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The Top 101 Inspirational Movies –
The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan Published by Self Improvement Online, Inc. http://www.SelfGrowth.com 20 Arie Drive, Marlboro, NJ 07746 ©Copyright by David Riklan Manufactured in the United States No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the Publisher. Limit of Liability / Disclaimer of Warranty: While the authors have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents and specifically disclaim any implied warranties. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. The author shall not be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages. The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan TABLE OF CONTENTS Introduction 6 Spiritual Cinema 8 About SelfGrowth.com 10 Newer Inspirational Movies 11 Ranking Movie Title # 1 It’s a Wonderful Life 13 # 2 Forrest Gump 16 # 3 Field of Dreams 19 # 4 Rudy 22 # 5 Rocky 24 # 6 Chariots of -
The Baseball Film in Postwar America ALSO by RON BRILEY and from MCFARLAND
The Baseball Film in Postwar America ALSO BY RON BRILEY AND FROM MCFARLAND The Politics of Baseball: Essays on the Pastime and Power at Home and Abroad (2010) Class at Bat, Gender on Deck and Race in the Hole: A Line-up of Essays on Twentieth Century Culture and America’s Game (2003) The Baseball Film in Postwar America A Critical Study, 1948–1962 RON BRILEY McFarland & Company, Inc., Publishers Jefferson, North Carolina, and London All photographs provided by Photofest. LIBRARY OF CONGRESS CATALOGUING-IN-PUBLICATION DATA Briley, Ron, 1949– The baseball film in postwar America : a critical study, 1948– 1962 / Ron Briley. p. cm. Includes bibliographical references and index. ISBN 978-0-7864-6123-3 softcover : 50# alkaline paper 1. Baseball films—United States—History and criticism. I. Title. PN1995.9.B28B75 2011 791.43'6579—dc22 2011004853 BRITISH LIBRARY CATALOGUING DATA ARE AVAILABLE © 2011 Ron Briley. All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher. On the cover: center Jackie Robinson in The Jackie Robinson Story, 1950 (Photofest) Manufactured in the United States of America McFarland & Company, Inc., Publishers Box 611, Jefferson, North Carolina 28640 www.mcfarlandpub.com Table of Contents Preface 1 Introduction: The Post-World War II Consensus and the Baseball Film Genre 9 1. The Babe Ruth Story (1948) and the Myth of American Innocence 17 2. Taming Rosie the Riveter: Take Me Out to the Ball Game (1949) 33 3. -
The Billboard 1918-01-12
MOTICC TO READER: Wheo joa llaMi raaiSiix this mvMtaa piMa • le BtUDp ao Um iMMiiaw hand aamr to any poatal amployta^ and It will '« placfd Ui (ha haoda bf our trldlen or aalkn at iha froiiL Na cJAN.12J9ie wrayplaf. Na addraaa.—A. 8. BURIXSON. Postmaatar-OancraL IF YOU SEE IT IN BILLYBOY-BANK ON IT I 2 X ti e Billboard JANUARY 12, 1918 AGENTS -THIS IS A — GOLD MIRE at $1: Oaiy It S«XN • Day M«ui 15.00 Otity PraOL FURNITURE Grand Rapid*, Mich New York Office, 28 £L R2d 3L srsi.$1.00 —SO you can jz:et tiurty ’Lgftn OnraMnidoB In dli(>1tT cm*. P«1I (<u at boot. <zia\ tnrhM K*ch trUcU tall dri* CORPORATIONS ORGANIZED atfm ala*. lUttll raluc. tS.SS; you aall for II.M; ttlc^'dlaraonds^^pme black andnd white engraved. Gross, >1U.75$10.75 a line on them. «»U you onlT 50*. THIVK OP ITI 11 ARTICLES IN NEW YORK, t$7.N FOR LESS THAN 8* EACH. Whan Ton ahow your ruatomcr thla torfwaia autflt, with panri* paildM Including complete outfit. Accounts ORIENTAL MFG. CO., 106 Wesleyan Ave., DepL 2, Providence, R.l. rorar, thr airaj of fln* tollat tooda (that alwara ap- collected everywhere. Call, write or paala to mlladr'a heart) will daaair her ere. and arhan at the end at rnitr aplel Tou itate the low prlca phone Suite 201, 1547 Broadway, at $1.0* for all thla. th* dollar U tout*, eran If ahe Gaiety Theatre Building. Telephone haa to hoimw, h«( or ateal It. -
