David Lean (1908 – 1991)

David Lean (Croydon 1908 - 1991)

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David Lean filming the funfair sequence of This Happy Breed

Introduction  

David Lean was the son of Quaker parents and as such the cinema was forbidden territory on religious grounds. Lean disobeyed his parents and saw the Hound of the Baskervilles (1921) and was instantly won over to cinema. Lean entered the film business in 1927.

Throughout his career David Lean was closely involved with editing

Lean concentrated on editing whilst closely observing how directors worked, he nevertheless laregly avoided making the ‘quota quickies’ as he was concerned that these wouldn't help his career. He quickly gained the reputation for being the best editor in the country working on Pygmalion (1938), and Powell and Pressburger’s 49th Parallel (1941). Lean then worked with Noel Coward on In Which We Serve (1942). Lean then made Blithe Spirit (1945) a Coward play which Coward felt he had not made the best of.

Celia Johnson as Laura Jesson & Trevor Howard as Dr. Alec Harvey from David Lean's Brief Encounter (1945).

Brief Encounter (1945) was based upon a one act play by Coward. It had a disastrous preview which had the audience in hysterics nevertheless the film has now become a classic.It can however be seen as a very conservative film as its basic message is part of an overall post-war message that women should get back to their prewar positions in society following the much freer moral milieu of wartime Britian especially in London and the big cities. 

Kevin Brownlow argues that Lean’s two Dickens adaptations of Great Expectations (1946) and Oliver Twist (1948) are still regarded as the finest among all British films. Unsurprisingly American critics in particular complained that the representation of Fagin was deeply anti-semitic and was similar to much Nazi anti-pre-war propaganda. They were so effective that the filkm wasn't released immediately and had to be edited before its eventual release. Lean's defence was that the looks of the character were modelled on the original illustrations for the text by Cruickshank and that furthermore as a Quaker he didn't have any notion of what anti-semitism was. This is a little hard to swallow from somebody who had an astute and acute visual awareness. There can have been few adults in 1948 who were unaware of the realities of the 'Holocaust' and at best this representation could be considered as insensitive. Who is to say that Cruickshank wasn't anti-Semitic in any case?

Alec Guiness as Fagin on the right in Lean's Oliver Twist (1948)

Passionate Friends (1948) followed. Madelaine (1949) by comparison fared rather les well being seen by many as cold tributes to his third wife. In the 1950s he progressed through The Sound Barrier (1952), to Bridge Over the River Kwai (1957 UK) gaining several Oscars including best picture and best director. In 1962 he made Lawrence of Arabia which also received many awards and is considered by many as a masterpiece. This was followed in 1965 by Dr. Zhivago which received public support through the box office despite many reservations from critics.

Sarah Miles in Ryan's Daughter (1970)

Ryan’s Daughter (1970) was seen as a very old fashioned picture and was badly received by critics although it can now be seen as interesting in its representation of Irish resistance to British rule. In 1984 He made Passage to India which gained critical plaudits and academy recognition. He died just before shooting on Nostromo was about to start. In the August editionof sight & Sound Nick James argues that it was Lean that was the grandfather of the British 'Heritage Film' making specific reference to Passage to India (1984). Arguably Lean's contributions to heritage cinema are embedded in most of his cinematic output. Blithe Spirit, Brief Encounter, seem to be infused with a sense of nostalgia a sense of a mythical golden age which was somehow lost. Most of them show a sense of anxiety with the processes of change and a loss of the notions of fairness and fairplay which Powell & Pressburger had hearlity dismissed in The Life and Death of Colonel Blimp. 

