Identifying Classic Films by the TV Numbers Data of a Survey Spanning 2018-2020
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House on 92Nd Street
House on 92nd street click here to download The House on 92nd Street is a black-and-white American spy film directed by Henry Hathaway. The film, shot mainly in New York City, was released. x 39 The House on 92nd Street () William Eythe, Signe Hasso, and Lloyd Nolan in The House on 92nd Street (Lloyd Nolan in The House on. In this drama, the FBI learns of the presence of several suspicious persons in Washington DC. William Eythe is a German-American college. www.doorway.ru: The House on 92nd Street (Fox Film Noir): William Eythe, Lloyd Nolan, Signe Hasso, Gene Lockhart, Leo G. Carroll, Lydia St. Clair, William Post . Overview of The House on 92nd Street, , directed by Henry Hathaway, with William Eythe, Lloyd Nolan, Signe Hasso, at Turner Classic Movies. Fresh from wrapping the George Raft costumer Nob Hill (), Henry Hathaway was eager to get off the lot at 20th Century Fox and try something new. Created during America's ham-fisted effort at producing propaganda films during the early s era of World War II, “The House On 92nd. The great Henry Hathaway (23 Paces to Baker Street) directed this classic film noir set in New York City during World War II - The House On 92nd Street is a. The House on 92nd Street. New York Jewish Film Festival. Film. Monday, January 26, 6 – pm. Walter Reade Theater, W 65th St. A twisted. The House on 92nd Street. Twentieth-Fox, employing somewhat the technique of The March of Time has parlayed the latter with facilities and files of the FBI in. -
A Sheffield Hallam University Thesis
Taboo : why are real-life British serial killers rarely represented on film? EARNSHAW, Antony Robert Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20984/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20984/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Taboo: Why are Real-Life British Serial Killers Rarely Represented on Film? Antony Robert Earnshaw Sheffield Hallam University MA English by Research September 2017 1 Abstract This thesis assesses changing British attitudes to the dramatisation of crimes committed by domestic serial killers and highlights the dearth of films made in this country on this subject. It discusses the notion of taboos and, using empirical and historical research, illustrates how filmmakers’ attempts to initiate productions have been vetoed by social, cultural and political sensitivities. Comparisons are drawn between the prevalence of such product in the United States and its uncommonness in Britain, emphasising the issues around the importing of similar foreign material for exhibition on British cinema screens and the importance of geographic distance to notions of appropriateness. The influence of the British Board of Film Classification (BBFC) is evaluated. This includes a focus on how a central BBFC policy – the so- called 30-year rule of refusing to classify dramatisations of ‘recent’ cases of factual crime – was scrapped and replaced with a case-by-case consideration that allowed for the accommodation of a specific film championing a message of tolerance. -
Teaching Social Issues with Film
Teaching Social Issues with Film Teaching Social Issues with Film William Benedict Russell III University of Central Florida INFORMATION AGE PUBLISHING, INC. Charlotte, NC • www.infoagepub.com Library of Congress Cataloging-in-Publication Data Russell, William B. Teaching social issues with film / William Benedict Russell. p. cm. Includes bibliographical references and index. ISBN 978-1-60752-116-7 (pbk.) -- ISBN 978-1-60752-117-4 (hardcover) 1. Social sciences--Study and teaching (Secondary)--Audio-visual aids. 2. Social sciences--Study and teaching (Secondary)--Research. 3. Motion pictures in education. I. Title. H62.2.R86 2009 361.0071’2--dc22 2009024393 Copyright © 2009 Information Age Publishing Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher. Printed in the United States of America Contents Preface and Overview .......................................................................xiii Acknowledgments ............................................................................. xvii 1 Teaching with Film ................................................................................ 1 The Russell Model for Using Film ..................................................... 2 2 Legal Issues ............................................................................................ 7 3 Teaching Social Issues with Film -
The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968. -
Dead Zone Back to the Beach I Scored! the 250 Greatest
Volume 10, Number 4 Original Music Soundtracks for Movies and Television FAN MADE MONSTER! Elfman Goes Wonky Exclusive interview on Charlie and Corpse Bride, too! Dead Zone Klimek and Heil meet Romero Back to the Beach John Williams’ Jaws at 30 I Scored! Confessions of a fi rst-time fi lm composer The 250 Greatest AFI’s Film Score Nominees New Feature: Composer’s Corner PLUS: Dozens of CD & DVD Reviews $7.95 U.S. • $8.95 Canada �������������������������������������������� ����������������������� ���������������������� contents ���������������������� �������� ����� ��������� �������� ������ ���� ���������������������������� ������������������������� ��������������� �������������������������������������������������� ����� ��� ��������� ����������� ���� ������������ ������������������������������������������������� ����������������������������������������������� ��������������������� �������������������� ���������������������������������������������� ����������� ����������� ���������� �������� ������������������������������� ���������������������������������� ������������������������������������������ ������������������������������������� ����� ������������������������������������������ ��������������������������������������� ������������������������������� �������������������������� ���������� ���������������������������� ��������������������������������� �������������� ��������������������������������������������� ������������������������� �������������������������������������������� ������������������������������ �������������������������� -
Index to Volume 26 January to December 2016 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background -
The Omen! BLOODY VALENTINES Exploitation Movie King John Dunning Interviewed!
