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Series 28: 7) John Cassavetes, KILLING of a CHINESE BOOKIE (1976, 135 Minutes)
March 11, 2014 (Series 28: 7) John Cassavetes, KILLING OF A CHINESE BOOKIE (1976, 135 minutes) Directed by John Cassavetes Cinematography by Mitch Breit Ben Gazzara ... Cosmo Vittelli Timothy Carey ... Flo Al Ruban ... Marty Reitz JOHN CASSAVETES (director) (b. John Nicholas Cassavetes, December 9, 1929 in New York City, New York—d. February 3, 1989 (age 59) in Los Angeles, California) directed 16 films and TV shows, which are 1986 Big Trouble, 1984 Love Streams, 1980 Gloria, 1977 Opening Night, 1976 The Killing of a Chinese Bookie, 1974 A Woman Under the Influence, 1972 “Columbo” (TV Series), 1971 Minnie and Moskowitz, 1970 Husbands, 1968 Faces, 1966 “Bob Hope Presents the Chrysler Theatre” (TV Series), 1962-1963 “The Lloyd Bridges Show” (TV Series), 1963 A Child Is Waiting, 1961 Too Late Blues, 1959-1960 “Johnny Staccato” (TV Series), and 1959 Shadows. He also wrote 14 films and TV shows—2010 Antes del estreno (original story), MITCH BREIT (cinematography) has been cinematographer for 1999 Gloria (1980 screenplay), 1997 She's So Lovely, 1984 Love 2 films: 1976 The Killing of a Chinese Bookie and 1974 A Streams, 1980 Gloria, 1977 Opening Night, 1976 The Killing of Woman Under the Influence. a Chinese Bookie, 1974 A Woman Under the Influence, 1971 Minnie and Moskowitz, 1970 Husbands, 1968 Faces, 1966 “Bob BEN GAZZARA ... Cosmo Vittelli (b. Biagio Anthony Gazzara, Hope Presents the Chrysler Theatre” (TV Series), 1961 Too Late August 28, 1930 in New York City, New York—d. February 3, Blues, and 1959 Shadows—and edited 2—1968 Faces and 1959 2012 (age 81) in New York City, New York) appeared in 133 Shadows. -
Compositions-By-Frank-Zappa.Pdf
Compositions by Frank Zappa Heikki Poroila Honkakirja 2017 Publisher Honkakirja, Helsinki 2017 Layout Heikki Poroila Front cover painting © Eevariitta Poroila 2017 Other original drawings © Marko Nakari 2017 Text © Heikki Poroila 2017 Version number 1.0 (October 28, 2017) Non-commercial use, copying and linking of this publication for free is fine, if the author and source are mentioned. I do not own the facts, I just made the studying and organizing. Thanks to all the other Zappa enthusiasts around the globe, especially ROMÁN GARCÍA ALBERTOS and his Information Is Not Knowledge at globalia.net/donlope/fz Corrections are warmly welcomed ([email protected]). The Finnish Library Foundation has kindly supported economically the compiling of this free version. 01.4 Poroila, Heikki Compositions by Frank Zappa / Heikki Poroila ; Front cover painting Eevariitta Poroila ; Other original drawings Marko Nakari. – Helsinki : Honkakirja, 2017. – 315 p. : ill. – ISBN 978-952-68711-2-7 (PDF) ISBN 978-952-68711-2-7 Compositions by Frank Zappa 2 To Olli Virtaperko the best living interpreter of Frank Zappa’s music Compositions by Frank Zappa 3 contents Arf! Arf! Arf! 5 Frank Zappa and a composer’s work catalog 7 Instructions 13 Printed sources 14 Used audiovisual publications 17 Zappa’s manuscripts and music publishing companies 21 Fonts 23 Dates and places 23 Compositions by Frank Zappa A 25 B 37 C 54 D 68 E 83 F 89 G 100 H 107 I 116 J 129 K 134 L 137 M 151 N 167 O 174 P 182 Q 196 R 197 S 207 T 229 U 246 V 250 W 254 X 270 Y 270 Z 275 1-600 278 Covers & other involvements 282 No index! 313 One night at Alte Oper 314 Compositions by Frank Zappa 4 Arf! Arf! Arf! You are reading an enhanced (corrected, enlarged and more detailed) PDF edition in English of my printed book Frank Zappan sävellykset (Suomen musiikkikirjastoyhdistys 2015, in Finnish). -
