Noviembre 2010
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Pr-Dvd-Holdings-As-Of-September-18
CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd. -
January 27, 2009 (XVIII:3) Samuel Fuller PICKUP on SOUTH STREET (1953, 80 Min)
January 27, 2009 (XVIII:3) Samuel Fuller PICKUP ON SOUTH STREET (1953, 80 min) Directed and written by Samuel Fuller Based on a story by Dwight Taylor Produced by Jules Schermer Original Music by Leigh Harline Cinematography by Joseph MacDonald Richard Widmark...Skip McCoy Jean Peters...Candy Thelma Ritter...Moe Williams Murvyn Vye...Captain Dan Tiger Richard Kiley...Joey Willis Bouchey...Zara Milburn Stone...Detective Winoki Parley Baer...Headquarters Communist in chair SAMUEL FULLER (August 12, 1912, Worcester, Massachusetts— October 30, 1997, Hollywood, California) has 53 writing credits and 32 directing credits. Some of the films and tv episodes he directed were Street of No Return (1989), Les Voleurs de la nuit/Thieves After Dark (1984), White Dog (1982), The Big Red One (1980), "The Iron Horse" (1966-1967), The Naked Kiss True Story of Jesse James (1957), Hilda Crane (1956), The View (1964), Shock Corridor (1963), "The Virginian" (1962), "The from Pompey's Head (1955), Broken Lance (1954), Hell and High Dick Powell Show" (1962), Merrill's Marauders (1962), Water (1954), How to Marry a Millionaire (1953), Pickup on Underworld U.S.A. (1961), The Crimson Kimono (1959), South Street (1953), Titanic (1953), Niagara (1953), What Price Verboten! (1959), Forty Guns (1957), Run of the Arrow (1957), Glory (1952), O. Henry's Full House (1952), Viva Zapata! (1952), China Gate (1957), House of Bamboo (1955), Hell and High Panic in the Streets (1950), Pinky (1949), It Happens Every Water (1954), Pickup on South Street (1953), Park Row (1952), Spring (1949), Down to the Sea in Ships (1949), Yellow Sky Fixed Bayonets! (1951), The Steel Helmet (1951), The Baron of (1948), The Street with No Name (1948), Call Northside 777 Arizona (1950), and I Shot Jesse James (1949). -
CHARLEY VARRICK Collection
Finding Aid for the CHARLEY VARRICK Collection Collection Processed by: Sandy Lu, 2.14.17 Finding Aid Written by: Sandy Lu, 2.14.17 OVERVIEW OF THE COLLECTION: Origination/Creator: Reese, John or Siegel, Don. (Unverified.) Title of Collection: CHARLEY VARRICK Collection Date of Collection: 1968 -- 1972 Physical Description: 1 box; .5 linear feet Identification: Special Collection #16 Repository: American Film Institute Louis B. Mayer Library, Los Angeles, CA RIGHTS AND RESTRICTIONS: Access Restrictions: Collection is open for research. Copyright: The copyright interests in this collection remain with the creator. For more information, contact the Louis B. Mayer Library. Acquisition Method: Donated in November 15, 1976. BIOGRAPHICAL/HISTORY NOTE: CHARLEY VARRICK is a 1973 crime film directed and produced by Don Siegel, starring Walter Matthau, Joe Don Baker, Felicia Farr, Andy Robinson, and Sheree North. The plot is centered on Charley Varrick, an average man making a meager living as a crop duster in Nevada. Tired of struggling to get by, Charley plans a series of small-time bank robberies with the assumption that minor sums of missing cash might not be noticed. He, along with his wife Nadine and two accomplices, carry out these robberies with some success. One fateful day, Charley realizes that what he thought was one or two thousand stolen dollars turns out to be closer to $750,000. Realizing that his crew has mistakenly stolen from the mafia, Charley makes a run for in an attempt to save his own life. CHARLEY VARRICK received generally positive reviews, and has become recognized as a cult classic. -
October 9, 2012 (XXV:6) David Miller, LONELY ARE the BRAVE (1962, 107 Min)
