LIDO HOJE 01-0958/1995 ÀS COM.ISSÕE S DE40 out 1995 CQ/' Str-O R(21 Ifk't

Total Page:16

File Type:pdf, Size:1020Kb

LIDO HOJE 01-0958/1995 ÀS COM.ISSÕE S DE40 out 1995 CQ/' Str-O R(21 Ifk't 01 PL LIDO HOJE 01-0958/1995 ÀS COM.ISSÕE S DE40 OUT 1995 CQ/' sTr-o r(21 ifk't ............ Denomina de OTTO PREMINGER, a Viela c490,.., c-3 42-4„K _E._ .(2.4,94,-(0.,Jr9, Oito, localizada no setor 187 - Qua- dra 248 - AR/PR. • A Câmara Municipal de São Paulo decreta: Art. 12 - Fica denominado de OTTO PREMINGER, o logradouro público, conhecido como Viela Oito, localizada entre a Rua Cava- lo Marinho (CODLOG 25.418-5) e Rua Ernesto Bottoni (COD- LOG 26.792-9) setor 187 - Quadra 248 - Jd. Adelfiore AR/PR. Art. 22 - As despesas decorrentes com a execução da presente lei correrão por conta das dotações orçamentárias próprias, • suplementadas se necessário. Art. 32 - Esta lei entrará em vigor na data de sua publicação,re- vogadas as disposiOes em contrário. Sala dap~ssis, SEÇÃO DE REViSÃO 10 OUT 1995 ADOR MARIO NODA Vice Líder # PTB er",i42-bera' JUSTIFICATIVA Considerando que esta propositura atende aos requisitos exigidos no Decreto n2 27.568 de 22.12.88, em especial ao artigo 17 e seus parágrafos 12 e 29. Considerando que o ente homenageado faleceu em 23.04. 1986 conforme publicação im?ressa na Enciclopédia barca de 1987 página 58. Propomos aos nobres edis desta Casa este projeto de lei visando perpetuar esta ilustre pessoa, cuja biografia passamos a expor: PREMINGER, Otto Ludwig lek Diretor de cinema austríaco naturalizado norte-america- no (Viena, 5-XII-1905 - Nova York, 23-IV-1986). Contribuiu com suas produções independentes e provocativas - The Moon is blue (1953). Anatomy of a murder (1959) e The Man with the golden arm (1955) - para desmantelar a censura interna da própria indústria cinematográfica. Conseguiu-o empregando linguagem proibida explorando temas até então vedados, como o estupro e os tóxic s. Fizera carreira nos palcos europeus e servira com brilho comó a - sistente do diretor Max Reinhardt antes de fugir para os Estado continua &ci7)1 rta/uz Unidos em 1935. No ano seguinte, dirigiu seu primeiro filme na América, Under your spell. Exibiu também, na Broadway,seus talen- tos de ator, fazendo o nazista de Margin for error (1943). fez também, no cinema, o nazista de Stalag 17 (1953). Impunha terror a atores e subordinados e com isso se comprazia, o que o indispôs com todo mundo. Era chamado 'Otto o Terrível'. Seus filmes poli - ciais são os mais apreciados. The Sidewalk ends (1950), Anatomy of a murder (1959) e Sunny Lake is missing (1955). Louva-se espe- cialmente Laura (1944), considerado sua obra-prima. Projetos mais ambiciosos - Saint Joan (1957),Exodus (1960) e The Cardinal(1963) - foram recebidos com alguma reserva. Outros filmes: Forever am- ber (1947), Carmen Jones (1954), The Court martial of Billy Mit - chell (1955), Advise and consent (1962), Hurry Sundown (1967) e The Human factor (1980). Preminger foi duas vezes candidato a me- lhor diretor do ano (por ocasião de Laura e The Cardinal) mas ja- mais recebeu um prêmio da Academia. X.X.X.X.X.X.X.X.X.X.X.X.X.X.X.
