Hall of Fame on February 5, 2011
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Film Film Film Film
City of Darkness, City of Light is the first ever book-length study of the cinematic represen- tation of Paris in the films of the émigré film- PHILLIPS CITY OF LIGHT ALASTAIR CITY OF DARKNESS, makers, who found the capital a first refuge from FILM FILMFILM Hitler. In coming to Paris – a privileged site in terms of production, exhibition and the cine- CULTURE CULTURE matic imaginary of French film culture – these IN TRANSITION IN TRANSITION experienced film professionals also encounter- ed a darker side: hostility towards Germans, anti-Semitism and boycotts from French indus- try personnel, afraid of losing their jobs to for- eigners. The book juxtaposes the cinematic por- trayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Anatole Litvak and others with wider social and cultural debates about the city in cinema. Alastair Phillips lectures in Film Stud- ies in the Department of Film, Theatre & Television at the University of Reading, UK. CITY OF Darkness CITY OF ISBN 90-5356-634-1 Light ÉMIGRÉ FILMMAKERS IN PARIS 1929-1939 9 789053 566343 ALASTAIR PHILLIPS Amsterdam University Press Amsterdam University Press WWW.AUP.NL City of Darkness, City of Light City of Darkness, City of Light Émigré Filmmakers in Paris 1929-1939 Alastair Phillips Amsterdam University Press For my mother and father, and in memory of my auntie and uncle Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 633 3 (hardback) isbn 90 5356 634 1 (paperback) nur 674 © Amsterdam University Press, Amsterdam, 2004 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book. -
Dean Tavoularis
DEAN TAVOULARIS Né aux États-Unis Il vit et travaille à Paris. Directeur artistique de films et artiste- peintre, il compte plus de 50 ans de carrière aux côtés de metteurs en scène de légende … Arthur Penn, Michelangelo Antonioni, Wim Wenders, Francis Ford on les nomme à Hollywood –, ils ont Coppola, Roman Polanski. posé les jalons d’un corps essentiel du cinéma : donner une matière aux visions L’artiste, né en 1932 à Lowell dans le d’un cinéaste. Parmi leurs successeurs, Massachusetts, de parents grecs originaires Dean Tavoularis s’est imposé comme du Péloponnèse, arrive à l’âge de 4 ans à le plus précieux, précis et inventif. Son Long Beach en Californie. regard sidérant n’est pas étranger à la Son père travaille dans la compagnie de réussite de Coppola : nous lui devons café familiale. Son environnement familial les salons opaques du Parrain, les néons encourage les goûts du jeune Dean pour le luminescents de Coup de cœur, la folie dessin et les beaux-arts et à 17 ans il intègre sauvage du labyrinthe où les personnages une des premières Film School des Etats- d’Apocalypse Now s’égarent – ainsi que les Unis et rejoint les studios Disney, qui font costumes des bunnies Playboy. Sa vision ne véritablement office d’école de cinéma. En se limite pas à son domaine, elle englobe parallèle il suit des cours d’architecture, de le projet dans sa totalité. » écrit Léonard dessin et d’art. Son apprentissage au sein Bloom dans un article de Numéro consacré des studios Disney lui permet de mettre à Dean Tavoularis (avril 2019). -
Art Directors Guild to Induct Three Legendary Production Designers Into Its Hall of Fame at 18Th Annual Excellence in Production Design Awards February 8, 2014
