January 22, 2013 (XXVI:2) Jean Vigo, L’ATALANTE (1929, 89 Min)

Total Page:16

File Type:pdf, Size:1020Kb

January 22, 2013 (XXVI:2) Jean Vigo, L’ATALANTE (1929, 89 Min) January 22, 2013 (XXVI:2) Jean Vigo, L’ATALANTE (1929, 89 min) Directed by Jean Vigo Scenario by Jean Guinée Adaptation by Albert Riéra and Jean Vigo Dialogue by Albert Riéra and Jean Vigo Produced by Jacques-Louis Nounez Original Music by Maurice Jaubert Cinematography by Jean-Paul Alphen, Louis Berger and Boris Kaufman Film Editing by Louis Chavance Art Direction by Francis Jourdain Lyrics by Charles Goldblatt Michel Simon…Le père Jules Dita Parlo…Juliette Jean Dasté…Jean Gilles Margaritis…Le camelot 1933 Mirages de Paris, 1933 July 14, 1933 Obsession (short), Louis Lefebvre…Le gosse 1932 L'affaire est dans le sac, 1930 Little Red Riding Hood, Maurice Gilles…Le chef de bureau 1929 The Wonderful Lies of Nina Petrovna, 1926 Nana Raphaël Diligent…Raspoutine, le batelier Claude Aveline JEAN-PAUL ALPHEN (April 20, 1911, Paris, France – April 28, René Blech…Le garçon d'honneur 1993) has five cinematographer credits: 1947 Lo Tafhidenu Lou Bonin (documentary), 1939 The Rules of the Game (as Alphen), 1938 Fanny Clar…La mère de Juliette La Marseillaise (as J.P. Alphen), 1936 La vie est à nous, 1934 Charles Dorat…Le voleur L'Atalante (originally - uncredited)/ Paul Grimault Genya Lozinska LOUIS BERGER has no other cinematographer credits. Gen Paul…L'invité qui boite Jacques Prévert…Extra at Station BORIS KAUFMAN (August 24, 1906, Bialystok, Poland, Russian Pierre Prévert…Le voyageur pressé Empire [now Bialystok, Podlaskie, Poland] – June 24, 1980, Albert Riéra New York City, New York) won a Best Cinematography Oscar, , Black-and-White for On the Waterfront (1954). Some of his JEAN VIGO (b. Jean Bonaventure de Vigo Almereyda, April 26, other 58 titles are 1970 Tell Me That You Love Me, Junie Moon, 1905, Paris, France – October 5, 1934, Paris, France, 1968 The Brotherhood, 1968 Bye Bye Braverman, 1966 The tuberculosis) directed four films: 1934 L'Atalante, 1933 Zéro de Group, 1964 The Pawnbroker, 1964 The World of Henry Orient, Conduite (short), 1931 Taris (documentary short), 1930 À propos 1963 All the Way Home, 1962 Long Day's Journey Into Night, de Nice (documentary short). 1961 Splendor in the Grass, 1959 The Fugitive Kind, 1959 That Kind of Woman, 1957 12 Angry Men, 1956 Baby Doll, 1956 MAURICE JAUBERT (January 3, 1900, Nice, Alpes-Maritimes, Patterns, 1954 Garden of Eden, 1954 On the Waterfront France – June 19, 1940, Azerailles, Meurthe-et-Moselle, France) (director of photography), 1940 Sérénade, 1939 Le veau gras, composed the music for 30 films, among them 1939 Fort Dolorès, 1938 Êtes-vous jalouse?, 1937 Cinderella, 1939 Daybreak, 1939 La fin du jour, 1939 Pasha's Wives, 1938 1937 L'homme sans Coeur, 1936 Oeil de lynx, detective, 1934 Le Hôtel du Nord, 1938 Port of Shadows, 1938 Les filles du Rhône, père Lampion, 1934 Zouzou, 1934 L'Atalante, 1933 Zéro de 1937 Dance Program, 1936 The Parisian Life, 1934 The Last Conduite (short), 1933 Le chemin du Bonheur, 1930 À propos de Billionaire, 1934 L'Atalante, 1933 Zéro de Conduite (short), Nice (documentary short), and 1927 Les Halles centrales (short). Vigo—L’ATALANTE—2 He is the younger brother of Russian filmmakers Dziga Vertov 5, 1934), French director and scenarist, was born in Paris, as his and Mikhail Kaufman. biographer says, “the son of undernourished parents, in a dirty little attic room full of scrawny cats.” The parents were Eugène MICHEL SIMON…Le père Jules (b. François Michel Simon, Bonaventure de Vigo, who became much better known as the April 9, 1895, Geneva, Geneva, Switzerland – May 30, 1975, militant anarchist Miguel Almereyda, and his companion and Bry-sur-Marne, Val-de-Marne, France) appeared in 110 films, comrade Emily Cléro. Almereyda was of Spanish descent, but among them 