Recommended publications
  • Anatomia De Um Crime – 1959
    Anatomia de um crime – 1959 Título original: Anatomy of a Murder Realizador/Produtor: Otto Preminger Argumento: Adaptação do livro de Robert Traver - pseudónimo de J. D. Voelker, juiz do Supremo Tribunal do Michigan Actores principais: James Stewart, Lee Remick, Ben Gazzara, Arthur O'Connell, Eve Arden; George C. Scott Música: Duke Ellington Local das filmagens: Michigan's Upper Peninsula Resumo P. Bigler, advogado de uma pequena cidade, solteirão e na fase descendente da carreira aceita defender Manion, official do exército, acusado do ter assassinado o proprietário de um bar local. Manion admite ter cometido o crime mas levado por um “impulso irresistível” logo após ter ouvido a confissão/juramento da mulher que fora vitima de violação pelo proprietário do bar. O argumento do “impulso irresistível” constituirá a peça principal da estratégica de defesa de P. Biegler, mas depara com a feroz oposição tanto do representante do Ministério Público local (prosecutor) como de um famoso colega de profissão junto do tribunal superior do respectivo círculo. O escândalo da linguagem relativa ao acto de violação e a música de Duke Ellington ajudaram à celebrização do filme que se tornou um clássico dos filmes habitualmente classificados como filmes de tribunal (trial films). Aliás, o filme ainda hoje é utilizado no apoio didáctico à cadeira de direito penal das faculdades de direito de quase todo o mundo. A crítica Intercourse. Contraceptive. Spermatogenesis. Sexual climax. Panties. These were not the sort of words movie theatre audiences were used to hearing on the screen in 1959 but director Otto Preminger changed all that with his controversial courtroom drama, Anatomy of a Murder.
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • “Can't Help Singing”: the “Modern” Opera Diva In
    “CAN’T HELP SINGING”: THE “MODERN” OPERA DIVA IN HOLLYWOOD FILM, 1930–1950 Gina Bombola A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2017 Approved by: Annegret Fauser Tim Carter Mark Katz Chérie Rivers Ndaliko Jocelyn Neal ©2017 Gina Bombola ALL RIGHTS RESERVED ii ABSTRACT Gina Bombola: “Can’t Help Singing”: The “Modern” Opera Diva in Hollywood Film, 1930–1950 (Under the direction of Annegret Fauser) Following the release of Columbia Pictures’ surprise smash hit, One Night of Love (1934), major Hollywood studios sought to cash in on the public’s burgeoning interest in films featuring opera singers. For a brief period thereafter, renowned Metropolitan Opera artists such as Grace Moore and Lily Pons fared well at the box office, bringing “elite” musical culture to general audiences for a relatively inexpensive price. By the 1940s, however, the studios began grooming their own operatic actresses instead of transplanting celebrities from the stage. Stars such as Deanna Durbin, Kathryn Grayson, and Jane Powell thereby became ambassadors of opera from the highly commercial studio lot. My dissertation traces the shifts in film production and marketing of operatic singers in association with the rise of such cultural phenomena as the music-appreciation movement, all contextualized within the changing social and political landscapes of the United States spanning the Great Depression to the Cold War. Drawing on a variety of methodologies—including, among others, archival research, film analysis, feminist criticisms, and social theory—I argue that Hollywood framed opera as less of a European theatrical art performed in elite venues and more of a democratic, albeit still white, musical tradition that could be sung by talented individuals in any location.
