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Black Soldiers in Liberal Hollywood
Katherine Kinney Cold Wars: Black Soldiers in Liberal Hollywood n 1982 Louis Gossett, Jr was awarded the Academy Award for Best Supporting Actor for his portrayal of Gunnery Sergeant Foley in An Officer and a Gentleman, becoming theI first African American actor to win an Oscar since Sidney Poitier. In 1989, Denzel Washington became the second to win, again in a supporting role, for Glory. It is perhaps more than coincidental that both award winning roles were soldiers. At once assimilationist and militant, the black soldier apparently escapes the Hollywood history Donald Bogle has named, “Coons, Toms, Bucks, and Mammies” or the more recent litany of cops and criminals. From the liberal consensus of WWII, to the ideological ruptures of Vietnam, and the reconstruction of the image of the military in the Reagan-Bush era, the black soldier has assumed an increasingly prominent role, ironically maintaining Hollywood’s liberal credentials and its preeminence in producing a national mythos. This largely static evolution can be traced from landmark films of WWII and post-War liberal Hollywood: Bataan (1943) and Home of the Brave (1949), through the career of actor James Edwards in the 1950’s, and to the more politically contested Vietnam War films of the 1980’s. Since WWII, the black soldier has held a crucial, but little noted, position in the battles over Hollywood representations of African American men.1 The soldier’s role is conspicuous in the way it places African American men explicitly within a nationalist and a nationaliz- ing context: U.S. history and Hollywood’s narrative of assimilation, the combat film. -
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 ............................................................................................................................................ -
Cutting Patterns in DW Griffith's Biographs
Cutting patterns in D.W. Griffith’s Biographs: An experimental statistical study Mike Baxter, 16 Lady Bay Road, West Bridgford, Nottingham, NG2 5BJ, U.K. (e-mail: [email protected]) 1 Introduction A number of recent studies have examined statistical methods for investigating cutting patterns within films, for the purposes of comparing patterns across films and/or for summarising ‘average’ patterns in a body of films. The present paper investigates how different ideas that have been proposed might be combined to identify subsets of similarly constructed films (i.e. exhibiting comparable cutting structures) within a larger body. The ideas explored are illustrated using a sample of 62 D.W Griffith Biograph one-reelers from the years 1909–1913. Yuri Tsivian has suggested that ‘all films are different as far as their SL struc- tures; yet some are less different than others’. Barry Salt, with specific reference to the question of whether or not Griffith’s Biographs ‘have the same large scale variations in their shot lengths along the length of the film’ says the ‘answer to this is quite clearly, no’. This judgment is based on smooths of the data using seventh degree trendlines and the observation that these ‘are nearly all quite different one from another, and too varied to allow any grouping that could be matched against, say, genre’1. While the basis for Salt’s view is clear Tsivian’s apparently oppos- ing position that some films are ‘less different than others’ seems to me to be a reasonably incontestable sentiment. It depends on how much you are prepared to simplify structure by smoothing in order to effect comparisons. -
Download Night of the Hunter Free Ebook
NIGHT OF THE HUNTER DOWNLOAD FREE BOOK R A Salvatore | 459 pages | 01 Dec 2014 | Wizards of the Coast | 9780786965175 | English | Renton, United States The single flaw that stops The Night of the Hunter short of perfection Gish had gotten word of him watching these old movies, and when she asked him why, he replied, "When I first went to the movies, they sat in their seats straight and leaned forward. Chicago Sun-Times. Regal Coming Soon. The Night of the Hunter by Night of the Hunter Grubb. The Night of the Hunter —incredibly, the only film the great actor Charles Laughton ever directed—is truly a stand-alone masterwork. Frequently Asked Questions Q: How does the movie end? Release Dates. He chose to shoot certain scenes of this film on Tri-X because it had a sharp contrast that would help fulfill Laughton's vision. Black Mirror: Season 5. Rusher and Rushee - unseen. Preacher Harry Powell: Would you like me to tell you the little story of right hand, left hand? One of the things I like best about Night is the Hunter is the way Laughton graphically demonstrates the life and poverty of rural America during the Depression. Peter Graves Ben Harper. CJ Sheu. Trivia Robert Mitchum tried explaining to Billy Chapin that he needed to better understand his character and his relationship to the preacher. Repertory Picks. It's the Great Depression. Technical Specs. I Night of the Hunter them to sit up straight again. The Night of the Hunter By chance, Powell ends up sharing the same cell as Ben Harper, a local man who murdered two men in a bank robbery for ten thousand dollars. -
