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Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
It 2.007 Vc Italian Films On
1 UW-Madison Learning Support Services Van Hise Hall - Room 274 rev. May 3, 2019 SET CALL NUMBER: IT 2.007 VC ITALIAN FILMS ON VIDEO, (Various distributors, 1986-1989) TYPE OF PROGRAM: Italian culture and civilization; Films DESCRIPTION: A series of classic Italian films either produced in Italy, directed by Italian directors, or on Italian subjects. Most are subtitled in English. Individual times are given for each videocassette. VIDEOTAPES ARE FOR RESERVE USE IN THE MEDIA LIBRARY ONLY -- Instructors may check them out for up to 24 hours for previewing purposes or to show them in class. See the Media Catalog for film series in other languages. AUDIENCE: Students of Italian, Italian literature, Italian film FORMAT: VHS; NTSC; DVD CONTENTS CALL NUMBER Il 7 e l’8 IT2.007.151 Italy. 90 min. DVD, requires region free player. In Italian. Ficarra & Picone. 8 1/2 IT2.007.013 1963. Italian with English subtitles. 138 min. B/W. VHS or DVD.Directed by Frederico Fellini, with Marcello Mastroianni. Fellini's semi- autobiographical masterpiece. Portrayal of a film director during the course of making a film and finding himself trapped by his fears and insecurities. 1900 (Novocento) IT2.007.131 1977. Italy. DVD. In Italian w/English subtitles. 315 min. Directed by Bernardo Bertolucci. With Robert De niro, Gerard Depardieu, Burt Lancaster and Donald Sutherland. Epic about friendship and war in Italy. Accattone IT2.007.053 Italy. 1961. Italian with English subtitles. 100 min. B/W. VHS or DVD. Directed by Pier Paolo Pasolini. Pasolini's first feature film. In the slums of Rome, Accattone "The Sponger" lives off the earnings of a prostitute. -
The New Order of Hitler: Virtual History, Fiction and Myth
DEBATER A EUROPA Periódico do CIEDA e do CEIS20 , em parceria com GPE e a RCE. N.13 julho/dezembro 2015 – Semestral ISSN 1647-6336 Disponível em: http://www.europe-direct-aveiro.aeva.eu/debatereuropa/ The New Order of Hitler: Virtual History, Fiction and Myth Sérgio Neto Researcher of CEIS20, University of Coimbra E-mail: [email protected] Abstract At the intersection of counterfactual Historiography and literary fantasy, the triumph of the Axis powers in World War II has been one of the main issues. The resurgence of a hypothetical IV Reich also results extensive. Similarly, cinema has not failed to go over the old question of “if”. This article intent to analyse some virtual literature and historical works of reference about the New European Order in order to discuss possible inspiration that science awoke this genre and concepts revolving around the revisionism and determinism. Keywords: New European Order; Counterfactuals; Dystopia; Historiography; Fantasy When the German army completed the conquest of Poland in September 1939 the New European Order began to take shape. The euphemistic name of that brutal military occupation was in fact more incisive than the name given to the Japanese occupied areas: Greater East Asia Co-Prosperity Sphere 1. But, the main issue was if Hitler’s projects achieved in a few years the degree of dehumanization promised by the propaganda with the so called Reich of a Thousand Years. Based on the assumptions outlined by Mein Kampf , as well as the improvisations made during the course of the war, the dreams and fantasies of world domination were analysed not only by the historiography, but widely widespread by the alternate story genre. -
The Inventory of the Richard Roud Collection #1117
The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills. -
Whose Hi/Story Is It? the U.S. Reception of Downfall
Whose Hi/story Is It? The U.S. Reception of Downfall David Bathrick Before I address the U.S. media response to the fi lm Downfall, I would like to mention a methodological problem that I encountered time and again when researching this essay: whether it is possible to speak of reception in purely national terms in this age of globalization, be it a foreign fi lm or any other cultural artifact. Generally speaking, Bernd Eichinger’s large-scale production Downfall can be considered a success in America both fi nancially and critically. On its fi rst weekend alone in New York City it broke box-offi ce records for the small repertory movie theater Film Forum, grossing $24,220, despite its consider- able length, some two and a half