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Film Essay for “The Wind”
The Wind By Fritzi Kramer “The Wind” is legendary for its raw emotional power, its skillful direction and the triumphant performances of its leads. Lillian Gish, Lars Hanson and director Victor Sjöström (credited during his time in Hollywood as “Seastrom”) had previously worked together on “The Scarlet Letter” (1926), a creative and commer- cial hit, and Gish had chosen a psychological west- ern written by Texas native Dorothy Scarborough as their next vehicle. The novel focuses on Letty, a so- phisticated Virginia girl who is forced to relocate to a remote ranch in Texas. Driven to the brink of mad- ness by the harsh weather and unceasing wind, Letty’s situation becomes worse when circumstanc- es force her to accept a marriage proposal from Lige, a rough cowboy. Roddy, a sophisticated city man, takes advantage of Letty’s fragile mental stage and rapes her. Letty responds by shooting him and then races outside, giving herself to the wind. It’s easy to see the appeal of this intense work, especial- ly in the visual medium of silent film. Gish later wrote that playing innocent heroines, roles she sarcastically described as “Gaga-baby,” was an enormous challenge.1 So much sweetness and light could quickly bore audiences if it wasn’t played just right but a villain could ham things up with impunity. Gish had dabbled in different parts, playing a street- wise tenement dweller in “The Musketeers of Pig Alley” (1912) and a heartless vamp in the lost film “Diane of the Follies” (1916), but film audiences were most taken with her more delicate creations. -
For Immediate Release December 2001 the MUSEUM of MODERN
MoMA | Press | Releases | 2001 | Mauritz Stiller Page 1 of 6 For Immediate Release December 2001 THE MUSEUM OF MODERN ART PAYS TRIBUTE TO SWEDISH SILENT FILMMAKER MAURITZ STILLER Mauritz Stiller—Restored December 27, 2001–January 8, 2002 The Roy and Niuta Titus Theater 1 NEW YORK, DECEMBER 2001–The Museum of Modern Art’s Film and Media Department is proud to present Mauritz Stiller—Restored from December 27, 2001 through January 8, 2002, in The Roy and Niuta Titus Theater 1. Most films in the exhibition are new prints, including five newly restored 35mm prints of Stiller’s films from the Swedish Film Institute. All screenings will feature simultaneous translation by Tana Ross and live piano accompaniment by Ben Model or Stuart Oderman. The exhibition was organized by Jytte Jensen, Associate Curator, Department of Film and Media, and Edith Kramer, Director, The Pacific Film Archive, Berkeley, in collaboration with Jon Wengström, Curator, Cinemateket, the Swedish Film Institute, Stockholm. The period between 1911 and 1929 has been called the golden age of Swedish cinema, a time when Swedish films were seen worldwide, influencing cinematic language, inspiring directors in France, Russia, and the United States, and shaping audience expectations. Each new release by the two most prominent Swedish directors of the period—Victor Sjöström and Mauritz Stiller—was a major event that advanced the art of cinema. "Unfortunately, Stiller is largely remembered as the man who launched Greta Garbo and as the Swede who didn’t make it in Hollywood," notes -
Arrival of a Group of Important Films from Sweden 1937
THE MUSEUM OF MODERN ART |1 WEST 53RD STREET, NEW YORK TELEPHONE: CIRCLE 7.7470 F°R RELEASE TUESDAY, APRIL 27, 1937 The Museum of Modern Art announces the appointment of Mrs. Dwight Davis of Washington, D. C. as Out-of-town Chairman of its Membership Committee for that city. Mrs. Davis has invited prominent residents of Washington who are in terested in the arts and particularly in modern art, to her home Monday afternoon, May 3rd, to meet Mr. A. Conger G-oodyear, President of the Museum of Modern Art in New York. Mr. G-oodyear will talk on contemporary art and the work of the Museum. The Museum of Modern Art was founded in the Fall of 1929 and, although it has its headquarters in New York City, it has never been merely a local institution. Nearly half of its members live more than seventy-five