Art Directors Guild to Induct Three Legendary Production Designers Into Its Hall of Fame at 18th Annual Excellence in Production Design Awards February 8, 2014 LOS ANGELES, Sept. 11 — Three legendary Production Designers – Robert Clatworthy, Harper Goff and J. Michael Riva – will be inducted into the Art Directors Guild (ADG) Hall of Fame at the Guild’s 18th Annual Excellence in Production Design Awards ceremony to be held at the Beverly Hilton Hotel on February 8, 2014, as announced today by ADG Council Chairman John Shaffner and Awards Producers Raf Lydon and Dave Blass. In making the announcement Shaffner said, “Clatworthy, Goff and Riva join a distinguished group of ADG Hall of Famers, whose collective work parallels the best of motion picture and television production design. They are most worthy and welcomed additions.” Nominations for the 18th Annual ADG Excellence in Production Design Awards will be announced on January 9, 2014. On awards night, February 8, the ADG will present winners in ten competitive categories for theatrical films, television productions, commercials and music videos. Recipient of this year’s Lifetime Achievement Award will be Production Designer and Art Director Rick Carter, as previously announced. The Excellence in Production Design Awards are open only to productions, when made within the U.S., by producers signatory to the IATSE agreement. Foreign entries are acceptable without restrictions. ROBERT CLATWORTHY (1911 – 1992) Robert Clatworthy (William Robert Clatworthy) was an Oscar®-winning American Production Designer who worked at Paramount starting in 1938, and at Universal until 1964. In the 1960’s Clatworthy became involved with some of Hollywood’s best directors, including Orson Welles, Alfred Hitchcock and Stanley Kramer. -
Tutti Gli Oscar Italiani
Tutti gli Oscar Italiani Dopo il grande successo di Paolo Sorrentino con “La Grande Bellezza” agli Accademy Awards, mi sembra giusto fare un piccolo riassunto della partecipazione del nostro paese, al più importante premio cinematografico. Non molti sanno che l’Italia, lasciando a parte gli U.S., ha vinto più Oscar di qualsiasi altro Stato. Ecco una “piccola” lista: 1947: Vittorio De Sica vince il primo Oscar per Miglior film Straniero con “Sciuscià” 1950: Miglior Film Straniero a De Sica per “Ladri di Biciclette” 1955: Anna Magnani vince Miglior Attrice per “La Rosa Tatuata” 1957: Federico Fellini vince Miglior film Straniero con “La Strada” 1958: Fellini vince Miglior film Straniero con “Le Notti di Cabiria” 1962: Sophia Loren è la prima attrice a vincere un Oscar come miglior Attrice in una lingua diversa dall’inglese con “La Ciociara” 1962: Pietro Gherardi per i costumi della “Dolce Vita” 1963: Fellini vince Miglior film Straniero con “8 ½” 1963: Pietro Gherardi vince Miglior Costumi con “8 ½” 1963: Pietro Germi, Ennio De Concini, Alfredo Giannetti 1964: Migliori costume a Vittorio Nino Novarese per “Cleopatra” 1965: De Sica vince Miglior film Straniero con “Ieri, Oggi, Domani” 1969: Danilo Donati vince Migliori Costumi per “Romeo e Giulietta” 1969: Pasqualino De Santis vince Miglior Fotografia per “Romeo e Giulietta” 1970: Elio Petri vince Miglior film Straniero con “Indagine su un cittadino al di sopra di ogni sospetto” 1971: “Il Giardino dei Finzi Contini” di De Sica vince Miglior film Straniero 1974: Fellini vince con “Amarcord” -
XXXI:4) Robert Montgomery, LADY in the LAKE (1947, 105 Min)