hours, and the fact that it was shown in the original with subtitles. Nationally, audience attendance remained unusually high for the following twelve weeks, compared with average fi gures for other German fi lms made for export markets.1 Downfall, which grossed $5,501,940 to the end of October 2005, was an unequivocal box-offi ce hit. One major reason for its success was certainly the content. Adolf Hit- ler, in his capacity as star of the silver screen, has always been a suffi cient This article originally appeared in Das Böse im Blick: Die Gegenwart des Nationalsozialismus im Film, ed. Margrit Frölich, Christian Schneider, and Karsten Visarius (Munich: edition text und kritik, 2007). 1. The only more recent fi lm to earn equivalent revenue was Nirgendwo in Afrika. -
California State University, Sacramento Department of World Literatures and Languages Italian 104 a INTRODUCTION to ITALIAN CINEMA I GE Area C1 SPRING 2017
1 California State University, Sacramento Department of World Literatures and Languages Italian 104 A INTRODUCTION TO ITALIAN CINEMA I GE Area C1 SPRING 2017 Course Hours: Wednesdays 5:30-8:20 Course Location: Mariposa 2005 Course Instructor: Professor Barbara Carle Office Location: Mariposa Hall 2057 Office Hours: W 2:30-3:30, TR 5:20-6:20 and by appointment CATALOG DESCRIPTION ITAL 104A. Introduction to Italian Cinema I. Italian Cinema from the 1940's to its Golden Period in the 1960's through the 1970's. Films will be viewed in their cultural, aesthetic and/or historical context. Readings and guiding questionnaires will help students develop appropriate viewing skills. Films will be shown in Italian with English subtitles. Graded: Graded Student. Units: 3.0 COURSE GOALS and METHODS: To develop a critical knowledge of Italian film history and film techniques and an aesthetic appreciation for cinema, attain more than a mere acquaintance or a broad understanding of specific artistic (cinematographic) forms, genres, and cultural sources, that is, to learn about Italian civilization (politics, art, theatre and customs) through cinema. Guiding questionnaires will also be distributed on a regular basis to help students achieve these goals. All questionnaires will be graded. Weekly discussions will help students appreciate connections between cinema and art and literary movements, between Italian cinema and American film, as well as to deal with questionnaires. You are required to view the films in the best possible conditions, i.e. on a large screen in class. Viewing may be enjoyable but is not meant to be exclusively entertaining. -
GAUMONT PRESENTS: a CENTURY of FRENCH CINEMA, on View Through April 14, Includes Fifty Programs of Films Made from 1900 to the Present
The Museum of Modern Art For Immediate Release January 1994 GAUNONT PRESENTS: A CENTURY OF FRENCH CINEMA January 28 - April 14, 1994 A retrospective tracing the history of French cinema through films produced by Gaumont, the world's oldest movie studio, opens at The Museum of Modern Art on January 28, 1994. GAUMONT PRESENTS: A CENTURY OF FRENCH CINEMA, on view through April 14, includes fifty programs of films made from 1900 to the present. All of the films are recently restored, and new 35mm prints were struck especially for the exhibition. Virtually all of the sound films feature new English subtitles as well. A selection of Gaumont newsreels [actualites) accompany the films made prior to 1942. The exhibition opens with the American premiere of Bertrand Blier's Un deux trois soleil (1993), starring Marcello Mastroianni and Anouk Grinberg, on Friday, January 28, at 7:30 p.m. A major discovery of the series is the work of Alice Guy-Blache, the film industry's first woman producer and director. She began making films as early as 1896, and in 1906 experimented with sound, using popular singers of the day. Her film Sur la Barricade (1906), about the Paris Commune, is featured in the series. Other important directors whose works are included in the exhibition are among Gaumont's earliest filmmakers: the pioneer animator and master of trick photography Emile Cohl; the surreal comic director Jean Durand; the inventive Louis Feuillade, who went on to make such classic serials as Les Vampires (1915) and Judex (1917), both of which are shown in their entirety; and Leonce Perret, an outstanding early realistic narrative filmmaker. -
Biùtiful Cauntri Un Documentario Di