    [Show full text]
  • Coronet 1956-1962
    AUSTRALIAN RECORD LABELS THE CORONET LABEL 1956–1962 COMPILED BY MICHAEL DE LOOPER OCTOBER 2019 CORONET, 1956–1962 THE CORONET LABEL MADE ITS DEBUT IN JANUARY 1956. PRIOR TO ITS ACQUISITION BY A.R.C., TITLES FROM THE U.S. COLUMBIA CATALOGUE WERE RELEASED IN AUSTRALIA THROUGH PHILIPS RECORDS. CORONET KLC CLASSICAL 12” AND KGC 7” EP’S ARE NOT LISTED HERE CORONET KP SERIES 78’S KP-001 BIBLE TELLS ME SO / SATISFIED MIND MAHALIA JACKSON 2.56 KP-002 OOH BANG JIGGILY JANG / JIMMY UNKNOWN DORIS DAY 1.56 KP-003 MAYBELLINE / THIS BROKEN HEART OF MINE MARTY ROBBINS 1.56 KP-004 I WISH I WAS A CAR / REMEMB'RING PETER LIND HAYES 4.56 KP-005 BONNIE BLUE GAL / BEL SANTE MITCH MILLER AND HIS ORCHESTRA 3.56 KP-006 SIXTEEN TONS / WALKING THE NIGHT AWAY FRANKIE LAINE 1.56 KP-007 PIZZICATO WALTZ / SKIDDLES GEORGE LIBERACE & HIS ORCHESTRA 2.56 KP-008 HEY THERE! / WAKE ME ROSEMARY CLOONEY KP-009 HEY THERE! / HERNANDO'S HIDEAWAY JOHNNIE RAY KP-010 BAND OF GOLD / RUMBLE BOOGIE DON CHERRY 3.56 KP-011 MEMORIES OF YOU / IT'S BAD FOR ME ROSEMARY CLOONEY KP-012 LEARNING TO LOVE / SONG OF SEVENTEEN PEGGY KING KP-013 TELL ME THAT YOU LOVE ME / HOW CAN I REPLACE YOU TONY BENNETT 2.56 KP-014 TOUCH OF LOVE / WITH ALL MY HEART VAL VALENTE 1.56 KP-015 WHO'S SORRY NOW? / A HEART COMES IN HANDY JOHNNIE RAY 2.56 KP-016 TAKE MY HAND / HAPPINESS IS A THING CALLED JOE JERRI ADAMS 6.56 KP-017 JOHNNIE'S COMIN' HOME / LOVE, LOVE, LOVE JOHNNIE RAY 1.56 KP-018 LET IT RING / LOVE'S LITTLE ISLAND DORIS DAY KP-019 LAND OF THE PHARAOHS / THE WORLD IS MINE PERCY FAITH AND HIS ORCHESTRA
    [Show full text]
  • British Film Institute Report & Financial Statements 2006
    British Film Institute Report & Financial Statements 2006 BECAUSE FILMS INSPIRE... WONDER There’s more to discover about film and television British Film Institute through the BFI. Our world-renowned archive, cinemas, festivals, films, publications and learning Report & Financial resources are here to inspire you. Statements 2006 Contents The mission about the BFI 3 Great expectations Governors’ report 5 Out of the past Archive strategy 7 Walkabout Cultural programme 9 Modern times Director’s report 17 The commitments key aims for 2005/06 19 Performance Financial report 23 Guys and dolls how the BFI is governed 29 Last orders Auditors’ report 37 The full monty appendices 57 The mission ABOUT THE BFI The BFI (British Film Institute) was established in 1933 to promote greater understanding, appreciation and access to fi lm and television culture in Britain. In 1983 The Institute was incorporated by Royal Charter, a copy of which is available on request. Our mission is ‘to champion moving image culture in all its richness and diversity, across the UK, for the benefi t of as wide an audience as possible, to create and encourage debate.’ SUMMARY OF ROYAL CHARTER OBJECTIVES: > To establish, care for and develop collections refl ecting the moving image history and heritage of the United Kingdom; > To encourage the development of the art of fi lm, television and the moving image throughout the United Kingdom; > To promote the use of fi lm and television culture as a record of contemporary life and manners; > To promote access to and appreciation of the widest possible range of British and world cinema; and > To promote education about fi lm, television and the moving image generally, and their impact on society.