THE DEVIL’S CHILD THE MAKinG OF THE Omen! BLOODY VALENTINES EXPLOitatiON MOvie KinG JOHN DunninG IntervieWED! MEDIEVAL MADNESS THE BLOOD On Satan’S SCARY MOVIE ClaW! ROUNDUP NEW DVDS and Blu-Rays DSD RevieWED! FREE! 06 Check out the teaser issue of CultTV Times... covering everything from NCIS to anime! Broadcast the news – the first full issue of Cult TV Times will be available to buy soon at Culttvtimes.com Follow us on : (@CultTVTimes) for the latest news and issue updates For subscription enquiries contact: [email protected] Introduction MACABRE MENU A WARM WELCOME TO THE 4 The omen 09 DVD LIBRARY 13 SUBS 14 SATAn’S CLAW DARKSIDe D I G I TA L 18 John DUnnIng contributing scripts it has to be good. I do think that Peter Capaldi is a fantastic choice for the new Doctor, especially if he uses the same language as he does in The Thick of It! Just got an early review disc in of the Blu-ray of Corruption, which is being released by Grindhouse USA in a region free edition. I have a bit of a vested interest in this one because I contributed liner notes and helped Grindhouse’s Bob Murawski find some of the interview subjects in the UK. It has taken some years to get this one in shops but the wait has been worthwhile because I can’t imagine how it could have been done better. I’ll be reviewing it at length in the next print issue, out in shops on October 24th. I really feel we’re on a roll with Dark Side at present. -
Proquest Dissertations
Early Cinema and the Supernatural by Murray Leeder B.A. (Honours) English, University of Calgary, M.A. Film Studies, Carleton University A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations © Murray Leeder September 2011 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-83208-0 Our file Notre reference ISBN: 978-0-494-83208-0 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
The Birth of Haptic Cinema
The Birth of Haptic Cinema An Interactive Qualifying Project Submitted to the Faculty of WORCESTER POLYTECHNIC INSTITUTE In partial fulfillment of the requirements for the Degree of Bachelor of Science by Panhavuth Lau Jordan Stoessel Date: May 21, 2020 Advisor: Brian Moriarty IMGD Professor of Practice Abstract This project examines the history of The Tingler (1959), the first motion picture to incorporate haptic (tactile) sensations. It surveys the career of its director, William Castle, a legendary Hollywood huckster famous for his use of gimmicks to attract audiences to his low- budget horror films. Our particular focus is Percepto!, the simple but effective gimmick created for The Tingler to deliver physical “shocks” to viewers. The operation, deployment and promotion of Percepto! are explored in detail, based on recently-discovered documents provided to exhibitors by Columbia Pictures, the film’s distributor. We conclude with a proposal for a method of recreating Percepto! for contemporary audiences using Web technologies and smartphones. i Contents Abstract .......................................................................................................................................... i Contents ........................................................................................................................................ ii 1. Introduction .............................................................................................................................. 1 2. William Castle .......................................................................................................................... -
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. -
Hathaway Collection
Finding Aid for the Henry Hathaway Collection Collection Processed by: Yvette Casillas, 7.29.19 Finding Aid Written by: Yvette Casillas, 7.29.19 OVERVIEW OF THE COLLECTION: Origination/Creator: Hathaway, Henry Title of Collection: Henry Hathaway Collection Date of Collection: 1932 - 1970 Physical Description: 84 volumes, bound Identification: Special Collection #26 Repository: American Film Institute Louis B. Mayer Library, Los Angeles, CA RIGHTS AND RESTRICTIONS: Access Restrictions: Collection is open for research. Copyright: The copyright interest in this collection remain with the creator. For more information, contact the Louis B. Mayer Library. Acquisition Method: Donated by Henry Hathaway, circa 1975 . BIOGRAPHICAL/HISTORY NOTE: Henry Hathaway (1898 – 1985) was born Henri Leopold de Fiennes on March 13, 1889, in Sacramento, California, to actress Jean Weil and stage manager Henry Rhody. He started his career as a child film actor in 1911. In 1915 Hathaway quit school and went to work at Universal Studios as a laborer, later becoming a property man. He was recruited for service during World War I in 1917, Hathaway saw his time in the army as an opportunity to get an education. He was never deployed, contracting the flu during the 1918 influenza pandemic. After being discharged from the army in 1918, Hathaway pursued a career in financing but returned to Hollywood to work as a property man at Samuel Goldwyn Studios and Paramount Studios. By 1924 Hathaway was working as an Assistant Director at Paramount Studios, under directors such as Josef von Sternberg, Victor Fleming, Frank Lloyd, and William K. Howard. Hathaway Collection – 1 In 1932 Hathaway directed his first film HERITAGE OF THE DESERT, a western. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.