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The Films of Raoul Walsh, Part 1
Contents Screen Valentines: Great Movie Romances Screen Valentines: Great Movie Romances .......... 2 February 7–March 20 Vivien Leigh 100th ......................................... 4 30th Anniversary! 60th Anniversary! Burt Lancaster, Part 1 ...................................... 5 In time for Valentine's Day, and continuing into March, 70mm Print! JOURNEY TO ITALY [Viaggio In Italia] Play Ball! Hollywood and the AFI Silver offers a selection of great movie romances from STARMAN Fri, Feb 21, 7:15; Sat, Feb 22, 1:00; Wed, Feb 26, 9:15 across the decades, from 1930s screwball comedy to Fri, Mar 7, 9:45; Wed, Mar 12, 9:15 British couple Ingrid Bergman and George Sanders see their American Pastime ........................................... 8 the quirky rom-coms of today. This year’s lineup is bigger Jeff Bridges earned a Best Actor Oscar nomination for his portrayal of an Courtesy of RKO Pictures strained marriage come undone on a trip to Naples to dispose Action! The Films of Raoul Walsh, Part 1 .......... 10 than ever, including a trio of screwball comedies from alien from outer space who adopts the human form of Karen Allen’s recently of Sanders’ deceased uncle’s estate. But after threatening each Courtesy of Hollywood Pictures the magical movie year of 1939, celebrating their 75th Raoul Peck Retrospective ............................... 12 deceased husband in this beguiling, romantic sci-fi from genre innovator John other with divorce and separating for most of the trip, the two anniversaries this year. Carpenter. His starship shot down by U.S. air defenses over Wisconsin, are surprised to find their union rekindled and their spirits moved Festival of New Spanish Cinema .................... -
Propaganda, Cinema and the American Character in World War Ii Theodore Kornweibel, Jr
humphrey bogart's Sahara propaganda, cinema and the american character in world war ii theodore kornweibel, jr. How and why a people responds affirmatively to momentous events in the life of its nation is an intriguing question for the social historian. Part of the answer may be found in the degree to which a populace can connect such events to traditional (and often idealistic) themes in its culture, themes which have had wide currency and restatement. This kind of identification can be seen particularly in wartime; twice in this century large segments of the American population rallied around the call to preserve democracy under the guise of fighting a "war to end all wars" and another to preserve the "four freedoms." But popular perceptions of these global conflicts were not without both deliberate and unconscious manipulation in many areas of the culture, including commercial motion pictures. Hollywood produced hundreds of feature films during World War II which depicted facets of that conflict on the domestic homefront, the soil of friendly Allies and far-flung battlefields. Many of the films showed no more than a crude addition of the war theme to plots that would have been filmed anyway in peacetime, such as gangster stories and musical comedies. But other movies reached a deeper level in subtly linking the war to American traditions and ideals. Sahara,1 Columbia Pictures' biggest money-maker in 1943, starring Humphrey Bogart in a finely understated performance, is such a motion picture. Students of American culture will find Sahara and its never-filmed predecessor script, "Trans-Sahara," artifacts especially useful in ex amining two phenomena: the process of government pressure on 0026-3079/81/2201-0005S01.50/0 5 movie studios to ensure that the "approved" war. -
The Representation of Reality and Fantasy in the Films of Powell and Pressburger: 1939-1946
The Representation of Reality and Fantasy In the Films of Powell and Pressburger 1939-1946 Valerie Wilson University College London PhD May 2001 ProQuest Number: U642581 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642581 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Representation of Reality and Fantasy In the Films of Powell and Pressburger: 1939-1946 This thesis will examine the films planned or made by Powell and Pressburger in this period, with these aims: to demonstrate the way the contemporary realities of wartime Britain (political, social, cultural, economic) are represented in these films, and how the realities of British history (together with information supplied by the Ministry of Information and other government ministries) form the basis of much of their propaganda. to chart the changes in the stylistic combination of realism, naturalism, expressionism and surrealism, to show that all of these films are neither purely realist nor seamless products of artifice but carefully constructed narratives which use fantasy genres (spy stories, rural myths, futuristic utopias, dreams and hallucinations) to convey their message. -
