DOCSLIB.ORG

Titolo Anno Imdb ...All the Marbles 01/01/1981 10,000 Bc

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Titolo Anno Imdb ...All the Marbles 01/01/1981 10,000 Bc TITOLO ANNO IMDB ...ALL THE MARBLES 01/01/1981 10,000 BC 01/01/2008 11TH HOUR 01/03/2008 15 MINUTES 01/01/2001 20,000 YEARS IN SING SING 01/01/1933 2001: A SPACE ODYSSEY 01/01/1968 2010 01/01/1984 3 MEN IN WHITE 01/01/1944 300 01/06/2007 300: RISE OF AN EMPIRE 01/05/2014 36 HOURS 01/01/1965 42 01/07/2013 42ND STREET 01/01/1933 50 MILLION FRENCHMEN 01/01/1931 6 DAY BIKE RIDER 01/01/1934 6,000 ENEMIES 01/01/1939 7 FACES OF DR. LAO 01/01/1964 7 WOMEN 01/01/1966 8 SECONDS 01/01/1994 A BIG HAND FOR THE LITTLE LADY 01/01/1966 A CERTAIN YOUNG MAN 01/01/1928 A CHILD IS BORN 01/01/1940 A CHRISTMAS CAROL 01/01/1938 A CHRISTMAS STORY 01/01/1983 A CINDERELLA STORY 01/02/2005 A CLOCKWORK ORANGE 01/01/2013 A COVENANT WITH DEATH 01/01/1967 A DATE WITH JUDY 01/01/1948 A DAY AT THE RACES 01/01/1937 A DISPATCH FROM REUTER'S 01/01/1940 A DISTANT TRUMPET 01/01/1964 A DOLPHIN TALE 01/03/2012 A DREAM OF KINGS 01/01/1970 A FACE IN THE CROWD 01/01/1957 A FAMILY AFFAIR 01/01/1937 A FAN'S NOTES 01/01/1972 A FEVER IN THE BLOOD 01/01/1961 A FINE MADNESS 01/01/1966 A FREE SOUL 01/01/1931 A FUGITIVE FROM JUSTICE 01/01/1940 A GLOBAL AFFAIR 01/01/1964 A GUY NAMED JOE 01/01/1943 A KISS IN THE DARK 01/01/1949 A LA SOMBRA DEL PUENTE 01/01/1948 A LADY OF CHANCE 01/01/1928 A LADY WITHOUT PASSPORT 01/01/1950 A LADY'S MORALS 01/01/1930 A LETTER FOR EVIE 01/01/1946 A LIFE OF HER OWN 01/01/1950 A LION IS IN THE STREETS 01/01/1953 A LITTLE JOURNEY 01/01/1927 A LITTLE PRINCESS 01/01/1995 A LITTLE ROMANCE 01/01/1979 A LOST LADY 01/01/1934 A MAJORITY OF ONE 01/01/1962 A MAN AND A WOMAN: 20 YEARS LATER 01/01/1986 A MAN'S MAN 01/01/1929 A MIDSUMMER NIGHT'S DREAM (1936) 01/01/1936 A MIDWINTER'S TALE 01/01/1996 A MIDWINTERS TALE 01/01/1996 A MIGHTY WIND 01/01/2003 A MODERN HERO 01/01/1934 A NIGHT AT THE OPERA 01/01/1935 A NIGHT AT THE RITZ 01/01/1935 A NIGHT FULL OF RAIN 01/01/1991 A NIGHTMARE ON ELM STREET 01/08/2010 A NIGHTMARE ON ELM STREET (1984) 01/01/1984 A NIGHTMARE ON ELM STREET 2: FREDDY'S REVENGE01/01/1984 A NIGHTMARE ON ELM STREET 3: DREAM WARRIORS01/01/1984 A NIGHTMARE ON ELM STREET 4: THE DREAM MASTER01/01/1988 A NIGHTMARE ON ELM STREET 5: THE DREAM CHILD01/01/1989 A NOTORIOUS AFFAIR 01/01/1930 A PATCH OF BLUE 01/01/1965 A PERFECT MURDER 01/01/1998 A PIECE OF THE ACTION 01/01/1977 A RESCUE FROM HADES 01/01/1982 A RETURN TO SALEM'S LOT 01/01/1987 A SCANNER DARKLY 01/01/2007 A SHOT IN THE DARK 01/01/1941 A SINFUL LIFE 01/01/1989 A SINGLE MAN 01/01/1929 A SLAVE OF FASHION 01/01/1925 A SLIGHT CASE OF LARCENY 01/01/1953 A SLIGHT CASE OF MURDER 01/01/1938 A SOLDIER'S PLAYTHING 01/01/1930 A SOUTHERN YANKEE 01/01/1948 A STAR IS BORN (1954) 01/01/1954 A STAR IS BORN (1976) 01/01/1976 A STAR IS