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Before the Devil Knows You're Dead
Before the Devil Knows You’re Dead by Richard Combs ‘Last acts’ in the cinema can be a precarious business. Not just because film‐makers approaching the end of their careers may be beset by problems of failing health, failing inspiration or failing insurance, but because all the pitfalls of the movie business can make last acts as fragile an undertaking as first acts. Are we justified, then, in thinking that the last film a director makes – or a near‐to‐last film – will necessarily constitute a final statement, a summing up, a gathering together of the artistic experience of a lifetime in one culminating vision? In many cases, obviously not – last films can be as ad hoc, compromised, and a fortuitous grasping of commercial opportunity as a film made at any other stage of a career. But we persist in hoping that the culminating vision comes through. It’s the superstitious feeling that might gather round what anyone (even a film critic) suspects could be their final act, or a getting‐close‐to‐the‐end act: the hope that it will contain something special and retroactively confer significance and coherence on a lifetime of similar but helplessly scattered acts. First, an accounting of this terminal accounting. Only nine of the 19 films in our season were actually the last films made by their directors. The other 10 were followed by one, two, or – in the case of D.W. Griffith – something like a dozen films before their makers were done with the movies, or – again in Griffith’s case – the movies were done with them. -
Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
SLAV-T230 Vampire F2019 Syllabus-Holdeman-Final
The Vampire in European and American Culture Dr. Jeff Holdeman SLAV-T230 11498 (SLAV) (please call me Jeff) SLAV-T230 11893 (HHC section) GISB East 4041 Fall 2019 812-855-5891 (office) TR 4:00–5:15 pm Office hours: Classroom: GA 0009 * Tues. and Thur. 2:45–3:45 pm in GISB 4041 carries CASE A&H, GCC; GenEd A&H, WC * and by appointment (just ask!!!) * e-mail me beforehand to reserve a time * It is always best to schedule an appointment. [email protected] [my preferred method] 812-335-9868 (home) This syllabus is available in alternative formats upon request. Overview The vampire is one of the most popular and enduring images in the world, giving rise to hundreds of monster movies around the globe every year, not to mention novels, short stories, plays, TV shows, and commercial merchandise. Yet the Western vampire image that we know from the film, television, and literature of today is very different from its eastern European progenitor. Nina Auerbach has said that "every age creates the vampire that it needs." In this course we will explore the eastern European origins of the vampire, similar entities in other cultures that predate them, and how the vampire in its look, nature, vulnerabilities, and threat has changed over the centuries. This approach will provide us with the means to learn about the geography, village and urban cultures, traditional social structure, and religions of eastern Europe; the nature and manifestations of Evil and the concept of Limited Good; physical, temporal, and societal boundaries and ritual passage that accompany them; and major historical and intellectual periods (the settlement of Europe, the Age of Reason, Romanticism, Neo-classicism, the Enlightenment, the Victorian era, up to today). -
De Luis Bunuel Avec Georges Marchal, Lucia Bose