Paths of Glory I 1957 Directed by Stanley Kubrick
TCM BREAKFAST CLUB SCREENING Paths of Glory I 1957 Directed by Stanley Kubrick The precocious talent of Stanley Kubrick had already come to public attention when, still in his late 20s, he made Paths of Glory in 1957. A year earlier he revealed his extraordinary gifts as both storyteller and motion picture craftsman with the noir-influenced crime thriller The Killing. Bleak and sombre, Paths of Glory was released when America was not, for once, embroiled in military conflict. While World War II had ended twelve years earlier and Korea’s ceasefire was into its fifth year, their legacy was still an agonising issue for thousands of bereaved families and injured ex-service personnel, not to mention the increasingly idealistic generation of young Americans whom John F Kennedy would find so receptive to his political creed three years later. Paths of Glory, with its powerful anti-war message, would therefore have struck a chord with many, says TCM writer David Humphrey Kubrick adapted Paths of Glory from Humphrey Cobb’s 1935 ambitious General Mireau (George Macready) orders a regiment novel, whose title Cobbs had cribbed from a line in Thomas on a suicidal mission to take a hill thinking it will enhance his Gray’s famous poem Elegy Written in a Country Churchyard: chances of promotion. He leaves the planning to a disbelieving Colonel Dax (Kirk Douglas), who can see the operation is The boast of heraldry, the pomp of pow'r, doomed. And so it proves - the mission is a complete failure. And all that beauty, all that wealth e'er gave, None of the French troops reaches the German stronghold, with Awaits alike th'inevitable hour. -
Hollywood's Treatment of World War I
Making Meaning from the Images: Hollywood’s Treatment of World War I John Harvey Lesson Purpose The purpose of this lesson is for the student, using the guidelines provided in the unit objective to focus on the importance of World War I not only as an historic event but also as a multi-faceted tool of Hollywood. It is not to say that Hollywood is secretly run by an illuminati bent on shaping our view of the world, but the images Hollywood presents can often be interpreted as representative of certain ideologies that were present during the era of a given film‘s production. History, it is said, repeats itself. Sometimes, history on film tells as much about the time the film was made as about the period it is depicting. The view through cinema shows themes or images that bear repeating. Characteristic of the great movie machine, Hollywood has often used the power of the cinematic medium to persuade audience viewers to view things in a different light. Just as a director or cinematographer will deliberately reposition the lighting setup for a given shot from a film to enhance, de- emphasize, or subtly affect the appearance of a set or a particular actor, directors, producers, and studios have used film as a means of promulgating a virtue, ethos, or value system via narrative structure or a juxtaposition of images. This is commonly accepted as one of the most powerful components of any visual medium, and film is certainly not an exception to the rule. Some have maintained that such use of an art form is propaganda. -
O Cinema Bastardo De Quentin Tarantino