September 22, 2015 (XXXI:4) Robert Montgomery, LADY IN THE LAKE (1947, 105 min) (The version of this handout on the website has color images and hot urls.) Directed by Robert Montgomery Written by Steve Fisher (screenplay) based on the novel by Raymond Chandler Produced by George Haight Music by David Snell and Maurice Goldman (uncredited) Cinematography by Paul Vogel Film Editing by Gene Ruggiero Art Direction by E. Preston Ames and Cedric Gibbons Special Effects by A. Arnold Gillespie Robert Montgomery ... Phillip Marlowe Audrey Totter ... Adrienne Fromsett Lloyd Nolan ... Lt. DeGarmot Tom Tully ... Capt. Kane Leon Ames ... Derace Kingsby Jayne Meadows ... Mildred Havelend Pink Horse, 1947 Lady in the Lake, 1945 They Were Expendable, Dick Simmons ... Chris Lavery 1941 Here Comes Mr. Jordan, 1939 Fast and Loose, 1938 Three Morris Ankrum ... Eugene Grayson Loves Has Nancy, 1937 Ever Since Eve, 1937 Night Must Fall, Lila Leeds ... Receptionist 1936 Petticoat Fever, 1935 Biography of a Bachelor Girl, 1934 William Roberts ... Artist Riptide, 1933 Night Flight, 1932 Faithless, 1931 The Man in Kathleen Lockhart ... Mrs. Grayson Possession, 1931 Shipmates, 1930 War Nurse, 1930 Our Blushing Ellay Mort ... Chrystal Kingsby Brides, 1930 The Big House, 1929 Their Own Desire, 1929 Three Eddie Acuff ... Ed, the Coroner (uncredited) Live Ghosts, 1929 The Single Standard. Robert Montgomery (director, actor) (b. May 21, 1904 in Steve Fisher (writer, screenplay) (b. August 29, 1912 in Marine Fishkill Landing, New York—d. September 27, 1981, age 77, in City, Michigan—d. March 27, age 67, in Canoga Park, California) Washington Heights, New York) was nominated for two Academy wrote for 98 various stories for film and television including Awards, once in 1942 for Best Actor in a Leading Role for Here Fantasy Island (TV Series, 11 episodes from 1978 - 1981), 1978 Comes Mr. -
* Hc Omslag Film Architecture 22-05-2007 17:10 Pagina 1
* hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns. Tim Bergfelder is Professor of Film at the University of Southampton. He is the author of International Adventures (2005), and co- editor of The German Cinema Book (2002) and The Titanic in Myth and Memory (2004). Sarah Street is Professor of Film at the Uni- versity of Bristol. She is the author of British Cinema in Documents (2000), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcis- sus (2004). Sue Harris is Reader in French cinema at Queen Mary, University of London. She is the author of Bertrand Blier (2001) and co-editor of France in Focus: Film -
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. -
Newsletter 19/06 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 19/06 DIGITAL EDITION Nr. 190 - September 2006 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 3 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 19/06 (Nr. 190) September 2006 editorial Hallo Laserdisc- und DVD-Fans, sein, mit der man alle Fans, die bereits ein lich zum 22. Bond-Film wird es bestimmt liebe Filmfreunde! Vorgängermodell teuer erworben haben, wieder ein nettes Köfferchen geben. Dann Was gibt es Neues aus Deutschland, den ärgern wird. Schick verpackt in einem ed- möglicherweise ja schon in komplett hoch- USA und Japan in Sachen DVD? Der vor- len Aktenkoffer präsentiert man alle 20 auflösender Form. Zur Stunde steht für den liegende Newsletter verrät es Ihnen. Wie offiziellen Bond-Abenteuer als jeweils 2- am 13. November 2006 in den Handel ge- versprochen haben wir in der neuen Ausga- DVD-Set mit bild- und tonmäßig komplett langenden Aktenkoffer noch kein Preis be wieder alle drei Länder untergebracht. restaurierten Fassungen. In der entspre- fest. Wer sich einen solchen sichern möch- Mit dem Nachteil, dass wieder einmal für chenden Presseerklärung heisst es dazu: te, der sollte aber nicht zögern und sein Grafiken kaum Platz ist. Dieses Mal ”Zweieinhalb Jahre arbeitete das MGM- Exemplar am besten noch heute vorbestel- mussten wir sogar auf Cover-Abbildungen Team unter Leitung von Filmrestaurateur len. Und wer nur an einzelnen Titeln inter- in der BRD-Sparte verzichten. Der John Lowry und anderen Visionären von essiert ist, den wird es freuen, dass es die Newsletter mag dadurch vielleicht etwas DTS Digital Images, dem Marktführer der Bond-Filme nicht nur als Komplettpaket ”trocken” wirken, bietet aber trotzdem den digitalen Filmrestauration, an der komplet- geben wird, sondern auch gleichzeitig als von unseren Lesern geschätzten ten Bildrestauration und peppte zudem alle einzeln erhältliche 2-DVD-Sets. -