1975 The Red Ibis, 1975 The Butcher, the Star and his nom de guerre was indirectly French, an anagram of “y a la the Orphan, 1970 The House, 1970 Let's Have a Riot, 1967 The merde”—“there is shit”—that reflected his belief in the Two of Us, 1966 Two Hours to Kill, 1964 Cyrano et d'Artagnan, revolutionary virtues of street talk. 1964 The Train, 1962 The Devil and the Ten Commandments, This passionately dedicated libertarian was repeatedly 1960 Candide, 1960 The Battle of Austerlitz, 1958 It Happened jailed from adolescence onwards for his antimilitarist and in Broad Daylight, 1956 Memories of a Cop, 1955 The revolutionary activities, but his changing political allegiances and Impossible Mr. Pipelet, 1954 At the Order of the Czar, 1954 alliances led him in time to a more moderate socialism. In 1913 Hungarian Rhapsody, 1953 Femmes de Paris, 1953 Le he became editor of the satirical daily Le Bonnet Rouge. The marchand de Venise, 1952 The Temptress, 1952 Girl with the Whip, 1951 Poison, 1950 Beauty and the Devil, 1947 Non coupable, 1946 Panic, 1943 Shop Girls of Paris, 1942 Girl of the Golden West, 1941 The King's Jester, 1941 The Story of Tosca, 1940 Love Cavalcade, 1939 Circonstances atténuantes, 1939 La fin du jour, 1939 Cocoanut, 1938 Mother Love, 1938 Boys' School, 1937 The Kiss of Fire, 1936 Le mort en fuite, 1936 Jeunes filles de Paris, 1936 Under Western Eyes, 1935 Amants et voleurs, 1934 L'Atalante, 1934 Ladies Lake, 1933 High and Low, 1932 Boudu Saved from Drowning, 1932 Baleydier, 1931 La Chienne, 1928 The Sad Sack, 1928 The Passion of Joan of Arc, 1927 The Loves of Casanova, 1925 The Vocation of André Carel, and 1924 La galerie des monstres. DITA PARLO…Juliette (b. Grethe Gerda Kornstädt, September 4, 1908, Stettin, Pomerania, Germany [now Szczecin, Zachodniopomorskie, Poland] – December 12, 1971, Paris, Ile- de-France, France) appeared in 29 films, some of which were 1965 The Queen of Spades, 1950 Justice Is Done, 1940 paper grew increasingly respectable and Almereyda the starving Cristobal's Gold, 1939 Unknown of Monte Carlo, 1938 Street revolutionary became an elegant devotee of the high life, with Without Joy, 1938 The Woman of Monte Carlo, 1937 Under automobiles, mistresses and several residences. Various scandals Secret Orders, 1937 La Grande Illusion, 1934 The Kidnapping, and the machinations of political opponents led to the 1934 L'Atalante, 1933 Mr. Broadway, 1931 Honor of the Family, suppression of Le Bonnet Rouge in 1917. In August of the same 1931 Girls for Sale, 1931 Kismet, 1930 Au bonheur des dames, year Almereyda was arrested , accused of treasonous dealings 1929 Melody of the Heart, 1929 The Downpour, 1928 with the Germans, and a week later he was strangled to death Ungarische Rhapsodie, 1928 Secrets of the Orient, 1928 The with his own bootlaces in Fresnes prison. A violent debate Lady with the Mask, and 1928 Homecoming. followed, but the truth of the charges against Almereyda and the real reason for the assassination were never established. JEAN DASTÉ…Jean (b. Jean Georges Gustave Dasté, August 18, Except during his infancy, Jean Vigo had seen little of 1904, Paris, France – October 15, 1994, Saint-Étienne, Loire, his busy parents, He had spent the later part of his childhood France) appeared in 49 films, among them 1989 Noce blanche, mostly at a villa in Saint-Cloud, cared for by servants. During the 1987 Nuit docile, 1987 Sorceress, 1984 Love Unto Death, 1983 summer he often stayed at Montpellier in the south, with Gabriel The Islands, 1980 Une semaine de vacances, 1980 Mon oncle Aubès, a photographer who had married his grandmother after d'Amérique, 1978 Like a Turtle on Its Back, 1978 Molière, 1978 his grandfather died of tuberculosis. Vigo was twelve when his Utopia, 1978 The Green Room, 1977 The Man Who Loved own father died: a pale, delicate, and taciturn child, precocious