DOCSLIB.ORG

November 2018 Kinoprogramm Filmmuseum

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
November 2018 Kinoprogramm Filmmuseum Filmmuseum November 2018 Kinoprogramm Ausstellungen · Projekte 2 ALLGEMEINE INFORMATION Tel. 069 - 961 220 - 0 TICKETRESERVIERUNG Tel. 069 - 961 220 220 Impressum Herausgeber: Deutsches Filminstitut – DIF e.V. BARBARA BAUM Schaumainkai 41 FRÄULEIN SMILLAS GESPÜR FÜR SCHNEE 60596 Frankfurt am Main ≥ Seite 11 Vorstand: Ellen Harrington Dr. Nikolaus Hensel Direktorin: Ellen Harrington (V.i.S.d.P.) Presse und Redaktion: Frauke Haß (Ltg.), Jonas Ebling Texte: Andreas Beilharz, GabyI Babic, Ines Bayer, Jonas Ebling, Jenni Ellwanger, Julia Fleißig, Natascha Gikas, Winfried Günther, Anne Kerleau, Björn Schmitt, Urs Spörri, Laura Teixeira, Treppe 41 Vorführer / innen: Christian Appelt, Michael Besser, Pramila Chenchanna, Hans-Peter Marbach, Günther Volkmann Gestaltung: Optik — Jens Müller optik-studios.de Druck: FISSLER & SCHRÖDER GbR – Kompetenz in Print und Medien, 63571 Gelnhausen Anzeigen (Preise auf Anfrage): Presse- und Öffentlichkeitsarbeit Tel.: 069 - 961 220 222 E-Mail: [email protected] Abbildungsverzeichnis: Alle Abbildungen stammen aus dem Bildarchiv des Deutschen Filminstituts, sofern nicht anders verzeichnet. Unser Ziel ist es, lesbare und zugleich gendersensibel formulierte Texte zu verfassen. Dabei gibt es eine Vielzahl von Möglichkeiten. Mit der von uns gewählten Schreib- weise adressieren wir alle Geschlechteridentitäten. Titelmotiv: HE RAN ALL THE WAY (USA 1951. R: John Berry) ≥ Seite 18 INHALT 3 Editorial 4 Wir sind dff.film 5 HAUTNAH. Die Filmkostüme von Barbara Baum 6 Fotoworkshop Ragnar Knittel 12 Save the Date: Die lange Oscarnacht 2019 13 Master Filmkultur künftig auch in Nigeria 14 Lucas #41 16 Filmprogramm The Hollywood Blacklist 18 Días de Cine - Lateinamerikanisches Filmfest 23 Remake - Frankfurter Frauen Film Tage 28 Klassiker & Raritäten: 1968 - Die Revolte im Film 33 Lecture & Film: Chantal Akerman 36 Filmclub Treppe 41 41 Kinderkino 42 Late Night Kultkino 44 Was tut sich - im deutschen Film? 45 Human Rights Watch 46 Cinéfête - Französisches Schulfilmfestival 46 Western - Made in Germany 47 Kino & Couch: CET OBSCUR OBJET DU DÉSIR 47 Service Programmübersicht 48 Eintrittspreise / Anfahrt 52 KLASSIKER & RARITÄTEN THE DREAMERS ≥ Seite 35 4 EDITORIAL Liebe Kinofreund/innen, liebe Besucher/innen des Deutschen Filmmuseums, Das Jahr neigt sich dem Ende und zeigt Arbeiten der Regisseurin Re- die Tage werden kürzer. Das Kino cha Jungmann, die vom Archiv des des Deutschen Filminstituts & Film- Deutschen Filminstituts & Filmmu- museums lädt Sie im November zu seums digitalisiert wurden. einer Reise um den Globus ein – von einem unserer ausgesprochen be- In Kooperation mit Human Rights quemen Kinosessel aus. Zahlreiche Watch zeigen wir außerdem den Premieren und internationale Gäste Flüchtlingsfilm THE CROSSING. Die bereichern unser Programm in die- Reihe Klassiker & Raritäten ist im sem Monat. November dem 50. Jahrestag der 1968er-Bewegung gewidmet. Eric Unsere neue Ausstellung HAUT- Kuyper, früherer Direktor des EYE NAH. Die Filmkostüme von Filmmuseums in Amsterdam wird Barbara Baum feiert das Gewerk in der Reihe Lecture & Film eine des Kostümbilds, dessen Akteure Vorlesung zur Arbeit der Regisseu- ja oft übersehen werden. Obwohl rin Chantal Akerman halten. Kino & Barbara Baum vor allem bekannt ist Couch präsentiert den Luis Buñuel- für ihre langjährige Zusammenarbeit Klassiker CET OBSCUR OBJET DU mit Rainer Werner Fassbinder (hier DÉSIR. etwa LOLA), würdigt die begleiten- de Filmreihe zur Sonderausstellung Die Filmreihe The Hollywood Black- ihre Arbeit