BORN (2018) 11/10/2018 A Star Is Born (2018) A STOLEN LIFE 01/01/1946 A STRANGER IN TOWN 01/01/1943 A STRANGER IS WATCHING 01/01/1982 A SUCCESSFUL CALAMITY 01/01/1932 A SUMMER PLACE 01/01/1959 A TALE OF TWO CITIES 01/01/1935 A TERRA-COTTA WARRIOR 01/01/1990 A THIN LINE BETWEEN LOVE AND HATE 01/01/1996 A THUNDER OF DRUMS 01/01/1961 A TICKLISH AFFAIR 01/01/1963 A TIME TO SING 01/01/1968 A VERY HAROLD & KUMA 3D CHRISTMAS 01/04/2012 A VERY HAROLD & KUMAR CHRISTMAS 01/01/2011 A VERY HAROLD & KUMAR CHRISTMAS (2011) 01/01/2011 A VERY HONORABLE GUY 01/01/1934 A VERY LONG ENGAGEMENT 01/05/2005 A WARM DECEMBER 01/01/1974 A WICKED WOMAN 01/01/1934 A WOMAN OF AFFAIRS 01/01/1928 A YANK AT ETON 01/01/1942 A YANK AT OXFORD 01/01/1938 A YANK ON THE BURMA ROAD 01/01/1942 A.I. 01/01/2001 A.I. ARTIFICIAL INTELLIGENCE 01/01/2001 ABBOTT AND COSTELLO IN HOLLYWOOD 01/01/1945 ABOUT FACE 01/01/1952 ABOVE AND BEYOND 01/01/1952 ABOVE SUSPICION 01/01/1943 ABOVE THE LAW 01/01/1988 ABOVE THE RIM 01/01/1994 ABSOLUTE QUIET 01/01/1936 ACCIDENTAL TOURIST 01/01/1988 ACCIDENTS WILL HAPPEN 01/01/1938 ACCORDING TO MRS. HOYLE 01/01/1951 ACROSS THE PACIFIC 01/01/1942 ACROSS THE WIDE MISSOURI 01/01/1951 ACROSS TO SINGAPORE 01/01/1928 ACT OF VIOLENCE 01/01/1948 ACT ONE 01/01/1964 ACTION IN NORTH ATLANTIC 01/01/1943 ACTION IN THE NORTH ATLANTIC 01/01/1943 ACTION JACKSON 01/01/1988 ACTION OF THE TIGER 01/01/1957 ADA 01/01/1961 ADAM AND EVIL 01/01/1927 ADAM'S RIB 01/01/1949 ADAM'S WOMAN 01/01/1972 ADAMS WOMAN 01/01/1972 ADDICTED TO LOVE 01/01/1996 ADVANCE TO THE REAR 01/01/1964 ADVENTURE 01/01/1945 ADVENTURE IN IRAQ 01/01/1943 ADVENTURES OF DON JUAN 01/01/1948 ADVENTURES OF HUCKLEBERRY FINN 01/01/1960 ADVENTURES OF HUCKLEBERRY FINN (1939) 01/01/1939 ADVENTURES OF JANE ARDEN 01/01/1939 ADVENTURES OF MARK TWAIN 01/01/1944 ADVENTURES OF ROBIN HOOD 01/01/1938 ADVENTURES OF TARTU 01/01/1943 ADVENTUROUS BLONDE 01/01/1937 AFFAIRS OF DOBIE GILLIS 01/01/1953 AFFAIRS OF MARTHA 01/01/1942 AFFECTIONATELY YOURS 01/01/1941 AFRICAN TREASURE 01/01/1952 AFTER HOURS 01/01/1985 AFTER MIDNIGHT 01/01/1927 AFTER OFFICE HOURS 01/01/1935 AGATHA 01/01/1979 AGE OF INDISCRETION 01/01/1935 AH WILDERNESS! 01/01/1935 AIR FORCE 01/01/1943 AIR RAID WARDENS 01/01/1943 AKIRA KUROSAWA'S DREAMS 01/01/1990 AL CAPONE 01/01/1959 ALASKA 01/01/1996 ALASKA (1944) 01/01/1944 ALCATRAZ ISLAND 01/01/1937 ALEX AND ME 19/06/2018 Alex & Me (2018) ALEX IN WONDERLAND 01/01/1970 ALEXANDER HAMILTON 01/01/1931 ALFRED THE GREAT 01/01/1969 ALIAS A GENTLEMAN 01/01/1948 ALIAS THE DOCTOR 01/01/1932 ALIBI IKE 01/01/1935 ALICE DOESN'T LIVE HERE ANYMORE 01/01/1974 ALIEN AUTOPSY 01/05/2007 ALL AMERICAN BOY 01/01/1973 ALL AMERICAN CHUMP 01/01/1936 ALL AT SEA 01/01/1929 ALL FALL DOWN 01/01/1962 ALL THE BROTHERS WERE VALIANT 01/01/1953 ALL THE MARBLES 01/01/1981 ALL THE PRESIDENT'S MEN 01/01/1976 ALL THIS, AND HEAVEN TOO 01/01/1940 ALL