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Hole a Remediative Approach to the Filmmaking of the Coen Brothers
University of Dundee DOCTOR OF PHILOSOPHY Going Down the 'Wabbit' Hole A Remediative Approach to the Filmmaking of the Coen Brothers Barrie, Gregg Award date: 2020 Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 Going Down the ‘Wabbit’ Hole: A Remediative Approach to the Filmmaking of the Coen Brothers Gregg Barrie PhD Film Studies Thesis University of Dundee February 2021 Word Count – 99,996 Words 1 Going Down the ‘Wabbit’ Hole: A Remediative Approach to the Filmmaking of the Coen Brothers Table of Contents Table of Figures ..................................................................................................................................... 2 Declaration ............................................................................................................................................ -
The Inventory of the Joan Fontaine Collection #570
The Inventory of the Joan Fontaine Collection #570 Howard Gotlieb Archival Research Center TABLE OF CONTENTS Film and Video 1 Audio 3 Printed Material 5 Professional Material 10 Correspondence 13 Financial Material 50 Manuscripts 50 Photographs 51 Personal Memorabilia 65 Scrapbooks 67 Fontaine, Joan #570 Box 1 No Folder I. Film and Video. A. Video cassettes, all VHS format except where noted. In date order. 1. "No More Ladies," 1935; "Tell Me the Truth" [1 tape]. 2. "No More Ladies," 1935; "The Man Who Found Himself," 1937; "Maid's Night Out," 1938; "The Selznick Years," 1969 [1 tape]. 3. "Music for Madam," 1937; "Sky Giant," 1938; "Maid's Night Out," 1938 [1 tape]. 4. "Quality Street," 1937. 5. "A Damsel in Distress," 1937, 2 copies. 6. "The Man Who Found Himself," 1937. 7. "Maid's Night Out," 1938. 8. "The Duke ofWestpoint," 1938. 9. "Gunga Din," 1939, 2 copies. 10. "The Women," 1939, 3 copies [4 tapes; 1 version split over two tapes.] 11. "Rebecca," 1940, 3 copies. 12. "Suspicion," 1941, 4 copies. 13. "This Above All," 1942, 2 copies. 14. "The Constant Nymph," 1943. 15. "Frenchman's Creek," 1944. 16. "Jane Eyre," 1944, 3 copies. 2 Box 1 cont'd. 17. "Ivy," 1947, 2 copies. 18. "You Gotta Stay Happy," 1948. 19. "Kiss the Blood Off of My Hands," 1948. 20. "The Emperor Waltz," 1948. 21. "September Affair," 1950, 3 copies. 22. "Born to be Bad," 1950. 23. "Ivanhoe," 1952, 2 copies. 24. "The Bigamist," 1953, 2 copies. 25. "Decameron Nights," 1952, 2 copies. 26. "Casanova's Big Night," 1954, 2 copies. -
Jim,My Lucas Marjorie Macgregor Michele Morgan Patty Orr Bela Lugosi Frank Mchugh Ralph Morgan William Orr Keye Luke Robert Mcji
Jim,my Lucas Marjorie MacGregor Michele Morgan Patty Orr Bela Lugosi Frank McHugh Ralph Morgan William Orr Keye Luke Robert McJimcy Patricia Morison Orv ilia Lum &Abner Silvia McKay Maro and Yocanella Maureen O'Sullivan Bill Lundigan Fay McKenzie Amarillo Morris Madame Ouspenskaya The Luther Twins Victor McLaglen Chester Morris Lynne Overman Diana Lynn Barton MacLane Ella May Morris Charles Overman Jeffrey Lynn Fred MacMurray Lili Morris Charles Owens Mary Lynn Haven MacQuarrie Zero Mostel Gene Owens Dorothy McQuire Alan Mowbray Jack Owens Eve McVeigh Paul Muni Rita Owin Jeanette MacDonald Martha Mears Ethel Madison Ona Munson Jane Melardy Corinna Mura Marjorie Main P-38's (Dancers) Melody Girls George Murphy Sally Paine Jerry Mann Harry Mendosa Rose Murphy John Pallett Marjorie Manners Adolphe Menjou Senator Murphy Cecilia Parker Martha Manners Johnny Mercer Ken Murray Eleanor Parker Philip Merivale Irene Manning Clarence Muse Hats Parker Virginia Maples Lynn Merrick Music Maids Lou Merrill Jean Parker Adele Mara Carmel Myers Jetsy Parker Frederic March Merry Macs Mary Ellen Myron • Murray Parker Dorie Marie Ray Middleton Odette Myrtil Parkyakarkus Mona Marris Ray Milland Patsy Lee Parsons June Marlowe Ann Miller Anne Nagel Gail1Patrick Nancy Marlowe Miller & Barlow Conrad Nagel Vera Marsh Edwin Miller Richard Paxton Cliff Nasarro John Payne Herbert Marshall Glenn Miller (·Orch.) Nasimova Mary Martin Jimmie Miller Al Pearce Charles Neff Neva Peoples Tony Martin Lorraine Miller Ossie Nelson Barbara Pepper Johnny Marvin Sidney Miller John Nesbit Buddy Pepper Chico Marx Mills Brothers Nicholas Brothers Tommy Perry Groucho Marx Minne & Billy Nicodemus Susan Peters Harpo Marx Carmen Miranda Gertrude Niessen Mrs. -
