Terrors from the Yale Film Archive Published on Yale University Library (

Total Page：16

File Type：pdf, Size：1020Kb

Terrors from the Yale Film Archive Published on Yale University Library (https://web.library.yale.edu) Terrors from the Yale Film Archive October 26, 2020 Though the big screen is dark, we've scared up a witches' brew of film frights to haunt the dreams of Yale students, faculty, and staff this Halloween. Stream and scream to thirteen horror classics spanning a century of cinema's most ghoulish genre. These spectral offerings are part of Yale University Library's streaming video collections [1]. Before you begin, a Yale NetID is required. If you encounter problems with the videos, try using a different web browser. Nosferatu [2] (F.W. Murnau, Germany, 1922) This silent masterpiece stars Max Schreck as Count Orlok. Diabolique [3] (Henri-Georges Clouzot, France, 1955) A wife, a mistress, and an imperfect murder. The Haunted Strangler [4] (Robert Day, UK, 1958) Boris Karloff investigates the notorious killer of can-can dancers. Black Sunday [5] (Mario Bava, Italy, 1960) A vengeful witch pursues her look-alike descendant. Eyes Without a Face [6] (Georges Franju, France/Italy, 1960) A plastic surgeon goes to extremes for his daughter. Hour of the Wolf [7] (Ingmar Bergman, Sweden, 1968) Max von Sydow, Liv Ullmann, and a storm of disturbing visions. Kuroneko [8] (Kaneto Shindo, Japan, 1968) This samurai slasher shows war's brutality and ghosts' revenge. Night of the Living Dead [9] (George A. Romero, USA, 1968) The zombie classic that revolutionizd the horror genre. Ganja & Hess [10] (Bill Gunn, USA, 1973) A bold, stylized look at vampirism's many forms. Page 1 of 2 Terrors from the Yale Film Archive Published on Yale University Library (https://web.library.yale.edu) Legend of the Mountain [11] (King Hu, Taiwan/Hong Kong, 1979) A sutra scribe is threatened by warring demons in the wilderness. Cronos [12] (Guillermo del Toro, Mexico, 1993) Would you trust an ancient golden scarab promising eternal life? A Girl Walks Home Alone at Night [13] (Ana Lily Amirpour, USA, 2014) A skateboarding vampire prowls an Iranian ghost town. Midsommar [14] (Ari Aster, USA/Sweden, 2019) A swedish summer getaway becomes unbearable. What is Treasures from the Yale Film Archive? Treasures from the Yale Film Archive [15] is an ongoing series of classic and contemporary films in 35mm curated by the Yale Film Study Center. Source URL: https://web.library.yale.edu/film/news/halloween2020 Links [1] https://guides.library.yale.edu/streamingvideo [2] https://yale.kanopy.com/video/nosferatu-0 [3] https://yale.kanopy.com/video/diabolique [4] https://yale.kanopy.com/video/haunted-strangler [5] https://yale.kanopy.com/video/black-sunday [6] https://yale.kanopy.com/video/eyes-without-face [7] https://yale.kanopy.com/video/hour-wolf [8] https://yale.kanopy.com/video/kuroneko [9] https://yale.kanopy.com/video/night-living-dead-1 [10] https://yale.kanopy.com/video/ganja-hess [11] https://yale.kanopy.com/video/legend-mountain [12] https://yale.kanopy.com/video/cronos [13] https://yale.kanopy.com/video/girl-walks-home-alone-night [14] https://yale.kanopy.com/video/midsommar [15] https://web.library.yale.edu/film/treasures Page 2 of 2.

Copy Link

Recommended publications

The Films of Ingmar Bergman: Centennial Celebration!
