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The Only Defense Is Excess: Translating and Surpassing Hollywood’S Conventions to Establish a Relevant Mexican Cinema”*
ANAGRAMAS - UNIVERSIDAD DE MEDELLIN “The Only Defense is Excess: Translating and Surpassing Hollywood’s Conventions to Establish a Relevant Mexican Cinema”* Paula Barreiro Posada** Recibido: 27 de enero de 2011 Aprobado: 4 de marzo de 2011 Abstract Mexico is one of the countries which has adapted American cinematographic genres with success and productivity. This country has seen in Hollywood an effective structure for approaching the audience. With the purpose of approaching national and international audiences, Meximo has not only adopted some of Hollywood cinematographic genres, but it has also combined them with Mexican genres such as “Cabaretera” in order to reflect its social context and national identity. The Melodrama and the Film Noir were two of the Hollywood genres which exercised a stronger influence on the Golden Age of Mexican Cinema. Influence of these genres is specifically evident in style and narrative of the film Aventurera (1949). This film shows the links between Hollywood and Mexican cinema, displaying how some Hollywood conventions were translated and reformed in order to create its own Mexican Cinema. Most countries intending to create their own cinema have to face Hollywood influence. This industry has always been seen as a leading industry in technology, innovation, and economic capacity, and as the Nemesis of local cinema. This case study on Aventurera shows that Mexican cinema reached progress until exceeding conventions of cinematographic genres taken from Hollywood, creating stories which went beyond the local interest. Key words: cinematographic genres, melodrama, film noir, Mexican cinema, cabaretera. * La presente investigación fue desarrollada como tesis de grado para la maestría en Media Arts que completé en el 2010 en la Universidad de Arizona, Estados Unidos. -
A Study of the Work of Vladimir Nabokov in the Context of Contemporary American Fiction and Film
A Study of the Work of Vladimir Nabokov in the Context of Contemporary American Fiction and Film Barbara Elisabeth Wyllie School of Slavonic and East European Studies, University College London For the degree of PhD 2 0 0 0 ProQuest Number: 10015007 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10015007 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT Twentieth-century American culture has been dominated by a preoccupation with image. The supremacy of image has been promoted and refined by cinema which has sustained its place as America’s foremost cultural and artistic medium. Vision as a perceptual mode is also a compelling and dynamic aspect central to Nabokov’s creative imagination. Film was a fascination from childhood, but Nabokov’s interest in the medium extended beyond his experiences as an extra and his attempts to write for screen in Berlin in the 1920s and ’30s, or the declared cinematic novel of 1938, Laughter in the Dark and his screenplay for Stanley Kubrick’s 1962 film version of Lolita. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
CHANGING the EQUATION ARTTABLE CHANGING the EQUATION WOMEN’S LEADERSHIP in the VISUAL ARTS | 1980 – 2005 Contents
CHANGING THE EQUATION ARTTABLE CHANGING THE EQUATION WOMEN’S LEADERSHIP IN THE VISUAL ARTS | 1980 – 2005 Contents 6 Acknowledgments 7 Preface Linda Nochlin This publication is a project of the New York Communications Committee. 8 Statement Lila Harnett Copyright ©2005 by ArtTable, Inc. 9 Statement All rights reserved. No part of this publication may be reproduced or transmitted Diane B. Frankel by any means, electronic or mechanical, including photocopying, recording, or information retrieval system, without written permission from the publisher. 