Filmography

Money for Speed (1933). Directed Bernard Vorhaus. (David Lean Editor)

The Ghost Camera (1933). Directed Bernard Vorhaus. (Editor David Lean)

As You Like It (1937). Directed Paul Czinner (David Lean Editor)

Pygmalion (1938). Directed Anthony Asquith (David Lean Editor)

49th Parallel (1941). Directed Powell & Pressburger (David Lean Editor)

One of Our Aircraft is Missing (1942). Directed Powell & Pressbuger (David Lean Editor)

In Which We Serve (1942). Directed David Lean & Noël Coward

This Happy Breed (1944). Directed David Lean. [First official credit as sole director]

Blithe Spirit (1945. Directed David Lean

Brief Encounter (1945). Directed David Lean

Great Expectations (1946). Directed David Lean

Oliver Twist (1948). Directed David Lean

The Passionate Friends (1948). Directed David Lean

Madelaine (1949). Directed David Lean

The Sound Barrier (1952). Directed David Lean

Hobson's Choice (1953). directed David Lean

Summer Madness (1955). Directed David Lean

The Bridge On the River Kwai (1957). Directed David Lean

Lawrence of Arabia (1962). Directed David Lean

Doctor Zhivago (1965). Directed David Lean

Ryan's Daughter (1970). Directed David Lean

Passage to India (1984). Directed by David Lean

Webliography 

Screenonline biography of David Lean  

British Film Institute (BFI) David Lean Film Restoration Project

BFI David Lean Restoration This Happy Breed

Bibliography 

Sight and Sound August 2008. Nick James David Lean special feature Part II

Sight and Sound July 2008. Nick James David Lean special feature Part I

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: 30 Mar 2008 23:15 |  Tags: British Directors British Film Directors David Lean Nick James Ryans Daughter Sarah Miles Sight And Sound |  Comments (0) |  Close comments |  Report a problem

Anthony Asquith (1902–1968)

Anthony Asquith (1902-1968)

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Anthony Asquith by Helen Wilson in the National Portrait Gallery

Introduction

Anthony Asquith was born in 1902 whose father Herbert  Asquith became the Liberal Prime Minister of the UK from 1908-1916. He gained the nickname of 'Puffin' and was educated at Winchester and Oxford. Drazin notes Asquith's enthusiasm with film as an undergraduate when he sometimes saw up to three films a day.

Upon leaving university he went to Los Angeles for about six months where he came into contact with many of the leading figures in the film industry. On his return to the UK he was determined to enter the film business which wasn't then consider a 'respectable'career for somebody of his background as Drazin notes:

At the time it was an extraordinary aspiration for someone of his class to have, the cinema generally being frowned upon as a rather tawdry diversion for the masses... . (Drazin 2007 p 187)

Early Years in the Industry

He went to work with Bruce Woolfe for British Instructional Films which was a company formed in 1919 that specialised in documentary reconstructions of World War 1 as well as a series of natural history documentaries. In 1925 Asquith was so embedded in film culture he became a founding member of the London Film Society and was enthusiastic about all the latest films from Germany, Russia etc. In 1926 he joined Woolfe at the Stoll Film Company in Cricklewood as a general assistant.  Asquith was to direct 4 short films in the late 1920s. His first sound film was Tell England (1931). Asquith joined Gainsborugh Films in 1932 and worked on both screenwriting and directing. In 1935 he joined Korda's London Films directing Moscow Nights in 1935. In 1937 he became President of the recently formed Association of Cine Technicians. He held this position until 1968 when he died of cancer in February whilst working on a film.

The recently released Cottage on Dartmoor (1929) from BFI has been regarded by many as providing the evidence that at this stage in his career Asquith was at least as good as if not better than Hitchcock.

Pygmalion

Asquith's breakthrough film was Pygmalion (1938) on which George Bernard Shaw himself worked on the script. It gained a nomination for Best Picture at the Academy Awards and gained Oscars for adaptation and its screenpaly. It was Shaw who won the latter. Asquith's next film French Without Tears (1940) was the first of ten films which he directed in collaboration with Terence Rattigan the playwright.

Asquith During the War

Asquith's Wartime output was prolific it encompassed straightforward war stories such as We Dive at Dawn, Spy Thriller propaganda such as Cottage to Let (1941), comedy as in Quiet Wedding (1941)and also the well-known Gainsborough melodrama Fanny by Gaslight (1944).

Phyllis Calvert and Margretta Scott in Fanny by Gaslight (1944)

Asquith's Postwar Output

After the war Asquith continued to make films on a regular basis of around one per year. He made several films which Terence Rattigan had scripted including Rattigan's most successful plays The Winslow Boy (1948) and The Browning Version (1951).

