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January 20, 2009 (XVIII:2) Preston Sturges SULLIVAN’S TRAVELS (1941, 90 Min)
January 20, 2009 (XVIII:2) Preston Sturges SULLIVAN’S TRAVELS (1941, 90 min) Written and Directed by Preston Sturges Produced by Paul Jones Cinematography by John F. Seitz Film Editing by Stuart Gilmore Art Direction Hans Dreier Costume Design by Edith Head Makeup Wally Westmore Selected for the National Film Registry 1990 Joel McCrea...John L. Sullivan Veronica Lake…The Girl Robert Warwick …Mr. Lebrand William Demarest…Mr. Jones Franklin Pangborn…Mr. Casalsis Porter Hall…Mr. Hadrian Byron Foulger…Mr. Valdelle Margaret Hayes…Secretary Robert Greig…Sullivan's Butler Eric Blore…Sullivan's Valet Bend 1949, Unfaithfully Yours 1948, The Sin of Harold Torben Meyer…The Doctor Diddlebock 1947, The Great Moment 1944, The Palm Beach Victor Potel…Cameraman Story 1942, The Lady Eve 1941, Christmas in July 1940, and The Richard Webb…Radio Man Great McGinty 1940. The five films in bold and Sullivan’s Charles R. Moore…Chef Almira Sessions… Travels are considered his masterpieces. In 1919 Sturges invented Ursula Esther Howard…Miz Zeffie kissproof lipstick. Frank Moran …Tough Chauffeur Georges Renavent…Old Tramp JOEL MCCREA (5 November 1905, South Pasadena, California— Harry Rosenthal… Trombenick 20 October 1990, Woodland Hills, California, pulmonary Al Bridge…The Mister complications) appeared in nearly 100 films between The Fair Jimmy Conlin…Trusty Co-ed 1927 and Mustang Country 1976. After his appearance in Jan Buckingham…Mrs. Sullivan Buffalo Bill 1944, he did mostly westerns. Some of his other films Elsa Lanchester…Bit Part are Ride the High Country 1962, The Oklahoman 1957, The Preston Sturges…Studio Director Outriders 1950, Four Faces West 1948, The Virginian 1946, The Palm Beach Story 1942, Foreign Correspondent 1940, Espionage PRESTON STURGES (29 August 1898, Chicago—6 August 1959, Agent 1939, Union Pacific 1939, Three Blind Mice 1938, Wells New York, heart attack) has 45 writing and 15 directing credits. -
Descendants of Nathan Spanier 17 Feb 2014 Page 1 1
Descendants of Nathan Spanier 17 Feb 2014 Page 1 1. Nathan Spanier (b.1575-Stadthagen,Schaumburg,Niedersachsen,Germany;d.12 Nov 1646-Altona,SH,H,Germany) sp: Zippora (m.1598;d.5 Apr 1532) 2. Isaac Spanier (d.1661-Altona) 2. Freude Spanier (b.Abt 1597;d.25 Sep 1681-Hannover) sp: Jobst Joseph Goldschmidt (b.1597-witzenhausen,,,Germany;d.30 Jan 1677-Hannover) 3. Moses Goldschmidt 3. Abraham Goldschmidt sp: Sulke Chaim Boas 4. Sara Hameln 4. Samuel Abraham Hameln sp: Hanna Goldschmidt (b.1672) 3. Jente Hameln Goldschmidt (b.Abt 1623;d.25 Jul 1695-Hannover) sp: Solomon Gans (b.Abt 1620;d.6 Apr 1654-Hannover) 4. Elieser Suessmann Gans (b.Abt 1642;d.16 Oct 1724-Hannover) sp: Schoenle Schmalkalden 5. Salomon Gans (b.Abt 1674-Hameln;d.1733-Celle) sp: Gella Warburg (d.1711) 6. Jakob Salomon Gans (b.1702;d.1770-Celle) sp: Freude Katz (d.1734) 7. Isaac Jacob Gans (b.1723/1726;d.12 Mar 1798) sp: Pesse Pauline Warendorf (d.1 Dec 1821) 8. Fradchen Gans sp: Joachim Marcus Ephraim (b.1748-Berlin;d.1812-Berlin) 9. Susgen Ephraim (b.24 Sep 1778-Berlin) 9. Ephraim Heymann Ephraim (b.27 Aug 1784;d.Bef 1854) sp: Esther Manasse 10. Debora Ephraim sp: Heimann Mendel Stern (b.1832;d.1913) 11. Eugen Stern (b.1860;d.1928) sp: Gertrude Lachmann (b.1862;d.1940) 12. Franz Stern (b.1894;d.1960) sp: Ellen Hirsch (b.1909;d.2001) 13. Peter Stern Bucky (b.1933-Berlin;d.2001) sp: Cindy 10. Friederike Ephraim (b.1833;d.1919) sp: Leiser (Lesser) Lowitz (b.Abt 1827;m.11 Jan 1854) 9. -
La Justicia En La Pantalla