MARIUS by Marcel Pagnol (1931) Directed by Alexander Korda
PRESS PACK CANNES CLASSICS OFFICIAL SELECTION 2015 MARIUS by Marcel Pagnol (1931) Directed by Alexander Korda Thursday 21 May 2015 at 5pm, Buñuel Theatre Raimu and Pierre Fresnay in Marius by Marcel Pagnol (1931). Directed by Alexander Korda. Film restored in 2015 by the Compagnie Méditerranéenne de Films - MPC and La Cinémathèque Française , with the support of the CNC , the Franco-American Cultural Fund (DGA-MPA-SACEM- WGAW), the backing of ARTE France Unité Cinéma and the Archives Audiovisuelles de Monaco, and the participation of SOGEDA Monaco. The restoration was supervised by Nicolas Pagnol , and Hervé Pichard (La Cinémathèque Française). The work was carried out by DIGIMAGE. Colour grading by Guillaume Schiffman , director of photography. Fanny by Marcel Pagnol (Directed by Marc Allégret, 1932) and César by Marcel Pagnol (1936), which complete Marcel Pagnol's Marseilles trilogy, were also restored in 2015. "All Marseilles, the Marseilles of everyday life, the Marseilles of sunshine and good humour, is here... The whole of the city expresses itself, and a whole race speaks and lives. " René Bizet, Pour vous , 15 October 1931 SOGEDA Monaco LA CINÉMATHÈQUE FRANÇAISE CONTACTS Jean-Christophe Mikhaïloff Elodie Dufour Director of Communications, Press Officer External Relations and Development +33 (0)1 71 19 33 65 +33 (0)1 71 1933 14 - +33 (0)6 23 91 46 27 +33 (0)6 86 83 65 00 [email protected] [email protected] Before restoration After restoration Marius by Marcel Pagnol (1931). Directed by Alexander Korda. 2 The restoration of the Marseilles trilogy begins with Marius "Towards 1925, when I felt as if I was exiled in Paris, I realised that I loved Marseilles and I wanted to express this love by writing a Marseilles play. -
RESISTANCE MADE in HOLLYWOOD: American Movies on Nazi Germany, 1939-1945
1 RESISTANCE MADE IN HOLLYWOOD: American Movies on Nazi Germany, 1939-1945 Mercer Brady Senior Honors Thesis in History University of North Carolina at Chapel Hill Department of History Advisor: Prof. Karen Hagemann Co-Reader: Prof. Fitz Brundage Date: March 16, 2020 2 Acknowledgements I want to thank Dr. Karen Hagemann. I had not worked with Dr. Hagemann before this process; she took a chance on me by becoming my advisor. I thought that I would be unable to pursue an honors thesis. By being my advisor, she made this experience possible. Her interest and dedication to my work exceeded my expectations. My thesis greatly benefited from her input. Thank you, Dr. Hagemann, for your generosity with your time and genuine interest in this thesis and its success. Thank you to Dr. Fitz Brundage for his helpful comments and willingness to be my second reader. I would also like to thank Dr. Michelle King for her valuable suggestions and support throughout this process. I am very grateful for Dr. Hagemann and Dr. King. Thank you both for keeping me motivated and believing in my work. Thank you to my roommates, Julia Wunder, Waverly Leonard, and Jamie Antinori, for being so supportive. They understood when I could not be social and continued to be there for me. They saw more of the actual writing of this thesis than anyone else. Thank you for being great listeners and wonderful friends. Thank you also to my parents, Joe and Krista Brady, for their unwavering encouragement and trust in my judgment. I would also like to thank my sister, Mahlon Brady, for being willing to hear about subjects that are out of her sphere of interest. -
Hommage Posthume Luc Chaput
Document generated on 09/26/2021 5:19 a.m. Séquences La revue de cinéma Hommage posthume Luc Chaput Number 294, January–February 2015 URI: https://id.erudit.org/iderudit/73423ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this document Chaput, L. (2015). Hommage posthume. Séquences, (294), 52–52. Tous droits réservés © La revue Séquences Inc., 2015 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 52 SÉQUENCES – 60 ANS DE CINÉMA HOMMAGE POSTHUME Alexander Korda Victor Sjöström ans cette époque où triomphent sur les écrans (petits et immense cinéaste suédois, né en 1879, alterne durant D et grands) les Downton Abbey, The Theory of Every- Csa jeunesse les séjours dans son pays natal et les États- thing, Mr. Turner et, hier, Chariots of Fire et Gandhi et où, Unis. Acteur imposant et metteur en scène de théâtre talen- durant le règne d’Elizabeth II, tant de films ou de téléséries tueux, il est invité en 1912 par le directeur de la Svenska, Char- retournent visiter l’époque de la 1ère Elizabeth, un cinéaste les Magnusson, à devenir réalisateur et ce, en même temps hongrois naturalisé britannique fait office de précurseur. -
The North of England in British Wartime Film, 1941 to 1946. Alan