The Films of Ingmar Bergman: Centennial Celebration! Swedish filmmaker, author, and film director Ingmar Bergman was born in 1918, so this year will be celebrated in Sweden and around the world by those who have been captivated by his work. Bergman belongs to a group of filmmakers who were hailed as "auteurs" (authors) in the 1960s by French, then American film critics, and his work was part of a wave of "art cinema," a form that elevated "movies" to "films." In this course we will analyze in detail six films by Bergman and read short pieces by Bergman and scholars. We will discuss the concept of film authorship, Bergman's life and work, and his cinematic world. Note: some of the films to be screened contain emotionally or physically disturbing content. The films listed below should be viewed BEFORE the scheduled OLLI class. All films will be screened at the PFA Osher Theater on Wednesdays at 3-5pm, the day before the class lecture on that film. Screenings are open to the public for the usual PFA admission. All films are also available in DVD format (for purchase on Amazon and other outlets or often at libraries) or on- line through such services as FilmStruck (https://www.filmstruck.com/us/) or, in some cases, on YouTube (not as reliable). Films Week 1: 9/27 Wild Strawberries (1957, 91 mins) NOTE: screening at PFA Weds 9/25 Week 2: 10/4 The Virgin Spring (1960, 89 mins) Week 3: 10/11 Winter Light (1963, 80 mins) Week 4: 10/18 The Silence (1963, 95 mins) Week 5: 10/25 Persona (1966, 85 mins) Week 6: 11/1 Hour of the Wolf (1968, 90 mins)
[Show full text]
Feature Films
NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 ..........................
[Show full text]
February 2018 at BFI Southbank Events
BFI SOUTHBANK EVENTS LISTINGS FOR FEBRUARY 2018 PREVIEWS Catch the latest film and TV alongside Q&As and special events Preview: The Shape of Water USA 2017. Dir Guillermo del Toro. With Sally Hawkins, Michael Shannon, Doug Jones, Octavia Spencer. Digital. 123min. Courtesy of Twentieth Century Fox Sally Hawkins shines as Elisa, a curious woman rendered mute in a childhood accident, who is now working as a janitor in a research center in early 1960s Baltimore. Her comfortable, albeit lonely, routine is thrown when a newly-discovered humanoid sea creature is brought into the facility. Del Toro’s fascination with the creature features of the 50s is beautifully translated here into a supernatural romance with dark fairy tale flourishes. Tickets £15, concs £12 (Members pay £2 less) WED 7 FEB 20:30 NFT1 Preview: Dark River UK 2017. Dir Clio Barnard. With Ruth Wilson, Mark Stanley, Sean Bean. Digital. 89min. Courtesy of Arrow Films After the death of her father, Alice (Wilson) returns to her family farm for the first time in 15 years, with the intention to take over the failing business. Her alcoholic older brother Joe (Stanley) has other ideas though, and Alice’s return conjures up the family’s dark and dysfunctional past. Writer-director Clio Barnard’s new film, which premiered at the BFI London Film Festival, incorporates gothic landscapes and stunning performances. Tickets £15, concs £12 (Members pay £2 less) MON 12 FEB 20:30 NFT1 Preview: You Were Never Really Here + extended intro by director Lynne Ramsay UK 2017. Dir Lynne Ramsay. With Joaquin Phoenix, Ekaterina Samsonov, Alessandro Nivola.
[Show full text]
Radical Failure. the Reinvention of German Identity in the Films of Christian Schlingensief
XVI Jornadas Interescuelas/Departamentos de Historia. Departamento de Historia. Facultad Humanidades. Universidad Nacional de Mar del Plata, Mar del Plata, 2017. Radical Failure. The Reinvention of German Identity in the Films of Christian Schlingensief. Tindemans, Klass. Cita: Tindemans, Klass (2017). Radical Failure. The Reinvention of German Identity in the Films of Christian Schlingensief. XVI Jornadas Interescuelas/Departamentos de Historia. Departamento de Historia. Facultad Humanidades. Universidad Nacional de Mar del Plata, Mar del Plata. Dirección estable: https://www.aacademica.org/000-019/621 Acta Académica es un proyecto académico sin ﬁnes de lucro enmarcado en la iniciativa de acceso abierto. Acta Académica fue creado para facilitar a investigadores de todo el mundo el compartir su producción académica. Para crear un perﬁl gratuitamente o acceder a otros trabajos visite: https://www.aacademica.org. para publicar en actas Radical Failure. German Identity and (Re)unification in the Films of Christian Schlingensief. Bertolt Brecht, the German playwright, made a note about his play The Resistible Rise of Arturo Ui, written in 1941. The play depicts a Chicago gangster boss, clearly recognizable as a persiflage of Adolf Hitler. Brecht writes: “The big political criminals should be sacrificed, and first of all to ridicule. Because they are not big political criminals, they are perpetrators of big political crimes, which is something completely different.” (Brecht 1967, 1177). In 1997 the German filmmaker, theatre director and professional provocateur Christoph Schlingensief created the performance Mein Filz, mein Fett, mein Hase at the Documenta X – the notoriously political episode of the art manifestation in Kassel, Germany – as a tribute to Fluxus-artist Joseph Beuys.