    [Show full text]
  • Liste Des Films Cinémathèque Suisse Droits CH
    Liste des films Cinémathèque suisse Droits CH N° Titre Réalisateur Année Prod. 1 13 Rue Madeleine Hathaway, Henry 1947 Fox 2 A-Haunting We Will Go Werker, Alfred l. 1942 Fox 3 Across the Pacific Huston, John 1942 Warner 4 Adam's Rib Cukor, George 1949 Loew's / MGM 5 Alexander's Ragtime Band King, Henry 1938 Fox 6 Anchors Aweigh Sidney, George 1945 MGM 7 And Then There Were None Clair, René 1945 Fox 8 Anna and the King of Siam Cromwell, John 1946 Fox 9 Anna Karenina Duvivier, Julien 1948 Fox 10 Anna Karenina Brown, Clarence 1935 MGM 11 Anne of the Indies Tourneur, Jacques 1951 Fox 12 Apartment for Peggy Seaton, George 1948 Fox 13 Arrangement, The Kazan, Elia 1969 Athena 14 Babes in Arms Berkeley, Busby 1939 MGM 15 Baby Face Green, Alfred E. 1933 Warner 16 Band of Angels Walsh, Raoul 1957 Warner 17 Banjo on My Knee Cromwell, John 1936 Fox 18 Battleground Wellman, William A. 1949 MGM 19 Beautiful Blonde from Bashful Bend, Sturges, Preston 1949 Fox the 20 Bell for Adano, A King, Henry 1945 Fox 21 Ben Hur Wyler, William 1958 MGM 22 Beyond a Reasonable Doubt Lang, Fritz 1956 Friedlob 23 Beyond the Forest Vidor, King 1949 Warner 24 Big Noise, the St Clair, Malcolm 1944 Fox 25 Black Rose, the Hathaway, Henry 1950 Fox 26 Black Swan, the King, Henry 1942 Fox 27 Blackboard Jungle Brooks, Richard 1955 MGM 28 Blood and Sand Mamoulian, Rouben 1941 Fox 29 Blow Up Antonioni, Michelan- 1966 MGM gelo 30 Blue Bird, the Lang, Walter 1940 Fox 31 Boom Town Conwack, Jack 1940 MGM 32 Boomerang Kazan, Elia 1947 Fox 33 Border Incident Mann, Anthony 1949 MGM 34 Bordertown Mayo, Archie L.
    [Show full text]
  • Otto Preminger Jean-Pierre Lefebvre
    Document généré le 26 sept. 2021 08:18 Séquences La revue de cinéma Réalisateur en vedette Otto Preminger Jean-Pierre Lefebvre Numéro 26, octobre 1961 URI : https://id.erudit.org/iderudit/52066ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer cet article Lefebvre, J.-P. (1961). Réalisateur en vedette : Otto Preminger. Séquences, (26), 31–31. Tous droits réservés © La revue Séquences Inc., 1961 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ réalisateur en vedette Certains vous diront qu'ils ne films, c'est-à dire par des histoires. croient pas au talent de Preminger; Et ces histoires je n'ai pas de règle d'autres, au contraire, affirmeront pour les choisir, mais je crois qu'el­ que ce que l'on pourrait appeler le les ont toutes, d equelque manière, fl "siyle" de Preminger, et qui est pré­ leur vérité." ) cisément une absence de stylisation, atteste le génie du réalisateur amé­ Preminger ne posera donc jamais ricain qui ne s'est pas confiné aux un problème — qu'il soit celui de Otto Prewnyer règles de grammaire mais s'est as­ la drogue (Man with the Golden suré — un peu à cause de ses anté­ Arm), celui de la justice (Anatomy cédents théâtraux — d'une maîtrise FILMOGRAPHIE DE PREMINGER of a Murder) ou celui de la race incomparable dans la mise en scè­ 1936 Under Your Spell juive (Exodus) — en termes de ne.
