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Pdf El Trascendentalismo En El Cine De Douglas Sirk / Emeterio Díez
EL TRASCENDENTALISMO EN EL CINE DE DOUGLAS SIRK Emeterio DÍEZ PUERTAS Universidad Camilo José Cela [email protected] Resumen: El artículo estudia la presencia del trascendentalismo en las pelí- culas que Douglas Sirk rueda para los estudios Universal Internacional Pic- tures entre 1950 y 1959. Dicha presencia se detecta en una serie de motivos temáticos y en una carga simbólica acorde con una corriente literaria y filo- sófica basada en la intuición, el sentimiento y el espíritu. Abstract: The article studies the presence of the transcendentalist in the movies that Douglas Sirk films between 1950 and 1959 for Universal Inter- national Pictures. This presence is detected in topics and symbols. Sirk uni- tes this way to a literary and philosophical movement based on the intuition, the feeling and the spirit. Palabras clave: Douglas Sirk. Trascendentalismo. Leitmotiv. Cine. Key words: Douglas Sirk. Trascendentalist. Leitmotiv. Cinema. © UNED. Revista Signa 16 (2007), págs. 345-363 345 EMETERIO DÍEZ PUERTAS Hacia 1830 surge en la costa Este de Estados Unidos un movimiento li- terario y filosófico conocido como trascendentalismo. Se trata de una co- rriente intelectual que rechaza tanto el racionalismo de la Ilustración como el puritanismo conservador y el unitarismo cristiano. Sus ideas nacen bajo el in- flujo del romanticismo inglés y alemán, en especial, de las lecturas de Johann Wolfgang von Goethe, William Wordsworth, Samuel Taylor Coleridge y Thomas Carlyle. Los principales teóricos del movimiento se agrupan en torno a la ciudad de Concord, en Massachusetts, uno de los seis estados que forman Nueva Inglaterra. Con apenas cinco mil habitantes, esta pequeña localidad se convierte en el centro de toda una escuela de pensamiento. -
BTC Catalog 149.Pdf
BETWEEN THE COVERS RARE BOOKS, INC. 112 Nicholson Rd (856) 456-8008 Gloucester City, NJ 08030 [email protected] www.betweenthecovers.com C ATALOG 149: More from the Mines Here is another random sampling of nice but relatively inexpensive books drawn from the last three big collections that have come through the door, including several from the Ned Erbe and Bruce Kahn Collections. All three of these collections are vast, and mostly of very good quality, and you will be seeing many more books from these collections in the coming months. I can’t see why you wouldn’t take advantage of this opportunity to add some nice books to your collection. Also, Dan would like me to mention that Between the Covers, taking advantage of our highly trained staff of high school-aged children, now has a page on Facebook. Aside from the fact that I have no idea what this means, you are encouraged to visit our page, bond with it, take it out for a romantic walk on the beach, or whatever else you are supposed to do with a page on Facebook. He claims it looks something like the illustration on the back of this catalog. After you’ve visited it, maybe you can tell me how to find it. Editor’s( Note: If you have any trouble, just send me an email at [email protected] and I’ll send you a direct link.) Tom C. Terms of Sale All books are First Editions unless otherwise noted. All books are returnable within ten days if returned in the same condition as sent. -
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. -
WLBT Archives MSS.366
