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Before the Devil Knows You're Dead
Before the Devil Knows You’re Dead by Richard Combs ‘Last acts’ in the cinema can be a precarious business. Not just because film‐makers approaching the end of their careers may be beset by problems of failing health, failing inspiration or failing insurance, but because all the pitfalls of the movie business can make last acts as fragile an undertaking as first acts. Are we justified, then, in thinking that the last film a director makes – or a near‐to‐last film – will necessarily constitute a final statement, a summing up, a gathering together of the artistic experience of a lifetime in one culminating vision? In many cases, obviously not – last films can be as ad hoc, compromised, and a fortuitous grasping of commercial opportunity as a film made at any other stage of a career. But we persist in hoping that the culminating vision comes through. It’s the superstitious feeling that might gather round what anyone (even a film critic) suspects could be their final act, or a getting‐close‐to‐the‐end act: the hope that it will contain something special and retroactively confer significance and coherence on a lifetime of similar but helplessly scattered acts. First, an accounting of this terminal accounting. Only nine of the 19 films in our season were actually the last films made by their directors. The other 10 were followed by one, two, or – in the case of D.W. Griffith – something like a dozen films before their makers were done with the movies, or – again in Griffith’s case – the movies were done with them. -
Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
Hole a Remediative Approach to the Filmmaking of the Coen Brothers
University of Dundee DOCTOR OF PHILOSOPHY Going Down the 'Wabbit' Hole A Remediative Approach to the Filmmaking of the Coen Brothers Barrie, Gregg Award date: 2020 Link to publication 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. Download date: 24. Sep. 2021 Going Down the ‘Wabbit’ Hole: A Remediative Approach to the Filmmaking of the Coen Brothers Gregg Barrie PhD Film Studies Thesis University of Dundee February 2021 Word Count – 99,996 Words 1 Going Down the ‘Wabbit’ Hole: A Remediative Approach to the Filmmaking of the Coen Brothers Table of Contents Table of Figures ..................................................................................................................................... 2 Declaration ............................................................................................................................................ -
Mary Roberts Rinehart - the Bat Online
glfcs (Download free ebook) Mary Roberts Rinehart - The Bat Online [glfcs.ebook] Mary Roberts Rinehart - The Bat Pdf Free Mary Roberts Rinehart ePub | *DOC | audiobook | ebooks | Download PDF Download Now Free Download Here Download eBook #999974 in Books 2016-11-10Original language:English 11.00 x .23 x 8.50l, #File Name: 154032224698 pages | File size: 66.Mb Mary Roberts Rinehart : Mary Roberts Rinehart - The Bat before purchasing it in order to gage whether or not it would be worth my time, and all praised Mary Roberts Rinehart - The Bat: 3 of 3 people found the following review helpful. Batman is BornBy Whistlers MomThe prolific Mary Roberts Rinehart published her first novel in 1906 and several (including this one) are now in the public domain. Ironically, I'd never bothered to down-load it because I had it confused with THE HAUNTED LADY, a later novel in which a bat features prominently. When I realized that it was one I had never read, I immediately remedied that situation.To be blunt, it is the weakest Rinehart book I've read and I think the explanation for that lies in its odd history. In addition to being a popular novelist, Rinehart wrote plays. In 1920, she wrote a play called "The Bat." She must have gotten bogged down because successful playwright and "play doctor" Avery Hopwood was called in to complete the third act. I'd never heard of Hopwood although he was a big noise on Broadway during that time. In 1920, he had four plays running simultaneously on Broadway, a record that's likely to stand for all time. -
Subtitling and Dubbing Songs in Musical Films
SUBTITLING AND DUBBING SONGS IN MUSICAL FILMS FECHA DE RECEPCIÓN: 4 de marzo FECHA DE APROBACIÓN: 17 de abril Por: Pp. 107-125. Martha García Gato Abstract Audiovisual translation (AVT) is a type of translation subjected to numerous constraints. Until now, many studies have been carried out about subtitling and dubbing in films. In musical films, which have been less studied, language transfer is mainly made through songs and, due to their characteristics, their translation is additionally constrained. This article provides some insights into some elements that make translation of songs for dubbing and subtitling a complex task using songs from the musical film My Fair Lady. Keywords Subtitling, Dubbing, Musicals, Translation, My Fair Lady. Comunicación, Cultura y Política Revista de Ciencias Sociales Subtitling and Dubbing Songs in Musical Films Resumen La traducción audiovisual (AVT) es un campo de la traducción sujeto a numerosos condicionantes. Hasta la fecha se han desarrollado múltiples estudios sobre la subtitulación y el doblaje de películas. En los musicales, menos estudiados, la transferencia lingüística recae en gran medida en las canciones y, por sus características, su traducción está sujeta a limitaciones adicionales. El presente artículo proporciona un análisis sobre algunos elementos que hacen de la traducción de las canciones para subtitular y doblar musicales una labor compleja, usando como ejemplo el musical My Fair Lady. Palabras clave Subtitulación, doblaje, musicales, traducción. 108 109 Martha García Vol.4-No.1:Enero-Junio de 2013 Introduction use of DVDs as one of the technologi- cal devises has benefited subtitling and The term ‘subtitling’ is used to refer dubbing; it is possible to watch films in to an activity which consists of adding the original version, with subtitles or printed words on a foreign film to trans- dubbed in different languages. -