THROUGH THE NIGHT 01/01/1942 ALMOST HEROES 01/01/1997 ALONE IN THE DARK 01/01/1982 ALONG THE GREAT DIVIDE 01/01/1951 ALPHABET MURDERS 01/01/1966 ALTARS OF DESIRE 01/01/1927 ALTERED STATES 01/01/1980 ALWAYS A BRIDE 01/01/1940 ALWAYS IN MY HEART 01/01/1942 ALWAYS LEAVE THEM LAUGHING 01/01/1949 ALWAYS TOGETHER 01/01/1948 AMAZING DR. CLITTERHOUSE 01/01/1938 AMAZING PANDA ADVENTURE 01/01/1995 AMBUSH 01/01/1950 AMERICA, AMERICA 01/01/1963 AMERICAN ANTHEM 01/01/1986 AMERICAN DREAM 01/01/1966 AMERICAN FLYERS 01/01/1985 AMERICAN SNIPER 01/05/2015 AMERICANIZATION EMILY 01/01/1964 AMERICATHON 01/01/1979 AMORI CHE NON SANNO STARE AL MONDO 29/03/2018 Amori che non sanno stare al mondo (2017) AN AMERICAN DREAM 01/01/1966 AN AMERICAN IN PARIS 01/01/1951 AN AMERICAN ROMANCE 01/01/1944 AN ANGEL FROM TEXAS 01/01/1940 AN ANNAPOLIS STORY 01/01/1955 AN ENEMY OF THE PEOPLE 01/01/1978 AN EXCHANGE OF WIVES 01/01/1925 ANCHORS AWEIGH 01/01/1945 AND ONE WAS BEAUTIFUL 01/01/1940 AND SO THEY WERE MARRIED 01/01/1944 ANDY HARDY COMES HOME 01/01/1958 ANDY HARDY GETS SPRING FEVER 01/01/1939 ANDY HARDY MEETS DEBUTANT 01/01/1940 ANDY HARDY'S BLONDE TROUBLE 01/01/1944 ANDY HARDY'S DOUBLE LIFE 01/01/1942 ANDY HARDY'S PRIVATE SECRETARY 01/01/1941 ANGEL BABY (1961) 01/01/1961 ANGELS IN THE OUTFIELD 01/01/1951 ANGELS WASH THEIR FACES 01/01/1939 ANIMAL WORLD 01/01/1956 ANNA CHRISTIE 01/01/1930 ANNA KARENINA (1935) 01/01/1935 ANNABELLE 01/01/2015 ANNABELLE: CREATION 01/10/2017 Annabelle: Creation (2017) ANNIE LAURIE 01/01/1927 ANOTHER DAWN 01/01/1937 ANOTHER LANGUAGE 01/01/1933 ANT BULLY 01/01/2006 ANTHONY ADVERSE 01/01/1936 ANY NUMBER CAN PLAY 01/01/1949 ANY WEDNESDAY 01/01/1966 ANY WHICH WAY YOU CAN 01/01/1980 APACHE TRAIL 01/01/1942 APACHE WAR SMOKE 01/01/1952 APPOINTMENT IN TOKYO 01/01/1945 APRIL IN PARIS 01/01/1953 APRIL SHOWERS 01/01/1948 ARE YOU LISTENING? 01/01/1932 ARENA 01/01/1953 ARGO 01/04/2013 ARMORED COMMAND 01/01/1961 AROUND THE BEND 01/04/2005 AROUND THE WORLD IN 80 DAYS 01/01/1956 AROUND THE WORLD UNDER THE SEA 01/01/1966 ARRANGEMENT 01/01/1982 ARROW IN THE DUST 01/01/1954 ARSENE LUPIN 01/01/1932 ARSENE LUPIN RETURNS 01/01/1938 ARTHUR 01/08/2011 ARTHUR (1981) 01/01/1981 ARTHUR (2011) 01/01/2011 ARTHUR 2: ON THE ROCKS 01/01/1988 ARTHUR ON THE ROCKS 01/01/1988 ARTIFICIAL INTELLIGENCE: AI 01/01/2014 ARTURO'S ISLAND 01/01/1962 AS THE EARTH TURNS 01/01/1934 ASSASSINS 01/01/1995 ASSIGNMENT IN BRITTANY 01/01/1943 ASSIGNMENT TO KILL 01/01/1969 AT THE CIRCUS 01/01/1939 ATHENA 01/01/1954 ATL 01/07/2006 ATLANTIS: THE LOST CONTINENT 01/01/1961 ATTACK OF THE 50 FOOT WOMAN 01/01/1958 ATTACK OF THE 50 FT.WOMAN 01/01/1958 AUNTIE MAME 01/01/1959 AVALANCHE EXPRESS 01/01/1979 AVENGERS 01/01/1998 AWAKENING 01/01/1994 B.A.P.'S 01/01/1997 B.F.'S DAUGHTER 01/01/1948 B*A*P*S 01/01/1997 BABBITT 01/01/1934 BABE (1975) 01/01/1975 BABE RUTH STORY 01/01/1948 BABES IN ARMS 01/01/1939 