DOCSLIB.ORG

Indexes Films

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Indexes Films Indexes Films Act of Seeing with One's Own Eyes, Best Years of Our Lives, The (William The (Stan Brakhage, USA, 1973) Wyler, USA, 1946) 43 154 Bicycle Thieves (Ladri di biciclette) Actor's Revenge, An (Yukinojo henge) (Vittorio de Sica, Italy, 1948) 45 (Ichikawa Kon,Japan, 1963) 134 Big Sleep, The (Howard Hawks, USA, After Lumiere: L 'Arroseur arrose 1946) 44 (Malcolm Le Grice, GB, 1974) 186 Birds, The (Alfred Hitchcock, USA, After Manet, After Giorgione, Le 1963) 97 Dejeuner sur l'herbe, or, Fete Birth of a Nation, The (D. W. Griffith, champetre (Malcolm Le Grice, GB, USA, 1915) 96 1975) 170 Blackbird Descending (Tense Alien (Ridley Scott, GB, 1979) Alignment) (Malcolm Le Grice, 185-6 GB, 1977) 170 All My Life (Bruce Baillie, USA, 1966) 167 Carabiniers, Les 0.-L. Godard, France/ Arrivee d'un train en gare de La Italy, 1963) 4 Ciotat, L' (Louis Lumihe, France, Citizen Kane (Orson Welles, USA, 1895) 12, 26, 38 1941) 43, 125 Arroseur arrose, L' (Louis Lurniere, City Girl (F. W. Murnau, USA, 1929) France, 1895) 4, 186 142 Assassin musicien, L' (Benoit Jacquot, Coma (Michael Crichton, USA, 1977) France, 1975) 109, 151, 162 189-90 Condition of Illusion (Peter Gidal, At the Circus (Edward Buzzell, USA, GB, 1975) 168-74passim 1939) 215 C/0/N/S/T/R/U/C/T (Peter Gidal, Au hasard, Balthazar (Robert Bresson, GB, 1974) 172 France/Sweden, 1966) 91, 100 Couch (Andy Warhol, USA, 1964) Autumn Afternoon, An (Samma no 166 aji) (Ozu Yasujiro,Japan, 1962) 61 Death by Hanging (Koshikei) (Oshima Nagisa, France/Japan, 1976) Back and Forth (f----7) (Michael 65-9,150 Snow, Canada, 1969) 170 Debarquement des congressistes, Le Badlands (Terrence Malick, USA, 1973) (Louis Lurnihe, France, 1895) 55 12,38 248 Index of Films Deux ou trois chases que je sais Killer's Kiss (Stanley Kubrick, USA, d'elle 0.-L. Godard, France, 1955) 50, 51 1966) 181, 183 Kriemhild's Revenge (Kriemhilds Rache) (Fritz Lang, Germany, Empire of the Senses (Ai no corrida) 1924) 95 (Oshima Nagisa, France/Japan, 1976) 145, 148-63 Letter from an Unknown Woman Enfants terribles, Les Oean-Pierre (Max Ophuls, USA, 1948) 122, Melville, France, 1950) 120, 148 123, 146-63 passim, 184 Exorcist, The (William Friedkin, USA, Loafer, The (Essanay Company, USA, 1973) 125 1911) 74 n. 66 Family Plot (Alfred Hitchcock, USA, Madame de ... (Max Ophuls, 1976) 125, 157 France/Italy, 1953) 163 Femme mariee, Une 0.-L.Godard, Maltese Falcon, The Oohn Huston, France, 1964) 183 USA,1941) 47,181 Follow the Boys (Edward Sutherland, Man with a Movie Camera, The USA, 1944) 135, 182 (Chelovek s kinoapparatom) (Dziga FortinifCani Oean-Marie Straub & Vertov, USSR, 1929) 59-60 DaniC!e Huillet, Italy, 19 7 6) Marnie (Alfred Hitchcock, USA, 1964) 202,241 122 Masculin-feminin 0.-L. Godard, Gai Savoir, Le 0.