in Women, 1976 Body of My Enemy, 1974 The Gray Days, 1972 his libertarian political views and his anticlericalism. Aubès, who Handsome Face, 1970 The Wild Child, 1969 Z, 1966 The War Is was fond of the boy, adopted him. It was necessary to conceal the Over, 1943 A Star to the Sun, 1941 Stormy Waters, 1938 The identity of this “son of the traitor,” and as soon as his precarious Time of the Cherries, 1937 La Grande Illusion, 1936 La vie est à health allowed, Vigo was enrolled pseudonymously at a school in nous, 1936 Under Western Eyes, 1936 The Crime of Monsieur Nimes, not far from Montpellier. Lange, 1934 L'Atalante, 1933 Zéro de Conduite (short), and 1932 In 1918, for the sake of his health, Vigo was moved to Boudu Saved from Drowning. another boarding school at Millau, in the mountains. He hated the regimentation he encountered there, and his authoritarian from World Film Directors, V. I. Edited by John Wakeman. teachers, but grew stronger. He learned to fight to defend H. L. Wilson Co NY 1987 himself, earned a reputation as a troublemaker, and made some VIGO, JEAN (BONAVENTURE DE), (April 26, 1905-October Vigo—L’ATALANTE—3 equally rebellious friends, including Georges Caussat and to use). The doll “tourists” are promptly raked in by a croupier. Jacques Bruel, who, like him, often received “Zéro for conduct.” After more aerial shots we move on to the preparations for the His vacations he spent at Montpellier with Gabriel Aubès, who carnival and views of the Promenade des Anglais, peopled with taught him photography (as he had taught Vigo’s father). Aubès old and ugly rich women. A younger woman at a terrace café was impressed by the soundness of Vigo’s eye and, having a repeatedly changes her clothes, appearing finally naked except poor opinion of photography as a career, suggested the boy might for her shoes. These opulent scenes are contrasted with the consider cinematography. patient misery and hard work of the old city–washerwomen, Vigo’s mother was living in Paris, and in 1922, at her sewers, garbage, a fingerless child.
Recommended publications
  • Dziga Vertov — Boris Kaufman — Jean Vigo E
    2020 ВЕСТНИК САНКТ-ПЕТЕРБУРГСКОГО УНИВЕРСИТЕТА Т. 10. Вып. 4 ИСКУССТВОВЕДЕНИЕ КИНО UDC 791.2 Dziga Vertov — Boris Kaufman — Jean Vigo E. A. Artemeva Mari State University, 1, Lenina pl., Yoshkar-Ola, 424000, Russian Federation For citation: Artemeva, Ekaterina. “Dziga Vertov — Boris Kaufman — Jean Vigo”. Vestnik of Saint Petersburg University. Arts 10, no. 4 (2020): 560–570. https://doi.org/10.21638/spbu15.2020.402 The article is an attempt to discuss Dziga Vertov’s influence on French filmmakers, in -par ticular on Jean Vigo. This influence may have resulted from Vertov’s younger brother, Boris Kaufman, who worked in France in the 1920s — 1930s and was the cinematographer for all of Vigo’s films. This brother-brother relationship contributed to an important circulation of avant-garde ideas, cutting-edge cinematic techniques, and material objects across Europe. The brothers were in touch primarily by correspondence. According to Boris Kaufman, dur- ing his early career in France, he received instructions from his more experienced brothers, Dziga Vertov and Mikhail Kaufman, who remained in the Soviet Union. In addition, Vertov intended to make his younger brother become a French kinok. Also, À propos de Nice, Vigo’s and Kaufman’s first and most “vertovian” film, was shot with the movable hand camera Kina- mo sent by Vertov to his brother. As a result, this French “symphony of a Metropolis” as well as other films by Vigo may contain references to Dziga Vertov’s and Mikhail Kaufman’sThe Man with a Movie Camera based on framing and editing. In this perspective, the research deals with transnational film circulations appealing to the example of the impact of Russian avant-garde cinema on Jean Vigo’s films.
