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Topaz (1969 Film) Actors List (Cast)
Topaz (1969 film) Actors List (Cast) John Forsythe https://www.listvote.com/lists/film/actors/john-forsythe-315217/movies Michel Subor https://www.listvote.com/lists/film/actors/michel-subor-561288/movies Sándor Szabó https://www.listvote.com/lists/film/actors/s%C3%A1ndor-szab%C3%B3-1293775/movies Ben Wright https://www.listvote.com/lists/film/actors/ben-wright-2895601/movies Tina Hedström https://www.listvote.com/lists/film/actors/tina-hedstr%C3%B6m-548189/movies Ann Doran https://www.listvote.com/lists/film/actors/ann-doran-450047/movies Abel Fernandez https://www.listvote.com/lists/film/actors/abel-fernandez-2821506/movies Carlos Rivas https://www.listvote.com/lists/film/actors/carlos-rivas-2939437/movies Lew Brown https://www.listvote.com/lists/film/actors/lew-brown-15462667/movies Philippe Noiret https://www.listvote.com/lists/film/actors/philippe-noiret-106482/movies Roberto Contreras https://www.listvote.com/lists/film/actors/roberto-contreras-691844/movies Alfred Hitchcock https://www.listvote.com/lists/film/actors/alfred-hitchcock-7374/movies Michel Piccoli https://www.listvote.com/lists/film/actors/michel-piccoli-295257/movies Dany Robin https://www.listvote.com/lists/film/actors/dany-robin-279382/movies Sonja Kolthoff https://www.listvote.com/lists/film/actors/sonja-kolthoff-4959435/movies Carlos Rivas https://www.listvote.com/lists/film/actors/carlos-rivas-2459757/movies Frederick Stafford https://www.listvote.com/lists/film/actors/frederick-stafford-670311/movies Gregory Gaye https://www.listvote.com/lists/film/actors/gregory-gaye-3116367/movies -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
Simply-Hitchcock-1587911892. Print
Simply Hitchcock Simply Hitchcock DAVID STERRITT SIMPLY CHARLY NEW YORK Copyright © 2017 by David Sterritt Cover Illustration by Vladymyr Lukash Cover Design by Scarlett Rugers All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher at the address below. [email protected] ISBN: 978-1-943657-17-9 Brought to you by http://simplycharly.com Dedicated to Mikita, Jeremy and Tanya, Craig and Kim, and Oliver, of course Contents Praise for Simply Hitchcock ix Other Great Lives xiii Series Editor's Foreword xiv Preface xv Acknowledgements xix 1. Hitch 1 2. Silents Are Golden 21 3. Talkies, Theatricality, and the Low Ebb 37 4. The Classic Thriller Sextet 49 5. Hollywood 61 6. The Fabulous 1950s 96 7. From Psycho to Family Plot 123 8. Epilogue 145 End Notes 147 Suggested Reading 164 About the Author 167 A Word from the Publisher 168 Praise for Simply Hitchcock “With his customary style and brilliance, David Sterritt neatly unpacks Hitchcock’s long career with a sympathetic but sharply observant eye. As one of the cinema’s most perceptive critics, Sterritt is uniquely qualified to write this concise and compact volume, which is the best quick overview of Hitchcock’s work to date—written with both the cineaste and the general reader in mind. -
The Genius of Hitchcock Part One: August 2012
12/44 The Genius of Hitchcock Part One: August 2012 Special events include: x Tippi Hedren in Conversation x TV Preview + Q&A: THE GIRL – new BBC2 drama telling the full story of Hitchcock’s relationship with Tippi Hedren x Camille Paglia: Women & Magic in Hitchcock x The Lodger + composer Nitin Sawhney in Conversation Over the course of almost three months, Hitchcock’s surviving body of work as director will be presented in its entirety at BFI Southbank. The films will be grouped together, taking inspiration from one his most famous films to present the 39 Steps to the Genius of Hitchcock to help audiences increase their understanding of this complex and fascinating director. The first part of the BFI Southbank season in August, with special thanks to Sky Movies/HD, focuses on the first 12 steps, beginning with The Shaping of Alfred Hitchcock. The