DOCSLIB.ORG

85 Th Anniversar

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
85 Th Anniversar CENTRE INTERNATIONAL DE LIAISON DES ECOLES DE CINÉMA ET DE TÉLÉVISION THE INTERNATIONAL ASSOCIATION OF FILM AND TELEVISION SCHOOLS CILECT NEWS November 2004 Issue No 41 VGIK y th 85 anniversar Page 2 November 2004 CILECT News No 41 Contents VGIK 85 years 3 Congress and General Assembly 2004 4 A Talk with Frank Daniel, Part II 8 New Technologies Update 16 Alexander Mackendrick 19 News from the Schools 21 Curio 27 CILECT NEWS No 41 November 2004 Page 3 Всероссийский Государственный Институт Кинематографии VGIK 85 Years VGIK, the Russian State Institute of Cinematography, is the oldest CILECT film school in the world. It celebrated its 85th anniversary last October 2004 and held its 24 t h International Student Film Festival. CILECT’s Executive Council was invited to take part in the celebrations. Caterina d’Amico present- “I am very honoured to be here tonight, to bring birthday greetings to VGIK on behalf of the filmschools of the world. CILECT is the International Association of Filmschools, and also CILECT is celebrating its birthday, the 50th. VGIK was one of the five founding schools of CILECT, together with the Italian film- school Centro Sperimentale di Cinematografia, of which I am now the Dean. Today CILECT consists of over 120 schools from more than 50 nations, and VGIK continues to play an honoured and respected role. VGIK Rector, Alex- Because VGIK was the first filmschool, and to be the first is to be the model, to set the standard. The idea ander Novikov was that started here in Moscow 85 years ago, of connecting theory and practice, technical skills and cultural awarded the title awarness, is the world model for film education and is encoded in CILECT’s DNA. In that sense, VGIK is of “Chevalier dans l’Ordre des Palmes not just here in Moscow. Whether we like it or not, whether we know it or not, VGIK is in Rome, in Lodz, Académiques” of in Beijing, in Sao Paulo, in Helsinki, in Singapore, in Los Angeles. All you have to do to find it is to look the French Republic at the curricula of the CILECT filmschools, and there you will find the spirit of VGIK. Thank you, VGIK. And happy birthday.” Caterina d’Amico Page 4 November 2004 CILECT News No 41 CILECT’s 50t h Anniversary Congress at UIAH ILECT’s 50 t h An- of the topics of the congress. This issue School of Motion Picture, Television niversary Congress was addressed by long-term delegates and Production Design in the Uni- was held, May 17- Wolfgang Längsfeld, Donald Staples, versity of Art and Design Helsinki, 23 in Helsinki, Fin- and Dick Ross, in a panel chaired by and the renowned production de- land. The Media the current vice-president for publica- signer Alex McDowell, whose work CentreC Lume at UIAH was the host tion and research Henry Breitrose, who integrates digital technologies with institution, under the able guid- researched and wrote a history of CI- traditional design to allow unprec- ance of its director, Lauri Törhönen. LECT in celebration of its anniversary. edented control over the look of a film. The Congress was divided into two After acknowledging the histori- Stanislav Semerdjiev, Vice-President parts: a conference and the General cal event, the congress proceeded to for Programme Development chaired Assembly, interspersed with infor- discuss pressing current and future a panel on Student Film Festivals, mal opportunities for conversation. concerns, Vice-president for finance which have been an important focus The Helsinki Congress featured Donald Zirpola chaired a panel on of CILECT activities for many years: two keynote addresses. Finnish one of the most pressing curricular Three panelists, Julio Nogueira, a writer/producer/director Jörn Don- trends, Production Design. The irony student at a CILECT school, USB, São ner gave an eloquent personal remi- is that the very first CILECT Congress Paulo, a graduate of a CILECT school, niscence about how, as a young man, discussed production design, long Cath Moore from AFTRS, Sydney and he had to invent his own equivalent before the advent of the digital tech- Antonia Carnerud, a professional to a film school, and reflected on the nologies that are revolutionizing the producer/distributor gave their views. art of pre-visualizing, conceptualizing, evolution of film education and the Then, the delegates joined discus- and realizing the “look” of a film. film art and industry. The venue was sion groups for in-depth discussion the elegant neo-classical City Hall. The panel consisted of Marieke of the issues raised by the panelists. CILECT’s former president Colin Schoenmakers, the Director of the After the discussions, a survey ques- Young reflected on CILECT’s first 50 Netherlands Film and Television tionnaire was distributed to the del- years, and the