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Transatlantica, 1 | 2018 Le Regard Impossible 2
Transatlantica Revue d’études américaines. American Studies Journal 1 | 2018 Slavery on Screen / American Women Writers Abroad: 1849-1976 Le regard impossible Réflexions sur les présupposés et les mécanismes idéologiques des images de synthèse photoréalistes dans le blockbuster hollywoodien contemporain Mathias Kusnierz Édition électronique URL : http://journals.openedition.org/transatlantica/11812 DOI : 10.4000/transatlantica.11812 ISSN : 1765-2766 Éditeur AFEA Référence électronique Mathias Kusnierz, « Le regard impossible », Transatlantica [En ligne], 1 | 2018, mis en ligne le 01 septembre 2019, consulté le 29 avril 2021. URL : http://journals.openedition.org/transatlantica/11812 ; DOI : https://doi.org/10.4000/transatlantica.11812 Ce document a été généré automatiquement le 29 avril 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Le regard impossible 1 Le regard impossible Réflexions sur les présupposés et les mécanismes idéologiques des images de synthèse photoréalistes dans le blockbuster hollywoodien contemporain Mathias Kusnierz 1 Dans son livre de 1966 intitulé Special Effects in Motion Pictures, Frank P. Clark expose, à destination des techniciens d’Hollywood, les différentes manières d’élaborer les effets spéciaux d’un film. Son inventaire s’étend du trucage le plus simple – un écran de fumée, par exemple (40-43) – aux effets spéciaux les plus élaborés, comme l’animation image par image (108-109) ou la construction de maquettes animées complexes (89, 146, 152). Le livre de Clark se veut un exposé technique, sans parti pris, et appuyé sur une solide connaissance pratique du métier de concepteur d’effets spéciaux. -
My Wonderful World of Slapstick
THE THIS BOOK IS THE PROPERTY OF Georgia State Bo»r* of Education AN. PR,CLAun\;v eSupt of School* 150576 DECATUR -DeKALB LIBRARY REGIONAI SERVICE ROCKDALE COUNTY NEWTON COUNTY Digitized by the Internet Archive in 2012 with funding from Media History Digital Library http://archive.org/details/mywonderfulworldOObust MY WONDERFUL WORLD OF SLAPSTICK MY WO/VDERFUL WORLD OF SLAPSTICK BUSTER KEATON WITH CHARLES SAMUELS 150576 DOVBLEW& COMPANY, lNC.,<k*D£H C(TYt HlW Yo*K DECATUR - DeKALB LIBRARY REGiOMA! $&KZ ROCKDALE COUNTY NEWTON COUNTY Library of Congress Catalog Card Number 60-5934 Copyright © i960 by Buster Keaton and Charles Samuels All Rights Reserved Printed in the United States of America First Edition J 6>o For Eleanor 1. THE THREE KEATONS 9 2. I BECOME A SOCIAL ISSUE 29 3. THE KEATONS INVADE ENGLAND 49 4. BACK HOME AGAIN IN GOD'S COUNTRY 65 5. ONE WAY TO GET INTO THE MOVIES 85 6. WHEN THE WORLD WAS OURS 107 7. BOFFOS BY MAN AND BEAST 123 8. THE DAY THE LAUGHTER STOPPED 145 9. MARRIAGE AND PROSPERITY SNEAK UP ON ME 163 10. MY $300,000 HOME AND SOME OTHER SEMI-TRIUMPHS 179 11. THE WORST MISTAKE OF MY LIFE 199 12. THE TALKIE REVOLUTION 217 13. THE CHAPTER I HATE TO WRITE 233 14. A PRATFALL CAN BE A BEAUTIFUL THING 249 15. ALL'S WELL THAT ENDS WELL 267 THE THREE KeAtOnS Down through the years my face has been called a sour puss, a dead pan, a frozen face, The Great Stone Face, and, believe it or not, "a tragic mask." On the other hand that kindly critic, the late James Agee, described my face as ranking "almost with Lin- coln's as an early American archetype, it was haunting, handsome, almost beautiful." I cant imagine what the great rail splitter's reaction would have been to this, though I sure was pleased. -
The Arrival of the First Film Sound Systems in Spain (1895-1929)
Journal of Sound, Silence, Image and Technology 27 Issue 1 | December 2018 | 27-41 ISSN 2604-451X The arrival of the first film sound systems in Spain (1895-1929) Lidia López Gómez Universitat Autònoma de Barcelona [email protected] Date received: 10-01-2018 Date of acceptance: 31-03-2018 PALABRAS CLAVE: CINE MUDO | SONIDO | RecepcIÓN | KINETÓFONO | CHRONOPHONE | PHONOFILM KEY WORDS: SILENT FILM | SOUND | RecepTION | KINETOPHONE | CHRONOPHONE | PHONOFILM Journal of Sound, Silence, Image and Technology | Issue 1 | December 2018. 