Universidade Federal da Bahia Instituto de Letras Programa de Pós-graduação em Letras e Linguística Rua Barão de Jeremoabo, nº147 CEP: 40170-290. Campus Universitário – Ondina, Salvador - BA Telefone: (71) 3283-6256 E-mail: [email protected] http://www.ppgll.ufba.br CÓPIAS EM GLÓRIA: O CINEMA BASTARDO DE QUENTIN TARANTINO por ADRIANO ANUNCIAÇÃO OLIVEIRA Orientador: Prof. Dr. Décio Torres Cruz SALVADOR Universidade Federal da Bahia Instituto de Letras Programa de Pós-graduação em Letras e Linguística Rua Barão de Jeremoabo, nº147 CEP: 40170-290. Campus Universitário – Ondina, Salvador - BA Telefone: (71) 3283-6256 E-mail: [email protected] http://www.ppgll.ufba.br CÓPIAS EM GLÓRIA: O CINEMA BASTARDO DE QUENTIN TARANTINO por ADRIANO ANUNCIAÇÃO OLIVEIRA Orientador: Prof. Dr. Décio Torres Cruz Tese apresentada ao Programa de Pós- graduação em Letras e Linguística do Instituto de Letras da Universidade Federal da Bahia como requisito parcial para a obtenção do título de Doutor em Letras. SALVADOR SISTEMA DE BIBLIOTECAS DA UFBA Oliveira, Adriano Anunciação. Cópias em glória : o cinema bastardo de Quentin Tarantino / por Adriano Anunciação Oliveira. f.: il. Orientador: Prof. Dr. Décio Torres Cruz. Tese (doutorado) - Universidade Federal da Bahia, Instituto de Letras, Salvador, . Tarantino, Quentin, -. Diretores e produtores de cinema - Estados Unidos. Cinema - Estados Unidos. Intertextualidade. Autoria. Semiótica. Ideologia. I. Cruz, Décio Torres. II. Universidade Federal da Bahia. Instituto de Letras. III. Título. CDD - . CDU - . TERMO DE APROVAÇÃO ADRIANO ANUNCIAÇÃO OLIVEIRA CÓPIAS EM GLÓRIA: O CINEMA BASTARDO DE QUENTIN TARANTINO Tese aprovada como requisito parcial para obtenção do grau de Doutor em Letras, Universidade Federal da Bahia, pela seguinte banca examinadora: ............................................................................................................. -
MONDO TARANTINO MONDO TARANTINO COLEÇÃO CINUSP – Volume 4 Coordenação Geral Tradução Esther Hamburger E Patricia Moran David Donato
MONDO TARANTINO MONDO TARANTINO COLEÇÃO CINUSP – vOLUME 4 COORDENAÇÃO GERAL TRADUÇÃO Esther Hamburger e Patricia Moran David Donato ORGANIZAÇÃO REVISÃO Marcos Kurtinaitis Luciana Tonelli PRODUÇÃO PROJETO GRÁFICO E DIAGRAMAÇÃO Thiago de André André Noboru Siraiama Uva Costriuba PESQUISA Henrique Figueiredo ILUSTRAÇÃO DA CAPA Yasmin Afshar Vitor Morinishi Kurtinaitis, Marcos (org.) Mondo Tarantino / Marcos Kurtinaitis São Paulo: Pró-reitoria de Cultura e Extensão Universitária – USP, 2013. 256 p.; 21 x 15,5 cm. ISBN 978-85-62587-09-2 1. Cineastas 2. Tarantino, Quentin (1963- ) I. Título CDD 791.43092 CDU 791 Ministério da Cultura apresenta Banco do Brasil apresenta e patrocina MONDO TARANTINO CCBB DF CCBB SP CINUSP 15 FEV A 17 MAR 20 FEV A 17 MAR 25 FEV A 15 MAR SCES, Trecho 2 Rua Álvares Penteado, 112 Rua do Anfiteatro, 181 61 3108 - 7600 Centro Colmeia Favo 04 twitter.com/ccbb_df 11 3113 - 3651 / 3652 11 3091 - 3540 fb.com/ccbb.brasilia twitter.com/ccbb_sp www.usp.br/cinusp fb.com/ccbbsp fb.com/cinusp.pauloemilio CORREALIZAÇÃO REALIZAÇÃO Pró-Reitoria de Cultura e Extensão Universitária da USP São Paulo – Fevereiro de 2013 O Ministério da Cultura e o Banco do Brasil apresentam, em parceria com o CINUSP Paulo Emílio, a mostra MONDO TARANTINO, ampla retrospectiva em homenagem ao cineasta que completa 20 anos de carreira. Prestes a completar também 50 anos de idade e contando com enorme prestígio, Quentin Tarantino é, sem dúvida, um dos mais influentes cineastas em atividade. Seus filmes, tamanha a originalidade, sempre provocam as mais acaloradas discussões. E, mais que isso, propiciam uma significativa mudança no cinema. -
Boxoffice Barometer (April 15, 1963)
