DOCSLIB.ORG

Melbourne Cinémathèque the Big Carnival: the Films of Billy Wilder 2021

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Melbourne Cinémathèque the Big Carnival: the Films of Billy Wilder 2021 Melbourne Cinémathèque The Big Carnival: The Films of Billy Wilder 2021 19 APRIL – 5 MAY MONDAY 19 APRIL & MONDAY 26 APRIL & MONDAY 3 MAY & WEDNESDAY 21 APRIL WEDNESDAY 28 APRIL WEDNESDAY 5 MAY In a monumental career spanning seven decades, Billy Wilder (1906– 2002) started out as a central-Euro- pean émigré who spoke no English and rose to become one of the most widely celebrated writer-directors of Hollywood’s Golden Age. The young Wilder developed an obsession with American films while working as a 7:00PM 7:00PM 7:00PM freelance tabloid crime reporter in MAUVAISE GRAINE ACE IN THE HOLE THE MAJOR AND THE MINOR 1920s Berlin. Following Hitler’s rise Billy Wilder and Billy Wilder (1951) Billy Wilder (1942) to power in 1933, he found himself Alexandre Esway (1934) 111 mins : PG 101 mins : G exiled in Paris where he directed his 77 mins : Unclassified 15+ first film, Mauvaise graine, and from Wilder’s acerbic, lacerating wit comes Coming after an incredibly success- there he moved to Hollywood, where Collaborating in Paris with a group to the fore in this masterful social ful screenwriting career, Wilder’s he brought an outsider’s perspective of exiles, including composer Franz satire about the practices of journal- first American feature as director and a journalist’s eye for detail to the Waxman and screenwriters H.G. ism, the perils of newsworthiness and includes many of his most beloved dark – and darkly comic – aspects Lustig and Max Kolpé, Wilder made the morality of the masses gathering hallmarks. This audacious comedy of of American life. Over a wildly suc- his directorial debut with a playful at the scenes of tragic accidents (sexual) manners features an array of cessful career, Wilder became one action-comedy about a rich playboy (hence the film’s alternate title, The iconic Golden-era Hollywood faces of the most versatile filmmakers in who falls in with a ragtag gang of car Big Carnival). In one of his greatest including Ray Milland and, as the Hollywood, switching freely from thieves. Wilder explored naturalistic and most intense performances, Kirk street-smart city girl Susan Applegate, gritty potboilers and realist noirs to on-the-fly filmmaking, including Douglas plays a cynical newspaper Ginger Rogers. Rogers’ brilliantly romantic melodramas and comic shooting on the streets of Paris with hack who, for the sake of making manufactured comedic performance musicals, all defined by a sophis- a camera mounted on a moving car, front-page national news and res- is crucial to maintaining the daring ticated wit and crisp, clever dia- and his formal techniques, self-con- urrecting his career dragooned on charade at the narrative’s core that logue. Themes of investigation and scious criminals and sight gags fore- a small-town paper, gambles with a alternates between her impersonation deception abound in his work, but shadow the nouvelle vague as well man’s life by forestalling his rescue of a 12-year-old girl and a grown-up he rejected genre clichés in favour as his distinctive Hollywood style. from a collapsed mineshaft. woman. Co-scripted by Charles of morally complicated characters Starring Danielle Darrieux. Brackett. and stories that deeply probed the ironies and contradictions of modern life. A lifelong reporter at heart, his restrained directorial style always reflected the primacy of storytelling and the written word to his work. “If the viewer notices direction”, he once remarked, “you have failed”. This season spans the length and breadth of Wilder’s formidable 8:30PM 9:05PM 8:50PM directorial career featuring key but THE PRIVATE LIFE OF KISS ME, STUPID STALAG 17 rarely screened works including SHERLOCK HOLMES Billy Wilder (1964) Billy Wilder (1953) the delightful farce The Major and Billy Wilder (1970) 126 mins : PG 120 mins : G the Minor, the bracingly cynical 125 mins : PG Ace in the Hole, and the irreverent Dean Martin limns a comic self- Based on a successful Broadway and autumnal personal project The Originally intended to run over three portrait