Pescucci: Vi Svelo La Mia Filosofia Il Premio Oscar Ripercorre La Sua Carriera E Le Passioni Nascoste Di Valentina Grazzini
TEATRO E MODA Pescucci: vi svelo la mia filosofia Il premio Oscar ripercorre la sua carriera e le passioni nascoste di Valentina Grazzini “La cosa più faticosa è che c’è sempre meno tempo: non è sufficiente avere un buon budget se non si ha il tempo per realizzare un progetto come si deve. Ormai il tempo è considerato come fosse denaro... in passato per fare un film c’erano tre mesi di preparazione, oggi quando si parte già si deve pensare alla fine...”. Di tempo, Gabriella Pescucci, ne ha passato tanto a disegnare, disegnare costumi. Costumi per il teatro di prosa, la lirica, la televisione e naturalmente il cinema. Grazie a quest’ultimo si è aggiudicata nel 1994 il premio Oscar. Un Oscar fatto di corpetti e cuffiette che incorniciavano corpo e volto di Michelle Pfeiffer ne L’età dell’innocenza di Martin Scorsese. I nomi con cui ha lavorato la costumista toscana sono da vertigine: Sergio Leone, Terry Gilliam, Ettore Scola, fino a Federico Fellini, col quale il suo stile abbandonò per sempre la prevedibilità. Ed ancora il teatro, con Visconti, Ronconi, Patroni Griffi. Semplice, spontanea e pure simpatica, questa titolata signora dei costumi (oltre all’Oscar vinto ci sono anche due candidature, a cui si aggiungono quattro Nastri d’argento e due David di Donatello), non si è mai montata la testa. Lavora, viaggia, è presente ai cambiamenti della sua professione e del mondo con l’intelligenza illuminata di chi non sta a guardare. Ci chiama da L’Italia degli Oscar Dublino, puntuale e di buon umore. -
1 Evolving Authorship, Developing Contexts: 'Life Lessons'
Notes 1 Evolving Authorship, Developing Contexts: ‘Life Lessons’ 1. This trajectory finds its seminal outlining in Caughie (1981a), being variously replicated in, for example, Lapsley and Westlake (1988: 105–28), Stoddart (1995), Crofts (1998), Gerstner (2003), Staiger (2003) and Wexman (2003). 2. Compare the oft-quoted words of Sarris: ‘The art of the cinema … is not so much what as how …. Auteur criticism is a reaction against sociological criticism that enthroned the what against the how …. The whole point of a meaningful style is that it unifies the what and the how into a personal state- ment’ (1968: 36). 3. For a fuller discussion of the conception of film authorship here described, see Grist (2000: 1–9). 4. While for this book New Hollywood Cinema properly refers only to this phase of filmmaking, the term has been used by some to designate ‘either something diametrically opposed to’ such filmmaking, ‘or some- thing inclusive of but much larger than it’ (Smith, M. 1998: 11). For the most influential alternative position regarding what he calls ‘the New Hollywood’, see Schatz (1993). For further discussion of the debates sur- rounding New Hollywood Cinema, see Kramer (1998), King (2002), Neale (2006) and King (2007). 5. ‘Star image’ is a concept coined by Richard Dyer in relation to film stars, but it can be extended to other filmmaking personnel. To wit: ‘A star image is made out of media texts that can be grouped together as promotion, publicity, films and commentaries/criticism’ (1979: 68). 6. See, for example, Grant (2000), or the conception of ‘post-auteurism’ out- lined and critically demonstrated in Verhoeven (2009). -