11 Setting the Stage Published by ArtTable, Inc. Judith K. Brodsky Barbara Cavaliere, Managing Editor Renée Skuba, Designer Paul J. Weinstein Quality Printing, Inc., NY, Printer 29 “Those Fantastic Visionaries” Eleanor Munro ArtTable, Inc. 37 Highlights: 1980–2005 270 Lafayette Street, Suite 608 New York, NY 10012 Tel: (212) 343-1430 [email protected] www.arttable.org 94 Selection of Books HE WOMEN OF ARTTABLE ARE CELEBRATING a joyous twenty-fifth anniversary Acknowledgments Preface together. Together, the members can look back on years of consistent progress HE INITIAL IMPETUS FOR THIS BOOK was ArtTable’s 25th Anniversary. The approaching milestone set T and achievement, gained through the cooperative efforts of all of them. The us to thinking about the organization’s history. Was there a story to tell beyond the mere fact of organization started with twelve members in 1980, after the Women’s Art Movement had Tsustaining a quarter of a century, a story beyond survival and self-congratulation? As we rifled already achieved certain successes, mainly in the realm of women artists, who were through old files and forgotten photographs, recalling the organization’s twenty-five years of professional showing more widely and effectively, and in that of feminist art historians, who had networking and the remarkable women involved in it, a larger picture emerged. -
R,Fay 16 2013 Los Angeles City Council Room 395, City Hall 200 North Spring Street, Room 410 Los Angeles, California 90012
DEPARTMENT OF CITY PLANNING EXECUTIVE OFFICES OFFICE OF HISTORIC RESOURCES MICHAEL LOGRANDE 200 N. SPRING STREET. ROOM 620 CITY OF Los ANGELES los ANGELES,CA 90012·4801 DIRECTOR (213) 978 ·1200 CALIFORNIA (213) 978·1271 ALAN BELl, Arc? CULTURAL HERITAGE COMMISSION O,PUlY D1R'CTOR· (213) 978-1272 RICHARD BARRON PR,S!O~NT USA WEBBER, Ale!> ROELLA H. LOUIE DEPUTY DIRECTOR VlCE-PR,SIOENT (213) 978-1274 TARA}. HAMACHER GAlL KENNARD EVA YUAN-MCDANrEl OZSCOTT DEPUlY DIRECTOR ANTONIO R. VILLARAIGOSA (213) 978-1273 FElY C PINGOl MAYOR FAX: (213) 978-1275 COMMISSION iOXECUTIVE ASSISTANT (213) 978-1294 INFORMATION (213) 978·1270 wwwplanning.ladty.org Date: r,fAY 16 2013 Los Angeles City Council Room 395, City Hall 200 North Spring Street, Room 410 Los Angeles, California 90012 Attention: Sharon Gin, Legislative Assistant Planning and Land Use Management Committee CASE NUMBER: CHCw2013w510wHCM GIBBONSwDEL RIO RESIDENCE 757 KINGMAN AVENUE At the Cultural Heritage Commission meeting of May 9, 2013, the Commission moved to include the above property in the list of Historic-Cultural Monument, subject to adoption by the City Council. As required under the provisions of Section 22.171.10 of the Los Angeles Administrative Code, the Commission has solicited opinions and information from the office of the Council District in which the site is located and from any Department or Bureau. of the city whose operations may be affected by the designation of such site as a Historic-Cultural Monument. Such designation in and of itself has no fiscal impact Future applications for permits may cause minimal administrative costs. -
Greta Garbo Collecton
Greta Garbo Collection (1924-1941) Inventory Portraits and film stills of Greta Garbo, including many original photographs from a scrapbook compiled and donated by Estelle Patterson Fox, together with the scrapbook pages. The scrapbook includes newspaper and magazine articles on the life and career of Garbo, together with magazine and newsprint photos, and a number of coloured covers of Garbo from the film magazines of the 1920’s and 1930’s. While many of the sources and dates are not noted, and articles are not always arranged in chronological order, the scrapbook is a wealth of material from the fan magazines of the period. 2 boxes (23 envelopes and 14 file folders); .26 linear metres. Box #1: PHOTOGRAPHS Env. #1: Portraits – 45 items Env. #2: Anna Christie (1930) – 13 items Env. #3: As You Desire Me (1932) – 6 items Env. #4: Camille (1936) – 5 items Env. #5: The Divine Woman (1928) – 2 items Env. #6: Flesh and the Devil (1927) – 5 items Env. #7: Gosta Berling’s Saga (1924) – 2 items Env. #8: Grand Hotel (1932) – 18 items Env. #9: Inspiration (1931) – 14 items Env. #10: The Kiss (1929) – 3 items Env. #11: Love (1927) – 2 items Env. #12: Mata Hari (1931) – 9 items Env. #13: The Mysterious Lady (1928) – 4 items Env. #14: Ninotchka (1939) – 21 items Greta Garbo Collection Inventory Page 2 of 4 Env. #15: Queen Christina (1933) – 32 items Env. #16: Romance (1930) – 7 items Env. #17: The Single Standard (1929) – 2 items Env. #18: Susan Lenox-Her Fall and Rise (1931) – 13 items Env. #19: The Temptress (1926) – 8 items Env. -
NINOTCHKA (1939, 110 Min)