October 9, 2012 (XXV:6) David Miller, LONELY ARE THE BRAVE (1962, 107 min) Directed by David Miller Screenplay by Dalton Trumbo Based on the novel, The Brave Cowboy, by Edward Abbey Produced by Edward Lewis Original Music by Jerry Goldsmith Cinematography by Philip H. Lathrop Film Editing by Leon Barsha Art Direction by Alexander Golitzen and Robert Emmet Smith Set Decoration by George Milo Makeup by Larry Germain, Dave Grayson, and Bud Westmore Kirk Douglas…John W. "Jack" Burns Gena Rowlands…Jerry Bondi Walter Matthau…Sheriff Morey Johnson Michael Kane…Paul Bondi Carroll O'Connor…Hinton William Schallert…Harry George Kennedy…Deputy Sheriff Gutierrez Karl Swenson…Rev. Hoskins William Mims…First Deputy Arraigning Burns Martin Garralaga…Old Man Lalo Rios…Prisoner Bill Bixby…Airman in Helicopter Bill Raisch…One Arm Table Tennis, 1936 Let's Dance, 1935 A Sports Parade Subject: Crew DAVID MILLER (November 28, 1909, Paterson, New Jersey – April Racing, and 1935 Trained Hoofs. 14, 1992, Los Angeles, California) has 52 directing credits, among them 1981 “Goldie and the Boxer Go to Hollywood”, 1979 “Goldie DALTON TRUMBO (James Dalton Trumbo, December 9, 1905, and the Boxer”, 1979 “Love for Rent”, 1979 “The Best Place to Be”, Montrose, Colorado – September 10, 1976, Los Angeles, California) 1976 Bittersweet Love, 1973 Executive Action, 1969 Hail, Hero!, won best writing Oscars for The Brave One (1956) and Roman 1968 Hammerhead, 1963 Captain Newman, M.D., 1962 Lonely Are Holiday (1953). He was blacklisted for many years and, until Kirk the Brave, 1961 Back Street, 1960 Midnight Lace, 1959 Happy Douglas insisted he be given screen credit for Spartacus was often to Anniversary, 1957 The Story of Esther Costello, 1956 Diane, 1951 write under a pseudonym. -
Five Online Sources Reviewed
OLAC CAPC Moving Image Work-Level Records Task Force Final Report and Recommendations August 21, 2009 Amended August, 28, 2009 to change Scarlet to Scarlett Part IV: Extracting Work-Level Information from Existing MARC Manifestation Records Appendix: Comparison of Selected Extracted MARC Data with External Sources Task Force Members: Kelley McGrath (chair; subgroup 1 and 4 leader) Susannah Benedetti (subgroup 2) Lynne Bisko (subgroup 4) Greta de Groat (subgroup 1) Ngoc-My Guidarelli (subgroup 2) Jeannette Ho (subgroup 2 leader) Nancy Lorimer (subgroup 1) Scott Piepenburg (subgroup 3) Thelma Ross (subgroup 3 leader) Walt Walker (subgroup 3) Karen Gorss Benko (subgroup 3, 2008) Scott M. Dutkiewicz (subgroup 4, 2008) Advisors to the Task Force: David Miller Jay Weitz Martha Yee Titles Reviewed We reviewed ten titles. These ten works were found in eighty-three records in our sample dataset. These represent primarily major feature films as those are the materials for which there are most likely to be reliable, independent secondary sources of information. The titles include several English language American film releases, one non-English Roman alphabet title, three non-English, non-Roman alphabet titles, and one English language television documentary. The dates of the works range from 1931 to 2001. Five Online Sources Reviewed We selected five reliable, comprehensive online sources to review. We did not use a print source as a sufficiently comprehensive one was not conveniently available to us at the time of the review. 1 of 13 1. allmovie (AMG) http://allmovie.com/ Contains over 220,000 titles. Includes information from a variety of sources, including video packaging, promotional materials, press releases, watching the movies, etc. -
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. -
Invasion of the Body Snatchers Pdf Free Download
INVASION OF THE BODY SNATCHERS PDF, EPUB, EBOOK Jack Finney,Dean R Koontz | 224 pages | 06 Oct 2015 | Touchstone Books | 9781501117824 | English | United States Invasion of the Body Snatchers PDF Book The flashback ends with Bennell finishing his story back at the hospital. The next morning, Bennell and Becky watch from the office window as truckloads of the giant pods arrive in the town center. Visit our What to Watch page. As each pod reaches full development, it assimilates the physical characteristics, memories, and personalities of each sleeping person placed near it; these duplicates, however, are devoid of all human emotion. Archived from the original on 6 November In the closing scene pods are found at a highway accident, confirming his warning. Parents Guide. Halloween Movies for the Whole Family. Suspecting Geoffrey's involvement, Matthew takes Elizabeth home with him, but when he returns later with the police, the duplicate body is gone. The New Yorker 's Pauline Kael was a particular fan of the film, writing that it "may be the best film of its kind ever made". Robert Duvall is also seen briefly as a silent priest sitting on a swing set in the opening scene. In response the studio removed much of the film's humor, "humanity" and "quality," according to Wanger. You'll be next! A doom and gloom-feel movie for a dreary time. This release contains a 2K scan of the interpositive. Edit Storyline The first remake of the paranoid infiltration classic moves the setting for the invasion from a small town to the city of San Fransisco and starts as Matthew Bennell notices that several of his friends are complaining that their close relatives are in some way different. -