"CELA S’APPELLE L’AURORE" (1956) de Luis Bunuel avec Georges Marchal, 1 70/100 Lucia Bose. Affiche de Jean Mascii. Les Films Marceau. "UN MILLION D'ANNÉES AVANT J.C." (1966) de Don Chaffey avec Raquel Welch, John 40/80 2 Richardson. Affichette. Seven Arts Hammer. 20th Century Fox. "APOCALYPSE NOW" (1979) de Francis Ford Coppola avec Marlon Brando, 3 Affiche de B. Peak. Palme d’or festival de Cannes. 40/80 "LA GRANDE PARADE DU RIRE" (1967) Film de montage de Robert Youngson 50/90 4 Période burlesque américain. Affiche. MGM. "LES FRUITS DE LA PASSION" (1981) de Shuji Terayama avec Klaus Kinski, 5 Arielle 30/70 Dombasle. Affiche dessinée par Roland Topor. "GUET-APENS" (1980) de Sam Peckinpah avec Steve Mac Queen, et Ali Mac Graw. 40/90 6 Affiche. Film Warner Columbia. "PEAU D’ANE" (1970) de Jacques Demy avec Catherine Deneuve, Jean Marais. 70/100 7 Affiche de Jim Leon. Films Paramount. "LE SPECTRE DU PROFESSEUR HICHCOCK" (1963) de Robert Hampton (Riccardo Freda) avec Barbara Steele, Peter 70/120 8 Baldwin. Afiche de C. Belinsky. "PLAYTIME" (1967) de et, avec Jacques Tati. 9 Affichette de Baudin. Dessin de Ferracci 40/90 "BOULEVARD DE PARIS" (1955) de Mitchell Leisen avec Anne Baxter, Steve Forest, 200/300 10 Raymond Bussières. Affiche entoilée. Dessin de Roger Soubie. "LA FILLE DANS LA VITRINE" (1961) de Luciano Emmer avec Lino Ventura, 100/150 11 Marina Vlady. Affiche de Jean Mascii. Discifilm. "ASTÉRIX CHEZ LES BRETONS" (1986) d’après l’album de Goscinny et, Uderzo. 40/80 40/80 12 Affiche. -
The 007Th Minute Ebook Edition
“What a load of crap. Next time, mate, keep your drug tripping private.” JACQUES A person on Facebook. STEWART “What utter drivel” Another person on Facebook. “I may be in the minority here, but I find these editorial pieces to be completely unreadable garbage.” Guess where that one came from. “No, you’re not. Honestly, I think of this the same Bond thinks of his obituary by M.” Chap above’s made a chum. This might be what Facebook is for. That’s rather lovely. Isn’t the internet super? “I don’t get it either and I don’t have the guts to say it because I fear their rhetoric or they’d might just ignore me. After reading one of these I feel like I’ve walked in on a Specter round table meeting of which I do not belong. I suppose I’m less a Bond fan because I haven’t read all the novels. I just figured these were for the fans who’ve read all the novels including the continuation ones, fan’s of literary Bond instead of the films. They leave me wondering if I can even read or if I even have a grasp of the language itself.” No comment. This ebook is not for sale but only available as a free download at Commanderbond.net. If you downloaded this ebook and want to give something in return, please make a donation to UNICEF, or any other cause of your personal choice. BOOK Trespassers will be masticated. Fnarr. BOOK a commanderbond.net ebook COMMANDERBOND.NET BROUGHT TO YOU BY COMMANDERBOND.NET a commanderbond.net book Jacques I. -
False Authenticity in the Films of Woody Allen
False Authenticity in the Films of Woody Allen by Nicholas Vick November, 2012 Director of Thesis: Amanda Klein Major Department: English Woody Allen is an auteur who is deeply concerned with the visual presentation of his cityscapes. However, each city that Allen films is presented in such a glamorous light that the depiction of the cities is falsely authentic. That is, Allen's cityscapes are actually unrealistic recreations based on his nostalgia or stilted view of the city's culture. Allen's treatment of each city is similar to each other in that he strives to create a cinematic postcard for the viewer. However, differing themes and characteristics emerge to define Allen's optimistic visual approach. Allen's hometown of Manhattan is a place where artists, intellectuals, and writers can thrive. Paris denotes a sense of nostalgia and questions the power behind it. Allen's London is primarily concerned with class and the social imperative. Finally, Barcelona is a haven for physicality, bravado, and sex but also uncertainty for American travelers. Despite being in these picturesque and dynamic locations, happiness is rarely achieved for Allen's characters. So, regardless of Allen's dreamy and romanticized visual treatment of cityscapes and culture, Allen is a director who operates in a continuous state of contradiction because of the emotional unrest his characters suffer. False Authenticity in the Films of Woody Allen A Thesis Presented To the Faculty of the Department of English East Carolina University In Partial Fulfillment of the Requirements for the Degree MA English by Nicholas Vick November, 2012 © Nicholas Vick, 2012 False Authenticity in the Films of Woody Allen by Nicholas Vick APPROVED BY: DIRECTOR OF DISSERTATION/THESIS: _______________________________________________________ Dr. -
