DOCSLIB.ORG

The Collegium Papers VI the Pordenone Silent Film Festival Sacile 2004

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Collegium Papers VI the Pordenone Silent Film Festival Sacile 2004 the collegium papers VI the pordenone silent film festival sacile 2004 the fifth collegium 11 – 18 ottobre / october 2004 a cura di / devised by luca giuliani david mingay david robinson paolo cherchi usai © 2005 le giornate del cinema muto c/o la cineteca del friuli via bini, palazzo gurisatti 33013 gemona (ud) italia tel: +39-0432-980458 fax: +39-0432-970542 e-mail: [email protected] http://cinetecadelfriuli.org/gcm/ le giornate del cinema muto 2004 the collegium papers VI edited by david robinson luca giuliani contents vertov essays jon davies vertov nation 15 vincent bohlinger intervals in sound and silence: two versions of three songs of lenin 69 dong xinou from shanghai document to shanghai 24 hours: the city, the “sovkino expedition,” and montage complex 80 daniel pitarch fernández stride train, stride! or how it feels to be run over 90 michael müller from hodgepodge to masterpiece: vertov's man with a movie camera between failure and success 100 film and mortality giampaolo parmigiani dialogus de immortalitate imaginum and the persecution complex 120 jude cowan how was it for you? silent cinema and the past 140 national revaluation alyson hrynyk asquith rediscovered, or, in praise of hybrid films 145 kelly-anne robinson ‘the englishman is afraid of experience. he is suspicious of emotion’ 150 giornate reflections norie taniguchi music and silent film: time-travel and cinematic-experience 160 tan pin pin contemporary mediums resurrecting ancient shadows 165 thunnis van oort silent film audiences 170 partecipants and collegians 180 preface The sixth annual collection of “Collegium Papers” is, we feel, the best vindication to date of what we have set out to achieve in the concentrated experience of the Collegium, contained within the single week of the Giornate del Cinema Muto. The writers have all responded vitally and directly to the discoveries of the Giornate – most notably the revelation of Dziga Vertov. Several have managed to explore quite new paths of research. The writing throughout is direct, personal, lively, readable and liberated from cliché and jargon. In this respect it is noteworthy that seven of the twelve contributors are writing in a language that is not our own; and in every case the occasional echoes from a foreign idiom enrich rather than impair their expressiveness (after all, Joseph Conrad luckily never quite expunged the Polish accent from his English writing). Any reader will recognise one or two items at least which can be reckoned permanent additions to the literature of film. luca giuliani david mingay david robinson paolo cherchi usai jon davies vertov nation “Man with a Movie Camera is in consequence not a film at all: it is a snapshot album.” – John Grierson “A country without documentaries is like a family without a photo album.” – Patricio Guzman The Dziga Vertov retrospective at the 2004 Festival provided a perfect opportunity for a number of historians and scholars to reappraise and debate the work of one of the world’s most influential film artists. Viewing Vertov’s oeuvre chronologically gave spectators the chance to trace the development of his style and see how certain themes are elaborated throughout his career. In the very first Kino-Nedelia there is a scene that Yuri Tsivian draws our attention to in his programme notes1 that struck me as quintessentially Vertov. It also succinctly represents two kinds of subject/camera interaction, the dynamic that I believe forms the heart of Vertov’s work and these reflections on it. We see two merchants selling homemade wooden toys: one is in the background, occupied by customers, facing away from the camera and occasionally turning slightly to glimpse the action occurring behind him, where the second vendor is only partly visible in the foreground. This second vendor shows off several of the toys to the camera, acknowledging the presence of prospective buyers among the newsreel audience. While there are potential customers surrounding the merchants, this demonstration is aimed strictly at the camera. The hand-carved toys include a row of soldiers that move in unison, a horse pulling a sled, a mounted soldier and a dog biting a man’s bottom. The elements that give this scene such a joyful, eccentric air are that the first merchant’s back is turned to the proceedings, the whimsical quality of the toys on display, and of course the crowd of onlookers (who have their own range of interactions with the camera). Together, these details produce an unmistakable sense of mischievous play. Here we see two men, one either unaware or not acknowledging the camera and one not only aware of but performing to the camera, and the dynamic tension that exists between these two forms of interaction. I would like to take this opportunity to discuss some of the more memorable moments of subject/camera