Don Siegel Rétrospective 3 Septembre - 12 Octobre
DON SIEGEL RÉTROSPECTIVE 3 SEPTEMBRE - 12 OCTOBRE AVEC LE SOUTIEN DE WARNER BROS. L’Inspecteur Harry LE ROUGE EST LA COULEUR DE LA PITIÉ JEAN-FRANÇOIS RAUGER Né à Chicago en 1912, Don Siegel débute dans le cinéma en occupant plusieurs postes à la Warner Bros. avant de se spécialiser dans le montage. Il signe sa première réalisation en 1946 et, passant d’un studio à l’autre, alterne les genres (films noirs, westerns, science-fiction). Il se distingue par son traitement de la violence, la sécheresse de ses scènes d’action et le refus d’une psychologie conventionnelle. À partir de 1968, il réa- lise cinq films avec Clint Eastwood en vedette, contribuant à la fabrication de son personnage et s’inscrivant dans une certaine modernité du cinéma hollywoodien. S’il fallait associer Don Siegel à une génération particu- tout) dans le cinéma de Don Siegel ramène en effet à lière de cinéastes américains, il faudrait le rapprocher ce onzième long métrage. de ces réalisateurs qui, à partir de l’immédiat après- Les habitants d’une petite ville de Californie sont trans- guerre, ont été tout à la fois la cause et le produit d’une formés, après une invasion extraterrestre, en créatures crise ainsi que d’une remise en question du système sans affects, qui conservent l’apparence extérieure de hollywoodien et de son idéologie. C’est l’heure des ceux dont elles ont volé l’enveloppe corporelle. Dès auteurs affirmés, de ceux qui menacent l’équilibre clas- lors, les caractéristiques même de ce qui constitue sique par une manière de romantisme (Nicholas Ray), l’humanité se décollent de ce qui reste lorsqu’elle ne une énergie brutale et paradoxale (Samuel Fuller), la se réduit plus qu’à une silhouette. -
A Supercut of Supercuts: Aesthetics, Histories, Databases
A Supercut of Supercuts: Aesthetics, Histories, Databases PRACTICE RESEARCH MAX TOHLINE ABSTRACT CORRESPONDING AUTHOR: Max Tohline The genealogies of the supercut, which extend well past YouTube compilations, back Independent scholar, US to the 1920s and beyond, reveal it not as an aesthetic that trickled from avant-garde [email protected] experimentation into mass entertainment, but rather the material expression of a newly-ascendant mode of knowledge and power: the database episteme. KEYWORDS: editing; supercut; compilation; montage; archive; database TO CITE THIS ARTICLE: Tohline, M. 2021. A Supercut of Supercuts: Aesthetics, Histories, Databases. Open Screens, 4(1): 8, pp. 1–16. DOI: https://doi.org/10.16995/os.45 Tohline Open Screens DOI: 10.16995/os.45 2 Full Transcript: https://www.academia.edu/45172369/Tohline_A_Supercut_of_Supercuts_full_transcript. Tohline Open Screens DOI: 10.16995/os.45 3 RESEARCH STATEMENT strong patterning in supercuts focuses viewer attention toward that which repeats, stoking uncritical desire for This first inklings of this video essay came in the form that repetition, regardless of the content of the images. of a one-off blog post I wrote seven years ago (Tohline While critical analysis is certainly possible within the 2013) in response to Miklos Kiss’s work on the “narrative” form, the supercut, broadly speaking, naturally gravitates supercut (Kiss 2013). My thoughts then comprised little toward desire instead of analysis. more than a list; an attempt to add a few works to Armed with this conclusion, part two sets out to the prehistory of the supercut that I felt Kiss and other discover the various roots of the supercut with this supercut researchers or popularizers, like Tom McCormack desire-centered-ness, and other pragmatics, as a guide. -
