Abel Gance's Napoleon (1927)
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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. -
Downloaded from Manchesterhive.Com at 09/30/2021 06:14:40PM Via Free Access 82 Public History, Popular Memory
4 Raiding the archive: film festivals and the revival of Classic Hollywood Julian Stringer History becomes heritage in various ways. Artifacts become appropriated by particular historical agendas, by particular ideologies of preservation, by specific versions of public history, and by particular values about exhibition, design, and display. (Arjun Appadurai and Carol A. Breckenridge)1 Film Studies has to date paid too little attention to the role cultural institutions play in the transformation of cinema history into heritage. At the dawn of cinema’s second century, a range of organisational bodies – including museums and art galleries, the publicity and promotion industries, film journalism and publishing, as well as the academy – work to activate and commodify memory narratives concerning the movies’ own glorious and fondly recalled past. Such bodies serve different kinds of agendas, broadly identifiable as the commercial, the cultural and the educational (or a combination thereof). However, all help determine the specific shape of current thinking regarding cinema’s past, present and future. At a time when more films than ever before are being exhibited on a greater number of different kinds of screens than ever before, the cumulative effect of all this institutional activity is to create consen- sus around which films should be remembered and which forgotten. With so many ‘old’ and contemporary titles jockeying for position at the multiplex and the art cinema, on television and cable, video, DVD and the Internet, as well as in the classroom, the relatively small number of titles eventually sold, projected, written about, taught or revived, will be largely confined to those legitimised for one reason or another by these different kinds of organisational bodies. -
Walking Box Ranch Planning and Design Quarterly Progress Report: Period Ending January 10, 2012
Walking Box Ranch Public Lands Institute 1-10-2012 Walking Box Ranch Planning and Design Quarterly Progress Report: Period ending January 10, 2012 Margaret N. Rees University of Nevada, Las Vegas, [email protected] Follow this and additional works at: https://digitalscholarship.unlv.edu/pli_walking_box_ranch Part of the American Popular Culture Commons, Business Administration, Management, and Operations Commons, Educational Assessment, Evaluation, and Research Commons, and the Historic Preservation and Conservation Commons Repository Citation Rees, M. N. (2012). Walking Box Ranch Planning and Design Quarterly Progress Report: Period ending January 10, 2012. 1-115. Available at: https://digitalscholarship.unlv.edu/pli_walking_box_ranch/30 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Article in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Article has been accepted for inclusion in Walking Box Ranch by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. QUARTERLY PROGRESS REPORT University of Nevada, Las Vegas Period Covering October 11, 2010 – January 10, 2012 Financial Assistance Agreement #FAA080094 Planning and Design of the Walking Box Ranch Property Executive Summary UNLV’s President Smatresk has reiterated his commitment to the WBR project and has further committed full funding for IT and security costs. -
The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927
Working Paper No. 70/03 The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927 Gerben Bakker © Gerben Bakker Department of Economic History London School of Economics February 2003 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0)20 7955 6482 Fax: +44 (0)20 7955 7730 Working Paper No. 70/03 The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927 Gerben Bakker © Gerben Bakker Department of Economic History London School of Economics February 2003 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0)20 7955 6482 Fax: +44 (0)20 7955 7730 Table of Contents Acknowledgements_______________________________________________2 Abstract________________________________________________________3 1. Introduction___________________________________________________4 