BABES ON BROADWAY 01/01/1941 BABY CYCLONE 01/01/1928 BABY DOLL 01/01/1956 BABY FACE 01/01/1933 BABY FACE HARRINGTON 01/01/1935 BABY MINE 01/01/1928 BABYMAKER 01/01/1970 BACHELOR FATHER 01/01/1931 BACHELOR IN PARADISE 01/01/1961 BACK IN CIRCULATION 01/01/1937 BACK PAY 01/01/1930 BACKFIRE 01/01/1950 BACKGROUND TO DANGER 01/01/1943 BAD BASCOMB 01/01/1946 BAD BOY 01/01/1949 BAD GUY 01/01/1937 BAD LITTLE ANGEL 01/01/1939 BAD MAN OF BRIMSTONE 01/01/1938 BAD MEN OF MISSOURI 01/01/1941 BAD SEED 01/01/1956 BADLANDS 01/01/1974 BADMANS COUNTRY 01/01/1958 BAIT 01/01/2000 BAIT (2000) 01/01/2000 BALALAIKA 01/01/1939 BALLAD OF CABLE HOGUE 01/01/1970 BAMBOOZLED 01/01/2000 BAND OF ANGELS 01/01/1957 BANNERLINE 01/01/1951 BARBARY COAST GENT 01/01/1944 BARCELONA 01/01/1994 BARNACLE BILL 01/01/1941 BARRETTS OF WIMPOLE STREET 01/01/1957 BARRETTS OF WIMPOLE STREET (1934) 01/01/1934 BARRICADE 01/01/1950 BARRY LYNDON 01/01/1974 BASIC IMPULSE 01/01/1992 BATAAN 01/01/1943 BATHING BEAUTY 01/01/1944 BATKID BEGINS 11/09/2015 BATMAN 01/01/1989 BATMAN & ROBIN 01/01/1996 BATMAN AND ROBIN IV 01/01/1996 BATMAN BEGINS 01/09/2005 BATMAN BEGINS (2005) 01/01/2005
Load more

Recommended publications
  • Have Gun, Will Travel: the Myth of the Frontier in the Hollywood Western John Springhall
    Feature Have gun, will travel: The myth of the frontier in the Hollywood Western John Springhall Newspaper editor (bit player): ‘This is the West, sir. When the legend becomes fact, we print the legend’. The Man Who Shot Liberty Valance (dir. John Ford, 1962). Gil Westrum (Randolph Scott): ‘You know what’s on the back of a poor man when he dies? The clothes of pride. And they are not a bit warmer to him dead than they were when he was alive. Is that all you want, Steve?’ Steve Judd (Joel McCrea): ‘All I want is to enter my house justified’. Ride the High Country [a.k.a. Guns in the Afternoon] (dir. Sam Peckinpah, 1962)> J. W. Grant (Ralph Bellamy): ‘You bastard!’ Henry ‘Rico’ Fardan (Lee Marvin): ‘Yes, sir. In my case an accident of birth. But you, you’re a self-made man.’ The Professionals (dir. Richard Brooks, 1966).1 he Western movies that from Taround 1910 until the 1960s made up at least a fifth of all the American film titles on general release signified Lee Marvin, Lee Van Cleef, John Wayne and Strother Martin on the set of The Man Who Shot Liberty Valance escapist entertainment for British directed and produced by John Ford. audiences: an alluring vision of vast © Sunset Boulevard/Corbis open spaces, of cowboys on horseback outlined against an imposing landscape. For Americans themselves, the Western a schoolboy in the 1950s, the Western believed that the western frontier was signified their own turbulent frontier has an undeniable appeal, allowing the closing or had already closed – as the history west of the Mississippi in the cinemagoer to interrogate, from youth U.
