King Vidor Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)

Total Page:16

File Type:pdf, Size:1020Kb

King Vidor Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨) King Vidor 电影 串行 (大全) Man Without a https://zh.listvote.com/lists/film/movies/man-without-a-star-1523236/actors Star The Turn in the https://zh.listvote.com/lists/film/movies/the-turn-in-the-road-3227732/actors Road Dusk to Dawn https://zh.listvote.com/lists/film/movies/dusk-to-dawn-3041660/actors The Family https://zh.listvote.com/lists/film/movies/the-family-honor-3203835/actors Honor Poor Relations https://zh.listvote.com/lists/film/movies/poor-relations-3061008/actors Woman, Wake https://zh.listvote.com/lists/film/movies/woman%2C-wake-up%21-16029062/actors Up! A Boy Built City https://zh.listvote.com/lists/film/movies/a-boy-built-city-16020801/actors The Case of https://zh.listvote.com/lists/film/movies/the-case-of-bennie-16028322/actors Bennie Dog vs. Dog https://zh.listvote.com/lists/film/movies/dog-vs.-dog-16028406/actors Kid Politics https://zh.listvote.com/lists/film/movies/kid-politics-16028598/actors Love of Bob https://zh.listvote.com/lists/film/movies/love-of-bob-16028655/actors Thief or Angel https://zh.listvote.com/lists/film/movies/thief-or-angel-16028986/actors The Three Fives https://zh.listvote.com/lists/film/movies/the-three-fives-16028988/actors Marrying Off Dad https://zh.listvote.com/lists/film/movies/marrying-off-dad-16028681/actors The Rebellion https://zh.listvote.com/lists/film/movies/the-rebellion-16028853/actors The Preacher's https://zh.listvote.com/lists/film/movies/the-preacher%27s-son-16028822/actors Son Billy the Kid https://zh.listvote.com/lists/film/movies/billy-the-kid-1521248/actors Light's Diamond https://zh.listvote.com/lists/film/movies/light%27s-diamond-jubilee-17039550/actors Jubilee La Bohème https://zh.listvote.com/lists/film/movies/la-boh%C3%A8me-1748703/actors Wine of Youth https://zh.listvote.com/lists/film/movies/wine-of-youth-1995681/actors H. M. Pulham https://zh.listvote.com/lists/film/movies/h.-m.-pulham-2056649/actors On Our Merry https://zh.listvote.com/lists/film/movies/on-our-merry-way-2279233/actors Way So Red the Rose https://zh.listvote.com/lists/film/movies/so-red-the-rose-2466760/actors The Sky Pilot https://zh.listvote.com/lists/film/movies/the-sky-pilot-282666/actors Better Times https://zh.listvote.com/lists/film/movies/better-times-2900184/actors Wild Oranges https://zh.listvote.com/lists/film/movies/wild-oranges-2937575/actors The Jack-Knife https://zh.listvote.com/lists/film/movies/the-jack-knife-man-3007016/actors Man Cynara https://zh.listvote.com/lists/film/movies/cynara-3008717/actors Not So Dumb https://zh.listvote.com/lists/film/movies/not-so-dumb-3041112/actors Japanese War https://zh.listvote.com/lists/film/movies/japanese-war-bride-3162242/actors Bride Conquering the https://zh.listvote.com/lists/film/movies/conquering-the-woman-3207749/actors Woman The Wife of the https://zh.listvote.com/lists/film/movies/the-wife-of-the-centaur-3208693/actors Centaur The Woman of https://zh.listvote.com/lists/film/movies/the-woman-of-bronze-3213553/actors Bronze Love Never Dies https://zh.listvote.com/lists/film/movies/love-never-dies-3264194/actors Peg o' My Heart https://zh.listvote.com/lists/film/movies/peg-o%27-my-heart-3374215/actors His Hour https://zh.listvote.com/lists/film/movies/his-hour-3490025/actors The Other Half https://zh.listvote.com/lists/film/movies/the-other-half-3522117/actors The Real https://zh.listvote.com/lists/film/movies/the-real-adventure-3522436/actors Adventure The