miles away from New York City and it has Out-of-town chairmen who form the nucleus of membership groups in Buffalo, New York; Chicago, Illinois, Cincinnati, Ohio; Cleveland, Ohio; Detroit, Michigan; Hartford, Connecticut; Houston, Texas; Louisville, Kentucky; Minneapolis, Minnesota; New Haven, Connecticut; Palm Beach, Florida; Philadelphia, Pennsylvania; Pittsburgh, Pennsylvania; Princeton, New Jersey; Providence, Rhode Island; Rochester, New York; San Francisco, California; St. Louis, Missouri; St. Paul, Minnesota; State of Vermont; Washington, D. C; Waterbury, Connecticut; and Worcester, Massachusetts. Out-of-town members are constantly in touch with all the activities of the Museum through its bulletins and the large, comprehensively illustrated books of each of its major exhibitions during the year. -
Silent Film Music and the Theatre Organ Thomas J. Mathiesen
Silent Film Music and the Theatre Organ Thomas J. Mathiesen Introduction Until the 1980s, the community of musical scholars in general regarded film music-and especially music for the silent films-as insignificant and uninteresting. Film music, it seemed, was utili tarian, commercial, trite, and manipulative. Moreover, because it was film music rather than film music, it could not claim the musical integrity required of artworks worthy of study. If film music in general was denigrated, the theatre organ was regarded in serious musical circles as a particular aberration, not only because of the type of music it was intended to play but also because it represented the exact opposite of the characteristics espoused by the Orgelbewegung of the twentieth century. To make matters worse, many of the grand old motion picture theatres were torn down in the fifties and sixties, their music libraries and theatre organs sold off piecemeal or destroyed. With a few obvious exceptions (such as the installation at Radio City Music Hall in New (c) 1991 Indiana Theory Review 82 Indiana Theory Review Vol. 11 York Cityl), it became increasingly difficult to hear a theatre organ in anything like its original acoustic setting. The theatre organ might have disappeared altogether under the depredations of time and changing taste had it not been for groups of amateurs that restored and maintained some of the instruments in theatres or purchased and installed them in other locations. The American Association of Theatre Organ Enthusiasts (now American Theatre Organ Society [ATOS]) was established on 8 February 1955,2 and by 1962, there were thirteen chapters spread across the country. -
1. Eva Dahlbeck - “Pansarskeppet Kvinnligheten”
“Pansarskeppet kvinnligheten” deconstructed A study of Eva Dahlbeck’s stardom in the intersection between Swedish post-war popular film culture and the auteur Ingmar Bergman Saki Kobayashi Department of Media Studies Master’s Thesis 30 ECTS credits Cinema Studies Master’s Programme in Cinema Studies 120 ECTS credits Spring 2018 Supervisor: Maaret Koskinen “Pansarskeppet kvinnligheten” deconstructed A study of Eva Dahlbeck’s stardom in the intersection between Swedish post-war popular film culture and the auteur Ingmar Bergman Saki Kobayashi Abstract Eva Dahlbeck was one of Sweden’s most respected and popular actresses from the 1940s to the 1960s and is now remembered for her work with Ingmar Bergman, who allegedly nicknamed her “Pansarskeppet kvinnligheten” (“H.M.S. Femininity”). However, Dahlbeck had already established herself as a star long before her collaborations with Bergman. The popularity of Bergman’s three comedies (Waiting Women (Kvinnors väntan, 1952), A Lesson in Love (En lektion i kärlek, 1954), and Smiles of a Summer Night (Sommarnattens leende, 1955)) suggests that they catered to the Swedish audience’s desire to see the star Dahlbeck. To explore the interrelation between Swedish post-war popular film culture and the auteur Bergman, this thesis examines the stardom of Dahlbeck, who can, as inter-texts between various films, bridge the gap between popular film and auteur film. Focusing on the decade from 1946 to 1956, the process whereby her star image was created, the aspects that constructed it, and its relation to her characters in three Bergman titles will be analysed. In doing so, this thesis will illustrate how the concept “Pansarskeppet kvinnligheten” was interactively constructed by Bergman’s films, the post-war Swedish film industry, and the media discourses which cultivated the star cult as a part of popular culture. -