as Mike Kin*, Sherman. p- builder the empire Charlie Gant. General Rawlmgs. desperadc as Linus border Piescolt. mar the as Lilith mountain bub the tut jamblei's Zeb Rawlings, Valen. ;tive Van horse soldier Prescott, e Zebulon the tinhorn Rawlings. buster Julie the sod Stuart, matsbil's*'' Ramsey, as Lou o hunter t Pt«scott. marsl the trontie* tatm gal present vjssiuniw SiNGiN^SVnMNG' METRO GOlPWVM in MED MAYER RICHMOND Production BLONDE? BRUNETTE? REDHEAD? Courtship Eddies Father shih ford SffisStegas 1 Dyke -^ ^ panairtSioo MuANlNJR0( AMAN JACOBS , st Grea»e Ae,w entl Ewer Ljv 8ecom, tle G,-eai PRESENTS future as ^'***ied i Riel cher r'stian as Captain 3r*l»s, with FILMED bronislau in u, PANAVISION A R o^mic RouND WofBL MORE HITS COMING FROM M-G-M PmNHunri "INTERNATIONAL HOTEL (Color) ELIZABETH TAYLOR, RICHARD BURTON, LOUIS JOURDAN, ORSON WELLES, ELSA MARTINELLI, MARGARET RUTHERFORD, ROD TAYLOR, wants a ROBERT COOTE, MAGGIE SMITH. Directed by Anthony Asquith. fnanwitH rnortey , Produced by Anotole de Grunwald. ® ( Pana vision and Color fEAlELI Me IN THE COOL OF THE DAY” ) ^sses JANE FONDA, PETER FINCH, ANGELA LANSBURY, ARTHUR HILL. Mc^f^itH the Directed by Robert Stevens. Produced by John Houseman. THE MAIN ATTRACTION” (Metrocolor) PAT BOONE and NANCY KWAN. Directed by Daniel Petrie. Produced LPS**,MINDI// by John Patrick. A Seven Arts Production. CATTLE KING” [Eastmancolor) ROBERT TAYLOR, JOAN CAULFIELD, ROBERT LOGGIA, ROBERT MIDDLETON, LARRY GATES. Directed by Toy Garnett. Produced by Nat Holt. CAPTAIN SINDBAD” ( Technicolor— WondroScope) GUY WILLIAMS, HEIDI BRUEHL, PEDRO ARMENDARIZ, ABRAHAM SOFAER. Directed by Byron Haskin. A Kings Brothers Production. -
Frank Zappa and Musical Theatre: Ugly Ugly O’Phan Annie and Really Deep, Intense, Thought-Provoking Broadway Symbolism
Frank Zappa and musical theatre: ugly ugly o’phan Annie and really deep, intense, thought-provoking Broadway symbolism. Paul Carr and Richard J. Hand, University of Glamorgan At first glance it probably seems implausible if not preposterous to associate Frank Zappa (1940-93) with Musical Theatre. However, although he is generally recognised as a significant figure in the broad history of Rock music, his idiosyncrasy makes his output genuinely unique in comparison to conventional Rock oeuvres. Specifically, not only was Zappa renowned for being a highly theatrical performer and artist but one of the key distinguishing features in his work is a preoccupation with narrative and it is through the consideration of narrative that we are most able to conceptualise his work as Musical Theatre. On a microcosmic level, a sense of dramatic narrative informs many of Zappa’s songs; but on a macrocosmic level, too, his oeuvre as a whole can be interpreted as containing a narrative continuity. Moreover, the concept structure of Zappa’s albums – quintessentially in Joe’s Garage, Acts 1, 2 and 3 (1979) and Thing-Fish (1984) – creates an extended (and again dramatic) narrative that is more akin to the structure of Musical Theatre than conventional pop and rock album structuring. In addition, Zappa demonstrates an acute awareness of performance traditions and genres outside of those which, obviously, appertain to popular music and classical music: for example, Thing- Fish is an explicit exploration of Broadway Musical Theatre. This essay will propose that the work of Frank Zappa should be considered as Musical Theatre through a detailed critical investigation of the artist and the oeuvre. -
Wege Zum Ruhm (Paths of Glory) Ein Filmheft