    [Show full text]
  • The Last Days of Buster Keaton John C. Tibbetts
    Fall 1995 79 The Hole in the Doughnut: The Last Days of Buster Keaton John C. Tibbetts In the Fall of 1995 Eleanor Norris Keaton will come to Kansas to celebrate the 100th birthday of her late husband.1 Part of an extensive itinerary that also takes her to other centenary observances in New York, Muskegon, Michigan, and Los Angeles, the Kansas trip is particularly poignant. Keaton was born on October 4,1895, in the tiny farm community of Piqua, in southeast Kansas, while his parents were performing with a medicine show.2 Although he may have been a Kansan only through sheer accident of circumstances—the baby and his mother remained in Piqua only two weeks before rejoining the troupe on the road—he returned there many times as a child on tour with his parents.3 Later, the classic slapstick comedian paid tribute to his home state in many of the themes and situations of his best films, most notably in the cyclone sequence in Steamboat Bill, Jr. (1928). To my mind, even his trademark "deadly horizontal" hat (as James Agee described it) evokes the stark flatness of the Kansas prairies.4 While the Keaton phenomenon will be fully explored throughout the centenary year, Eleanor herself should not be forgotten. By all accounts, she was an important force in Buster's later years. "She has seen Buster Keaton through a long period of painful adjustment, relapse, and readjustment and a dozen partial comebacks," wrote Rudi Blesh, shortly before Buster's death on February 1,1966. "She has carried him, content and at times happy, across the threshold of his seventies.
    [Show full text]
  • Understanding Steven Spielberg
    Understanding Steven Spielberg Understanding Steven Spielberg By Beatriz Peña-Acuña Understanding Steven Spielberg Series: New Horizon By Beatriz Peña-Acuña This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Beatriz Peña-Acuña Cover image: Nerea Hernandez Martinez All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0818-8 ISBN (13): 978-1-5275-0818-7 This text is dedicated to Steven Spielberg, who has given me so much enjoyment and made me experience so many emotions, and because he makes me believe in human beings. I also dedicate this book to my ancestors from my mother’s side, who for centuries were able to move from Spain to Mexico and loved both countries in their hearts. This lesson remains for future generations. My father, of Spanish Sephardic origin, helped me so much, encouraging me in every intellectual pursuit. I hope that contemporary researchers share their knowledge and open their minds and hearts, valuing what other researchers do whatever their language or nation, as some academics have done for me. Love and wisdom have no language, nationality, or gender. CONTENTS Introduction ................................................................................................. 1 Chapter One ................................................................................................. 3 Spielberg’s Personal Context and Executive Production Chapter Two .............................................................................................. 19 Spielberg’s Behaviour in the Process of Film Production 2.1.
    [Show full text]
  • Andztjf Aa>Velroztt: I
    * them later for five times that sum, a Author Protection [Sergt. Kelly Writes Movie and gaining tremendous profits Steps Being Taken from the fact that the popular sale With Grenades and His Gun HOLLYWOOD. of the novel made the Him a much Some recourse for an author who By JAY CARMODY. more valuable property. Authors' sells picture rights to a while Journalism department: Just which movie studio keeps its eye story agents are now stipulating a cut on most unrovingly glued to the front page is for more research minded It is still In galley proofs, and later film profits, to know, but this commentator thinks it mast ~ people certainly must be sees his price become a pitiful part 20th AMUSEMENTS. Century-Fox. of what he could have collected If That entertainment over huge factory, presided by inactive Col. he had waited for publication and Darryl Zanuck. has Just turned away from its favorite newspaper with successful Is -.—__— sales, being planned at the story of Sergt. Edward (Com- __ last, mando* the lad a. Kelly, Pittsburgh leave, not because the job has not Typical of inequities to an author wmm a lark u who had such Ger- killing gw \\ !¥J been an entirely happy one, and the was the case of Margaret Mitchell mans in As a pn rvTTi Italy. result, Sergt. associations pleasant, but because and "Gone With the Wind.” The has $25,000. the goes, 4 • Kelly report he never liked the idea of to screen rights $50,000 with wet it with Canute TTatet. A having brought m Simply to add now to the other laurels he tell his son few later that he spent the the film owner refusing a sale of applications will completely fe- a Canute Water won by virtue of being sort of war » color it similar to its former natural presiding over a cocktail lounge.