interaction in Vertov’s cinema with the goal of showing the depth and range of the human community on view in his films and how these moments contribute to building a global network of proletarian/peasant spectators. This paper is a small attempt at appraising the status of the human – “caught,” represented, by the cinema machine, of course – in Vertov’s work. If one were to go by one of Vertov’s earliest manifestos, “WE: Variant of a Manifesto” from 1922, one would be led to believe that the human subject had no place in the Kinoks’ practice: “The ‘psychological’ prevents man from being as precise as a stopwatch; it interferes with his desire for kinship with the machine. In an art of movement we have no reason to devote our particular attention to contemporary man. The machine makes us ashamed of man’s inability to control 1 “Do not miss the close-up of a handsome homemade mechanical toy which a boy toy-vendor demonstrates to prospective buyers” (30). himself, but what are we to do if electricity’s unerring ways are more exciting to us than the disorderly haste of active men and the corrupting inertia of passive ones? […] For his inability to control his movements, WE temporarily exclude man as a subject for film. Our path leads through the poetry of machines, from the bungling citizen to the perfect electric man. […] The new man, free of unwieldiness and clumsiness, will have the light, precise movements of machines, and he will be the gratifying subject of our films” (in Michelson 8-9). We may initially scoff at this condemnation of “man” when some of the most loved and affecting scenes in Vertov’s career are of people, in all their imperfections. However, the first thing we must remember is that this was written in his Kino-Pravda days; Ian Christie warned me that we must be lenient with the inconsistencies in Vertov’s rhetoric, not taking the Kinok manifestos literally as this was an era of “factions and polemic.” Also, as Oliver Gaycken pointed out to me, this statement is not so much a denunciation of the “bungling citizen” as the announcement of a plan of action for transforming humanity through the cinema, that most astounding of machines. Here he plans the union of the very elements that make his cinema so compelling: rigorous non-fiction formal and technical experimentation and the “unwieldy,” “clumsy” ordinary people that make up life-as-it-is. Much of the impact of Vertov’s portraits, if you will, comes from their stubbornly normal, mundane and everyday qualities, their imperfect, lumpy, embodied humanness rather than any kind of perfection, precision, control or order as embodied by the camera. Over the course of Kino-Eye, Annette Michelson’s collection of Vertov’s writings, we can see a marked transformation in Vertov’s appreciation of the importance of the human subject for his filmmaking practice. Delving into Michelson’s collection past “WE,” we increasingly find the “psychological” creeping in, despite Vertov’s frequent polemics against its predominance in fiction filmmaking. It is impossible not to detect the traces of psychological investigation in this diary entry from March 22, 1941: “The joy of truth, but not of apparent truth. The joy of seeing in depth, through makeup, through acting, through a role, through a mask. To see weeping through laughter, through pomposity – paltriness, through bravery – cowardice, through politeness – hatred, through a mask of contemptuous indifference – the concealed passion of love. The joy of doing away with ‘appearance,’ of reading thoughts and not words” (238). No matter how much Vertov may wish to stick to a materialist view of the world, by condensing our attention, by selecting one face or gesture for our contemplation, his camera cannot help but open up the human subject to psychological and emotional interpretations. In fact, the final document in Michelson’s collection (though not the latest, chronologically), “Little Anya: A Film Portrait,” written in 1943 according to Vlada Petric´, could easily pass as a fiction film script detailing the experiences of a young girl during the Great Patriotic War, although I’m sure it would bear no resemblance to the illusionist fakery Vertov constantly derided. Finally, in a piece plainly titled “About Love for the Living Person” from 1958, he claims that “everything I have done in cinema was connected, directly or indirectly, with my persistent effort to reveal the thinking of the ‘living person.’ Sometimes that person was the film’s author-director, not shown on the screen” (in Michelson 156). What can we glean from this shift in Vertov’s rhetoric? Seth Feldman has characterized this change as a moving away from one artistic movement towards another: “it is the difference between an avant garde artist still linked to conventional Italian Futurism and a Soviet artist who, with a grasp of the principles of Constructivism, is applying his medium’s potential not only to a technological interpretation of society but also to its social structuring” (Evolution 130).
