DOCSLIB.ORG

Stanley Kubrick, PATHS of GLORY (1957, 88 Min.)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

February 21, 2012 (XXIV:6) Stanley Kubrick, PATHS OF GLORY (1957, 88 min.) Directed by Stanley Kubrick Screenplay by Stanley Kubrick, Calder Willingham and Jim Thompson Based on the novel by Humphrey Cobb (1937) Produced by James B. Harris and Kirk Douglas Original Music by Gerald Fried Cinematography by Georg Krause Film Editing by Eva Kroll Art Direction by Ludwig Reiber Costume Design by Ilse Dubois Military adviser Baron von Waldenfels Kirk Douglas...Col. Dax Ralph Meeker...Cpl. Philippe Paris Adolphe Menjou...Gen. George Broulard George Macready...Gen. Paul Mireau Wayne Morris...Lt. Roget Richard Anderson...Maj. Saint-Auban Joe Turkel...Pvt. Pierre Arnaud (as Joseph Turkel) Christiane Kubrick...German Singer (as Susanne Christian) Jerry Hausner...Proprietor of Cafe CALDER WILLINGHAM (December 23, 1922 in Atlanta, Georgia Peter Capell...Narrator of Opening Sequence / Chief Judge of – February 21, 1995, Laconia, New Hampshire) is a novelist who Court also has 12 screenwriting credits: 1991 Rambling Rose (book / Emile Meyer...Father Dupree screenplay), 1978 “Thou Shalt Not Commit Adultery”, 1974 Bert Freed...Sgt. Boulanger Thieves Like Us, 1970 Little Big Man, 1967 The Graduate, 1965 Kem Dibbs...Pvt. Lejeune Son of the Mountains, 1961 One-Eyed Jacks, 1960 Spartacus, Timothy Carey...Pvt. Maurice Ferol 1958 The Vikings, 1957 Paths of Glory, 1957 The Strange One (novel / play "End as a Man" / screenplay), and 1948 “The Selected for the National Film Registry, 1992 Philco-Goodyear Television Playhouse”. STANLEY KUBRICK (July 26, 1928, New York City, New York JIM THOMPSON (b. James Myers Thompson, September 27, – March 7, 1999, Harpenden, Hertfordshire, England) won only 1906, Anadarko, Oklahoma – April 7, 1977, Hollywood, one Oscar—for Special Visual Effects in 2001: A Space Odyssey California) is best known as a novelist, though several of his (1968). He directed 16 films, wrote or co-wrote 12 of them, and novels and stories have also been made into films, among them produced 11 of them. His director credits are 1999 Eyes Wide 2010 The Killer Inside Me (novel), 1997 This World, Then the Shut, 1987 Full Metal Jacket, 1980 The Shining, 1975 Barry Fireworks (story), 1996 Hit Me (novel "A Swell-Looking Lyndon, 1971 A Clockwork Orange, 1968 2001: A Space Babe"), 1994 The Getaway (novel), 1993 “Fallen Angels”, 1990 Odyssey, 1964 Dr. Strangelove or: How I Learned to Stop The Grifters (novel), 1990 After Dark, My Sweet (novel), 1989 Worrying and Love the Bomb, 1962 Lolita, 1960 Spartacus, 1957 The Kill-Off (novel), 1981 Coup de Torchon (novel "Pop. 1280"), Paths of Glory, 1956 The Killing, 1955 Killer's Kiss, 1953 The 1979 Série noire (novel "A Hell of a Woman"), 1976 The Killer Seafarers (short), 1953 Fear and Desire, 1951 Day of the Fight Inside Me (novel), 1972 The Getaway (novel), 1965 “Convoy”, (documentary short), and 1951 Flying Padre: An RKO-Pathe 1965 “Dr. Kildare”, 1961 “Cain's Hundred”, 1959 “Mackenzie's Screenliner (documentary short). Raiders”, 1957 Paths of Glory, and 1956 The Killing. Kubrick—PATHS OF GLORY—2 JAMES B. HARRIS (August 3, 1928, New World, 1971 Summertree, 1968 The York City, New York) has 9 producer Brotherhood, 1966 Grand Prix, 1960 