February 1, 2011 (XXII:3) Ernst Lubitsch, NINOTCHKA (1939, 110 min) Directed by Ernst Lubitsch Written by Charles Brackett, Billy Wilder, Walter Reisch, Melchior Lengyel (story) Produced by Ernst Lubitsch and Sidney Franklin Cinematography by William H. Daniels Edited by Gene Ruggiero Art Direction by Cedric Gibbons Costume Design by Adrian Greta Garbo...Ninotchka Melvyn Douglas...Leon Ina Claire...Swana Bela Lugosi...Razinin Sig Ruman...Iranoff Felix Bressart...Buljanoff Alexander Granach...Kopalski Gregory Gaye...Rakonin CHARLES BRACKETT (November 26, 1892, Saratoga Springs, New National Film Registry 1990 York – March 9, 1969, Los Angeles, California) won four Academy Awards: 1946 – Best Screenplay (The Lost Weekend) – shared w. ERNST LUBITSCH (January 28, 1892, Berlin, Germany – November Billy Wilder; 1951 – Best Screenplay (Sunset Blvd.) – w. Billy 30, 1947, Hollywood, California) won an honorary Academy Wilder, D.M. Marshman Jr.; 1954 – Best Screenplay (Titanic) – w. Award in 1947. He directed 47 films, some of which were 1948 Walter Reisch, Richard L. Breen; and 1958 – Honorary Award – That Lady in Ermine, 1946 Cluny Brown, 1943 Heaven Can Wait, (“for outstanding service to the Academy”). He has 46 1942 To Be or Not to Be, 1941 That Uncertain Feeling, 1940 The screenwriting titles, some of which are 1959 Journey to the Center Shop Around the Corner, 1939 Ninotchka, 1938 Bluebeard's Eighth of the Earth, 1956 “Robert Montgomery Presents”, 1955 The Girl Wife, 1937 Angel, 1935 La veuve joyeuse, 1934 The Merry Widow, in the Red Velvet -
A Survey of American Critical Reaction to the Film Career of Clarence Brown
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-1973 A Survey of American Critical Reaction to the Film Career of Clarence Brown Deborah L. Oliver University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Theatre and Performance Studies Commons Recommended Citation Oliver, Deborah L., "A Survey of American Critical Reaction to the Film Career of Clarence Brown. " Master's Thesis, University of Tennessee, 1973. https://trace.tennessee.edu/utk_gradthes/2913 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Deborah L. Oliver entitled "A Survey of American Critical Reaction to the Film Career of Clarence Brown." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in Theatre. John L. Jellicorse, Major Professor We have read this thesis and recommend its acceptance: G. Allen Yeomans, Robert W. Glenn Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) July 31, 1973 To the Graduate Council: I am submitting herewith a thesis written by Deborah L. -
FX Series Recounts a Legendary Hollywood 'Feud'
Looking for a way to keep up with local news, school happenings, sports events and more? 2 x 2" ad 2 x 2" ad We’ve got you covered! March 3 - 9, 2017 waxahachietx.com A S G U H V P B O W M A N E N 2 x 3" ad J N R B Q W A U R V A P U X I Your Key S R I P P E R N R Z C U J T R To Buying V E F M J P Z S T R H R E W O A N F A V A L W A Z I P V A D and Selling! 2 x 3.5" ad C N I C A R U S E V N P J U R E H N H X K S P P L E E E S I S P R W P E J A N E L R L V G J U B O N R Z R S Z U S K L U U R W A N L O E P T W A R P E E S V J P I Q D N U R C O P Z P U B O W N C E M A J O W E C K I Z H X F V L I D U G M V H A T R N J D R A E Z N E J A X V A H W A Y C H A S E P I O S “Time After Time” on ABC (Words in parentheses not in puzzle) (H.G.) Wells (Freddie) Stroma (Time) Machine Place your classified Solution on page 13 John (Stevenson) (Josh) Bowman (Jack the) Ripper ad in the Waxahachie Daily FX series recounts 2 x 3" ad Jane (Walker) (Genesis) Rodriguez Pursuit Light, Midlothian1 xMirror 4" ad and Vanessa (Anders) (Nicole Ari) Parker Adventure Ellis County Trading Post! Word Search Griffin (Monroe) (Will) Chase Chronicles Call (972) 937-3310 © Zap2it a legendary Hollywood ‘Feud’ Susan Sarandon (left) and Jessica Lange star in “Feud: Bette and Joan,” 2 x 3.5" ad premiering Sunday on FX. -
THE PRIVATE LIFE of GRETA GARBO Digitized by the Internet Archive