Note: To navigate the sections of this PDF finding aid, click on the Bookmarks tab or the Bookmarks icon on the left side of the page. Mississippi State University Libraries Special Collections Department Manuscripts Division P.O. Box 5408, Mississippi State, MS 39762-5408 Phone: (662) 325–7679 E-mail: [email protected] WLBT archives MSS.366 Dates: 1967-1980 Extent: 155 cubic feet Preferred Citation: WLBT archives, Special Collections Department, Mississippi State University Libraries. Access: Open to all researchers. Copyright Statement: Any requests for permission to publish, quote, or reproduce materials from this collection must be submitted in writing to the Manuscripts Librarian for Special Collections. Permission for publication is given on behalf of Mississippi State University as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained. Donor: Communications Improvement, Incorporated, August 1982. Scope and Contents The WLBT archives have been arranged in the following series: Hewitt Griffin joined WLBT in 1961 as program manager, the position he continued to hold throughout Communications Improvement, Incorporated’s (CII) tenure with the exception of the period from January to September 1973. Series 1, 1967-1979, consists of Griffin's files, which primarily concern programming. The series has been grouped into ten divisions: General/personal, Programming, Programs Available, Programs Aired, Network Affiliates, Ratings/research, Promotional Materials (including photographs), TV Guide (1974-1978), Programming Logs (June 14, 1971 - December 31, 1977), and Discrepancy Sheets. See also Series 7. 38 cubic feet. In 1972 William H. Dilday, Jr. -
September 2016
ZEUGHAUSKINO PROGRAMM Zeughauskino Deutsches Historisches Museum Unter den Linden 2 Juli – September 10117 Berlin T +49 30 20304-421 (Büro) 2016 T +49 30 20304-770 (Kinokasse) F +49 30 20304-424 → Douglas Sirk [email protected] → Tausend Takte Übermut www.zeughauskino.de → Slowakische Neue Welle INHALT VORWORT 1 Höhepunkte 2 Von Detlef Sierck zu Douglas Sirk Filmreihen Written on the Wind All I Desire Die Filme von Douglas Sirk 4 Aus dem Fernseharchiv 40 Berlin.Dokument 44 DEFA-Sportfilm 48 FilmDokument 52 Lachende Erben: Tausend Takte Übermut 54 Slowakische Neue Welle 60 Seit seiner Eröffnung im Jahr 1992 interessiert sich das Zeughauskino für das deutsche Exilkino. Neben kleinere Reihen, die ausgewählte S wie Sonderprogramm 68 Filme deutscher Emigranten vorstellten, sind im Laufe der Jahre um- fangreiche Retrospektiven getreten: mehrmonatige Programme, Wiederentdeckt 72 die es gestatteten, Gesamtwerke in ihren vielfältigen Schichtungen und Wendungen wahrzunehmen. Die Œuvres von Max und Marcel Aktuelle Ausstellungen Ophüls, von Fritz Lang und Robert Siodmak wurden auf diese Weise vorgestellt. Am 8. Juli startet mit einer Douglas-Sirk-Retrospektive Sonderausstellungen im Deutschen Historischen Museum 77 eine weitere Filmreihe in dieser Programmtradition. Douglas Sirk gehört zu den zentralen Filmregisseuren der Nachkriegs- Kalender zeit. Unter den deutschen Filmschaffenden, die in den Jahren vor dem Zweiten Weltkrieg in die USA auswanderten, nimmt er eine Son- Alle Termine im Überblick 78 derstellung ein, denn die Filmkarriere des gebürtigen Hamburgers begann erst im „Dritten Reich“, nachdem er 1934 – unter seinem Geburtsnamen Detlef Sierck – einen Vertrag bei der Ufa unterschrie- Filmwerkstatt ben hatte. Ein Großteil seines Werks entstand jedoch in den 1940er Angebote für Schulklassen 84 und 1950er Jahren im amerikanischen Exil. -
JACK ARNOLD Di Renato Venturelli
JACK ARNOLD di Renato Venturelli Tra gli autori della fantascienza anni ‘50, che rinnovò la tradizione del cinema fantastico e dell’horror, il nome che si impone con più evidenza è quello di Jack Amold. Il motivo di questo rilievo non sta tanto nell’ aver diretto i capolavori assoluti del decennio (La cosa è di Hawks, L’invasione degli ultracorpi è di Siegel...), quanto nell’aver realizzato un corpus di film compatto per stile e notevole nel suo insieme per quantità e qualità. Gli otto film fantastici realizzati fra il 1953 e il 1959 testimoniano cioè un autore riconoscibile, oltre a scandire tappe fondamentali per la mitologia del cinema fantastico, dalla Creatura della Laguna Nera (unico esempio degli anni ‘50 ad essere entrato nel pantheon dei