Film Essay for "7Th Heaven"
7th Heaven By Aubrey Solomon In the years between 1926 and 1928, Hollywood ex- perienced a maturation which blended art and indus- try to a new level of cinema. Influenced heavily by the experiments of foreign talents, largely German, new concepts of cinematography, lighting, set de- sign, and special effects known as “trick shots,” per- meated American film-making methods. The somber and sometimes morbid themes of German cinema also seeped into their films, often to the chagrin of American exhibitors who preferred their own exuber- ant optimism and happy endings. “7th Heaven” characterizes a perfect blend of opti- mistic romantic fantasy and German influenced pro- duction design. It also became one of the most pop- ular films of the late silent era. Its opening title card set the tone: “For those who will climb it, there is a ladder leading from the depths to the heights - from the sewer to the stars - the ladder of Courage.” Based on a hugely successful play by Austin Strong which ran at the Booth Theatre on Broadway from October 30, 1922, to May 21,1924 for a total of 685 performances, it portrayed the travails of young lov- An advertisement from a June 1927 edition of Motion ers who meet amidst the sordid gutters of pre-World Picture News. Courtesy Media History Digital Library. War I Paris. Happy-go-lucky street cleaner Chico saves waifish, homeless, Diane, a runaway from her abusive sister. Against Chico’s initial resistance, he Fox Films vice-president and general manager falls in love with Diane only to end up going to war Winfield Sheehan acknowledged audiences were and being declared dead in battle. -
Preserve Then Show 2.Korr. 9/16/02 3:20 PM Side 126
Preserve then show 2.korr. 9/16/02 3:20 PM Side 126 SIDE 126 / DANISH FILM INSTITUTE / PRESERVE THEN SHOW RESTORATION Notes on the Proliferation of Metropolis (1927) MARTIN KOERBER “Metropolis” (Fritz Lang, DE, 1927). Photo: Ufa/DFI Metropolis is popular. It is impossible to imagine a retrospective of classic German silent films, science fiction films, or cinematic architecture (the series of possible topics could go on and on) without this film. Many have, at some point, seen something on the screen called Metropolis. But what could they have seen? Certainly not the film written in 1924 by Thea von Harbou and directed by Fritz Lang in 1925/26, because that film ceased to exist in April 1927. What is being offered under the title Metropolis by various distributors and archives, what is for sale on videocassettes, or occasionally seen on TV are versions, sometimes more and sometimes less removed from Lang’s film. On February 15, 2001, at the Berlin International Film Festival, a new restoration of the film was shown. It has been touring the world ever since. This new version, commissioned by the Friedrich-Wilhelm-Murnau-Stiftung (a public foundation holding the copyright to this film, as well as to almost all other German films produced prior to 1945) is the result of a joint effort of a working group, comprising of archivists from the Bundesarchiv-Filmarchiv (Federal German Film Archives, Berlin), Filmmuseum München, and the Deutsches Filminstitut in Wiesbaden. The author of this text was Preserve then show 2.korr. 9/16/02 3:20 PM Side 127 MARTIN KOERBER PRESERVE THEN SHOW / DANISH FILM INSTITUTE / SIDE 127 initially charged with researching the existing film material, and then hired by the Murnau-Stiftung to coordinate and oversee the actual restoration process. -
ESSE 2017 URSULINE ACADEMY of DALLAS a Bout the Covers
ESSE 2017 URSULINE ACADEMY OF DALLAS A bout the Covers The paintings displayed on the covers and title page of Esse this year were selected because of the stories they portray. These three pieces, while reflecting similar motifs, differ in the emotions they represent: a gesture, a connection, and a thought. With the con- ESSE tinuous symbol of the hand, each piece delivers a personal story that allows viewers to create stories for themselves. Literary-Art Magazine Artwork is a form of expressing one’s thoughts and emotions. As these artists share some ideas and memories of their own, Ursuline Academy they draw in an audience to look further into what meanings these creations hold. Perhaps an object holds significant meaning, a con- nection invokes a certain feeling, or a pattern resurfaces an old memory. With every creation in this magazine, viewers are challenged to Volume LI 2016-2017 search for the meanings behind each piece and possibly discover a new meaning for themselves. 4900 Walnut Hill Lane Through the language of art, each artist conveys her unique voice and challenges the audience to look at something in a new way. We each have our own stories and memories, and through art, we share these moments with others. Dallas, TX 75229 469-232-1800 -Miranda Walker ‘17 Art Editor Fax: 469-232-1836 www.ursulinedallas.org Front Cover: |Anna Rehagen ‘18 |Tea Stains |Acrylic on canvas Back Cover: Justine Walker ‘20 Ocean Sounds |Elenor Post ‘19 Acrylic on canvas |We Rise Together |Acrylic on canvas Dedication Letter from the Editor To our Archivist, Sybil Tucker: Ursuline Academy impacts each student in an extraordinary and individual way. -