mit fünf verschiedenen list, präsentiert über den ganzen internationalen Regisseuren, darun- Monat hinweg besondere Filme, ter Bille August (SMILLA’S SENSE die unter Mitwirkung von verfolg- OF SNOW) oder Volker Schöndorff ten Regisseuren und Schauspie- (HOMO FABER). lern während der McCarthy-Ära in den USA zwischen 1949 und 1951 Das 6. DÍAS DE CINE nimmt uns entstanden sind. Hier werden teils mit nach Mittel- und Südamerika vergessene Werke von Regisseuren und präsentiert aktuelle Arbeiten wie Jules Dassin (THIEVES’ HIGH- mit Gästen wie dem mexikanischen WAY), Joseph Losey (M), Zoltan Filmemacher Jorge Ramirez (LA Korda (CRY THE BELOVED COUNT- GRAN PROMESA, Europapremie- RY), Michael Curtiz (THE BREAKING re), der chilenischenSchauspielerin POINT) and Joseph H. Lewis (GUN Daniela Ramirez (AUSENCIA), dem CRAZY) zu sehen sein. Verpassen guatemaltekischen Regisseur Rodri- Sie diese Filme nicht auf der großen go Rey Rosa (CARCEL DE ARBO- Leinwand! LES), dem Mexikaner Andres Calri- ond (HILDA) und den Kolumbianern Ihre Javier Gutierrez sowie Greg Slagle (LA DEFENSA DES DRAGON). Das neue Festival REMAKE – Ellen Harrington Frankfurter Frauen Film Tage Direktorin Haben Sie eS ScHon bemerkt? Im Deutschen Filminstitut & Filmmuseum tut sich derzeit eine Menge. Als erstes werden Sie auf unsere künftige Webdomain dff.film stoßen. Was darüber hinaus geplant ist, erfahren Sie hier: wir-Sind.dff.film a6 USStellUnG „Ich denke immer in Stoffen“ Sinnliche Zugänge in HAUTNAH. Die Filmkostüme von Barbara Baum Ausstellung vom 23. Oktober 2018 bis 10. März 2019 Schließen Sie einmal die Augen und Dafür setzt die Ausstellung auf ein stellen Sie sich „Eleganz“ vor: Flie- besonderes Vermittlungskonzept, ßende, hochwertige Stoffe, geschmei- das die Sinnlichkeit der Film-Stoffe dige Bewegungen. Ein Mann, eine in den Mittelpunkt rückt. Mit Unter- Frau? Eine Körperhaltung, die zugleich stützung des Blinden- und Sehbehin- lässig und formvollendet wirkt. Ein dertenbund in Hessen und gefördert schlichtes, bodenlanges Abendkleid durch die Commerzbank-Stiftung ent- oder ein cool über die Schulter gewor- stand ein Rundgang durch die Welt fenes Jackett: Klaus Maria Brandau- der Filmstoffe, der mit allen Sinnen er hat sie. Jessica Schwarz als Romy erfahrbar ist. Ein taktiles Leitsystem Schneider hat sie. Und Barbara Baum führt sehende und sehbehinderte Be- hat die Kleider dazu entworfen. sucher/innen „hautnah“ zu den Ori- ginalkostümen von Weltstars wie Ca- Die Sonderausstellung HAUTNAH. therine Zeta-Jones, Jeanne Moreau Die Filmkostüme von Barbara und Burt Lancaster. An Taststationen Baum liefert vom 23. Oktober 2018 können sich Besucher/innen in die de- bis zum 10. März 2019 eine Antwort tailverliebten Audiobeiträge der Ber- auf die Frage, aus welchen Stoffen liner Firma audioskript vertiefen. Das Filmträume gemacht sind. Sie lässt Besondere: Die Deskriptionen sind in mit mehr als 50 Originalkostümen der Tandems aus sehenden und blinden preisgekrönten Kostümbildnerin er- Autor/innen entstanden. Durch ein- leben, was es bedeutet, „in Stoffen“ drückliche Beschreibungen der Kos- zu denken: Besucher/innen betreten tüme und ihrer Träger/innen lassen hier eine Welt, in der ein schlechtes sie ein lebendiges Bild der Figuren vor Gewissen so viel wiegt wie der Pelz dem inneren Auge entstehen. um die Schultern und ein Kleid luftig leicht wird, wenn man damit sämtli- „Die Kunst der Beschreibung liegt che Konventionen abwirft. darin, zu erfassen, um was es beim 7 TAKTILER AUSSTELLUNGSPLAN taktiler sellungsplan LEGENDE 12 legende 9 SIE SIND HIER 10 11 sie sind hier 8 EIN- UND AUSGANG n-und sgang AUSSTELLUNGSMOBILIAR 7 sellungsmobiliar 14 TASTSTATIONEN 13 taationen 