-L. Godard, France, France/Sweden, 1966) 183 1968) 58 Meet me in St. Louis (Vincente Gay Shoe Clerk, The (Edwin S. Porter, Minelli, USA, 1944) 125 USA, 1903) 37 Meshes of the Afternoon (Maya Deren, General, The (Buster Keaton, USA, USA, 1943) 57 1926) 87.90 Moi, Pierre Riviere (Rent! Allio, France, Goodbye Girl, The (Herbert Ross, 1976) 237,238 USA, 1977) 162 Morocco Oosef von Sternberg, USA, Grandma's Reading Glass (G. A. Smith, 1930) 123 GB, 1901) 12,44 Moses and Aaron (Moses und A ron) 0 ean-Marie Straub & DaniHe Hall (Peter Gidal, GB, 1968) 165, Huillet, West Germany/France/ 168,169, 174 Italy, 1974) 56, 202 Halloween Oohn Carpenter, USA, 1978) 186 Nashville (Robert Altman, USA, High Sierra Oohn Huston, USA, 1941) 1975) 181 73 n. 60 Naughty Marietta (W. S. Van Dyke, History Lessons (Geschichtsunterricht) USA, 1935) 145, 159-60 0 ean-Marie Straub & DaniHe News from Home (Chantal Akerman, Huillet, Italy, 1972) 56, 202, Belgium/France/West Germany, 241 1976) 98-101 One Second in Montreal (Michael India Song (Marguerite Duras, France, Snow, Canada,1969) 166 1974) 202 Othon 0 ean-Marie Straub & Daniele Huillet, West Germany/Italy, 1969) Jaws (Steven Spielberg, USA, 1975) 56,202 41, 44, 123, 185 Je tu il elle (Chantal Akerman, France, Peeping Tom (Michael Powell, GB, 1974) 177,178 1959) 44 Index of Fz"lms 249 Penthesilea (Laura Mulvey & Peter Standard Time (Michael Snow, Wollen, GB, 1974) 63-4, 218 Canada, 1967) 167 n.6 Suspicion (Alfred Hitchcock, USA, Poetic justice (Hollis Frampton, USA, 1941) 19-24,28, 44, 48, 1971) 57 73 n. 60, 122, 184, 185 Pravda (Groupe Dziga-Vertov, France, Sylvia Scarlett (George Cukor, USA, 1969) 242 1935) 123 Print Generation U.J. Murphy, USA, 1975) 57 Taking of Pelham 123, The Uoseph Pursued (Raoul Walsh, USA, 1947) Sargent, USA, 1974) 215 122 Taxi Driver (Martin Scorsese, USA, 1976) 44, 50-1 Rameau 's Nephew by Diderot (Thanx Three Women (Robert Altman, USA, to Dennis Young) by Wilma 1977) 162 Schoen (Michael Snow, Canada, Threepenny Opera, The (Die 1974) 58-9 Dreigroschenoper) (G. W. Pabst, Ramona (D. W. Griffith, USA, 1910) Germany/USA, 1931) 11 16 Tom, Tom, The Piper's Son (American Rear Window (Alfred Hitchcock, USA, Mutoscope & Biograph Company, 1954) 44 USA,l905) 26,39,57 Red River (Howard Hawks, USA, Touch of Evil (Orson Welles, USA, 1948) 60 1958) vii, 51, 124, 133-43, 165, Regard, Le (Marcel Hanoun, France, 179-82 passim 1977) 177 Towering Inferno, The Uohn Rt!gion centrale, La (Michael Snow, Guillermin, USA, 1974) 182 Canada, 1971) 58 Trial of joan of Arc, The (Le Proces Repas de bebC,Le (Louis Lumiere, de jeanne d~rc) (Robert Bresson, France, 1895) 4 France, 1962) 88, 90-1,94 Riddles of the Sphinx (Laura Mulvey Turning Point, The (Herbert Ross, & Peter Wollen, GB, 1977) 196, USA, 1977) 162 218 n. 6 Room Film 1973 (Peter Gidal, GB, Uncle josh at the Moving Picture Show 1973) 168 (American Mutoscope & Biograph R~verens Brud (Viggo Larsen, Company, USA, 1902) 4-5 Denmark, 1907) 73 n. 66 Vampyr (Carl Dreyer, France/ Search for Evidence, A (American Germany, 1932) 50 Mutoscope & Biograph Company, Vent d'est (Groupe Dziga Vertov, USA, 1903) 37, 44 FrancefWest Germany/Italy, 1969) Secret Beyond the Door, The (Fritz 129 Lang, USA, 1948) 122 Secrets