credits, three of them with Stanley Spartacus, and 1959 “Tales of the Vikings. Kubrick: 1962 Lolita, 1957 Paths of Glory, As an actor he appeared in 92 titles, some of and 1956 The Killing. which are 2008 “Empire State Building Murders”, 2004 Illusion, 2003 It Runs in the GERALD FRIED (February 13, 1928, New Family, 1999 Diamonds, 1994 “Take Me York City, New York) has 120 composer Home Again”, 1991 “Tales from the Crypt”, credits, some of which are 2004 “Star Trek 1988 “Inherit the Wind”, 1982 The Man New Voyages: Phase II”, 1988 “Roots: The from Snowy River, 1980 The Final Gift”, 1988 “Drop-Out Mother”, 1983- Countdown, 1980 Saturn 3, 1978 The Fury, 1984 “Dynasty”, 1984 “Australia's Animal 1976 “Victory at Entebbe”, 1975 Once Is Mysteries”, 1983 “Casablanca”, 1983 “The Not Enough, 1973 Scalawag, 1973 “Dr. Return of the Man from U.N.C.L.E.: The Jekyll and Mr. Hyde”, 1971 To Catch a Spy, Fifteen Years Later Affair”, 1981 “The 1971 A Gunfight, 1971 The Light at the Edge Harlem Globetrotters on Gilligan's Island”, of the World, 1970 There Was a Crooked 1980 “Flamingo Road”, 1980 “The Ordeal Man..., 1969 The Arrangement, 1968 The of Dr. Mudd”, 1979 “Breaking Up Is Hard Brotherhood, 1967 The War Wagon, 1967 to Do”, 1978-1979 “Emergency!”, 1979 The Way West, 1966 Is Paris Burning?, “The Castaways on Gilligan's Island”, 1966 Cast a Giant Shadow, 1965 The 1979 “The Chisholms”, 1979 The Bell Jar, Heroes of Telemark, 1965 In Harm's Way, 1979 “Roots: The Next Generations” (7 episodes), 1978 “The 1964 Seven Days in May, 1963 The List of Adrian Messenger, Immigrants”, 1978 “Rescue from Gilligan's Island”, 1978 1962 Two Weeks in Another Town, 1962 Lonely Are the Brave, “Roots: One Year Later”, 1977 “Roots”, 1976 “Francis Gary 1961 The Last Sunset, 1961 Town Without Pity, 1960 Spartacus, Powers: The True Story of the U-2 Spy Incident”, 1976 Survive!, 1960 Strangers When We Meet, 1959 The Devil's Disciple, 1959 1975 “I Will Fight No More Forever”, 1974 “Police Woman”, Last Train from Gun Hill, 1958 The Vikings, 1957 Paths of 1969 (Mannix), 1966-1969 Mission: Impossible (6 episodes), Glory, 1957 Gunfight at the O.K. Corral, 1957 Top Secret Affair, 1968 The Killing of Sister George, 1967 “Lost in Space”, 1966- 1956 Lust for Life, 1955 The Indian Fighter, 1955 Man Without 1967 “Star Trek”, 1965-1967 “The Man from U.N.C.L.E.” (45 a Star, 1955 The Racers, 1954 20,000 Leagues Under the Sea, episodes), 1967 “The Flying Nun”, 1965-1967 “Gilligan's 1954 Ulysses, 1953 The Juggler, 1953 The Story of Three Loves, Island” (39 episodes), 1966 One of Our Spies Is Missing, 1965 1952 The Bad and the Beautiful, 1952 The Big Sky, 1951 “Gunsmoke”, 1960-1961 “Riverboat” (15 episodes), 1958 The Detective Story, 1951 Ace in the Hole, 1951 Along the Great Lost Missile, 1958 “M Squad”, 1958 Machine-Gun Kelly, 1958 Divide, 1950 The Glass Menagerie, 1950 Young Man with a The Return of Dracula, 1957 Paths of Glory, 1957 Dino, 1956 Horn, 1949 Champion, 1949 A Letter to Three Wives, 1948 My The Killing, 1955 Killer's Kiss, and 1953 Fear and Desire . Dear Secretary, 1948 The Walls of Jericho, 1948 I Walk Alone, 1947 Mourning Becomes Electra, 1947 Out of the Past, 1946 The GEORG KRAUSE (April 15, 1901, Berlin, Germany – January 3, Strange Love of Martha Ivers 1986, Garmisch-Partenkirchen, Germany) has 137 cinematographer