2. The puzzle____________________________________________________7 3. Theory______________________________________________________16 4. The mechanics of the escalation phase _____________________________21 4.1 The increase in sunk costs______________________________________21 4.2 The process of discovering the escalation parameter _________________29 4.3 Firm strategies_______________________________________________35 5. Market structure ______________________________________________47 6. The failure to catch up _________________________________________54 7. Conclusion __________________________________________________63 -
Catalogo Giornate Del Cinema Muto 2016
ASSOCIAZIONE CULTURALE Chiba, Max Laiguillon, Eric Lange (Lobster Films); “LE GIORNATE DEL CINEMA MUTO” Lenny Borger. Germania: Thilo Gottschling, Andreas Lautil, Soci fondatori Matteo Lepore (ARRI Media GmbH); Karl Griep, Paolo Cherchi Usai, Lorenzo Codelli, Evelyn Hampicke, Egbert Koppe, Julika Kuschke Piero Colussi, Andrea Crozzoli, Luciano De (Bundesarchiv-Filmarchiv, Berlin); Hans-Michael Giusti, Livio Jacob, Carlo Montanaro, Mario Bock (CineGraph, Hamburg); Dirk Foerstner, Quargnolo†, Piera Patat, Davide Turconi† Martin Koerber (Deutsche Kinemathek, Presidente Berlin); Anke Mebold, Michael Schurig, Thomas Livio Jacob Worschech (Deutsches Filminstitut – DIF); Direttore emerito Andreas Thein (Filmmuseum Düsseldorf); David Robinson Stefan Drössler (Filmmuseum München); Ralf Forster (Filmmuseum Potsdam); Anke Wilkening Direttore (Friedrich-Wilhelm-Murnau-Stiftung); Christiane Jay Weissberg Reuter (Spielzeugmuseum der Stadt Tübingen); Lea-Aimee Frankenbach; Jeanpaul Goergen; Ringraziamo sentitamente per aver collaborato Megumi Hayakawa; Martin Loiperdinger. al programma: Giappone: Hisashi Okajima, Akira Tochigi Argentina: Fernando Martín Peña (Filmoteca (National Film Center of The National Museum of Buenos Aires); Paula Félix-Didier, Leandro Listorti Modern Art, Tokyo); Hiroshi Komatsu; (Museo del Cine Pablo C. Ducros Hicken, Buenos Johan Nordström. Aires). Italia: Flavia Barretti, Andrea Meneghelli, Australia: Joel Archer (Golden Oldies Cinema, Davide Pozzi, Elena Tammaccaro (Cineteca di Brisbane); Sally Jackson, Meg Labrum, Michael -
Temporality and Duration in the Films of Abel Gance Paul Cuff1
The Cinema as Time Machine: Temporality and Duration in the Films of Abel Gance Paul Cuff1 Abel Gance seemed to warp peoples’ perception of time, just as his work embodied the durational extremes of cinema. On the one hand, he was “an apostle in cinema’s Middle Ages” (Cinéa, 1 September 1923) – a builder of vast celluloid edifices that stretched over multi- ple hours and took days or weeks to project. Contemplating these films, Jacques Thévenet felt the same sense of “wonderment” as he did when standing before a gothic cathedral (Comœdia, 25 December 1922); religious images were often used about creator and creations. “Abel Gance is becoming God”, the arts columnist Bing remarked: “At his command, light is let loose and a world is fashioned according to his will.” To encounter the filmmaker was to fall out of step with time. His Paris apartment was saturated in Renaissance décor and visitors were transfixed by Gance’s “misty eyes, lost in a luminous dream” and his “long, flowing hair which seems to flutter in the breath of some distant chimera” (Fantasio, 1 December 1930). Yet, at the other end of this experiential scale was the modernist freneticism of Gance’s editing, which could accelerate to the rate of one frame per shot – the filmstrip’s maximum unitary velocity. While this revo- lutionary technique was deeply influential on other directors, satirists joked that it caused “neuralgia and nervous fits” among inno- cent spectators (Cyrano, 26 February 1928). Critics likewise deemed Gance a “barbarous” artisan who “irritates and exhausts us with [his] virtuosity” and “the ceaseless movement of [his] images” (Bardèche and Brasillach 1935, 242-3). -
Download Catalogue