6 AUFZUG fzug TREPPE treppe 4 NOTAUSGANG 5 3 notsgang An taktilen Stationen SITZGELEGENHEITEN 2 sitzgelegenh ten der Firma Tactile Studio 1 – Kostümbibliothek LICHTHOF 2 – Ausbildung und frühe Arbeiten 3 – Ausstellungstitel lithof 4 – Anprobenfotos erfühlen Besucher/in- 5 – Buddenbrooks 1 6 – Väter und Söhne 7 – Brennendes Geheimnis; Colette 8 – Romy; Der große Bagarozy; Das Mädchen Rosemarie 9 – Das Geisterhaus nen den Ausstellungs- 10 – Homo Faber 11 – Aimée und Jaguar 12 – Katharina die Große 13 – Zusammenarbeit mit Rainer Werner Fassbinder qr code raum und die Exponate 14 – Arbeitsarchiv von Barbara Baum Exponat geht“, erklärt audioskript- Feld von Margeriten. Godet – Plissee Chef Alexander Fichert, der die Audi- – Rüsche und Borte – Begriffe aus odeskription gemeinsam mit dem der Mode werden in ihrer Funktion Kuratorenteam des Deutschen Film- erklärt und detailgetreu beschrieben. instituts & Filmmuseums ausgear- Das regt nicht nur die Fantasie an, beitet hat: „Was fällt beim Betrach- sondern ist auch noch ungeheuer ten zuerst ins Auge? Welcher Linie lehrreich“. folgt der Schnitt? Blinde Menschen erschließen Gegenstände dage- Neben den Audiodeskriptionen tre- gen besonders durch deren Haptik, ten die Filmausschnitte selbst in Di- durch ein Ertasten. Beides emp- alog mit den ausgestellten textilen findet die Deskription mit sprachli- Kunstwerken. Auf insgesamt 21 digi- chen Mitteln nach und ermöglicht talen Leinwänden sind Videoinstalla- damit Sehenden und Blinden ein tionen aus Schlüsselszenen essayis- tieferes Eintauchen in das Kostüm tisch montiert. in all seiner Detailfülle. Die Reihen- folge der Beschreibung von Details Auf neun um den Raum angeordne- spielt dabei eine ebenso große Rolle ten Bühnen führt der Rundgang zu wie Sprachbilder, die etwa Größen- den Kostümen von Barbara Baum, und Längenverhältnisse ins Ver- von der Zusammenarbeit mit Vol- hältnis zum Körper der Figur setzen ker Schlöndorff und Bernd Eichinger und Ornamente genau verorten. Sie über europäische und internationale machen Kostüme in ihrer Stofflichkeit Großproduktionen hin zur langjähri- sinnlich, ja emotional erfahrbar. Ein gen Arbeit für Rainer Werner Fass- prächtiges Kleid mit Blumenmuster, binders Filme. Jeweils ein filmisches das schon in der Anschauung so reiz- Werk oder ein Regisseur und ein he- voll zu erschließen ist, wird in der rausragendes
Load more

Recommended publications
  • And Marxism in Pre-Blacklist Hollywood
    Introduction Contextualizing the tension between the ‘American Dream’ and Marxism in pre-blacklist Hollywood The relationship between labour and capital in Hollywood was never noted for its harmony. Nevertheless, the class conflict within the American film industry usually resulted in workable compromises, albeit within a political framework limited by the prohibitive moral strictures of the Production Code of 1935 and the Motion Pictures Association of America (MPAA). Even the establishment of the House Committee on Un-American Activities (HUAC) in 1938, known as the Dies Committee after its first chairman Martin Dies Jr. (D-TX), did not significantly alter the uneasy co-existence between the Hollywood Left talent and old studio moguls. That is, not before the post-war reincarnation of HUAC, which left no room for political compromise: from 1947, the Committee went after Hollywood in earnest. Sometimes referred to as the Second Red Scare – the first followed the Russian Revolution – the political repression that followed in its wake is more commonly associated with Joseph McCarthy, a junior congressman from Wisconsin, who spearheaded the government attack on any political and cultural manifestation of un-Americanism (more precisely, anti-capitalism). This unconstitutional attack on freedom of expression at the hands of the Congress marked a watershed not only in the relationship between labour and capital in Hollywood, but in the evolution of the dominant political aesthetics of American cinema. Thirty years ago, film 1 historian Richard