italiana.doc Lionello Cerri per LUMIÈRE & CO. presenta Biùtiful cauntri un documentario di Esmeralda Calabria Andrea D’Ambrosio Peppe Ruggiero _______________________________________________________________________________________________________ Biùtiful cauntri . scheda tecnica documentario di ESMERALDA CALABRIA ANDREA D’AMBROSIO PEPPE RUGGIERO prodotto da LIONELLO CERRI soggetto e sceneggiatura ESMERALDA CALABRIA ANDREA D’AMBROSIO PEPPE RUGGIERO fotografia ALESSANDRO ABATE montaggio ESMERALDA CALABRIA musiche VALERIO LUPO FAGGIONI GUIDO ZEN la canzone “IN CAMPANIA” è dei PARANZA VIBES suono in presa diretta DANIELE MARANIELLO montaggio del suono MARTA BILLINGSLEY BRUCE MORRISON mixage FRANCESCO CUCINELLI PAOLO SEGAT organizzazione DOMENICO CUSCINO produzione e distribuzione LUMIÈRE & CO. anno di produzione 2007-2008 durata 83’ con RAFFAELE DEL GIUDICE SALVATORE NAPOLANO MARIO E PATRIZIA GERLANDO SABATINO CANNAVACCIUOLO MARIO CANNAVACCIUOLO ESPEDITO MARLETTA ENZO CANNAVACCIUOLO ANTONIO MONTESARCHIO DONATO CEGLIE GIULIO e STEFANO TRECCAGNOLI UMBERTO ARENA SALVATORE PICONE TILDE ADAMO Le immagini delle indagini sugli smaltimenti illegali dei rifiuti per gentile concessione del Comando Tutela Ambiente Carabinieri di Caserta e Salerno crediti non contrattuali 2 Biùtiful cauntri . sinossi Allevatori che vedono morire le proprie pecore per la diossina. Un educatore ambientale che lotta contro i crimini ambientali. Contadini che coltivano le terre inquinate per la vicinanza di discariche. Storie di denuncia e testimonianza del massacro di un territorio. Siamo in Italia, nella regione Campania dove sono presenti 1200 discariche abusive di rifiuti tossici. Sullo sfondo una camorra imprenditrice che usa camion e pale meccaniche al posto delle pistole. Una camorra dai colletti bianchi, imprenditoria deviata ed istituzioni colluse, raccontata da un magistrato che svela i meccanismi di un’attività violenta che sta provocando più morti, lente nel tempo, di qualsiasi altro fenomeno criminale. -
87Th Academy Awards Reminder List
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 87TH ACADEMY AWARDS ABOUT LAST NIGHT Actors: Kevin Hart. Michael Ealy. Christopher McDonald. Adam Rodriguez. Joe Lo Truglio. Terrell Owens. David Greenman. Bryan Callen. Paul Quinn. James McAndrew. Actresses: Regina Hall. Joy Bryant. Paula Patton. Catherine Shu. Hailey Boyle. Selita Ebanks. Jessica Lu. Krystal Harris. Kristin Slaysman. Tracey Graves. ABUSE OF WEAKNESS Actors: Kool Shen. Christophe Sermet. Ronald Leclercq. Actresses: Isabelle Huppert. Laurence Ursino. ADDICTED Actors: Boris Kodjoe. Tyson Beckford. William Levy. Actresses: Sharon Leal. Tasha Smith. Emayatzy Corinealdi. Kat Graham. AGE OF UPRISING: THE LEGEND OF MICHAEL KOHLHAAS Actors: Mads Mikkelsen. David Kross. Bruno Ganz. Denis Lavant. Paul Bartel. David Bennent. Swann Arlaud. Actresses: Mélusine Mayance. Delphine Chuillot. Roxane Duran. ALEXANDER AND THE TERRIBLE, HORRIBLE, NO GOOD, VERY BAD DAY Actors: Steve Carell. Ed Oxenbould. Dylan Minnette. Mekai Matthew Curtis. Lincoln Melcher. Reese Hartwig. Alex Desert. Rizwan Manji. Burn Gorman. Eric Edelstein. Actresses: Jennifer Garner. Kerris Dorsey. Jennifer Coolidge. Megan Mullally. Bella Thorne. Mary Mouser. Sidney Fullmer. Elise Vargas. Zoey Vargas. Toni Trucks. THE AMAZING CATFISH Actors: Alejandro Ramírez-Muñoz. Actresses: Ximena Ayala. Lisa Owen. Sonia Franco. Wendy Guillén. Andrea Baeza. THE AMAZING SPIDER-MAN 2 Actors: Andrew Garfield. Jamie Foxx. Dane DeHaan. Colm Feore. Paul Giamatti. Campbell Scott. Marton Csokas. Louis Cancelmi. Max Charles. Actresses: Emma Stone. Felicity Jones. Sally Field. Embeth Davidtz. AMERICAN REVOLUTIONARY: THE EVOLUTION OF GRACE LEE BOGGS 87th Academy Awards Page 1 of 34 AMERICAN SNIPER Actors: Bradley Cooper. Luke Grimes. Jake McDorman. Cory Hardrict. Kevin Lacz. Navid Negahban. Keir O'Donnell. Troy Vincent. Brandon Salgado-Telis. -
All the Fun of the Fare