Load more

Recommended publications
  • September 6, 2011 (XXIII:2) Anthony Asquith and Leslie Howard, PYGMALION (1938, 96 Min)
    September 6, 2011 (XXIII:2) Anthony Asquith and Leslie Howard, PYGMALION (1938, 96 min) Directed by Anthony Asquith and Leslie Howard Written by George Bernard Shaw (play, scenario & dialogue), W.P. Lipscomb, Cecil Lewis, Ian Dalrymple (uncredited), Anatole de Grunwald (uncredited), Kay Walsh (uncredited) Produced by Gabriel Pascal Original Music by Arthur Honegger Cinematography by Harry Stradling Edited by David Lean Art Direction by John Bryan Costume Design by Ladislaw Czettel (as Professor L. Czettel), Schiaparelli (uncredited), Worth (uncredited) Music composed by William Axt Music conducted by Louis Levy Leslie Howard...Professor Henry Higgins Wendy Hiller...Eliza Doolittle Wilfrid Lawson...Alfred Doolittle Marie Lohr...Mrs. Higgins Scott Sunderland...Colonel George Pickering GEORGE BERNARD SHAW [from Wikipedia](26 July 1856 – 2 Jean Cadell...Mrs. Pearce November 1950) was an Irish playwright and a co-founder of the David Tree...Freddy Eynsford-Hill London School of Economics. Although his first profitable writing Everley Gregg...Mrs. Eynsford-Hill was music and literary criticism, in which capacity he wrote many Leueen MacGrath...Clara Eynsford Hill highly articulate pieces of journalism, his main talent was for Esme Percy...Count Aristid Karpathy drama, and he wrote more than 60 plays. Nearly all his writings address prevailing social problems, but have a vein of comedy Academy Award – 1939 – Best Screenplay which makes their stark themes more palatable. Shaw examined George Bernard Shaw, W.P. Lipscomb, Cecil Lewis, Ian Dalrymple education, marriage, religion, government, health care, and class privilege. ANTHONY ASQUITH (November 9, 1902, London, England, UK – He was most angered by what he perceived as the February 20, 1968, Marylebone, London, England, UK) directed 43 exploitation of the working class.
    [Show full text]
  • * Hc Omslag Film Architecture 22-05-2007 17:10 Pagina 1
    * hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns. Tim Bergfelder is Professor of Film at the University of Southampton. He is the author of International Adventures (2005), and co- editor of The German Cinema Book (2002) and The Titanic in Myth and Memory (2004). Sarah Street is Professor of Film at the Uni- versity of Bristol. She is the author of British Cinema in Documents (2000), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcis- sus (2004). Sue Harris is Reader in French cinema at Queen Mary, University of London. She is the author of Bertrand Blier (2001) and co-editor of France in Focus: Film
    [Show full text]
  • Last Tango in Paris (1972) Dramas Bernardo Bertolucci
    S.No. Film Name Genre Director 1 Last Tango in Paris (1972) Dramas Bernardo Bertolucci . 2 The Dreamers (2003) Bernardo Bertolucci . 3 Stealing Beauty (1996) H1.M Bernardo Bertolucci . 4 The Sheltering Sky (1990) I1.M Bernardo Bertolucci . 5 Nine 1/2 Weeks (1986) Adrian Lyne . 6 Lolita (1997) Stanley Kubrick . 7 Eyes Wide Shut – 1999 H1.M Stanley Kubrick . 8 A Clockwork Orange [1971] Stanley Kubrick . 9 Poison Ivy (1992) Katt Shea Ruben, Andy Ruben . 1 Irréversible (2002) Gaspar Noe 0 . 1 Emmanuelle (1974) Just Jaeckin 1 . 1 Latitude Zero (2000) Toni Venturi 2 . 1 Killing Me Softly (2002) Chen Kaige 3 . 1 The Hurt Locker (2008) Kathryn Bigelow 4 . 1 Double Jeopardy (1999) H1.M Bruce Beresford 5 . 1 Blame It on Rio (1984) H1.M Stanley Donen 6 . 1 It's Complicated (2009) Nancy Meyers 7 . 1 Anna Karenina (1997) Bernard Rose Page 1 of 303 1 Fanny Hill: Memoirs of a Woman of Pleasure (1964) Russ Meyer 9 . 2 Vixen! By Russ Meyer (1975) By Russ Meyer 0 . 2 Deep Throat (1972) Fenton Bailey, Randy Barbato 1 . 2 A STREETCAR NAMED DESIRE (1951) Elia Kazan 2 . 2 Pandora Peaks (2001) Russ Meyer 3 . 2 The Lover (L'amant) 1992 Jean-Jacques Annaud 4 . 2 Damage (1992) Louis Malle 5 . 2 Close My Eyes (1991) Stephen Poliakoff 6 . 2 Casablanca 1942 H1.M Michael Curtiz 7 . 2 Duel in the Sun (film) (1946) I1.M King Vidor 8 . 2 The Bridge on the River Kwai (1957) H1.M David Lean 9 . 3 Caligula (1979) Tinto Brass 0 .