lessons of the past for Academy, Katriina Ilmaranta who egates, a report of the discussions the future of the association was one teaches production design at the and a summary of the survey were CILECT NEWS No 41 November 2004 Page 5 presented to the General Assembly Lauri Törhönen, Congress Host Mobility of Students and Teach- ers was the subject of another panel, that had particular relevance to Euro- Elections pean Union institutions affected by Caterina d’Amico was re-elect- the Bologna Declaration on student ed president of CILECT, Don Zir- mobility, but was of interest to many pola was re-elected vice-president other schools whose students wish for finance and fundraising, and to study at other institutions. The Henry Breitrose was re-elected panel explored trends, opportuni- vice-president for publication and ties, problems, and prospects for research. Each will serve until 2008. student and teacher mobility among CILECT officers serve stag- CILECT schools and relevant in- gered terms of four years. Con- dustries, under the chairmanship tinuing until 2006 are vice-presi- of Victor Valbuena, Vice-President dent for Conferences and Festi- for Regional Liaison of CILECT vals Stanislav Semerdjiev, and The panel consisted of Pavel Jech, vice-president for Training and Academic Director of FAMU Inter- Development Victor Valbuena. national, Wolfgang Längsfeld, who re- cently retired from HFF-Munich and has had much experience as a visiting teacher, and Malte Wadman, Artistic Director of the Norwegian National Film & TV School in Lillehammer. A full report of the conference, and texts of the keynote addresses is in preparation and will be published as a special issue of CILECT Newsletter. Page 6 November 2004 CILECT News No 41 CILECT History Session at the Congress Raymond Ravar, former Secretary General, in Karlovy-Vary in the 70s Colin Young, former President, in the 70s and at the 2004 Congress CILECT NEWS No 41 November 2004 Page 7 main film critic at Dagens Nyheter, at ceived another prize in Venice in 1964, Congress that time Scandinavia´s biggest daily. and my films brought me to faraway The former critic had committed suicide. places like Sydney and Mar del Plata. At the same time, aspiring French film- Then commercial realities inter- Keynote Speaker makers used the Cinémathèque Française vened. Suddenly, and almost without as their own film school. I felt pride when advance warning, I was not popular Jörn Donner the founder and director, Henri Lang- with the Swedish production compa- lois, invited me to show my films there. nies. They claimed that my films didn´t My aim was to be able to make films make money. It was true, they didn´t, myself. at least not in the short run. I therefore moved back to my home country, Fin- The newspaper gave me the opportunity land, and circumstances forced me to to visit film festivals and travel quite freely become producer as well as director. in Europe. I had been to Cannes for the first time in 1954, in other words 50 years But this is not the end of my story ago. At that time, there were 150 accredited about Sweden. I came back and became critics and journalists. Nowadays they are a film bureaucrat, eventually as managing 15,000. The crowd is too big for my taste. director of the Swedish Film Institute. My ongoing contacts with Bergman had I had met Ingmar Bergman in 1952 given birth to a friendship with him that when he visited Helsinki and delivered has lasted more than 50 years. It eventu- a lecture. Jörn Donner was born in Helsinki, and ally caused me to produce his last theatri- educated at Helsinki University. He worked Later, in Sweden, I learned that cal film, Fanny och Alexander in 1982, as a literature and film critic for publications nobody had written a serious monog- which was to receive four Oscars. It is per- in Finland and Sweden. raphy about his films, despite the fact haps beside the point here, but Bergman In the early 1970’s he was Director of the that at that time – early Sixties – he had no inkling of the technicalities of Cinematheque and International activities of was already well-known internationally. filmmaking when he made his first film in the Swedish Film Institute and served as its head from 1978 until 1982. He served three I therefore decided to write that book, 1945. But when he made Fanny & Alex- terms as Chair of the Finnish Film Foundation, which was published in 1962. ander he had about 50 films behind him. and as Finnish Consul General in Los Angeles I still wanted to make films myself. I do not want to imply that film schools in 1995 and 1996. Ingmar helped me to make a short are unnecessary, quite the contrary. There He wrote and directed 12 feature films, and at Svensk Filmindustri, the com- are more moving images than ever several documentaries, produced some 50 pany where he worked.