as a lecherous singer whose play written by ex-inmates of Stalag Private Life of Sherlock Holmes. hours, Wilder’s melancholy, deeply car “breaks down” in the small town 17B, Wilder’s exquisitely detailed and affectionate and subtly queer take of Climax, Nevada. Enter Kim Novak sardonic adaptation provides a fas- on the “private life” and unpublished in full bombshell mode, closely fol- cinating insight into the camaraderie, stories of the great detective was a lowed by two amateur songwriters treachery, comedy and tragedy of passion project he had been working who hope Dino will make them rich. prison life. Set during the intense towards for over ten years. Brilliantly Raunchy, vulgar and outrageously 1944 Allied bombing campaign, it designed by Alexandre Trauner and funny, this is Wilder’s harshest view focuses on a group of American utilising huge sets constructed at of the American landscape since Ace airmen and their attempts to uncover Pinewood Studios, this is Wilder’s last in the Hole but its “rancid atmosphere a spy within their midsts. A huge great film and a significant influence conceals the virtues of the movie’s influence on films such as The Great on latter-day adaptations such as classical structure… and deft comic Escape, it turns on the Oscar-winning TV’s Sherlock. Featuring one of Miklós timing” (J. Hoberman). Scripted by performance by William Holden as Rózsa’s most richly enigmatic scores Wilder and I. A. L. Diamond, it was a self-interested, widely distrusted it stars Robert Stephens, Colin Blakely inevitably condemned by the Catholic recent arrival who must prove his and Christopher Lee. Legion of Decency! innocence. With Otto Preminger. Melbourne Cinémathèque 2021 Screenings Presented with Supported by Presented by the Melbourne FRIENDS OF CINÉMATHÈQUE MEMBERSHIPS AVAILABLE AT Cinémathèque and The Australian Admission for 12 months from ACMI Tickets and Information Desk Centre For The Moving Image. date of purchase: (03 8663 2583) Curated by the Melbourne Full $295 / Concession $265 Online at www.acmi.net.au (booking Cinémathèque. (GST inclusive) fees apply for online transactions) Supported by Film Victoria and Follow us on Facebook and Twitter The Friends of Cinémathèque Please note, membership does not for all Cinémathèque information. the City of Melbourne Arts Grants membership is a way for you to ensure admission: members will only Program. support the vitality and continued be admitted to cinema capacity. Website: operation of the Melbourne www.melbournecinematheque.org ANNUAL MEMBERSHIP Cinémathèque. We are a FILM CLASSIFICATIONS: Email: melbournecinematheque@ Admission for 12 months from membership-based, not-for-profit * Where a film is labelled westnet.com.au date of purchase: film society run independently by “Unclassified 15+” viewers are Full $173 / Concession $153 volunteers – the extra financial required to be 15 years or older, Join our newsletter: send a (GST inclusive) contribution Friends make helps unless accompanied by an adult. SUBSCRIBE email to our address to keep us viable and strong. listed above. † Where a film is labelled MINI MEMBERSHIP In addition to annual membership, “Unclassified 18+” viewers are Admission to 3 consecutive nights Friends receive 3 x single passes required to be 18 years or older. from date of purchase: to bring a guest to a Cinémathèque screening any time. Articles on many films in the Full $32 / Concession $27 program can be found in ‘CTEQ (GST inclusive) Annotations on Film’, online at www. sensesofcinema.com Now open Subscribe for free and read Your museum Cinémathèque Annotations on Film of screen culture sensesofcinema.com Melbourne Cinémathèque is grateful to its sponsor Present Company Included For innovative and cost-effective solutions to your promotional needs contact: Present www.presentcompany.com.au Company Included Phone 03 9387 4717 Mention Melbourne Cinémathèque for VIP turnaround on quotes. Presented with Supported by Curated by: Michael Koller, Adrian Danks, Calendar Design: Jessie Liu Eloise Ross and Cerise Howard for the Typeset in Manifont Grotesk and Inter Melbourne Cinémathèque Calendar Project Management: Dylan Rainforth Calendar Editor: Adrian Danks and Warren Taylor (MADA).