Citizen Kane
A N I L L U M I N E D I L L U S I O N S E S S A Y B Y I A N C . B L O O M CC II TT II ZZ EE NN KK AA NN EE Directed by Orson Welles Produced by Orson Welles Distributed by RKO Radio Pictures Released in 1941 n any year, the film that wins the Academy Award for Best Picture reflects the Academy ' s I preferences for that year. Even if its members look back and suffer anxious regret at their choice of How Green Was My Valley , that doesn ' t mean they were wrong. They can ' t be wrong . It ' s not everyone else ' s opinion that matters, but the Academy ' s. Mulling over the movies of 1941, the Acade my rejected Citizen Kane . Perhaps they resented Orson Welles ' s arrogant ways and unprecedented creative power. Maybe they thought the film too experimental. Maybe the vote was split between Citizen Kane and The Maltese Falcon , both pioneering in their F ilm Noir flavor. Or they may not have seen the film at all since it was granted such limited release as a result of newspaper baron William Randolph Hearst ' s threats to RKO. Nobody knows, and it doesn ' t matter. Academy members can ' t be forced to vote for the film they like best. Their biases and political calculations can ' t be dissected. To subject the Academy to such scrutiny would be impossible and unfair. It ' s the Academy ' s awards, not ours. -
Download Night of the Hunter Free Ebook
NIGHT OF THE HUNTER DOWNLOAD FREE BOOK R A Salvatore | 459 pages | 01 Dec 2014 | Wizards of the Coast | 9780786965175 | English | Renton, United States The single flaw that stops The Night of the Hunter short of perfection Gish had gotten word of him watching these old movies, and when she asked him why, he replied, "When I first went to the movies, they sat in their seats straight and leaned forward. Chicago Sun-Times. Regal Coming Soon. The Night of the Hunter by Night of the Hunter Grubb. The Night of the Hunter —incredibly, the only film the great actor Charles Laughton ever directed—is truly a stand-alone masterwork. Frequently Asked Questions Q: How does the movie end? Release Dates. He chose to shoot certain scenes of this film on Tri-X because it had a sharp contrast that would help fulfill Laughton's vision. Black Mirror: Season 5. Rusher and Rushee - unseen. Preacher Harry Powell: Would you like me to tell you the little story of right hand, left hand? One of the things I like best about Night is the Hunter is the way Laughton graphically demonstrates the life and poverty of rural America during the Depression. Peter Graves Ben Harper. CJ Sheu. Trivia Robert Mitchum tried explaining to Billy Chapin that he needed to better understand his character and his relationship to the preacher. Repertory Picks. It's the Great Depression. Technical Specs. I Night of the Hunter them to sit up straight again. The Night of the Hunter By chance, Powell ends up sharing the same cell as Ben Harper, a local man who murdered two men in a bank robbery for ten thousand dollars. -
The Horror Film Series
Ihe Museum of Modern Art No. 11 jest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Saturday, February 6, I965 FOR IMMEDIATE RELEASE The Museum of Modern Art Film Library will present THE HORROR FILM, a series of 20 films, from February 7 through April, 18. Selected by Arthur L. Mayer, the series is planned as a representative sampling, not a comprehensive survey, of the horror genre. The pictures range from the early German fantasies and legends, THE CABINET OF DR. CALIGARI (I9I9), NOSFERATU (1922), to the recent Roger Corman-Vincent Price British series of adaptations of Edgar Allan Poe, represented here by THE MASQUE OF THE RED DEATH (I96IO. Milestones of American horror films, the Universal series in the 1950s, include THE PHANTOM OF THE OPERA (1925), FRANKENSTEIN (1951), his BRIDE (l$55), his SON (1929), and THE MUMMY (1953). The resurgence of the horror film in the 1940s, as seen in a series produced by Val Lewton at RR0, is represented by THE CAT PEOPLE (19^), THE CURSE OF THE CAT PEOPLE (19^4), I WALKED WITH A ZOMBIE (19*£), and THE BODY SNAT0HER (19^5). Richard Griffith, Director of the Film Library, and Mr. Mayer, in their book, The Movies, state that "In true horror films, the archcriminal becomes the archfiend the first and greatest of whom was undoubtedly Lon Chaney. ...The year Lon Chaney died [1951], his director, Tod Browning,filmed DRACULA and therewith launched the full vogue of horror films. What made DRACULA a turning-point was that it did not attempt to explain away its tale of vampirism and supernatural horrors. -