of a Soul (Geheimnisse einer (Michael Snow, Canada, Seele) (G. W. Pabst, Germany, Wavelength 58,128-9,166,170 1926) 18 n. 3 1967) Duration (Malcolm Le Silent Partner (Peter Gidal, GB, 1977) White Field Grice, GB, 1973) 166, 170 170 GB, Son Nom de Venise dans Calcutta Women in Love (Ken Russell, desert (Marguerite Duras, France, 1969) 188 1976) 202 Sortie des usines, La (Louis Lumiere, Zorns Lemma (Hollis Frampton, France, 1895) 4, 12, 38 USA, 1970) 57 Names Adair John 72 n. 45, 74 n. 72 Brecht, Bertolt vii, 7, 9, 11, 16-17, Aiml!e (case-history, La can) 162 33,227,237,242 Akerman, Chantal 98, 177 Bresson, Robert 88-92 passim, Alberti, Leon Battista 28, 37, 70 Ill n. 15 n.20 Breuer, Josef 162 Allio, Renl! 237 Burch, Noel 25, 40, 45, 46, 48, 50, Althusser, Louis 103, 105, 106, 56, 59, 60 (cit.), 74 n. 76,91 234 n. 11 Anna 0. (Bertha Pappenheim - Calleia, Joseph 138 case-history, Breuer) 162 Cartwright, Veronica 185 Apollinaire, Guillaume 113-14 Chateau, Dominique 218 n. 2 Arnheim, Rudolf 10, 27 (cit.), 30 Chomsky, Noam 217-18 n. 2 (cit.), 31 (cit.), 35, 40, 59 Christie, Julie 181 Cixous, Helene 160, 202 Bacall, Lauren 202 Cocteau,Jcan 114, 120, 148 Baillie, Bruce 167 Collet,Jean 143(cit.) Ballet, G. 208 Collin, Fram,;oise 196 (cit.), 197 167, Barthes, Roland 92,135,142, (cit.) 177' 214 (cit.) Comolli,Jean-Louis 227 227 Baudry,Jean-Louis Cookjr, Elisha 181 Bazin, Andrl! 11, 42-3, 45, 55-6, Crosswaite, David 175 n. 1 100, 120, 135, 148, 153 Bellour, Raymond 245 n. 9 Benjamin, Walter 10-11, 13, 33, Darwin, Charles 206 48 Dayan, Daniel 86-7,92-3, Bitzer, Billy 184 96-100 passim, 107 Blonski, P. P. 208, 209-10 Diamantis, Irene 193 n. 13, 202 (cit.) Bonitzer, Pascal 100, 236 (cit.) Dietrich, Marlene 123, 124, 135, Bordwell, David 25, 39 (cit.), 60-1 182,202 (cit.), 74 n. 84, 211-12 (cit.) Dora (case-history, Freud) 162 Bouly, Leon 14 Drummond, Fred 175 n. 1 Brakhage, Stan 57, 154 Ducos du Hauron, Louis 234 n. 16 Branigan, Edward 25, 32, 49-50, Dumont, Margaret 181 60,72 n. 40 Duras, Marguerite 121,190,202 Bray, Yvonne de 120, 148 Diirer, Albrecht 34 Index of Names 251 Eatherley, Gill 17 5 n. 1 Hanoun, Marcel 1 77 Eddy, Nelson 145 Hassan, Ihab 129 Edison, Thomas Alva 200, 221-2, Hegel, G. W. F. 177,203,210 227 Heston, Charlton 134 Egger, V. 208 Hirst, Paul Q. 103 Eikhenbaum, Boris 214-15 Hitchcock, Alfred 19, 23, 24, 57, Eisenstein, S.M. 3, 10, 11, 35, 71 125, 182 n.2~183,196,204,211-13 Hjelmslev, L. 12 Eisler, Hanns 200 Holbein, Hans, the Younger 29 Eizykman, Claudine 71 n. 30 Huillet, Danii:le 55-6, 121, 190, Engels, Friedrich 6 202,241 Euclid 30 Ichikawa, Kon 134 Fell, John, L. 229 (cit.) Irigaray, Luce 161, 162-3, 193 n. 13 Ferro, Marc 236-7 Ivanov, V. V. 220 n. 45 Feyerabend, Paul 234 n. 9 Ivins, W. M. 30 {cit.) Flaherty, RobertJ. 91 Fontaine,Joan 19, 122, 123, 146, Jacobs, Ken, 39,57 154,184,185 Jacquot, Benoit 109, 151, 189 Forrester, John 212-13 {cit.), Jakobson, Roman 59-60, 74 n. 78, 220 n. 50 80, 94 (cit.), 197 Foucault, Michel 236-8 Jenkins, Reese V. 229 (cit.) Frampton, Hollis 35, 57, 71 n.