Stranger's https://zh.listvote.com/lists/film/movies/the-stranger%27s-return-3522880/actors Return The Patsy https://zh.listvote.com/lists/film/movies/the-patsy-3549531/actors An American https://zh.listvote.com/lists/film/movies/an-american-romance-3549736/actors Romance Happiness https://zh.listvote.com/lists/film/movies/happiness-3742272/actors Proud Flesh https://zh.listvote.com/lists/film/movies/proud-flesh-3885763/actors The Grand https://zh.listvote.com/lists/film/movies/the-grand-military-parade-3987342/actors Military Parade Three Wise Fools https://zh.listvote.com/lists/film/movies/three-wise-fools-3998143/actors The Champ https://zh.listvote.com/lists/film/movies/the-champ-463733/actors Bud's Recruit https://zh.listvote.com/lists/film/movies/bud%27s-recruit-4983742/actors Hurricane in https://zh.listvote.com/lists/film/movies/hurricane-in-galveston-5948404/actors Galveston I'm a Man https://zh.listvote.com/lists/film/movies/i%27m-a-man-5966979/actors Lightning Strikes https://zh.listvote.com/lists/film/movies/lightning-strikes-twice-6546470/actors Twice Our Daily Bread https://zh.listvote.com/lists/film/movies/our-daily-bread-762789/actors Tad's Swimming https://zh.listvote.com/lists/film/movies/tad%27s-swimming-hole-7674216/actors Hole The Accusing https://zh.listvote.com/lists/film/movies/the-accusing-toe-7712240/actors Toe The Chocolate of https://zh.listvote.com/lists/film/movies/the-chocolate-of-the-gang-7722615/actors the Gang The Lost Lie https://zh.listvote.com/lists/film/movies/the-lost-lie-7748664/actors Bardelys the https://zh.listvote.com/lists/film/movies/bardelys-the-magnificent-786394/actors Magnificent Street Scene https://zh.listvote.com/lists/film/movies/street-scene-960499/actors æŸå​ Œ​ å¿— https://zh.listvote.com/lists/film/movies/%E6%9F%90%E5%90%8C%E5%BF%97-1122775/actors 越éŽ​ 森林 https://zh.listvote.com/lists/film/movies/%E8%B6%8A%E9%81%8E%E6%A3%AE%E6%9E%97-1197109/actors 大閱兵 https://zh.listvote.com/lists/film/movies/%E5%A4%A7%E9%96%B1%E5%85%B5-1218520/actors å¤ªé™½æµ https://zh.listvote.com/lists/film/movies/%E5%A4%AA%E9%99%BD%E6%B5%B4%E8%A1%80%E8%A8%98- ´è¡€è¨˜ 1263918/actors 人群 https://zh.listvote.com/lists/film/movies/%E4%BA%BA%E7%BE%A4-1304986/actors æ‰€ç¾…é– https://zh.listvote.com/lists/film/movies/%E6%89%80%E7%BE%85%E9%96%80%E8%88%87%E8%AC%9D%E5%B7%B4- €èˆ‡è¬å​ ·´ 1316253/actors æˆå​ ä​ ººç”Ÿ https://zh.listvote.com/lists/film/movies/%E6%88%8F%E5%AD%90%E4%BA%BA%E7%94%9F-1366541/actors 哈利路亚 https://zh.listvote.com/lists/film/movies/%E5%93%88%E5%88%A9%E8%B7%AF%E4%BA%9A-1571464/actors https://zh.listvote.com/lists/film/movies/%E5%8F%B2%E9%BB%9B%E6%8B%89%E6%81%A8%E5%8F%B2- å²​ 黛拉æ¨​ å²​ 1613737/actors å¾·å·žå·¡è¡Œè€ https://zh.listvote.com/lists/film/movies/%E5%BE%B7%E5%B7%9E%E5%B7%A1%E8%A1%8C%E8%80%85- … 1631574/actors ç¶ é‡Žä»™è¹¤ https://zh.listvote.com/lists/film/movies/%E7%B6%A0%E9%87%8E%E4%BB%99%E8%B9%A4-193695/actors å¤©å ‚é³¥ https://zh.listvote.com/lists/film/movies/%E5%A4%A9%E5%A0%82%E9%B3%A5-3117557/actors 露比·甘特 https://zh.listvote.com/lists/film/movies/%E9%9C%B2%E6%AF%94%C2%B7%E7%94%98%E7%89%B9-3209291/actors 衛城記 https://zh.listvote.com/lists/film/movies/%E8%A1%9B%E5%9F%8E%E8%A8%98-400093/actors ç¥žæžªæ¸¸ä¾ https://zh.listvote.com/lists/film/movies/%E7%A5%9E%E6%9E%AA%E6%B8%B8%E4%BE%A0-545243/actors æºæ​ ³‰ https://zh.listvote.com/lists/film/movies/%E6%BA%90%E6%B3%89-633008/actors 洞房花烛 https://zh.listvote.com/lists/film/movies/%E6%B4%9E%E6%88%BF%E8%8A%B1%E7%83%9B-634942/actors https://zh.listvote.com/lists/film/movies/%E6%88%98%E4%BA%89%E4%B8%8E%E5%92%8C%E5%B9%B3- 战争与和平 643811/actors.
