In Search of Lost Time”
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
MOVIES A TO Z MARCH 2021 Ho u The 39 Steps (1935) 3/5 c Blondie of the Follies (1932) 3/2 Czechoslovakia on Parade (1938) 3/27 a ADVENTURE u 6,000 Enemies (1939) 3/5 u Blood Simple (1984) 3/19 z Bonnie and Clyde (1967) 3/30, 3/31 –––––––––––––––––––––– D ––––––––––––––––––––––– –––––––––––––––––––––– ––––––––––––––––––––––– c COMEDY A D Born to Love (1931) 3/16 m Dancing Lady (1933) 3/23 a Adventure (1945) 3/4 D Bottles (1936) 3/13 D Dancing Sweeties (1930) 3/24 z CRIME a The Adventures of Huckleberry Finn (1960) 3/23 P c The Bowery Boys Meet the Monsters (1954) 3/26 m The Daughter of Rosie O’Grady (1950) 3/17 a The Adventures of Robin Hood (1938) 3/9 c Boy Meets Girl (1938) 3/4 w The Dawn Patrol (1938) 3/1 o DOCUMENTARY R The Age of Consent (1932) 3/10 h Brainstorm (1983) 3/30 P D Death’s Fireworks (1935) 3/20 D All Fall Down (1962) 3/30 c Breakfast at Tiffany’s (1961) 3/18 m The Desert Song (1943) 3/3 D DRAMA D Anatomy of a Murder (1959) 3/20 e The Bridge on the River Kwai (1957) 3/27 R Devotion (1946) 3/9 m Anchors Aweigh (1945) 3/9 P R Brief Encounter (1945) 3/25 D Diary of a Country Priest (1951) 3/14 e EPIC D Andy Hardy Comes Home (1958) 3/3 P Hc Bring on the Girls (1937) 3/6 e Doctor Zhivago (1965) 3/18 c Andy Hardy Gets Spring Fever (1939) 3/20 m Broadway to Hollywood (1933) 3/24 D Doom’s Brink (1935) 3/6 HORROR/SCIENCE-FICTION R The Angel Wore Red (1960) 3/21 z Brute Force (1947) 3/5 D Downstairs (1932) 3/6 D Anna Christie (1930) 3/29 z Bugsy Malone (1976) 3/23 P u The Dragon Murder Case (1934) 3/13 m MUSICAL c April In Paris -
Midas' Servant, Ceyx, Morpheus As Ceyx, Orpheus, Apollo, A, Philemon
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2007 Playing the Third Man (Midas' Servant, Ceyx, Morpheus as Ceyx, Orpheus, Apollo, A, Philemon) in Mary Zimmerman's Metamorphoses: a production thesis Ronald Ludlow Reeder Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Theatre and Performance Studies Commons Recommended Citation Reeder, Ronald Ludlow, "Playing the Third Man (Midas' Servant, Ceyx, Morpheus as Ceyx, Orpheus, Apollo, A, Philemon) in Mary Zimmerman's Metamorphoses: a production thesis" (2007). LSU Master's Theses. 3653. https://digitalcommons.lsu.edu/gradschool_theses/3653 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. PLAYING THE THIRD MAN (MIDAS’ SERVANT, CEYX, MORPHEUS AS CEYX, ORPHEUS, APOLLO, A, PHILEMON) IN MARY ZIMMERMAN’S METAMORPHOSES: A PRODUCTION THESIS A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural And Mechanical College In partial fulfillment of the Requirements for the degree of Master of Fine Arts In The Department of Theatre By Ronald Ludlow Reeder B.F.A., University of Texas at Austin, 1991 B.S., University of Texas at Austin, 1994 May, 2007 TABLE OF CONTENTS ABSTRACT……………………………………………………………...………………iii -
The Third Man"
"THE THIRD MAN" by Graham Greene HIGH ANGLE - FULL SHOT - CITY OF VIENNA The title VIENNA SUPERIMPOSED FADES OUT - commentary commences. COMMENTATOR I never knew the old Vienna before the war, with its - MED. SHOT - STATUE OF A VIOLINIST There is snow on it. COMMENTATOR Strauss music, its glamour and easy charm... MED. SHOT - ROW OF STONE STATUES ornamenting the top of a building. In the b.g. the top of a stone archway. They are snow-sprinkled. COMMENTATOR Constantinople suited... MED. SHOT - SNOW-COVERED STATUE Trees in b.g. COMMENTATOR me better. I really got to know it in the... CLOSE SHOT - TWO MEN talking in the street. COMMENTATOR - classic period of the black... CLOSEUP - SUITCASE opens toward camera, revealing contents consisting of tins of food, shoes, etc. The hands of a man come in from f.g. to take something out. COMMENTATOR - market. We'd run anything... CLOSEUP - HANDS OF TWO PEOPLE standing side by side in the street. The person CL running hands through a pair of silk stockings. COMMENTATOR - if people wanted it enough. CLOSEUP - HANDS OF TWO PEOPLE A woman's hands CL wearing a wedding ring - a man's hands CR holding in RH two small cartons - hands them over to her in exchange for some notes which she hands him. COMMENTATOR - and had the money to pay. CLOSE SHOT - FIVE WRIST WATCHES on a man's wrist from which the coat sleeve is turned back. COMMENTATOR Of course a situation like that - LONG SHOT - CAPSIZED SHIP in shallow water with a drowned body floating on the water CR of it. -