[Show full text]
Zeughauskino: Hommage an Max Schreck
52 WIEDERENTDECKT WIEDERENTDECKT 53 Der Favorit der Königin restaurierte Fassung Hommage an Max Schreck SA 12.14. 54 Uhr An der Harfe: Merit Zloch + Einführung: Stefan Eickhoff Der am 6. September 1879 in Berlin geborene Darsteller Max D "#$$, R: Franz Seitz, B: Alfred Schirokauer, Franz Seitz, K: Karl Attenberger, Franz Planer, D: Hanna Ralph, Maria Mindszenty, Alf Blütecher, Max Schreck, Schreck schuf mit dem „Nosferatu“ eine der einprägsamsten ECƘƐ Ő DE mm, dt. ZT Kinofiguren. Als wandlungsfähiger Charakterdarsteller der Die 1922 auf dem Geiselgasteiger Filmgelände gedrehte Großpro- Bühne wurde Schreck zu Lebzeiten nicht auf diese Rolle festge- duktion Der Favorit der Königin lehnt sich an Ernst Lubitschs legt. Vielmehr profilierte er sich an literarisch fortschrittlichen Historienfilme Anna Boleyn und Madame Dubarry an. Der Film sollte Bühnen wie den Münchner Kammerspielen und dem Berliner helfen, die Münchner Lichtspielgesellschaft Emelka neben der Ufa Staatstheater in grotesken Nebenrollen, sorgfältig ausgestal- und München als Filmstadt neben der Filmmetropole Berlin zu teten Chargen und auch gelegentlichen Hauptrollen, wie z.B. etablieren. Der Favorit der Königin entwickelt seine Schauwerte vor in Molières Der Geizige . Nach seinem plötzlichen Tod im Febru- allem aus der makabren SuJet-Verortung. Ärzte versuchen einer ar 1936 geriet sein Name vorübergehend in Vergessenheit. Erst todesähnlichen Krankheit Herr zu werden und sezieren dazu trotz durch die Aufarbeitung des Stummfilmerbes nach dem Zweiten eines Verbots der Königin Leichen. Sie beschaffen sich die Leichen Weltkrieg wurde Schreck als „Nosferatu“ wiederentdeckt. illegal und werden angezeigt. Der verantwortliche Arzt wird Seine umfangreiche Arbeit an deutschen Theatern und im hingerichtet, doch sein Schüler führt dessen Werk fort. Erst als die Film verschwand dabei jedoch hinter dieser emblematischen Krankheit auch den Hof erreicht, lenkt die Königin ein.