Listening to Technologically Mediated Music in Film Listening to Technologically Mediated Music in Film
Listening to technologically mediated music in film Listening to technologically mediated music in film Representations of social and solitary listening in Swedish cinema 1930–70 Tobias Pontara About one-third of the way into Astrid Henning-Jensen’s 1969 film Mej och dej /‘Me and you’, there is a scene where the film’s main character Jan Asker (played by Sven-Bertil Taube) is seen aimlessly wandering about his apartment while eating an apple.1 Asker is not in the best of moods, having just received a note from his fiancée Mai saying that she is leaving him. Eventually he ends up in the living room where a large radio is visibly placed in one of the corners. As if by a sudden whim, Asker goes straight to the radio, and when he turns it on an Intermezzo by Johannes Brahms is heard (Winquist, 1990, p. 43). Asker then turns away from the radio and walks across the room to an old rock- ing chair. He sits down in the chair and at the same time crumples up the piece of paper on which Mai’s farewell note was written. He lights a cigarette and then a candle light, after which he gets up again and walks to the bookshelf where he lingers for a while staring absentmindedly at the books. Meanwhile the music halts and we now instead hear a radio voice presenting a rather sophisticated, and to our modern ears perhaps a bit pretentious, analysis of the music just played: ‘Brahms provoked a violent opposition among conservatives already with his earlier compositions in which the regular rhythmic schemes of classicism were modified in a way that has been of crucial importance […]’ By the time this piece of information is given, Asker has moved to the adjacent bedroom where he sits down on his bed. -
2015-06-30 Birgitta Svensson 1977 100 Digital
Title Completed Director Year Run time Digitization level "Mackan" 2015-06-30 Birgitta Svensson 1977 100 Digital restoration Abba - the Movie 2016-11-21 Lasse Hallström 1977 96 Full digital restoration Agaton Sax och Byköpings gästabud 2015-03-31 Stig Lasseby 1976 78 Digital restoration Agnes Cecilia - en sällsam historia 2016-10-28 Anders Grönros 1991 133 Digital restoration Amorosa 2015-06-30 Mai Zetterling 1986 117 Digital restoration Ansikten i skugga 2016-06-29 Peter Weiss 1956 14 Digital copy Asta Nilssons sällskap 2016-12-02 Marie-Louise och Gösta Ekman 2005 81 Digital adaptation Ateljéinteriör 2016-06-03 Peter Weiss 1956 10 Digital restoration Att döda ett barn 2015-06-30 Gösta Werner 1953 10 Digital restoration Au cabaret 2016-12-31 Alice Guy 1899 < 5 Digitization Au pays des Moïs: exploration et chasse 2014-12-31 Le Duc de Montpensier 1908 25 Digital restoration Avenue de l'Opéra 2016-12-31 Alice Guy 1900 < 5 Digitization Balettprimadonnan 2016-10-19 Mauritz Stiller 1916 54 Digital restoration Bang! 2015-12-31 Jan Troell 1977 100 Digital restoration Bara en mor 2015-03-31 Alf Sjöberg 1949 101 Digital restoration Barnen från Frostmofjället 2013-10-03 Rolf Husberg 1945 102 Digital restoration Barnförbjudet 2013-10-31 Marie-Louise Ekman 1979 81 Digital restoration Barnvagnen 2016-04-22 Bo Widerberg 1963 95 Digital adaptation Bengbulan 2015-12-31 Suzanne Osten 1996 82 Digital restoration Berg-Ejvind och hans hustru 2015-12-31 Victor Sjöström 1918 110 Digital restoration Besöka sin son 2016-04-15 Roy Andersson 1967 9 Digital restoration -
Illustrations