The Browning Version

Asquith also continued to make films from the British literary repertoire such as The Importance of Being Earnest (1952). Asquith worked in a number of genres and ended up working on large budget co-productions with US companies. Despite promising beginnings Asquith never became a director who own powerful vision came through as something of an auteur unlike his contemporary Alfred Hitchcock. Asquith has been considered as more of a metteur en scene.

From Asquith 1952 version of The Importance of Being Earnest

Filmography

External Links to many of these films can be found under Key films of The Second World War and British Cinema and Society Chronology 1939-1951

The Browning Version (1951)

The Winslow Boy (1948)

While the Sun Shines (1947)

The Way to the Stars (1945)

Fanny by Gaslight (1944)

Two Fathers (1944)

The Demi-Paradise (1943)

We Dive at Dawn (1943)

Uncensored (1942)

Cottage to Let (1941) Not yet open

Quiet Wedding (1941)

Freedom Radio (1941)

Rush Hour (1941)

French Without Tears (1940)

Channel Incident (1940)

Pygmalion (1938)

A Cottage on Dartmoor (1929)

Webliography 

Screenonline biography of Anthony Asquith

Geoffrey McNab on Asquith: Guardian 2003

Screenonline: Asquith (1952) The Importance of Being Earnest

Select Bibliography 

Caughie, John with Rockett, Kevin. 1996. The Companion to British and Irish Cinema. London: Cassells

Drazin, Charles. 2007. The Finest Years: British Cinema of the 1940s. London: I. B. Tauris

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: 30 Mar 2008 23:01 |  Tags: Anthony Asquith Biography British Cinema British Directors British Film Directors British Film Studies Cottage On Dartmoor |  Comments (0) |  Close comments |  Report a problem

British Directors (Non–Contemporary) Hub Page

British Directors (Non-Contemporary) Hub Page

For current or recently passed away British Film Directors please go to the Contemporary British Directors Hub Page.

Introduction

This page is designed to allow visitors to access information on a range of past British diectors and where appropriate informational hubs and critiques of specific films as these are developed.  The links are both internal and external ones

Non-Contemporary British Film Directors

Anderson, Lindsay (1923-1994)

Lindsay Anderson (Above)

Asquith, Anthony (1902-1968)

Anthony Asquith  (Above)

Boulting, John (1913-1985)

John Boulting

Boulting, Roy (1913-2001)

Roy and John Boulting (Above)

Box Muriel (1905 - 1991)

Muriel Box (Above)

Cavalcanti, Alberto (Brazilian born cosmopolitan 1897-1982)

Alberto Cavalcanti (Above)

Clayton, Jack (1921-1995)

Craigie, Jill (1911-1999) 

Jill Craigie with Husband Michael Foot (Above)

Crighton, Charles (1910-1999)

Deardon, Basil (1911-1971)

Douglas, Bill (1937-1991)

Dupont, E.A. (1891-1956)

Forbes, Bryan (1926-)

Frend, Charles (1909-1977)

Gilliat, Sidney (1908-1994)

John Grierson (1898-1972) 

Grierson, Ruby (1904-1940)

Hamer, Robert (1911-1963)

Hamilton, Guy (1922-)

Jennings, Humphrey (1907-1950)

Korda, Alexander (1893-1956)

Lean, David  (1908 - 1991)

David Lean on set

Lee, Jack (1913-2002)

Lee Thompson, J. (1914-2002)

Lester, Richard (US 1932-)

Losey, Joe (US but made many important films in Britain 1909 - 1984) 

Mackendrick, Alexander (1912-1993)

Mander, Kay (1915-)  

Montagu, Ivor (1904-1984)

Powell, Michael (1905-1990)

Pressburger, Emeric (1902-1988)

Reed, Carol (1906-1976)

Reisz, Karel (1926-2002)

Richardson, Tony

Tony Richardson (Above)

Roeg, Nicolas (1928-)

Rotha, Paul (1907-1984)

Russell, Ken (1927-)

Schlesinger, John (1926-2003)

Toye, Wendy (1917 - )

Watkins, Peter (1935-)

Young, Terence (1915-1994)