Urban Troubadour: a Live Film Score by Les Frères Méduses by Jarrett Hoffman
Urban Troubadour: a live film score by Les Frères Méduses by Jarrett Hoffman Some authors pull material from their own experiences. Others are fascinated by things that are totally foreign to them. If you had to guess, which of those types describes the writer of The Unknown, a 1927 silent film about a carnival performer who throws knives with his feet? Next week, Randall Avers and Benoît Albert of the guitar duo Les Frères Méduses, and violinist Jennifer Choi — or as they sometimes call each other, Randy, Ben, and Jenny — will perform the guitarists’ original score to The Unknown during a screening at The Nightlight. That makes up the cinematic portion of Urban Troubadour’s “Dinner and a Movie” program on Monday, March 4 in Akron. A 6:30 pm dinner at Blu Plate with live music by pianist Michael Leamon will be followed by dessert, popcorn, and prosecco at 8:15 at The Nightlight. As a prelude to the film, Avers, Albert, and Choi will play a short set that includes Marc Ribot’s Postcard from N.Y. (arranged by Avers) and the traditional Balkan folk song Pajdusko Oro. Then the lights go down, and the film begins to roll. As for Tod Browning, writer and director of The Unknown, I can’t confirm any knife-tossing in his past. But he was plenty familiar with carnivals and circuses, having run away at age 16 to perform as a magician’s assistant, contortionist, and clown. One of his more famous films, the controversial Freaks (1932), cast circus performers with real deformities. -
Newsmakers Proposal to Speed Drug Review
t COLUMBIA MISSOURIAN, Thursday, June 24, 1982 Page 2A High doors Newsmakers court opens Robert Guillaume, TV's "Ben- fensive tackle for the New York son," is being sued for divorce by Jets, and offensive guards Craig ' ' to press in rape trials his estranged wife, Marine R. Wi- Wolfley and Steve Courson of the' lliams, 46, of St. Louis. Guillaume, Pittsburgh Steelers, Ed Newman WASHINGTON (UPI) - The Su- Burger charged the ruling could re- The Globe took its case to the Su- 61, whose real name is Robert Wil- of the Miami Dolphins, Tom Con- preme Court ruled 6-- 3 Wednesday sult in. "a television audience" preme Court. But two months after liams and who hails from St. don of the Kansas City Chiefs and that states cannot require judges to watching the young rape victims in the first appeal, the justices sent it gs Louis, has been separated from his Bob Young of the New Orleans automatically shut courtroom doors states where televised court pro--ceedin- back for state court review in light of wife since 1962. He lives in Tarza-n- a, Saints. to the press and public whenever are allowed. the high court's landmark 1980 rul- Calif. Mrs. Williams' attorney young rape victims testify. He argued the state law was de- ing in the Richmond ' Newspapers she is permanently disabled signed only prevent the risk of case. said Sister Imelda Hester probably is sensitive com-- , ."to by severe skin disease. He said Settling a conflict of severe psychological damage caused The state court concluded that a the Pittsburgh Pirates' oldest fan peting constitutional rights, jus- $494 in Se- the to details of the rape cases involving victims under she gets a month Social and a loyal one. -
49Th USA Film Festival Schedule of Events
HIGH FASHION HIGH FINANCE 49th Annual H I G H L I F E USA Film Festival April 24-28, 2019 Angelika Film Center Dallas Sienna Miller in American Woman “A R O L L E R C O A S T E R O F FABULOUSNESS AND FOLLY ” FROM THE DIRECTOR OF DIOR AND I H AL STON A F I L M B Y FRÉDERIC TCHENG prODUCeD THE ORCHARD CNN FILMS DOGWOOF TDOG preSeNT a FILM by FrÉDÉrIC TCHeNG IN aSSOCIaTION WITH pOSSIbILITy eNTerTaINMeNT SHarp HOUSe GLOSS “HaLSTON” by rOLaND baLLeSTer CO- DIreCTOr OF eDITeD MUSIC OrIGINaL SCrIpTeD prODUCerS STepHaNIe LeVy paUL DaLLaS prODUCer MICHaeL praLL pHOTOGrapHy CHrIS W. JOHNSON by ÈLIa GaSULL baLaDa FrÉDÉrIC TCHeNG SUperVISOr TraCy MCKNIGHT MUSIC by STaNLey CLarKe CINeMaTOGrapHy by aarON