28 The arrival of the first film sound systems in spain (1895-1929) ABSTracT During the final decade of the 19th century, inventors such as Thomas A. Edison and the Lumière brothers worked assiduously to find a way to preserve and reproduce sound and images. The numerous inventions conceived in this period such as the Kinetophone, the Vitascope and the Cinematograph are testament to this and are nowadays consid- ered the forerunners of cinema. Most of these new technologies were presented at public screenings which generated a high level of interest. They attracted people from all social classes, who packed out the halls, theatres and hotels where they were held. This paper presents a review of the newspa- per and magazine articles published in Spain at the turn of the century in order to study the social reception of the first film equip- ment in the country, as well as to understand the role of music in relation to the images at these events and how the first film systems dealt with sound. Journal of Sound, Silence, Image and Technology | Issue 1 | December 2018. -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Cartooning America: the Fleischer Brothers Story
NEH Application Cover Sheet (TR-261087) Media Projects Production PROJECT DIRECTOR Ms. Kathryn Pierce Dietz E-mail: [email protected] Executive Producer and Project Director Phone: 781-956-2212 338 Rosemary Street Fax: Needham, MA 02494-3257 USA Field of expertise: Philosophy, General INSTITUTION Filmmakers Collaborative, Inc. Melrose, MA 02176-3933 APPLICATION INFORMATION Title: Cartooning America: The Fleischer Brothers Story Grant period: From 2018-09-03 to 2019-04-19 Project field(s): U.S. History; Film History and Criticism; Media Studies Description of project: Cartooning America: The Fleischer Brothers Story is a 60-minute film about a family of artists and inventors who revolutionized animation and created some of the funniest and most irreverent cartoon characters of all time. They began working in the early 1900s, at the same time as Walt Disney, but while Disney went on to become a household name, the Fleischers are barely remembered. Our film will change this, introducing a wide national audience to a family of brothers – Max, Dave, Lou, Joe, and Charlie – who created Fleischer Studios and a roster of animated characters who reflected the rough and tumble sensibilities of their own Jewish immigrant neighborhood in Brooklyn, New York. “The Fleischer story involves the glory of American Jazz culture, union brawls on Broadway, gangsters, sex, and southern segregation,” says advisor Tom Sito. Advisor Jerry Beck adds, “It is a story of rags to riches – and then back to rags – leaving a legacy of iconic cinema and evergreen entertainment.” BUDGET Outright Request 600,000.00 Cost Sharing 90,000.00 Matching Request 0.00 Total Budget 690,000.00 Total NEH 600,000.00 GRANT ADMINISTRATOR Ms. -
Stanislavsky an Introduction – Jean Benedetti
Jean Benedetti was born in 1930 and educated in England and France. He trained as an actor and teacher at the Rose Bruford College of Speech and Drama, returning in 1970 as Principal of the College until 1987. He is author of a number of semi-documentary television plays. His published translations include Brecht’s Edward II and A Respectable Wedding and Georges Michel’s A Sunday Walk. His first book was a biography of Gilles de Rais. In 1982 he published the first edition of Stanislavski: An Introduction, which has been reprinted many times. Stanisla- vski: A Biography was first published in 1988 and then revised and expanded. He subsequently published The Moscow Art Theatre Letters in 1991 and Dear Writer … Dear Actress, the love letters of Anton Chekhov and Olga Knipper, in 1997. Stanislavski and the Actor, an account of Stanislavski’s teaching in the last three years of his life, followed in 1998. From 1979 to 1987 he was chairman of the Theatre Education Committee of the International Theatre Insti- tute (UNESCO). He is currently Honorary Professor at both Rose Bruford College and Queen Margaret University College Edinburgh. Books by Stanislavski AN ACTOR PREPARES AN ACTOR’S HANDBOOK BUILDING A CHARACTER CREATING A ROLE MY LIFE IN ART STANISLAVSKI IN REHEARSAL STANISLAVSKI’S LEGACY STANISLAVSKI ON OPERA Books by Jean Benedetti STANISLAVSKI: HIS LIFE AND ART STANISLAVSKI & THE ACTOR THE MOSCOW ART THEATRE LETTERS DEAR WRITER, DEAR ACTRESS: THE LOVE LETTERS OF ANTON CHEKHOV AND OLGA KNIPPER Stanislavski An Introduction Jean Benedetti A Theatre Arts Book Routledge New York A Theatre Arts Book Published in the USA and Canada in 2004 by Routledge 29 West 35th Street New York, NY 10001 www.routledge-ny.com Routledge is an imprint of the Taylor & Francis Group. -
Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß. -
Lacon 1 Film Program
BY WAY OF INTRODUCTION This film program represents for the most part an extremely personal selection by me, Bill Warren, with the help of Donald F. Glut. Usually convention film programs tend to show the established classics -- THINGS TO COME, METROPOLIS, WAR OF THE WORLDS, THEM - and, of course, those are good films. But they are seen so very often -- on tv, at non-sf film programs, at regional cons, and so forth -- that we decided to try to organize a program of good and/or entertaining movies that are rarely seen. We feel we have made a good selection, with films chosen for a variety of reasons. Some of the films on the program were, until quite recently, thought to be missing or impossible to view, like JUST IMAGINE, TRANSATLANTIC TUNNEL, or DR JEKYLL AND MR. HYDE. Others, since they are such glorious stinkers, have been relegated to 3 a.m. once-a-year tv showings, like VOODOO MAN or PLAN 9 FROM OUTER SPACE. Other fairly recent movies (and good ones, at that) were, we felt, seen by far too few people, either due to poor distribution by the releasing companies, or because they didn't make enough money to ensure a wide release, like TARGETS or THE DEVIL'S BRIDE. Still others are relatively obscure foreign films, a couple of which we took a sight-unseen gamble on, basing our selections on favorable reviews; this includes films like THE GLADIATORS and END OF AUGUST AT THE HOTEL OZONE. And finally, there are a number of films here which are personal favorites of Don's or mine which we want other people to like; this includes INTERNATIONAL HOUSE, MAD LOVE, NIGHT OF THE HUNTER, RADIO RANCH, and SPY SMASHER RETURNS. -
The Picture Show Annual (1928)
Hid •v Digitized by the Internet Archive in 2015 https://archive.org/details/pictureshowannuaOOamal Corinne Griffith, " The Lady in Ermine," proves a shawl and a fan are just as becoming. Corinne is one of the long-established stars whose popularity shows no signs of declining and beauty no signs of fading. - Picture Show Annual 9 rkey Ktpt~ thcMouies Francis X. Bushman as Messala, the villain of the piece, and Ramon Novarro, the hero, in " Ben Hut." PICTURESQUE PERSONALITIES OF THE PICTURES—PAST AND PRESENT ALTHOUGH the cinema as we know it now—and by that I mean plays made by moving pictures—is only about eighteen years old (for it was in the Wallace spring of 1908 that D. W. Griffith started to direct for Reid, the old Biograph), its short history is packed with whose death romance and tragedy. robbed the screen ofa boyish charm Picture plays there had been before Griffith came on and breezy cheer the scene. The first movie that could really be called iness that have a picture play was " The Soldier's Courtship," made by never been replaced. an Englishman, Robert W. Paul, on the roof of the Alhambra Theatre in 18% ; but it was in the Biograph Studio that the real start was made with the film play. Here Mary Pickford started her screen career, to be followed later by Lillian and Dorothy Gish, and the three Talmadge sisters. Natalie Talmadge did not take as kindly to film acting as did her sisters, and when Norma and Constance had made a name and the family had gone from New York to Hollywood Natalie went into the business side of the films and held some big positions before she retired on her marriage with Buster Keaton. -
Mabel Normand
Mabel Normand Also Known As: Mabel Fortescue Lived: November 9, 1892 - February 23, 1930 Worked as: co-director, comedienne, director, film actress, producer, scenario writer Worked In: United States by Simon Joyce, Jennifer Putzi Mabel Normand starred in at least one hundred and sixty-seven film shorts and twenty-three full- length features, mainly for Mack Sennett’s Keystone Film Company, and was one of the earliest silent actors to function as her own director. She was also one of the first leading performers to appear on film without a previous background in the theatre (having begun her career in modeling), to be named in the title of her films (beginning with 1912’s Mabel’s Lovers), and to have her own studio (the ill-fated Mabel Normand Feature Film Company). That her contributions to early film history are not better known is attributable in part to her involvement in the Hollywood scandals of