Load more

Recommended publications
  • Lawrence of Arabia
    Berlinale 2009 David Lean Hommage LAWRENCE OF ARABIA LAWRENCE VON ARABIEN LAWRENCE D’ARABIE Maurice Jarre Großbritannien/USA 1962 … ist im Vorspann des Films nur als Komponist aufgeführt, als Dirigent Länge 222 Min. wird Adrian Boult genannt. Tatsächlich Format 70 mm (Super aber führte Maurice Jarre das Orchester Panavision 70, selbst durch die anspruchsvolle Partitur. 1:2.21) Die Arbeit an LAWRENCE OF ARABIA Farbe kostete ihn viel Kraft: „Lean stellte mir das Ultimatum, die Musik in nur sechs Stabliste Wochen zu schreiben. Eine Zeit lang Regie David Lean schlief ich alle zwei bis drei Stunden Buch Robert Bolt, nach nur jeweils zehn Minuten. So konnte den ich Tag und Nacht arbeiten. Nach Be - autobiografischen en digung der Partitur und der Aufnah - Büchern von T. E. me war ich so müde, dass mich Sam Lawrence Spiegel in die Schweiz schickte, damit Kamera Frederick A. Young ich mich richtig erholen konnte.“ Schnitt Anne V. Coates Schnittassistenz Howard Kent Maurice Jarre Ton Paddy … is mentioned in the opening cred- Anthony Quinn, Peter O’Toole, Omar Sharif Foto: Deutsche Kinemathek Cunningham its as the composer only, Adrian Boult Musik Maurice Jarre being credited as conductor. In fact, LAWRENCE VON ARABIEN Arrangements Gerard Schurmann Maurice Jarre himself guided the or - Musikalische chestra through his challenging score. „Eine künstlerische Spitzenleistung. Das Drehbuch (…) hält sich mehr oder Leitung Adrian Boult The work on LAWRENCE OF ARABIA weniger getreu an die eigene Schilderung von Lawrence, seines Triumphes Musik-KoordinationMorris Stoloff was exhausting: “Lean gave me just six als junger englischer Offizier auf seiten der arabischen Freischärler gegen Production Design John Box weeks in which to write the music.