October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 Min)
October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 min) Directed by Federico Fellini Story by Federico Fellini & Ennio Flaiano Screenplay by Ennio Flaiano, Tullio Pinelli, Federico Fellini & Brunello Rondi Produced by Angelo Rizzoli Original Music by Nino Rota Cinematography by Gianni Di Venanzo Film Editing by Leo Cattozzo Production Design by Piero Gherardi Art Direction by Piero Gherardi Costume Design by Piero Gherardi and Leonor Fini Third assistant director…Lina Wertmüller Academy Awards for Best Foreign Picture, Costume Design Marcello Mastroianni...Guido Anselmi Claudia Cardinale...Claudia Anouk Aimée...Luisa Anselmi Sandra Milo...Carla Hazel Rogers...La negretta Rossella Falk...Rossella Gilda Dahlberg...La moglie del giornalista americano Barbara Steele...Gloria Morin Mario Tarchetti...L'ufficio di stampa di Claudia Madeleine Lebeau...Madeleine, l'attrice francese Mary Indovino...La telepata Caterina Boratto...La signora misteriosa Frazier Rippy...Il segretario laico Eddra Gale...La Saraghina Francesco Rigamonti...Un'amico di Luisa Guido Alberti...Pace, il produttore Giulio Paradisi...Un'amico Mario Conocchia...Conocchia, il direttore di produzione Marco Gemini...Guido da ragazzo Bruno Agostini...Bruno - il secundo segretario di produzione Giuditta Rissone...La madre di Guido Cesarino Miceli Picardi...Cesarino, l'ispettore di produzione Annibale Ninchi...Il padre di Guido Jean Rougeul...Carini, il critico cinematografico Nino Rota...Bit Part Mario Pisu...Mario Mezzabotta Yvonne Casadei...Jacqueline Bonbon FEDERICO FELLINI -
Music and History in Italian Film Melodrama, 1940-2010
Between Soundtrack and Performance: Music and History in Italian Film Melodrama, 1940-2010 By Marina Romani A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Italian Studies and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Barbara Spackman, Chair Professor Mary Ann Smart Professor Linda Williams Professor Mia Fuller Summer 2015 Abstract Between Soundtrack and Performance: Music and History in Italian Film Melodrama, 1940-2010 by Marina Romani Doctor of Philosophy in Italian Studies and the Designated Emphasis in Film Studies University of California, Berkeley Professor Barbara Spackman, Chair Melodrama manifests itself in a variety of forms – as a film and theatre practice, as a discursive category, as a mode of imagination. This dissertation discusses film melodrama in its visual, gestural, and aural manifestations. My focus is on the persistence of melodrama and the traces it leaves on post-World War II Italian cinema: from the Neorealist canon of the 1940s to works that engage with the psychological and physical, private, and collective traumas after the experience of a totalitarian regime (Cavani’s Il portiere di notte, 1974), to postmodern Viscontian experiments set in a 21st-century capitalist society (Guadagnino’s Io sono l’amore, 2009). The aural dimension is fundamental as an opening to the epistemology of each film. I pay particular attention to the presence of operatic music – as evoked directly or through semiotic displacement involving the film’s aesthetic and expressive figures – and I acknowledge the existence of a long legacy of practical and imaginative influences, infiltrations and borrowings between the screen and the operatic stage in the Italian cinematographic tradition. -
The Third Man 2004
Repositorium für die Medienwissenschaft Drew Bassett Rob White: The Third Man 2004 https://doi.org/10.17192/ep2004.2.1856 Veröffentlichungsversion / published version Rezension / review Empfohlene Zitierung / Suggested Citation: Bassett, Drew: Rob White: The Third Man. In: MEDIENwissenschaft: Rezensionen | Reviews, Jg. 21 (2004), Nr. 2, S. 250– 251. DOI: https://doi.org/10.17192/ep2004.2.1856. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an. Fotogrqfie 1111d Film Roh White: The Third Man London: BFI Publishing 2003 (BFI Film Classics). -
THE THIRD MAN Involved in an Opium-Smuggling Operation