Load more

Recommended publications
  • ORSON WELLES (En El Centenario De Su Nacimiento) 2 Proyector “Marín” De 35Mm (Ca.1970)
    cineclub universitario/aula de cine centro de cultura contemporánea - vicerrectorado de extensión universitaria Universidad de Granada P r o g r a m a c i ó n d e octubre 2 0 1 5 MAESTROS DEL CINE CLÁSICO (VIII): ORSON WELLES (en el centenario de su nacimiento) 2 Proyector “Marín” de 35mm (ca.1970). Cineclub Universitario Foto: Jacar [indiscreetlens.blogspot.com] (2015). El CINECLUB UNIVERSITARIO se crea en 1949 con el nombre de “Cineclub de Granada”. Será en 1953 cuando pase a llamarse con su actual denominación. Así pues en este curso 2015-2016 cumplimos 62 (66) años. 2 OCTUBRE 2015 MAESTROS DEL CINE CLÁSICO (VIII): ORSON WELLES (en el centenario de su nacimiento) OCTOBER 2015 MASTERS OF CLASSIC CINEMA (VIII): ORSON WELLES (100 years since his birth) Martes 20 / Tuesday 20th • 21 h. EL EXTRAÑO (1946) ( THE STRANGER) v.o.s.e. / OV film with Spanish subtitles Viernes 23 / Friday 23th • 21 h. SED DE MAL (1958) ( TOUCH OF EVIL ) v.o.s.e. / OV film with Spanish subtitles Martes 27 / Tuesday 27th • 21 h. CAMPANADAS A MEDIANOCHE (1965) ( CHIMES AT MIDNIGHT / CAMPANADAS A MEDIANOCHE ) v.o.s.e. / OV film with Spanish subtitles Viernes 30 / Friday 30th • 21 h. FRAUDE (1973) ( FAKE / QUESTION MARK / VÉRITÉS ET MENSONGES) v.o.s.e. / OV film with Spanish subtitles Todas las proyecciones en el Aula Magna de la Facultad de Ciencias. All projections at the Assembly Hall in the Science College. Seminario “CAUTIVOS DEL CINE” Miércoles 21 octubre / 17 h. EL CINE DE ORSON WELLES Gabinete de Teatro & Cine del Palacio de la Madraza Entrada libre (hasta completar aforo) 3 4 “No creo que en el futuro se me recuerde.
    [Show full text]
  • The New Hollywood Films
    The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d.
    [Show full text]
  • George P. Johnson Negro Film Collection LSC.1042
    http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections.