    [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]
  • Los Vaivenes De Jules Dassin a Lo Largo Del Mundo, Con Melina
    PERSONALIDADES (IV) Los vaivenes de Jules Dassin a lo largo del mundo, con Melina Antes de conocer a Melina Mercouri, Ju­ les Dassin era otro: el cine social norte­ Fue un realista en USA, donde conoció a Mark Hellinger; americano y el mundo exterior le habían después abandonó su país en tiempos de McCarthy; dado prestigio de realista. Su obra más re­ después conoció a Melina Mercouri. ciente ha fortalecido la imagen de que Da­ Una obra muy variada y cambiante, con intereses que oscilan ssin es un apasionado, un humorista y un ad­ entre el planteo social, la reflexión poética, la alegoría sobre la libertad mirador de lo griego, incluida Melina, los y el individuo, aproximaciones a clásicos griegos, a la personalidad clásicos de la tragedia y el teatro. Claro que el teatro form ó parte de su-primera vocación de la Mercouri, propone, la interrogante de su final definición como creador. y que sus antecedentes son griegos. Empero Las explicaciones se intentan en este análisis. su obra se fractura cuando abandona los Es­ Lo que no ofrece dudas es que err varios films Dassin ha demostrado tados Unidos y se va a Europa donde en ser capaz de lograr obras mayores 1950 dirige Siniestra obsesión, que prolon­ y en dos ejemplos concretos alcanzar la maestría. ga su obra previa, y en 1954 Rififi, que es un film policial y se parece a los que hizo en su país entre 1947 y 1950. Dos años des­ pués hace El que debe morir, que es un rela­ to apasionado, y dos años después padece la fijación de Melina y la.causa griega, que tie­ nen sus costados pasionales.
    [Show full text]
  • A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
    MOVIES A TO Z MAY 2020 h 2001: A Space Odyssey (1968) 5/2 h The Body Snatcher (1945) 5/30 h The Devil Bat (1940) 5/18 a w 36 Hours (1964) 5/9 R Born Reckless (1959) 5/30 R Devotion (1946) 5/13 ADVENTURE D m 42nd Street (1933) 5/11 m Born to Dance (1936) 5/11 The Diary of Anne Frank (1959) 5/13 c c Bowery Battalion (1951) 5/2 m Ding Dong Williams (1946) 5/8 COMEDY –––––––––––––––––––––– A ––––––––––––––––––––––– c Boys’ Night Out (1962) 5/2 c Dinner at Eight (1933) 5/13 D Abe Lincoln in Illinois (1940) 5/13 P h The Brain That Wouldn’t Die (1962) 5/18 w The Dirty Dozen (1967) 5/25 z CRIME D Ace in the Hole (1951) 5/9 R Break of Hearts (1935) 5/12 h Doctor X (1932) 5/18 c The Actress (1953) 5/22 c Brewster McCloud (1970) 5/9 D Dolls (1987) 5/15 o DOCUMENTARY a Adventures of Don Juan (1948) 5/14 c The Bride Came C.O.D. (1941) 5/29 R Don Juan (Or if Don Juan Were a Woman) (1973) 5/17 u After the Thin Man (1936) 5/3 z Brother Orchid (1940) 5/14 Hc Double Exposure (1935) 5/9 D DRAMA HD Age 13 (1955) 5/15 z Bullets or Ballots (1936) 5/7 S z Double Indemnity (1944) 5/21 S c Alice Adams (1935) 5/12 D Dr. Ehrlich’s Magic Bullet (1940) 5/28 S e EPIC Hm All Girl Revue (1940) 5/27 –––––––––––––––––––––– C ––––––––––––––––––––––– h Dr.
    [Show full text]
  • Ath001 Chronology of Limerick Athenaeum 2.Pdf
    Introduction The Limerick Athenaeum is comprised of two separate buildings at Upper Cecil Street Limerick. The original building, which now houses the Limerick Vocational Educational Committee [LVEC], was built as the offices of the Commissioners of St. Michael’s Parish in 1833. It was, in effect, the Town Hall of Georgian Limerick. The second building, the Athenaeum Hall was built by the Limerick Athenaeum as a Lecture Theatre in 1855. 1833 MINUTES OF St MICHAEL'S PARISH COMMISSIONERS [Source: From original manuscripts at the Limerick Archives] April 19th 1833: At a meeting of the above, with William White in the Chair, it was resolved that the proposal of John Stokes end Michael Guerin to build the new Parish Offices be accepted, for the sum of'£ 1,070 sterling. The contractors have to expend £300 before they get any money from the Board. Nicholas Hannon is appointed superintendent. Report in the Limerick Chronicle of the 20th April 1833: "The Commissioners of St Michael's Parish, yesterday, agreed with Mr Stokes, architect, for the sum of £1,070 to erect premises for a Watch-House, Board-Room etc in Cecil Street, to be accomplished on the 1st January next". Extracts from the Minute Books of the Commissioners of St. Michael's Parish: Page 2: Creagh & Charles McMahon act as guarantors for contractors. Page l7: Letter from John Stokes re £200 payment for building costs. Page 20: Donel Barrington is agent for Earl of Limerick. John Fogerty is awarded £ 3-10-0 for plans of the new building. Page 24: £100 awarded to the builder.