Recommended publications
  • Bibliography Filmography
    Blanche Sewell Lived: October 27, 1898 - February 2, 1949 Worked as: editor, film cutter Worked In: United States by Kristen Hatch Blanche Sewell entered the ranks of negative cutters shortly after graduating from Inglewood High School in 1918. She assisted cutter Viola Lawrence on Man, Woman, Marriage (1921) and became a cutter in her own right at MGM in the early 1920s. She remained an editor there until her death in 1949. See also: Hettie Grey Baker, Anne Bauchens, Margaret Booth, Winifred Dunn, Katherine Hilliker, Viola Lawrence, Jane Loring, Irene Morra, Rose Smith Bibliography The bibliography for this essay is included in the “Cutting Women: Margaret Booth and Hollywood’s Pioneering Female Film Editors” overview essay. Filmography A. Archival Filmography: Extant Film Titles: 1. Blanche Sewell as Editor After Midnight. Dir. Monta Bell, sc.: Lorna Moon, ed.: Blanche Sewell (Metro-Goldwyn-Mayer Corp. US 1927) cas.: Norma Shearer, Gwen Lee, si., b&w. Archive: Cinémathèque Française [FRC]. Man, Woman, and Sin. Dir. Monta Bell, sc.: Alice D. G. Miller, Monta Bell, ed.: Blanche Sewell (Metro-Goldwyn-Mayer Corp. US 1927) cas.: John Gilbert, Jeanne Eagels, Gladys Brockwell, si., b&w. Archive: George Eastman Museum [USR]. Tell It to the Marines. Dir.: George Hill, sc.: E. Richard Schayer, ed.: Blanche Sewell (Metro- Goldwyn-Mayer Corp. US 1927) cas.: Lon Chaney, William Haines, si, b&w, 35mm. Archive: George Eastman Museum [USR], UCLA Film and Television Archive [USL]. The Cossacks. Dir.: George Hill, adp.: Frances Marion, ed.: Blanche Sewell (Metro-Goldwyn- Mayer Corp. US 1928) cas.: John Gilbert, Renée Adorée, si, b&w.
    [Show full text]
  • Nosferatu. Revista De Cine (Donostia Kultura)
    Nosferatu. Revista de cine (Donostia Kultura) Título: Índices Autor/es: Nosferatu Citar como: Nosferatu (1999). Índices. Donostia Kultura. Documento descargado de: http://hdl.handle.net/10251/41162 Copyright: Reserva de todos los derechos (NO CC) La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+D+i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de Biblioteca y Documentación Científica y del Área de Sistemas de Información y Comunicaciones (ASIC) del Vicerrectorado de las Tecnologías de la Información y de las Comunicaciones de la Universitat Politècnica de València. Entidades colaboradoras: • • lndice onomástico Adorée, Renée: 8, 80 Davies, Marion: 21, 22 Agee, James: 41 Davis, Bette: 32 Alessandrini, Goffredo: 50 Davis, Carl: 86 Andreiev: 94 De Laurentiis, Dino: 34, 79, 88 Arto, Florence: 15, 16, 17 DeMille, Cecil B.: 6, 15 Asquith, Anthony: 28 De Robertis: 8 De Santis, Giuseppe: 38 Baldelli, Pío: 13 De Sica, Vittorio: 8, 9 Barahona, Fernando: 45, 50 Del Río, Dolores: 25 Bardem, Juan Antonio: 45 Delahaye, Michael: 13, 36 Barrymore, Lionel: 26, 74 Delgado, Manuel: 53, 58 Barthes, Roland: 61 Dickinson, Emily: 41 Bazin, André: 9, 13 Dieterle, Wil!iam: 30, 73 Beauchamp, D.D.: 74 Donat, Robert: 28 , 65 Beery, Wallace: 11, 12, 25, 36,91 Donen, Stanley: 22 Berge, Catherine: 12 Donskoi, Mark: 38 Bergman, Andrew:
    [Show full text]
  • Papéis Normativos E Práticas Sociais