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • British Film Institute Report & Financial Statements 2006
    British Film Institute Report & Financial Statements 2006 BECAUSE FILMS INSPIRE... WONDER There’s more to discover about film and television British Film Institute through the BFI. Our world-renowned archive, cinemas, festivals, films, publications and learning Report & Financial resources are here to inspire you. Statements 2006 Contents The mission about the BFI 3 Great expectations Governors’ report 5 Out of the past Archive strategy 7 Walkabout Cultural programme 9 Modern times Director’s report 17 The commitments key aims for 2005/06 19 Performance Financial report 23 Guys and dolls how the BFI is governed 29 Last orders Auditors’ report 37 The full monty appendices 57 The mission ABOUT THE BFI The BFI (British Film Institute) was established in 1933 to promote greater understanding, appreciation and access to fi lm and television culture in Britain. In 1983 The Institute was incorporated by Royal Charter, a copy of which is available on request. Our mission is ‘to champion moving image culture in all its richness and diversity, across the UK, for the benefi t of as wide an audience as possible, to create and encourage debate.’ SUMMARY OF ROYAL CHARTER OBJECTIVES: > To establish, care for and develop collections refl ecting the moving image history and heritage of the United Kingdom; > To encourage the development of the art of fi lm, television and the moving image throughout the United Kingdom; > To promote the use of fi lm and television culture as a record of contemporary life and manners; > To promote access to and appreciation of the widest possible range of British and world cinema; and > To promote education about fi lm, television and the moving image generally, and their impact on society.
    [Show full text]
  • Notes and References
    Notes and References CHAPTER 1 To provide an intellectual and cultural framework for examining Carol Reed's films, a history of the British cinema from its origins through to the Second World War is offered in this chapter. Although Reed began directing in 1935, 1939 seemed a tidier, more logical cut-off point for the survey. All the information in the chapter is synthesized from several excellent works on the subject: Roy Armes's A Critical History of the British Cinema, Ernest Betts' The Film Business, Ivan Butler's Cinema in Britain, Denis Gifford's British Film Catalogue, Rachel Low's History of the British Film, and George Perry's The Great British Picture Show. CHAPTER 2 1. Michael Korda, Charmed Lives (New York, 1979) p. 229; Madeleine Bingham, The Great Lover (London, 1978). 2. Frances Donaldson, The Actor-Managers (London, 1970) p. 165. 3. Interview with the author. Unless otherwise identified, all quota­ tions in this study from Max Reed, Michael Korda and Andrew Birkin derive from interviews. 4. C. A. Lejeune, 'Portrait of England's No.1 Director', New York Times, 7 September 1941, p. 3. 5. Harvey Breit, ' "I Give the Public What I Like" " New York Times Magazine, 15January 1950, pp. 18-19. 6. Korda, Charmed Lives, p. 244. 7. Kevin Thomas, 'Director of "Eagle" Stays Unflappable', The Los Angeles Times, 24 August 1969. CHAPTER 3 1. Michael Voigt, 'Pictures of Innocence: Sir Carol Reed', Focus on Film, no. 17 (Spring 1974) 34. 2. 'Midshipman Easy', The Times, 23 December 1935. 271 272 Notes and References 3.