[Show full text]
Brian Tufano BSC Resume
BRIAN TUFANO BSC - Director of Photography FEATURE FILM CREDITS Special Jury Prize for Outstanding Contribution To British Film and Television - British Independent Film Awards 2002 Award for Outstanding Contribution To Film and Television - BAFTA 2001 EVERYWHERE AND NOWHERE Director: Menhaj Huda. Starring Art Malik, Amber Rose Revah, Adam Deacon, Producers: Menhaj Huda, Sam Tromans and Stella Nwimo. Stealth Films. ADULTHOOD Director: Noel Clarke Starring Noel Clarke, Adam Deacon, Red Mandrell, Producers: George Isaac, Damian Jones And Scarlett Johnson Limelight MY ZINC BED Director: Anthony Page Starring Uma Thurman, Jonathan Pryce, and Producer: Tracy Scofield Paddy Considine Rainmark Films/HBO I COULD NEVER BE YOUR WOMAN Director: Amy Heckerling Starring Michelle Pfeiffer and Paul Rudd Producer: Philippa Martinez, Scott Rudin Paramount Pictures KIDULTHOOD Director: Menhaj Huda Starring Aml Ameen, Adam Deacon Producer: Tim Cole Red Mandrell and Jamie Winstone Stealth Films/Cipher Films ONCE UPON A TIME IN Director: Shane Meadows THE MIDLANDS Producer: Andrea Calderwood Starring Robert Carlyle, Rhys Ifans, Kathy Burke. Ricky Tomlinson and Shirley Henderson Slate Films / Film Four LAST ORDERS Director: Fred Schepisi Starring: Michael Caine, Bob Hoskins, Producers: Rachel Wood, Elizabeth Robinson Tom Courtenay, Helen Mirren, Ray Winstone Scala Productions LATE NIGHT SHOPPING Director: Saul Metzstein Luke De Woolfson, James Lance, Kate Ashfield, Producer: Angus Lamont. Enzo Cilenti andShauna MacDonald Film Four Intl / Ideal World Films BILLY ELLIOT Director: Steven Daldry Julie Walters, Gary Lewis, Jamie Draven and Jamie Bell Producers: Jon Finn and Gregg Brenman. Working Title Films/Tiger Aspect Pictures BBC/Arts Council Film. 4929 Wilshire Blvd., Ste. 259 Los Angeles, CA 90010 ph 323.782.1854 fx 323.345.5690 [email protected] BRIAN TUFANO BSC - Director of Photography WOMEN TALKING DIRTY Director: Coky Giedroyc Helena Bonham-Carter, Gina McKee Producers: David Furnish and Polly Steele James Purefoy, Jimmy Nesbitt, Richard Wilson Petunia Productions.
[Show full text]
Riccardo Fredaâ€™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.
[Show full text]
Set in Scotland a Film Fan's Odyssey
Set in Scotland A Film Fan’s Odyssey visitscotland.com Cover Image: Daniel Craig as James Bond 007 in Skyfall, filmed in Glen Coe. Picture: United Archives/TopFoto This page: Eilean Donan Castle Contents 01 * >> Foreword 02-03 A Aberdeen & Aberdeenshire 04-07 B Argyll & The Isles 08-11 C Ayrshire & Arran 12-15 D Dumfries & Galloway 16-19 E Dundee & Angus 20-23 F Edinburgh & The Lothians 24-27 G Glasgow & The Clyde Valley 28-31 H The Highlands & Skye 32-35 I The Kingdom of Fife 36-39 J Orkney 40-43 K The Outer Hebrides 44-47 L Perthshire 48-51 M Scottish Borders 52-55 N Shetland 56-59 O Stirling, Loch Lomond, The Trossachs & Forth Valley 60-63 Hooray for Bollywood 64-65 Licensed to Thrill 66-67 Locations Guide 68-69 Set in Scotland Christopher Lambert in Highlander. Picture: Studiocanal 03 Foreword 03 >> In a 2015 online poll by USA Today, Scotland was voted the world’s Best Cinematic Destination. And it’s easy to see why. Films from all around the world have been shot in Scotland. Its rich array of film locations include ancient mountain ranges, mysterious stone circles, lush green glens, deep lochs, castles, stately homes, and vibrant cities complete with festivals, bustling streets and colourful night life. Little wonder the country has attracted filmmakers and cinemagoers since the movies began. This guide provides an introduction to just some of the many Scottish locations seen on the silver screen. The Inaccessible Pinnacle. Numerous Holy Grail to Stardust, The Dark Knight Scottish stars have twinkled in Hollywood’s Rises, Prometheus, Cloud Atlas, World firmament, from Sean Connery to War Z and Brave, various hidden gems Tilda Swinton and Ewan McGregor.