    [Show full text]
  • Amy | ‘Tis the Season | Meru | the Wolfpack | the Jinx | Big Men | Caring for Mom & Dad | Walt Disney | the Breach | GTFO Scene & He D
    November-December 2015 VOL. 30 THE VIDEO REVIEW MAGAZINE FOR LIBRARIES NO. 6 IN THIS ISSUE Amy | ‘Tis the Season | Meru | The Wolfpack | The Jinx | Big Men | Caring for Mom & Dad | Walt Disney | The Breach | GTFO scene & he d BAKER & TAYLOR’S SPECIALIZED A/V TEAM OFFERS ALL THE PRODUCTS, SERVICES AND EXPERTISE TO FULFILL YOUR LIBRARY PATRONS’ NEEDS. Le n more about Bak & Taylor’s Scene & He d team: ELITE Helpful personnel focused exclusively on A/V products and customized services to meet continued patron demand PROFICIENT Qualified entertainment content buyers ensure frontlist and backlist titles are available and delivered on time SKILLED Supportive Sales Representatives with an average of 15 years industry experience DEVOTED Nationwide team of A/V processing staff ready to prepare your movie and music products to your shelf-ready specifications KNOWLEDGEABLE Full-time staff of A/V catalogers, backed by their MLS degree and more than 43 years of media cataloging expertise 800-775-2600 x2050 [email protected] www.baker-taylor.com Spotlight Review Amy HHH 2011, she died of alcohol toxicity at the age of Lionsgate, 128 min., R, 27. Drawing on early home movies, newsreel DVD: $19.98, Blu-ray: footage, and recorded audio interviews, Amy $24.99, Dec. 1 serves up a sorrowful portrait of an artist’s Publisher/Editor: Randy Pitman This disturbing, dis- deadly downward spiral. Extras include au- concerting, booze ‘n’ dio commentary by the director, previously Associate Editor: Jazza Williams-Wood drugs documentary unseen performances by Winehouse, and Copy Editor: Kathleen L. Florio about British song- deleted scenes.
    [Show full text]
  • He Ran All the Way (1951)
    10 Noir City Sentinel Nov / Dec 2009 AT THE CENTER OF THE STORM: E RAN H E WAY ALL TH AND THE HOLLYWOOD BLACKLIST by Jake Hinkson Special to the Sentinel e was born Jacob Julius Communist Party, was soon to be black- Garfinkle, a poor Jewish kid listed himself. He sold some occasional H from the Lower East Side of scripts under an alias, but Endore’s New York City. He spent some time in career in American film was essentially street gangs and ended up in a Bronx ruined. Likewise, the third writer on the school for troubled youth. After win- project, Hugo Butler (who did a minor ning a state debating contest, he rewrite of the script and received attended drama school and hit the stage screenplay credit with Endore) dodged a as a member of the Group Theater. It HUAC subpoena and was forced to wasn’t long before Hollywood came leave his career behind. Both he and courting and cast him in Michael Trumbo relocated to Mexico with their Curtiz’s smash hit Four Daughters in wives. Trumbo continued turning out 1938. Overnight he became a movie high quality work like Losey’s The star. The legend of John Garfield was Prowler and Byron Haskin’s The Boss. born. Most notably, he wrote Roman Holiday Thirteen years later, it ended with which won his front, Ian McLellan a thud. Accused of being a Communist Hunter, an Oscar for best screenplay and hounded by the House Un-Ameri- (Trumbo was given posthumous credit can Activities Committee, Garfield died in 1993).
