Edinburgh International Film Festival - 5063
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A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
MOVIES A TO Z MARCH 2021 Ho u The 39 Steps (1935) 3/5 c Blondie of the Follies (1932) 3/2 Czechoslovakia on Parade (1938) 3/27 a ADVENTURE u 6,000 Enemies (1939) 3/5 u Blood Simple (1984) 3/19 z Bonnie and Clyde (1967) 3/30, 3/31 –––––––––––––––––––––– D ––––––––––––––––––––––– –––––––––––––––––––––– ––––––––––––––––––––––– c COMEDY A D Born to Love (1931) 3/16 m Dancing Lady (1933) 3/23 a Adventure (1945) 3/4 D Bottles (1936) 3/13 D Dancing Sweeties (1930) 3/24 z CRIME a The Adventures of Huckleberry Finn (1960) 3/23 P c The Bowery Boys Meet the Monsters (1954) 3/26 m The Daughter of Rosie O’Grady (1950) 3/17 a The Adventures of Robin Hood (1938) 3/9 c Boy Meets Girl (1938) 3/4 w The Dawn Patrol (1938) 3/1 o DOCUMENTARY R The Age of Consent (1932) 3/10 h Brainstorm (1983) 3/30 P D Death’s Fireworks (1935) 3/20 D All Fall Down (1962) 3/30 c Breakfast at Tiffany’s (1961) 3/18 m The Desert Song (1943) 3/3 D DRAMA D Anatomy of a Murder (1959) 3/20 e The Bridge on the River Kwai (1957) 3/27 R Devotion (1946) 3/9 m Anchors Aweigh (1945) 3/9 P R Brief Encounter (1945) 3/25 D Diary of a Country Priest (1951) 3/14 e EPIC D Andy Hardy Comes Home (1958) 3/3 P Hc Bring on the Girls (1937) 3/6 e Doctor Zhivago (1965) 3/18 c Andy Hardy Gets Spring Fever (1939) 3/20 m Broadway to Hollywood (1933) 3/24 D Doom’s Brink (1935) 3/6 HORROR/SCIENCE-FICTION R The Angel Wore Red (1960) 3/21 z Brute Force (1947) 3/5 D Downstairs (1932) 3/6 D Anna Christie (1930) 3/29 z Bugsy Malone (1976) 3/23 P u The Dragon Murder Case (1934) 3/13 m MUSICAL c April In Paris -
Screwball Syll
Webster University FLST 3160: Topics in Film Studies: Screwball Comedy Instructor: Dr. Diane Carson, Ph.D. Email: [email protected] COURSE DESCRIPTION: This course focuses on classic screwball comedies from the 1930s and 40s. Films studied include It Happened One Night, Bringing Up Baby, The Awful Truth, and The Lady Eve. Thematic as well as technical elements will be analyzed. Actors include Katharine Hepburn, Cary Grant, Clark Gable, and Barbara Stanwyck. Class involves lectures, discussions, written analysis, and in-class screenings. COURSE OBJECTIVES: The purpose of this course is to analyze and inform students about the screwball comedy genre. By the end of the semester, students should have: 1. An understanding of the basic elements of screwball comedies including important elements expressed cinematically in illustrative selections from noteworthy screwball comedy directors. 2. An ability to analyze music and sound, editing (montage), performance, camera movement and angle, composition (mise-en-scene), screenwriting and directing and to understand how these technical elements contribute to the screwball comedy film under scrutiny. 3. An ability to apply various approaches to comic film analysis, including consideration of aesthetic elements, sociocultural critiques, and psychoanalytic methodology. 4. An understanding of diverse directorial styles and the effect upon the viewer. 5. An ability to analyze different kinds of screwball comedies from the earliest example in 1934 through the genre’s development into the early 40s. 6. Acquaintance with several classic screwball comedies and what makes them unique. 7. An ability to think critically about responses to the screwball comedy genre and to have insight into the films under scrutiny. -
Thursday Morning, March 10
THURSDAY MORNING, MARCH 10 FRO 6:00 6:30 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 11:30 COM 4:30 KATU News This Morning (N) Good Morning America (N) (cc) AM Northwest Who Wants to Be The View Actress Michelle Rodri- Live With Regis and Kelly Talent 2/KATU 2 2 (cc) (Cont’d) (cc) a Millionaire guez. (N) (cc) (TV14) judge Jennifer Lopez. (N) (TVPG) KOIN Local 6 Early at 6 (N) (cc) The Early Show (N) (cc) Let’s Make a Deal (N) (cc) (TVPG) The Price Is Right (N) (cc) (TVG) The Young and the Restless (N) (cc) 6/KOIN 6 6 (TV14) Newschannel 8 at Sunrise at 6:00 Today Aaron Eckhart; Avril Lavigne performs. (N) (cc) The Nate Berkus Show Do-it-your- 8/KGW 8 8 AM (N) (cc) self projects. (cc) (TVPG) Sit and Be Fit Between the Curious George Cat in the Hat Super Why! (cc) Dinosaur Train Sesame Street Search for the Sid the Science Clifford the Big Martha Speaks WordWorld (TVY) 10/KOPB 10 10 (cc) (TVG) Lions (TVY) (TVY) Knows a Lot (TVY) (TVY) Blue Bar Pigeon. (TVY) Kid (TVY) Red Dog (TVY) (TVY) Good Day Oregon-6 (N) Good Day Oregon (N) Better (cc) (TVPG) The 700 Club (cc) (TVPG) 12/KPTV 12 12 Portland Public Affairs Paid Paid The Magic School Willa’s Wild Life Through the Bible Zola Levitt Pres- Paid Paid Paid 22/KPXG 5 5 Bus (TVY7) ents (TVG) Changing Your John Hagee Rod Parsley (cc) This Is Your Day Kenneth Cope- Unfolding Majesty Life Change Cafe John Bishop TV Changing Your John Hagee Rod Parsley (cc) This Is Your Day 24/KNMT 20 20 World (TVG) Today (cc) (TVG) (TVG) (cc) (TVG) land (TVG) (cc) World (TVG) Today (cc) (TVG) (TVG) (cc) (TVG) George Lopez George Lopez The Young Icons Just Shoot Me My Name Is Earl My Name Is Earl Maury (cc) (TV14) Swift Justice- Swift Justice- The Steve Wilkos Show Abuse of a 32/KRCW 3 3 (cc) (TVPG) (cc) (TVPG) (TVG) (cc) (TVPG) (TV14) (TV14) Nancy Grace Nancy Grace young boy. -
National Box Office Digest Annual (1940)
Ho# Ujjfice JbiaeAt Haui: «m JL HE MOST IMPORTANT NEWS of many moons to this industry is the matter-of-fact announcement by Technicolor that it will put into effect a flat reduction of one cent a foot on release prints processed after August 1st. "There is a great industrial story of days and nights and months and years behind the manner in which Dr. Kalmus and his associates have boosted the quality and service of color to the industry, beaten down the price step by step, and maintained a great spirit of cooperation with production and exhibition. TECHNICOLOR MOTION PICTURE CORPORATION HERBERT T. KALMUS, President , 617 North La Brea Avenue, Los Angeles, Subscription Rate, $10.00 Per ■Ml ^Ite. DIGEST ANNUAL *7lie. 1/ea>i WcM. D OMESTIC box office standings take on values in this year of vanished foreign markets that are tremendous in importance. They are the only ratings that mean anything to the producer, director, player, and exhibitor. Gone—at least for years to come—are the days when known box office failures in the American market could be pushed to fabulous income heights and foisted on the suffering American exhibitor because of a shadowy "for¬ eign value.” Gone are the days—and we hope forever—when producers could know¬ ingly, and with "malice aforethought,” set out on the production of top budgetted pictures that would admittedly have no appeal to American mass audiences, earn no dimes for American exhibitors. All because of that same shadowy foreign market. ^ ^ So THE DIGEST ANNUAL comes to you at an opportune time. -
The Representation of Women in Romantic Comedies Jordan A
Ursinus College Digital Commons @ Ursinus College Media and Communication Studies Honors Papers Student Research 4-24-2017 Female Moments / Male Structures: The Representation of Women in Romantic Comedies Jordan A. Scharaga Ursinus College, [email protected] Adviser: Jennifer Fleeger Follow this and additional works at: https://digitalcommons.ursinus.edu/media_com_hon Part of the Communication Commons, Film and Media Studies Commons, and the Gender and Sexuality Commons Click here to let us know how access to this document benefits oy u. Recommended Citation Scharaga, Jordan A., "Female Moments / Male Structures: The Representation of Women in Romantic Comedies" (2017). Media and Communication Studies Honors Papers. 6. https://digitalcommons.ursinus.edu/media_com_hon/6 This Paper is brought to you for free and open access by the Student Research at Digital Commons @ Ursinus College. It has been accepted for inclusion in Media and Communication Studies Honors Papers by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. Female Moments/Male Structures: The Representation of Women in Romantic Comedies Jordan Scharaga April 24, 2017 Submitted to the Faculty of Ursinus College in fulfillment of the requirements for Distinguished Honors in the Media and Communication Studies Department. Abstract: Boy meets girl, boy loses girl, boy gets girl again. With this formula it seems that romantic comedies are actually meant for men instead of women. If this is the case, then why do women watch these films? The repetition of female stars like Katharine Hepburn, Doris Day and Meg Ryan in romantic comedies allows audiences to find elements of truth in their characters as they grapple with the input of others in their life choices, combat the anxiety of being single, and prove they are less sexually naïve than society would like to admit. -