Press Release 23/5/2018
THE KARLOVY VARY FESTIVAL TO HONOR ACADEMY AWARD-WINNING DIRECTOR BARRY LEVINSON At this year’s Karlovy Vary festival, screenwriter-producer-director Barry Levinson, who won an Academy Award for Rain Man, will accept the Crystal Globe for Outstanding Artistic Contribution to World Cinema. The Karlovy Vary festival continues its tradition of recognizing the most important personalities of world cinema, the likes of which include directors William Friedkin, Jerry Schatzberg, and Ken Loach, and screenwriter Paul Laverty. In his writing and directing capacity, Academy Award winner and five-time nominee Barry Levinson deftly combines personal stories with an often satirical look at society, and his movies have fundamentally influenced numerous young filmmakers. Barry Levinson established himself as a writer of successful television shows. With his onetime wife, Valerie Curtin, he then wrote the movie script for Norman Jewison’s courtroom drama …and justice for all (1979), which brought them an Oscar nomination. He debuted as a director with the comedy-drama Diner (1982), receiving his second Oscar nomination for the script. Ivan Král, a Czech musician based in the US, co- wrote the film music. Subsequent titles confirmed his reputation with critics and audiences: The Natural (1984) with Robert Redford, Tin Men (1987) with Richard Dreyfuss and Danny DeVito, and Good Morning, Vietnam (1987) with Robin Williams. This year marks the 30th anniversary of the legendary picture Rain Man (1988), awarded four Oscars (e.g. Best Director for Barry Levinson) and numerous other honors, including the Golden Bear at the Berlinale and the David di Donatello for Best Foreign Film. -
Parodic Dubbing in Spain: Digital Manifestations of Cultural Appropriation, Repurposing and Subversion 1. Introduction Having Be
The Journal of Specialised Translation Issue 32 – July 2019 Parodic dubbing in Spain: digital manifestations of cultural appropriation, repurposing and subversion Rocío Baños, University College London ABSTRACT This paper sets out to explore the phenomenon of parodic dubbing by examining its origins and situating it in its current context. Parodic dubbing symbolises the union of two loathed but highly influential forms of artistic and cultural appropriation, used innovatively in the current digital era. The aim is also to investigate how parodic dubbing reflects the politics of audiovisual translation in general, and of dubbing in particular, revealing similarities and divergences with official dubbing practices. This is done drawing on examples from two different Spanish parodic dubbings from an iconic scene from Pulp Fiction (Tarantino 1994). Throughout this work, theoretical perspectives and notions through which parodic dubbing can be examined (among others, rewriting, ideological manipulation, cultural and textual poaching, participatory culture or fandubbing) are presented, framing this phenomenon in the current discussion of fan practices and participatory culture, and drawing on theoretical perspectives and notions developed within Translation Studies and Media Studies. The investigation of the relationship between parodic dubbing, translation and subversion has illustrated that this and other forms of cultural appropriation and repurposing challenge our traditional understanding of notions such as originality, authorship and fidelity. In addition, it has revealed how such practices can be used as a site of experimentation and innovation, as well as an ideological tool. KEYWORDS Parodic dubbing, fundubbing, fandubbing, subversion, cultural appropriation. 1. Introduction Having been both praised and demonised by some scholars, intellectuals, viewers and film directors (see for instance the discussion in Yampolsky 1993 or in Nornes 2007), dubbing rarely escapes controversy. -
Learning in Action: an Investigation Into Karen Resettlement
