Paths of Glory I 1957 Directed by Stanley Kubrick
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PATHS of GLORY (U.S., 1957, 87 Minutes) “The Paths of Glory Lead
PATHS OF GLORY (U.S., 1957, 87 Minutes) “The paths of glory lead but to the grave.” (Thomas Grey, Elegy Written in a Country Churchyard, 1751) After 28 year old Stanley Kubrick directed the film version of Humphrey Cobb’s 1935 semi-fictional novel in 1957, he was asked why he had produced an anti-war film at the patriotic height of the Cold War. Kubrick reportedly replied that he had not made an anti-war film but rather a political one about authoritarian ignorance. Both the film and the novel are not so much anti-war and pacifistic as they are critiques of the bureaucratic apparatus organized to conduct modern warfare. As is currently being described in OLLI course F304, by 1915 the Great War in the West reached a bloody stalemate. The German Army, with minimal ground holding forces and skillful deployment of men and guns, repulsed every Allied attempt to drive it from France and Belgium in battles at Ypres, Arras, the Argonne Forest, and in Champagne. French losses alone reached a staggering 1,000, 000 fatalities. Against this backdrop (and with portents of Verdun to come), Paths of Glory presents the story of common French infantrymen caught in the web of military gamesmanship and blind ambition in command. The film emphasizes the gap between those who receive orders in the trenches and their self-serving, ruthless and opportunistic commanders in the rear. Focusing on the chain of command, the film targets the army as an institution which seems to lurch from one murderous horror to the next, guided by the ambitions and vanities of the moment. -
Series 28: 7) John Cassavetes, KILLING of a CHINESE BOOKIE (1976, 135 Minutes)
March 11, 2014 (Series 28: 7) John Cassavetes, KILLING OF A CHINESE BOOKIE (1976, 135 minutes) Directed by John Cassavetes Cinematography by Mitch Breit Ben Gazzara ... Cosmo Vittelli Timothy Carey ... Flo Al Ruban ... Marty Reitz JOHN CASSAVETES (director) (b. John Nicholas Cassavetes, December 9, 1929 in New York City, New York—d. February 3, 1989 (age 59) in Los Angeles, California) directed 16 films and TV shows, which are 1986 Big Trouble, 1984 Love Streams, 1980 Gloria, 1977 Opening Night, 1976 The Killing of a Chinese Bookie, 1974 A Woman Under the Influence, 1972 “Columbo” (TV Series), 1971 Minnie and Moskowitz, 1970 Husbands, 1968 Faces, 1966 “Bob Hope Presents the Chrysler Theatre” (TV Series), 1962-1963 “The Lloyd Bridges Show” (TV Series), 1963 A Child Is Waiting, 1961 Too Late Blues, 1959-1960 “Johnny Staccato” (TV Series), and 1959 Shadows. He also wrote 14 films and TV shows—2010 Antes del estreno (original story), MITCH BREIT (cinematography) has been cinematographer for 1999 Gloria (1980 screenplay), 1997 She's So Lovely, 1984 Love 2 films: 1976 The Killing of a Chinese Bookie and 1974 A Streams, 1980 Gloria, 1977 Opening Night, 1976 The Killing of Woman Under the Influence. a Chinese Bookie, 1974 A Woman Under the Influence, 1971 Minnie and Moskowitz, 1970 Husbands, 1968 Faces, 1966 “Bob BEN GAZZARA ... Cosmo Vittelli (b. Biagio Anthony Gazzara, Hope Presents the Chrysler Theatre” (TV Series), 1961 Too Late August 28, 1930 in New York City, New York—d. February 3, Blues, and 1959 Shadows—and edited 2—1968 Faces and 1959 2012 (age 81) in New York City, New York) appeared in 133 Shadows. -
Compositions-By-Frank-Zappa.Pdf