Best Picture of the Yeari Best. Rice of the Ear
SUMMER 1984 SUP~LEMENT I WORLD'S GREATEST SELECTION OF THINGS TO SHOW Best picture of the yeari Best. rice of the ear. TERMS OF ENDEARMENT (1983) SHIRLEY MacLAINE, DEBRA WINGER Story of a mother and daughter and their evolving relationship. Winner of 5 Academy Awards! 30B-837650-Beta 30H-837650-VHS .............. $39.95 JUNE CATALOG SPECIAL! Buy any 3 videocassette non-sale titles on the same order with "Terms" and pay ONLY $30 for "Terms". Limit 1 per family. OFFER EXPIRES JUNE 30, 1984. Blackhawk&;, SUMMER 1984 Vol. 374 © 1984 Blackhawk Films, Inc., One Old Eagle Brewery, Davenport, Iowa 52802 Regular Prices good thru June 30, 1984 VIDEOCASSETTE Kew ReleMe WORLDS GREATEST SHE Cl ION Of THINGS TO SHOW TUMBLEWEEDS ( 1925) WILLIAMS. HART William S. Hart came to the movies in 1914 from a long line of theatrical ex perience, mostly Shakespearean and while to many he is the strong, silent Western hero of film he is also the peer of John Ford as a major force in shaping and developing this genre we enjoy, the Western. In 1889 in what is to become Oklahoma Territory the Cherokee Strip is just a graz ing area owned by Indians and worked day and night be the itinerant cowboys called 'tumbleweeds'. Alas, it is the end of the old West as the homesteaders are moving in . Hart becomes involved with a homesteader's daughter and her evil brother who has a scheme to jump the line as "sooners". The scenes of the gigantic land rush is one of the most noted action sequences in film history. -
Cinematic Contextual History of High Noon (1952, Dire Fred Zinnemann) J. M. CAPARROS-LERA SERGIO ALEGRE
Cinematic Contextual History of High Noon (1952, dire Fred Zinnemann) J. M. CAPARROS-LERA SERGIO ALEGRE Cinema must be seen as one of the ways of ideologies of our Century because it shows very well the mentality of men and women who make films. As well as painting, literature and arts, it helps us to understand our time. (Martin A. JACKSON) 0. T.: High Noon. Production: Stanley Kramer Productions, Inc./United Artists (USA,1952). Producers: Stanley Kramer & Carl Foreman. Director: Fred Zinnemann. Screenplay: Carl Foreman, from the story The Tin Star, by John W. Cunningham. Photography: Floyd Crosby. Music: Dimitri Tiomkin. Song: Do Not Forsake Me Oh My Darlin', by Dimitri Tiomkin and Ned Washington; singer: Tex Ritter. Art Director: Rudolph Sternad. Editor: Elmo Williams. Cast: Gary Cooper: (Will Kane), Thomas Mitchell (Jonas Henderson), Lloyd Bridges (Harvey Pell), Katy Jurado (Helen Ramirez), Grace Kelly (Amy Kane), Otto Kruge: (Percy Metrick), Lon Chaney, Jr. (Martin Howe), Henry Morgan (Sam Fuller), Ian MacDonald (Frank Miller), Eve McVeagh (Milfred Fuller) Harry Shannon (Cooper), Lee Van Cleef (Jack Colby), Bob Wilke (James Pierce), Sheb Wooley (Ben Miller), Tom London (Sam), Larry Blake (Gillis), Jeanne Blackford (Mrs: Henderson), Guy Beach (Fred), Virginia Christine (Mrs. Simpson), Jack Elam (Charlie), Virginia Farmer (Mrs. Fletcher), Morgan Farley (Priest),Paul Dubov (Scott), Harry Harvey (Coy), Tin Graham (Sawyer), Nolan Leary (Lewis), Tom Greenway (Ezra), Dick Elliot (Kibbee), John Doucete (Trumbull). B/W -85 min. Video distributor: Universal. The post-war American atmosphere and the never well-seen social problem cinema -especially thriller film noir- are the major reasons to understand why during the Forties Hollywood was purged by the self- called the most liberal and democratic government of the world.* Truman's executive order was published in May 12, 1947. -