Load more

Recommended publications
  • Von Billy Wilder]
    Kleine Filmografie [von Billy Wilder] Objekttyp: Group Zeitschrift: Filmbulletin : Zeitschrift für Film und Kino Band (Jahr): 22 (1980) Heft 116 PDF erstellt am: 24.09.2021 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch KLEINE FILMOGRAFIE Geboren am 22. Juni 1906 in Sucha, Provinz Galizien, Oesterreich (heute Polen) als Samuel Wilder. Rufname Billie. Gymnasium in Wien, Um 1926 als freier Mitarbeiter zahlreicher Tageszeitungen und als Ghostwriter verschiedener Stummfilmautoren tätig in Berlin. Erste Nennung als Drehbuchautor beim Stummfilm DER TEUFELSREPORTER (1929). Laufbahn als professioneller Drehbuchautor nach dem mit Freunden realisierten MENSCHEN AM SONNTAG (1930^ R: Robert Siodmak/E.G.UImer).
    [Show full text]
  • A Foreign Affair (1948)
    Chapter 3 IN THE RUINS OF BERLIN: A FOREIGN AFFAIR (1948) “We wondered where we should go now that the war was over. None of us—I mean the émigrés—really knew where we stood. Should we go home? Where was home?” —Billy Wilder1 Sightseeing in Berlin Early into A Foreign Affair, the delegates of the US Congress in Berlin on a fact-fi nding mission are treated to a tour of the city by Colonel Plummer (Millard Mitchell). In an open sedan, the Colonel takes them by landmarks such as the Brandenburg Gate, the Reichstag, Pariser Platz, Unter den Lin- den, and the Tiergarten. While documentary footage of heavily damaged buildings rolls by in rear-projection, the Colonel explains to the visitors— and the viewers—what they are seeing, combining brief factual accounts with his own ironic commentary about the ruins. Thus, a pile of rubble is identifi ed as the Adlon Hotel, “just after the 8th Air Force checked in for the weekend, “ while the Reich’s Chancellery is labeled Hitler’s “duplex.” “As it turned out,” Plummer explains, “one part got to be a great big pad- ded cell, and the other a mortuary. Underneath it is a concrete basement. That’s where he married Eva Braun and that’s where they killed them- selves. A lot of people say it was the perfect honeymoon. And there’s the balcony where he promised that his Reich would last a thousand years— that’s the one that broke the bookies’ hearts.” On a narrative level, the sequence is marked by factual snippets infused with the snide remarks of victorious Army personnel, making the fi lm waver between an educational program, an overwrought history lesson, and a comedy of very dark humor.
    [Show full text]
  • Schedule of the Films of Billy Wilder
    je Museum of Modern Art November 1964 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart THE MUSEUM OF MODERN ART FILM LIBRARY PRESENTS THE FILMS OF BILLY WILDER Dec. 13.16 MENSCHEN AM SONNTAG (PEOPLE ON SUNDAY). I929. Robert Siodmak's cele­ brated study of proletarian life gave Wilder hie first taste of film­ making. (George Eastman House) 55 minutes. No English titles. Dec. IT-19 EMIL UND DIE DETEKTIVE. 1951. Small boys carry on psychological war­ fare against a crook in this Gerhard Lamprecht comedy for which Wilder helped write the script. (The Museum of Modern Art) 70 minutes. No English titles. Dec. 20-23 NINOTCHKA. 1939. Ernst Lubitsch's ironic satire on East-West relations just before World War II, in which Garbo gave her most delicately articulated performance with Melvyn Douglas, and for which Wilder, with Charles Brackett and Walter Reisch, wrote the script. Based on the story by Melchior Lengyel. (M-G-M) 110 minutes. Dec. 2k~26 MIDNIGHT. 1959. One of the most completely and purposely ridiculous examples of the era of screwball comedy, with a powerhouse of a cast, including Claudette Colbert, Don Ameche and John Barrymore, and Wilder and Brackett*s brilliant non-sequitur script. (MCA) 9U minutes. Dec. 27-30 HOLD BACK THE DAWN. 19*11. The plight of "stateless persons" in the late '30s and early 'UOs, with Olivia de Havllland, romantically yet convincingly dramatised by Wilder and Brackett. Directed by Mitchell Leisen. (MCA) 115 minutes. Dec. 31* THE MAJOR AND THE MINOR. 19te. This, the first film Wilder directed, Jan.