FEATURE FoCUS n MArkEt bUzz n AlliAnCE FilMS n CnC n zEntropA n EUropE’S FilM tAx CrEditS n SightSEErS (Clockwise from left) Speranza13 Media’s Romeo & Juliet; Recreation’s Red Hook Summer; Jennifer Lawrence; Arnold Schwarzenegger; Exclusive Media’s Look Of Love; Matt Damon; Kristen Stewart; Liam Hemsworth All the fun of the fare As the Cannes Marché opens for business, Screen looks at the hottest titles debuting at the market — at all stages of production — from the US, Europe and across Asia US sellers thriller Lone Survivor, which starts shooting Sep- tional and along with head of sales Nadine de Bar- tember 15. ros will take point on the Robert Rodriguez duo By Jeremy Kay Panorama Media, the new player backed by Frank Miller’s Sin City: A Dame To Kill For in 3D Lionsgate’s Patrick Wachsberger and Helen Lee Megan Ellison and run by Marc Butan and sales and Machete Kills (both in pre-production). Kim will kick off pre-sales on Catching Fire, the head Kim Fox, will introduce buyers to Kathryn Camela Galano’s Speranza13 Media will show a aptly named sequel to this year’s $625m-plus Bigelow’s Osama Bin Laden project Zero Dark promo from Romeo & Juliet based on Julian Fel- indie global behemoth The Hunger Games. The Thirty, currently shooting. lowes’ adapted screenplay. Hailee Steinfeld from merger with Summit has added thriller Red 2 (in Stuart Ford and sales chief Jonathan Deckter of True Grit stars alongside Douglas Booth. pre-production) to the pipeline. Other hot titles IM Global arrive on the Croisette with Robert The Solution Entertainment Group principal are Roman Polanski’s thriller D and Denis Ville- Luketic’s corporate espionage thriller Paranoia, to Lisa Wilson arrives with thriller Grand Piano neuve’s Prisoners. -
Movie Data Analysis.Pdf
FinalProject 25/08/2018, 930 PM COGS108 Final Project Group Members: Yanyi Wang Ziwen Zeng Lingfei Lu Yuhan Wang Yuqing Deng Introduction and Background Movie revenue is one of the most important measure of good and bad movies. Revenue is also the most important and intuitionistic feedback to producers, directors and actors. Therefore it is worth for us to put effort on analyzing what factors correlate to revenue, so that producers, directors and actors know how to get higher revenue on next movie by focusing on most correlated factors. Our project focuses on anaylzing all kinds of factors that correlated to revenue, for example, genres, elements in the movie, popularity, release month, runtime, vote average, vote count on website and cast etc. After analysis, we can clearly know what are the crucial factors to a movie's revenue and our analysis can be used as a guide for people shooting movies who want to earn higher renveue for their next movie. They can focus on those most correlated factors, for example, shooting specific genre and hire some actors who have higher average revenue. Reasrch Question: Various factors blend together to create a high revenue for movie, but what are the most important aspect contribute to higher revenue? What aspects should people put more effort on and what factors should people focus on when they try to higher the revenue of a movie? http://localhost:8888/nbconvert/html/Desktop/MyProjects/Pr_085/FinalProject.ipynb?download=false Page 1 of 62 FinalProject 25/08/2018, 930 PM Hypothesis: We predict that the following factors contribute the most to movie revenue. -
Hliebing Dissertation Revised 05092012 3
Copyright by Hans-Martin Liebing 2012 The Dissertation Committee for Hans-Martin Liebing certifies that this is the approved version of the following dissertation: Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood Committee: Thomas Schatz, Supervisor Hans-Bernhard Moeller Charles Ramírez Berg Joseph D. Straubhaar Howard Suber Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood by Hans-Martin Liebing, M.A.; M.F.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication In loving memory of Christa Liebing-Cornely and Martha and Robert Cornely Acknowledgements I would like to thank my committee members Tom Schatz, Charles Ramírez Berg, Joe Straubhaar, Bernd Moeller and Howard Suber for their generous support and inspiring insights during the dissertation writing process. Tom encouraged me to pursue this project and has supported it every step of the way. I can not thank him enough for making this journey exciting and memorable. Howard’s classes on Film Structure and Strategic Thinking at The University of California, Los Angeles, have shaped my perception of the entertainment industry, and having him on my committee has been a great privilege. Charles’ extensive knowledge about narrative strategies and Joe’s unparalleled global media expertise were invaluable for the writing of this dissertation. Bernd served as my guiding light in the complex European cinema arena and helped me keep perspective. I consider myself very fortunate for having such an accomplished and supportive group of individuals on my doctoral committee.