Films Shown by Series
Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films, -
Feature Films
Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243 -
Screwball Actress
P a g e SCREWBALL ACTRESS RAY E. BOOMHOWER efore the days of cable and satellite dishes, when there were only three major networks avail able for viewing, one of the few things on television that always sparked my interest was the perennialshowing of old movies, usually on lazy Sunday afternoons. The films ranged from Bud Abbott and Lou Costello meeting a host of monsters (Frankenstein, the WolfMan, the Mummy, and the Invisible Man to name but a few) to the detective adventures of Basil Rathbone and Nigel Bruce as Sherlock Holmes and Dr. John Watson. My favorites, however, were the sophisticated, and hilarious, screwball comedies produced lly Hollywood studios during the height of the Great Depression in the 1930s and into the early 1940s. These films, which often matched the wits of daz an eccentric Park Avenue family. Bullock hires zlingly daffy females with those of hapless males, fea Parke as the family's new butler and eventually tured the talents of such well known stars as Cary Grant, falls in love with her new "protege." Irene Dunne, Katherine Hepburn, Clark Cable, and Of course, as often happens in these movies, Claudette Colbert. Who hasn't chortled over the bud Parke, representingthe decency and forthright ding romance between a spoiled heiress and a recently ness of the common man, teaches the wealthy fired reporter in It Happened One Night ( 1934), the mis family a thing or twoabout life and saves them understandings between a married couple in TheAwful from disaster. A box-office hit at the time, the Truth (1937), the madcap search for a missing dinosaur movie featured fine acting from not only its bone in Bringing Up Baby ( 1938), and the bizarre machi stars-both Lombard and Powell received nations of a newspaper editor attempting to lure his Academy Award nominations for their per ex-wife back to her former job in His GirlFriday (1940)? formances-but also from its supporting cast. -
In Love in a Movie : Women and Contemporary Romantic Comedy
IN LOVE IN A MOVIE: WOMEN AND CONTEMPORARY ROMANTIC COMEDY By ANDREA ROCHELLE MABRY A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2004 Copyright 2004 by Andrea Rochelle Mabry For Olivia and Grace ACKNOWLEDGMENTS This dissertation is very much a collaborative effort, and for its existence I am indebted to a great many people. I first wish to express my appreciation to the faculty of the University of Florida Department of English, particularly the members of my dissertation committee. Professor Maureen Turim, my advisor and dissertation director, has been an invaluable mentor, not only over the course of this project, but throughout my studies at Florida. Her guidance in the writing of this dissertation, from the original seed of an idea to the final reading, has been invaluable. I am also truly grateful to Professors Susan Hegeman, Roger Beebe, and Nora Alter for their enthusiasm, their advice, and their encouragement to take my work to new levels. My thanks also go out to my fellow graduate students in the Florida English Department for their friendship and their good humor. The camaraderie of other students helped lighten many a stressful day as I worked to complete this journey. Finally, my family—Mom, Dad, Linda, Christine, Tony, Olivia and Grace—have always provided me with love and support, not just as I wrote this dissertation, but all along the road I have taken to get to this point. For that they have my love and my thanks. -
William Powell ~ 23 Films
William Powell ~ 23 Films William Horatio Powell was born 29 July 1892 in Pittsburgh, Pennsylvania. In 1907, he moved with his family to Kansas City, Missouri, where he graduated from Central High School in 1910. The Powells lived just a few blocks away from the Carpenters, whose daughter Harlean also found success in Hollywood as Blonde Bombshell Jean Harlow, although she and Powell did not meet until both were established actors. After school, Powell attended New York City's American Academy Of Dramatic Arts. Work in vaudeville, stock companies and on Broadway followed until, in 1922, aged 30, playing an evil henchman of Professor Moriarty in a production of Sherlock Holmes, his Hollywood