credits, among them 1967 “Das RALPH MEEKER...Cpl. Philippe Paris (b. Ralph Rathgeber, Kriminalmuseum”, 1964 Time of the Innocent, 1962 Escape from November 21, 1920, Minneapolis, Minnesota – August 5, 1988, East Berlin, 1960 The Fair, 1960 Body in the Web, 1960 Satan Woodland Hills, Los Angeles, California) has acted in 108 films Tempts with Love, 1959 She Walks by Night, 1959 The Black and TV series, including 1980 Without Warning, 1979 “CHiPs”, Chapel, 1959 The Head, 1959 Court Martial, 1958 The Doctor 1979 Winter Kills, 1975 “Harry O”, 1973-1975 “Police Story”, of Stalingrad, 1957 Paths of Glory, 1957 Vater macht Karriere, 1975 “The Rookies”, 1975 “Cannon”, 1975 “The Dead Don't 1956 I'll See You at Lake Constance, 1953 The Comedian, 1953 Die”, 1968-1974 “Ironside”, 1974 “Room 222”, 1972 “The Night Man on a Tightrope, 1948 The Berliner, 1944 Music in Salzburg, Stalker”, 1966-1971 “The F.B.I.”, 1970 “The Virginian”, 1967 1942 Diesel, 1939 D III 88: The New German Air Force Attacks, The St. Valentine's Day Massacre, 1967 The Dirty Dozen, 1964 1938 The Stars Shine, 1938 Cat Walk, 1937 The Beaver Coat, “The Defenders”, 1963 “The Outer Limits”, 1963 Wall of Noise, 1937 The Ways of Love Are Strange, 1936 Port Arthur, 1936 1962-1963 “Route 66”, 1962 “Going My Way”, 1961 Something Dissatisfied Woman, 1936 Dinner Is Served, 1936 Moral, 1936 Wild, 1961 Ada, 1961 “Tallahassee 7000”, 1959-1960 “Not for Girl Kidnappers, 1935 His Late Excellency, 1935 All for the Hire” (39 episodes), 1960 “Dillinger” (TV movie), 1955-1959 Dog's Sake, 1935 Every Day Isn't Sunday, 1934 The Two Seals, “Alfred Hitchcock Presents”, 1957-1958 “Climax!”, 1957 Paths 1934 Das alte Recht, 1932 L'amour en vitesse, 1932 Kavaliere of Glory, 1957 The Fuzzy Pink Nightgown, 1957 Run of the vom Kurfürstendamm, 1929 Hanba, 1927 Heads Up, Charley, Arrow, 1952-1956 “Goodyear Playhouse”, 1955-1956 “Studio and 1923 Downfall One in Hollywood”, 1955 Kiss Me Deadly, 1955 Big House, U.S.A., 1953 The Naked Spur, 1952 Somebody Loves Me, 1952 KIRK DOUGLAS…Col. Dax (b. Issur Danielovitch Demsky, Shadow in the Sky, and 1951 Four in a Jeep. December 9, 1916, Amsterdam, New York) was an uncredited producer on this film. He has 8 other producer credits: 1975 ADOLPHE MENJOU...Gen. George Broulard (b. Adolphe Jean Posse, 1971 A Gunfight, 1971 The Light at the Edge of the Menjou, February 18, 1890, Pittsburgh, Pennsylvania – October Kubrick—PATHS OF GLORY—3 29, 1963, Beverly Hills, Los Angeles, California) appeared in The Kid from Kokomo, 1938 Brother Rat, 1938 The Kid Comes 149 titles, including 1961 “The DuPont Show with June Back, 1937 Kid Galahad, 1936 Here Comes Carter, and 1936 Allyson”, 1960 Pollyanna, 1958 “Target”, 1957 Paths of Glory, China Clipper. 1957 The Fuzzy Pink Nightgown, 1955 “Science Fiction Theatre”, 1955 Timberjack, 1953-1954 “Your Favorite Story” (7 RICHARD ANDERSON...Maj. Saint-Auban (Richard Norman episodes), 1953 Man on a Tightrope, 1951 Across the Wide Anderson, August 8, 1926, Long Branch, New Jersey) appeared Missouri, 1948 State of the Union, 1947 The Hucksters, 1942 in 185 films and TV series, but he is probably best known for his Roxie Hart, 1941 Road Show, 1940 A Bill of Divorcement, 1940 155 appearances in the two 1970s bionic series.
Recommended publications
  • Stephen Crane on Film: Adaptation As