Charlie Chaplin Filmography, Films and TV Programmes in the National Film and Television Archive This filmography includes all fiction and non-fiction material held in the NFTVA relating to Charlie Chaplin. There are six main sections: 1) FICTION....................................................................................................... 2 2) OTHER FICTION MATERIAL HELD BY THE NFTVA ................................................ 6 3) UNIDENTIFIED MATERIAL ............................................................................... 9 4) COMPILATIONS ........................................................................................... 10 5) NON-FICTION FOOTAGE RELATING TO CHARLES CHAPLIN ................................ 11 6) DOCUMENTARIES ON CHAPLIN...................................................................... 15 The fiction material is arranged chronologically (information taken from Chaplin by David Robinson, the bfi index The Early Work of Charles Chaplin by Theodore Huff, Film Dope 6 and Film Dope 28) and divided up into the various production companies Chaplin worked under. Note is made on those items not held in the NFTVA. Other fiction material held in the NFTVA refers to fragments, Chaplin imitators, cartoons etc. Compilations are given with their contents where known. The non-fiction material covers newsreels, amateur footage and those documentaries that are not simply compilations, and is arranged chronologically by release date. A short description is given. Lengths of non-fiction items are given -
Programmaboekje : the Wedding March
Stille Film Live Orkest Carl Davis . Koninklijk Filharmonisch Orkest van Vlaanderen Erich von Stroheim . The Wedding March vrijdag 24 november 2000 Stille Film Live Orkest – Seizoen 2000-2001 Beethoven Academie . Carl Davis An Eastern Westerner . Safety Last woensdag 4 oktober 2000 Carl Davis . Koninklijk Filharmonisch Orkest van Vlaanderen The Wedding March vrijdag 24 november 2000 Het Brabants Orkest . Gillian B. Anderson The Ten Commandments maandag 29 januari 2001 Koninklijk Filharmonisch Orkest van Vlaanderen Carl Davis muziek en leiding Erich von Stroheim . The Wedding March Cast Erich von Stroheim Prins Nicki von Wildeliebe-Rauffenburg Fay Wray Mitzi Schrammell George Fawcett Prins Ottokar von Wildeliebe-Rauffenburg Maude George Prinses Maria von Wildeliebe-Rauffenburg George Nichols Fortunat Schweisser ZaSu Pitts Cecilia Schweiser Matthew Betz Schani Eberle Cesare Gravina Martin Schrammell Dale Fuller Katerina Schrammel Sidney Bracey Navratil Anton Vaverka Keizer Franz-Josef Hughie Mack Schani’s vader Lucille van Lent Nicki’s meid Lurie Weiss Cecilia’s meid Carolynne Snowden Zwart meisje in bordeel Lulee Wilson Dienaar Captain John Peters, Captain Carl von Hartman, Carey Harrison, Ferdi- nand Schumann-Heink, Heinrich Reinhardt, Albert Conti, Wilhelm von ism. KFOvV Brincken Offi cieren begin voorstelling 20.00 uur Credits er is geen pauze Erich von Stroheim Regie einde omstreeks 22.00 uur Harry Carr, Erich von Stroheim Scenario Pat Powers Productie inleiding door Theodore van Houten . 19.15 uur . Foyer Hal Mohr, Ben F. Reynolds, B. Sorenson Cinematografi e tekst programmaboekje KFOvV Josef von Sternberg, Erich von Stroheim Film Editing coördinatie programmaboekje deSingel Richard Day, Erich von Stroheim Art directie druk programmaboekje Tegendruk Richard Day, Max Rée, Erich von Stroheim Kostuums Edward Sowders Assistant gelieve uw GSM uit te schakelen! Het Koninklijk Filharmonisch Orkest van Vlaanderen geniet de steun van de Vlaamse Gemeenschap, de stad en de provincie Antwerpen. -
SFSFF 2018 Program Book
elcome to the San Francisco Silent Film Festival for five days and nights of live cinema! This is SFSFFʼs twenty-third year of sharing revered silent-era Wmasterpieces and newly revived discoveries as they were meant to be experienced—with live musical accompaniment. We’ve even added a day, so there’s more to enjoy of the silent-era’s treasures, including features from nine countries and inventive experiments from cinema’s early days and the height of the avant-garde. A nonprofit organization, SFSFF is committed to educating the public about silent-era cinema as a valuable historical and cultural record as well as an art form with enduring relevance. In a remarkably short time after the birth of moving pictures, filmmakers developed all the techniques that make cinema the powerful medium it is today— everything except for the ability to marry sound to the film print. Yet these films can be breathtakingly modern. They