Webliography

For a useful range of biographical information also see the Screenonline Directors in British and Irish Cinema  

: 30 Mar 2008 22:32 |  Tags: Alberto Cavalcanti Alexander Korda Alexander Mackendrick Anthony Asquith Basil Deardon Bill Douglas British Directors British Film Directors British Film History Bryan Forbes Carol Reed Charles Crighton Charles Frend David Lean E A Dupont Emeric Pressburger Guy Hamilton Humphrey Jennings Ivor Montagu Jack Clayton Jack Lee Jill Craigie Joeseph Losey John Boulting John Grierson John Schlesinger Karel Reisz Kay Mander Ken Russell Kinoeye Lindsay Anderson Michael Powell Muriel Box Nicholas Roeg Paul Rotha Perter Watkins Robert Hamer Roy Boulting Ruby Grierson Sidney Gilliat Terence Young Tony Richardson Wendy Toye |  Comments (0) |  Close comments |  Report a problem

Textual Analysis OCR. Check list

Textual Analysis Exam OCR Media

Below is table which can act as checklist for revision of the action adventure film extract. It includes a wide range of shots and camera devices. It is unlikely that everything will be in one four to five minute extract.  

Table of Moving Image Textual Analysis Terms  

: 30 Mar 2008 17:40 |  Tags: Textual Analysis |  Comments (0) |  Close comments |  Report a problem

Cities and Social Change DD201 Dayschool 2008

Cities and Social Change DD201 Dayschool 2008

Cities, The Networked Society and resisting the Space of Flows

Introduction

Let’s think about Cities historically in terms of their position in the world and in terms of how they functioned.

Historically we can think of Athens / Rome / Carthage / Florence / London / Paris / Vienna / Berlin / New York / San Francisco / Los Angeles / Tokyo

Now over half the people in the World live in Cities and they seem to be changing faster than ever before.  

The emergence of “New Super-Cities” : Mexico City,  Sao Paolo with many more emergent in China and South East Asia. By 2050 we are looking at cities with populations of over 50 million people. 

This Tate Modern hyperlink above will take you to the Tate Modern exhibition of 2007 on global cities. When you arrive there check out the flash video which is also possible to download.

Paraisópolis Favela in Sāo Paulo, Brazil 2005

I remember this image above especially well from when I visited the exhibition. The juxtaposition of wealth and power in immediate proximity to poverty stricken areas is particularly noticeable. It was in Brazil that the first gated cities were designed to protect the superwealthy inhabitants. Now a common mode of transport in and out of them is by helicopter. So there are many helicopter pads in these areas. Bullet proof cars are quite normal.

Above you can make out tennis courts and a swimming pool with exoctically designed luxury flats only a few metres away (and a very high wall - maybe hi-tech wall!)

Cities then, are centres of wealth and power as well as poverty and social exclusion. Have things changed radically since Engels' time we are led to ask ourselves? Here he describes Manchester in the 1840s: 

The town itself is peculiarly built , so that a person may live in it for years, and go in and out daily without coming into contact with a working people's quarter or even with workers, that is so long as he confines himself to his business or to pleasure walks. (Engels 1987 / 1845, pp85 cited Social change ed Jordan p 40) 

The Increasing Size of Global Cities

The following quotations are taken from the Tate Modern Exhibition on the global city 2007 from the "Size" section.

The Greater Tokyo area in the Kanto region now accommodates over 34 million people in a consistently dense and multi-centred urban region that is well served by an integrated system of trains, underground and buses, used by nearly 80% of daily commuters.

Sprawling across a high plateau framed by mountains and volcanoes, Mexico City has expanded tenfold in both population and area since 1940. With a population of 18 million plus, the city region generates nearly a quarter of Mexico's wealth, attracting people – many of them young – from the rest of the country to the Aztecs' original 'floating city'.

Sao Paulo is Brazil’s largest and richest city, with a metropolitan region the size of Los Angeles or Shanghai. Its population has nearly doubled in the past 45 years, and growth in the last decade was 9.2%. As the country’s financial capital, with a constituency the size of some European countries, Sao Paulo plays a key role in national politics.