    Agnes Ayres (1898-194): Rodolfo Valentino e Agnes Ayres em “The Sheik” (1921) The Donovan Affair (1929) The Affairs of Anatol (1921) The Rubaiyat of a Scotch Highball Broken Hearted (1929) Cappy Ricks (1921) (1918) Bye, Bye, Buddy (1929) Too Much Speed (1921) Their Godson (1918) Into the Night (1928) The Love Special (1921) Sweets of the Sour (1918) The Lady of Victories (1928) Forbidden Fruit (1921) Coals for the Fire (1918) Eve's Love Letters (1927) The Furnace (1920) Their Anniversary Feast (1918) The Son of the Sheik (1926) Held by the Enemy (1920) A Four Cornered Triangle (1918) Morals for Men (1925) Go and Get It (1920) Seeking an Oversoul (1918) The Awful Truth (1925) The Inner Voice (1920) A Little Ouija Work (1918) Her Market Value (1925) A Modern Salome (1920) The Purple Dress (1918) Tomorrow's Love (1925) The Ghost of a Chance (1919) His Wife's Hero (1917) Worldly Goods (1924) Sacred Silence (1919) His Wife Got All the Credit (1917) The Story Without a Name (1924) The Gamblers (1919) He Had to Camouflage (1917) Detained (1924) In Honor's Web (1919) Paging Page Two (1917) The Guilty One (1924) The Buried Treasure (1919) A Family Flivver (1917) Bluff (1924) The Guardian of the Accolade (1919) The Renaissance at Charleroi (1917) When a Girl Loves (1924) A Stitch in Time (1919) The Bottom of the Well (1917) Don't Call It Love (1923) Shocks of Doom (1919) The Furnished Room (1917) The Ten Commandments (1923) The Girl Problem (1919) The Defeat of the City (1917) The Marriage Maker (1923) Transients in Arcadia (1918) Richard the Brazen (1917) Racing Hearts (1923) A Bird of Bagdad (1918) The Dazzling Miss Davison (1917) The Heart Raider (1923) Springtime à la Carte (1918) The Mirror (1917) A Daughter of Luxury (1922) Mammon and the Archer (1918) Hedda Gabler (1917) Clarence (1922) One Thousand Dollars (1918) The Debt (1917) Borderland (1922) The Girl and the Graft (1918) Mrs.
    [Show full text]
  • 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.
    [Show full text]
  • Dictionary of Westerns in Cinema
    PERFORMING ARTS • FILM HISTORICAL DICTIONARY OF Historical Dictionaries of Literature and the Arts, No. 26 VARNER When early filmgoers watched The Great Train Robbery in 1903, many shrieked in terror at the very last clip, when one of the outlaws turned toward the camera and seemingly fired a gun directly at the audience. The puff of WESTERNS smoke was sudden and hand-colored, and it looked real. Today we can look back at that primitive movie and see all the elements of what would evolve HISTORICAL into the Western genre. Perhaps the Western’s early origins—The Great Train DICTIONARY OF Robbery was the first narrative, commercial movie—or its formulaic yet enter- WESTERNS in Cinema taining structure has made the genre so popular. And with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the Western is told in this Historical Dictionary of Westerns in Cinema through a chronology, a bibliography, an introductory essay, and hundreds of cross-referenced dictionary entries on cinematographers; com- posers; producers; films like Butch Cassidy and the Sundance Kid, Dances with Wolves, The Good, the Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; actors such as Gene Autry, in Cinema Cinema Kirk Douglas, Clint Eastwood, Henry Fonda, Jimmy Stewart, and John Wayne; and directors like John Ford and Sergio Leone. PAUL VARNER is professor of English at Abilene Christian University in Abilene, Texas.