    [Show full text]
  • From L'atalante to Young Adam Walter C
    Southern Illinois University Carbondale OpenSIUC Articles Department of Cinema and Photography Spring 2011 A Dreary Life on a Barge: From L'Atalante to Young Adam Walter C. Metz Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/cp_articles Recommended Citation Metz, Walter C. "A Dreary Life on a Barge: From L'Atalante to Young Adam." Weber: The Contemporary West 27, No. 2 (Spring 2011): 51-66. This Article is brought to you for free and open access by the Department of Cinema and Photography at OpenSIUC. It has been accepted for inclusion in Articles by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. Walter Metz A Dreary Life on a Barge: From L’Atalante to Young Adam Young Adam: The barge amidst the Scottish landscape PRELUDE While surfing around Netflix looking If there is anything further in spirit from for the name of the film in which Ewan L’Atalante—a romantic fairy tale about McGregor played James Joyce—Nora the enduring power of love—it must be (Pat Murphy, 2000)—I stumbled across Young Adam, a bitter tale of an astonish- Young Adam (David Mackenzie, 2003), ingly amoral drifter who kills one woman a film in which the young Obi-Wan plays and uses all of the others he encounters to a man who gets involved in a romantic quaff his ruthless sexual appetite. And yet, triangle aboard a river barge. Immedi- Mackenzie’s film—repeatedly and perhaps ately, I thought of L’Atalante (Jean Vigo, unavoidably—echoes scenes and situa- 1934), the most famous barge movie of tions from L’Atalante.
    [Show full text]
  • Representaciones Realistas De Niños, Adolescentes Y Jóvenes Marginales En El Cine Iberoamericano (1990-2003)
    UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE LINGÜÍSTICA, LENGUAS MODERNAS, LÓGICA Y FILOSOFÍA DE LA CIENCIA, TEORÍA DE LA LITERATURA Y LITERATURA COMPARADA PROGRAMA DE DOCTORADO EN HISTORIA DEL CINE Representaciones realistas de niños, adolescentes y jóvenes marginales en el cine iberoamericano (1990-2003) TESIS DOCTORAL Presentada por: Juan Carlos Vargas Maldonado Director: Dr. Alberto Elena Díaz Madrid, junio de 2008 2 ÍNDICE Introducción 3 1. Las primeras búsquedas “realistas” en el cine 8 1.1 El realismo socialista 11 1.2 El documental etnográfico 13 1.3 El documental social 16 1.4 El realismo poético francés 17 1.5 Dos antecedentes realistas del cine de ficción mexicano y español 19 1.6 El neorrealismo italiano 23 1.7 Ejemplos prototípicos: El Limpiabotas y La tierra tiembla 27 2. Los olvidados: modelo paradigmático sobre los niños, adolescentes y 33 jóvenes marginales 3. La herencia del neorrealismo en las cinematografías venezolana, 42 brasileña, argentina, española, chilena, boliviana y colombiana (1950-1981) 3.1 Venezuela: La escalinata y Soy un delincuente 46 3.2 Brasil: Río 40 grados y Pixote, los olvidados de Dios 54 3.3 Argentina: Tire dié, Crónica de un niño solo y La Raulito 65 3.4 España: Los golfos y Deprisa, deprisa 77 3.5 Chile: Largo viaje y Valparaíso, mi amor 86 3.6 Bolivia: Chuquiago 93 3.7 Colombia: Gamín 97 4. Representaciones realistas 1990-2003 105 4.1 Delincuencia y crimen: Caluga o menta (Chile/España), Lolo (México), 108 Como nacen los ángeles (Brasil) y Ciudad de Dios (Brasil/Francia/Alemania), Pizza, birra, faso (Argentina), Barrio (España/Francia) y Ratas, ratones y rateros (Ecuador/Estados Unidos) 4.2 Sicarios: Sicario (Venezuela) y La virgen de los sicarios 155 (Colombia/España/Francia) 4.3 Niños de la calle: La vendedora de rosas (Colombia), Huelepega, 170 ley de la calle (Venezuela/España), De la calle (México) y El Polaquito (Argentina/España) 5.