Juillet-Août 2019
juillet-août 2019 · FESTIVAL FANTASIA · EXPOSITION LES COMIQUES FONT LE MUR · COURTS D’UN SOIR · EXPOSITION ORATORIO – ALAIN PELLETIER DOCTEUR JERRY ET MISTER LOVE DOCTEUR JERRY CINEMATHEQUE.QC.CA RENSEIGNEMENTS DROITS D’ENTRÉE 1 HEURES D’OUVERTURE CINEMATHEQUE.QC.CA 11 $ / ADULTES BILLETTERIE : ou 514.842.9763 10 $ / AÎNÉ, ÉTUDIANT, ENFANT (5-16 ANS)2 LUNDI AU VENDREDI DÈS 10 h 20 $ / FAMILLE 3 PERSONNES SAMEDI ET DIMANCHE DÈS 14 h CINÉMATHÈQUE QUÉBÉCOISE 25 $ / FAMILLE 4 PERSONNES 335, BOUL. DE MAISONNEUVE EST MEMBRE3 : 130 $ / 1 AN EXPOSITIONS : MONTRÉAL (QUÉBEC) CANADA ABONNEMENT ÉTUDIANT3 : 99 $ / 1 AN LUNDI AU VENDREDI DE 10 h À 21 h H2X 1K1 CENTRE D’ART ET D’ESSAI : SAMEDI ET DIMANCHE DE 14 h À 21 h MÉTRO BERRI-UQAM 12 $ / TARIF RÉGULIER 10 $ / TARIF AINÉ ET ÉTUDIANT MÉDIATHÈQUE GUY-L.-COTÉ : Imprimé au Québec sur papier québécois 9 $ / TARIF MEMBRE ET ABONNÉ MARDI AU VENDREDI DE 9 h 30 À 17 h recyclé à 100 % (post-consommation) EXPOSITIONS : ENTRÉE LIBRE Distribué par Publicité sauvage 1. Taxes incluses. Le droit d’entrée peut différer dans le cas de certains programmes spéciaux. 2. Sur présentation d’une carte d’étudiant ou d’identité. La programmation peut être sujette à changement DESIGN : AGENCE CODE 3. Accès illimité à la programmation régulière. sans préavis. Un été de folie joyeuse A summer of glorious fun à la Cinémathèque at the Cinémathèque THE NAVIGATOR Comédies ! DOCTEUR JERRY ET MISTER LOVE DOCTEUR JERRY L’AILE OU LA CUISSE L’AILE : LE KING DES KINGS GRATTON ELVIS DANIELLE TATIE Nouveautés art et essai LA VERSION NOUVELLE DREAMS INSTANT Nostalgique du Polaroid, Instant Dreams nous plonge dans l’univers de ces photos satu rées et nous fait rencontrer des pas sion nés de la petite boite carrée – dès le 5 juillet. -
Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive -
Espartaco Antes Y Después De Kubrick. Las Otras Apariciones Del Gladiador Tracio En El Cine
Faventia 24/1 001-244 7/5/02 09:14 Página 55 Faventia 24/1, 2002 55-68 Espartaco antes y después de Kubrick. Las otras apariciones del gladiador tracio en el cine Óscar Lapeña Marchena Universidad de Cádiz. Área de Historia Antigua Avda. Gómez Ulla s/n. 11003 Cádiz [email protected] Data de recepció: 6/9/2000 Resumen Resulta innecesario insistir en la importancia que ha tenido la película Spartacus, dirigida por Stanley Kubrick e interpretada por Kirk Douglas, a la hora de popularizar, a nivel de masas, el personaje de Espartaco. Pero este éxito no nos debe hacer olvidar que a lo largo de la historia del cine se han realizado diferentes versiones de su historia. Estas páginas pretenden hacer un repa- so, de manera rápida, de esos otros títulos que, debido a razones de calidad o de mercado, no han gozado de una suerte semejante. Para el historiador de la antigüedad que no desprecie los apor- tes del cine, todas las producciones merecen, al menos, la misma oportunidad. Palabras clave: Espartaco, cine, Roma. Abstract. Spartacus before and after Kubrick. Other presences of the Thracian gladiator in the cinema It is unnecessary to insist on the importance achieved by the film Spartacus, directed by Stanley Kubrick and played by Kirk Douglas, in the popularization of the character of Espartaco. However this success must no cause us to forget that, throughout the history of the cinema, different ver- sions of his story have been made. These pages will make a brief revision of other titles that due to quality or market reasons have not had the same success. -