Otras publicaciones del Fondo Editorial PUCP ¿Cómo aparece retratada la justicia en el cine y la televisión que vemos? LUIS PÁSARA (Lima, 1944) se doctoró en Derecho ¿Qué aparece en la pantalla como «la realidad» de tribunales, jueces, en la Pontifi cia Universidad Católica del Perú, Introducción al Sistema Interamericano fi scales y abogados? Para abordar estas preguntas se propuso a los donde ejerció la docencia entre 1967 y 1976. de Derechos Humanos autores de este libro que escogieran una película, un director o un tema, Fundó el Centro de Estudios de Derecho y Elizabeth Salmón , editor para examinar aquello que la producción cinematográfi ca o televisiva LA JUSTICIA Sociedad (CEDYS), en Lima, del que fue director Problemas actuales de política criminal nos dicen acerca de la justicia que tenemos. e investigador durante diez años. Como sociólogo Anuario de Derecho Penal 2015-2016 EN LA PANTALLA del derecho, su carrera académica se desarrolló en Dieciocho autores, residentes en siete países, escogieron producciones el Centro de Investigación y Docencia Económicas José Hurtado Pozo Pásara Luis de origen estadounidense —con extensa difusión en América Latina— UN REFLEJO DE JUECES Y TRIBUNALES EN CINE Y TV (CIDE), en Ciudad de México; el Woodrow Justicia profana o latinoamericano: Argentina, Brasil, Colombia, Chile, México y Wilson International Center for Scholars, en El jurado de imprenta en el Perú Perú. Aunque la mayoría de los textos se ocupan de películas, varios Washington D.C.; el Helen Kellogg Institute de Carlos Ramos Núñez otros abordan producciones de televisión. En el conjunto hay algunos Luis Pásara la Universidad de Notre Dame; y la Universidad trabajos basados en casos reales. -
February 2021 Vol
The Journal of the Nassau County Bar Association February 2021 www.nassaubar.org Vol. 70, No. 6 Follow us on Facebook NCBA Dinner Gala Update NCBA COMMITTEE The NCBA Dinner Gala, held our honorees deserve to be recognized MEETING CALENDAR Page 17 annually in May, is the largest social despite the circumstances. In light of this event of the Nassau County Bar decision, the Bar will move forward with Association. In spring 2020, the the creation of the Dinner Gala Journal, COVID-19 Pandemic forced the NCBA which highlights the accomplishments SAVE THE DATE to postpone the May 2020 Gala to of our honorees. The journal is an LAW DAY ensure the safety of all. The Gala was invaluable way to show support for the Advancing the Rule of Law Now rescheduled to Saturday, May 8, 2021 at honorees in a safe and contact-free way. the Long Island Marriott. Unfortunately, Due to the event’s delay, the NCBA will Thursday, April 29, 2021 due to the progression of COVID-19, Christopher T. McGrath Hector Herrera honor not only last year’s fi fty-, sixty-, See pg. 6 for details and concerns for the health and safety and seventy-year honorees, but this year’s of staff and guests, the NCBA has made at Sullivan, Papain, Block, McGrath, as well. the diffi cult decision to further postpone Coffi nas & Cannavo; President’s Within this issue, you will fi nd a the May Gala. The Bar will announce Award Recipient Hector Herrera, journal ad form listing ad options, WHAT’S INSIDE a new date for later in 2021 when it is NCBA Building Manager; and NCBA pricing, and the full names of all S.D.N.Y. -
The Reception of Carl Nielsen As a Danish National Composer
The Reception of Carl Nielsen as a Danish National Composer Sarah Gutsche-Miller Faculty of Music McGill University, Montreal August 2003 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Master of Arts (Musicology) Sarah Gutsche-Miller, 2003 11 Abstract Carl Nielsen, labelled as Denmark's national composer, has long been relegated to a secondary status in English-language musicology as a composer of great national significance but negligible importance outside of Scandinavia. This thesis explores the links between Danish nationalism and Nielsen's music, as well as the effects of Nielsen's status as a national composer on the reception of his symphonic music outside of Denmark. The first section of this paper is a study of Nielsen's music in the context of Danish cultural nationalism at the turn of the twentieth century, focusing on the folk influences or "Danish" aspects of his symphonic music. It also examines the extent to which the national or Nordic qualities of his music are constructions and later attributions. The following section looks at the development of Nielsen's status as a national composer in Denmark, as well as how this label has engendered the stereotyping of his music as regional in English-language musicology. Nielsen has been neglected by the Anglo-Germanic canon which privileges central European compositional styles and methods while viewing nationally inflected music negatively. Although Nielsen's Danish background cannot be ignored, his symphonic music needs to be studied in a wider European context for his universal message to be appreciated. -