    [Show full text]
  • Hartnett Dissertation
    SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Recorded Objects: Time-Based Technologically Reproducible Art, 1954-1964 A Dissertation Presented by Gerald Hartnett to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Art History and Criticism Stony Brook University August 2017 Stony Brook University 2017 Copyright by Gerald Hartnett 2017 Stony Brook University The Graduate School Gerald Hartnett We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Andrew V. Uroskie – Dissertation Advisor Associate Professor, Department of Art Jacob Gaboury – Chairperson of Defense Assistant Professor, Department of Art Brooke Belisle – Third Reader Assistant Professor, Department of Art Noam M. Elcott, Outside Reader Associate Professor, Department of Art History, Columbia University This dissertation is accepted by the Graduate School Charles Taber Dean of the Graduate School ii Abstract of the Dissertation Recorded Objects: Time-Based, Technologically Reproducible Art, 1954-1964 by Gerald Hartnett Doctor of Philosophy in Art History and Criticism Stony Brook University 2017 Illuminating experimental, time-based, and technologically reproducible art objects produced between 1954 and 1964 to represent “the real,” this dissertation considers theories of mediation, ascertains vectors of influence between art and the cybernetic and computational sciences, and argues that the key practitioners responded to technological reproducibility in three ways. First of all, writers Guy Debord and William Burroughs reinvented appropriation art practice as a means of critiquing retrograde mass media entertainments and reportage.
    [Show full text]
  • Zéro De Conduite: Jeunes Diables Au Collège (Zero for Conduct)
    Quarterly Review of Film and Video ISSN: 1050-9208 (Print) 1543-5326 (Online) Journal homepage: https://www.tandfonline.com/loi/gqrf20 Zéro de conduite: Jeunes diables au collège (Zero for Conduct) Maria Pramaggiore To cite this article: Maria Pramaggiore (2010) Zéro de conduite: Jeunes diables au collège (Zero for Conduct), Quarterly Review of Film and Video, 27:5, 413-415, DOI: 10.1080/10509208.2010.495003 To link to this article: https://doi.org/10.1080/10509208.2010.495003 Published online: 04 Oct 2010. Submit your article to this journal Article views: 170 Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=gqrf20 Essays 413 the film has remained to this day, as contemporary German cinema is still awaiting a more systemic effort at rejuvenating what constitutes the lifeblood of any properly functioning film industry: genre cinema. Marco Abel teaches film studies and continental theory in the Department of English at the University of Nebraska and is currently working on his second book, The Berlin School: Toward a Minor Cinema.Hehasa longer essay on Dominik Graf forthcoming in Generic Histories: Genre and its Deviations in German Cinema (ed. Jaimey Fisher). Zero´ de conduite: Jeunes diables au college` (Zero for Conduct) MARIA PRAMAGGIORE Refused a certificate by the French Comite´ national du cinema´ (Film Control Board) on the grounds that its satirical attack on the education system was seditious, Jean Vigo’s Zero´ de Conduite (1933) would not be screened commercially in France until 1945, 11 years after the director’s death from tuberculosis at age 29.