    [Show full text]
  • YVONNE BLAKE Costume Designer
    (3/18/15) YVONNE BLAKE Costume Designer FILM & TELEVISION DIRECTOR COMPANIES CAST “THERE BE DRAGONS” Roland Joffe Immi Pictures Wes Bentley Golshifteh Farahani Unax Ugalde “GOYA’S GHOST” Milos Forman The Saul Zaentz Co. Natalie Portman Nomination: Satellite Award Stellan Skarsgard “TIRANTE EL BLANCO” Vicente Aranda Carolina Films (Spain) Giancaro Giannini Future Films (UK) Jane Asher Victoria Abril Leonor Watling Casper Zafer “THE BRIDGE OF SAN LUIS REY Mary McGuckian Pembridge Pictures Robert De Niro Winner: Goya Award for Best Costume Design Kanzaman S.A. Kathy Bates Harvey Keitel “THE RECKONING” Paul McGuigan Renaissance Films Willem Dafoe Paramount Classics Paul Bettany Caroline Wood “CARMEN” Vicente Aranda Star Line Paz Vega Winner: Goya Award for Best Costume Design Leonardo Sbaraglia “JAMES DEAN” Mark Rydell Concourse Prods. James Franco Nomination: Emmy Award for Best Costume Design TNT Michael Moriarty “GAUDI AFTERNOON” Susan Seidelman Lola Films Judy Davis Marcia Gay Harden Juliette Lewis "PRESENCE OF MIND" Antonio Aloy Presence of Mind, LLC. Lauren Bacall Sadie Frost Harvey Keitel "WHAT DREAMS MAY COME" Vincent Ward Interscope/Polygram Robin Williams Barnet Bain Annabella Sciorra Stephen Simon Cuba Gooding, Jr. "CRIME OF THE CENTURY" Mark Rydell HBO Stephen Rea Barbara Broccoli Isabella Rossellini "LOOKING FOR RICHARD" Al Pacino Fox Searchlight Al Pacino (Battle sequences) Kevin Spacey "COMPANY BUSINESS" Nicholas Myer Pathe Screen Ent. Gene Hackman Mikhail Baryshnikov (cont.) SANDRA MARSH & ASSOCIATES Tel: (310) 285-0303 Fax:
    [Show full text]
  • Click to Download
    v8n4 covers.qxd 5/13/03 1:58 PM Page c1 Volume 8, Number 4 Original Music Soundtracks for Movies & Television Action Back In Bond!? pg. 18 MeetTHE Folks GUFFMAN Arrives! WIND Howls! SPINAL’s Tapped! Names Dropped! PLUS The Blue Planet GEORGE FENTON Babes & Brits ED SHEARMUR Celebrity Studded Interviews! The Way It Was Harry Shearer, Michael McKean, MARVIN HAMLISCH Annette O’Toole, Christopher Guest, Eugene Levy, Parker Posey, David L. Lander, Bob Balaban, Rob Reiner, JaneJane Lynch,Lynch, JohnJohn MichaelMichael Higgins,Higgins, 04> Catherine O’Hara, Martin Short, Steve Martin, Tom Hanks, Barbra Streisand, Diane Keaton, Anthony Newley, Woody Allen, Robert Redford, Jamie Lee Curtis, 7225274 93704 Tony Curtis, Janet Leigh, Wolfman Jack, $4.95 U.S. • $5.95 Canada JoeJoe DiMaggio,DiMaggio, OliverOliver North,North, Fawn Hall, Nick Nolte, Nastassja Kinski all mentioned inside! v8n4 covers.qxd 5/13/03 1:58 PM Page c2 On August 19th, all of Hollywood will be reading music. spotting editing composing orchestration contracting dubbing sync licensing music marketing publishing re-scoring prepping clearance music supervising musicians recording studios Summer Film & TV Music Special Issue. August 19, 2003 Music adds emotional resonance to moving pictures. And music creation is a vital part of Hollywood’s economy. Our Summer Film & TV Music Issue is the definitive guide to the music of movies and TV. It’s part 3 of our 4 part series, featuring “Who Scores Primetime,” “Calling Emmy,” upcoming fall films by distributor, director, music credits and much more. It’s the place to advertise your talent, product or service to the people who create the moving pictures.