    Stephen Crane on Film: Adaptation As

    STEPHEN CRANE ON FILM: ADAPTATION AS INTERPRETATION By JANET BUCK ROLLINS r Bachelor of Arts Southern Oregon State College Ashland, Oregon 1977 Master of Arts Oklahoma State University Stillwater, Oklahoma 1979 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for· the Degree of DOCTOR OF PHILOSOPHY May, 1983 LIBRARY~ ~ STEPHEN CRANE ON FILM: ADAPTATION AS INTERPRETATION Thesis Approved: ii . ~ 1168780 ' PREFACE Criticism of film adaptations based on Stephen Crane's fiction is for the most part limited to superficial reviews or misguided articles. Scholars have failed to assess cinematic achievements or the potential of adaptations as interpretive tools. This study will be the first to gauge the success of the five films attempting to recreate and inter­ pret Crane's vision. I gratefully acknowledge the benefic criticism of Dr. Gordon Weaver, Dr. Jeffrey Walker, and Dr. William Rugg. Each scholar has provided thoughtful direction in content, organization, and style. I am espe­ cially appreciative of the prompt reading and meticulous, constructive comments of Dr. Leonard J. Leff. Mr. Terry Basford and Mr. Kim Fisher of the Oklahoma State Univer­ sity library deserve thanks for encouraging and aiding the research process. My husband, Peter, provided invaluable inspiration, listened attentively, and patiently endured the many months of long working hours. Finally, I dedicate this study to my parents and to my Aunt, Florence & Fuller. Their emotional and financial support have made my career as a scholar both possible and rewarding. iii TABLE OF CONTENTS Chapter Page I. INTRODUCTION 1 II. FILM MEETS CRANE'S ART 14 III.
  • Exploring Narrator-Reader Relationships with Jim Thompson's

    Exploring Narrator-Reader Relationships with Jim Thompson's

    Exploring Narrator-Reader Relationships with Jim Thompson’s Victims of Circumstance: Lou Ford, Dolly Dillon, William “Kid” Collins, and Charles Bigger By Nicolena Marie Crescenzo A Thesis Submitted to the Faculty of Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Master of English Florida Atlantic University Boca Raton, FL December 2018 Copyright 2018 by Nicolena Marie Crescenzo ii Acknowledgements The author wishes to express sincere gratitude to her committee members for all of their support, and special thanks to my advisor for his patience and encouragement during the typing of this manuscript. The author is grateful to her family for always supporting her efforts to be successful. Last but not least, the author wishes to thank her mentors during her undergraduate studies for their recommendations academically and professionally that have helped her reach this point. iv Abstract Author: Nicolena Marie Crescenzo Title: Exploring Narrator-Reader Relationships with Jim Thompson’s Victims of Circumstance: Lou Ford, Dolly Dillon, William “Kid” Collins, and Charles Bigger Institution: Florida Atlantic University Thesis Advisor: Dr. Robert Don Adams Degree: Master of English Year: 2018 By examining Jim Thompson’s novels, published between 1952-1955–The Killer Inside Me, A Hell of a Woman, After Dark, My Sweet, and Savage Night–this essay interrogates the relationship created between the narrator and the reader, how the narrator–and Thompson in turn–highlights certain societal flaws, emphasizing how ethical consequence is born out of the attempt to attain freedom from one’s cultural circumstance–both in terms of economic restraint and mental health status.
  • The Stanley Kubrick Archive: a Dossier of New Research FENWICK, James, HUNTER, I.Q

    The Stanley Kubrick Archive: a Dossier of New Research FENWICK, James, HUNTER, I.Q

