Glenn Mitchell the TRUE FAREWELL of the TRAMP
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Doctor Strangelove
A PPENDI C ES Feature Film Study: Doctor Strangelove Doctor Strangelove or: How I Learned to Stop Worrying and Love the Bomb. Dir. Stanley Kubrick, USA, 1964. Comedy/Satire. Classification PG. 95 min. DVD, Columbia. Historical Themes/Topics War and peace in the 20th century: Cold War, nuclear arms race, atomic energy, social values and climate of 1960s Historical Context According to many historians, rapid advances in science and technology during the 20th century have contributed to making it one of the most destructive eras in world history. Arguably, in a bare-bones approach, history can be characterized as a continuing series of violent attacks between groups of humans. Typically, war is studied in terms of geographic and political realignments. However, something happened to warfare in the 20th century that has changed our collective understanding of war and peace in western societ y. The ability to understand and harness atomic energy is characteristic of the advancements in science and technology in the 20th century. It reflects the attempt among modern scientists to understand the smallest particles that are the building blocks of matter, whether in particle physics, microbiology, genetic research, or the development of the microchip. The development of the atomic bomb allowed humans to develop weapons of mass destruction. For the first time in history, human beings have the power to wipe out entire civilizations in seconds. At the same time, the increasing destructiveness of warfare is communicated with immediacy using modern Doctor Strangelove 133 communications technologies. The fact that mass communications include real images of real people suffering has played a role in developing a modern sensibility of the “other.” Faced with images of the destruction of Nagasaki and Hiroshima, North Americans saw children and families as well as whole neighbourhoods destroyed in the blink of an eye. -
Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
Charlie Chaplin the Mutual Comedies with Music by Carl Davis
Charlie Chaplin The Mutual Comedies With music by Carl Davis A Limited Edition 2-disc Blu-ray set and a 2- disc DVD set of Charlie Chaplin’s Mutual Comedies will be released by the BFI on 18 May 2015. Previously only available on two DVD volumes from the BFI, the films have been fully restored in High Definition and brought together in a single edition for the first time. The collection features music by acclaimed silent film composer Carl Davis and a raft of special features. Charlie Chaplin entered the film industry in 1914. By 1916 he was the highest paid entertainer in the world after signing a contract with the Mutual Film Corporation for a salary of $670,000. Mutual built Chaplin his very own studio and allowed him total freedom to make 12 two-reel films during a 12-month period. Chaplin subsequently recognized that time as the most inventive and liberating of his career. These 12 films demonstrate the breadth of his abilities as both a physical entertainer and a subtle, endearing character actor. Among the classics included here are The Immigrant, which endures as a comic masterpiece; Easy Street – a watershed moment in Chaplin’s career; The Floorwalker, which shows his inventive and balletic use of mechanical props; The Vagabond, where he successfully combines pathos and comedy to create a lyrical love story and The Pawnshop which is famous for the hilarious routine in which he dissects an alarm clock. Composer Carl Davis is available for interview. The Mutual Comedies The Floorwalker, The Fireman, The Vagabond, One A.M., The -
The Hamptons International Film Festival Announces Inaugural Summer Family Film Festival in Association with the Southampton Arts Center to Take Place August 22–24
THE HAMPTONS INTERNATIONAL FILM FESTIVAL ANNOUNCES INAUGURAL SUMMER FAMILY FILM FESTIVAL IN ASSOCIATION WITH THE SOUTHAMPTON ARTS CENTER TO TAKE PLACE AUGUST 22–24 The Festival will open with Charlie Chaplin Silent Film Shorts and will close with How To Train Your Dragon 2 in 3D Southampton, NY (August 7, 2014) – The Hamptons International Film Festival (HIFF), in partnership with the Southampton Arts Center, today announced that its first-ever Summer Family Film Festival will take place Friday, August 22 to Sunday, August 24 and will include family-friendly screenings of short and feature length films. The weekend’s festivities will kick off on Friday, August 22 with a screening of Charlie Chaplin silent shorts outdoors on the lawn of the Southampton Arts Center along with a live piano accompaniment and will conclude with a 3D screening of DreamWorks Animation’s HOW TO TRAIN YOUR DRAGON 2 on Sunday, August 24 at the United Artists Southampton 4 Movie Theater. A weeklong student filmmaking workshop will also take place from August 18–22 at the Southampton Arts Center. “Having expanded into Southampton