    [Show full text]
  • British Newspapers and Films in the Interwar Period: a History and a Review
    ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output The representation of London nights in British popu- lar press and film, 1919-1939 https://eprints.bbk.ac.uk/id/eprint/40490/ Version: Public Version Citation: Arts, Mara (2020) The representation of London nights in British popular press and film, 1919-1939. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email The Representation of London Nights in British Popular Press and Film, 1919-1939 Candidate name: Mara Arts Submitted for the degree of Doctor of Philosophy Birkbeck, University of London 1 Declaration of original work I hereby confirm that the work presented in this thesis is my own. 2 Abstract This thesis explores the representation of night-time activities in the capital in popular British newspapers and films of the period. It argues that, whilst an increasingly democratised night allowed for more opportunities for previously marginalised groups, popular media of the period largely promoted adherence to the status quo. The thesis draws on extensive primary source material, including eighty British feature films and newspaper samples of the Daily Mail, Daily Express and Daily Mirror to systematically analyse the representation of London’s nightlife in the British interwar period. This period saw the consolidation of the popular daily newspaper industry and, after government intervention, an expansion of the domestic film industry. The interwar period also saw great social change with universal suffrage, technological developments and an economic crisis.
    [Show full text]
  • BFI FILM SALES Selective Catalogue Autumn 2018 ‘A REAL GEM’ ‘POIGNANT & BEAUTIFULLY ACTED’ the FINANCIAL TIMES the OBSERVER
    BFI FILM SALES Selective Catalogue Autumn 2018 ‘A REAL GEM’ ‘POIGNANT & BEAUTIFULLY ACTED’ THE FINANCIAL TIMES THE OBSERVER SYNOPSIS Luke (Steven Brandon), a young man with Down’s syndrome who prizes his independence, is forced into a care home after the death of his mother. There he rails against the restrictions imposed on him, but his frustrations are allayed by his budding friendships with his care-worker Eve (Shana Swash) and a ‘Richly mysterious feral girl (Pixie Le Knot). rewarding... Debut director Jane Gull has crafted a sensitive, poignant and creditably naturalistic drama that lingers in the memory; anchored around Brandon’s seek it out’ superb lead performance. Mark Kermode, BBC Radio 5 BFI, 21 Stephen Street, LONDON W1T 1LN, United Kingdom | [email protected] MY FERAL HEART My Feral Heart is the multi-award winning, BIFA-nominated, NFA and IARA-winning 2017 debut from Jane Gull. It’s been dubbed ‘the small British indie with a mighty heart UK that everyone is talking about’ after it garnered terrific critical notices and became 83 mins a cinema-on-demand sensations. Its UK theatrical release graced 125 screens BBFC 12A/12 before its run ended on 21 March 2017 (World Down Syndrome Day) and grossed £52k. Colour 5.1 & Stereo Mixes available The film was released on DVD and EST in the UK on 27 November, ahead of its Director Jane Gull UK PayTV premiere on Sky Cinema on World Down Syndrome Day 2018. In its Writer week of release the film was #1 in both the DVD and Digital Download ‘Amazon Duncan Paveling UK Movers and Shakers Charts’.
    [Show full text]
  • Lar Press and Film, 1919-1939
    ORBIT - Online Repository of Birkbeck Institutional Theses Enabling Open Access to Birkbeck’s Research Degree output The representation of London nights in British popu- lar press and film, 1919-1939 https://eprints.bbk.ac.uk/id/eprint/40490/ Version: Public Version Citation: Arts, Mara (2020) The representation of London nights in British popular press and film, 1919-1939. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email The Representation of London Nights in British Popular Press and Film, 1919-1939 Candidate name: Mara Arts Submitted for the degree of Doctor of Philosophy Birkbeck, University of London 1 Declaration of original work I hereby confirm that the work presented in this thesis is my own. 2 Abstract This thesis explores the representation of night-time activities in the capital in popular British newspapers and films of the period. It argues that, whilst an increasingly democratised night allowed for more opportunities for previously marginalised groups, popular media of the period largely promoted adherence to the status quo. The thesis draws on extensive primary source material, including eighty British feature films and newspaper samples of the Daily Mail, Daily Express and Daily Mirror to systematically analyse the representation of London’s nightlife in the British interwar period. This period saw the consolidation of the popular daily newspaper industry and, after government intervention, an expansion of the domestic film industry. The interwar period also saw great social change with universal suffrage, technological developments and an economic crisis.
