKI Head-on Fatih Akin A AKI Julie en juillet Fatih Akin A AKI Solino Fatih Akin A AKI Soul kitchen Fatih Akin A AKR L'Enfant de Kaboul Barmak Akram A ALA Elephant heart Züli Aladag A ALA L'Etrangère Feo Aladag A ALD Les Douze salopards Robert Aldrich A ALF La Taupe Tomas Alfredson A ALF Morse Tomas Alfredson A ALL Accords et désaccords Réserve Woody Allen A ALL Alice Réserve Woody Allen A ALL Annie Hall Réserve Woody Allen A ALL Anything else Réserve Woody Allen A ALL Bab el-Oued City Réserve Merzak Allouache A ALL Bananas Réserve Woody Allen A ALL Broadway Danny Rose Réserve Woody Allen A ALL Celebrity Réserve Woody Allen A ALL Comédie érotique d'une nuit Réserve Woody Allen d'été A ALL Coups de feu sur Broadway Réserve Woody Allen A ALL Crimes et délits Réserve Woody Allen A ALL Escrocs mais pas trop Réserve Woody Allen A ALL Guerre et Amour Réserve Woody Allen A ALL Hannah et ses soeurs Réserve Woody -
Holy Motors De Leos Carax, France-Allemagne, 2012, 115 Minutes Jacques Kermabon
Document generated on 10/01/2021 9:08 p.m. 24 images Pour la beauté du geste Holy Motors de Leos Carax, France-Allemagne, 2012, 115 minutes Jacques Kermabon Visages du politique au cinéma Number 158, September 2012 URI: https://id.erudit.org/iderudit/67649ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this review Kermabon, J. (2012). Review of [Pour la beauté du geste / Holy Motors de Leos Carax, France-Allemagne, 2012, 115 minutes]. 24 images, (158), 51–51. Tous droits réservés © 24/30 I/S, 2012 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ CANNES Holy Motors de Leos Carax Pour la beauté du geste par Jacques Kermabon ous l’avons tant aimé, Leos Carax. Qualifié de Rimbaud du cinéma N français avec Boy meets girl, il n’a pas renié cette filiation avec le titre de son deuxième opus Mauvais sang. Après les démêlés de la production des Amants du Pont-Neuf et malgré les fulgurances de Pola X, on parlera plutôt de saison en enfer. On craignait un peu ce retour. Nous avions tort. -
Ali Dissertation Revised
Recuperating Deliberation in Early-Postmodern US Fiction by Alistair M. C. Chetwynd A dissertation submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2016 Doctoral Committee: Professor Gregg D. Crane, Chair Professor Patricia S. Yaeger, Chair (Deceased) Professor Sarah Buss Professor Jonathan E. Freedman Associate Professor Gillian C. White Acknowledgments This project took an aeon, and first thanks are equally to the English department at the University of Michigan for time and money, and my family and friends for never actually saying out loud that I should give it up and do something easier and more useful with my life. I’m also extremely grateful to each of my committee for stepping in to help me work on something a long way from any of their own academic interests. I really miss Patsy Yaeger: in particular her enthusiasm about getting to read bits of what she called a “weird” and “wonky” project. I’m grateful to her for feedback on sentence-level writing and the excellent, frequent marginal comment “Where’s The Joy???” Gregg Crane very helpfully took over after Patsy’s death, and his exhortations to be more precise, especially in talking about the relationship between fictions and philosophies, were always energizing: only Danny Hack’s Novel Theory course pushed me more forcefully in the directions my PhD work finally took than Gregg’s 20-second aside about how useful he found early pragmatism for thinking about literature, back in the second or third class session I sat in at Michigan. -
La Ciudad: Imágenes E Imaginarios – Libro De Actas (ISBN: 978-84-16829-44-6)
LA ,CIUDAD: MAGENES E MAGINARIOS CONGRESO INTERNACIONAL INTERDISCIPLINAR, DE LA FACULTAD, DE HUMANIDADES, COMUNICACION Y DOCUMENTACION DE LA UNIVERSIDAD CARLOS 111 DE MADRID DEL 12 AL 15 DE MARZO DE 2018 LIBRO DE ACTAS /DFLXGDGLPiJHQHVHLPDJLQDULRV±/LEURGHDFWDV ,6%1 8QLYHUVLGDG&DUORV,,,GH0DGULG 8QLYHUVLGDG&DUORV,,,GH0DGULG &DOOH0DGULG *HWDIH 0DGULG /DFLXGDGLPiJHQHVHLPDJLQDULRV $FWDVGHO&RQJUHVR,QWHUQDFLRQDO,QWHUGLVFLSOLQDUFHOHEUDGRHQOD)DFXOWDGGH+XPDQLGDGHV &RPXQLFDFLyQ\'RFXPHQWDFLyQ8QLYHUVLGDG&DUORV,,,GH0DGULG GHPDU]RGH (GLFLyQ$QD0HMyQ)DUVKDG=DKHGL'DYLG&RQWH,PEHUW ,OXVWUDFLyQGHSRUWDGD)HUQDQGR2FKDQGR ,6%1 (GLFLyQGLJLWDO6HUYLFLRGH%LEOLRWHFD 'LVSRQLEOHHQKWWSVKGOKDQGOHQHW (VWHREUDHVWiEDMRXQDOLFHQFLDGH&UHDWLYH&RPPRQV5HFRQRFLPLHQWR1R&RPHUFLDO6LQ2EUD'HULYDGD ,QWHUQDFLRQDO. - 1 - La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6) LA CIUDAD: IMÁGENES E IMAGINARIOS Actas del Congreso Internacional Interdisciplinar La ciudad: imágenes e imaginarios Facultad de Humanidades, Comunicación y Documentación Universidad Carlos III de Madrid 12-15 de marzo de 2018 Editores: Ana Mejón David Conte Imbert Farshad Zahedi Universidad Carlos III de Madrid, 2019 - 2 - La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6) ÍNDICE COMITÉ CIENTÍFICO Y DE ORGANIZACIÓN ........................................................................................... 11 PREÁMBULO ....................................................................................................................................... -
"What Mean?": the Postmodern Metafiction Within William Gaddis's "The Recognitions"
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1992 "What Mean?": The Postmodern Metafiction Within William Gaddis's "The Recognitions" Sean Butler College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Literature Commons Recommended Citation Butler, Sean, ""What Mean?": The Postmodern Metafiction Within William Gaddis's "The Recognitions"" (1992). Dissertations, Theses, and Masters Projects. Paper 1539625745. https://dx.doi.org/doi:10.21220/s2-27n9-qb38 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. "Wht mean?11: THE POSTMODERN METAFICTION WITHIN WILLIAM GADDIS'S THE RECOGNITIONS A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Sean Butler 1992 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of MASTER OF ARTS Sean* Butler Approved April 1992 Colleen Kennedy, Chair Richard Lowry ACKNOWLEDGEMENTS The author is indebted to Professor Colleen Kennedy for her encouragement, guidance, and careful insight in supervising this study, and to Professors Thomas Cody and Richard Lowry for their perceptive observations and criticisms. The author is also indebted to his parents for their lasting generosity and patience. iii ABSTRACT As a novel about the contemporary art world, William Gaddis's The Recognitions comments upon itself as a narrative wrought from the materials of its own modernist literary tradition.