    [Show full text]
  • Billy Wilder: Film Noir Inventor and Genius -- #1
    Billy Wilder: Film Noir Inventor and Genius -- #1 #3 — Websites: Use these websites as to research Double Indemnity, Billy Wilder and the history of Noir Films. Billy Wilder Movies and Reviews http://www.csmonitor.com/durable/1998/01/30/feat/tv.1.html The Christian Science monitor reviews the American Masters PBS series, "Billy Wilder: The Human Comedy." Classic Turner Films review Billy Wilder’s work http://www.filmsite.org/suns.html Review of the film Sunset Boulevard http://www.filmsite.org/apar.html Review of the film The Apartment http://www.prairienet.org/ejahiel/arisemyl.htm Review of the film Arise, My Love http://www.prairienet.org/ejahiel/ballfire.htm Review of the film A Ball of Fire http://www.prairienet.org/ejahiel/foraffai.htm Review of the film The Major and The Minor http://www.boxoff.com/cgi/getreview.pl?filename=All&where=Name&terms=SABRINA+\(1954\) Review of the film Sabrina http://www.filmsite.org/seve.html Review of the film, The Seven Year Itch http://www.filmsite.org/some.html Review of the film, Some Like It Hot Movie Tributes, Posters and Databases http://www.eonline.com/Facts/People/0,12,37822,00.html E-Online -- A list of Billy Wilder's films with links to information about each of them http://kennedy-center.org/honors/years/wilder.html Kennedy Center Tribute to Billy Wilder http://www.reelclassics.com/Directors/Wilder/wilder.htm Movie posters and links to Billy Wilder’s movies http://www.german-way.com/cinema/bwilder.html General information about Billy Wilder and different film genres http://us.imdb.com/M/person-exact?Wilder%2C+Billy An Internet movie Database Double Indemnity Resources http://www.filmunlimited.co.uk/Century_Of_Films/Story/0,4135,91758,00html Information about Double Indemnity http://www.filmsite.org/doub.html General descritption and analysis of the film, Double Indemnity http://www.filmunlimited.co.uk/Century_Of_Films/Story/0,4135,91758,00.html#top Description of Billy Wilder’s work, Double Indemnity and other good links to essays about the author, actors and writers.
    [Show full text]
  • Films Shown by Series
    Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films,
    [Show full text]
  • This Month on Tcm Showcases
    WEEKLY THIS MONTH ON TCM SHOWCASES 1 BILLY WILDER COMEDIES 8 AN EVENING IN THE 12TH 15 MAY FLOWERS 22 STARRING CEDRIC HARDWICKE Sergeant York (’41) THE ESSENTIALS CENTURY Stalag 17 (’53) A Foreign Affair (’48) The Blue Dahlia (’46) The Hunchback of Notre Dame (’39) Must-See Classics The Great Escape (’63) Some Like It Hot (’59) The Lion in Winter (’68) Days of Wine and Roses (’62) Nicholas Nickelby (’47) Saturdays at 8:00pm (ET) The Bridge on the River Kwai (’57) The Fortune Cookie (’66) The Adventures of Robin Hood (’38) Please Don’t Eat the Daisies (’60) On Borrowed Time (’39) 5:00pm (PT) King Rat (’65) The Major and the Minor (’42) Robin and Marian (’76) What’s Up, Tiger Lily? (’66) King Solomon’s Mines (’37) A Foreign Affair (’48) Billy Wilder Speaks (’06) Becket (’64) Brother Orchid (’40) The Desert Fox (’51) 29 MEMORIAL DAY WEEKEND WAR The Lion in Winter (’68) The Blue Gardenia (’53) Valley of the Sun (’42) MOVIE MARATHON The Blue Dahlia (’46) 2 GOVERNESSES NOT NAMED MARIA 9 MOTHER’S DAY FEATURES The Hunchback of Notre Dame (’39) You’re in the Army Now (’41) Dragonwyck (’46) So Big (’53) 16 STARRING EDDIE BRACKEN 23 WE GOT YOUR GOAT The Best Years of Our Lives (’46) Buck Privates (’41) All This, and Heaven Too (’40) Gypsy (’62) Hail the Conquering Hero (’44) A Kid for Two Farthings (’56) In Harm’s Way (’65) About Face (’52) The Rising of the Moon (’57) 3 ROBERT OSBORNE’S PICKS 10 GUEST PROGRAMMER: Battle of the Bulge (’65) TCM UNDERGROUND Cult Classics Can’t Help Singing (’44) SHIRLEY JONES 17 STARRING ROSSANO BRAZZI 24 BASED ON