Compositions by Frank Zappa Heikki Poroila Honkakirja 2017 Publisher Honkakirja, Helsinki 2017 Layout Heikki Poroila Front cover painting © Eevariitta Poroila 2017 Other original drawings © Marko Nakari 2017 Text © Heikki Poroila 2017 Version number 1.0 (October 28, 2017) Non-commercial use, copying and linking of this publication for free is fine, if the author and source are mentioned. I do not own the facts, I just made the studying and organizing. Thanks to all the other Zappa enthusiasts around the globe, especially ROMÁN GARCÍA ALBERTOS and his Information Is Not Knowledge at globalia.net/donlope/fz Corrections are warmly welcomed ([email protected]). The Finnish Library Foundation has kindly supported economically the compiling of this free version. 01.4 Poroila, Heikki Compositions by Frank Zappa / Heikki Poroila ; Front cover painting Eevariitta Poroila ; Other original drawings Marko Nakari. – Helsinki : Honkakirja, 2017. – 315 p. : ill. – ISBN 978-952-68711-2-7 (PDF) ISBN 978-952-68711-2-7 Compositions by Frank Zappa 2 To Olli Virtaperko the best living interpreter of Frank Zappa’s music Compositions by Frank Zappa 3 contents Arf! Arf! Arf! 5 Frank Zappa and a composer’s work catalog 7 Instructions 13 Printed sources 14 Used audiovisual publications 17 Zappa’s manuscripts and music publishing companies 21 Fonts 23 Dates and places 23 Compositions by Frank Zappa A 25 B 37 C 54 D 68 E 83 F 89 G 100 H 107 I 116 J 129 K 134 L 137 M 151 N 167 O 174 P 182 Q 196 R 197 S 207 T 229 U 246 V 250 W 254 X 270 Y 270 Z 275 1-600 278 Covers & other involvements 282 No index! 313 One night at Alte Oper 314 Compositions by Frank Zappa 4 Arf! Arf! Arf! You are reading an enhanced (corrected, enlarged and more detailed) PDF edition in English of my printed book Frank Zappan sävellykset (Suomen musiikkikirjastoyhdistys 2015, in Finnish). -
Hollywood's Treatment of World War I
Making Meaning from the Images: Hollywood’s Treatment of World War I John Harvey Lesson Purpose The purpose of this lesson is for the student, using the guidelines provided in the unit objective to focus on the importance of World War I not only as an historic event but also as a multi-faceted tool of Hollywood. It is not to say that Hollywood is secretly run by an illuminati bent on shaping our view of the world, but the images Hollywood presents can often be interpreted as representative of certain ideologies that were present during the era of a given film‘s production. History, it is said, repeats itself. Sometimes, history on film tells as much about the time the film was made as about the period it is depicting. The view through cinema shows themes or images that bear repeating. Characteristic of the great movie machine, Hollywood has often used the power of the cinematic medium to persuade audience viewers to view things in a different light. Just as a director or cinematographer will deliberately reposition the lighting setup for a given shot from a film to enhance, de- emphasize, or subtly affect the appearance of a set or a particular actor, directors, producers, and studios have used film as a means of promulgating a virtue, ethos, or value system via narrative structure or a juxtaposition of images. This is commonly accepted as one of the most powerful components of any visual medium, and film is certainly not an exception to the rule. Some have maintained that such use of an art form is propaganda. -
Stanley Kubrick, Spartacus and 1950S Jewish Masculinity Abrams, ND
Becoming a Macho Mensch: Stanley Kubrick, Spartacus and 1950s Jewish ANGOR UNIVERSITY Masculinity Abrams, N.D.; Abrams, N. Adaptation: The Journal of Literature on Screen Studies DOI: 10.1093/adaptation/apv006 PRIFYSGOL BANGOR / B Published: 30/03/2015 Peer reviewed version Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): Abrams, N. D., & Abrams, N. (2015). Becoming a Macho Mensch: Stanley Kubrick, Spartacus and 1950s Jewish Masculinity. Adaptation: The Journal of Literature on Screen Studies, 8(3), 283-296. https://doi.org/10.1093/adaptation/apv006 Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 29. Sep. 2021 Becoming a Macho Mensch: Stanley Kubrick, Spartacus and 1950s Jewish Masculinity ‘The New York and Jewish origins and backgrounds of many of those associated with Spartacus – Douglas, Kubrick, and Curtis, among others – provide a political and cultural subtext to the film’ (Girgus 95). -