KOVaLCHIK exeCUTIVe prODUCerS aMy eNTeLIS COUrTNey SexTON aNNa GODaS OLI HarbOTTLe LeSLey FrOWICK IaN SHarp rebeCCa JOerIN-SHarp eMMa DUTTON LaWreNCe beNeNSON eLySe beNeNSON DOUGLaS SCHWaLbe LOUIS a. MarTaraNO CO-exeCUTIVe WrITTeN, prODUCeD prODUCerS ELSA PERETTI HARVEY REESE MAGNUS ANDERSSON RAJA SETHURAMAN FeaTUrING TaVI GeVINSON aND DIreCTeD by FrÉDÉrIC TCHeNG Fest Tix On@HALSTONFILM WWW.HALSTON.SaleFILM 4 /10 IMAGE © STAN SHAFFER Udo Kier The White Crow Ed Asner: Constance Towers in The Naked Kiss Constance Towers On Stage and Off Timothy Busfield Melissa Gilbert Jeff Daniels in Guest Artist Bryn Vale and Taylor Schilling in Family Denise Crosby Laura Steinel Traci Lords Frédéric Tcheng Ed Zwick Stephen Tobolowsky Bryn Vale Chris Roe Foster Wilson Kurt Jacobsen Josh Zuckerman Cheryl Allison Eli Powers Olicer Muñoz Wendy Davis in Christina Beck -
SHIRLEY MACLAINE to RECEIVE 40Th AFI LIFE ACHIEVEMENT AWARD
SHIRLEY MACLAINE TO RECEIVE 40th AFI LIFE ACHIEVEMENT AWARD America’s Highest Honor for a Career in Film to be Presented June 7, 2012 LOS ANGELES, CA, October 9, 2011 – Sir Howard Stringer, Chair of the American Film Institute’s Board of Trustees, announced today the Board’s decision to honor Shirley MacLaine with the 40th AFI Life Achievement Award, the highest honor for a career in film. The award will be presented to MacLaine at a gala tribute on Thursday, June 7, 2012 in Los Angeles, CA. TV Land will broadcast the 40th AFI Life Achievement Award tribute on TV Land later in June 2012. The event will celebrate MacLaine’s extraordinary life and all her endeavors – movies, television, Broadway, author and beyond. "Shirley MacLaine is a powerhouse of personality that has illuminated screens large and small across six decades," said Stringer. "From ingénue to screen legend, Shirley has entertained a global audience through song, dance, laughter and tears, and her career as writer, director and producer is even further evidence of her passion for the art form and her seemingly boundless talents. There is only one Shirley MacLaine, and it is AFI’s honor to present her with its 40th Life Achievement Award." Last year’s AFI Tribute brought together icons of the film community to honor Morgan Freeman. Sidney Poitier opened the tribute, and Clint Eastwood presented the award at evening’s end. Also participating were Casey Affleck, Dan Aykroyd, Matthew Broderick, Don Cheadle, Bill Cosby, David Fincher, Cuba Gooding, Jr., Samuel L. Jackson, Ashley Judd, Matthew McConaughey, Helen Mirren, Rita Moreno, Tim Robbins, Chris Rock, Hilary Swank, Forest Whitaker, Betty White, Renée Zellweger and surprise musical guest Garth Brooks. -
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. -
The Night of the Hunter: Noirish Or Film Noir?
The Night of the Hunter Noirish or film noir? Sigurd Enge A Thesis presented to the Department of Literature, Area Studies and European Languages, the University of Oslo, in Partial Fulfillment to the Requirements for the MA degree in North American Studies ENG4970 Masterspesialisering i engelsk, LAP Thesis advisor: Mark Luccarelli Autumn 2009 Table of Contents Introduction 3 Chapter 1: The Novel and the Film 6 A Short Synopsis of the Book 6 The Film as a Critical Text 7 The Film as Work of Art 11 Reception 13 Chapter 2: What Is Film Noir Anyway? 18 A Short Synopsis of the Film Noir Debate 20 The Noirish Aspects of the Night of the Hunter 25 The Malaise and Social Criticism of The Night of the Hunter 33 “A Faith Deformed” 35 Chapter 3: Further Analysis 44 The Stylistics of The Night of the Hunter 44 The Mixture of Expressionism and Realism in Hunter 53 Harry Powell – Urban psychopath, Frontiersman or Demon? 57 Conclusion 61 Bibliography 64 2 Introduction The first time I saw Charles Laughton’s The Night of the Hunter was at Riverside Studios in London in 2004. It was on a double bill with Jacques Tourneur’s acknowledged film noir classic Out of the Past, which I liked a lot more than Hunter. The latter seemed over acted and strange to me, and I found it much easier to enjoy a film about a private detective who was lured into violence and crime by a beautiful femme fatale. Out of the Past seemed more realistic and cooler, because it had people smoking cigarettes in dimly lit rooms and because it was full of banter with sexual innuendo.