    [Show full text]
  • BFI FILM SALES CATALOGUE CONTENTS 2 4 Introduction
    BFI FILM SALES CATALOGUE CONTENTS 2 4 Introduction 6 Recent Highlights 8 New FIlms 18 Animation 2018 22 Director Highlights 24 Alex Cox 26 Terence Davies’ Trilogy 28 Peter Greenaway 48 Derek Jarman 50 Ron Peck 54 Bill Douglas 56 Constantine Giannaris 76 Patrick Keiller’s Trilogy 86 Humphrey Jennings 34 Post-1960 Features 58 Post-1960 Features 66 Silent Film Restorations 72 Creative Documentaries 78 Documentaries 90 Free Cinema 94 Animation 96 Lotte Reiniger 100 The Quay Brothers 3 INTRODUCTION 4 The British Film Institute (BFI) is the lead body for film in the UK with the ambition to create a flourishing film environment in which innovation, opportunity and creativity can thrive by; connecting audiences to British and world cinema; preserving and restoring the most significant film collection in the world; championing emerging filmmakers; investing in creative and distinctive work; promoting British film and talent; growing the next generation of filmmakers and audiences. As part of the institute’s global mission, BFI Film Sales represents a collection of film and television content for sales and distribution across all media in international and domestic markets. This catalogue presents, in a non-exhaustive manner, the great wealth of titles we act on behalf of. These include works from the BFI Production (1951-2000) back-catalogue, independently represented contemporary and classic films, government film collections and thousands of titles from the BFI National Archive, including restorations of rediscovered masterpieces. The BFI also remain committed to continuing our support of the film and TV industry through clip and still sales, theatrical bookings and touring programmes and our teams are here to provide advice and further details on any titles from the collection.
    [Show full text]
  • British Films 1927 - 1939 Was Originally Produced in 1986 by BFI Library Services
    Contents The contents of this PDF document can be navigated quickly by using the “bookmarks” facility. Forword.............................................................................................................................................1 Part 1: Chronology ..........................................................................................................................2 Part 2: Annual “In Production” Charts ......................................................................................47 Alphabetical Title Index ...............................................................................................................96 Part 3: Statistics...........................................................................................................................110 Films Released in the UK................................................................................................111 The Distribution of British Films...................................................................................118 British Cinema Statistics ................................................................................................120 British Studios..................................................................................................................129 British Feature Production..............................................................................................133 British Film Companies and Investment .....................................................................138 Films Certified
    [Show full text]
  • Bildiriler Kitabı
    I S ÇANAKKALE SAVAŞLARI 100. YIL ANISINA N A IN MEMORY OF 1OOTH ANNIVERSARY OF THE GALLIPOLI CAMPAIGN-2015 R E F N O K R A L M I Ş İ A L L İ K D A Ş Y İ A N V E A Y S A E Y V D E Ş I M R İ A N B E Y A I D S A A Y R D A R E A M L İ S N U E L Y U 2015 E A I C D N E E M R E W F E N N O E C H T S E INTERNATIONAL N I ULUSLARARASI H C E NEW MEDIA C A A O YENİ MEDYA E R NEW APPROACHES P P P D YENİ YAKLAŞIMLAR A N CONFERENCE A W R E 26-27/10/2015 KONFERANSI A N W A F I YENİ MEDYADA THE LANGUAGE OF O D E E G M BARIŞ VE SAVAŞ WAR AND PEACE A U Çanakkale Onsekiz Mart Üniversitesi İletişim Fakültesi, Çanakkale, Türkiye W DİLİIN THE NEW MEDIA G E Çanakkale Onsekiz Mart University Faculty of Communication, Çanakkale, TURKEY N N A L L A E N H O T I T A N R E T Çanakkale Onsekiz Mart Üniversitesi İletişim Fakültesi, Çanakkale, Türkiye N I Çanakkale Onsekiz Mart University Faculty of Communication, Çanakkale, TURKEY Çanakkale Savaşları 100. Yılı Anısına In M emory of 100th Anniversary of the Gallipoli Campaign INTERNATIONAL NEW MEDIA NEW APPROACHES CONFERENCE THE LANGUAGE OF WAR AND PEACE IN THE NEW MEDIA ONURSAL BAŞKANLAR HONORARY PRESIDENTS Prof.
    [Show full text]