the 1920s, and in part to our reliance on the self-interested memoirs of her better-known colleagues (especially Sennett and Charlie Chaplin) following her death at age thirty-eight. It is hard to get an accurate picture from such questionable and contradictory recollections, or from interviews with Normand herself, filtered as they often were through a sophisticated publicity operation at Keystone. Film scholars who have worked with these same sources have often proved just as discrepant and unreliable, especially in their accounts of her directorial contributions. Normand’s early career included stints at the Biograph Company, working with D. W. Griffith, and at the Vitagraph Company, yet it was her work at Keystone that solidified her image as slapstick comedienne. -
Prólogo La Figura Del Gran Buster Keaton Está Actualmente Un Poco
Prólogo La figura del gran Buster Keaton está actualmente un poco olvidada ya que las últimas genera- ciones de espectadores no es demasiado cinéfila y está más acostumbrada al cine (?) de la última hornada. El cinéfilo refinado, sibarita, está en crisis y los amantes del cine mudo pade- cen de sequía en los “video-clubs”, donde muy rara vez y con cuentagotas se encuentran aque- llos títulos míticos que tanto nos interesan. Años atrás, sobretodo a partir de los años 30, Kea- ton sufrió un eclipse debido al culto excesivo que se hacía entonces al gran Charles Chaplin. Por si fuera poco, en España, se le conocía por un horrible apodo, “Pamplinas”, del cual prefie- ro no hablar por que lo considero sumamente vulgar. Después están los falsos mitos que siempre han rodeado la filmografía de Buster Keaton. Por ejemplo, que estuvo encerrado varios años en un manicomio lo cual es completamente falso. Si es cierto que tenía una excesiva afición al juego y a la bebida que terminaron por destruir su reputación y su carrera. Puesto en la “lista negra” por Louis B.Mayer, ningún estudio quería darle trabajo condenándolo a un ostracismo injusto. Aquí se ha escrito mucha (mala) literatura al respecto. Mayer y Keaton tuvieron problemas personales y diferencias respecto a lo que debía ser un buen film cómico sonoro. El tiempo le ha dado la razón a éste, porque los cómicos que el zar Mayer aupó hoy no son más que un recuerdo. ¿Quién se acuerda hoy de Eddie Cantor o de Jimmy Durante por citar a alguien? Al llegar el sonoro a Keaton le reprocharon tener una voz ronca, muy grave, y Mayer le quiso marginar para proteger a Jimmy Durante, quién tenía una voz aún más ronca, y pretendieron encerrarle en las comedias de boulevard importadas desde Broadway en vez de desarrollar películas más estrictamente cinematográficas que los talkies de aquella década. -
Silent Comedies and Cartoons
Funny Business Silent Comedies and Cartoons Tuesday, May 14, 2013 Grand Illusion Cinema The Sprocket Society Seattle, WA Alice Comedies Alice Rattled by Rats Released November 15, 1925 M.J. Winkler Productions Directed and written by Walt Disney. Animated by Ub Iwerks, Rollin Ham Hamilton, Thurston Harper, Hugh Harman, & Rudolf Ising. Produced by Margaret J. Winkler With Margie Gay as Alice. Music and effects soundtrack added by Raytone Productions, 1930 Left to protect Alice’s house, Julius the cat soon falls into a vat of home-brew liquor in the basement and drinks himself into oblivion. The rats, free to play, entertain themselves by dancing, playing phonograph records, cavorting with the player piano, and using the bathtub for a swimming pool. Soon the party gets completely out of control. (Why Alice was brewing alcohol in her basement remains an open question.) “Speaking of his studio in later years, Disney was fond of saying that ‘it all started with a little mouse’ – but in fact the foundation was laid in 1924 by a little girl.” – Merritt & Kaufman, Walt in Wonderland Young Walt Disney broke into the movie business in Kansas City, as an illustrator for a company that produced glass slides and advertising shorts for theaters. Along with his buddy Fred Harman, he struck out on his own, hoping to jump-start their new company with a partly-animated comical short called Laugh-O-Grams, produced for the influential local theater owner, Frank L. Newman. This was successful enough that they were able to secure funding to hire additional animators, including now- legendary pioneers Ubbe “Ub” Iwerks, Hugh Harman, Rudolph Ising, and Friz Freleng.