    [Show full text]
  • The History of Cinema and America's Role in It: Review
    Reason Papers Vol. 35, no. 1 The History of Cinema and America’s Role in It: Review Essay of Douglas Gomery and Clara Pafort- Overduin’s Movie History: A Survey Gary Jason California State University, Fullerton The book under review is an expanded and updated new edition of a book that was originally published a decade ago.1 The authors, Douglas Gomery and Carla Pafort-Overduin, have written a clear, comprehensive, and compelling history of cinema that is wonderfully useful as a reference text for philosophy and film courses, and as a main text for history of film courses. The book has some problems, however, which I will explore after I summarize its contents. The first section of the book (Chapters One through Five) discusses the silent era (1895-1925). The first chapter appropriately explores the earliest era of film, looking at the basic innovations. These innovations included magic lanterns (such as the 1861 patented kinematoscope), George Eastman’s celluloid-based film, the Lumiere brothers’ cameras and projectors, and Edison’s early crucial role in spreading the new technology. The authors also review the early era of film distribution and exhibition, through channels such as Vaudeville, fairs, and the nickelodeon. In Chapters Two and Three, Gomery and Pafort-Overduin discuss the early success of Hollywood, from the rise of the major studios and special venues (“picture palaces,” or large movie theaters) in 1917. They note a point to which I will return in due course, namely, that from roughly 1920 to 1950, the major Hollywood studios not only produced America’s films, but distributed and exhibited them (in their own movie theaters) as well.
    [Show full text]
  • Ambivalence As a Theme in "On the Waterfront" (1954): an Interdisciplinary Approach to Film Study Author(S): Kenneth Hey Source: American Quarterly, Vol
    Ambivalence as a Theme in "On the Waterfront" (1954): An Interdisciplinary Approach to Film Study Author(s): Kenneth Hey Source: American Quarterly, Vol. 31, No. 5, Special Issue: Film and American Studies (Winter, 1979), pp. 666-696 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/2712431 Accessed: 02/07/2010 10:41 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=jhup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to American Quarterly. http://www.jstor.org AMBIVALENCE AS A THEME IN ON THE WATERFRONT (1954): AN INTERDISCIPLINARY APPROACH TO FILM STUDY KENNETH HEY BrooklynCollege of theCity University of New York THE STUDY OF FILM IN AMERICAN CULTURE POSES SOME INTERESTING challengesto theperson using an interdisciplinarymethod.
    [Show full text]
  • Winter 19 National Gallery of Art Film
    National Gallery of Art Film Winter 19 Special Events 13 The Films of Gordon Parks 23 Jean Vigo 31 From Vault to Screen: Portugal 35 Hollywood’s Poverty Row Preserved by UCLA 41 Breaking the Frame p17 The winter 2019 film season at the National Gallery of Art features a retrospective of films by Amer- ican photographer and filmmaker Gordon Parks presented in conjunction with the Gallery’s special exhibition Gordon Parks: The New Tide, Early Work 1940 – 1950. A series of special events in the winter season encompasses, among others, the Wash- ington premieres of Gray House by Austin Jack Lynch and Matthew Booth and The Image Book by Jean-Luc Godard. There are also several new docu- mentaries: On the Wings of Brancusi, Breaking the Frame, Ryuichi Sakamoto: Coda, Acid Forest, and More Art Upstairs. New restorations include Jean- Pierre Melville’s When You Read This Letter from the mid-1950s and Ishmael Reed and Bill Gunn’s extraor- dinary Personal Problems (1980), attended by Ish- mael Reed in person. Other series during the winter months include a complete retrospective of French filmmaker Jean Vigo; the occasional series From Vault to Screen, this season focusing on the classic cinema of Portugal in archival prints from Cine- mateca Portuguesa; and Hollywood’s Poverty Row Preserved by UCLA, a look at the B-movie producers of the Golden Age in Hollywood and their offbeat, low-budget works that ultimately sparked the indie film movement of the 1950s and 1960s. 2Gray House p13 3 January 2 Wed 12:30 On the Wings of Brancusi p13 4 Fri 12:30