mostri classici) alla gigantesca tarantola, dalla metafora esistenziale di Radiazioni B/X agli scenari desertici in cui l’uomo si trova improvvisamente di fronte ai limiti delle proprie conoscenze razionali. Uno dei motivi di compattezza del lavoro di Amold sta nella notevole autonomia con cui poté lavorare. Il suo primo film di fantascienza, Destinazione… Terra (1953), segnava infatti il primo tentativo in questa direzione (e nelle tre dimensioni) da parte della Universal-International. Il successo che ottenne, e che assieme agli incassi del Mostro della laguna nera risollevò la compagnia da una difficile situazione economica, fu tale da permettere ad Arnold di ritagliarsi una zona di relativa autonomia all’interno dello studio: “Nessuno a quell’epoca era un esperto nel fare film di fantascienza, così io pretesi di esserlo. Non lo ero, naturalmente, ma lo studio non lo sapeva, e così non si misero mai a discutere, qualsiasi cosa facessi”. -
Notre Dame Scholastic, Vol. 96, No. 14
-,-*^€>.; ^j^^r IMfi \im^-': • ^VINSTON tastes good—like a cigarette should! • Smokers who go for flavor / AND DRAW/ \ are sure going for Winston! This filter cigarette really THEV TASTE tastes like a cigarette. It's the SO GOOD] filter cigarette that's fun to smoke! New, king-size Winstons are easy-drawing, too! Winston's finer filter works so effectively, yet doesn't flatten the flavor. The full, rich, tobacco flavor comes through to you easily and smoothly. Try Winstons! They taste good — like a cigarette should! S>i^ MVINSTGN iU Qa^-dnrnJiMQ jjSJt&i Qiqa/idittl Sc/iolastk semi-onnual deorance Vol. 96 FEBRUARY 25, 1955 No. 14 Disce Quasi Semper Victurus Vive Quasi Cras Mortiturus Founded 1867 Entered as second class matter at Notre Dame, • QUALITY SALE Indiana. Accepted for mailing at special rate of postage. Section 1101, October 3, 1917. Authorized June 23, 1918. Editor MEN'S SUITS, TOPCOATS, OVERCOATS. LAWRENCE J. BREHL Associate and Sports Editor CASHMERE COATS, SPORT COATS PAUL FULLMER Associate Editor FRED C. ECKART including group by ^JOHN ADAMS News ROBERT KAUFMAN .... Assistant News PAUL J. LaFRENIERE Copy CHARLES McKENDRICK 9(iPheB-^reeman Assistant Copy JOSEPH CONNOLLY Features KEN WOODWARD .. Business Manager Society Brand •.. Three-G PETER STURTEVANT Photo Editor JIM FITZGERALD Eagle •.. Burberry • • • British-R ^ Photography Coordinator JIM GULDE Head Photographer JOHN P. DEFANT .. Faculty Moderator Member of Catliolic School Press Association, As sociated Collegiate Press. Represented for national advertising by National Advertising Service, Inc., 420 Madison Avenue, New York City. OFF THE SCHOLASTIC is published weekly during the school year, except during vacation and examina tion periods at the University of Notre Dame. -
Dossier Robert Zemeckis Contes, Croyances Et Technologies
Wall-E, No Country For Old Men, La disparition L’émotion de l’artifice L’Adaptation du roman du cinéma d’animation The Dark Knight, de Cormac McCarthy par La musicalité du cinéma le retour du chaos les frères Coen. classique français Revue de cinéma numérique DOSSIER ROBERT ZEMECKIS CONTES, CROYANCES ET TECHNOLOGIES N°1 - Octobre 2008 1 IL EST LÀ, IL VOUS ATTEND... ... CHAQUE TRIMESTRE DANS VOS KIOSQUES De nombreux entretiens : Spike Lee, Fernando Mereilles, Fabrice du Welz, Alain Jessua Deux dossiers passionnants : James Bond, SF française Une actu haute en couleurs : Clint Eastwood, Woody Allen, James Gray, Ben Stiller Et plein de curiosités : Cinéma marseillais, Robert Ryman, festivals, musique, dvd, etc. www.revuesplitscreen.com www.trouverlapresse.com [email protected] 2 Acme N°1 – Octobre 2008 Directeur de la publication et rédacteur en chef : Edito Danilo Zecevic ([email protected]) A l’heure d’abondantes lectures sur le cinéma, périodiques ou pas, de qualité et d’autre, Rédacteur en chef adjoint et secrétaire imprimées ou numériques, les