Matthis Kepser Wege zum Ruhm (Paths of Glory) Ein Filmheft Analyse und didaktisch- methodische Überlegungen zur Arbeit mit dem Film auf den Sekundarstufen Universität Bremen 2007 im Auftrag des Senators für Bildung und Wissenschaft Bremen Matthis Kepser - Wege zum Ruhm Matthis Kepser Wege zum Ruhm (Paths of Glory) Ein Filmheft Produktionsdaten Wege zum Ruhm, (Paths of Glory) USA 1957 Produktionsgesellschaft: Harris-Kubrick-Production Produzent: James B. Harris Regie: Stanley Kubrick Drehbuch: Stanley Kubrick, Calder Willingham, Jim Thompson nach dem gleichnamigen Roman von Humphrey Cobb (1935); Kamera: George Krause Schnitt: Eva Kroll Art Director: Ludwig Reiber Musik: Gerald Fried Ton: Martin Müller Darsteller: Kirk Douglas (Colonel Dax) Adolphe Menjou (General Broulard) George Macready (General Mireau) Wayne Morris (Lieutenant Roget) Richard Anderson (Major Saint- Auban) Ralph Meeker (Corporal Paris) Joseph Turkel (Corporal Arnaud) Tomthy Carey (Corporal Ferol) Peter Capell (Militärrichter beim Kriegsgericht) Susanne Christan (deutsches Mädchen) Bert Freed (Sergant Boulanger) Emile Meyer (Feldgeistlicher) John Stein (Capitain Rousseau) Laufzeit: 86/87 Minuten nach den offiziellen Filmografien; 83/84 Minuten in der DVD- Fassung. Die Herkunft der Diskrepanzen konnten nicht geklärt werden. Möglicherweise gab es in älteren Fassungen eine längeren Abspann. Verleih: United Artists DVD: MGM Home Entertainment 2002 2 Matthis Kepser - Wege zum Ruhm 1. Annotierte Inhaltsangabe Der Film beginnt mit einer wenig inspirierten Titelsequenz, die aus einer schlichten An- einanderreihung von Titel-Cards besteht.1 Es lohnt sich für den Zuschauer, genau hinzuhören: Im Off schmettert ein Orchester die Marsailles, bis mit der letzten Titelcard plötzlich der schwungvolle Marsch in schräges, unheilvolles Moll übergeht. Die Musik ironisiert also den Titel: Die nachfolgend gezeigten Wege werden ganz bestimmt nicht zu den ruhmreichen der Grand Nation gehören. -
Stanley Kubrick, PATHS of GLORY (1957, 88 Min.)
February 21, 2012 (XXIV:6) Stanley Kubrick, PATHS OF GLORY (1957, 88 min.) Directed by Stanley Kubrick Screenplay by Stanley Kubrick, Calder Willingham and Jim Thompson Based on the novel by Humphrey Cobb (1937) Produced by James B. Harris and Kirk Douglas Original Music by Gerald Fried Cinematography by Georg Krause Film Editing by Eva Kroll Art Direction by Ludwig Reiber Costume Design by Ilse Dubois Military adviser Baron von Waldenfels Kirk Douglas...Col. Dax Ralph Meeker...Cpl. Philippe Paris Adolphe Menjou...Gen. George Broulard George Macready...Gen. Paul Mireau Wayne Morris...Lt. Roget Richard Anderson...Maj. Saint-Auban Joe Turkel...Pvt. Pierre Arnaud (as Joseph Turkel) Christiane Kubrick...German Singer (as Susanne Christian) Jerry Hausner...Proprietor of Cafe CALDER WILLINGHAM (December 23, 1922 in Atlanta, Georgia Peter Capell...Narrator of Opening Sequence / Chief Judge of – February 21, 1995, Laconia, New Hampshire) is a novelist who Court also has 12 screenwriting credits: 1991 Rambling Rose (book / Emile Meyer...Father Dupree screenplay), 1978 “Thou Shalt Not Commit Adultery”, 1974 Bert Freed...Sgt. Boulanger Thieves Like Us, 1970 Little Big Man, 1967 The Graduate, 1965 Kem Dibbs...Pvt. Lejeune Son of the Mountains, 1961 One-Eyed Jacks, 1960 Spartacus, Timothy Carey...Pvt. Maurice Ferol 1958 The Vikings, 1957 Paths of Glory, 1957 The Strange One (novel / play "End as a Man" / screenplay), and 1948 “The Selected for the National Film Registry, 1992 Philco-Goodyear Television Playhouse”. STANLEY KUBRICK (July 26, 1928, New York City, New York JIM THOMPSON (b. James Myers Thompson, September 27, – March 7, 1999, Harpenden, Hertfordshire, England) won only 1906, Anadarko, Oklahoma – April 7, 1977, Hollywood, one Oscar—for Special Visual Effects in 2001: A Space Odyssey California) is best known as a novelist, though several of his (1968). -