    [Show full text]
  • SHSU Video Archive Basic Inventory List Department of Library Science
    SHSU Video Archive Basic Inventory List Department of Library Science A & E: The Songmakers Collection, Volume One – Hitmakers: The Teens Who Stole Pop Music. c2001. A & E: The Songmakers Collection, Volume One – Dionne Warwick: Don’t Make Me Over. c2001. A & E: The Songmakers Collection, Volume Two – Bobby Darin. c2001. A & E: The Songmakers Collection, Volume Two – [1] Leiber & Stoller; [2] Burt Bacharach. c2001. A & E Top 10. Show #109 – Fads, with commercial blacks. Broadcast 11/18/99. (Weller Grossman Productions) A & E, USA, Channel 13-Houston Segments. Sally Cruikshank cartoon, Jukeboxes, Popular Culture Collection – Jesse Jones Library Abbott & Costello In Hollywood. c1945. ABC News Nightline: John Lennon Murdered; Tuesday, December 9, 1980. (MPI Home Video) ABC News Nightline: Porn Rock; September 14, 1985. Interview with Frank Zappa and Donny Osmond. Abe Lincoln In Illinois. 1939. Raymond Massey, Gene Lockhart, Ruth Gordon. John Ford, director. (Nostalgia Merchant) The Abominable Dr. Phibes. 1971. Vincent Price, Joseph Cotton. Above The Rim. 1994. Duane Martin, Tupac Shakur, Leon. (New Line) Abraham Lincoln. 1930. Walter Huston, Una Merkel. D.W. Griffith, director. (KVC Entertaiment) Absolute Power. 1996. Clint Eastwood, Gene Hackman, Laura Linney. (Castle Rock Entertainment) The Abyss, Part 1 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss, Part 2 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss. 1989. (20th Century Fox) Includes: [1] documentary; [2] scripts. The Abyss. 1989. (20th Century Fox) Includes: scripts; special materials. The Abyss. 1989. (20th Century Fox) Includes: special features – I. The Abyss. 1989. (20th Century Fox) Includes: special features – II. Academy Award Winners: Animated Short Films.
    [Show full text]
  • Film Collection
    Film Collection 1. Abe Lincoln in Illinois, US 1940 (110 min) bw (DVD) d John Cromwell, play Robert E. Sherwood, ph James Wong Howe, with Raymond Massey, Ruth Gordon, Gene Lockhart, Howard de Silva AAN Raymond Massey, James Wong Howe 2. Advise and Consent, US 1962 (139 min) (DVD) d Otto Preminger, novel Allen Drury, ph Sam Leavitt, with Don Murray, Charles Laughton, Henry Fonda, Walter Pidgeon. 3. The Age of Innocence, US 1993 (139 min) (DVD) d Martin Scorsese, novel Edith Wharton, m Elmer Bernstein, with Daniel Day-Lewis, Michelle Pfeiffer, Winona Ryder, Alexis Smith, Geraldine Chaplin. 4. Alexander France/US/UK/Germany, Netherlands 2004 (175 min) (DVD) d Oliver Stone, m Vangelis, with Antony Hopkins, Val Kilmer, Colin Farrell 5. Alexander Nevsky, USSR 1938 (112 min) bw d Sergei Eisenstein, w Pyotr Pavlenko, Sergei Eisenstein, m Prokofiev, ph Edouard Tiss´e, with Nikolai Cherkassov, Nikolai Okhlopkov, Andrei Abrkikosov. 6. The Age of Innocence, US 1993 (139 min) (DVD) d Martin Scorsese, novel Edith Wharton, with Daniel Day-Lewis, Michelle Pfeiffer, Winona Ryder, Alexis Smith, Geraldine Chaplin. AA Best Costume Design AAN Best Music; Best Screenplay; Winona Ryder; 7. The Agony and the Ecstacy, US 1965 (140 min) (DVD) d Carol Reed, novel Irving Stone, ph Leon Shamroy, with Charlton Heston, Rex Harrison, Diane Cilento, Harry Andrews. 8. All Quiet on the Western Front, US 1930 (130 min) bw (DVD) d Lewis Milestone (in a manner reminiscent of Eisenstein and Lang), novel Erich Maria Remarque, ph Arthur Edeson, with Lew Ayres, Louis Wolheim, Slilm Sum- merville, John Wray, Raymond Griffith.