    [Show full text]
  • The Family Tree of the Film Noir
    Paint It Black: The Family Tree of the Film Noir Raymond Durgnat (1970) In 1946 French critics having missed Hollywood films for five years saw suddenly, sharply, a darkening tone, darkest around the crime film. The English spoke only of the "tough, cynical Hammett-Chandler thriller," although a bleak, cynical tone was invading all genres, from The Long Voyage Home to Duel in the Sun. The tone was often castigated as Hollywood decadence, although black classics are as numerous as rosy (Euripides, Calvin, Ford, Tourneur, Goya, Lautreamont, Dostoievsky, Grosz, Faulkner, Francis Bacon). Black is as ubiquitous as shadow, and if the term film noir has a slightly exotic ring it's no doubt because it appears as figure against the rosy ground of Anglo-Saxon middle-class, and especially Hol- Iywoodian, optimism and puritanism. If the term is French it's no doubt because, helped by their more lucid (and/or mellow, or cynical, or decadent) culture, the French first understood the full import of the American development. Greek tragedy, Jacobean drama and the Romantic Agony (to name three black cycles) are earlier responses to epochs of disillusionment and alienation. But the socio-cultural parallels can't be made mechanically. Late '40s Hollywood is blacker than '30s precisely because its audience, being more secure, no longer needed cheering up. On the other hand, it was arguably insufficiently mature to enjoy the open, realistic discontent of, say, Hotel du Nord. Look Back In Anger, or Norman Mailer. The American film noir, in the narrower sense, paraphrases its social undertones by the melodramatics of crime and the underworld; Scarface and On the Waterfront mark its limits, both also "realistic" films.
    [Show full text]
  • Post-War America, the Hollywood Left and the Problem with Film Noir
    Re-examining the Maladjusted Text: Post-war America, the Hollywood Left and the Problem with Film Noir Robert John Manning PhD Thesis University of East Anglia School of Film, Television and Media Studies October 2015 “This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution.” Re-examining the Maladjusted Text: Post-war America, the Hollywood Left and the Problem with Film Noir Film noir is a term created after fact and applied back to films from a previous period and studies have often conflated very different films and privileged some facets over others in an endeavour to structure a definition. Some scholars have identified that a relatively small group of films came to be seen by the Hollywood Left as highly significant; and that their discussions of these films were the products of deeper anxieties faced by this group in the immediate post-war period. Subsequent conclusions were made that the Hollywood Left was opposed to this generalised categorisation similar to contemporary understandings of film noir. The thesis examines those films now considered as film noir in their original contexts. Studying the reception of films generally considered to be representative of contemporary understandings of film noir, such as Boomerang (Elia Kazan, 1947) The Big Sleep (Howard Hawks, 1946) and Crossfire (Edward Dmytryk, 1947) shows how they were parts of very different cycles at the time and not seen critically as a homogeneous group.
    [Show full text]
  • Gregory Peck CENTENNIAL
    ISSUE 76 AFI.com/Silver AFI SILVER THEATRE AND CULTURAL CENTER APRIL 29–JULY 7, 2016 GREGORY PECK CENTENNIAL PLUS DALTON TRUMBO SHAKESPEARE CINEMA DYLAN IN THE MOVIES WAGNER ON SCREEN FESTIVAL OF NEW SPANISH CINEMA WASHINGTON DC FANTASTIC FILM SHOwcASE Contents Special Engagements Special Engagements ......................2, 3 10th Anniversary! Gregory Peck Centennial .............................4 IDIOCRACY – All Tickets $5! Fri, Apr 29, 9:30; Sat, Apr 30, 9:30; Mon, May 2, 5:15; Shakespeare Cinema, Part III ...................6 Tue, May 3, 5:15; Wed, May 4, 5:15; Thu, May 5, 5:15 Stage & Screen .....................................7 Like his 1999 film OFFICE SPACE, Mike Judge’s satirical comedy IDIOCRACY has become a bona fide cult classic since its original Dalton Trumbo: Radical Writer .................8 theatrical release. An army experiment places two exceedingly average Dylan in the Movies .............................10 