    [Show full text]
  • Uncut! First Time In
    45833_AFI_AGS 3/30/04 11:38 AM Page 1 THE AMERICAN FILM INSTITUTE GUIDE April 23 - June 13, 2004 ★ TO THEATRE AND MEMBER EVENTS VOLUME 1 • ISSUE 10 AFIPREVIEW UNCUT! FIRST TIME IN DC! GODZILLA!GODZILLA! Plus: Great World War II Films, Filmfest DC, Val Lewton Centennial, Three by Alfred Hitchcock, Natalie Wood Tribute MC5*A TRUE TESTIMONIAL POINT OF ORDER A STREETCAR NAMED DESIRE CITY LIGHTS GODSEND SYLVIA BLOWUP DARK VICTORY SEPARATE BUT EQUAL STORMY WEATHER CAT ON A HOT TIN ROOF WAR AND PEACE PHOTO NEEDED WORD WARS 45833_AFI_AGS 3/30/04 11:39 AM Page 2 Features 2, 3, 4, 7, 13 2 POINT OF ORDER MEMBERS ONLY SPECIAL EVENT! 3 MC5 *A TRUE TESTIMONIAL, GODZILLA GODSEND MEMBERS ONLY 4WORD WARS, CITY LIGHTS ●M ADVANCE SCREENING! 7 KIRIKOU AND THE SORCERESS Wednesday, April 28, 7:30 13 WAR AND PEACE, BLOWUP When an only child, Adam (Cameron Bright), is tragically killed 13 Two by Tennessee Williams—CAT ON A HOT on his eighth birthday, bereaved parents Rebecca Romijn-Stamos TIN ROOF and A STREETCAR NAMED DESIRE and Greg Kinnear are befriended by Robert De Niro—one of Romijn-Stamos’s former teachers and a doctor on the forefront of Filmfest DC 4 genetic research. He offers a unique solution: reverse the laws of nature by cloning their son. The desperate couple agrees to the The Greatest Generation 6-7 experiment, and, for a while, all goes well under 6Featured Showcase—America Celebrates the the doctor’s watchful eye. Greatest Generation, including THE BRIDGE ON The “new” Adam grows THE RIVER KWAI, CASABLANCA, and SAVING into a healthy and happy PRIVATE RYAN young boy—until his Film Series 5, 11, 12, 14 eighth birthday, when things start to go horri- 5 Three by Alfred Hitchcock: NORTH BY bly wrong.
    [Show full text]
  • Teaching World History with Major Motion Pictures
    Social Education 76(1), pp 22–28 ©2012 National Council for the Social Studies The Reel History of the World: Teaching World History with Major Motion Pictures William Benedict Russell III n today’s society, film is a part of popular culture and is relevant to students’ as well as an explanation as to why the everyday lives. Most students spend over 7 hours a day using media (over 50 class will view the film. Ihours a week).1 Nearly 50 percent of students’ media use per day is devoted to Watching the Film. When students videos (film) and television. With the popularity and availability of film, it is natural are watching the film (in its entirety that teachers attempt to engage students with such a relevant medium. In fact, in or selected clips), ensure that they are a recent study of social studies teachers, 100 percent reported using film at least aware of what they should be paying once a month to help teach content.2 In a national study of 327 teachers, 69 percent particular attention to. Pause the film reported that they use some type of film/movie to help teach Holocaust content. to pose a question, provide background, The method of using film and the method of using firsthand accounts were tied for or make a connection with an earlier les- the number one method teachers use to teach Holocaust content.3 Furthermore, a son. Interrupting a showing (at least once) national survey of social studies teachers conducted in 2006, found that 63 percent subtly reminds students that the purpose of eighth-grade teachers reported using some type of video-based activity in the of this classroom activity is not entertain- last social studies class they taught.4 ment, but critical thinking.