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • Venezia 1994 Tutta La Mostra Minuto Per Minuto
    pagina 6U I UmtàJ? Spettacoli Mercoledì 31 di>uslu 1994 I 1 SETTEMBRE 15,00 finestra sulle immagini SALAGRANDE Miracoli-storie per corti-13 13 15 Antonio Mastro- 15,00 Finestra sulle immagini nunzio pittore sannita di Mario Martone Dovè Yankel? SALA GRANDE C'è nessuno? -1 di Maurizio Casula (Italia) Festa-10 di Paolo Posa D'estate di Silvio Soldini di Carlo Sigon (Italia) Uno a me, uno a le uno a Raffaele Limita - 80 di Dennis Evstigneev (Francia-Russia) -84 di JonJost(Italia) 15 30 Omaggio a Federico Fellmi 15,30 Finestra sulle immagini-video SALAVOLPI Ciao Federico-60 di Gideon Bachmann (Italia) Inmorte SALA VOLPI Au pays des oranges di Amos Gitai (Francia-Israele) 1 di Federico Felllnl - 50 di S Zavoli (Italia) Omaggio a Au pals des oranges Confllts et rèconclllations - 85 2 Louis Malie Mllou en mal -105 «Parcours polltlque Tuyau»-61 3 Parolesd'ècr'vains 17 30 Imestra sulle immagini Culture de l'Est mèdllerranéen - 40 4 Thèatre pour la SALA VOLPI Seers and clowns - 9 di Fanti Hubley (Usa) Die stlmme vie Donnons une Chance a la palx - 40 deslgelsivol 1) —121 diJ Kuhn (Germania) 18 00 in concorso 17,30 eventi speciali SALA GRANDE Tre» Irmaos (Tre fratelli) di Teresa Villaverde (Portogal­ PALAGALILEO Jason's lyrlc di Dough McHenry (Usa) lo) con Maria de Medeiros Marcello Urgeghe Evgeni Venezia 1994 Sidlhin Laura Del Sol O Carlisi Luis Miguel Cintra 18 00 in concorso SALA GRANDE Le cri du coer (Il grido del cuore) di Idnssa Ouedraogo 20 30 Inori concorso Francia/Burkina Faso) con Richard Bohrmger Said SALA GRANDE Omaggio a Massimo Troisi
    [Show full text]
  • Lilms Perisllecl
    Film History, Volume 9, pp. 5-22, 1997. Text copyrig ht © 1997 David Pierce. Design, etc. copyright© John libbey & Company. ISSN: 0892-2 160. Pri nted in Australia l'lle legion of file conclemnecl - wlly American silenf lilms perisllecl David Pierce f the approximately 1 0 ,000 feature print survives for most silent films, usually therewere films and countless short subjects re­ not many copies lo begin with . While newspapers leased in the United States before or magazines were printed and sold by the thou­ O 1928, only a small portion survive . sands, relatively few projection prints were re­ While so me classics existand are widelyavailable, quired for even the most popular silent films . In the many silent films survive only in reviews, stills, pos­ earliest days of the industry, producers sold prints, ters and the memories of the few remaining audi­ and measured success bythe number ofcopies sol d. ence members who saw them on their original By the feature period, beginning around 1914, release. 1 copies were leased lo subdistributors or rented lo Why did most silent films not survive the pas­ exhibitors, and the owners retained tight control. sage of time? The curren! widespread availability The distribution of silent features was based on a of many tilles on home video, and the popularity of staggered release system, with filmgoers paying silent film presentations with live orchestral accom­ more lo see a film early in its run. Films opened in paniment might give the impression that silent films downtown theatres, moved lo neighbourhood had always been held in such high regard .
    [Show full text]
  • Doherty, Thomas, Cold War, Cool Medium: Television, Mccarthyism
    doherty_FM 8/21/03 3:20 PM Page i COLD WAR, COOL MEDIUM TELEVISION, McCARTHYISM, AND AMERICAN CULTURE doherty_FM 8/21/03 3:20 PM Page ii Film and Culture A series of Columbia University Press Edited by John Belton What Made Pistachio Nuts? Early Sound Comedy and the Vaudeville Aesthetic Henry Jenkins Showstoppers: Busby Berkeley and the Tradition of Spectacle Martin Rubin Projections of War: Hollywood, American Culture, and World War II Thomas Doherty Laughing Screaming: Modern Hollywood Horror and Comedy William Paul Laughing Hysterically: American Screen Comedy of the 1950s Ed Sikov Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema Rey Chow The Cinema of Max Ophuls: Magisterial Vision and the Figure of Woman Susan M. White Black Women as Cultural Readers Jacqueline Bobo Picturing Japaneseness: Monumental Style, National Identity, Japanese Film Darrell William Davis Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship in Classic Horror Cinema Rhona J. Berenstein This Mad Masquerade: Stardom and Masculinity in the Jazz Age Gaylyn Studlar Sexual Politics and Narrative Film: Hollywood and Beyond Robin Wood The Sounds of Commerce: Marketing Popular Film Music Jeff Smith Orson Welles, Shakespeare, and Popular Culture Michael Anderegg Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, ‒ Thomas Doherty Sound Technology and the American Cinema: Perception, Representation, Modernity James Lastra Melodrama and Modernity: Early Sensational Cinema and Its Contexts Ben Singer
    [Show full text]
  • World War Ii and Us Cinema