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CLoK The North of England in British Wartime Film, 1941 to 1946. Alan Hughes, University of Central Lancashire The North of England is a place-myth as much as a material reality. Conceptually it exists as the location where the economic, political, sociological, as well as climatological and geomorphological, phenomena particular to the region are reified into a set of socio-cultural qualities that serve to define it as different to conceptualisations of England and ‘Englishness’. Whilst the abstract nature of such a construction means that the geographical boundaries of the North are implicitly ill-defined, for ease of reference, and to maintain objectivity in defining individual texts as Northern films, this paper will adhere to the notion of a ‘seven county North’ (i.e. the pre-1974 counties of Cumberland, Westmorland, Northumberland, County Durham, Lancashire, Yorkshire, and Cheshire) that is increasingly being used as the geographical template for the North of England within social and cultural history.1 The British film industry in 1941 As 1940 drew to a close in Britain any memories of the phoney war of the spring of that year were likely to seem but distant recollections of a bygone age long dispersed by the brutal realities of the conflict. Outside of the immediate theatres of conflict the domestic industries that had catered for the demands of an increasingly affluent and consuming population were orientated towards the needs of a war economy as plant, machinery, and labour shifted into war production. -
HP0221 Teddy Darvas
BECTU History Project - Interview No. 221 [Copyright BECTU] Transcription Date: Interview Dates: 8 November 1991 Interviewer: John Legard Interviewee: Teddy Darvas, Editor Tape 1 Side A (Side 1) John Legard: Teddy, let us start with your early days. Can you tell us where you were born and who your parents were and perhaps a little about that part of your life? The beginning. Teddy Darvas: My father was a very poor Jewish boy who was the oldest of, I have forgotten how many brothers and sisters. His father, my grandfather, was a shoemaker or a cobbler who, I think, preferred being in the cafe having a drink and seeing friends. So he never had much money and my father was the one brilliant person who went to school and eventually to university. He won all the prizes at Gymnasium, which is the secondary school, like a grammar school. John Legard: Now, tell me, what part or the world are we talking about? Teddy Darvas: This is Budapest. He was born in Budapest and whenever he won any prizes which were gold sovereigns, all that money went on clothes and things for brothers and sisters. And it was in this Gymnasium that he met Alexander Korda who was in a parallel form. My father was standing for Student's Union and he found somebody was working against him and that turned out to be Alexander Korda, of course the family name was Kelner. They became the very, very greatest of friends. Alex was always known as Laci which is Ladislav really - I don't know why. -
Kipling, Masculinity and Empire
Kunapipi Volume 18 Issue 1 Article 10 1996 America's Raj: Kipling, Masculinity and Empire Nicholas J. Cull Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Cull, Nicholas J., America's Raj: Kipling, Masculinity and Empire, Kunapipi, 18(1), 1996. Available at:https://ro.uow.edu.au/kunapipi/vol18/iss1/10 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] America's Raj: Kipling, Masculinity and Empire Abstract The posters for Gunga Din promised much: 'Thrills for a thousand movies, plundered for one mighty show'. That show was a valentine to the British Raj, in which three sergeants (engagingly played by Cary Grant, Victor McLaglen, and Douglas Fairbanks, Jr.) defeat marauding hoards of 'natives' with the aid of their 'Uncle Tom' water bearer, Gunga Din (Sam Jaffe)[Plate VII]. Audiences loved it. Its racism notwithstanding, even an astute viewer like Bertolt Brecht confessed: 'My heart was touched ... f felt like applauding and laughed in all the right places'. 1 Outwardly the film had little ot do with the United States. Most of the cast were British-born and its screenplay claimed to be 'from the poem by Rudyard Kipling' .2 Yet the film was neither British or faithful ot Kipling, but solidly American: directed by George Stevens for RKO, with a screenplay by Oxford-educated Joel Sayre and Stevens's regular collaborator Fred Guiol.3 This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol18/iss1/10 America's Raj: Kipling, Masculinity, and Empire 85 NICHOLAS J. -
Articles by Book Reviews By