test subjects — Army Corporal Luke Wilson and prostitute Maya Rudolph Wagner on Screen — in suspended animation. They awake 500 years in the future to ..............................11 discover that America has become exponentially dumber, a dystopian Festival of New Spanish Cinema ...........12 world of commercial oppression, junk food diets, overflowing garbage Jean-Luc Godard: Rare and Restored 12 and crass anti-intellectualism. They are now the two smartest people alive. ...... DIR/SCR/PROD Mike Judge; SCR Etan Cohen; PROD Elysa Koplovitz Dutton. U.S., 2006, color, 84 min. Korean Film Festival DC ........................13
    [Show full text]
  • Noir City Sentinel 15
    July / Aug 2009 Noir City Sentinel 15 THE SENTINEL INTERVIEW ARNOLD LAVEN TALES OF THE DARK SIDE Arnold Laven is not typically associated with film noir. The vet- eran director/producer/writer is probably best remembered for his thoughtful war drama The Rack (1956), starring a young Paul Newman, and a pair of hit television series, The Rifleman and The Big Country, produced in conjunction with his longtime partners Arthur Gardner and the late Jules V. Levy. Laven also directed several superior crime films, including Without Warning! (1952), Hollywood’s first contemporary-serial-killer movie, and the n underrated Slaughter on Tenth Avenue (1957). During a wide- e v a L d ranging conversation with Alan K. Rode, Laven comes across as l o n r A y a charming man who, in the words of Sydney Greenstreet’s s e t r u Kasper Gutman, “likes to talk to a man who likes to talk.” o C Sentinel: Tell me about your early life think it paid 25 cents an hour—this at Warner Bros. He broke me in on the important. A secondary responsibility and how you got into the motion was in 1939 or 1940. My father military training films and I learned by was continuity. If someone in the picture business. insisted that I should get inside the observation. There were some fine scene was smoking a cigarette in a studio, so I took it. At Warner Bros. I directors working on these films as close-up at a certain point, when you Arnold Laven: My family moved to was in and out of the mail room.
    [Show full text]
  • Hollywood Blacklist: Spring 2013 Dvds 1 of 9
    Hollywood Blacklist: Spring 2013 DVDs 1 of 9 OLLI: Spring 2013: Hollywood Blacklist: DVDs in Class Portable Library HB: Hollywood Blacklist connection: key: *: blacklisted; #: "friendly witness"; *#: blacklisted & later gave "friendly" testimony FILM YEAR DIRECTOR ACTORS PLOT / HB: BLACKLIST CONNECTION ABBOTT & COSTELLO MEET 1948 Charles Barton Bud Abbott, Lou Costello, Lon Chnaey 2 hapless freight handlers encounter famous monsters; HB: Robert FRANKENSTEIN Jr., Bela Lugosi Lees*, Frederic I. Rinaldo* ALL THE KING'S MEN 1949 Robert Rossen Broderick Crawford, John Ireland, Rise & fall of corrupt politician who makes his friends richer & Joanne Dru, Mercedes McCambridge retains power thru populist control; HB: Robert Rossen# AMERICA AMERICA 1963 Elia Kazan Stathis Giallelis, Frank Wolff, Elena A young Anatolian Greek, entrusted with his family's fortune, Karam, Harry Davis, Estelle Hemsley dreams of going to America; HB: Elia Kazan# THE ASPHALT JUNGLE 1950 John Huston Sterling Hayden, Louis Calhern, Jean Major heist goes off as planned, then things start to unravel; HB: Hagen, Sam Jaffe, Marilyn Monroe Ben Maddow*#; Sterling Hayden#, Sam Jaffe*, Dorothy Tree* BACK TO BATAAN 1945 Edward Dmytryk John Wayne, Anthony Quinn, Beulah The US Army is helped in its defense of the Philippines by heroic Bondi, Fely Franquelli, Richard Loo Filipinos; HB: Edward Dmytryk*#, Ben Barzman* BIG CITY 1937 Frank Borzage Luise Rainer, Spencer Tracy, Charles Proletarian solidarity featured in tale of Russian refugee Rainer Grapewin, Janet Beecher married to cab driver Tracy; HB: Hugo Butler* THE BIG KNIFE 1955 Robert Aldrich Jack Palance, Ida Lupino, Wendell Successful Hollywood actor must make critical decisions regarding Corey, Jean Hagen, Rod Steiger his career & his morality; HB: Clifford Odets#, theme BLOCKADE 1938 William Dieterle Madeleine Carroll, Henry Fonda, Leo A Spanish peasant caught up in the Civil War falls for a Russian Carrillo, John Halliday spy's daughter; HB: John Howard Lawson* BOOMERANG! 1947 Elia Kazan Dana Andrews, Jane Wyatt, Lee J.