    [Show full text]
  • March 10—April 27, 2006 in THIS ISSUE WELCOME to Contents the SILVER! in Less Than Three Years, AFI Silver Theatre 2
    AMERICAN FILM INSITUTE GUIDE TO THEATRE AND MEMBER EVENTS March 10—April 27, 2006 IN THIS ISSUE WELCOME TO Contents THE SILVER! In less than three years, AFI Silver Theatre 2. LETTER FROM THE DIRECTOR has established itself as one of Washington’s premier cultural destinations, with BILLY WILDER AT 100 3. exceptional movies, premieres 3. SPECIAL EVENT: SOME LIKE IT HOT, WITH and star-studded events. To AFI FOUNDING DIRECTOR GEORGE STEVENS, JR. spread the word, we’re delight- ed to offer our AFI PREVIEW film 6. JAPANESE MASTER MIKIO NARUSE: “A CALM SURFACE programming guide to AFI Silver AND A RAGING CURRENT” Members and more than 100,000 households in the area through The 9. CINEMA TROPICAL: 25 WATTS, DIAS DE SANTIAGO Gazette. To those of you new to AFI Silver, welcome. And to our more AND EL CARRO than 5,000 loyal members, thank you for your continued support. With digital video projection and Lucasfilm THX certification in all 10. THE WORLD OF TERRENCE MALICK three of its gorgeous theaters, AFI Silver also offers the most advanced and most comfortable movie-going experience available anywhere. If SAVE THE DATE! SILVERDOCS: “THE PRE-EMINENT 11. you haven’t visited yet, there’s a treat waiting for you. From the earliest US DOCUMENTARY FEST” silent movies to 70mm epics to the latest digital technologies, AFI Silver 12. MEMBERSHIP NEWS connects you to the best the art form has to offer. Just leaf through these pages and see what is in store for you. This 13. SPECIAL ENGAGEMENTS: LIMITED RUNS! past year, in addition to such first-run sensations as CRASH, HOTEL BLACK ORPHEUS, THE RIVER AND MOUCHETTE RWANDA, MARCH OF THE PENGUINS and GOOD NIGHT, AND 14.
    [Show full text]
  • 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
    [Show full text]
  • City of Darkness, City of Light: Emigré Filmmakers in Paris 1929-1939 2004
    Repositorium für die Medienwissenschaft Alastair Phillips City of Darkness, City of Light: Emigré Filmmakers in Paris 1929-1939 2004 https://doi.org/10.25969/mediarep/4113 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Phillips, Alastair: City of Darkness, City of Light: Emigré Filmmakers in Paris 1929-1939. Amsterdam: Amsterdam University Press 2004 (Film Culture in Transition). DOI: https://doi.org/10.25969/mediarep/4113. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5117/9789053566336 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell 3.0/ Lizenz zur Verfügung Attribution - Non Commercial 3.0/ License. For more information gestellt. Nähere Auskünfte zu dieser Lizenz finden Sie hier: see: https://creativecommons.org/licenses/by-nc/3.0/ https://creativecommons.org/licenses/by-nc/3.0/ City of Darkness, City of Light is the first ever book-length study of the cinematic represen- tation of Paris in the films of the émigré film- PHILLIPS CITY OF LIGHT ALASTAIR CITY OF DARKNESS, makers, who found the capital a first refuge from FILM FILMFILM Hitler. In coming to Paris – a privileged site in terms of production, exhibition and the cine- CULTURE CULTURE matic imaginary of French film culture – these IN TRANSITION IN TRANSITION experienced film professionals also encounter- ed a darker side: hostility towards Germans, anti-Semitism and boycotts from French indus- try personnel, afraid of losing their jobs to for- eigners. The book juxtaposes the cinematic por- trayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Anatole Litvak and others with wider social and cultural debates about the city in cinema.