    [Show full text]
  • Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera
    Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera NMAH.AC.1211 Franklin A. Robinson, Jr. 2019 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Stage Musicals and Vaudeville, 1866-2007, undated............................... 4 Series 2: Motion Pictures, 1912-2007, undated................................................... 327 Series 3: Television, 1933-2003, undated............................................................ 783 Series 4: Big Bands and Radio, 1925-1998,
    [Show full text]
  • 65E Festival Du Film De Locarno
    Lucarne Locarnaise 65e Festival du Film de Locarno 1 au 11 août 2012 CONTENU : Résumé (dont 19 concourant pour le Par- do d'oro). Page 2 : On nous l’a dit et répété : sur La Fille de Nulle Part (Jean- Pour la pincée de glamour : Claude Brisseau, France quelque 3000 festivals de films au monde, seuls dix comptent Charlotte Rampling a reçu le 2012) "Prix d'excellence Moët et Chan- Une Estonienne à Paris parmi les meilleurs ! Locarno est l’un des dix et doit le demeurer. don", Alain Delon, Johnnie To, (Ilmar Raag,France, Estonie, Harry Belafonte, un "Pardo Belgique 2012), Rien que ça ! d'honneur" pour l'ensemble de Hope Springs / Tous les leurs carrières respectives. Et Espoirs sont permis (David Le Festival a attiré cette année près de 162'000 spectateurs, d'autres visiteurs de marque ont Frankel, USA 2012) honoré le Festival de leur pré- Quelques heures de prin- parmi lesquels 3950 accrédités (représentants de médias et sence très applaudie, comme temps (Stéphane Brizé, Eric Cantona, Ornella Muti, la France 2012) professionnels de cinéma du monde entier) : un succès qui a légendaire Elsa Martinelli, et bien Starlet (Sean Baker, USA d'autres personnalités du 7e Art 2012) repris l’ascenseur après un léger revers en 2009. Pour la troisième dont la liste des noms est trop Robot & Frank (Jake longue à énumérer. Schreier, USA 2012) année consécutive, on a pu ap- précier « la patte » du directeur Cinéphile de longue date et pas Page 3 : artistique Olivier Père : « un do- sage d'oeuvres radicales croi- trop téméraire, l'auteure de ces More than Honey (Markus lignes s'est partagée entre la Imhoof, Suisse 2012) sées à des films de genre grand public et une pincée de gla- rétrospective Otto Preminger, et Kuma (Umut Dag, Turquie, les films grand public montrés Allemagne 2012) mour » (Philippe Azoury, Libéra- tion, 4.8.2011).
    [Show full text]
  • Web Paramount Historical Calendar 6-12-2016.Xlsx
    Paramount Historical Calendar Last Update 612-2016 Paramount Historical Calendar 1928 - Present Performance Genre Event Title Performance Performan Start Date ce End Date Instrumental - Group Selections from Faust 3/1/1928 3/7/1928 Movie Memories 3/1/1928 3/7/1928 Movie News of the Day 3/1/1928 3/7/1928 Instrumental - Group Organs We Have Played 3/1/1928 3/7/1928 Musical Play A Merry Widow Revue 3/1/1928 3/7/1928 Musical Play A Merry Widow Revue 3/1/1928 3/7/1928 Musical Play A Merry Widow Revue 3/1/1928 3/7/1928 Dance Accent & Jenesko 3/1/1928 3/7/1928 Dance Felicia Sorel Girls 3/1/1928 3/7/1928 Vocal - Group The Royal Quartette 3/1/1928 3/7/1928 Comedian Over the Laughter Hurdles 3/1/1928 3/7/1928 Vocal - Group The Merry Widow Ensemble 3/1/1928 3/7/1928 Movie Feel My Pulse 3/1/1928 3/7/1928 Instrumental - Individual Don & Ron at the grand organ 3/1/1928 3/7/1928 Movie The Big City 3/8/1928 3/14/1928 Instrumental - Individual