informations et les analyses pertinentes et justes sont de rédaction : Vincent Baticle noyées dans la masse. Ni pavé scientifique pour initiés, ni pamphlet populiste pour ([email protected]) internautes égarés, Acme ne prétend ni révolutionner, ni surpasser, le déjà existant mais Rédacteurs : se positionne comme un modérateur vulgarisant les pensées trop alambiquées au profit Sylvain Angiboust, Pierre Bas, Vincent Baticle, d’un plus grand confort du lecteur, n’omettant de mettre en valeur ni les idées les plus Pierre Borion, Fabien Delmas, Ornella Lantier- Delmastro, Hervé Joubert-Laurencin, Olivier simples ni les plus paillardes si elle s’avèrent leur pertinence. -
Lub-Lun Prisoners
Lub-Lun Prisoners. The Thirteenth Enterprises; gen. mgr.. Nassour 1924; picturessinoeinctiude Murders In the Rue 1944; gets. Mgt, Amusement Prod. with it, Polk concert Chair. Wild Company. Dramila. Studios. 1949 -May. 1950: ors. & Morgue, White Zombe. Chemin.the Magician: Phantom elms: erg. & /red. 28 Supermanfilms for TV. 1901: Prod.. Killer. The Devil Rat, The Wolf Man.Black Cat. Black Loan Shar,. I'll Get You. ManFrom Cairo. Member: Va- Draeon., The Ghost of Frankenstein.The Corpse Vanishes, riety Club. L.A. 9 c, 5 Coate. Guard. Died. Angled.1958. Meets the b.Los Angeles.Calif. PicturesInclude: Ane Mon. Frankenstein LUBIN. ARTHUR: Director, pictures.Including Miff Man. The Return of the Vampire,One Rode Too Since1035hasdirectednumerous Moat. Keen 'Ern Many. (lentils at Work. A 0, C MeetFrankenstein, Bela Buck Private.Tn the Navy, Hold That FtAns. Ride 'Ens Cowboy.Eagle Rottruiron. Phantom of Lugesi Meets a Brooklyn Gorilla. the Opera. White Savage. AliRaba end the Forty Thieves, Hungary.May 28. Queen for a Day. Francis LUKAS, PAUL; Actor. b. 13m1anest,Acad.of Hungaryi nelivhthinv Tianceroun.Rhubarb. Francis. Francis Covers the Big Cell.of Thirlanest;Actor.' thePisces. 1005:e. Rndeneat,1918(titlerole. Preen.Goesto Frsnels floes to WestPoint..It Grows on Trees. Ptaal.debut Comedy Cheat.. leirrit screen role in Eta of India. Francis Joins the Lfliorn): at Comedy Meat. 9 era. steep. end from SmithSea Woman, Star pre/. Samson & Delilah: later nnN.'V', heat per- WA P.. inthe Nev.. S. nietimes. Aratlemy Award, RecentPictures: Lady Godiva. Francis 1520 in mane Ti. the Rhine Werner): Fnotstens in the Fog, FirstTraveling Saleslady, Escapade ferminnee nn actor. -
LUMIÈRE. 01 Número 1 / 2009
LUMIÈRE. 01 número 1 / 2009 STAFF SUMARIO Dirección: Francisco Algarín Navarro, Fernando CARTA DESDE... Ganzo, Moisés Granda Buenos Aires, por Diego Lerer > 04 AVENTURAS > 06 Redactor jefe: Stefan Ivančić Cinéma en Numérique 2 > 06 Zinebi 50: Jean-Claude Rousseau > 09 Consejo de redacción: Miguel Blanco, Miguel Especial Gijón 2008 > 10 Calero, Alfonso Crespo, Alejandro Díaz, Mariam El Querer ver: crónica del 46.º Festival Internacional Kharbachi, Santiago Gallego, Miguel García, Félix de Cine de Gijón / A zona / A zona. Agujeros de García de Villegas, Jorge D. González, Manuel J. sueño, constelaciones mortales / Un barco fantas- Lombardo, Jaime Natche, Manuel Praena Segovia ma a la deriva: entrevista con Sandro Aguilar / El cine de Sandro Aguilar / Rapace / Wendy and Lucy Han colaborado en este número: Violeta Kovacsics, / 35 rhums / La aterradora verdad: entrevista con Diego Lerer, Clara Sanz, Arnau Vilaró Moncasí Peter Tscherkassky / Cameron Jamie / Afterschool / Z32 / Waltz with Bashir / Joana Hadjithomas y Agradecimientos: Sandro Aguilar, Álvaro Arroba, Khalil Joreige / La utopía yanqui Bertrand Bonello, Emmanuel Burdeau, Alex G. GRITOS > 46 y 73 Calvo, Arnaud Desplechin, Fran Gayo, Pierre Cuadro Gijón 2008 > 46 Léon, Christelle Lheureux, Miguel Marías, Lucrecia Top Ten 2008 (incluye el 'World Poll 2008' de Miguel Martel, Cyril Neyrat, Jorge Oter, Ana Sanz, Antoine Marías) > 73 Thirion, Peter Tscherkassky, Daniel V. Villamediana, Sergio Wolf NOCHES > 47 La Frontière de l'aube / Guardarse y entregarse Diseño y maquetación: Laura Bernal -