The Most Vociferous Screwball Comedies: the Miracle of Morgan’S Creek and Hail the Conquering Hero Yukiko Arimori
The Most Vociferous Screwball Comedies: The Miracle of Morgan’s Creek and Hail the Conquering Hero Yukiko Arimori Preface The Miracle of Morgan’s Creek (1944) and Hail the Conquering Hero (1944), written and directed by Preston Sturges, have received critical acclaim as masterpieces of screwball comedy. They have a lot in common: both feature a plot set in the rural community in America under the Word War II, and both of the male protagonists are 4F (unfit for military service) played by Eddie Bracken. Most of all, both films are outstanding among Sturges films in terms of their vociferous comic universe. Sturges has been admired for being “masterful with noisy crowds” (Farber 99). There is also such a testimony as “The noisier and more confused the environment, the better he seemed to like it” while at work on the studio (Curtis 146). It seems to mean that the unique quality of his films, most remarkably represented by vociferous comedy sequence, culminates with The Miracle of Morgan’s Creek and Hail the Conquering Hero. Focusing on these two films, this essay aims to explore how Sturges successfully created the noisiest screwball comedies. It is significant in this context to call attention to the relationship between Bracken’s hero and other supporting role characters surrounding him. As previous studies have pointed out, unique supporting role characters played by character actors and actresses, known as the Sturges Stock Company, are essential to Sturges’ noisy comic universe.1 Brian Henderson evaluates that “Sturges’s visual style in Hail the Conquering Hero marks a new turn in his cinema”: In scene after scene, physical reality is all but eclipsed by wall-to-wall characters; faces and bodies literally fill the screen… virtually eclipsing their setting and making the characters and only them the film’s mise-en-scéne. -
Preston Sturges & the Marx Bros
Preston Sturges & The Marx Bros. by Richard von Busack “Somebody said that all I needed for success in American life was a bass voice and a muscular handshake, so I seized producers with a powerful grip, looked piercingly into their eyes and asked them in my deepest tones if they doubted for a second if I could direct. “When they said, ‘no’, and I said, “Then when do I start,’ they said, “As soon as you’ve directed for anybody else.” Such was Preston Sturges’ dilemma in the late 1930s. He was one of the best-paid writers in Hollywood, where, as the saying went, you never saw so many unhappy people earning $100,000 a year. He had worked for Goldwyn, MGM and Universal, had writ- ten dialogue for kings and drum majorettes alike, and he was burning to direct. It was during this time that a script of Sturges’ titled “The Vagrant” was being pre- pared for filming. Sturges offered his services as director for the sum of $1. Paramount producer William LeBaron accepted the deal for $10 to make it more official. The script was retitled “The Great McGinty.” In parting, LeBaron warned the novice direc- tor that he’d be happier as a writer: “Shoemaker, stick to your last!” “You show me a man who sticks to his last, and I’ll show you a shoemaker,” Sturges thought to himself, on the staircase out of the office. So began the directing career of Preston Sturges. In a startlingly short rush of creative fervor, which chronologically paralleled the US’s most desperate years during World War II, Sturges directed seven peerless comedies. -
BVC M010546 Cine Y Teatro. Guía De Largometrajes Adaptados De Obras