Sam Peckinpah Killed Randolph Scott (But Somehow the Duke Survived)
Sam Peckinpah Killed Randolph Scott (But Somehow the Duke Survived) Regeneration and Genre Tradition in the Final Westerns of John Wayne Andrew Patrick Nelson Hon.B.A. (Toronto) A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies Carleton University Ottawa, Ontario, Canada August 2007 © 2007 Andrew Patrick Nelson Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Library and Bibliotheque et Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-33755-4 Our file Notre reference ISBN: 978-0-494-33755-4 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce,Canada de reproduire, publier, archiver, publish, archive, preserve, conserve,sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet,distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform,et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. -
Green Tea & Conversation with Clint Eastwood
43 green tea conversation WITH CLINT EASTWOOD and BY TERENCE MCHALE In preparation for meeting with Clint Eastwood, Califor- hair was unruly. He looks more like the disc jockey from nia Conversations once again tapped our spare change “Play Misty for Me” would have aged than the barren box and rented tapes and DVD’s of everything Eastwood. William Munny from “Unforgiven,” or the pained boxing The selection goes back almost fi fty years. It was inter- manager of “Million Dollar Baby.” esting to see interviews on one of the tapes from a few years ago with his mother, then in her late eighties or It is, of course, ridiculous to describe him. Eastwood is early nineties, and his sister a year younger than him. one of the most recognizable men in the world. In person Both of them were appealing, lively, white-haired, pretty, he is gracious. In short order he is more impressive than well-dressed, and instantly likeable. They seemed to be intimidating. His responses are measured, spoken in a in on a good joke. They spoke well of Clint, not adoring quiet voice that seems to start bigger in the far back of or overly impressed, just proud and you got the sense his throat and emerge in a hoarse whisper. He is matter- that the Eastwoods, no matter what Clint did for a living, of-fact without a hint of arrogance. were bound to make the best of things. Eastwood consciously began eating right and exercising Clint Eastwood doesn’t disappoint. California Conver- decades ago. -
Invasion of the Body Snatchers Kathleen Loock
6 The Return of the Pod People: Remaking Cultural Anxieties in Invasion of the Body Snatchers Kathleen Loock Don Siegel’s Invasion of the Body Snatchers (1956), based on a novel by Jack Finney, has become one of the most influential alien invasion films of all time. The film’s theme of alien paranoia—the fear that some invis- ible invaders could replace individual human beings and turn them into a collective of emotionless pod people—resonated with widespread anxieties in 1950s American culture. It has been read as an allegory of the communist threat during the Cold War but also as a commen- tary on McCarthyism, the alienating effects of capitalism, conformism, postwar radiation anxiety, the return of “brainwashed” soldiers from the Korean War, and masculine fears of “the potential social, politi- cal, and personal disenfranchisement of postwar America’s hegemonic white patriarchy” (Mann 49). 1 Engaging with the profound concerns of its time, Invasion of the Body Snatchers is widely regarded as a signature film of the 1950s. Yet despite its cultural and historical specificity, the narrative of alien-induced dehumanization has lent itself to reinterpretations and re-imaginations like few others, always shifting with the zeitgeist and replacing former cultural anxieties with more contemporary and urgent ones. Siegel’s film has inspired three cinematic remakes over the last 55 years: Philip Kaufman’s Invasion of the Body Snatchers (1978), Abel Ferrara’s Body Snatchers (1993), and, most recently, Oliver Hirschbiegel’s The Invasion (2007). Bits and pieces of the film have also found their way into the American popular imagination, taking the form of intermedial refer- ences to Invasion of the Body Snatchers in movies, television series, car- toons, and video games.