A Queer Analysis of the James Bond Canon
MALE BONDING: A QUEER ANALYSIS OF THE JAMES BOND CANON by Grant C. Hester A Dissertation Submitted to the Faculty of Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, FL May 2019 Copyright 2019 by Grant C. Hester ii MALE BONDING: A QUEER ANALYSIS OF THE JAMES BOND CANON by Grant C. Hester This dissertation was prepared under the direction of the candidate's dissertation advisor, Dr. Jane Caputi, Center for Women, Gender, and Sexuality Studies, Communication, and Multimedia and has been approved by the members of his supervisory committee. It was submitted to the faculty of the Dorothy F. Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Khaled Sobhan, Ph.D. Interim Dean, Graduate College iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to Jane Caputi for guiding me through this process. She was truly there from this paper’s incubation as it was in her Sex, Violence, and Hollywood class where the idea that James Bond could be repressing his homosexuality first revealed itself to me. She encouraged the exploration and was an unbelievable sounding board every step to fruition. Stephen Charbonneau has also been an invaluable resource. Frankly, he changed the way I look at film. His door has always been open and he has given honest feedback and good advice. Oliver Buckton possesses a knowledge of James Bond that is unparalleled. I marvel at how he retains such information. -
Riccardo Freda’S I Vampiri (1957) and the Birth of Italian Horror
Northumbria Research Link Citation: Guarneri, Michael (2017) The Gothic bet: Riccardo Freda’s I vampiri (1957) and the birth of Italian horror cinema from an industrial perspective. Palgrave Communications, 3 (1). p. 29. ISSN 2055-1045 Published by: Palgrave Macmillan URL: https://doi.org/10.1057/s41599-017-0030-3 <https://doi.org/10.1057/s41599-017- 0030-3> This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/id/eprint/32602/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher’s website (a subscription may be required.) ARTICLE DOI: 10.1057/s41599-017-0030-3 OPEN The Gothic bet: Riccardo Freda’s I vampiri (1957) and the birth of Italian horror cinema from an industrial perspective Michael Guarneri1 ABSTRACT Scholars tend to agree on Riccardo Freda’s I vampiri (1957) being the first Italian horror film. -
Issue #72 Summer / Fall 2008 Lars Bloch Interview (Part 2) a Man, a Colt the MGM Rolling Road Show Latest DVD Reviews
Issue #72 Summer / Fall 2008 Lars Bloch Interview (part 2) A Man, a Colt The MGM Rolling Road Show Latest DVD Reviews WAI! #72 THE SWINGIN’ DOORS April and May were months that took a number of well known actors of the Spaghetti western genre: Jacques Berthier, Robert Hundar, John Phillip Law and Tano Cimarosa were all well known names in the genre. Of course we should expect as much since these people are now well into their 70s and even 80s. Still in our minds they are young vibrant actors who we see over and over again on video and DVD. It’s hard to realize that it’s been 40+ years since Sergio Leone kicked off the Spaghetti western craze and launched a world wide revolution in film that we still see influencing films today. Hard to believe Clint Eastwood turned 78 on May 30th. Seems like only yesterday he was the ‘Man with No Name’ and starring in the first of the Leone films that launched the genre. Remember when Clint was criticized so badly as an actor and for the films he appeared in during the 60s and 70s. Now he’s revered in Hollywood because he’s outlived his critics. I guess we recognized a real star long before the critics did. A great idea came to Tim League’s mind in the launching of the “Rolling Road Show”, where films are actually shown where they were filmed. I wasn’t able to travel to Spain to see the Dollars trilogy but we have a nice review of the films and the experience by someone who was there.