recent discovery in New Zealand of several reels of The White Shadow, scripted by Hitchcock, made international headlines. But other material, too, survives from his apprentice years, prior to The Pleasure Garden. In The Shaping of Hitchcock: Reflections on The White Shadow author Charles Barr will present a richly illustrated narrative of Hitchcock’s formative years, as an introduction to a screening of the thus-far incomplete The White Shadow (1924). BFI Future Film presents The DIY Thriller Film Fortnight to accompany the second step: The Master of Suspense. This course will give participants aged 15-25 the chance to make short thriller films inspired by Hitchcock. The Evolution of Style will look at the development of Hitchcock’s style – described by the director as ‘the first true Hitchcock film’, The Lodger (1926) introduces themes that would run through much of Hitchcock’s later work. -
"Enhanced Filmography." Hitchcock's Appetites
McKittrick, Casey. "Enhanced Filmography." Hitchcock’s Appetites: The corpulent plots of desire and dread. New York: Bloomsbury Academic, 2016. 176–192. Bloomsbury Collections. Web. 25 Sep. 2021. <http://dx.doi.org/10.5040/9781501311642.0013>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 17:41 UTC. Copyright © Casey McKittrick 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. Enhanced Filmography 1) The Pleasure Garden (1925) Screenplay : Eliot Stannard, based on the novel The Pleasure Garden by Oliver Sandys Producer : Michael Balcon, Erich Pommer, Bavaria Film, Gainsborough Pictures, M ü nchner Lichtspielkunst AG (Emelka) Runtime : 75 minutes Cast : Virginia Valli, Carmelita Geraghty, Miles Mander, John Stuart, Ferdinand Martini, Florence Helminger During two intercut dinner table sequences, two couples sit with tea sets and small plates in front of them; the couple that is eating and drinking end up falling in love. 2) The Lodger (also titled The Lodger: A Story of the London Fog ) (1927) Screenplay : Eliot Stannard, Alfred Hitchcock (uncredited), based on the novel The Lodger and the play Who Is He? , both by Marie Belloc Lowndes Producer : Gainsborough Pictures, Carlyle Blackwell Productions, Michael Balcon, Carlyle Blackwell Runtime : 68 minutes Cast : Marie Ault, Arthur Chesney, June, Malcolm Keen, Ivor Novello When the Lodger (Ivor Novello) arrives at the Buntings ’ boardinghouse, he immediately requests some bread, butter, and a glass of milk. Hitchcock wanted to suggest that he was preserving his waifi sh fi gure. 3) Downhill ( When Boys Leave Home ) (1927) Screenplay : Constance Collier (play), Ivor Novello (play), Eliot Stannard (adaptation) Producer : Gainsborough Pictures, Michael Balcon, C. -
Ambitos REVISTA 2016.Pmd
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sapientia ÁÁMBITOMBITOSS 13 REVISTA DE ESTUDIOS DE CIENCIAS SOCIALES Y HUMANIDADES, núm. 38 (2017) , pp. 13-22. I.S.S.N.: 1575-2100. Géneros populares y cine transnacional en la Europa mediterránea: André Hunebelle y el cine de aventuras Jorge Manuel Neves Carrega* UNIVERSIDADE DO ALGARVE Resumen: Entre mediados de los años cincuenta y setenta, la inversión en la coproducción cinematográfica entre los países de la Europa mediterránea condujo al desarrollo del género popular como la película de capa y espada, peplum y euro-western. A menudo analizadas desde una perspectiva puramente nacional, estas películas representan, sin embargo, un ejemplo paradigmático de cine transnacional que permitió a las industrias cinematográficas italianas, francesas y españolas combatir la hegemonía comercial del cine de Hollywood. Basado en el estudio de un caso, el de la carrera del director André Hunebelle, este artículo propone analizar el papel de la coproducción de películas de aventuras en el desarrollo de un cine transnacional en la Europa mediterránea . Palabras clave: Cine transnacional en la Europa mediterránea, géneros populares, cine