    [Show full text]
  • Αφηγηση Και Εστιαση Στισ Επικιν∆Υνεσ Σχεσεισ Του Choderlos De Laclos Kai Τισ Τεσσερισ Κινηματογραφικεσ Μεταφορεσ Του Μυθιστορηματοσ
    ΑΦΗΓΗΣΗ ΚΑΙ ΕΣΤΙΑΣΗ ΣΤΙΣ ΕΠΙΚΙΝ∆ΥΝΕΣ ΣΧΕΣΕΙΣ ΤΟΥ CHODERLOS DE LACLOS KAI ΤΙΣ ΤΕΣΣΕΡΙΣ ΚΙΝΗΜΑΤΟΓΡΑΦΙΚΕΣ ΜΕΤΑΦΟΡΕΣ ΤΟΥ ΜΥΘΙΣΤΟΡΗΜΑΤΟΣ Της ∆έσποινας Κακλαµανίδου ∆ιδακτορική διατριβή που υποβλήθηκε στο Τµήµα Αγγλικής Γλώσσας και Φιλολογίας, της Φιλοσοφικής Σχολής του Αριστοτελείου Πανεπιστηµίου Θεσσαλονίκης, Ελλάδα Η διατριβή ολοκληρώθηκε σύµφωνα µε τις απαιτήσεις του διπλώµατος του ∆ιδάκτορα Φιλοσοφίας 2005 2 ΠΕΡΙΕΧΟΜΕΝΑ ΠΡΟΛΟΓΟΣ ......1 1. ΜΕΤΑΦΟΡΑ ΜΥΘΙΣΤΟΡΗΜΑΤΩΝ ΣΤΟΝ ΚΙΝΗΜΑΤΟΓΡΑΦΟ 1.1. Εισαγωγή ......6 1.2. Σχέσεις µεταξύ κινηµατογράφου-λογοτεχνίας ......12 1.2.1. ∆ιαφορές µεταξύ κινηµατογράφου-λογοτεχνίας ......13 1.2.2. Οπτική γωνία ......28 1.3. Σύντοµη ιστορική αναδροµή µεταφοράς µυθιστορηµάτων στον κινηµατογράφο ......30 1.4. Μεταφορά µυθιστορηµάτων στον κινηµατογράφο ......33 1.5. Σοβαρή και µαζική τέχνη ......40 2. ΑΦΗΓΗΣΗ – ΕΣΤΙΑΣΗ: ΠΟΙΟΣ ΜΙΛΑ (ΑΦΗΓΗΤΗΣ) – ΠΟΙΟΣ ΒΛΕΠΕΙ (ΕΣΤΙΑΣΤΗΣ); 2.1. Εισαγωγή ......43 2.2. Η αφηγηµατολογική προσέγγιση των Greimas και Genette ......45 2.3. Αφηγητής και εστιαστής στη λογοτεχνία ......50 2.4. Αφήγηση και εστίαση στον κινηµατογράφο ......59 2.5. Επιλογή θεωρητικού εργαλείου ......67 3. ΕΠΙΛΟΓΗ ΚΕΙΜΕΝΩΝ 3.1. Εισαγωγή ......70 3.2. Παρατηρήσεις µε βάση το corpus ......72 3.3. Κριτήρια επιλογής του έργου του Laclos ......79 4. ΟΙ ΕΠΙΚΙΝ∆ΥΝΕΣ ΣΧΕΣΕΙΣ: ΤΟ ΜΥΘΙΣΤΟΡΗΜΑ 4.1. Choderlos de Laclos (1741-1803) και η γαλλική κοινωνία του . 18ου αιώνα .....86 4.2. Η πορεία των Επικίνδυνων Σχέσεων ......90 4.3. Σύντοµη περίληψη των Επικίνδυνων Σχέσεων ......95 4.4. Η χρήση των επιστολών ......96 4.5. Ανάλυση της Γραµµατικής των Επικίνδυνων Σχέσεων: ......101 Πρόσωπα ......107 4.5.1. Συνταγµατική ανάλυση των Επικίνδυνων Σχέσεων . 4.5.2. Τα αφηγηµατικά προγράµµατα των πρωταγωνιστών των .....125 Επικίνδυνων Σχέσεων ......129 4. 6. Αφήγηση και εστίαση στις Επικίνδυνες Σχέσεις ......133 ......144 4.6.1.