[Show full text]
Title Call # Category Lang./Notes
Title Call # Category Lang./Notes K-19 : the widowmaker 45205 Kaajal 36701 Family/Musical Ka-annanā ʻishrūn mustaḥīl = Like 20 impossibles 41819 Ara Kaante 36702 Crime Hin Kabhi kabhie 33803 Drama/Musical Hin Kabhi khushi kabhie gham-- 36203 Drama/Musical Hin Kabot Thāo Sīsudāčhan = The king maker 43141 Kabul transit 47824 Documentary Kabuliwala 35724 Drama/Musical Hin Kadının adı yok 34302 Turk/VCD Kadosh =The sacred 30209 Heb Kaenmaŭl = Seaside village 37973 Kor Kagemusha = Shadow warrior 40289 Drama Jpn Kagerōza 42414 Fantasy Jpn Kaidan nobori ryu = Blind woman's curse 46186 Thriller Jpn Kaiju big battel 36973 Kairo = Pulse 42539 Horror Jpn Kaitei gunkan = Atragon 42425 Adventure Jpn Kākka... kākka... 37057 Tamil Kakushi ken oni no tsume = The hidden blade 43744 Romance Jpn Kakushi toride no san akunin = Hidden fortress 33161 Adventure Jpn Kal aaj aur kal 39597 Romance/Musical Hin Kal ho naa ho 41312, 42386 Romance Hin Kalyug 36119 Drama Hin Kama Sutra 45480 Kamata koshin-kyoku = Fall guy 39766 Comedy Jpn Kān Klūai 45239 Kantana Animation Thai Kanak Attack 41817 Drama Region 2 Kanal = Canal 36907, 40541 Pol Kandahar : Safar e Ghandehar 35473 Farsi Kangwŏn-do ŭi him = The power of Kangwon province 38158 Kor Kannathil muthamittal = Peck on the cheek 45098 Tamil Kansas City 46053 Kansas City confidential 36761 Kanto mushuku = Kanto warrior 36879 Crime Jpn Kanzo sensei = Dr. Akagi 35201 Comedy Jpn Kao = Face 41449 Drama Jpn Kaos 47213 Ita Kaosu = Chaos 36900 Mystery Jpn Karakkaze yarô = Afraid to die 45336 Crime Jpn Karakter = Character
[Show full text]
The Playfulness of Ingmar Bergman: Screenwriting from Notebooks to Screenplays
EUROPEAN JOURNAL OF MEDIA STUDIES www.necsus-ejms.org The playfulness of Ingmar Bergman: Screenwriting from notebooks to screenplays Anna Sofia Rossholm NECSUS (7), 2: Autumn 2018: 23–42 URL: https://necsus-ejms.org/the-playfulness-of-ingmar-bergman- screenwriting-from-notebooks-to-screenplays/ Keywords: archive, creative writing, genetic criticism, Ingmar Berg- man, Persona, play, screenplays, screenwriting The voice: You said you wanted to ‘play and fantasise’. Bergman: We can always try. The voice: That’s what you said: play and fantasise. Bergman: Sounds good. You don’t exist, yet you do. The voice: If this venture is going to make sense, you have to describe me. In detail actually. Bergman: Sit down on the chair by the window and I’ll describe you. The voice: I won’t sit down unless you describe me. Bergman: Well then. And how do I begin? You are very attractive. Most attractive.[1] This is the beginning of Ingmar Bergman’s screenplay Trolösa (Faithless, di- rected by Liv Ullmann in 2000). The dialogue, which is a prologue to the story, is a playful depiction of the author’s creative development of a fictional character. Step by step ‘the voice’ in the scene is given a body, name, and characteristics. Gradually she becomes the character ‘Marianne’. The question is how truthful this scene is to the actual creative process? Of course, it is not a description of what really happened in Bergman’s mind. The character Marianne probably did not appear as a sudden fantasy in the mind of the author. She is more likely a result of a long mental process over NECSUS – EUROPEAN JOURNAL OF MEDIA STUDIES many years.