    ABSTRACT Title of Document: WORLD WAR II AND U.S. CINEMA: RACE, NATION, AND REMEMBRANCE IN POSTWAR FILM, 1945-1978 Robert Keith Chester, Ph.D., 2011 Co-Directed By: Dr. Gary Gerstle, Professor of History, Vanderbilt University Dr. Nancy Struna, Professor of American Studies, University of Maryland, College Park This dissertation interrogates the meanings retrospectively imposed upon World War II in U.S. motion pictures released between 1945 and the mid-1970s. Focusing on combat films and images of veterans in postwar settings, I trace representations of World War II between war‘s end and the War in Vietnam, charting two distinct yet overlapping trajectories pivotal to the construction of U.S. identity in postwar cinema. The first is the connotations attached to U.S. ethnoracial relations – the presence and absence of a multiethnic, sometimes multiracial soldiery set against the hegemony of U.S. whiteness – in depictions of the war and its aftermath. The second is Hollywood‘s representation (and erasure) of the contributions of the wartime Allies and the ways in which such images engaged with and negotiated postwar international relations. Contrary to notions of a ―good war‖ untainted by ambiguity or dissent, I argue that World War II gave rise to a conflicted cluster of postwar meanings. At times, notably in the early postwar period, the war served as a progressive summons to racial reform. At other times, the war was inscribed as a historical moment in which U.S. racism was either nonexistent or was laid permanently to rest. In regard to the Allies, I locate a Hollywood dialectic between internationalist and unilateralist remembrances.
    [Show full text]
  • Fall 2021 Course Catalog
    rit.edu/osher Fall 2021 Course Catalog Osher Lifelong Learning Institute @ RIT A Learning Community Registration Opens 8/31 for Adults Age 50+ Online Courses Begin 9/13 Osher’s 2021-22 academic year: Winter (January 17 – March 25) Spring (April 12 – June 20) Summer (July 12 – August 26) Fall (September 12 – November 18) There are multi-week breaks between each term. On-Campus Benefits • Student ID: Membership Benefits A pass to RIT campus facilities, your ID card entitles you to: For our comprehensive Member Benefits Guide please go to student admission rates and http://bit.ly/OshMemBen discounts (wherever they are offered worldwide), borrowing Unlimited Courses Courses form the core of our program. Our 40+ course offerings per term privileges at the RIT library, are presented in a friendly, relaxed atmosphere where there are no tests or access to campus fitness facilities other “measurement” criteria. We encourage interaction and discussion in at a reduced rate, and a free every class. Henrietta BJ’s Wholesale Club membership. Pfaudler Lecture Series (Thursdays at 12:15, Winter, Spring, & Fall Terms) Listen to a thought-provoking lecture by a guest speaker. • Take Campus Courses: Members can sit in on RIT Social Events College of Liberal Arts courses. Our first in-person social event (a picnic) is scheduled for Friday, September The level of participation is 10 from 3:30 – 7 p.m. We hope to be able to offer more in-person events as up to you. Offerings include COVID circumstances allow. anthropology, fine arts, foreign languages, history, literature, Intersession Trips philosophy, psychology, women Intersessions are short, between-term trips to interesting local attractions.
    [Show full text]
  • Many Roads, One Journey
    Many Roads, One Journey There are probably hundreds of streets named for various individuals, some obscure, some noted. There are certainly far more than could ever be included in a single exhibit. What we have tried to do is offer a representative sampling of the diverse and fascinating people and their stories, those who created and developed Los Angeles. Although we say these names almost daily, we never stop to consider where they came from, yet we owe them a debt of gratitude. There are certainly many more, who, for various reasons or no reason at all, are not commemorated in this way. That doesn't make them less important, just not as obvious to the casual observer; but by learning the stories behind street names, we honor their contributions and history. In the early days, as now, people came to Southern California for opportunities which didn't exist elsewhere, due then to the social structure of East Coast Society, which was still rigid and traditional: the lower and middle classes stayed lower and middle class and the upper class treated them both as second class. Even financial success didn't always buy social acceptance. The Nouveau riche—those who made big money in industry or earned money rather than inherited it—might have been tolerated, but they were not considered in the same league as those born with a Silver Spoon. Life—and status—was circumscribed from birth. But in California, and especially Southern California, it was different. Far enough away from class distinctions and restrictions, a man was free to reinvent himself in a society that had no such confines.
    [Show full text]