Guía de Largometrajes 2009 cine y teatro introducción La GUÍA DE CINE Y TEATRO es una compilación de una amplia selección de largometrajes que son adaptaciones de obras teatrales a la pantalla cinematográfica. Se encuadra en la colección Guías de Cine, editadas por la Comunidad de Madrid, presentándose ahora en formato CD, con el fin de proporcionar un formato más adecuado para una obra de referencia, ya que facilita la realización de consultas y búsquedas automáticas útiles para los interesados en el tema. La mayoría de los títulos incluidos han sido estrenados comercialmente y figuran por ello en la base de datos de películas del Ministerio de Cultura. En esta guía se ha optado por reflejar también obras que han sido estrenadas en festivales, aunque no hayan llegado a las pantallas comerciales, así como algunos títulos señalados que, por causas diversas, no han llegado a verse en proyección pública alguna en España. La GUÍA DE CINE Y TEATRO consta de dos partes: 1) Referencias fílmicas. Se relacionan los autores teatrales por orden alfabético y, en caso de que el autor tenga más de una adaptación a la pantalla, las películas se ordenan por orden alfabético de título. 2) Índices. - De autores - De películas En cada ficha se proporcionan los datos básicos de cada película (director, intérpretes principales, guión, argumento, música, director de fotografía, año de producción, nacionalidad, duración, datos técnicos, género, calificación, productora y distribuidora), así como un breve resumen. obras por autor 16 A Argumento: Basado en la obra teatral “No te ofendas, Beatriz” de Carlos ABATI Y DÍAZ, JOAQUÍN (1856-1936) Arniches y Joaquín Abati (1926) Música: Juán Durán Alemany Escritor y libretista de zarzuelas, nacido en Madrid en 1865. -
THE BOX OFFICE CHECK-UP of 1935
1 to tell the world!* IN 1936 THE BOX OFFICE CHECK-UP of 1935 An annual produced by the combined editorial and statistical facilities of Motion Picture Herald and Motion Picture Daily devoted to the records and ratings of talent in motion pictures of the year. QUIGLEY PUBLISHING COMPANY THE PUBLIC'S MANDATE by MARTIN QUIGLEY 1 The Box Office Check-Up is intended to disclose guidance upon that single question which in the daily operations of the industry over- shadows all others; namely, the relative box office values of types and kinds of pictures and the personnel of production responsible for them. It is the form-sheet of the industry, depending upon past performances for future guidance. Judging what producers, types of pictures and personalities will do in the future must largely depend upon the record. The Box Office Check-Up is the record. Examination of the record this year and every year must inevitably dis- close much information of both arresting interest and also of genuine im- portance to the progress of the motion picture. It proves some conten- tions and disproves others. It is a source of enlightenment, the clarifying rays of which must be depended upon to light the road ahead. ^ Striking is the essential character of those pictures which month in and month out stand at the head of the list of Box Office Cham- pions. Since August, 1934, the following are among the subjects in this classification: "Treasure Island," "The Barretts of Wimpole Street," "Flirta- tion Walk," "David Copperfield," "Roberta," "Love Me Forever," "Curley -
EL DERECHO VA AL CINE Intersecciones Entre La Visión Artística Y La Visión Jurídica De Los Problemas Sociales Cecilia O’Neill De La Fuente (Editora)
CECILIA O´NEILL DE LA FUENTE CECILIA O´NEILL DE LA FUENTE EDITORA EDITORA EDITORA Otras publicaciones de la EDITORA Universidad del Pacífico EL DERECHO CECILIA O´NEILL DE LA FUENTE • Cuando despertemos en el 2062: visiones del Perú Es abogada por la Pontificia Universidad VA AL CINE CECILIA O´NEILL DE LA FUENTE en 50 años. Editores: Bruno Seminario, Cynthia Intersecciones entre la visión artística y la Católica del Perú (1996) y máster en Derecho A. Sanborn y Nikolai Alva. Lima: Universidad del visión jurídica de los problemas sociales por la University of Pennsylvania (2000). Es jefa Pacífico, 2012. del Departamento Académico de Derecho de • Desarrollo a escala humana y de la naturaleza. Jürgen la Universidad del Pacífico. Es profesora de Schuldt. Lima: Universidad del Pacífico, 2012. Derecho Civil en la Universidad del Pacífico ¿Pueden las películas transformar la realidad en ficción y la ficción en • Discriminación en el Perú: exploraciones en el Estado, y del curso Cine y Derecho en la Pontificia realidad? ¿Es el cine una fuente para aprender derecho y para tener la empresa y el