career began. More small parts followed and he did sufficiently well that, in 1924, he was signed by Paramount Pictures, where he stayed for the next seven years. Though stardom was elusive, he did eventually attract attention as arrogant film director Lev Andreyev in The Last Command (1928) before finally landing his breakthrough role, that of detective Philo Vance in The Canary Murder Case (1929). Unlike many silent actors, the advent of sound boosted Powell's career. His fine, urbane voice, stage training and comic timing greatly aided his successful transition to the talkies. However, not happy with the type of roles he was getting at Paramount, in 1931 he switched to Warner Bros. His last film for them, The Kennel Murder Case (1933), was also his fourth and last Philo Vance outing. In 1934 he moved again, to MGM, where he was paired with Myrna Loy in Manhattan Melodrama (1934). -
Medienwissenschaft / Hamburg: Berichte Und Papiere
CORE Metadata, citation and similar papers at core.ac.uk Provided by Hochschulschriftenserver - Universität Frankfurt am Main Medienwissenschaft / Hamburg: Berichte und Papiere 50, 2003: Screwball Comedy. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. Letzte Änderung: 17. Dezember 2002. Screwball Comedies: Eine Filmographie, eine Bibliographie Zusammengestellt v. Hans J. Wulff Für Hinweise danke ich Christine Noll Brinckmann, Thomas Christen, Karl-Dietmar Möller, Jörg Schweinitz und Gerlinde Waz. I. Die Filme (A-Z) II. Die Regisseure (A-Z) III. Die Stars (A-Z) IV. Chronologie V. Bibliographie I. Die Filme A Adam‘s Rib (Ehekrieg); USA 1949, George Cukor, D: Spencer Tracy, Katharine Hepburn. The Affairs of Annabel; USA 1938, Ben Stoloff, D: Jack Oakie, Lucille Ball. After Office Hours (Nach Büroschluss, aka: Ein Paar wie Katz und Hund; aka: Zwei wie Katz und Hund); USA 1935, Robert Z. Leonard, D: Clark Gable, Constance Bennett. After the Thin Man (Nach dem dünnen Mann; aka: Dünner Mann, zweiter Fall); USA 1936, W.S. Van Dyke, D: William Powell, Myrna Loy. Amazing Adventure; USA 1937, Alfred Zeisler, D: Cary Grant, Mary Brian. The Amazing Mr. Williams; USA 1940, Alexander Hall, D: Melvyn Douglas, Joan Blondell. And Baby Makes Three (Zwei Männer und drei Babies); USA 1949, Henry Levin, D: Robert Young, Barbara Hale. Angel (Engel); USA 1937, Ernst Lubitsch, D: Marlene Dietrich, Herbert Marshall. Annabel Takes a Tour; USA 1938, Lew Landers, D: Jack Oakie, Lucille Ball. Another Thin Man (Noch ein dünner Mann; aka: Dünner Mann, dritter Fall); USA 1939, W.S. Van Dyke, D: William Powell, Myrna Loy. Arise My Love; USA 1940, Mitchell Leisen, D: Ray Milland, Claudette Colbert. -
Eine Filmographie, Eine Bibliographie Zusammengestellt V
Medienwissenschaft / Hamburg: Berichte und Papiere 50, 2003: Screwball Comedy. ISSN 1613-7477. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. Letzte Änderung: 17. Dezember 2002. URL der Hamburger Ausgabe: .http://www1.uni-hamburg.de/Medien/berichte/arbeiten/0050_03.pdf. Screwball Comedies: Eine Filmographie, eine Bibliographie Zusammengestellt v. Hans J. Wulff Inhalt: Angel (Engel); USA 1937, Ernst Lubitsch, D: Marle- I. Die Filme (A-Z) ne Dietrich, Herbert Marshall. II. Die Regisseure (A-Z) III. Die Stars (A-Z) Annabel Takes a Tour; USA 1938, Lew Landers, D: IV. Chronologie Jack Oakie, Lucille Ball. V. Bibliographie Another Thin Man (Noch ein dünner Mann; aka: [*] Für Hinweise danke ich Christine Noll Brinckmann, Dünner Mann, dritter Fall); USA 1939, W.S. Van Thomas Christen, Karl-Dietmar Möller, Jörg Schweinitz Dyke, D: William Powell, Myrna Loy. und Gerlinde Waz. Arise My Love; USA 1940, Mitchell Leisen, D: Ray Milland, Claudette Colbert. I. Die Filme Arsenic and Old Lace (Arsen und Spitzenhäubchen); USA 1941, Frank Capra, D: Cary Grant, Priscilla A Lane. Adam‘s Rib (Ehekrieg); USA 1949, George Cukor, The Awful Truth (Die schreckliche Wahrheit); USA D: Spencer Tracy, Katharine Hepburn. 1937, Leo McCarey, D: Cary Grant, Irene Dunne. -- Remake: Let‘s Do It Again (Diese Frau vergißt man The Affairs of Annabel; USA 1938, Ben Stoloff, D: nicht); USA 1953, Alexander Hall. -- Literatur: Car- Jack Oakie, Lucille Ball. son, Diane (1994) To be seen, but not heard: THE AWFUL TRUTH. In: Multiple voices in feminist film After Office Hours (Nach Büroschluss, aka: Ein Paar criticism. Ed. By Diane Carson, Linda Dittmar, and wie Katz und Hund; aka: Zwei wie Katz und Hund); Janice Welsch.