    [Show full text]
  • 2008 Newsletter
    A DREAM FOR ISRAEL America-Israel Cultural Foundation, Inc. Board of Directors CHAIRMAN IN MEMORIAM Isaac Stern CHAIR EMERITA Vera Stern OFFICERS William A. Schwartz, PRESIDENT Youth to Youth Margalit Meidar, VICE PRESIDENT Ronnie Ackman, SECRETARY Creating New Cultural Harvey E. Rothenberg, TREASURER Ties For Our Children BOARD OF DIRECTORS Among the most important Ronnie Ackman Sanford L. Batkin Jewish concepts we pass along Diane Belfer to our children is tzedakah, Ann Bialkin generally translated as giving Samuel Biscay Amira Chadwick* or charity, but whose meaning Renée Cherniak* is more the obligation to live Lonny Darwin Debby B. Edelsohn* a righteous and charitable life. Jonathan E. Goldberg Equally important is ensuring Charlotte S. Hattenbach* that the arts and culture of Joseph E. Hollander Jane Stern Lebell our people be taught and Bradley Lubin strengthened. Many grandparents Wendy Marks have expressed to AICF that Marguerite Perkins-Mautner* Margalit Meidar they see this next generation David A. Oestreich more focused on social, political, Helen Sax Potaznik Harvey E. Rothenberg Tamar Rudich Linda Schonfeld Renée Schreiber “If 1,000 young William A. Schwartz Romie Shapiro Jewish Americans Dorit Straus Ralph Tornberg supported 1,000 *Chapter President young Israeli kids, EXECUTIVE DIRECTORS ties could be David Homan, USA strengthened that Orit Naor, Israel “ would last forever.” ARTS ADVISORY COMMITTEE Jacques d’Amboise Milton Babbitt Menashe Kadishman Joseph Kalichstein and environmental issues than Pearl Lang culture and the arts. They fear Zubin Mehta their grandchildren will grow Above: (Top) Gabe Katz Napoli on the cover of Henry W. Meyer Cleveland Jewish News June 2008 Bar/Bat Mitzvah Itzhak Perlman up without strong ties to their magazine reproduced with permission from the Dina Recanati cultural heritage.
    [Show full text]
  • University of Cambridge Tribute to Jerusalem Sam Spiegel Film School
    PROGRAM / SCHEDULE ALL SESSIONS WILL BEGIN AT 19:00 SESSION 1 THURSDAY - 21.1.16 changing israeli cinema from within Renen Schorr, founder-director of the Jerusalem Sam Spiegel Film School and The Mutes’ House, screening and conversation with award winning director Tamar Kay SESSION 2 THURSDAY - 28.1.16 footsteps in jerusalem Graduates homage (90’) to David Perlov’s iconic documentary, In Jerusalem fifty years later. Guest: Dr. Dan Geva SESSION 3 THURSDAY - 4.2.16 the conflict through the eyes of the jsfs students A collection of shorts (1994-2014), a retrospective curated by Prof. Richard Peña (82’) Guest: Yaelle Kayam SESSION 4 THURSDAY - 11.2.16 a birth of a filmmaker Nadav Lapid’s student and short films Guest: Nadav Lapid SESSION 5 THURSDAY - 18.2.16 the new normal haredi jew in israeli cinema Yehonatan Indurksy’s films Guest: Yehonatan Indursky SESSION 6 THURSDAY - 25.2.16 in search of a passive israeli hero Elad Keidan’s films Guest: Elad Keidan SESSION 7 THURSDAY - 3.3.16 the “mizrahi” (OF MIDDLE-EASTERN EXTRACTION) IS THE ARABIC JEW David Ofek’s films and television works Guest: David Ofek SESSION 8 THURSDAY - 10.3.16 revenge of the losers Talya Lavie’s films Guest: Talya Lavie UNIVERSITY OF CAMBRIDGE PRESENTS: BETWEEN Escapism and Strife A TRIBUTE TO THE JERUSALEM SAM SPIEGEL FILM SCHOOL In 1989 the Israeli film and television industry was changed forever when the first Israeli national film school was established in Jerusalem. Since then and for the past 25 years, the School, later renamed the Sam Spiegel Film School, graduated many of Israel’s leading film and television creators, who changed the film and television industry in Israel and were the engine for its renaissance, both in Israel and abroad.