    [Show full text]
  • HILBERT HAKIM Second Assistant Director DGA
    HILBERT HAKIM Second Assistant Director DGA FILM THE FATE OF THE FURIOUS (AKA The Key Second Assistant Director Fast and the Furious 8) Director: F. Gary Gray Producers: Neal Moritz, Vin Diesel, Michael Fottrell UPM: Carla Raij First Assistant Director: Cliff Lanning FRESH OFF THE BOAT Key Second Assistant Director 20th Century Fox Television/ABC Director: Various Producer: Jake Kasdan First Assistant Director: Carey Dietrich, Sean Kavanagh Unit Production Manager: Barbara Black TAMMY Key Second Assistant Director (Re-Shoots) New Line Cinema Director: Ben Falcone Producers: Will Farrel, Rob Cowan, Melissa McCarthy First Assistant Director: Michael Amundson Unit Production Manager: Brian Frankish INTO THE SKY Key Second Assistant Director (Re-Shoots) New Line Cinema Director: Steve Quale Producers: Rob Cowan First Assistant Director: Michael Amundson Unit Production Manager: Brian Frankish GULLIVER’S TRAVELS Key Second Assistant Director 20th Century Fox Director: Rob Letterman Producers: John Davis, Gregory Goodman First Assistant Director: Cliff Lanning Unit Production Manager: Janine Modder THE REAPING Second Assistant Director Warner Brothers Director: Stephen Hopkins Producers: Joel Silver, Robert Zemeckis First Assistant Director: Cliff Lanning Line Producer/Unit Production Manager: Herb Gains BATMAN BEGINS Key Second Assistant Director (Chicago) Warner Brothers Director: Christopher Nolan Producers: Emma Thomas, Larry Franco, Chuck Roven First Assistant Director: Clifford Lanning Unit Production Manger: Mike Malone THE MILTON AGENCY
    [Show full text]
  • A's Resume Upadted 3:31:2020
    ANTHONY FUSCO SAG-AFTRA , AEA JE Talent, 155 Montgomery St #805, San Francisco, CA 94104 415-395-9475 www.anthonyfusco.actor [email protected] Height: 5’9” Weight:160 Eyes: Blue Hair: Brown THEATRE San Francisco Bay Area, 1999-present American Conservatory Theatre (40+ productions, former Core Company member and Associate Artist) Hamlet Horatio Carey Perloff Love and Information Ensemble Casey Stangle Caucasian Chalk Circle Ensemble John Doyle Ah, Wilderness Nat Miller Casey Stangle The Hard Problem Leo Carey Perloff Clybourne Park Russ/Dan Jon Moscone At Home At The Zoo Peter Rebecca Taichman Race Jack Lawson Irene Lewis Hedda Gabler Tesman Richard E.T. White A Christmas Carol Ebenezer Scrooge Dominique Lozano Berkeley Repertory Company Vanya & Sonia & Masha & Spike Vanya Richard E.T. White The Intelligent Homosexuals’s Guide… Adam Tony Taccone CalShakes (15 productions) Good Person of Szechwan Father, others Eric Ting Pygmalion Henry Higgins Jon Moscone King Lear Fool Lisa Peterson Candida Rev. Morell Jon Moscone The Tempest Prospero Lillian Groag Marin Theatre Company Marjorie Prime Jon Ken Russ Schmoll SF Playhouse Born Yesterday Ed Devery Susi Damilano The Christians Pastor Paul Bill English The Magic Theater Sister Play Malcolm John Kolvenbach NYC, 1983-99, selected productions The Real Thing Billy B’way/Mike Nichols The Real Inspector Hound Simon B’way/Gloria Muzio The Holy Terror Jacob/Rupert/Michael/Graeme Off-B/Simon Gray A Life In The Theater John Off B’/Kevin Dowling Cantorial Warren Off B/Charles Maryan …as well as roles at many other regional theatres; all told, over a hundred productions. FILM AND TELEVISION ‘Twixt (2011) Pastor Floyd Francis Ford Coppola Quiz Show (1994) Law Librarian Robert Redford True Colors (1991) Sam Minot Herbert Ross The Sopranos Featured Law & Order 4 episodes, Featured LA Law Guest Star Training: The Juillard School (1979-83), The Barrow Group School (1998) Teaching: American Conservatory Theatre MFA program adjunct faculty: Acting, Shakespeare.