    [Show full text]
  • Joaquim Da Silva Fontes, Significação E Estabilidade Do Género No Cinema Noir Americano Sources, Signification and Genre Stab
    Universidade de Aveiro Departamento de Línguas e Culturas 2011 Joaquim da Silva Fontes, Significação e Estabilidade do Género no Cinema Noir Americano Sources, Signification and Genre Stability in American Film Noir Universidade de Aveiro Departamento de Línguas e Culturas 2011 Joaquim da Silva Fontes, Significação e Estabilidade do Género no Cinema Noir Americano Sources, Signification and Genre Stability in American Film Noir Tese apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Cultura, realizada sob a orientação científica do Prof. Dr. Anthony David Barker, Professor Associado do Departamento de Línguas e Culturas da Universidade de Aveiro To Antonio, who made this possible. O Júri Presidente Prof. Doutor Vítor José Babau Torres Professor Catedrático da Universidade de Aveiro Vogais Prof. Doutor Mário Carlos Fernandes Avelar Professor Catedrático da Universidade Aberta Prof. Doutor Abílio Hernandez Cardoso Professor Associado da Faculdade de Letras da Universidade de Coimbra Prof. Doutor Anthony David Barker Professor Associado da Universidade de Aveiro (orientador) Prof. Doutor Kenneth David Callahan Professor Associado da Universidade de Aveiro Prof. Doutora Margarida Isabel Esteves da Silva Pereira Professora Auxiliar do Instituto de Letras e Ciências Humanas da Universidade do Minho This long journey of research will have proved invaluable all by itself Acknowledgements by virtue of the hundreds of films that I have watched (nearly two hundred and some more than once), all of them listed alphabetically at the end in the Filmography section. Some three years of watching films several times a week, most of them from my home collection and dozens and dozens of others seen at film festivals held across major American cities, mainly those of San Francisco, Los Angeles and Seattle.
    [Show full text]
  • Current Catalog
    ASHFAULT VIDEO CATALOGUE 13 Lead Soldiers (1948) 13 West Street (1962) 13 Women (1932) 13th Hour, The (1947) 13th Man, The (1937) 1984 (1956) 2,000 Women (1944) 20 Mule Team (1940) 20,000 Men a Year (1939) 20,000 Years in Sing Sing (1932) 21 Days (1940) 23 1/2 Hours Leave (1937) 23 Paces to Baker Street (1956) 24 Hours (1931) 25th Hour, The (1967) 27th Day, The (1957) 30 Years of Fun (1963) 39 Steps, The (1978) 4 Just Men, The (1939) 45 Fathers (1937) 49th Man, The (1953) 50 Million Frenchmen (1931) 6,000 Enemies (1939) 7 Women (1966) 70,000 Witnesses (1932) 711 Ocean Drive (1950) 7th Cavalry (1956) 80,000 Suspects (1963) 99 River Street (1953) Aaron Slick from Punkin Crick (1952) Abandoned (1949) About Face (1942) About Mrs. Leslie (1954) Accent on Love (1941) Accent on Youth (1935) Accidents Will Happen (1938) Accomplice (1946) Accused (1936) Accused, The (1948) Accusing Finger, The (1936) Across to Singapore (1928) Act of Violence (1979) Action for Slander (1937) Action in Arabia (1944) Action of the Tiger (1957) Actress, The (1953) Ada (1961) Adding Machine, The (1969) Adorable (1933) Advance to the Rear (1964) Adventure in Baltimore (1949) Adventure in Blackmail (1942) Adventure in Diamonds (1940) Adventure in Manhattan (1936) Adventure in Washington (1941) Adventurers, The (1951) Adventures of Chico (1938) Adventures of Gerard, The (1970) Adventures of Hairbreadth Harry (1920) Adventures of Hajji Baba, The (1954) Adventures of Jane Arden, The (1939) Adventures of Kitty O'Day (1944) Adventures of Martin Eden, The (1942) Adventures
    [Show full text]
  • Investigation of So-Called "Blacklisting" in Entertainment Industry—Report of The