    [Show full text]
  • Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
    INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
    [Show full text]
  • Film Noir Database
    www.kingofthepeds.com © P.S. Marshall (2021) Film Noir Database This database has been created by author, P.S. Marshall, who has watched every single one of the movies below. The latest update of the database will be available on my website: www.kingofthepeds.com The following abbreviations are added after the titles and year of some movies: AFN – Alternative/Associated to/Noirish Film Noir BFN – British Film Noir COL – Film Noir in colour FFN – French Film Noir NN – Neo Noir PFN – Polish Film Noir www.kingofthepeds.com © P.S. Marshall (2021) TITLE DIRECTOR Actor 1 Actor 2 Actor 3 Actor 4 13 East Street (1952) AFN ROBERT S. BAKER Patrick Holt, Sandra Dorne Sonia Holm Robert Ayres 13 Rue Madeleine (1947) HENRY HATHAWAY James Cagney Annabella Richard Conte Frank Latimore 36 Hours (1953) BFN MONTGOMERY TULLY Dan Duryea Elsie Albiin Gudrun Ure Eric Pohlmann 5 Against the House (1955) PHIL KARLSON Guy Madison Kim Novak Brian Keith Alvy Moore 5 Steps to Danger (1957) HENRY S. KESLER Ruth Ronan Sterling Hayden Werner Kemperer Richard Gaines 711 Ocean Drive (1950) JOSEPH M. NEWMAN Edmond O'Brien Joanne Dru Otto Kruger Barry Kelley 99 River Street (1953) PHIL KARLSON John Payne Evelyn Keyes Brad Dexter Frank Faylen A Blueprint for Murder (1953) ANDREW L. STONE Joseph Cotten Jean Peters Gary Merrill Catherine McLeod A Bullet for Joey (1955) LEWIS ALLEN Edward G. Robinson George Raft Audrey Totter George Dolenz A Bullet is Waiting (1954) COL JOHN FARROW Rory Calhoun Jean Simmons Stephen McNally Brian Aherne A Cry in the Night (1956) FRANK TUTTLE Edmond O'Brien Brian Donlevy Natalie Wood Raymond Burr A Dangerous Profession (1949) TED TETZLAFF George Raft Ella Raines Pat O'Brien Bill Williams A Double Life (1947) GEORGE CUKOR Ronald Colman Edmond O'Brien Signe Hasso Shelley Winters A Kiss Before Dying (1956) COL GERD OSWALD Robert Wagner Jeffrey Hunter Virginia Leith Joanne Woodward A Lady Without Passport (1950) JOSEPH H.
    [Show full text]
  • My Name Is Joseph H Lewis
    48 MY NAME IS JOSEPH H LEWIS PAUL KERR RE-PLACES THE AUTHOR Downloaded from https://academic.oup.com/screen/article/24/4-5/48/1616593 by guest on 30 September 2021 DESPITE THE RECENT PUBLICATION of John Caughie's 1 John Caughie (ed) excellent anthology, Theories of Authorship1, auteurism has been con- Theories of spicuously absent from the agenda of Screen2 in particular and film Authorship, London, British studies in general of late. But auteurism refuses to go away. It crops up in Film Institute and Festival retrospectives, in the programming of repertory cinemas, as the Routledge & organising principle behind cinema seasons on television, in educational Kegan Paul, 1981. See also Stephen syllabuses and among the assumptions of articles in Screen itself. Indeed Jenkins (ed) Fritz there remains, as Caughie argues, a reluctant sense in which while it is Lang: The Image assumed that authorship (in both its traditional humanist 'exception to and the Look, London, British the Hollywood rule' and its post-structuralist 'subject's construction of Film Institute, and by a reading' guises) is an inadequate critical concept, it is difficult - 1981. Jenkins if not altogether impossible-to entirely dispense with it. Caughie's conceives of 'Lang' neither anthology itself collects much of the best writing on the relation between biographically nor texts and authors but is quick to acknowledge the relative absence of structurally, since work on the relation between authors and contexts. Understandably the former assumes a dubious of the liberal extensions
    [Show full text]