Size Isn't Everything 

Despite the fact that cities in the developing world are far outstripping the size of global cities such as London and New York these cities along with Tokyo remain the global hubs that dominate the present day world as Manuel Castells has argued. With the increasing pace of globalisation and the deregulation of markets which accompamied this process Castells sees cities as being arranged into a global hierarchy which reflects the underlying shift of contempory capitalism to be organised as a networked / informational society.

New York, London, Tokyo are the world's most important financial centres. Here it is important to note that Hong Kong's stock exchange is becoming increasingly important as China's economy continues to expand at a phenomenal rate.  Here intensification of the processes of capitalism take place.  The space of flows described by Castells trades vast amounts of money every single day far in excess of the value of the physical goods travelling around the world on the same day. 

What is the Space of Flows?  

The space of flows is an essential component of the Networked Society which Castells argues characterises the current phase of capitalist development. In different phaeses of capitalist development time and space have been radically reconstructed in order to allow change to take place:  

The network society is a social order embodying a logic which Castells characterizes as the `space of flows' in contrast to the historically created institutions and organizations of the space of places which characterized industrial society in both its capitalist and statist variants. (Simon Bromley Review of Castells Radical Philosophy)

The historical and social development of the network society, according to Castells, is rooted in a new, global socio-economic structure of informational capitalism. To characterize this socio-economic structure, Castells argues, we must focus on both its (capitalist) mode of production and what he terms its (informational) mode of development or technological system. (ibid)

Castells takes for granted that much of the logic of contemporary global society is capitalist: capitalist restructuring in response to the worldwide economic crisis of the 1970s played a central role in shaping the development of societies, both nationally and globally, including the formation of the informational mode of development itself; the purpose of this capitalist restructuring at the most general level has been to escape from those social, cultural and political controls placed upon the economy in the era of essentially nationally based industrial capitalism (ibid)

Time and space in the space of flows as conceived of by Castells is a space of organisational elites who are operating the global network which has come about as a result of globalisation.  This  operates within a  space of Timeless Time.

What is Timeless Time?

Castells notes that many sociologists and social geographers have discussed the ways in which clock time gradually took over space and society. Wher Giddens talked about Time - Space distanciation (the ability to communicate over greater distance faster) as modernity developed so David Harvey discusses the notion of Time-Space compression. In this formulation time becomes a part of the intensification of the processes of capitalism so that more profit can be extracted. Castells' notion of timeless time delineates the time of the networked society which allows both of the above processes to take place simulataneously. Thus the notion of real-time (now-time) can happen globally. This happens in the space of flows and can't necessarily be understood or clearly recognised within the space of places:

What I call timeless time is only the emerging, dominant form of social time in the networked society, as the space of flows doesn't negate the existence of places. It is precisely my argument that social domination is exercised throughtthe selective inclusion and exclusion of functions and people in different temporal and spatial frames. (Castells Rise of the Networked Society p 434).

Cities as Technopole in the Networked Society

Franke and Ham point out the importance of the technopole as a part of the process of creating a networked society:

High-technology-led industrial milieux of innovation, which are called ‘technopoles’ come in a variety of urban formats. In most countries, the leading technopoles are contained in the leading metropolitan areas. (Franke and Ham see link below)

Currently despite the massively growing power of China's economy  it still isn't a key player in the 'space of flows', precisely because it is the beneficiary of technology transfer rather than being innovative.

Castells notes that the Space of Flows isn't simply cyberspace although this is an important component of the whole concept. Rather the space of flows comprises of networks of interaction however specific areas such as banking or arts and culture will organise their own specific space of flows.

Castells argues that a space of flows operates on a logic of nodes and hubs. For Castells a node is somwhere like Wall Street which structures connections and activities in a key area.  Hubs are communication sites such as airports. What characterises them differnetly is that they are dependent upon the whole network for thier position. 

The space of flows is also about the space for the social actors. These can be residential spaces near the nodes or 'global corridors of social segregation separating these corridors from the surrounding places around the globe'.  VIP suite, virtual offices and international hotels are the examples Castells uses to describe these in the Global Resistance Reader.

The fourth componet of the space of flows is the realm of electronic spaces of communication such as websites whether interactive or not.