a decade ago with our annual festival in October, we are delighted to partner with the Southampton Arts Center for a second summer and on our inaugural HIFF Summer Family Film Festival,” said Executive Director Anne Chaisson. “We've been educating students about filmmaking for over seven years and are happy to expand that effort along with our stellar children's programming to Southampton. We look forward to showcasing our exciting line-up of screenings from everyone’s favorite, The Tramp to haunted houses, Disney’s finest and an all girl punk band that will inspire the filmmakers of tomorrow.” FRIDAY, AUGUST 22 SILENT FILM SHORTS | 75 Minutes (with live piano accompaniment by celebrated musician Donald Sosin) 7:30pm on the lawn of the Southampton Arts Center To kickoff our first-ever Hamptons Family Film Festival, we’re excited to present a special program of short films featuring one of the most beloved figures in the history of cinema: The Tramp. -
Letting the Other In, Queering the Nation
Letting the Other in, Queering the Nation: Bollywood and the Mimicking Body Ronie Parciack Tel Aviv University Bombay’s film industry, Bollywood, is an arena that is represented and generated by the medium as a male intensively transmits cultural products from one na - homosexual body. tionality to another; it is a mimicking arena that in - cessantly appropriates narratives of Western Culture, particularly from Hollywood. Hence its nick-name Bollywood and the work of mimicry that contains the transcultural move back and forth Bollywood, Mumbai’s cinematic industry, is an inten - between and Bombay/Mumbai, all the while retain - sive arena absorbing foreign cultural products, mainly ing the ambivalent space positioned betwixt and be - Western. Characters, cultural icons, genres, lifestyle tween, and the unsteady cultural boundaries derived accoutrements such as clothing, furnishing, recreation from the postcolonial situation. styles, western pop songs and entire cinematic texts This paper examines the manner in which this have constantly been appropriated and adapted dur - transcultural move takes place within the discourse of ing decades of film-making. gender; namely, how the mimicking strategy forms a The mimicry phenomenon, with its central locus body and provides it with an ambiguous sexual iden - in the colonial situation and the meanings it contin - tity. My discussion focuses on the film Yaraana ues to incorporate in the postcolonial context, is a (David Dhawan, 1995) – a Bollywood adaptation of loaded focus in current discourse on globalization and Sleeping with the Enemy (Joseph Ruben, 1989). The localization, homogenization and heterogenization. Hollywood story of a woman who flees a violent hus - This paper examines the way in which the mimicking band exists in the Bollywood version, but takes on a deed can highlight the gendered layout of the mim - minor role compared to its narrative focus: an (insin - icking arena. -
Film Essay for "Modern Times"
Modern Times By Jeffrey Vance No human being is more responsible for cinema’s ascendance as the domi- nant form of art and entertainment in the twentieth century than Charles Chaplin. Yet, Chaplin’s importance as a historic figure is eclipsed only by his creation, the Little Tramp, who be- came an iconic figure in world cinema and culture. Chaplin translated tradi- tional theatrical forms into an emerg- ing medium and changed both cinema and culture in the process. Modern screen comedy began the moment Chaplin donned his derby hat, affixed his toothbrush moustache, and Charlie Chaplin’s Tramp character finds he has become a cog in the stepped into his impossibly large wheels of industry. Courtesy Library of Congress Collection. shoes for the first time. “Modern Times” is Chaplin’s self-conscious subjects such as strikes, riots, unemployment, pov- valedictory to the pantomime of silent film he had pio- erty, and the tyranny of automation. neered and nurtured into one of the great art forms of the twentieth century. Although technically a sound The opening title to the film reads, “Modern Times: a film, very little of the soundtrack to “Modern Times” story of industry, of individual enterprise, humanity contains dialogue. The soundtrack is primarily crusading in the pursuit of happiness.” At the Electro Chaplin’s own musical score and sound effects, as Steel Corporation, the Tramp is a worker on a factory well as a performance of a song by the Tramp in gib- conveyor belt. The little fellow’s early misadventures berish. This remarkable performance marks the only at the factory include being volunteered for a feeding time the Tramp ever spoke. -
Lecture Outlines