Citizen Kane Als 'Filmischer' Text Und Als Text Der Amerikanischen Kultur*
FORUM Citizen Kane als 'filmischer' Text und als Text der amerikanischen Kultur* Orson Welles' im Jahre 1941 erschienener Film Citizen Kane ist einer jener "schwierigen" fiktionalen Texte der amerikanischen Kultur, die die Kritik zu immer neuen ErkHirungs- und Einschatzungsversuchen herausgefordert haben. Weil er in einigen Punkten unverkennbar den EinfluB der Iiterarischen Moderne zeigt, die einst selbst yom Stumm film angeregt wurde, und weil er inzwischen weite Anerkennung als besondere Leistung des amerikanischen Films gefunden hat, nimmt Welles' Film in gewisser Weise eine vermittelnde Zwischenstellung zwischen popularem Medium und Iiterarischer Tradition ein. Die ungew6hnlich hohe filmgeschichtliche Wertschatzung, die ihn unter dem Stichwort "Beginn eines neuen Zeitalters der Kinematographie" als AbschluB und H6hepunkt der friihen Entwicklung des amerikani schen Films verbucht, hat inzwischen bis in die amerikanische Litera turwissenschaft gewirkt, fiir die Aufsatze in angesehenen Fachzeit schriften wie Critical Inquiry und vor allem PMLA, der offiziellen Zeitschrift der Modern Language Association ofAmerica, die M6glich keiten der Integration des Mediums Film in ein kulturelles Selbstver standnis andeuten, das bisher ganz durch Texte der amerikanischen Literatur definiert war. 1 Wenn auch am diskussionstrachtigen Ausnahmefall orientiert, so kann dies doch als wichtiger Schritt in der Reihe der "neuerdings angestellten schiichternen Versuche" angesehen werden, "Spielfilme und Fernsehspiel als Gegenstand wissenschaftlicher Untersuchungen -
Zum 100. Geburtstag Von Orson Welles N O D N O L
Zum 100. Geburtstag von Orson Welles n o D n o l ’ S e l l e W n o S R o u z n e t i e b r a h e r D n e d i e b r a d o K a j o d n u s e l l e W n o s r o Die verborgenen Seiten im Werk Dimension. Das war der Moment, wo ich entweder von Orson Welles Selbstmord begehen, mein Scheitern eingestehen oder Als ich im Jahr von Orson Welles’ 100. Geburtstag (am einfach unbekümmert weitermachen konnte, und ich 6. Mai) und seinem 30. Todestag (am 10. Oktober) zu - wählte Letzteres, getreu der berühmten Replik des See - sagte, seine Biografie für meinen französischen Verle - manns in THE LADy FROM SHANGHAI: »When I start ger Éditions Bernard de Fallois zu schreiben, wurde out to make a fool of myself, there’s very little can stop meine Welles-Bewunderung nur noch von meiner Un - me.« s e l bekümmertheit übertroffen. Eine starke Erinnerung an Ich reiste nach Kroatien, um dort Orson Welles’ letzte l e seine Radiosendung »Krieg der Welten« und die fol - Lebensgefährtin und Mitarbeiterin zu treffen: Oja Kodar. W n gende Panik (die völlig anders ablief, als es heute er - Schon begann die getrocknete Blume des Herbariums o s r zählt wird), einige verloren geglaubte, wiedergefundene einen zarten Duft abzugeben, der meine Nase er - O Filme (wie das Material von TOO MUCH JOHNSON, das reichte. Der Mensch Orson Welles nahm langsam kon - 74 die Retrospektive eröffnet), selbstverständlich die Ehr - krete Konturen an: Ich war am Meer, das er betrachtet furcht vor CITIZEN KANE, den ich zu meiner Über - hatte, sah an den Wänden der Villa seine Zeichnungen raschung nur ungefähr im Gedächtnis hatte, und einige und sprach mit der Frau, die er geliebt hatte. -