CD 7A: “Every Frame Has a Silver Lining” - 10/26/1951 Passing through Iran, Harry becomes THE THIRD MAN involved in an opium-smuggling operation. Lives of Harry Lime CD 7B: “Mexican Hat Trick” - 11/02/1951 Program Guide by Elizabeth McLeod Down on his luck in Mexico, opportunity Orson Welles in The Third Man beckons Harry…thanks to a pickpocket! It’s a hard job being a middle-aged wunderkind, especially in show business -- where you’re only as good as your last big success. And CD 8A: “Art Is Long and Lime Is Fleeting” - 11/09/1951 as Orson Welles moved into his mid-thirties, the triumphs of his youth The painting Harry’s trying to sell isn’t really a Renoir, but does that seemed increasingly remote. The Mercury Theatre was just a memory, really matter? and so was the bold 1930s experimental theatre scene that gave it life. Postwar America, with its increasing restrictions on intellectual freedom CD 8B: “In Pursuit of a Ghost” - 11/16/1951 and its suspicion of anyone who dared to color outside the lines, had Harry is caught up in a rush of events and finds himself in the middle of little use for a superannuated boy wonder…especially one who’d made a banana-republic revolution! a career of antagonizing the Establishment. Orson Welles may have been a genius, but it didn’t take a genius to know that there wasn’t much call anymore for the kind of work that he did so well. He’d burned his Elizabeth McLeod is a journalist, author, and broadcast bridges in Hollywood -- and the radio networks, seeing the approaching historian. -
Italian Films (Updated April 2011)
Language Laboratory Film Collection Wagner College: Campus Hall 202 Italian Films (updated April 2011): Agata and the Storm/ Agata e la tempesta (2004) Silvio Soldini. Italy The pleasant life of middle-aged Agata (Licia Maglietta) -- owner of the most popular bookstore in town -- is turned topsy-turvy when she begins an uncertain affair with a man 13 years her junior (Claudio Santamaria). Meanwhile, life is equally turbulent for her brother, Gustavo (Emilio Solfrizzi), who discovers he was adopted and sets off to find his biological brother (Giuseppe Battiston) -- a married traveling salesman with a roving eye. Bicycle Thieves/ Ladri di biciclette (1948) Vittorio De Sica. Italy Widely considered a landmark Italian film, Vittorio De Sica's tale of a man who relies on his bicycle to do his job during Rome's post-World War II depression earned a special Oscar for its devastating power. The same day Antonio (Lamberto Maggiorani) gets his vehicle back from the pawnshop, someone steals it, prompting him to search the city in vain with his young son, Bruno (Enzo Staiola). Increasingly, he confronts a looming desperation. Big Deal on Madonna Street/ I soliti ignoti (1958) Mario Monicelli. Italy Director Mario Monicelli delivers this deft satire of the classic caper film Rififi, introducing a bungling group of amateurs -- including an ex-jockey (Carlo Pisacane), a former boxer (Vittorio Gassman) and an out-of-work photographer (Marcello Mastroianni). The crew plans a seemingly simple heist with a retired burglar (Totó), who serves as a consultant. But this Italian job is doomed from the start. Blow up (1966) Michelangelo Antonioni. -
The Psychological Landscapes of Michelangelo Antonioni (1912–2007) a Centenary Tribute
The Psychological Landscapes of Michelangelo Antonioni (1912 – 2007) A Centenary Tribute David Gariff La Notte, 1961 (Photofest) National Gallery of Art 4 David Gariff 5 The Psychological Landscapes of Michelangelo Antonioni (1912 – 2007) A Centenary Tribute The subject of my films is always born of a landscape, of a site, of a place I want to explore. A film you can explain in words is not a real film. — Michelangelo Antonioni Landscape is important to Michelangelo Antonioni. His films explore both an interior psychological terrain as well as the physical geography of nature and man-made structures and spaces. The complex dialogue between these two realms of thought and existence bestows upon his films a richness — a depth — that is uniquely his own. Antonioni is the epitome of an auteur filmmaker. Of course the very aspects of Antonioni’s auteur style that many celebrate are seen by others as the source of an inaccessible opaqueness. Emerging from this basic interior/exterior dichotomy are also a complex range of secondary tensions and interac- tions between words and images, men and women, love and sex, mankind and the environment, nature and architecture, the individual and society, humanism and technology, action and stasis, engagement and alienation — ultimately, between being and nothingness. Any work of art can and perhaps must be approached through both its intrinsic and extrinsic perspectives. Those qualities most relevant to the intrinsic revolve around a work’s purely formal characteristics. The formalist language of An- tonioni’s early films L’Av ve ntu ra (1960), La Notte (1961), and L’Eclisse (1962), often discussed as a trilogy, was new to the 1960s. -