San Francisco Cinematheque Program Notes
fnurfffH San Francisco Cinematheque program notes 1993 From the collection of the f d n z m o Prelinger a v liAJibrary p San Francisco, California 2007 San Francisco Cinematheque 1993 Program Notes Production and Layout: David Gerstein Albert Kilchesty Cover: Michael De Vries Written and Researched by: Steve Anker Lana Bernberg Chris Bishop Elizabeth Dee Susanne Fairfax David Gerstein Lissa Gibbs Albert Kilchesty Gina Lehmann Colby Luckenbill Ariel O'Donnell Michael Roth Michelle Sabol E. S. Theise © Copyright 1994 by the San Francisco Cinematheque. No material may be reproduced without written permission from the publisher. All individual essays © to the individual authors. San Francisco Cinematheque, Sept. 1993—Aug. 1994: Staff Steve Anker, Artistic Director David Gerstein, Executive Director Albert Kilchesty, Administrative Manager (Sept. 93—June 94) Irina Leimbacher, Office Manager (June-Aug. 94) Board of Directors Charles Boone Linda Gibson Lynn Hershman Ariel O'Donnell Lynne Sachs (through Feb. 94) Scott Taylor Eric S. Theise (through Apr. 94) Michael Wallin Table of Contents 1993 Program Notes silt: EROSIONS AND ACCRETIONS Artists Christian Farrell & Jeff Warrin in person February 4, 1993 utter Silt: a word which when you it, letting the air slip thinly between your teeth, invokes a slow, sly insinuating agency. Silt: which shapes and undermines continents; which demolishes as it builds, which is simultaneous accretion and erosion; neither progress nor decay. —Graham Swift silt is a three-member San Francisco-based collaborative film group (Keith Evans, Christian Farrell, and Jeff Warrin) which has been working in Super-8mm since 1990. All films Super-8mm, color/b&w, silent w/sound-on-cassette Grapefruitfilm (1990, 2.5 minutes) Our first experiment! We crammed found footage inside a grapefruit and left it to rot for a month before rephotographing it. -
A Score Complete Without Themes: Henry Mancini and the Frenzy Experience
A SCORE COMPLETE WITHOUT THEMES: HENRY MANCINI AND THE FRENZY EXPERIENCE. PATRICIA CLARE WHEELER-CONDON A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY, TORONTO, ONTARIO APRIL, 2013 © Patricia Wheeler-Condon, 2013 ABSTRACT This dissertation examines the musical features of, and circumstances surrounding, the film score composed in 1971 by Henry Mancini for director Alfred Hitchcock's ( penultimate work, Frenzy. Mancini's music was rejected by Hitchcock, and replaced with a markedly different work written by British composer Ron Goodwin. A summation of characteristic traits emerging from Mancini's compositional style is herewith considered, as recurring features found in his thematic writing - aspects of melody, harmony, rhythm, timbre, and form-were most apparent to the non-musician film directors who engaged his services. This summation also includes an examination oft4e composer's dramatic underscore writing; an aspect of film music often overlooked in its minutiae by viewers and filmmakers alike, and, in the case of Mancini's Frenzy music, characteristic of his scores for Laslo Bene_dek's 1971 production, The Night Visitor, and Terrence Young's Wait Until Dark, from 1967. Mancini's Frenzy cue sheets, holograph, and recording were supplied by the composer's estate, allowing for an analysis which considers cue placement and length, systems of pitch and rhythmic organisation, aspects of arrangement and orchestration, and conducting and recording methods as practised by this composer. A comparison to the Goodwin score, reproduced by way of transcription from the film, is undertaken in order to explore aspects of filmic point-of-view as they play on the composer of its accompanying music, and to attempt a rationalisation of .Hitchcock's displeasure with Mancini's music.