La Soif Du Mal
■ ■■■■■■ La Soif du mal Un film de Orson WELLES LYCÉENS AU CINÉMA ■ ■■■■■■ Sommaire 2 GÉNÉRIQUE / SYNOPSIS 16 LE LANGAGE DU FILM Les outils de la grammaire cinématographique 3 ÉDITORIAL choisis par le réalisateur et l’usage spécifique qu’il en a fait. 4 RÉALISATEUR / FILMOGRAPHIE 18 UNE LECTURE DU FILM 5 PERSONNAGES L’auteur du dossier donne un point de vue ET ACTEURS PRINCIPAUX personnel sur le film étudié ou en commente un aspect essentiel à ses yeux. 7 DÉCOUPAGE ET ANALYSE DU RÉCIT LYCÉENS AU CINÉMA L’intrigue résumée, planifiée et commentée, 19 EXPLORATIONS Avec le soutien du ministère de la Culture et de la Communication étape par étape. Les questions que soulève le propos du film, (Centre national de la cinématographie, Direction régionale des affaires culturelles) les perspectives qui s’en dégagent. et des Régions participantes. 9 QUESTIONS DE MÉTHODE Les moyens artistiques et économiques mis 20 DANS LA PRESSE, DANS LES SALLES en œuvre pour la réalisation du film, le travail L’accueil public et critique du film. du metteur en scène avec les comédiens et les techniciens, les partis pris et les ambitions de 21 L’AFFICHE sa démarche. 22 AUTOUR DU FILM 11 MISES EN SCÈNE Le film replacé dans un contexte historique, Un choix de scènes ou de plans mettant en artistique, ou dans un genre cinématographique. valeur les procédés de mise en scène les plus importants, les marques les plus distinctives 23 BIBLIOGRAPHIE du style du réalisateur. et le concours des salles de cinéma participant à l’opération 2 ■ Auteur du dossier Emmanuelle André -
Catalog of Copyright Entries 1953 Motion Pictures and Filmstrips Jan
.N'^ CATALOG OF COPYRIGHT ENTRIES Third Series VOLUME 7, PARTS 12-13, NUMBER 1 Motion Pictures and Filmstrips JANUARY-JUNE 1953 o -^ * * ^ COPYRIGHT OFFICE THE LIBRARY OF CONGRESS WASHINGTON: 1953 CATALOG OF COPYRIGHT ENTRIES Third Series , CATALOG OF COPYRIGHT ENTRIES Third Series VOLUME 7, PARTS 12-13, NUMBER 1 Motion Pictures and Filmstrips JANUARY-JUNE 1953 COPYRIGHT OFFICE THE LIBRARY OF CONGRESS WASHINGTON: 1953 REMOVAL OF DEPOSITS FROM COPYRIGHT OFFICE NOTICE is given to authors, copyright proprietors and other lawful claimants that they may claim and remove before January 1, 1954, any article of the following named classes of published works deposited for copyright between January 1, 1950, and January 1, 1951, not reserved or dis- posed of as provided by sections 213 and 214 of Title 17 of the United States Code and still remaining in the files of the Copyright Office at the time of the request for their removal. The classes of pubhshed works covered by this notice are: Books and Pamphlets. Contributions to periodicals. Works of art; models or designs for works of art. Reproductions of a work of art. Drawings or plastic works of a scientific or technical char- acter. Photographs. Prints and pictorial illustrations excluding prints or labels used for articles of merchandise. Other published works and all unpublished works are excluded from this notice. The request for the removal of any copyright deposit should be signed by the person entitled thereto or his duly authorised agent. Such request should identify the work by stating the title, author, copyright proprietor, registration number and year of deposit, and should be addressed to the Copyright Office, Library of Congress, Washington 25, D. -