    The Stanley Kubrick Archive: A Dossier of New Research FENWICK, James, HUNTER, I.Q. and PEZZOTTA, Elisa Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/25418/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version FENWICK, James, HUNTER, I.Q. and PEZZOTTA, Elisa (2017). The Stanley Kubrick Archive: A Dossier of New Research. Historical Journal of Film, Radio and Television, 37 (3), 367-372. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Introduction James Fenwick, I. Q. Hunter, and Elisa Pezzotta Ten years ago those immersed in researching the life and work of Stanley Kubrick (1928-1999) were gifted a unique opportunity for fresh insights into his films and production methods. In March 2007 the Kubrick Estate – supervised by his executive producer and brother-in-law, Jan Harlan – donated the director’s vast archive to the University of Arts London and instigated a new wave of scholarly study into the director. The Stanley Kubrick Archive comprises the accumulated material at Childwickbury, the Kubrick family home near St Albans, from which he largely worked and where he maintained a comprehensive record of his films’ production and marketing, collated and stored in boxes. The catalogue introduction online testifies to the sheer size of the Archive, which is stored on over 800 linear metres of shelving:1 The Archive includes draft and completed scripts, research materials such as books, magazines and location photographs.
  • Buck Henry, Who Helped Create ʻget Smartʼ and Adapt ʻthe Graduate,ʼ Dies at 89 an Unassuming Screenwriter and Actor, Mr

    Buck Henry, Who Helped Create ʻget Smartʼ and Adapt ʻthe Graduate,ʼ Dies at 89 an Unassuming Screenwriter and Actor, Mr

    1/11/2020 Buck Henry, Who Helped Create ‘Get Smart’ and Adapt ‘The Graduate,’ Dies at 89 - The New York Times https://nyti.ms/2N7atsQ Buck Henry, Who Helped Create ʻGet Smartʼ and Adapt ʻThe Graduate,ʼ Dies at 89 An unassuming screenwriter and actor, Mr. Henry thought up quirky characters with Mel Brooks and inhabited many more on “Saturday Night Live.” By Bruce Weber Published Jan. 9, 2020 Updated Jan. 10, 2020 Buck Henry, a writer and actor who exerted an often overlooked but potent influence on television and movie comedy — creating the loopy prime-time spy spoof “Get Smart” with Mel Brooks, writing the script for Mike Nichols’s landmark social satire “The Graduate” and teaming up with John Belushi in the famous samurai sketches on “Saturday Night Live” — died on Wednesday in Los Angeles. He was 89. His wife, Irene Ramp, said his death, at Cedars-Sinai Medical Center, was caused by a heart attack. John Belushi, left, and Mr. Henry in the 1978 “Saturday Night Live” sketch “Samurai Optometrist.” Fred Hermansky/NBCUniversal via Getty Images As a personality and a performer, Mr. Henry had a mild and unassuming aspect that was usually in contrast with the pungently satirical or broadly slapstick material he appeared in — and often wrote. Others in the room always seemed to make more noise. https://www.nytimes.com/2020/01/09/movies/buck-henry-dead.html 1/6 1/11/2020 Buck Henry, Who Helped Create ‘Get Smart’ and Adapt ‘The Graduate,’ Dies at 89 - The New York Times Indeed, for almost 50 years he was a Zelig-like figure in American comedy, a ubiquitous if underrecognized presence not only in grand successes but also in grand failures.
  • RESISTANCE MADE in HOLLYWOOD: American Movies on Nazi Germany, 1939-1945

    RESISTANCE MADE in HOLLYWOOD: American Movies on Nazi Germany, 1939-1945

    1 RESISTANCE MADE IN HOLLYWOOD: American Movies on Nazi Germany, 1939-1945 Mercer Brady Senior Honors Thesis in History University of North Carolina at Chapel Hill Department of History Advisor: Prof. Karen Hagemann Co-Reader: Prof. Fitz Brundage Date: March 16, 2020 2 Acknowledgements I want to thank Dr. Karen Hagemann. I had not worked with Dr. Hagemann before this process; she took a chance on me by becoming my advisor. I thought that I would be unable to pursue an honors thesis. By being my advisor, she made this experience possible. Her interest and dedication to my work exceeded my expectations. My thesis greatly benefited from her input. Thank you, Dr. Hagemann, for your generosity with your time and genuine interest in this thesis and its success. Thank you to Dr. Fitz Brundage for his helpful comments and willingness to be my second reader. I would also like to thank Dr. Michelle King for her valuable suggestions and support throughout this process. I am very grateful for Dr. Hagemann and Dr. King. Thank you both for keeping me motivated and believing in my work. Thank you to my roommates, Julia Wunder, Waverly Leonard, and Jamie Antinori, for being so supportive. They understood when I could not be social and continued to be there for me. They saw more of the actual writing of this thesis than anyone else. Thank you for being great listeners and wonderful friends. Thank you also to my parents, Joe and Krista Brady, for their unwavering encouragement and trust in my judgment. I would also like to thank my sister, Mahlon Brady, for being willing to hear about subjects that are out of her sphere of interest.
  • Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020

    Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020

    InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive
  • Boxoffice Barometer (March 6, 1961)

    Boxoffice Barometer (March 6, 1961)

    MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph.
  • Erysichthon Goes to Town

    Erysichthon Goes to Town

    Erysichthon Goes to Town James Lasdun’s Modern American Re-telling of Ovid Pippa J. Ström A thesis submitted to Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in Classical Studies Victoria University of Wellington 2010 ERYSICHTHON GOES TO TOWN by Pippa J. Ström ©2010 ABSTRACT The Erysichthon of Ovid’s Metamorphoses is given, in James Lasdun’s re-telling of the story, a repeat performance of chopping down a sacred tree, receiving the punishment of insatiable hunger, selling his daughter, and eating himself. Transgressive greed, impiety, and environmental destruction are elements appearing already amongst the Greek sources of this ancient myth, but Lasdun adds new weight to the environmental issues he brings out of the story, turning Erysichthon into a corrupt property developer. The modern American setting of “Erisychthon” lets the poem’s themes roam a long distance down the roads of self- improvement, consumption, and future-centredness, which contrast with Greek ideas about moderation, and perfection being located in the past. These themes lead us to the eternally unfulfilled American Dream. Backing up our ideas with other sources from or about America, we discover how well the Erysichthon myth fits some of the prevailing approaches to living in America, which seem to have stemmed from the idea that making the journey there would lead to a better life. We encounter not only the relationship between Ovid and Lasdun’s versions of the story, but between the earth and its human inhabitants, and find that some attitudes can be traced back a long way.
  • Full De Sala Cineclub Novembre.Pub

    Full De Sala Cineclub Novembre.Pub

    PATHS OF GLORY (Senderos de gloria) Direcció: Stanley Kubrick Guió: S. Kubrick, Calder Willingham, Jim Thompson (novel·la de Humphrey Cobb) Fotografia: Georg Krause Muntatge: Eva Kroll Música: Gerald Fried Intèrprets: Kirk Douglas, George MacReady, Adolphe Menjou, Ralph Meeker, Wayne Morris, Joe Turkel, Richard Anderson, Timothy Carey, Susanne Christian Nacionalitat: Estats Units Idioma: anglès Any: 1957 Durada: 87 minuts Classificació: apta per a tots els públics L'argument: Primera Guerra Mundial. En el front francès, el general Mireau ordena al coronel Dax conquerir una inexpugnable posició alemanya. L’inevitable fracàs irrita l’alt comandament militar, que decideix imposar un càstig exemplar. L'equip artístic i tècnic Stanley Kubrick (Nova York, 1928–Hertfordshire, Londres, 1999) és un dels directors més importants i alhora coneguts de la història del cinema. La seva filmografia no és extensa, 13 llargmetratges, però va tocar -i revolu- cionar- la majoria dels gèneres. A les primerenques Atraco perfecto (1956) i Senderos de gloria (1957), demos- trà un prodigiós domini de la tècnica per un director tant jove. Espartaco (1960), el va apropar fugaçment a la indústria de Hollywood, cosa que Kubrick, obsessiu en el control del seu treball, sempre va defugir. Va causar gran polèmica amb l’adaptació de Lolita (1962), de Nabokov. Amb 2001: una odisea del espacio (1968) va cap- girar el gènere de la ciència-ficció i encara va anar més enllà amb La naranja mecànica (1971). Va provar el ci- nema històric a Barry Lyndon (1975) i el de terror a El resplandor (1980). Perfeccionista i ambiciós, Kubrick pen- sava que qualsevol cosa que es pot escriure o imaginar pot ser filmada.
  • PERFECTION, WRETCHED, NORMAL, and NOWHERE: a REGIONAL GEOGRAPHY of AMERICAN TELEVISION SETTINGS by G. Scott Campbell Submitted T