Illustrations 1. Indians mourn their murdered comrade in D. W. Griffi th’s The Battle of Elderbush Gulch (1913) / 18 2. Lillian Gish in Griffi th’s The Battle of Elderbush Gulch (1913) / 19 3. William S. Hart, Clara Williams, and Jack Standing in Hell’s Hinges (1916) / 23 4. George Berrell, Molly Malone, and Hoot Gibson in John Ford’s Straight Shooting (1917) / 29 5. George O’Brien and Olive Borden in John Ford’s 3 Bad Men (1926) / 34 6. Lillian Gish, Montagu Love, and Lars Hanson in Victor Sjöström’s The Wind (1928) / 44 7. Lillian Gish and Dorothy Cumming in Sjöström’s The Wind (1928) / 46 8. Letty envisions a stallion in the sky in Sjöström’s The Wind (1928) / 49 9. A distraught Letty cannot close her cabin door in Sjöström’s The Wind (1928) / 50 10. Letty points a pistol to defend herself in Sjöström’s The Wind (1928) / 52 11. Letty at the verge of madness in Sjöström’s The Wind (1928) / 53 vii viii | Illustrations 12. Cleavon Little and Gene Wilder in Mel Brooks’s Blazing Saddles (1974) / 68 13. Charles Laughton and Charlie Ruggles in Leo McCarey’s Ruggles of Red Gap (1935) / 72 14. Charles Laughton, Charlie Ruggles, Maude Eburne, and ZaSu Pitts in McCarey’s Ruggles of Red Gap (1935) / 76 15. Ruminating at the Silver Dollar Saloon in McCarey’s Ruggles of Red Gap (1935) / 77 16. John Wayne in Raoul Walsh’s The Big Trail (1930) / 86 17. Frontier settlers enjoy a communal dance in Walsh’s The Big Trail (1930) / 87 18. -
Kom Till Byn Sex Och Sexualitet I Fyra Filmer Av Hasse Ekman
Lunds universitet Charlie Berggren Språk- och litteraturcentrum FIVK01 Filmvetenskap Handledare: Erik Hedling 2019-01-17 När synden (i själva verket) kom till byn sex och sexualitet i fyra filmer av Hasse Ekman Innehållsförteckning 1. Inledning s. 3 1.1 Syfte och frågeställning s. 3 1.2. Material s. 4 1.3. Teori och metod s. 4 2. Ombyte av tåg s. 5 2.1. Kyss – konstpaus – kyss s. 6 2.2. En sexuell erövring s. 9 2.3. En kvinnlig sexualitet s. 10 3. Medan porten var stängd s. 11 3.1. Prostitution s. 12 3.2. Normbrytning som provokation – sexualitet som vapen s. 14 4. Banketten s. 16 4.1. Kritik av äktenskapet s. 17 4.2. Otrohet – ett legitimt alternativ? s. 19 4.3. Implicit och explicit sexuellt våld s. 21 5. Flicka och hyacinter s. 23 5.1. Gestaltning av homosexualitet s. 25 6. Sammanfattning s. 28 Källförteckning s. 29 2 1. Inledning Den svenska filmen har under en längre tid betraktats internationellt som en säregen filmkultur med verk som uttrycker en innehållsmässig och formmässig egenart, en egenart som definierar denna filmkultur. En av de vanligaste associationerna till svensk film är filmer som behandlar sex, alltifrån sex som en implicit tematik till fullständigt explicita framställningar av sexuella relationer. Denna gestaltningstradition kan delvis göra sig sedd redan vid den svenska filmens guldålder, där Mauritz Stillers Erotikon (1920) utgör det främsta exemplet. Det är dock onekligen under 50- och 60-talet som svensk film på allvar börjar betraktas som typiskt promiskuös och sexuellt frisinnad, med filmer som Arne Mattsons Hon dansade en sommar (1951) och Ingmar Bergmans Sommaren med Monika (1953), som båda anses vara speciellt banbrytande. -
Flesh and the Devil MGM 1926
Flesh and the Devil MGM 1926 Directed by Cast Leo von Harden... John Gilbert Felicitas von Rhaden... Greta Garbo Ulrich von Eltz... Lars Hanson Hertha... Barbara Kent Pastor Voss... George Fawcett Screenplay... Benjamin F. Glazer Photography... William Daniels Film editor... Lloyd Nosler Art directors... Cedric Gibbons & Frederic Hope Titles… Marian Ainslee Duration: 112mins Projection speed: variable Aperture: full Score by Carl Davis (60 players) LIVE CINEMA FLESH AND THE DEVIL In a romantic landscape of gothic castles, dense forests and hidden lakes, Leo and Ulrich grew up together and pledged life-long friendship. They both joined the Prussian army as Hussars. Making the most of the privileges of their class, they share a carefree existence until they meet Felicitas von Rhaden, an alluring older woman. At a ball given in his honour, Leo shows his fascination for Felicitas and, regardless of prying eyes or protocol, the two make love. Their brief encounter be- comes a passionate love affair until discovered by Count von Rhaden, Felicitas’ husband. His family’s honour tainted, the Count demands satisfaction. Leo sur- vives the duel but must leave the country. His obsession with Felicitas endures a long separation. Unfortunately she is less constant. On returning to Germany, Leo finds her married to Ulrich. Distraught, he ends his friendship with Ulrich. On the pretext of reuniting the friends, Felicitas requests a meeting with Leo. She is suc- cessful in her mission and in her underlying motive, to rekindle their affair. They plan to run away together. Ulrich returns unexpectedly from a business trip bring- ing Felicitas a diamond bracelet, reminding her of the life she would forego in exile with Leo. -