21L011 The Film Experience Professor David Thorburn Lecture 1 - Introduction I. What is Film? Chemistry Novelty Manufactured object Social formation II. Think Away iPods The novelty of movement Early films and early audiences III. The Fred Ott Principle IV. Three Phases of Media Evolution Imitation Technical Advance Maturity V. "And there was Charlie" - Film as a cultural form Reference: James Agee, A Death in the Family (1957) Lecture 2 - Keaton I. The Fred Ott Principle, continued The myth of technological determinism A paradox: capitalism and the movies II. The Great Train Robbery (1903) III. The Lonedale Operator (1911) Reference: Tom Gunning, "Systematizing the Electronic Message: Narrative Form, Gender and Modernity in 'The Lonedale Operator'." In American Cinema's Transitional Era, ed. Charlie Keil and Shelley Stamp. Univ. of California Press, 1994, pp. 15-50. IV. Buster Keaton Acrobat / actor Technician / director Metaphysician / artist V. The multiplicity principle: entertainment vs. art VI. The General (1927) "A culminating text" Structure The Keaton hero: steadfast, muddling The Keaton universe: contingency Lecture 3 - Chaplin 1 I. Movies before Chaplin II. Enter Chaplin III. Chaplin's career The multiplicity principle, continued IV. The Tramp as myth V. Chaplin's world - elemental themes Lecture 4 - Chaplin 2 I. Keaton vs. Chaplin II. Three passages Cops (1922) The Gold Rush (1925) City Lights (1931) III. Modern Times (1936) Context A culminating film The gamin Sound Structure Chaplin's complexity Lecture 5 - Film as a global and cultural form I. Film as a cultural form Global vs. national cinema American vs. European cinema High culture vs. Hollywood II. -
The Inside Story of the Gold Rush, by Jacques Antoine Moerenhout
The inside story of the gold rush, by Jacques Antoine Moerenhout ... translated and edited from documents in the French archives by Abraham P. Nasatir, in collaboration with George Ezra Dane who wrote the introduction and conclusion Jacques Antoine Moerenhout (From a miniature in oils on ivory, possibly a self-portrait; lent by Mrs. J.A. Rickman, his great-granddaughter.) THE INSIDE STORYTHE GOLD RUSH By JACQUES ANTOINE MOERENHOUT Consul of France at Monterey TRANSLATED AND EDITED FROM DOCUMENTS IN THE FRENCH ARCHIVES BY ABRAHAM P. NASATIR IN COLLABORATION WITH GEORGE EZRA DANE WHO WROTE THE INTRODUCTION AND CONCLUSION SPECIAL PUBLICATION NUMBER EIGHT CALIFORNIA HISTORICAL SOCIETY The inside story of the gold rush, by Jacques Antoine Moerenhout ... translated and edited from documents in the French archives by Abraham P. Nasatir, in collaboration with George Ezra Dane who wrote the introduction and conclusion http://www.loc.gov/resource/ calbk.018 SAN FRANCISCO 1935 Copyright 1935 by California Historical Society Printed by Lawton R. Kennedy, San Francisco I PREFACE THE PUBLICATION COMMlTTEE of the California Historical Society in reprinting that part of the correspondence of Jacques Antoine Moerenhout, which has to do with the conditions in California following the discovery of gold by James Wilson Marshall at Sutter's sawmill at Coloma, January 24, 1848, under the title of “The Inside Story of the Gold Rush,” wishes to acknowledge its debt to Professor Abraham P. Nasatir whose exhaustive researches among French archives brought this hitherto unpublished material to light, and to Mr. George Ezra Dane who labored long and faithfully in preparing it for publication. -
Hands Up! by Steve Massa
Hands Up! By Steve Massa Raymond Griffith is one of silent come- dy’s unjustly forgotten masters, whose onscreen persona was that of a calm, cool, world-weary bon vivant – some- thing like Max Linder on Prozac. After a childhood spent on stage touring in stock companies and melodramas, he ended up in films at Vitagraph in 1914 and went on to stints at Sennett,- L Ko, and Fox as a comedy juvenile. Not mak- ing much of an impression due to a lack of a distinctive character, he went be- hind the camera to become a gagman, working at Sennett and for other comics like Douglas MacLean. In 1922 he re- turned to acting and became the ele- gant, unflappable ladies’ man. Stealing comedies such as “Changing Husbands,” “Open All Night,” and “Miss Bluebeard” (all 1924) away ing very popular with his character of “Ambrose,” a put- their respective stars Paramount decided to give him his upon everyman with dark-circled eyes and a brush mous- own series, and he smarmed his way through ten starring tache. Leaving Sennett in 1917 he continued playing Am- features starting with “The Night Club” (1925). brose for L-Ko, Fox, and the independent Poppy Come- dies and Perry Comedies. His career stalled in the early “Hands Up!” (1926) soon followed, and is the perfect 1920s when he was blacklisted by an influential produc- showcase for Griffith’s deft comic touch and sly sense of er, but his old screen mate Charlie Chaplin came to the the absurd. The expert direction is by Clarence Badger, rescue and made Mack part of his stock company in films who started in the teens with shorts for Joker and Sen- such as “The Idle Class” (1921) and “The Pilgrim” (1923). -
Charlie Chaplins Red Letter Days at Work with the Comic Genius 1St Edition Pdf, Epub, Ebook