PATHS of GLORY Bryna/United Artists, 1957, 86 Minutes
OCTOBER 4, 2000 PATHS OF GLORY Bryna/United Artists, 1957, 86 minutes DIRECTOR Stanley Kubrick SCRIPT Stanley Kubrick, Jim Thompson, Calder Willingham based on a novel by Humphrey Cobb PRODUCER James B. Harris MUS IC Gerald Fried Kirk Douglas ....Colonel Dax CIN EMATOGRAPHER George (Georg) Krause Ralph Meeker ....Corporal Paris EDI TOR Eva Kroll Adolphe Menjou ....General Broulard AR T DIRECTION Ludwig Reiber George Macready ....General Mireau CO STUME DESIGN Ilse Dubois Wayne Morris (I) ....Lieutenant Roget / SP ECIAL EFFECTS Erwin Lange Singing Man MI LITARY ADVISOR Baron von Waldenfels Richard Anderson (I) ....Major Saint-Auban Joseph Turkel ....Private Arnaud Susanne Christian (Christiane Kubrick) ....German Singer Jeffrey Hausner ....Proprietor Peter Capell ....Colonel Judge Emile Meyer ....Priest Bert Freed ....Sergeant Boulanger Kem Dibbs ....Private Lejeune Timothy Carey ....Private Ferol Fred Bell .... Shell Shock Victim John Stein (I) ....Captain Rousseau STANLEY KUBRICK (26 July 1928, New York, New York—7 March 1999, Harpenden, Hertfordshire, England), generally regarded as one of the greatest directors, made only 13 featur e films. He so loathed the first of these (Fear and Desire 1953) that he withdrew it from circulation. The others are: Killer’s Kiss 1955, The Killing 1956, Paths of Glory 1957, Spartacus 1960, Lolita 1962, Dr. Strangelove or: How I learned to Stop Worrying and Love the Bomb 1964, 2001: A Space Odyssey 1968, A Clockwork Orange 1971, Barry Lyndon 1975, The Shining 1980, Full Metal Jacket 1987, and Eyes Wide Shut 1999. He produced and shared the screenwriting credit on most of his films. He also edited and photographed Killer’s Kiss, Fear and Desire, and two of the three short documentaries he did before he turn ed to features. -
Owning Kubrick: the Criterion Collection and the Ghost in the Auteur Machine Dru Jeffries
Special — Peer Reviewed Cinergie – Il cinema e le altre arti. N.12 (2017) https://doi.org/10.6092/issn.2280-9481/7339 ISSN 2280-9481 Owning Kubrick: The Criterion Collection and the Ghost in the Auteur Machine Dru Jeffries Published: 4th December 2017 Abstract Few directors have had their work as incessantly packaged and repackaged on home video as Stanley Kubrick, whose oeuvre seems to get a new box set re-release every few. Critical analyses of the DVD format have overwhelmingly argued that film’s remediation onto home video has a profound impact on acts of spec- tatorship and interpretation, not least because of added paratextual content like commentaries, making-of docs, etc. As Brookey and Westerfelhaus establish, such paratexts don’t merely encourage preferred read- ings but can also discourage others. Extending this line of thinking, Grant has argued that DVDs function as “auteur machines” (borrowing the term from Klinger) insofar as they emphasize directorial intentionality as the central aspect of the DVD’s commodity, connoisseur, and cinephilic value. Even with physical media sales on the wane in favour of streaming services, cinephiles and collectors continue to prioritize ownership and quality over bang-for-buck, as they have since the era of laserdiscs. In this context, it makes sense that The Criterion Collection – a company that has always courted a collector- and cinephile-centric market with their curated selection, high quality presentations, and academic supplemental features – would con- tinue to thrive. Almost half of Kubrick’s features have received “the Criterion treatment” (either on laserdisc or DVD/Blu-ray), buttressing these films’ canonical status.