Stanley Kubrick -- Auteur Adriana Magda College of Dupage
ESSAI Volume 15 Article 24 Spring 2017 Stanley Kubrick -- Auteur Adriana Magda College of DuPage Follow this and additional works at: https://dc.cod.edu/essai Recommended Citation Magda, Adriana (2017) "Stanley Kubrick -- Auteur," ESSAI: Vol. 15 , Article 24. Available at: https://dc.cod.edu/essai/vol15/iss1/24 This Selection is brought to you for free and open access by the College Publications at DigitalCommons@COD. It has been accepted for inclusion in ESSAI by an authorized editor of DigitalCommons@COD. For more information, please contact [email protected]. Magda: Stanley Kubrick -- Auteur Stanley Kubrick – Auteur by Adriana Magda (Motion Picture Television 1113) tanley Kubrick is considered one of the greatest and most influential filmmakers in history. Many important directors credit Kubrick as an important influence in their career and Sinspiration for their vision as filmmaker. Kubrick’s artistry and cinematographic achievements are undeniable, his body of work being a must watch for anybody who loves and is interested in the art of film. However what piqued my interest even more was finding out about his origins, as “Kubrick’s paternal grandmother had come from Romania and his paternal grandfather from the old Austro-Hungarian Empire” (Walker, Taylor, & Ruchti, 1999). Stanley Kubrick was born on July 26th 1928 in New York City to Jaques Kubrick, a doctor, and Sadie Kubrick. He grew up in the Bronx, New York, together with his younger sister, Barbara. Kubrick never did well in school, “seeking creative endeavors rather than to focus on his academic status” (Biography.com, 2014). While formal education didn’t seem to interest him, his two passions – chess and photography – were key in shaping the way his mind worked. -
LES SENTIERS DE LA GLOIRE by Stanley KUBRICK
LES SENTIERS DE LA GLOIRE by Stanley KUBRICK FICHE TECHNIQUE Titre original : Paths of Glory Pays (country) : USA Durée (running time) : 1h28 Année (year) : 1958 Genre : Drama Couleur (color) : black and white Scénario (screenplay) : Stanley KUBRICK, Calder WILLINGHAM, Jim THOMPSON based on a novel by Humphrey COBB (which in turn was based on accounts in newspapers about compensation paid by the French government after the war for unjust executions of soldiers) published in 1935 Directeur de la photographie : George KRAUSE Costumes : Ilse DUBOIS Military advisor : Baron VON WALDENFELS Montage : Eva KROLL Musique (music) : Gerald FRIED Coproduction : Bryna Production / Harris-Kubrick Productions / United Artists Distribution : Ciné Classic Interprètes (cast) : Kirk DOUGLAS (Colonel Dax), Ralph MEEKER (Capitaine Paris), Adolphe MENJOU (Général Broulard), Georges McREADY (Général Mireau) Sortie : 26 mars 1975 Reprise : 10 novembre 2004 SYNOPSIS The film is set in France in late 1916 somewhere on the Western Front. In keeping with the strategy advocated by Grand-Maison (« l’attaque à l’outrance » – attack to the bitter end) General Brulard plans an attack on a fortress hill, the Anthill, in the middle of “no man’s” land for the dubious reasons of publicity- seeking and career promotion. When the attack inevitably fails, General Mireau orders his artillery to fire on his own men in order to force them out of the trenches saying, “if the little sweethearts won’t face German bullets then they will face French bullets”. Later he insists that 10 men from each regiment be tried (for “cowardice in the face of the enemy”) and executed, but reluctantly settles for a symbolic one man from each group. -
Onstage at Bfi Southbank This Month