CHARLIE CHAPLINS RED LETTER DAYS AT WORK WITH THE COMIC GENIUS 1ST EDITION PDF, EPUB, EBOOK Fred Goodwins | 9781442278080 | | | | | Charlie Chaplins Red Letter Days At Work with the Comic Genius 1st edition PDF Book Several years ago Michel Comte discovered that the Chaplin office held an extensive photo archive, consisting of thousands of glass negatives, negatives and photographic prints. He was the first international film star and, with a million dollar contract, became one of the richest men in the world. Variety Special Advertising Supplement, pp. The Chaplin Revue The Freak unfinished. Roosevelt liked the film, which they saw at private screenings before its release. Chaplin Official Shop. Leigh Harline , Paul J. I consider this a must for every Chaplin buff. Open Preview See a Problem? Between his time in the poor schools and his mother succumbing to mental illness, Chaplin began to perform on stage. People must be free. My Autobiography. Film portal Television portal Comedy portal England portal. Chaplin's son Michael has suggested that the information must have been significant to his father for him to retain the letter. Fred Goodwins. Return to Book Page. Sennett kept him on, however, when he received orders from exhibitors for more Chaplin films. New German Critique 84 : 3— I shall examine the films of Charlie Chaplin and Buster keaton, not in isolation, as has been the usual practice, but showing how they influenced each other in a creative rivalry that also featured Harold Lloyd the man hanging off the clock. She was then prosecuted for vagrancy in January — Barry had been unable to pay her hotel bills, and was found wandering the streets of Beverly Hills after taking an overdose of barbiturates. -
Noel Drewe Collection Film 178D5
Noel Drewe Collection Film 178D5 178D5.1 Outlook Very Black 9.5mm, Safety Film, Pathescope Noel Drewe Brittle Noel Drewe Collection 178D5.2 Monkeyland 9.5mm Noel Drewe Brittle, perforation damage Noel Drewe Collection 178D5.3 Fun at the Circus 9.5mm, Pathescope Noel Drewe , Circusama, Yesterday Circus Today Circus Noel Drewe Collection 178D5.4 At the Circus 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Circus 2 Reels. Sound. Featuring "Circus Karo". Includes trapeze, whip act and 'sea lions'. Original sound commentary by Geoffrey Sumner. Supplied by C. W. Cramp Noel Drewe Collection 178D5.5 A Man-Sized Pet 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Supplied by C. W. Cramp Noel Drewe Collection 178D5.6 A Fresh Start 300 feet 12 mins 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Brittle, box rust transfer Adams, Jimmy Noel Drewe Collection 178D5.7 Circus at the Zoo 300 feet 12 mins 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Brittle Circus USA Silent. Includes chimps Noel Drewe Collection 178D5.8 Circus Comes to Town 400 feet Harris, Ron 16 mins 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Circus Silent. Features Belle Vue circus On box ‘This film purchased from Ilkeston Cine Service Supplied by C. W. Cramp Noel Drewe Collection 178D5.9 Circus Stedman of Leeds Holdings of Blackburn Ltd Cine and photographic Suppliers 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Circus Bertram Mills Silent. Includes King George VI and Queen Elizabeth’s coronation, so the circus must be 1936/37. -
Exploitative to Favorable, Freak to Ordinary: The
EXPLOITATIVE TO FAVORABLE, FREAK TO ORDINARY: THE EVOLUTION OF DISABILITY REPRESENTATION IN FILM By Julia E. Thompson A Thesis Submitted to the Faculty of the Graduate Studies Division of Ohio Dominican University Columbus, Ohio in partial fulfillment of the requirements for the Degree of MASTER OF ARTS IN ENGLISH DECEMBER 2015 iii CONTENTS CERTIFICATION PAGE ………………………………………………………………… ii ACKNOWLEDGEMENTS ………………………………………………………………. iv CHAPTER 1: A HISTORY OF DISABILITY …………………………………………… 1 CHAPTER 2: FREAK SHOWS AND PHYSICAL DISABILITIES …………………….. 6 CHAPTER 3: DIFFERENT STIGMA: SENSORY DISABILITY ON FILM …………… 15 CHAPTER 4: REGRESSIVE VERSUS PROGRESSIVE DEPICTION ………………… 27 WORKS CITED ………………………………………………………………………….. 35 iv ACKNOWLEDGEMENTS I wish to thank the faculty of the Master of Arts graduate program at Ohio Dominican University. You have opened my mind to the infinite rewards of studying literature, poetry, philosophy, and film. Specifically, I want to thank Dr. Ann Hall for her guidance and encouragement from the very beginning of my journey in the graduate program all the way through to the completion of this thesis. Your support and faith in my abilities allowed me to reach my goal. Also, I would like to thank Dr. Martin Brick for his support and review. My success in the graduate program would not have been possible without the love, support, and unwavering encouragement of my husband, Eric. Thank you for assuming even more of the responsibilities for our children and our home while I worked through the program and this thesis. Thank you also to my children, Celeste and Sawyer, who have been so very patient with me. I hope that my excitement for education influences your own outlook.