101 Films for Filmmakers
101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers. -
BFI Future Film Member Joe Steen Recommends the Third Man (1949, Dir
BFI Future Film member Joe Steen recommends The Third Man (1949, dir. Carol Reed) From the first creeping, whimsical note of Anton Karas’ infamously seductive zither soundtrack, The Third Man announces itself as a quaint and curious masterpiece of British cinema. The quintessentially English narrator provides a brief vignette of post-war Vienna, delivered in a haughty and jarringly buoyant tone that will prove all the more strange as we embark on a cryptic journey through the slippery streets of Vienna. For our hero, Holly Martins, ancient ideas about good and evil seem about as distant and uncertain as the identity of this enigmatic ‘Third Man’. Though it is commonly categorised as film noir or British noir, The Third Man is not quite composed of the same pulpy ingredients as its Hollywood influences. Our femme fatale is no malevolent spider- woman, our detective hero constantly out of his depth, and the forces of law and order no less bewildered and ineffective. Where The Third Man remains fundamentally film noir, however, is in its evocative and striking visual character: Graham Greene’s tense and enigmatic picture of post-war alienation is brought vividly to life by the skewed and suspicious eye of the camera, searching desperately down Vienna’s dark alleyways and through the rubble of its bombed-out buildings. The film’s conclusion, although unforgettable in terms of visual splendour, remains painfully uncompromising and powerful – aching with uncertainty and the betrayal of our expectations. Though the film has moments of great tension and sporadic comedy, they are sparsely measured and subordinate to the moral intrigue that skirts the plot’s shadowy surfaces, culminating in perhaps the most notorious (certainly the most incredible) examples of ad-libbing in cinema – the ‘cuckoo clock speech’. -
Introduction 1 Sounding Fascism in Cinema
Notes Introduction 1. For an extensive analysis on the subject, the article “Music as Torture / Music as Weapon” in the Transcultural Music Review by Cusick traces the history of the research, and the use of sound (musical and non), for war; an extensive quote from her work demonstrates power’s appropriation of the sheer power of sound: “Acoustic weapons” have been in development by Department of Defense contractors since at least the 1997 creation of the Joint Non- Lethal Weapons Task Force, accounting for 1/3 of the Task Force’s budget in 1998–99. The earliest contract I know to have been let for such a weapon was on November 18, 1998, authorizing now- defunct Synetics Corporation to produce a tightly focused beam of infrasound—that is, vibration waves slower than 100 vps [vibrations per second]—meant to produce effects that range from “disabling or lethal.” In 1999, Maxwell Technologies patented a Hyper-Sonic Sound System, another “highly directional device . designed to control hostile crowds or disable hostage takers.” The same year Primex Physics International patented both the “Acoustic Blaster,” which produced “repetitive impulse waveforms” of 165dB, direct- able at a distance of 50 feet, for “antipersonnel applications,” and the Sequential Arc Discharge Acoustic Generator, which produces “high intensity impulsive sound waves by purely electrical means.” 1 Sounding Fascism in Cinema 1. All translations from Italian texts used in the work are mine. 2. Gentile’s “Fundamental Ideas,” second part of the “Doctrine of Fascism,” which appeared in the Enciclopedia Italiana in 1932, under the title Fascism, see web entry http://www.treccani.it/biblioteca/biblioteca_fonti.