Dominant activities are organised around the logic of the space of flows which can be understood as something different to the space of places. Place is increasingly fragmented and localised in relation to the space of flows. 

Spaces of Resistance / Grassroots

People are increasingly a part of the space of flows and from this springs resistance. Networks of solidarity are organised through the internet. News of opression comes through the internet. 

Increasingly people are organising knowledge construction and  dissemination through the internet. Wikipedia is of course a fantastic example of global cooperation with regard to this. When Castells was writing about grassroots resistance in 1999 Web 2.0 hadn't been invented. Web 2.0 is the world of Wikis and blogs, information sharing and social network sites. These may well be forming the basis of what many at the start of the era of the World Wide Web were hoping would become an electronic public space.

Webliography

Franke and Ham: Castells and the Space of Flows

Here the concept of social theory through the work of Castells is strongly critiqued:

Peter Abell and Diane Reyniers: On the Failure of Social Theory 

: 29 Mar 2008 08:54 |  Tags: Cities And Social Change Dd 201 |  Comments (4) |  Close comments |  Report a problem

Lifestyle "Celebrity" and Advertising

Lifestyle "Celebrity" and Advertising

Return to the Lifestyle Hub

Introduction

Elsewhere in the blog it has been argued that lifestyle magazines are an important part of an overall field of discourses which encourage a culture of consumption. This culture of consumption is based upon an increasing aestheticisation of life and the links to personal identity. People often start to believe that if they buy a product that is linked to a sporting 'personality' for example they can identify and be identified with them.

Celebrity, Branding & Advertising

This kind of pressure can be particularly important working on younger people and what can encourage this is a culture of "celebrity".  Celebrity is frequently when a particular individual frequently a sporting 'star' (personality might be too strong a word when including people who can barely string a sentence together). They can aslo be film stars or leading actors in popular TV series. Whilst the reality is that they are no often any more clever (frequently less) they have been proved to be quite good at something. This has then been hyped up by skillful branding agencies , public relations companies and individual agents. Linking rising stars to consumer products is often an expensive form of branding for the product but when the sporting star is at the top of his / her game this link can be beneficial to both. 

Arecent survey in schools shows the power these ideas can have on naive younger people. As this BBC story from December 2007 reports arguably the effects are very powerful:

Children see some 10,000 TV adverts a year and recognise 400 brands by age 10, Children's Secretary Ed Balls says.

The numbers of children at school who are strongly influenced by the culture of celebrity is alarming as this BBC report from 14th of March 2008 notes:

Children's educational aspirations risk being damaged by the cult of celebrity, teachers' leaders have warned.

Some 60% of teachers said their pupils most aspired to be David Beckham, in a survey for the Association of Teachers and Lecturers (ATL). More than a third said pupils wanted to be famous for the sake of being famous. Some 32% of the 304 teachers quizzed said their pupils modelled themselves on heiress Paris Hilton.

As a spoilt rich kid allowed to what she liked she is cleary a good "role model". Here she is pictured coming out of jail after being incarcerated for ignoring a drink driving ban! (BBC June 2007). Hilton is a case of being famous for wait for it...... being famous. (Duh!!!!)

Activities

1. Identify in your own lifestyle magazines the advertised products which are part of major brands.
2. How many of them are associated with with Celebrities / Stars?
3. Which ones?

: 25 Mar 2008 07:54 |  Tags: Lifestyle Magazines |  Comments (0) |  Close comments |  Report a problem

Lifestyle Magazines Hub Page

Lifestyle Magazines Hub Page

Introduction  

This page is a hub page for your Lifestyle magazines unit component of textual analysis. As new pages are developed links will be placed here in order to help you navigate to relevant pages on this blog.

What is a Lifestyle Magazine?