ONSTAGE AT BFI SOUTHBANK THIS MONTH DIRECTOR CLAIRE DENIS (HIGH LIFE), DIRECTOR NICK BROOMFIELD (BIGGIE & TUPAC, WHITNEY: CAN I BE ME), DIRECTOR STANLEY KWAN (FIRST NIGHT NERVES, ROUGE), BROADCASTERS MARK KERMODE AND EDITH BOWMAN, DIRECTOR DOMINGA SOTOMAYOR CASTILLO (TOO LATE TO DIE YOUNG, THURSDAY TILL SUNDAY) Film previews and premieres: VOX LUX (Brady Corbet, 2018), FIRST NIGHT NERVES (Stanley Kwan, 2018), IN CHARACTER (Dong Xueying, 2018), TRACEY (Jun Li, 2018), BEATS (Brian Welsh, 2018), HERO – INSPIRED BY THE EXTRAORDINARY LIFE & TIMES OF MR. ULRIC CROSS (Frances-Anne Solomon, 2018), SUPPORT THE GIRLS (Andrew Bujalski, 2018), TOO LATE TO DIE YOUNG TARDE PARA MORIR JOVEN (Dominga Sotomayor Castillo, 2018) DVD/BLU-RAY LAUNCHES: MOVING MILLIONS: BRITISH TRANSPORT FILMS BLU-RAY LAUNCH New and Re-Releases: MABOROSI MABOROSI NO HIKARI (Hirokazu Kore-eda, 1995), THE BLUE ANGEL DER BLAUE ENGEL (Josef von Sternberg, 1930), HIGH LIFE (Claire Denis, 2018), DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (Stanley Kubrick, 1963) Tuesday 19 March 2019, London. BFI Southbank will mark the centenary of the Weimar Republic with a major two-month season, BEYOND YOUR WILDEST DREAMS: WEIMAR CINEMA 1919-1933, running throughout May and June and showcasing the extraordinary diversity of styles and genres in Weimar cinema. Part one of the season will showcase the extraordinary diversity of styles and genres in Weimar cinema, which conjured extraordinary visions: from dystopian cities and Alpine adventures to depraved nightclubs. There will be examples of genres audiences may expect, such as dystopian sci-fi Metropolis (Fritz Lang, 1927) and haunted horror Nosferatu (FW Murnau, 1922), but also more surprising styles of filmmaking, with gender-bending farces and sparkling musicals such as I Don't Want to Be a Man (Ernst Lubitsch, 1918), Heaven on Earth (Reinhold Schünzel, Alfred Schirokauer, 1927) and A Blonde Dream (Paul Martin, 1932) also being a vital part of the story of Weimar cinema. -
O Cinema Bastardo De Quentin Tarantino
Universidade Federal da Bahia Instituto de Letras Programa de Pós-graduação em Letras e Linguística Rua Barão de Jeremoabo, nº147 CEP: 40170-290. Campus Universitário – Ondina, Salvador - BA Telefone: (71) 3283-6256 E-mail: [email protected] http://www.ppgll.ufba.br CÓPIAS EM GLÓRIA: O CINEMA BASTARDO DE QUENTIN TARANTINO por ADRIANO ANUNCIAÇÃO OLIVEIRA Orientador: Prof. Dr. Décio Torres Cruz SALVADOR Universidade Federal da Bahia Instituto de Letras Programa de Pós-graduação em Letras e Linguística Rua Barão de Jeremoabo, nº147 CEP: 40170-290. Campus Universitário – Ondina, Salvador - BA Telefone: (71) 3283-6256 E-mail: [email protected] http://www.ppgll.ufba.br CÓPIAS EM GLÓRIA: O CINEMA BASTARDO DE QUENTIN TARANTINO por ADRIANO ANUNCIAÇÃO OLIVEIRA Orientador: Prof. Dr. Décio Torres Cruz Tese apresentada ao Programa de Pós- graduação em Letras e Linguística do Instituto de Letras da Universidade Federal da Bahia como requisito parcial para a obtenção do título de Doutor em Letras. SALVADOR SISTEMA DE BIBLIOTECAS DA UFBA Oliveira, Adriano Anunciação. Cópias em glória : o cinema bastardo de Quentin Tarantino / por Adriano Anunciação Oliveira. f.: il. Orientador: Prof. Dr. Décio Torres Cruz. Tese (doutorado) - Universidade Federal da Bahia, Instituto de Letras, Salvador, . Tarantino, Quentin, -. Diretores e produtores de cinema - Estados Unidos. Cinema - Estados Unidos. Intertextualidade. Autoria. Semiótica. Ideologia. I. Cruz, Décio Torres. II. Universidade Federal da Bahia. Instituto de Letras. III. Título. CDD - . CDU - . TERMO DE APROVAÇÃO ADRIANO ANUNCIAÇÃO OLIVEIRA CÓPIAS EM GLÓRIA: O CINEMA BASTARDO DE QUENTIN TARANTINO Tese aprovada como requisito parcial para obtenção do grau de Doutor em Letras, Universidade Federal da Bahia, pela seguinte banca examinadora: ............................................................................................................. -
Winter Session Causes Doubts ROTC Leadership Provides Job