'• ' 1/ • • \ t* i THE PRIVATE LIFE OF GRETA GARBO Digitized by the Internet Archive in 2017 with funding from Media History Digital Library https://archive.org/details/privatelifeofgreOOunse Two Homes: The second house from the right in the lower picture is Blekingegaten 32, Stockholm, where Greta Garbo was born; the upper picture shows her former home at Beverly Hills. Courtesy of Fred R. Morgan Compare these two studies of Greta Garbo. The one above was made during her first American role, in Ibanez’s The Torrent. © MOM While this one was taken during the production of a recent picture. Note the dyed black hair in the one on the left. © MGM The Greta Garbo of to-day: Portrait of the greatest screen actress. printed at the Country Life Press, garden c i t y, n. y., u. s. a. COPYRIGHT, 1931 BY RILLA PAGE PALMBORG ALL RIGHTS RESERVED FIRST EDITION THE PRIVATE LIFE OF GRETA GARBO INTRODUCTION No picture star in the world has aroused the curiosity about her private life that Greta Garbo has. No picture star in the world but Greta Garbo has been able to keep her private life so nearly a closed book. The stories written about the great Swedish star tell almost nothing about the real Garbo as she is to-day. Very little is known about her childhood in Sweden. “I was born. I had a father and mother. I lived in a house. I went to school. What does it matter?” she says in answer to questions about her early life. During her romance with Jack Gilbert, Garbo did give a few interviews. -
Article Reference
Article Clarence Brown. El componente autobiográfico de su cine GUIRALT GOMAR, Carmen Reference GUIRALT GOMAR, Carmen. Clarence Brown. El componente autobiográfico de su cine. EU-topias, 2016, vol. 12, p. 15-28 Available at: http://archive-ouverte.unige.ch/unige:133756 Disclaimer: layout of this document may differ from the published version. 1 / 1 PERSPECTIVAS: Clarence Brown 15 Biblioteca Nueva Clarence Brown. www.bibliotecanueva.es El componente autobiográfico de su cine RAZÓN Y SOCIEDAD Carmen Guiralt Gomar Recibido: 19.08.2016 – Aceptado: 23.09.2016 Titre / Title / Titolo Dust (1949). This research deals with these issues, with a special attention to the three mentioned films. Clarence Brown. La composante autobiographique de ses films Clarence Brown. The autobiographical component of his films L’objectif de cet article est de démentirq la considération traditionnelle de l’historiographie à propos du cinéma et de la figure de Clarence Brown LA BRÚJULA Clarence Brown. La componente autobiografica dei suoi films HACIA EL SUR LA CIUDAD et, selon laquelle, il s’agit d’un réalisateur commercial qui travailla pour CONTEMPORÁNEA le studio system hollywoodien en produisant films de commande pour les Pablo Badillo O’Farrell étoiles de MGM. C’est-à-dire, des films en série et sans aucune implication J. M. Sevilla Fernández (Eds.) José-Miguel Marinas (Coord.) Resumen / Abstract / Résumé / Riasunto personnelle. Mais, malgré cette considération que l’historiographie a, dans 232 páginas 264 páginas son ensemble, privilégié, en réalité, c’est plutôt le contraire. Tant avant Este artículo surge con el propósito de desmentir la consideración tradicional qu’après son engagement chez MGM en 1926, sa production recèle de de la historiografía sobre el cine y la figura de Clarence Brown. -
Flesh and the Devil
FLESH AND THE DEVIL. Dir. Clarence Brown. USA, MGM, 1926. 113 min. Black and white, silent. DVD, Turner Classic Movies, 2005 Several events of 1926 made it a pivotal year in the history of American film: • Warner Brothers introduced Vitaphone, the first commercially viable sound-on- film technology, when it released the first major “talkie” - an adaptation of Byron’s Don Juan which featured racy a lines as well as a kiss a minute. • Rudolph Valentino (“the great lover”) died shortly after completing The Son of the Sheik, a film parodied in The World’s Greatest Lover (1977). • Greta Garbo strode onto the American screen, at the age of twenty-one, as the femme fatale in Flesh and the Devil, costarring John Gilbert. The events went together in strange ways. Enflamed by his very real passion for Garbo, Gilbert quickly replaced Valentino as the sexiest man in Hollywood. Meanwhile, the new voice technology took some of the ambiguity out of film. (Was the sheik’s son a rapist? film critics have long asked, and might have decided had there been a soundtrack.) Under pressure to regulate itself, the Motion Picture Association of America, founded in 1922, began to develop its own production code. The so-called Hays Code (so called because formulated by the Association’s first president, Will Hays, who had previously served as manager of Warren G. Harding presidential campaign) established standards that came into effect in 1930 and officially guided the large studios until the current rating system was introduced in 1967. Section II of the code, “Sex,” began with the statement “The sanctity of the institution of marriage and the home shall be upheld.