The Secrets of Magazine Cover Design  

Lifestyel Magazines and Branding

Grazia Magazine

Advertising and Magazines 

Lifestyle, Celebrity and Advertising

Magazines and Print Publishing  

Glossary of Magazine Terms  

The Magazine Industry  

Magazine Ownership and Control in the UK

ACORN Marketing classification for targeting advertising

: 24 Mar 2008 22:01 |  Tags: Cultural Studies Gender And Magazines Gq Grazia Hub Page Kinoeye Lifestyle Magazines Lifestyle Magazines Hub Media Studies |  Comments (0) |  Close comments |  Report a problem

Lifetyle Magazines & Branding

Lifestyle Magazines and Branding  

Return to Lifestyle Magazines Hub  

If one applies the categories of lifestyle applied to consumption as discussed above then it is important to have role models to help generate the desire to consume. The generation of the desire to consume goes beyond what might normally be expected of people in that it can encourage people to aspire to certain ways of living that can easily be reached provided one is prepared to spend money. It then is a matter of how the individual is prepared to spend that money. Magazines and other forms of media which can encourage the branding of goods are an extremely important mechanism for this.  

There are many different definitions of a brand, the most effective description however, is that a brand is a name or symbol that is commonly known to identify a company or it’s products and separate them from the competition.

1. When you have suitably recovered think about the sponsorship and branding of the TED talks.
2. How do you think sponsorship of TED can help build and maintain the brand of the company doing the sponsoring?

: 24 Mar 2008 21:36 |  Tags: Branding Lifestyle Lifestyle Magazines |  Comments (0) |  Close comments |  Report a problem

G.W. Pabst (1885–1967)

G.W. Pabst (1885-1967)

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Filmography  (Weimar period)

This listing is taken from the Deutsche Film Portal. Not all links are theirs.

	1932
	Die Herrin von Atlantis Regie
	1932/1933
	Don Quichotte Regie
	1932/1933
	Don Quixote Regie
	1932
	L'Atlantide Regie
	1932
	The Mistress of Atlantis Regie
	1931
	La tragédie de la mine Regie
	1930/1931
	Die 3-Groschen-Oper Regie
	1930/1931
	L'opera de quat'sous Regie
	1930
	Moral um Mitternacht Künstlerische Oberleitung
	1930
	Skandal um Eva Regie
	1930
	Westfront 1918 Regie
	1929
	Die weiße Hölle vom Piz Palü Regie
	1929
	Tagebuch einer Verlorenen Produzent, Regie
	1928
	Abwege Regie, Schnitt
	1928/1929
	Die Büchse der Pandora Regie
	1927
	Die Liebe der Jeanne Ney Regie, Schnitt
	1926
	Man spielt nicht mit der Liebe Regie, Schnitt
	1925
	Die freudlose Gasse Regie, Schnitt
	1925/1926
	Geheimnisse einer Seele Regie
	1924
	Gräfin Donelli Regie
	1922/1923
	Der Schatz Regie
	1922
	Luise Millerin Drehbuch, Regie-Assistenz
	1921/1922
	Der Taugenichts Drehbuch, Regie-Assistenz
	1921
	Im Banne der Kralle Darsteller, Produzent

Webliography

Scholarly work on Pabst

Senses of Cinema site on The Threepenny Opera

: 23 Mar 2008 19:25 |  Tags: European Cultural History G W Pabst G W Pabst Filmography German Cinema Kinoeye Weimar Cinema |  Comments (0) |  Close comments |  Report a problem

Joe May (1880–1954)

Joe May (1880-1954)

Filmography

This listing is taken from the Deutsche Film Portal. Currently all links are their's with the exception of Asphalt.  