Don & Ron at the grand organ 3/8/1928 3/14/1928 Variety Highlights 3/8/1928 3/14/1928 Comedian A Comedy Highlight 3/8/1928 3/14/1928 Vocal - Individual An Operatic Highllight 3/8/1928 3/14/1928 Variety Novelty (The Living Marionette) 3/8/1928 3/14/1928 Dance Syncopated 3/8/1928 3/14/1928 Dance Slow Motion 3/8/1928 3/14/1928 Dance Millitary Gun Drill 3/8/1928 3/14/1928 Comedian Traffic 3/8/1928 3/14/1928 Instrumental - Group novelty arrangement 3/8/1928 3/14/1928 Comedian Highlights 3/8/1928 3/14/1928 Movie West Point 3/15/1928 3/21/1928 Instrumental - Individual Don & Ron at the grand organ 3/15/1928 3/21/1928 Variety
    [Show full text]
  • Under the Witches' Moon
    3 1822 01143 7878 3 1822 01143 7878 Under the Witches Moon Each, one volume, 1 2mo, cloth, illustrated. Net $1.35; carriage paid, $1 .50 Castel del Monte The Sorceress of Rome The Court of Lucifer The Hill of Venus The Crimson Gondola Under the Witches Moon I2mo, cloth, illustrated. Net $1.50 carriage paid, $1 .65 THE PAGE COMPANY 53 BEACON STREET, BOSTON, MASS. It was that of a man comine towards her" (Seepage 143) Under the Witches Moon A Romantic Tale of Mediaeval Rome BT Nathan Gallizier Author of "The Crimson Gondola," The Hill of Venus," The Court of Lucifer," The Sorceress of Rome," "Castel del Monte," Etc. THE PAGE COMPANY BOSTON MDCCCCXVII Copyright, BY THE PAGE COMPANY All rights reserved First Impression, October, 1917 THE COLONIAL PRESS C. H. SIMONDS CO., BOSTON, U. S. A. " T O some Love comes so splendid and so soon, With such wide wings and steps so royally, That they, like sleepers wakened suddenly, Expecting dawn, are blinded by his noon, " To some Love comes so silently and late, That all unheard he is, and passes by, Leaving no gift but a remembered sigh, While they stand watching at another gate. " But some know Love at the enchanted hour, They hear him singing like a bird afar, They see him coming like a falling star, s in They meet his eyes and all their world flower." ETHEL CLIFFORD CONTENTS BOOK THE FIRST Chapter Page I. The Fires of St.
    [Show full text]
  • Otto Preminger Jean-Pierre Lefebvre
    Document generated on 09/28/2021 4:38 p.m. Séquences La revue de cinéma Réalisateur en vedette Otto Preminger Jean-Pierre Lefebvre Number 26, October 1961 URI: https://id.erudit.org/iderudit/52066ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this article Lefebvre, J.-P. (1961). Réalisateur en vedette : Otto Preminger. Séquences, (26), 31–31. Tous droits réservés © La revue Séquences Inc., 1961 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ réalisateur en vedette Certains vous diront qu'ils ne films, c'est-à dire par des histoires. croient pas au talent de Preminger; Et ces histoires je n'ai pas de règle d'autres, au contraire, affirmeront pour les choisir, mais je crois qu'el­ que ce que l'on pourrait appeler le les ont toutes, d equelque manière, fl "siyle" de Preminger, et qui est pré­ leur vérité." ) cisément une absence de stylisation, atteste le génie du réalisateur amé­ Preminger ne posera donc jamais ricain qui ne s'est pas confiné aux un problème — qu'il soit celui de Otto Prewnyer règles de grammaire mais s'est as­ la drogue (Man with the Golden suré — un peu à cause de ses anté­ Arm), celui de la justice (Anatomy cédents théâtraux — d'une maîtrise FILMOGRAPHIE DE PREMINGER of a Murder) ou celui de la race incomparable dans la mise en scè­ 1936 Under Your Spell juive (Exodus) — en termes de ne.
    [Show full text]