LEARNING IN ACTION: AN INVESTIGATION INTO KAREN RESETTLEMENT VIA PARTICIPANT OBSERVATION AND PARTICIPATORY ACTION RESEARCH by DANIEL JOSEPH GILHOOLY (Under the Direction of Ruth Harman) ABSTRACT This qualitative research study is informed by my three and a half years participant observation within one Karen community living in rural eastern Georgia and the result of a participatory action research (PAR) project performed alongside three adolescent Karen brothers from 2010 to 2012. Such a fusion of methodologies is what Nelson and Wright (1995) describe as ‘creative synthesis’ where research is done both with and on participants. The first findings chapter (Chapter Six) analyzes how three adolescent Sgaw Karen brothers use online digital literacies to cope with resettlement. This component of the study explores the digital literacy practices of three adolescent Karen brothers as they attempt to navigate multiple institutions like school. Findings from this study suggest that newly arrived immigrant youth benefit in many social, psychological, and academic ways as a result of their online presence. The study looks specifically at how they use online spaces to (a) maintain and build co-ethnic friendships, (b) connect to the wider Karen Diaspora community, (c) sustain and promote ethnic solidarity and, (d) create and disseminate digital productions. This component of the study offers insights that can help teachers better understand their students’ out-of-school literacy practices and ways they can incorporate such digital literacies in more formal educational contexts. This study also provides findings about Karen resettlement via the collaborative enactment of a participatory action research (PAR) project between these three Karen brothers and myself. -
22Nd NFF Announces Screenwriters Tribute
FOR IMMEDIATE RELEASE NANTUCKET FILM FESTIVAL ANNOUNCES TOM MCCARTHY TO RECEIVE 2017 SCREENWRITERS TRIBUTE AWARD NICK BROOMFIELD TO BE RECOGNIZED WITH SPECIAL ACHIEVEMENT IN DOCUMENTARY STORYTELLING NFF WILL ALSO HONOR LEGENDARY TV CREATORS/WRITERS DAVID CRANE AND JEFFREY KLARIK WITH THE CREATIVE IMPACT IN TELEVISION WRITING AWARD New York, NY (April 6, 2017) – The Nantucket Film Festival announced today the honorees who will be celebrated at this year’s Screenwriters Tribute—including Oscar®-winning writer/director Tom McCarthy, legendary documentary filmmaker Nick Broomfield, and ground-breaking television creators and Emmy-nominated writing team David Crane and Jeffrey Klarik. The 22nd Nantucket Film Festival (NFF) will take place June 21-26, 2017, and celebrates the art of screenwriting and storytelling in cinema and television. The 2017 Screenwriters Tribute Award will be presented to screenwriter/director Tom McCarthy. McCarthy's most recent film Spotlight was awarded the Oscar for Best Picture and won him (and his co-writer Josh Singer) an Oscar for Best Original Screenplay. McCarthy began his career as a working actor until he burst onto the filmmaking scene with his critically acclaimed first feature The Station Agent, starring Peter Dinklage, Patricia Clarkson, Bobby Cannavale, and Michelle Williams. McCarthy followed this with the equally acclaimed film The Visitor, for which he won the Spirit Award for Best Director. He also shared story credit with Pete Docter and Bob Peterson on the award-winning animated feature Up. Previous recipients of the Screenwriters Tribute Award include Oliver Stone, David O. Russell, Judd Apatow, Paul Haggis, Aaron Sorkin, Nancy Meyers and Steve Martin, among others. -
1997 Sundance Film Festival Awards Jurors
1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J. -
The People's Institute, the National Board of Censorship and the Problem of Leisure in Urban America
In Defense of the Moving Pictures: The People's Institute, The National Board of Censorship and the Problem of Leisure in Urban America Nancy J, Rosenbloom Located in the midst of a vibrant and ethnically diverse working-class neighborhood on New York's Lower East Side, the People's Institute had by 1909 earned a reputation as a maverick among community organizations.1 Under the leadership of Charles Sprague Smith, its founder and managing director, the Institute supported a number of political and cultural activities for the immigrant and working classes. Among the projects to which Sprague Smith committed the People's Institute was the National Board of Censorship of Motion Pictures. From its creation in June 1909 two things were unusual about the National Board of Censorship. First, its name to the contrary, the Board opposed growing pressures for legalized censorship; instead it sought the voluntary cooperation of the industry in a plan aimed at improving the quality and quantity of pictures produced. Second, the Board's close affiliation with the People's Institute from 1909 to 1915 was informed by a set of assumptions about the social usefulness of moving pictures that set it apart from many of the ideas dominating American reform. In positioning itself to defend the moving picture industry, the New York- based Board developed a national profile and entered into a close alliance with the newly formed Motion Picture Patents Company. What resulted was a partnership between businessmen and reformers that sought to offset middle-class criticism of the medium. The officers of the Motion Picture Patents Company also hoped 0026-3079/92/3302-O41$1.50/0 41 to increase middle-class patronage of the moving pictures through their support of the National Board. -
Screening the Sixties
Screening the Sixties Oliver Gruner Screening the Sixties Hollywood Cinema and the Politics of Memory Oliver Gruner University of Portsmouth, Portsmouth, United Kingdom ISBN 978-1-137-49632-4 ISBN 978-1-137-49633-1 (eBook) DOI 10.1057/978-1-137-49633-1 Library of Congress Control Number: 2016941775. © The Editor(s) (if applicable) and The Author(s) 2016 The author(s) has/have asserted their right(s) to be identifi ed as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifi c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made.