    [Show full text]
  • 'See It Big!' Series Celebrates Movie Musicals
    FOR IMMEDIATE RELEASE ‘SEE IT BIG!’ SERIES CELEBRATES MOVIE MUSICALS Fourteen spectacular singing/dancing extravaganzas including All That Jazz, The Sound of Music, Pennies from Heaven, The Wiz, and more January 24–February 28, 2014 Astoria, New York, January 2, 2014—The Museum of the Moving Image’s popular series See It Big! will turn its focus to the movie musical with a fourteen-film celebration of the genre, from January 24 through February 28, 2014. Musicals are, by their very nature, filled with spectacle. They are heightened forms of storytelling, in which the narrative is amplified by song and dance, where characters express their innermost feelings in the most extravagant ways imaginable. It is a genre that celebrates excess and stylization, and the best examples of the form can only be truly enjoyed… big! Among the titles are two of the first films produced at the rejuvenated Astoria studio— across the street from the Museum—in the 1970s: Series opener All That Jazz (1979) is choreographer and director Bob Fosse’s largely autobiographical tour de force featuring a lithe and passionate Roy Scheider as Fosse’s alter ego (January 24); The Wiz (1978), directed by Sidney Lumet, reimagines The Wizard of Oz in a gritty urban fantasy land and stars Diana Ross, Michael Jackson, and Nipsey Russell (February 7). Production materials from The Wiz are currently on view at the Museum in Lights, Camera, Astoria!, an exhibition exploring the history of the Astoria studio (on view through February 9), and also in the core exhibition Behind the Screen. Two other 1970s musicals also feature in the series.
    [Show full text]
  • 14. Broken Time, Continued Evolution
    AB Pamphlet 14 April 2017 Literary Lab Broken Time, Continued Evolution: Anachronies in Contemporary Films Maria Kanatova Alexandra Milyakina Tatyana Pilipovec Artjom Shelya Oleg Sobchuk Peeter Tinits Pamphlets of the Stanford Literary Lab ISSN 2164-1757 (online version) Maria Kanatova Alexandra Milyakina Tatyana Pilipovec Artjom Shelya Oleg Sobchuk Peeter Tinits Broken Time, Continued Evolution: Anachronies in Contemporary Films1 In 1983, Brian Henderson published an article that examined various types of narrative structure in film, including flashbacks and flashforwards. After analyzing a whole spectrum of techniques capable of effecting a transition between past and present – blurs, fades, dis- solves, and so on – he concluded: “Our discussions indicate that cinema has not (yet) devel- oped the complexity of tense structures found in literary works”.2 His “yet” (in parentheses) was an instance of laudable caution, as very soon – in some ten–fifteen years – the situation would change drastically, and temporal twists would become a trademark of a new genre that has not (yet) acquired a standardized name: “modular narratives”, “puzzle films”, and “complex films” are among the labels used.3 Here is an example: Christopher Nolan’s Me- mento (2000) contains 85 anachronies (i.e. flashbacks or flashforwards) – something that would have been hard to imagine in 1983.4 Memento is probably an extreme case – the most puzzlingly complex of all complex films – but the tendency towards using more anachronies has become widespread, although in less extreme forms. From romantic comedies (500 1 This research was started in Tartu (Estonia) by a small group of graduate students interested in digital humanities and cultural evolution.
    [Show full text]
  • Guide to the William K
    Guide to the William K. Everson Collection George Amberg Memorial Film Study Center Department of Cinema Studies Tisch School of the Arts New York University Descriptive Summary Creator: Everson, William Keith Title: William K. Everson Collection Dates: 1894-1997 Historical/Biographical Note William K. Everson: Selected Bibliography I. Books by Everson Shakespeare in Hollywood. New York: US Information Service, 1957. The Western, From Silents to Cinerama. New York: Orion Press, 1962 (co-authored with George N. Fenin). The American Movie. New York: Atheneum, 1963. The Bad Guys: A Pictorial History of the Movie Villain. New York: Citadel Press, 1964. The Films of Laurel and Hardy. New York: Citadel Press, 1967. The Art of W.C. Fields. Indianapolis: Bobbs-Merrill, 1967. A Pictorial History of the Western Film. Secaucus, N.J.: Citadel Press, 1969. The Films of Hal Roach. New York: Museum of Modern Art, 1971. The Detective in Film. Secaucus, N.J.: Citadel Press, 1972. The Western, from Silents to the Seventies. Rev. ed. New York: Grossman, 1973. (Co-authored with George N. Fenin). Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1974. Claudette Colbert. New York: Pyramid Publications, 1976. American Silent Film. New York: Oxford University Press, 1978, Love in the Film. Secaucus, N.J.: Citadel Press, 1979. More Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1986. The Hollywood Western: 90 Years of Cowboys and Indians, Train Robbers, Sheriffs and Gunslingers, and Assorted Heroes and Desperados. Secaucus, N.J.: Carol Pub. Group, 1992. Hollywood Bedlam: Classic Screwball Comedies. Secaucus, N.J.: Carol Pub. Group, 1994.