- :;::: ::;:;:;:::; -- ;:;:::=::::::: :;:::::::::;:::,:;:;:;:;:::;: ;:;:;:;:;;:;:::::: ::::::::::::;:;:;:; ::::::::;::::::::::;:;:;: ·:·:·:·:·:·::::;:;:;:::::::::;:;:;: :::::::::::::::::::::::::::: ::::·:·:·:·:·:·:·:· ·:·:·:·:·:·:·:·:·:· ::;:;:;:::;:::::::::::::::::::::::: ·:·:·:·:·:·:·:·:· ·:·:·:·:·:·:·:·:·:·:· ·:·:·:· .;.;.;.;. Friday, April 26, 197 4 Vol. 97 No. 22 University of Delaware, Newark, Delaware . --- .: Winter Session Causes Doubts Chairmen Question Adequacy of Teaching, Preparation Time By KATHY THOMAS and SUSAN WESTOVER courses. A one-man course. like Shakespeare. could possibly be done:· Davison sa1d . Chairmen of two departments in the College of In another interview Dr. M.S. Burnaby Munson. Arts and Sciences expressed some doubts about acting chairman of the chemistry department the efficiency of the 1975 Winter Session plan showed signs of disillusionment with the new approved last February by university President Winter Session. "Both teachers and students are E.A.Trabant. not responding.·· said Munson. Dr. Richard Davison, associate chairman of the English department, said in a recent interview At this time the chemistry dcpartml'nt has that the "spirit of Winterim" will be kept in mind not made any definite course plans. "It's too earl~ when planning English courses for the Winter to tell just what direction we'll take ... Munson Session. The_ department will continue to run commented. Winterim style courses in addition to "standard, The probable direction which the chemistry staple courses," according to Davison. department Will follow is similar to the Summl·r Davison said that specific courses to be offered Session fonnat. "We'll probably offer a few and the way that they will be run have not been lower-level courses for both non-maJors and decided upon because the English department has maJors." Munson pomted out Upper level not been notified as to definite plans for the Winter students Will most likely work on mdependcnl Session. -
101 Films for Filmmakers
101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers. -
MONDO TARANTINO MONDO TARANTINO COLEÇÃO CINUSP – Volume 4 Coordenação Geral Tradução Esther Hamburger E Patricia Moran David Donato
MONDO TARANTINO MONDO TARANTINO COLEÇÃO CINUSP – vOLUME 4 COORDENAÇÃO GERAL TRADUÇÃO Esther Hamburger e Patricia Moran David Donato ORGANIZAÇÃO REVISÃO Marcos Kurtinaitis Luciana Tonelli PRODUÇÃO PROJETO GRÁFICO E DIAGRAMAÇÃO Thiago de André André Noboru Siraiama Uva Costriuba PESQUISA Henrique Figueiredo ILUSTRAÇÃO DA CAPA Yasmin Afshar Vitor Morinishi Kurtinaitis, Marcos (org.) Mondo Tarantino / Marcos Kurtinaitis São Paulo: Pró-reitoria de Cultura e Extensão Universitária – USP, 2013. 256 p.; 21 x 15,5 cm. ISBN 978-85-62587-09-2 1. Cineastas 2. Tarantino, Quentin (1963- ) I. Título CDD 791.43092 CDU 791 Ministério da Cultura apresenta Banco do Brasil apresenta e patrocina MONDO TARANTINO CCBB DF CCBB SP CINUSP 15 FEV A 17 MAR 20 FEV A 17 MAR 25 FEV A 15 MAR SCES, Trecho 2 Rua Álvares Penteado, 112 Rua do Anfiteatro, 181 61 3108 - 7600 Centro Colmeia Favo 04 twitter.com/ccbb_df 11 3113 - 3651 / 3652 11 3091 - 3540 fb.com/ccbb.brasilia twitter.com/ccbb_sp www.usp.br/cinusp fb.com/ccbbsp fb.com/cinusp.pauloemilio CORREALIZAÇÃO REALIZAÇÃO Pró-Reitoria de Cultura e Extensão Universitária da USP São Paulo – Fevereiro de 2013 O Ministério da Cultura e o Banco do Brasil apresentam, em parceria com o CINUSP Paulo Emílio, a mostra MONDO TARANTINO, ampla retrospectiva em homenagem ao cineasta que completa 20 anos de carreira. Prestes a completar também 50 anos de idade e contando com enorme prestígio, Quentin Tarantino é, sem dúvida, um dos mais influentes cineastas em atividade. Seus filmes, tamanha a originalidade, sempre provocam as mais acaloradas discussões. E, mais que isso, propiciam uma significativa mudança no cinema.