Daisy Earles
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Di Tod Browning. Freaks: Da Cut Movie a Cult Movie
Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in Storia delle arti e conservazione dei beni artistici. Tesi di Laurea La pellicola “maudit” di Tod Browning. Freaks: da cut movie a cult movie. Relatore Prof. Fabrizio Borin Correlatore Prof. Carmelo Alberti Laureando Giulia Brondin Matricola 815604 Anno Accademico 2012 / 2013 Ringrazio il Prof. Fabrizio Borin Thomas mamma, papà, Martina Indice Introduzione........................................................................................................ pag. 3 1. Mostri 1.Mostri e Portenti........................................................................................... » 8 2. Freak Show.................................................................................................. » 30 2. La pellicola “maudit” 1. Il cinema dei mostri.................................................................................... » 42 2. Freaks: Tod Browning................................................................................ » 52 2.1. Brevi considerazioni................................................................................ » 117 3. Un rifiuto durato trent’anni......................................................................... » 123 4. Il piccolo contro il grande............................................................................ » 134 5. La pellicola ambulante: morte e rinascita................................................... » 135 3. Da cut movie a cult movie 1. Freak out!..................................................................................................... -
Remembering the Doll Family and Dolletta
June 2017 Remembering the Doll Family and Dolletta The Doll Family and Dolletta: the World’s Smallest Mother – see page 2. Webfooters Post Card Club PO Box 17240 Portland OR 97217-0240 www.thewebfooters.com Harry Doll and The Doll Family Harry Doll (1902-1985) was billed as the World’s Smallest Man. The Doll Family, also billed as The Dancing Dolls as well as the Earles Family, were a quartet of four American dwarf siblings born in Germany who were popular performers in circuses and sideshows in the United States from about 1914 until their retirement in the mid-1950s. They also appeared briefly in films. 2 Grace and Harry Doll, who performed together on stage are shown in about 1924. The Dolls were four of seven children born to Emma and Gustav Schneider in Stolpen, Germany (the other three were average-sized). Freida (Grace Doll) Schneider was born March 12, 1899 and Harry was born Kurt Schneider on April 3, 1902. Harry and Grace were the first of the quartet to perform in sideshows, as "Hansel and Gretel". In 1914, American entrepreneur Bert W. Earles saw them and brought them to the United States to tour with the 101 Ranch Wild West Show. The siblings lived in Pasadena, California, with the Earles family. Earles also brought Daisy and Tiny to the United States (in 1922 and 1926, respectively), where they joined Harry and Grace in their act. 3 At this time, the Dolls began touring with Ringling Brothers and Barnum and Bailey Circus, where they sang, danced, and rode horses and wagons for the next 30 years. -
Freaks (1932): Dysmorphisms, Solidarity and Revenge
Miguel Abad Vila J Med Mov 4 (2008): 58-65 JMM Freaks (1932): Dysmorphisms, Solidarity and Revenge Miguel Abad Vila Centro de Saúde Novoa Santos. Rua Juan XXIII, nº 6. 32003 Ourense (Spain). Correspondence: Miguel Abad Vila. Avenida de la Habana, nº 21, 2º. 32003 Ourense (Spain). e-mail: [email protected] Received 29 December 2007; modified 7 February 2007; accepted 17 March 2008 Resumen In a circus in which several people with significant physical deformities make their living as sideshow attractions, a voluptuous tra- peze artist and her brawny lover attempt to take advantage of a midget in order to take possession of his fortune. When the beauty’s inten- tions are unmasked and this humiliating lover’s deception is discovered by the little fellow, the revenge of all his handicapped colleagues cul- minates in a horrifying dramatic ending for the unscrupulous trapeze artist and her strongman lover. Keywords: Dysmorphisms, Disability, Handicap. Somebody’s got to be unafraid to lead the freak parade... Production Company: Metro-Goldwyn-Mayer Big & Rich, an excerpt from the Freak parade. Synopsis: Both ‘normal’ and ‘handicapped’ performers work in a circus. Hans, one of the Technical details midgets in the circus, falls in love with the Title: Freaks beautiful trapeze artist, Cleopatra. She appar- ently loves him in return, but in truth what she Country : USA really wants is Hans’ money because her secret Year: 1932 lover is Hercules, the strongman of the circus. Director: Tod Browning A disturbing and innovative film Screenwriter: Willis Goldbeck, Leon Gordon, Al Boasberg and Edgar Allan Wolf “Freaks” is not a documentary. -
Apontamentos Sobre O Corpo Monstruoso