Citizen Kane 1941, Which Tops Nearly All Lists of the World's Greatest Films, SIGHT and SOUND, Published by When He Was 25; It Was His First Film
December 6, 2004 (IX:15) ORSON WELLES (George Orson Welles, 6 May 1915, Kenosha, Wisconsin— 10 October 1985, Hollywood, sometimes credited as O.W. Jeeves and G.O. Spelvin) did it all: actor, director, writer, producer, editor, cinematographer , shill for Gallo Wines. His 1938 radio adaptation of H.G. Wells "War of the Worlds" panicked thousands of listeners. His made Citizen Kane 1941, which tops nearly all lists of the world's greatest films, SIGHT AND SOUND, published by when he was 25; it was his first film. In his later years he played himself, the British Film Institute, but he got to do that only because the self he created was so interesting. His bio lists more than 160 surveys directors and critics acting credits, beginning as Death in the 1934 film Hearts of Death. Many of those credits were as every year for their favorite “narrator”: he was the offscreen voices of the narrator in “Shogun” and Robin Masters in “Magnum films. Here are the top ten from P.I.” He played some of history’s great characters: Cardinal Wolsey in A Man for All Seasons 1966, each group in 2002: Falstaff in Chimes at Midnight 1965, Harry Lime in The Third Man 1949, Cesare Borgia in Prince Critics of Foxes 1949, and Macbeth 1948. Not one of the 14 films he completed is uninteresting and 1 Citizen Kane (Welles) several are masterpieces. The films are:Citizen Kane 1941, The Magnificent Ambersons 1942, The 2 Vertigo (Hitchcock) Stranger 1946, The Lady from Shanghai 1948, Macbeth 1948, Othello 1952, Mr. -
Film Credits (In Order of Discussion)
FILM CREDITS (IN ORDER OF DISCUSSION) The Outlaw (1943) Directors: Howard Hughes, Howard Hawks Screenplay: Jules Furthman, Howard Hawks, Ben Hecht Cinematographers: Gregg Toland, Lucien Ballard Editor: Wallace Grissell Music: Victor Young Art Director: Perry Ferguson Running time: 116 minutes Format: 35 mm, in black and white Cast: Jack Buetel (Billy the Kid), Jane Russell (Rio McDonald), Thomas Mitchell (Pat Garrett), Walter Huston (Doc Holliday), Mimi Aguglia (Guadalupe), Joe Sawyer (Charley Woodruff), Gene Rizzi (Stranger), Martin Garralaga (Mike, Waiter), Emory Parnell (Dolan), Edward Pell, Sr. (Swanson, Deputy), Julian Rivero (Pablo) High Noon (1952) Director: Fred Zinnemann Screenplay: Carl Foreman, from John W. Cunningham’s short story “The Tin Star,” which first appeared in Collier’s Magazine in 1947 Cinematographer: Floyd Crosby Editor: Elmo Williams Music: Dimitri Tiomkin Production Designer: Rudolph Sternad Running time: 85 minutes Format: 35mm, in black and white Cast: Gary Cooper (Marshal Will Kane), Thomas Mitchell (Mayor Jonas Henderson), Lloyd Bridges (Deputy Marshal Harvey Pell), Katy Jurado (Helen Ramírez), Grace Kelly (Amy Fowler Kane), Otto Kruger (Judge Percy Mettrick), Lon Chaney, Jr. (Martin Howe), Harry Morgan (Sam Fuller), Ian MacDonald (Frank Miller), Eve McVeagh (Mildred Fuller), Morgan Farley (Dr. Mahin, Minister), Harry Shannon (Cooper), Lee Van Cleef (Jack Colby), Robert J. Wilke (Jim Pierce), Sheb Wooley (Ben Miller) Johnny Guitar (1954) Director: Nicholas Ray Screenplay: Philip Yordan (a.k.a. Ben Maddow),