have influenced every subsequent generation of filmmakers and they continue to astonish and delight audiences a century after they were made. SFSFF also carries on silent cinemaʼs live music tradition, screening these films with accompaniment by the worldʼs foremost practitioners of putting live sound to the picture. Showcasing silent-era titles, often in restored or preserved prints, SFSFF has long supported film preservation through the Silent Film Festival Preservation Fund. In addition, over time, we have expanded our participation in major film restoration projects, premiering four features and some newly discovered documentary footage at this event alone. This year coincides with a milestone birthday of film scholar extraordinaire Kevin Brownlow, whom we celebrate with an onstage appearance on June 2. -
PHOTOPLAY MAGAZINE Suite 4O1 Heisen Building GHIGAGO, ILL
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Introduction 1 Innovations in 1920S and 1930S Hollywood
Notes Introduction 1. Otis Ferguson, “Life Goes to the Pictures,” in Robert Wilson, The Film Criticism of Otis Ferguson (Philadelphia: Temple University Press, 1971), 4. 2. Those Who Made It is the latest entry in a select group of comparable interview collections that features Hollywood personnel speaking out about their work behind the camera. One of the earliest was Austin C. Andrew Sarris’s Interviews with Film Directors (1967), an anthology conducted by a variety of interviewers; Leonard Maltin’s Behind the Camera (1971), featuring five interviews with cinema- tographers Hal Mohr, Conrad Hall, Hal Rosson, Lucien Ballard, and Arthur Miller; Kevin Brownlow’s three volumes of interviews chronicling the silent era, The Parade’s Gone By, The War the West and the Wilderness, Behind the Mask of Innocence ( 1968–1990); and Joseph McBride’s two- volume Filmmakers on Filmmakingg (1983), derived from a series of seminars conducted by the American Film Institute. My own previous contribution to this series is my edited volume, Introduction to the Photoplay (1977), an annotated collection of Hollywood n otables— including pro- ducer Irving Thalberg, art director William Cameron Menzies, scriptwriter Clara Beranger— speaking out at a seminar at USC in 1929 on topics relating to the dawn of sound. All, save Brownlow’s Parade’s Gone By, are long out of print. 3. Jean- Luc Godard, Introduction a une veritable histoire du cinema (Paris: Albatros, 1980), 100. 4. William Hazlitt’s “On the Conversation of Authors” was first published in the London Magazine, September, 1820 and reprinted in P.P. Howe, ed., The Best of Hazlittt (London: Methuen, 1947). -
Silent Film Festival in Bo’Ness
CONTENTS silent film festival Where movies and music come alive! WEDNESDAY 21 MARCH - SUNDAY 25 MARCH 2018 BOX OFFICE: 01324 506850 | HIPPFEST.CO.UK 1 WELCOME Welcome to the 8th annual Hippodrome Silent Film Festival in Bo’ness. This year’s programme has a fantastic international selection of silent-era films accompanied by some of the finest silent film musicians performing today. Our thanks go to all our funders and supporters who help make this Festival one of Scotland’s great cultural events and keep this wonderful era of cinema alive. Thanks also to the staff involved, whose passion for The Hippodrome and its historical significance make HippFest such a joy to attend year-on-year and make each event so memorable. Ruth Morrison Chair, Falkirk Community Trust We’ve been busy rummaging in the world’s archives, arranging assignations with musicians and conjuring up ideas with all sorts of partners to put together our 8th HippFest. The result is a programme packed with all the ingredients for an enjoyable festival, peppered with some surprises and innovations to keep things fresh. We’ve introduced a Saturday night, double-bill for HippFest night-owls and are experimenting with spoken-word and new fringe events. There are two public With support from the British Film Institute we will be screening a workshops (gin anyone?) and streamlined selection of shorts from the National transport options. All this plus galas and Library of Scotland Moving Image jeely jars, premieres and old favourites Archive and other film archives before selected features, accompanied by plus our new vintage piano.