Lillian Gish
Lillian Gish Lived: October 14, 1893 - February 27, 1993 Worked as: director, film actress, screenwriter Worked In: United States by Mark Garrett Cooper In 1920, Lillian Gish both delivered a landmark performance in D.W. Griffith’s Way Down East and directed her sister Dorothy in Remodelling Her Husband. This was her sole director credit in a career as a screen actor that began with An Unseen Enemy in 1912 and ended with The Whales of August in 1987. Personal correspondence examined by biographer Charles Affron shows that Gish lobbied Griffith for the opportunity to direct and approached the task with enthusiasm. In 1920, in Motion Picture Magazine, however, Gish offered the following assessment of her experience: “There are people born to rule and there are people born to be subservient. I am of the latter order. I just love to be subservient, to be told what to do” (102). One might imagine that she discovered a merely personal kink. In a Photoplay interview that same year, however, she extended her opinion to encompass all women and in doing so slighted Lois Weber, one of Hollywood’s most productive directors. “I am not strong enough” to direct, Gish told Photoplay, “I doubt if any woman is. I understand now why Lois Weber was always ill after a picture” (29). What should historical criticism do with such evidence? By far the most common approach has been to argue that Gish did not really mean what the press quotes her as saying. Alley Acker, for instance, urges us not to be fooled by Gish’s “Victorian modesty” and goes on to provide evidence of her authority on the set (62). -
Omr36-39Zzze.Pdf Sven Wimnell 9 September 2015: Samhällsplaneringens Problem
Sven Wimnell 9 september 2015: Samhällsplaneringens problem. Påminnelser om våren och försommaren 2015. http://wimnell.com/omr36-39zzze.pdf Sven Wimnell 9 september 2015: Samhällsplaneringens problem. 24 Efter sammanställningen 11 juni 2015. Påminnelser om våren och försommaren 2015. http://wimnell.com/omr36-39zzze.pdf 26 Utvecklingens krafter. 27 1. Psykologiska och filosofiska verksamheter. 20 områden Innehåll: 27 2. Religiösa verksamheter o d. 5 områden 6 Tiden efter den 11 juni 2015 27 3. Politikvetenskaper och politiska verksamheter. 15 områden 6 Innehållet i: 28 4. Sambandsforskningsverksamheter. Infostruktur. 3 områden Sven Wimnell 3 april 2015: Svenska folket och dess boende, 28 5. Naturforsknings- och matematikverksamheter. 11 områden nya lägenhetstyper, hushålls- och bostadsstatistik. 28 6. Teknologiska / Ekonomiska verksamheter. 30 områden Hushållskostnader, samhällsplaneringens problem och 29 7. Formgivning av fysiska och sociala miljöer. 21 områden regeringens verksamheter och ansvar. 29 8. Språkvetenskap. Litteraturvetenskap. Skönlitteratur. 12 områden http://wimnell.com/omr36-39zzy.pdf 29 9. Blandade saklitterära verksamheter. Tidningar. 8 Innehållet i: Allmän geografi. Biografi. Allmän historia. 12 områden Sven Wimnell 20 april 2015: Arbetslöshet och välfärd. Samhällsplaneringens problem. Utbildning, skatter och bidrag. 30 Innehållet i de 129 verksamhetsområdena. Vårbudgeten. http://wimnell.com/omr36-39zzz.pdf 31 Samhällsplaneringens problem. 12 Innehållet i: I sammanställningen 9 september 2015 nämns på sida 31 att Sven Wimnell 11 maj 2015: Hur Sverige styrs. Socialdemokraternas politik. Politiska Erik Fichtelius har anställts av Kungl. biblioteket, KB, för att problem. Regeringens bostadspolitik. Boverket och SCB m m. leda arbetet med att ta fram en nationell biblioteksstrategi. Sven Wimnell om boende och byggande. http://wimnell.com/omrzzza.pdf 33 Hushållsverksamheter. Hemkunskap. 35 Konsumenverket.