de aventuras, André Hunebelle, El Capitán, Banco à Bangkok pour OSS 117. Popular genres and transnational cinema in mediterranean Europe: André Hunebelle and the adventure movie Abstract: Between the mid-1950s and the mid1970s, investment in film co-production among the countries of Mediterranean Europe led to the blooming of popular genres like the swashbuckler, peplum and euro-western. Often analysed from a purely national perspective, these films represent, however, a paradigmatic example of a transnational cinema that allowed the Italian, French and Spanish film industries to fight against the commercial hegemony of Hollywood cinema. -
PROLOGUE Le Premier Roman D'espionnage a Être Publié Au
PROLOGUE Le premier roman d’espionnage a être publié au début des années 50 dans Playboy est Casino Royal d’un inconnu complet Ian Fleming. L’ouvrage marquera peu les esprits autant tout le monde se souviendra de Marilyn Monroe autant tout le monde ne se souviendra que très peu de ce premier roman. Et puis un producteur Harry Saltzman s’intéressera au roman quelques années plus tard il s’associera à Albert R Broccoli et … mais vous connaissez la suite. Pendant 1 ce temps en France ou en Angleterre il y a deux séries qui marchent fort mais que James Bond finira par faire tomber dans l’oubli. OSS 117 et Le Saint sont deux excellents romans, Leslie Charteris pour le deuxième, Jean Bruce mais aussi sa femme Josette et ses enfants François et Martine écriront pendant des années les histoires du premier. 2 OSS 117 avant d’être parodié de façon un peu pitoyable par Jean Dujardin fut un excellent héros tant dans les romans que dans d’excellents films avec entre autre Frederik Stafford ou John Gavin (ce dernier fut envisagé un temps pour succéder à Sean Connery dans Au service secret de sa majesté), les romans étaient excellents surtout ceux de Jean Bruce même s’ils donnaient moins dans les descriptions à n’en plus finir de Ian Fleming et finalement c’était tant mieux. Le style des OSS 117 était plus simple 3 mais aussi je crois plus rapide, plus percutant, il faut quand même se souvenir qu’il faut attendre la page 160 dans Motel 007 (the spy who loved me) avant qu’il y ait un début d’histoire. -
Le Film D'espionnage
Les CinéStories de l’ LE FILM D’ESPIONNAGE HITCHCOCK, CRÉATEUR DU GENRE deux inconnus qui feront entrer son héros Au cours des trois premières décennies du dans la légende, Sean Connery et Terence XX ème siècle, cinéma et littérature populaire Young avec James Bond contre Dr No (1962). présentent l’espionnage en mélodrame Le succès planétaire de la franchise 007 victorien peuplé de beaux officiers trahis par occultera toute tentative sérieuse de rendre de flamboyantes courtisanes. Le compte à l’écran des réalités de la guerre renseignement moderne existe pourtant froide. Les remarquables adaptations depuis Bismarck, mais il faut attendre la fin britanniques des romans de Len Deighton de la Seconde Guerre mondiale pour que (Ipcress danger immédiat ) et de John Le soit évoquée, sans trop de fantaisie, la Carré ( L’Espion qui venait du froid ), à défaut réalité de l’espionnage. Dans l’intervalle, de toucher le grand public, montrent avec L’Homme qui en savait trop (1934), néanmoins que le genre peut donner autre Alfred Hitchcock invente un nouveau chose que des divertissements sans divertissement, le spy thriller , où l’action et épaisseur. Avec Les 3 Jours du condor , les courses-poursuites remplacent Sydney Pollack signe un double succès avantageusement intrigues de boudoir et critique et commercial, anticipant sur la envolées sentimentales. Le héros est un révolution du genre des années 2000. homme de la rue ballotté entre des forces antagonistes aussi obscures les unes que les APRÈS LA CHUTE DU MUR autres. Travaillant à Londres en 1943 pour le Il faut pratiquement une décennie entière ministère de la Guerre, Hitchcock réalise pour que le cinéma américain digère la d’après une histoire vraie Bon voyage , chute du mur de Berlin et soit en état de remarquable court métrage de 26 minutes, présenter un cinéma d’espionnage préfigurant ce que deviendra le cinéma totalement débarrassé des clichés des d’espionnage réaliste : pas d’action mais un années 1960. -