[Show full text]
Intermediality As a Tool for Aesthetic Analysis and Critical Reflection, Edited by Sonya Petersson, Christer Johansson, Magdalena Holdar, and Sara Callahan, 49–74
The Intersection between Film and Opera in the 1960s: Ingmar Bergman’s Hour of the Wolf as an Example of Formal Imitation Johanna Ethnersson Pontara Abstract The topic of this article is the intersection between media genres in 1960s Sweden. In a case study of Ingmar Bergman’s Hour of the Wolf (1968) it is shown how the music contributes to intermedial qualities through the film’s connection with opera. It is argued that the film, by how the music is related to sound effects and images, can be seen as an example of formal imitation. The imitation of opera is created through technical media of film, such as fore- grounding of media in the audio-visual space, and manipulations of sounds, music, and images. Of special interest is how, by alter- nating between synchronicity and counterpoint between images, sound effects, and music, Bergman attracts attention to the media as visual and sonic experiences and creates formal structures that deviate from the overall character of the film. The intermedial di- mension of the film revealed by the analysis is contextualized in re- lation to the historical discussion of mixed versus pure medialities. The film is seen in the light of an interest in media genre mixedness versus media genre specificity in 1960s Sweden. Introduction In a review of Ingmar Bergman’s Hour of the Wolf (Vargtimmen, 1968) published in the American film journalFilm Quarterly How to cite this book chapter: Ethnersson Pontara, Johanna. “The Intersection between Film and Opera in the 1960s: Ingmar Bergman’s Hour of the Wolf as an Example of Formal Imitation.” In The Power of the In-Between: Intermediality as a Tool for Aesthetic Analysis and Critical Reflection, edited by Sonya Petersson, Christer Johansson, Magdalena Holdar, and Sara Callahan, 49–74.
[Show full text]
MARIO BAVA PART 1 the Day Ends, the End Begins
Dawn and lamplight, midnight, noon by the French as a caricature of a publicity- Sun follows day, night stars and moon loving surgeon who was frequently the butt of MARIO BAVA PART 1 The day ends, the end begins. satirists jokes.1 Peter Kemp LE PEINTRE NÉO-IMPRESSIONNISTE is Cohl’s 1. Jean Renoir: My Life and My Films, Collins, London, best known film, inspired by the work of the BLACK SUNDAY 1974, p.256 Incoherents, an art movement which was 2. André Bazin: Jean Renoir, WH Allen, London, 1974, forgotten by the general public by 1910, hence La Maschera Del Demonio / The p.118 Demon’s Mask / Revenge of the Vampire 3. Penelope Gillaitt: ‘Renoir: Le Meneur de Jeu’, Unholy the more recognisable, if less relevant reference Fools, Viking Press, New York, 1973, pp.318-319 to neo-impressionism in the film’s title. / The House of Fright Eugène Lourié selected filmography: Donald Crafton notes: 1960 ITALY 83 mins Madame Bovary 1934; Lower Depths 1936; La Grande The jokes arise from the interplay between the SEE MARIO BAVA FILMOGRAPHY FOR CREDITS, P.60 Illusion 1937; La Bête Humaine 1938; La Règle du Jeu ENGLISH LANGUAGE VERSION 1939; This Land is Mine 1943; The Southerner 1945; ridiculous titles and the colours in which the Diary of a Chambermaid 1946; The River 1951; various pictures originally would have been If Delphine Seyrig (still considered the Limelight 1952; Shock Corridor 1963; The Naked Kiss tinted. The title “First we have a picture definitive European lesbian vampire) can be 1964; Burnt Offering 1976; An Enemy of the People 1978 showing a cardinal eating lobster with described as, “an oozing French desert cheese” tomatoes by the Red Sea,” for instance, then Barbara Steele, the star of BLACK SUNDAY, CLONING THE FUTURE preceded a scene tinted entirely red.
[Show full text]