    PERFECTION, WRETCHED, NORMAL, and NOWHERE: a REGIONAL GEOGRAPHY of AMERICAN TELEVISION SETTINGS by G. Scott Campbell Submitted T

    PERFECTION, WRETCHED, NORMAL, AND NOWHERE: A REGIONAL GEOGRAPHY OF AMERICAN TELEVISION SETTINGS BY G. Scott Campbell Submitted to the graduate degree program in Geography and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ______________________________ Chairperson Committee members* _____________________________* _____________________________* _____________________________* _____________________________* Date defended ___________________ The Dissertation Committee for G. Scott Campbell certifies that this is the approved version of the following dissertation: PERFECTION, WRETCHED, NORMAL, AND NOWHERE: A REGIONAL GEOGRAPHY OF AMERICAN TELEVISION SETTINGS Committee: Chairperson* Date approved: ii ABSTRACT Drawing inspiration from numerous place image studies in geography and other social sciences, this dissertation examines the senses of place and regional identity shaped by more than seven hundred American television series that aired from 1947 to 2007. Each state‘s relative share of these programs is described. The geographic themes, patterns, and images from these programs are analyzed, with an emphasis on identity in five American regions: the Mid-Atlantic, New England, the Midwest, the South, and the West. The dissertation concludes with a comparison of television‘s senses of place to those described in previous studies of regional identity. iii For Sue iv CONTENTS List of Tables vi Acknowledgments vii 1. Introduction 1 2. The Mid-Atlantic 28 3. New England 137 4. The Midwest, Part 1: The Great Lakes States 226 5. The Midwest, Part 2: The Trans-Mississippi Midwest 378 6. The South 450 7. The West 527 8. Conclusion 629 Bibliography 664 v LIST OF TABLES 1. Television and Population Shares 25 2.
  • Violence and Masculinity in Hollywood War Films During World War II a Thesis Submitted To

    Violence and Masculinity in Hollywood War Films During World War II a Thesis Submitted To

    Violence and Masculinity in Hollywood War Films During World War II A thesis submitted to: Lakehead University Faculty of Arts and Sciences Department of History In partial fulfillment of the requirements for the degree in Master of Arts Matthew Sitter Thunder Bay, Ontario July 2012 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-84504-2 Our file Notre référence ISBN: 978-0-494-84504-2 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distrbute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation.
  • Talking Book Topics March-April 2015

    Talking Book Topics March-April 2015

    Talking Book Topics March–April 2015 Volume 81, Number 2 About Talking Book Topics Talking Book Topics is published bimonthly in audio, large-print, and online formats and distributed at no cost to individuals who are blind or have a physically disability and who participate in the Library of Congress reading program. It lists digital audiobooks and magazines available through a network of cooperating libraries and covers news of developments and activities in network library services. The annotated list in this issue is limited to titles recently added to the national collection, which contains thousands of fiction and nonfiction titles, including bestsellers, classics, biographies, romance novels, mysteries, and how-to guides. Some books in Spanish are also available. To explore the wide range of books in the national collection, access the NLS International Union Catalog online at loc.gov/nls or contact your local cooperating library. Talking Book Topics is available online in HTML at www.loc.gov/nls/tbt and in downloadable audio files on the NLS Braille and Audio Reading Download (BARD) service at http://nlsbard.loc.gov/. Library of Congress, Washington 2015 Catalog Card Number 60-46157 ISSN 0039-9183 Where to write Order talking books through your local cooperating library. If you wish to make changes in your current subscription, please also contact your local cooperating library. Patrons who are American citizens living abroad may request delivery to foreign addresses by contacting the overseas librarian by phone at (202) 707-5100 or e-mail at [email protected]. Only send correspondence about editorial matters to: Publications and Media Page 1 of 86 Section, National Library Service for the Blind and Physically Handicapped, Library of Congress, Washington DC, 20542-0002.