mercado laboral. Editor: Francisco Universidad Católica del Perú. mejores abogados? ¿Las películas pueden educar? Galarza. Lima: Universidad del Pacífico, 2012. • Ensayos sobre protección al consumidor en el Perú. Es árbitro en procesos arbitrales administrados El cine entretiene, cuestiona, divierte, pregunta. También puede servir Editor: Oscar Súmar. Lima: Universidad del Pacífico, por el Centro de Arbitraje de la Cámara de como propaganda política o en general influir en la formación de las ideas, 2011. Comercio de Lima, el Centro de Arbitraje de la pero además promueve la reflexión sobre el rol que cumple el derecho en EL DERECHO • El fútbol como negocio: una introducción a la gestión Cámara de Comercio Americana del Perú y el la historia. -
Carl Nielsen and the Radio
CARL NIELSEN AND THE RADIO By Knud Ketting Only a few places in Europe took up the newly developed radio as quickly and as widely as Denmark. In 1930, when the public Danish radio organisation had five years behind it, Denmark was statistically leading in European terms and had been there for some time. At this point in Denmark there were 119.5 registered radio listeners per 1000 inhabitants, and a long way behind lay Sweden with 79, and the UK, Austria and Ger- many with 77.5, 63.4, and 56.2 respectively.1 There were certainly also some ‘pirate listeners’, or ‘plankeværkslyttere’ as they were known in Denmark, which is to say, lis- teners who did not pay the statutory fee. But the Danish weekly radio magazine, which published the figures, maintained that the highest number could be found at the bot- tom of the European table, in Romania, where the official figure was 2.8. Radio broadcasting was of crucial importance for the development of musical life in Denmark, and therefore also for Carl Nielsen, without doubt the leading com- poser in Denmark at the time. As in a series of other European nations, the develop- ment of radio broadcasting began with a private war of the air waves, in which politi- cians then intervened. Relatively swift legislation led to the creation of a national licence- paid broadcasting authority on 1 April 1925, at first as a trial and then, within a year, on a permanent basis. It was hardly a coincidence that the first manager of the Danish broadcasting authority to be chosen was a man already involved with music, namely the bass singer Emil Holm (1867-1950), who, after a career in German opera houses2 returned to Denmark at the outbreak of the First World War. -
Lubitsch Bio-Filmografi
Lubitsch bio-filmografi Under udarbejdelsen af Lubitsch-filmografien er der skelet flittig t til især ERNST LUBITSCH’ BIOGRAFI: Gerhard Lamprechts uvurderlige »Deutsche Stummfilme« for årene 1913 til 1922 samt til Herman G. Weinbergs »The Lubitsch Touch«, 1968. Andre kilder Født den 28. januar 1882 i Berlin, hvor faderen Simon har været Theodore Huffs »An Index to the Films of Ernst Lubitsch«, The Lubitsch havde en skrædderforretning. 16 år gammel for British Film Institute, 1947, og Patrick Brions filmografi i Cahiers du Cinéma, februar 1968. Yderligere oplysninger er opsnuset i diverse tidsskrifter, bøger lod Ernst Lubitsch Sophien-Gymnasium, hvorefter han og opslagsværker. P.C. hjalp til i faderens forretning, først i selve forretningen, ERNST LUBITSCH SOM SKUESPILLER (i andres film): senere i bogholderiet. I 1910 kom Ernst Lubitsch til Max 1912: THE MIRACLE (Instr: Max Reinhardt) Reinhardts Deutsches Theater (efter i et par år at have VENEZIANISCHE NACHTE (Instr: Max Reinhardt) 1913: MEYER AUF DER ALM (Instr: ej fundet) optrådt på varieteer og lignende i sin fritid). Hos Reinhardt BEDINGUNG: KEiN ANHANG (Instr: Steilan Rye) fik Lubitsch småroller i bl. a. »Faust«, »Hamlet« og »Su- 1914: FRÅULEIN PICCOLO (Instr: Franz Hofer) DIE FIRMA HEIRATET (Instr: Carl Wilhelm) murun«, og han var med, da Reinhardts skuespillertrup DER STOLZ DER FIRMA (Instr: Carl Wilhelm) MEYER ALS SOLDAT (Instr: ej fundet) optrådte i London i februar 1911 og igen i 1912 (da Rein RUND UM DIE EHE (Instr: ej fundet) hardts engelske opførelse af »The Miracle«, et skuespil 1915: ARME MARIE! (Instr: Max Mack) ROBERT UND BERTRAM (Instr: Max Mack) af Karl Vollmoller, blev affotograferet).