    [Show full text]
  • The-Lost-Weekend-Vince-Keenan.Pdf
    n the final pages of Charles Jack- son’s 1944 novel The Lost Week- end, Don Birnam ends his mara- thon drinking binge by preparing for his next one. He slinks home Owith six pints of rye. One he’ll enjoy now. One will serve as a decoy for his brother to find. The other four he hides, hanging two outside the window of their shared apartment, a cord extending from the neck of each bottle “to a tiny cleat that was used for the awning in summer.” Fortified for the future, he downs a slug, goes to his bed, “and crawled in, feeling like a million dollars.” Adaptation is a ruthless art, screen- writers often performing radical surgery so a story can live in a new medium. Still, it’s startling to see Jackson’s clos- ing image—a sign of how far Birnam has yet to fall before striking bottom— transformed into the opening shot of Charles Brackett and Billy Wilder’s script as a camera pans across “the man-made mountain peaks of Manhattan.” But then this storied partnership excelled at such THEVince Keenan LOST WEEKEND deft cinematic shorthand. More shock- ing is the entry from Brackett’s diary of March 8, 1946, the day after Weekend’s triumph at the Academy Awards, where it claimed prizes for Best Picture, Director, Actor, and Adapted Script: he arrived to find the windows of the Paramount writ- ers’ building “garlanded … delightfully with a row of whiskey bottles suspended from every one.” A harbinger of doom becomes a slick character intro, then an elaborate joke.
    [Show full text]
  • Femme Fatale
    the cinematic flâneur manifestations of modernity in the male protagonist of 1940s film noir Petra Désirée Nolan Submitted in Total Fulfilment of the Requirements of the Degree of Doctor of Philosophy April 2004 The School of Art History, Cinema, Classics and Archaeology The University of Melbourne Abstract The hardboiled hero is recognised as a central trope in the film noir cycle, and particularly in the ‘classic’ noir texts produced in Hollywood in the 1940s. Like the films themselves, this protagonist has largely been understood as an allegorical embodiment of a bleak post-World War Two mood of anxiety and disillusionment. Theorists have consistently attributed his pessimism, alienation, paranoia and fatalism to the concurrent American cultural climate. With its themes of murder, illicit desire, betrayal, obsession and moral dissolution, the noir canon also proves conducive to psychoanalytic interpretation. By oedipalising the noir hero and the cinematic text in which he is embedded, this approach at best has produced exemplary noir criticism, but at worst a tendency to universalise his trajectory. This thesis proposes a complementary and newly historicised critical paradigm with which to interpret the noir hero. Such an exegesis encompasses a number of social, aesthetic, demographic and political forces reaching back to the nineteenth century. This will reveal the centrality of modernity in shaping the noir hero’s ontology. The noir hero will also be connected to the flâneur, a figure who embodied the changes of modernity and who emerged in the mid-nineteenth century as both an historical entity and a critical metaphor for the new subject. As a rehistoricised approach will reveal, this nineteenth century—or classic—flâneur provides a potent template for the noir hero.
    [Show full text]
  • Diplomarbeit
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit Musikalische Diversifikation im Film “Some Like It Hot”. Die Relation zwischen Backgroundkenntnissen und der Applikation von Filmmusik Verfasserin Nicole Walther angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2008 Studienkennzahl lt. Studienblatt: A 316 317 Studienrichtung lt. Studienblatt: Musikwissenschaft Betreuerin: ao.Univ.Prof. Dr. Margareta Saary Diese Arbeit widme ich meinen Eltern, Desi und Benny, die immer für mich da sind Inhaltsverzeichnis 1 Vorwort ........................................................................................................... 9 2 Einleitung ...................................................................................................... 11 3 Rahmendaten zum Film “Some Like It Hot“ ................................................ 13 3.1 Darlegung der Mitwirkenden ................................................................. 13 3.2 Backgroundinformationen zum Film “Some Like It Hot“ ..................... 20 3.2.1 Filmdaten und diverse Aspekte des Drehprozesses ........................ 20 3.2.2 Literarische, musikalische und filmische Vorlagen ........................ 26 3.3 Der Konspekt von “Some Like It Hot“ und die Veranschaulichung der Charaktere ......................................................................................................... 30 3.4 Biographien ...........................................................................................
    [Show full text]