    HARVARD COLLEGE LIBRARY GIFT OF THE GOVERNMENT OF THE UNITED STATES INVESTIGATION OF SO-CALLED "BLACKLISTING" IN ENTERTAINMENT INDUSTRY—REPORT OF THE FUND FOR THE REPUBLIC, EVC—PART 1 HEARINGS BEFORE THE COMMITTEE ON UN-AMEEICM ACTIVITIES HOUSE OP REPRESENTATIVES EIGHTY-FOURTH CONGRESS SECOND SESSION JULY 10 AND 11, 1056 Printed for the use of the Committee on Un-Aiuerican Activities (INDEX IN PART 3 OF THIS SERIES) UNITED STATES GOVERNMENT PRINTING OFFICB ii823 WASHINGTON : 1956 HAkVA..: C......:_ L.:..ArilO DEPOSITED BY THE UNITED STATES GOVERNMEMX COMMITTEE ON UN-AMERICAN ACTIVITIES United States House of Representatives FKANCIS E. WALTER, Pennsylvania, Chairman MORGAN M. MOULDER, Missouri HAROLD H. VELDE, Illinois CLYDE DOYLE, California BERNARD W. KEARNEY, New Yoik JAMES B. FRAZIER, Jr., Tennessee DONALD L. JACKSON, California EDWIN E. WILLIS, Louisiana GORDON H. SCHERER, Oliio RiCHABD Abbns, Director — CONTENTS PART 1 July 10, 1956: Testimony of— Page John Coglcy 5175 Afternoon session: John Coglev (resumed) 5208 July 11, 1956: Testimony of— Arnold Forster 5227 Frederick E. Woltman 5240 Afternoon session: James F. O'Neil 5256 George E. Sokolsky (statement) 5287 PART 2 Julv 12, 1956: Testimony of— Vincent W. Hartnett 5291 Afternoon session: Testimony of— Roy M. Brewer 5312 Paul R. Milton .. _ 5327 July 13, 1956: Testimony of— Paul R. Milton (resumed) 5329 Godfrey P. Schmidt 5353 Afternoon session: Victor Riesel (statement) 5367 Francis J. McNamara 5368 PART 3 July 17, 1956: Afternoon session: Testimony of Gale Sondergaard (Mrs. Herbert Biberman) 5390 Julv 18, 1956: Testimony of— Jack Gilford___" 5401 : Public Law 601, 79th Congress The legislation under which the House Committee on Un-American Activities operates is Public Law 601, 79th Congress (1946), chapter 753, 2d session, which provides Be it enacted dy the Senate and House of Representatives of the United 8tate» of America in Congress assembled, * * * PART 2—RULES OF THE HOUSE OF REPRESENTATIVES Rule X SEC.
    [Show full text]
  • A SHORT HISTORY of FILM 00 Dixon FM I-Xxxviii 1/15/08 9:26 AM Page Ii 00 Dixon FM I-Xxxviii 1/15/08 9:26 AM Page Iii
    00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page i A SHORT HISTORY OF FILM 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page ii 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page iii FILMA SHORT HISTORY OF WHEELER WINSTON DIXON & GWENDOLYN AUDREY FOSTER rutgers university press new brunswick, new jersey 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page iv Library of Congress Cataloging-in-Publication Data Dixon, Wheeler W., 1950– A short history of film / Wheeler Winston Dixon and Gwendolyn Audrey Foster. p. cm. Includes bibliographical references and index. ISBN 978–0-8135–4269–0 (hardcover : alk. paper)—ISBN 978–0-8135–4270–6 (pbk. : alk. paper) 1. Motion pictures—History. 2. Motion picture industry—History. I. Foster, Gwendolyn Audrey. II. Title. PN1993.5.A1D53 2008 791.43Ј7—dc22 2007022097 Copyright © 2008 by Wheeler Winston Dixon and Gwendolyn Audrey Foster All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or me- chanical, or by any information storage and retrieval system, without written permission from the publisher. Please contact Rutgers University Press, 100 Joyce Kilmer Avenue, Piscataway, NJ 08854–8099. The only exception to this prohibition is “fair use” as defined by U.S. copyright law. Visit our Web site: http://rutgerspress.rutgers.edu Manufactured in the United States of America 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page v To the filmmakers, historians, and critics of the twenty-first century 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page vi 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page vii CONTENTS
    [Show full text]