    [Show full text]
  • Introduction 1
    Introduction 1 When the critic Graham Fuller interviewed David Lean in 1985, his opening observation was that the director’s films were ‘not everyone’s cup of tea.’1 Leaving aside the apposite Englishness of the metaphor, prompting recollection of all the cups of tea that punctuate Lean’s masterpiece Brief Encounter (1945), Fuller was quite right to detect a certain degree of critical ambivalence towards the work of David Lean. On one hand, Lean had an incredibly high standing in the industry and retained that reputation even during his long fallow period in the 1970s and early 1980s. ‘A rule of mine is this’, said William Goldman in 1983: ‘there are always three hot directors and one of them is always David Lean.’2 Many of his films had been regarded as cinematic touchstones by his contemporaries, directors such as George Cukor, Billy Wilder and William Wyler, and continued to be highly influential among the next generation of filmmakers, with Steven Spielberg in particular crediting Lean with inspiring him to become a director. But while Lean had the admiration of his peers, a brace of Oscars and other awards, and could boast impressive box-office figures for many of his films, critical acclaim was often much harder to come by. As one journalist remarked in 1985: ‘The curious thing about Sir David Lean is that everyone likes him except the critics.’3 This imbalance of opinion was very clearly demonstrated by the 2002 results of Sight and Sound’s ten-yearly poll of the greatest films of all time.
    [Show full text]
  • Elia Kazan, 1954 Elia Kazan 1909-2003 1943 Ein Baum Wächst in Brooklyn
    On the Waterfront Elia Kazan, 1954 Elia Kazan 1909-2003 1943 Ein Baum wächst in Brooklyn 1947 Gentlemen‘s Agreement (Tabu der Gerechten) 1951 A Streetcar Named Desire (Endstation Sehnsucht) 1952 Viva Zapata! 1953 Man on a Tightrope (Ein Mann auf dem Drahtseil) 1954 On the Waterfront (Faust im Nacken) 1955 East of Eden (Jenseits von Eden) Directed by Elia Kazan Produced by Sam Spiegel Written by Budd Schulberg On the Waterfront Starring Marlon Brando Karl Malden »self-appointed tyrants can be defeated by right-thinking people in a vital democracy« Lee J. Cobb Eva Marie Saint Rod Steiger Der Film gewann acht Oscars: Music by Leonard Bernstein Bester Hauptdarsteller: Marlon Brando als Terry Malloy Cinematography ■ Boris Kaufman, ASC Bester Film: Filmproduzent Sam Spiegel Editing by ■ Gene Milford Distributed by ■ Beste Nebendarstellerin: Eva Marie Saint Columbia Pictures Release date(s) ■ Szenenbild (schwarz-weiß): Richard Day July 28, 1954 Running time ■ Kamera (schwarz-weiß): Boris Kaufman 108 minutes Country ■ Regie: Elia Kazan United States Language ■ Schnitt: Gene Milford English Budget ■ Drehbuch: Budd Schulberg $910,000 [(est.)] Gross revenue $9,600,000 On the Waterfront The idea for On the Waterfront began with an expose series written for The New York Sun by reporter Malcolm Johnson. The 24 articles won Johnson a Pulitzer Prize, and coupled by the April 1948 murder of a New York dock hiring boss, awakened America to the killings, graft and extortion that made up everyday life on the New York waterfront. The protagonist Terry Malloy's fight against corruption was in part modeled after whistle— blowing longshoreman Anthony DiVincenzo, who testified before a real— life Waterfront Commission on the facts of life on the Hoboken docks and was to a degree ostracized for his deeds.
    [Show full text]
  • Lawrence of Arabia (1962), His Spectacular Biopic of the Enigmatic WW1 Hero T
    Conversations about great films with Diane Christian & Bruce Jackson DAVID LEAN 25 March 1903, Croyden, Surrey, England—16 April 1991 (cancer). Biography from Leonard Maltin's Movie Encyclopedia: “Distinguished British filmmaker of impeccable taste, not nearly as prolific as his contemporaries but a much better craftsman than most. He was noted for the care he lavished upon his films, particularly in evoking time and place and in extracting perfect performances from his casts. Lean entered the film industry in the late 1920s, at first working as a clapper boy for cameramen, later graduating to the cutting room (editing 1938's Pygmalion 1941's 49th Parallel and 1942's One of Our Aircraft Is Missing among others), finally wielding the megaphone (with Noëël Coward) on In Which We Serve (1942). The film that cemented his reputation-and cinched his first Oscar nomination-was Brief Encounter (1945), the lyrical, romantic story of a housewife (Celia Johnson) tempted to have an affair with a doctor (Trevor Howard). Lean's two Dickens adaptations, Great Expectations (1946) and Oliver Twist (1948), are very likely the definitive screen translations of those endearing works; the former netted Lean his second Academy Award nomination for Best Director. The ever-meticulous director chose his subsequent projects-three of which starred his second wife, actress Ann Todd- carefully and bestowed upon them his customary attention to period detail, mood, and characterization. Summertime (1955), which starred Katharine Hepburn as an American spinster in Venice, earned Lean another Oscar nomination. The Bridge on the River Kwai (1957), his magnum opus up to that time, finally won Lean the Oscar, one of seven the picture received.