    [Show full text]
  • After the Invasion from Mars: Orson Welles and RKO
    After the Invasion from Mars: Orson Welles and RKO In October 1938 Orson Welles and the Mercury Theatre on the Air stunned the nation with their radio broadcast of H. G. Wells' The War of the Worlds , making the 23-year-old Welles an instant celeb­ rity. At the same time the motion picture studio RKO Pictures was undergoing another of its many financial crises. George Schaefer, head of RKO, offered Welles an unprecedented contract to write, produce, direct, and act in three motion pictures, with the hope that Welles could increase RKO's reputation and its box-office re­ ceipts. This contract, which Welles accepted, created a vast amount of publicity, much of it unfavorable to Welles who was termed the "boy wonder" by the press. The unfavorable publicity was a por­ tent of the often stormy relationship between Welles and RKO from 1939 to 1942. Following his arrival in Hollywood in 1939, Welles decided that his first film would be an adaptation of Joseph Conrad's story of the Congo, Heart of Darkness. In this film Welles conceived that the camera would play the role of Marlowe while he would have the part of Kurtz. Over one hundred items in the Lilly Library's collection of Welles manuscripts relate to this project, including three drafts of the script, descriptions of camera shots, an over-all schedule from the preliminary budget to cutting and scoring, lists of the cast, memos about budget meetings, pre-budget estimates, budget revisions, staff and cast salaries, and publicity materials. There is also a series of photographs showing make-up details for Welles' character.
    [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]
  • Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star
    Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-15-2020 Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star Caleb Taylor Boyd Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Film and Media Studies Commons, Music Commons, and the Sociology Commons Recommended Citation Boyd, Caleb Taylor, "Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star" (2020). Arts & Sciences Electronic Theses and Dissertations. 2169. https://openscholarship.wustl.edu/art_sci_etds/2169 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Todd Decker, Chair Ben Duane Howard Pollack Alexander Stefaniak Gaylyn Studlar Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star by Caleb T. Boyd A dissertation presented to The Graduate School of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2020 St. Louis, Missouri © 2020, Caleb T. Boyd Table of Contents List of Figures ................................................................................................................................
    [Show full text]
  • Shirley Maclaine at BFI Southbank in June 2012
    PRESS RELEASE May 2012 12/24 Shirley MacLaine at BFI Southbank in June 2012 Throughout June 2012, BFI Southbank dedicates a season to Shirley MacLaine, the award-winning actress, author and sister of Warren Beatty (who also enjoys a companion season of his film work throughout the month). The season is set to encompass a career that has spanned over 60 years and which, with a highly anticipated role in the upcoming series of Downton Abbey (ITV) around the corner, shows little sign of slowing down. Highlights are set to include screenings of Minnelli’s Some Came Running (1958) which gave her first Oscar nomination as well as a recurring relationship with the Bratpack, Sweet Charity (1969) that features MacLaine’s signature song ‘If My Friends Could See Me Now’, Terms of Endearment (1983) that produced her first Oscar win and an extended run of the evergreen satire The Apartment (1960). Having danced from the age of three, MacLaine started out on Broadway as a chorus girl and stand-in. Plucked from the stage by a talent-spotting producer and promptly signed to Paramount, she embarked upon her film career. As a Hollywood ingénue, her first film role came with Alfred Hitchcock, in The Trouble With Harry (1955) earning her the first of many Golden Globe Awards before working with equally prestigious filmmakers like Billy Wilder and William Wyler. Learning the tricks of the trade from her fellow actors, she credited Marlene Dietrich for teaching her lighting and beauty tips for the screen during the filming of Around the World in Eighty Days (1956).
    [Show full text]