Lacon 1 Film Program
BY WAY OF INTRODUCTION This film program represents for the most part an extremely personal selection by me, Bill Warren, with the help of Donald F. Glut. Usually convention film programs tend to show the established classics -- THINGS TO COME, METROPOLIS, WAR OF THE WORLDS, THEM - and, of course, those are good films. But they are seen so very often -- on tv, at non-sf film programs, at regional cons, and so forth -- that we decided to try to organize a program of good and/or entertaining movies that are rarely seen. We feel we have made a good selection, with films chosen for a variety of reasons. Some of the films on the program were, until quite recently, thought to be missing or impossible to view, like JUST IMAGINE, TRANSATLANTIC TUNNEL, or DR JEKYLL AND MR. HYDE. Others, since they are such glorious stinkers, have been relegated to 3 a.m. once-a-year tv showings, like VOODOO MAN or PLAN 9 FROM OUTER SPACE. Other fairly recent movies (and good ones, at that) were, we felt, seen by far too few people, either due to poor distribution by the releasing companies, or because they didn't make enough money to ensure a wide release, like TARGETS or THE DEVIL'S BRIDE. Still others are relatively obscure foreign films, a couple of which we took a sight-unseen gamble on, basing our selections on favorable reviews; this includes films like THE GLADIATORS and END OF AUGUST AT THE HOTEL OZONE. And finally, there are a number of films here which are personal favorites of Don's or mine which we want other people to like; this includes INTERNATIONAL HOUSE, MAD LOVE, NIGHT OF THE HUNTER, RADIO RANCH, and SPY SMASHER RETURNS. -
Premiererne Mairesse (Pauline Armontel, »Pomme«), Thérese Liotard (Suzanne), Gisele Halimi (Sig Selv), Do- 1.4
Ass: Francoise Thevenot. P-tegn: Frankie Diago, Marguerite Yazdanparazt. Rekvis: Gerard Sey- bald. Kost: Frankie Diago. Makeup: Tamani Ber- kani. Koreo: Grazielle Martinez. Musik: Francois Wertheimer, Micou Papineau, Joelle Papineau, Doudou Greffier. Sange: Agnes Varda. Tone: Henri Morelle, Paul Bertault, Jacques Maumont, Jesus Navarro, Jacques Bissieres. Medv: Valérie Premiererne Mairesse (Pauline Armontel, »Pomme«), Thérese Liotard (Suzanne), Gisele Halimi (Sig selv), Do- 1.4. - 30.6.78/ved Claus Hesselberg minique Dueros (Marie, 13 år), Ali Raffi (Darius), Jean-Pierre Pellegrin (Dr. Pierre Aubernel), Lau rent Plagne (Mathieu), Joelle Papineau, Micou Papineau, Doudou Greffier (Les Orchidees), Ro- salie Varda (Marie, 17 år), Robert Dadiers (Jé- rome), Mona Mairesse (Pommes mor), Francis Courbin (Mathieu, 9 mdr.), Francis Lemaire (Pom mes far), Salome Wimille (Marie, 3 år), Nicole Clement (Filosofilærerinde), Sapho (Sanger), Francoise Bette (Portnerske). Længde: 120 min. Censur: Fb.u.16. Udi: Biografen i huset. Prem: 2.5.78 Biografen i Huset. Indspillet i Iran og Am sterdam. Kvindefilm. DISCO-FEBER Saturday Night Fever. USA 1977. Dist: Paramount. P-selskab: Paramount. P: Robert Stigwood. Ex- Anvendte forkortelser: P: Kevin McCormick. As-P: M ilt Feisen. P-leder: John Nicolella. l-leder: Lloyd Kaufman. P-sam- Adapt: = Adaption Komp: = Komponist ordner: Arlene Albertson. Instr: John Badham. Ark: = Filmarkitekt Kost: = Kostumer Instr-ass: Allan Wertheim, Joseph Ray. Stunt- Arr: = Musikarrangør Medv: = Medvirkende skuespillere instr: Paul Nuckles. Manus: Norman Wexler. Ef As-P: = Associate Producer P: Producere ter: Artiklen »Tribal Rites of The New Saturday Night« af Nik Cohn. Teknisk kons.: James Gam- Ass: = Assistent P-leder: = Produktionsleder bina. Foto: Ralph D. Bode. Farve: Movielab.