    [Show full text]
  • Moma EXHIBITION AUTOMATIC UPDATE EXPLORES THE
    MoMA’s NINTH ANNUAL INTERNATIONAL FESTIVAL OF FILM PRESERVATION SHOWCASES NEWLY RESTORED MASTERWORKS AND REDISCOVERIES Festival Features Films by Roger Corman, Forugh Farrokhzad, George Kuchar, Alberto Lattuada, Louis Malle, Agnes Martin, Georges Méliès, Michael Powell and Emeric Pressburger, Jean Rouch, and Seijun Suzuki Guest presenters include Joe Dante, Walter Hill, Alejandro Jodorowsky, Elaine May, Mario Montez, Thelma Schoonmaker, and Martin Scorsese To Save and Project: The Ninth MoMA International Festival of Film Preservation October 14–November 19, 2011 The Roy and Niuta Titus Theaters NEW YORK, September 20, 2011—The Museum of Modern Art presents To Save and Project: The Ninth MoMA International Festival of Film Preservation, the annual festival of preserved and restored films from archives, studios, and distributors around the world, from October 14 through November 19, 2011. This year’s festival comprises over 35 films from 14 countries, virtually all of them having their New York premieres, and some shown in versions never before seen in the United States. Complementing the annual festival is a retrospective devoted to filmmaker Jack Smith, featuring 11 newly struck prints acquired for MoMA’s collection and introduced on November 13 by Mario Montez, star of Smith’s Flaming Creatures (1962–63) and Normal Love (1963–65). To Save and Project is organized by Joshua Siegel, Associate Curator, Department of Film, The Museum of Modern Art. Opening this year’s festival is Joe Dante’s digital preservation of The Movie Orgy (1968). Dante, who created some of the best genre-bending movies of the past 40 years, including Piranha, The Howling, Gremlins, and Matinee, will introduce a rare screening of The Movie Orgy on October 14.
    [Show full text]
  • BAM/PFA Program Guide
    NOV/DEC 2011 NOV/DEC BAM/PFA UC BERKELEY ART MUSEum & PacIFIC FILM ARCHIVE PROGRAM GUIDE RICHARD MISRACH KURT SCHWITTERS sILKE OTTO-KNAPP hIMALAYAN PILGRIMAGE SUN WORKS jEANNE MOREAU SOUTHERN (DIS)COMFORT NICOLÁS PEREDA dZIGA VERTOV aBBAS KIAROSTAMI pHIL TIPPETT aLTERNATIVE VISIONS BAM/PFA EXHIBITIONS & FILM SERIES SUN WORKS P. 5 1991: THE OAKland-BERKELEY FIRE AftERMath PhotoGRaphs BY RichaRD MisRach P. 7 RichaRD MisRach: PhotoGRaphs FROM thE CollEction P. 7 KURT SchwittERS: ColoR and CollaGe P. 8 HIMalaYan PilGRIMAGE: JOURNEY to thE Land of Snows P. 9 SilKE Otto-Knapp: A liGht in thE Moon / MATRIX 239 P. 9 THOM FAUldERS: BAMscapE JEannE MoREAU: EndURinG AllURe P. 12 SPEcial SCREEninG: MichElanGElo antonioni'S RED DESERT P. 15 RoMani CUltURe P. 15 Kino-EYE: THE REvolUtionaRY CinEMA of DZIGA VERtov P. 16 01 ABBas KiaRostaMI: THE FRAGilitY of Life P. 18 SOUthERN (Dis)coMfoRT: THE AMERican SOUth in CinEMA P. 20 BEhind thE SCENES: THE ART and CRaft of CinEMA Phil TippEtt, SPEcial EffEcts MastEr P. 23 AftERIMAGE: THE FilMS of NicolÁS PEREda P. 24 AltERnativE Visions P. 26 GET MORE Watch a time-lapse video of the reconstruction of Kurt Schwitters’s Merzbau at bampfa.berkeley.edu/podcasts. Watch an excerpt of the Kurt Schwitters: Color and Collage Curators’ Gallery Talk, with Isabel Schulz and Josef Helfenstein, at bampfa.berkeley.edu/podcasts. Cover Richard Misrach: Untitled (OF 104-91: Swimming Pool), 1991; archival pigment print; 62 × 77 in.; Learn more about L@TE artists and programmers at gift of the artist. © Richard Misrach 1991. bampfa.berkeley.edu/late. 01.
    [Show full text]