Public Domain Movies
Public Domain Films 1 Public Domain Movies Public domain films may be re-sold on DVD, shown on TV, in theaters, streamed on the Internet, used for stock footage and many other purposes -- all without paying royalties since the copyrights have long expired. Films are sold on DVD-R or Mpeg2 video files. The Public Domain films and TV shows in the library: 1) Are Clean. They contain no logos or watermarks in the corners. 2) Come with information as to WHY they are in the public domain. 3) DVDs contain no copy guard and are easy to rip and copy. 4) No phony "FBI Warnings" before the start of each film. 5) Quality guarantee. 6) Free replacement of any films not up to our normal high standards. These pages are a partial listing of the Festival Films Library that divides out the Color films and indicates approximate gigabyte size for many films. Read more about the films at the Festival Films Website. Television Shows All are half-hour TV shows, unless noted. Some contain original commercials. All are available on Mpeg2 video files as well as DVD-R. ADVENTURE TV SHOWS -- all are half-hour The Adventures of Robin Hood - 143 episodes 113gb The Adventures of Sir Lancelot - 30 episodes 23.75gb • The Buccaneers - 30 episodes 23.6gb Captain Gallant of the Foreign Legion - 12 episodes 8.86gb • Flash Gordon - 14 episodes 11.45gb Passport to Danger - 13 episodes 11.37gb • Ramar of the Jungle - 24 episodes 19.91gb Rocky Jones, Space Ranger - 20 shows 16.44gb Sergeant Preston of the Yukon - 12 episodes 9.8gb • Sheena, Queen of the Jungle - 16 episodes 13.14gb • Terry and the Pirates - 16 episodes 13.19gb Public Domain Films 2 • • TOTAL = 330 TV shows 264gb c. -
12 Years a Slave (Steve Mcqueen, 2013): Redefining the Contours of the Classic Biopic? Anne-Marie Paquet-Deyris
Transatlantica Revue d’études américaines. American Studies Journal 1 | 2018 Slavery on Screen / American Women Writers Abroad: 1849-1976 Electronic version URL: http://journals.openedition.org/transatlantica/11425 DOI: 10.4000/transatlantica.11425 ISSN: 1765-2766 Publisher AFEA Electronic reference Transatlantica, 1 | 2018, “Slavery on Screen / American Women Writers Abroad: 1849-1976” [Online], Online since 27 August 2018, connection on 29 April 2021. URL: http://journals.openedition.org/ transatlantica/11425; DOI: https://doi.org/10.4000/transatlantica.11425 This text was automatically generated on 29 April 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. 1 TABLE OF CONTENTS L’esclavage à l’écran / Slavery on Screen Dirigé par Michaël Roy et Philip Kaisary / Edited by Michaël Roy and Philip Kaisary Introduction« A hole in the canon of cinema » ? L’esclavage nord-américain à l’écran Michaël Roy From Uncle Tom to Nat Turner: An Overview of Slavery in American Film, 1903-2016 Melvyn Stokes « Spirit of the dead, rise up! […] and claim your story ». Représentation de l’esclavage et esthétique de la résistance dans Sankofa (Haile Gerima, 1993) Claire Dutriaux Confronting Race Head-on in 12 Years a Slave (Steve McQueen, 2013): Redefining the Contours of the Classic Biopic? Anne-Marie Paquet-Deyris “Queen of the fields”: Slavery’s Graphic Violence and the Black Female Body in 12 Years a Slave (Steve McQueen, 2013) Hélène Charlery The Birth of a Nation (Nate Parker, 2016): The Tale of Nat Turner’s Rebellion Delphine Letort American Women Writers Abroad: 1849-1976 Edited by Stéphanie Durrans American Women Writers Abroad: Myth and Reality Stéphanie Durrans In, Out, and Beyond: Dislocation, Contamination and the Redemptive Power of Womanhood in California, In-doors and Out by Eliza W.