REVISTA LUMEN ET VIRTUS ISSN 2177-2789 VOL. VI Nº 14 DEZEMBRO/2015 APONTAMENTOS SOBRE O CORPO MONSTRUOSO Profª Drª Annateresa Fabris1 http://lattes.cnpq.br/4678648388246134 RESUMO – Representado por seres anômalos reais, Monstros (1932) foi considerado um ataque violento contra os sentimentos e os estômagos do público. As razões do fracasso do filme de Tod Browning serão analisadas a partir da perspectiva da história do monstro a fim de compreender seu repúdio pela crítica e pelo público. PALAVRAS-CHAVE – Monstros; Tod Browning; bizarrices; monstruosidade; sideshow. ABSTRACT – Performed by real oddities Freaks (1932) was considered an onslaught upon the feelings and the stomachs of the audience. The reasons of the failure of Tod Browning’s movie will be examined from the perspective of the monster’s history in order to grasp the aversion of critics and audience. 24 KEYWORDS – Freaks; Tod Browning; oddities; monster; sideshow. Prólogo Em 1923, a Metro Goldwin Mayer adquire por oitocentos dólares os direitos do conto “Spurs” [Esporas], que Tod [Clarence Aaron] Robbins havia publicado em 1917 no Munsey Magazine. Seis anos mais tarde, Tod [Charles Albert] Browning, que já havia dirigido uma película inspirada num trabalho de Robbins, A trindade maldita (The Unholy Three, 1925), é incumbido de transpor “Spurs” para as telas, dando início a uma história complexa, eivada de preconceitos contra o “diferente”. De “Spurs”, o roteiro do filme retém apenas o triângulo amoroso formado pelo anão Jacques Courbé e um casal de amantes, os acrobatas Jeanne Marie (“escultural rubia de tipo amazónico”) e Simon 1Professora Titular aposentada da ECA/USP. Sua pesquisa atual aborda as relações entre fotografia e artes visuais na contemporaneidade. -
Dossier Freaks
TOD BROWNING LYCÉENS ET APPRENTIS FREAKS AU CINÉMA par Boris Henry ÉDITORIAL Synopsis & fiche technique 1 Réalisateur 2 Genèse & document 3 Découpage séquentiel 4 Analyse du récit 5 Point de vue 6 L’homme du commun à l’ouvrage Freaks est un film unique dans l’histoire du ciné- ma. En choisissant de donner la vedette d’une Acteurs 8 production hollywoodienne à de véritables phé- Des acteurs monstres nomènes recrutés dans le milieu forain, Tod Mise en scène 10 Browning ose l’inimaginable. Familier de l’univers forain et, plus largement, fasciné par tout ce qui Lier, incorporer, transformer tient du spectacle et de la marge, Tod Browning Analyse de séquence 12 s’attache sobrement à la vie quotidienne dans les Des « monstres » coulisses du cirque : il ausculte les rapports entre ou des « enfants » ? les différents artistes, les désirs et les illusions qui en découlent, conte la transformation initiatique Enchaînement 14 des personnages. S’engouffrer dans la trouée Surtout, en suscitant la projection du spectateur sur les « monstres » (vus comme des sujets et non comme des bêtes curieuses) plutôt que sur les acteurs considérés Figure 15 comme normaux, ce grand cinéaste méconnu inverse les schémas habituels et place L’androgyne le spectateur dans une position inconfortable qui explique l’échec critique et public Point technique 16 lors de la première sortie en salles. Plus de soixante-dix ans après sa réalisation, Freaks La profondeur de champ demeure une fable magnifique sur le corps et ses possibles qui pose la question du point de vue porté sur les corps singuliers. -
“Pequeños Pasos, Grandes Metas”
Trabajo de Fin de Grado “Pequeños pasos, grandes metas” Un estudio sobre los actores de talla baja en los siglos XX y XXl Alumno: Tutor: Fernando González Abad Enrique Sánchez Oliveira Pequeños pasos, grandes metas Pequeños pasos, grandes metas Trabajo de Fin de Grado de Fernando González Abad Septiembre 2016 Trabajo Fin de Grado 2 Fernando González Abad Pequeños pasos, grandes metas ÍNDICE Páginas 1. Resumen.……………………………….4 2. Introducción.…………………………..6 3. Un poco de historia:.…………………9 4. Objetivos del trabajo.……………….15 5. Actores antes de los años 70.……..15 6. Actores a partir de los años 70.…...24 7. Un toque de realidad…………………41 8. Conclusión.……………………………43 9. Bibliografía.……………………………45 Trabajo Fin de Grado 3 Fernando González Abad Pequeños pasos, grandes metas Pequeños pasos, grandes metas Actores de talla baja de la película Blancanieves, de Pablo Berger (2012) 1. Resumen “Pequeños pasos, grandes metas” es un estudio del papel que hacen los actores de talla baja en el mundo del séptimo arte, desde sus inicios a finales del siglo XIX cuando los hermanos franceses Lumière, Auguste y Louis, lo patentaron en febrero de 1895. Dicho estudio lo he dividido en dos etapas, con una pequeña introducción sobre las personas de talla baja en la pintura, sobre todo en el denominado Siglo de Oro español, que ocupa desde finales del siglo XV a finales del XVII. En la primera parte recojo el trabajo de los actores que participaron en películas antes de los años 70 del siglo pasado. Aquí explico la dura vida de dichos profesionales en aquella época, con papeles donde la burla y el desprecio hacia ellos era lo habitual, y así hacer ver como el cine también tuvo una de sus caras más oscuras en su poco tiempo de existencia.