“Canned History”: American Newsreels and The
“Canned History”: American Newsreels and the Commodification of Reality, 1927-1945 By Joseph E.J. Clark B.A., University of British Columbia, 1999 M.A., University of British Columbia, 2001 M.A., Brown University, 2004 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of American Civilization at Brown University Providence, Rhode Island May, 2011 © Copyright 2010, by Joseph E.J. Clark This dissertation by Joseph E.J. Clark is accepted in its present form by the Department of American Civilization as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date:____________ _________________________________ Professor Susan Smulyan, Co-director Date:____________ _________________________________ Professor Philip Rosen, Co-director Recommended to the Graduate Council Date:____________ _________________________________ Professor Lynne Joyrich, Reader Approved by the Graduate Council Date:____________ _________________________________ Dean Peter Weber, Dean of the Graduate School iii Curriculum Vitae Joseph E.J. Clark Date of Birth: July 30, 1975 Place of Birth: Beverley, United Kingdom Education: Ph.D. American Civilization, Brown University, 2011 Master of Arts, American Civilization, Brown University, 2004 Master of Arts, History, University of British Columbia, 2001 Bachelor of Arts, University of British Columbia, 1999 Teaching Experience: Sessional Instructor, Department of Gender, Sexuality, and Women’s Studies, Simon Fraser University, Spring 2010 Sessional Instructor, Department of History, Simon Fraser University, Fall 2008 Sessional Instructor, Department of Theatre, Film, and Creative Writing, University of British Columbia, Spring 2008 Teaching Fellow, Department of American Civilization, Brown University, 2006 Teaching Assistant, Brown University, 2003-2004 Publications: “Double Vision: World War II, Racial Uplift, and the All-American Newsreel’s Pedagogical Address,” in Charles Acland and Haidee Wasson, eds. -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
Clothing! Model Dresden
T r WHAT THE PRESS AGENTS SA Y Bringing Up Father By McManus DADDY' I JUST LEFT STOLEN-EH? BIG DOUBItE FEATURE “THK ROAD TO RENO” TWESRCHOOKSl ME DAUGHTER well, don't <&urrB«Ky PROGRAM AT FOX-POL1 SCORES MY CAR IN FRONT OF 1~ET ME TAKE catV | HIT AT WARNER ARE COIN' WU1 OKlLV AWAY WORRY-THESE PALACE THEATER BROS’ STATE THEATER THE HOUSE FOR A Your car- TOOl KJOW THEV HAVE o PROM HER CAR THIEVE*) CAN'T M'MUTE AMO WHEM I I’LU REPORT FAR* ‘5TOLHM THE CAR The Fox-Poll Palace theater Patrons o< Warner .Brothers' A MINUTE-AH' err away with CAME BACK THE THIS TO THE pliers a bis double feature pro- State theater are being treated to ^ ZlHCO'. ONE or THI% STUFF SPARE-TIRE WAS POLICE- gram to-day, Friday and Saturday, an exceptionally fine screen feature | THE TIRES V/OZ WHILE I'M POME- J the leading feature "Bad Com- In "The Road to Reno," playing a -\ STOUEN- CHIEF; or with Helen Twelvetrees. 1>any" three day engagement there which V POLICE- The star, the villain and the di- ends tomorrow night. r rector of that enjoyable motion "The Road to Reno” is a story of picture, "Her Man," have been scrambled—and unscrambled lives brought together In "Bad Com- with a sturdy thread of romance pany,” an KKO Pathe production, carrying on through all the hectic which opened to-day at the Pal- action of the production. ace theater. The picture gives more than a "Bad Company” brings a new glimpse at this city where marital note Into the entertainment Held knots are dissolved in the fluent with an up-to-the-minute story, suds of court-room authority. -
Think Film! on Current Practices and Challenges in Film Culture: a Documentation of a Student Symposium 2020
Repositorium für die Medienwissenschaft Adriane Meusch, Bianka-Isabell Scharmann u.a. (Hg.) Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium 2020 https://doi.org/10.25969/mediarep/13589 Veröffentlichungsversion / published version Konferenzbeitrag / conference object Empfohlene Zitierung / Suggested Citation: Meusch, Adriane; Scharmann, Bianka-Isabell (Hg.): Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium. Frankfurt am Main: Zenodo 2020. DOI: https://doi.org/10.25969/mediarep/13589. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5281/zenodo.3662799 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung 4.0/ Lizenz zur Verfügung gestellt. Nähere Attribution 4.0/ License. For more information see: Auskünfte zu dieser Lizenz finden Sie hier: http://creativecommons.org/licenses/by/4.0/ http://creativecommons.org/licenses/by/4.0/ THINK THINK FILM! Edited by Adriane MeuschandBianka- Adriane Edited by Isabell Scharmann On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Edited by Adriane Meusch & Bianka- Isabell Scharmann Frankfurt am Main, 2020 Editors Adriane Meusch and Bianka-Isabell Scharmann, in collaboration with Michelle Rafaela Kamolz https://thinkfilmsymposium.wordpress.com Copy Editor Carly Crane Graphic Design Muriel Serf (mmm.do) Bibliographic information of the German Library The German Library catalogues this publication in the German National Bibliography; detailed bibliographic information can be found on the Internet website: http://dnb.d-nb.de.