    [Show full text]
  • TRIANGLE 6 YEARS LATER MELBOURNE REPORT in CILECT
    CILECT NEWS Special Issue December 2002 Page 39 Conference Panel 3 Monday, April 8, 2002 Triangle, Six Yea rs La t er Panel Members Pavel Jech, FAMU, Prague, Czech Republic Renen Schorr, Director JSFS, Jerusalem, Israel Lauri Törhönen, Director, UIAH, Helsinki, Finland Malte Wadman, Director NFS, Lillehammer, Norway Page 40 December 2002 CILECT News Special Issue Malte Wadman Pavel Jech Renen Schorr Lauri Törhönen CILECT NEWS Special Issue December 2002 Page 41 Mexico I might have at least met the faces and seen the hair color of the people who were to become my international Monday, April 8, 2002 colleagues before they turned gray, in and during the Trian- gle process, but I missed the opportunity. So when the Conference Panel 3 original Triangle documentation started to arrive, I instinc- Triangle, Six Years Later tively went to Rome to attend the first meeting without knowing much about what was going to happen. I only In 1996, CILECT began to address the issue of communi- wanted to see the CILECT people. cation and collaboration among the creative triangle of writers, directors, and producers. Some viewed the Trian- The Rome meeting changed my life and my world, and gle project as a necessary corrective to the 1960’s auteur with that, the film school and my point of view towards ideology that dominated many film schools. Others saw it everything about it. Triangle, as it began, was everything I as diminishing the role of the individual film artist in an wanted to happen in the film industry in my country and in increasingly market-oriented system.
    [Show full text]
  • On the Waterfront Edited by Joanna E
    Cambridge University Press 978-0-521-79079-6 — On the Waterfront Edited by Joanna E. Rapf Frontmatter More Information On the Waterfront On the Waterfront comprehensively examines one of the most impor- tant films of the Hollywood canon. Providing the historical context for the film, this volume emphasizes film making as a collaborative process rather than an “auteurist” approach, although it does highlight individ- ual contributions to the film and the political controversy generated by the cooperation of Kazan and Schulberg with the House Un-American Activities Committee. Included are essays specially commissioned for this volume, analyzing the screenplay, Kazan as director, Schulberg as screenplay writer, the score by Leonard Bernstein, and the reception of the film in classrooms. Collectively they demonstrate how and why this film has been an enduring favorite among cineastes and movie buffs alike. A foreword by Budd Schulberg, contemporary reviews, and stills round out the volume. Joanna Rapf is Professor of English and Film & Video Studies at the University of Oklahoma, Norman. She is the author of Buster Keaton: A Bio-Bibliography, and has contributed to journals such as Literature/Film Quarterly, Film Quarterly, and Journal of Popular Film & Television. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-79079-6 — On the Waterfront Edited by Joanna E. Rapf Frontmatter More Information THE CAMBRIDGE UNIVERSITY PRESS FILM HANDBOOKS SERIES General Editor: Andrew Horton, University of Oklahoma Each CAMBRIDGE FILM HANDBOOK is intended to focus on a single film from a variety of theoretical, critical, and contextual perspectives. This “prism” approach is designed to give students and general readers valu- able background and insight into the cinematic, artistic, cultural, and sociopolitical importance of individual films by including essays by lead- ing film scholars and critics.
    [Show full text]