Hungarian Studies Review, Vol. XLIV, Nos. 1-2 (Spring-Fall, 2017) Articles by Zoltán Fejős Ágens Széchenyi Vilmos Erős Andras Becker Anna Menyhért Book reviews by Howard Lupovitch Steven Jobbitt Katalin Fábián Andras Becker Peter Czipott Nándor Dreisziger William Weisberger Hungarian Studies Review, Vol. XLIV, Nos. 1-2 (Spring-Fall, 2017) CONTENTS Articles: Hungarian Folk Art Exhibitions in the USA in 1914 ZOLTÁN FEJŐS …………………………………………. 5 A Hungarian Author in the World of Cinema: Lajos (Ludwig) Biró (1890-1948) ÁGNES SZÉCHENYI ………………………………….... 37 Ethnohistory in Hungary between the two world wars: Elemér Mályusz and István Szabó VILMOS ERŐS ..…………………………………………. 53 British Strategy in Hungary in 1944 and the Hungarian Jewish Commandos of the Special Operations Executive ANDRÁS BECKER …………………………………… 81 The Acknowledgement of Helplessness: the Helplessness of Acknowledgement, Imre Kertész: Fatelessness ANNA MENYHÉRT ……………………………..…….. 105 Book reviews: Mary Gluck, The Invisible Jewish Budapest: Metropolitan Culture at the Fin de Siècle. Reviewed by Howard Lupovitch ….. 135 Robert Nemes, Another Hungary: The Nineteenth-Century Provinces in Eight Lives. Reviewed by Steven Jobbitt…… 138 Agatha Schwartz and Helga Thorson, eds. Shaking the Empire, Shaking Patriarchy: The Growth of a Feminist Consci- ousness across the Austro-Hungarian Monarchy. Reviewed by Katalin Fábián ……. 143 Steven Renner. Broken Wings. The Hungarian Air Force, 1918-45. Reviewed by Andras Becker ……. 147 Mihály Vörösmarty, Csongor and Tünde; bilingual edition with Eng- lish translation by Peter Zollman. Reviewed by Peter V. Czipott .…. 150 Imre Faragó, Ber Bere Berény avagy helynévadás a Kárpát-térségben. Reviewed by Nándor Dreisziger …… 153 Csaba K. Zoltani, ed. Transylvania Today: Diversity at Risk. Reviewed by R. William Weisberger …… 156 Books received .…...…………………………………………… 161 Our contributors ...……………………………………………… 163 Hungarian Studies Review, Vol. -
The Magazine of the Historical Association
Number 127 Autumn 2015 The magazine of the Historical Association Agincourt Photo by: ITV/REX Shutterstock New history writing competition The Historical Association and will receive a £1,000 advance How to enter Amberley Publishing are excited and a contract with Amberley to announce the launch of a Publishing, who will publish, You should include: brand new competition to find promote and distribute the • A 200-word synopsis. the best unpublished, non-fiction finished book. The winner will history book and are seeking also have the opportunity to • A chapter plan with a brief both aspiring and established write an article about their book description of what will be authors to submit interesting and for The Historian. covered in each chapter. original proposals. • A 50-word biography of The judging panel for the yourself including any Whether you have a completed competition will include the relevant experience. manuscript or just a good idea, bestselling author and Historian • 2,000 words of sample we want to hear about it. This Michael Pye, the Historical writing from the opening of is your chance to become a Association’s President Professor the book. published history author. Justin Champion, Amberley’s • Some sample images, if publishing director Jon Jackson, images are integral to the Jon Jackson, publishing chairman of the Book Trade book. director at Amberley, says, ‘This Charity and authors Amy Licence competition taps into the massive and Lesley McDowell. Deadline for entries: grassroots interest in local and 1 November 2015. personal history and the unique Amy Licence says, ‘This is a elements of British heritage. -
Merle Oberon: She Walked in Beauty … Page 1 of 5
Senses of Cinema – Merle Oberon: She walked in beauty … Page 1 of 5 CURRENT ISSUE ABOUT US LINKS TOP TENS GREAT DIRECTORS SPECIAL DOSSIERS WORLD POLLS ARCHIVE CONTACT US DONATIONS ← Previous Post Next Post → Search Merle Oberon: She walked in beauty … SUBSCRIBE by Brian McFarlane September 2009 Feature Articles, Issue 52 Name: Email: Perhaps it was a matter of being caught young. I first saw Merle Register Oberon when I was about 12 or 13 and A Song to Remember (Charles Vidor, 1945) came to rural Victoria some years after a Features Editor: Rolando Caputo Festival Reports Editor: Michelle Carey very long run at Melbourne’s Savoy Theatre. I have never Book Reviews Editor: Wendy Haslem forgotten how she looked in that, and every time I’ve seen it Cteq Annotations & Australian Cinema Editor: Adrian since it brings back that indelible, life-changing image she Danks imprinted on my young mind. Hers was a face of great delicacy, Webmaster and Administrator: Rachel Brown exquisitely oval, framed with lustrous dark hair, with eloquent Social Media Editor: Hayley Inch eyes and bright red lips – and she was unforgettably dressed in pale grey trousers, scarlet waistcoat, generous bow-tie, black cutaway coat and grey top hat on first appearance. As novelist IN THIS ISSUE… George Sand, she swung down a Parisian street (that’s Paris, Hollywood) with ‘friend’ Liszt (Stephen Bekassy), and came into Welcome to Issue 66 of our journal a café where Chopin (Cornel Wilde) and his mentor-teacher, Professor Elsner (Paul Muni), sat at a table. She said little in this scene, but as she and Liszt move on to their own table she inclined her head to look Features provocatively at Wilde to say, “I hope you will like Paris, Monsieur Chopin.