	1933
	Tout pour l'amour Director
	1932/1933
	Ein Lied für Dich Director
	1932
	Hochzeitsreise zu Dritt Creative consultant
	1932
	Voyage de noces Creative consultant
	1931
	...und das ist die Hauptsache Director,Producer,Production manager
	1931/1932
	Zwei in einem Auto Production manager,Director,Producer
	1930
	Ihre Majestät die Liebe Production manager,Director,Producer
	1930
	Son altesse l'amour Creative consultant,Co-Producer
	1929/1930
	Der unsterbliche Lump Producer,Creative consultant
	1929/1930
	Die letzte Kompagnie Producer
	1928/1929
	Asphalt Director,Screenplay
	1928
	Heimkehr Director,Screenplay,Editing
	1928
	Ungarische Rhapsodie Screenplay
	1927/1928
	Die Durchgängerin Production manager,Producer
	1926
	Dagfin Director,Producer,Screenplay
	1926
	Derby. Ein Ausschnitt aus der Welt des Trabersports Producer,Creative consultant
	1926
	Staatsanwalt Jordan Producer
	1924/1925
	Der Farmer aus Texas Director,Producer,Screenplay
	1924
	Die Liebesbriefe der Baronin von S... Producer
	1923/1924
	Der geheime Agent Producer
	1922/1923
	Tragödie der Liebe [1-teilig] Producer,Director
	1922/1923
	Tragödie der Liebe. 1. Teil Producer,Director
	1922/1923
	Tragödie der Liebe. 2. Teil Producer,Director
	1922/1923
	Tragödie der Liebe. 3. Teil Producer,Director
	1922/1923
	Tragödie der Liebe. 4. Teil Producer,Director
	1921
	Am Webstuhl der Zeit. Dramatisches Zeitbild aus schweren Tagen in 6 Teilen Producer,Creative consultant
	1921
	Das indische Grabmal (2 Teile) Director,Producer
	1921
	Der Tiger von Eschnapur Director,Producer
	1921
	Die Erbin von Tordis Producer,Creative consultant
	1921
	Die Sendung des Yoghi Producer,Director
	1921
	Ilona Producer
	1921/1922
	Scheine des Todes Creative consultant,Producer
	1921
	Tobias Buntschuh Creative consultant,Producer
	1920
	Das wandernde Bild Producer,Creative consultant
	1920/1921
	Der Leidensweg der Inge Krafft Producer,Screenplay,Creative consultant
	1920-1921
	Die Frauen vom Gnadenstein Creative consultant,Producer,Screenplay
	1920
	Die Legende von der heiligen Simplicia Director,Producer
	1920
	Die Schuld der Lavinia Morland Producer,Director,Screenplay
	1920/1921
	Junge Mama. 5 lustige Akte Creative consultant,Producer,Screenplay
	1919
	Der Amönenhof Producer
	1919
	Der Henker von Sankt Marien Producer,Creative consultant
	1919
	Der blaue Drachen Producer,Creative consultant
	1919
	Die Herrin der Welt. 1. Teil: Die Freundin des gelben Mannes Producer,Director,Screenplay
	1919
	Die Herrin der Welt. 2. Teil: Die Geschichte der Maud Gregaards Producer,Director,Screenplay
	1919
	Die Herrin der Welt. 3. Teil: Der Rabbi von Kuan-Fu Director,Screenplay,Producer
	1919
	Die Herrin der Welt. 4. Teil: König Makombe Producer,Screenplay,Creative consultant
	1919/1920
	Die Herrin der Welt. 5. Teil: Ophir, die Stadt der Vergangenheit Screenplay,Producer,Creative consultant
	1919/1920
	Die Herrin der Welt. 6. Teil: Die Frau mit den Milliarden Producer,Screenplay,Creative consultant
	1919/1920
	Die Herrin der Welt. 7. Teil: Die Wohltäterin der Menschheit Producer,Screenplay,Creative consultant
	1919/1920
	Die Herrin der Welt. 8. Teil: Die Rache der Maud Fergusson Producer,Director,Screenplay
	1919
	Fräulein Zahnarzt Producer,Screenplay,Director
	1918
	Das Auge des Götzen Creative consultant,Producer
	1918
	Das Geheimnis der Cecilienhütte Creative consultant
	1918
	Das rollende Hotel Creative consultant,Producer
	1918/1919
	Der Muff Creative consultant,Producer
	1918
	Die Bettelgräfin Producer,Director,Screenplay
	1918
	Die Krone von Palma Creative consultant,Producer
	1918
	Die Ratte Producer,Creative consultant,Screenplay
	1918/1919
	Die närrische Fabrik Creative consultant,Producer,Screenplay
	1918
	Die platonische Ehe Producer,Screenplay
	1918
	Diplomaten Producer,Creative consultant
	1918
	Fünf Minuten zu spät Creative consultant,Producer,Screenplay
	1918
	Ihr großes Geheimnis Screenplay,Director,Producer
	1918
	Opfer Producer,Director,Screenplay
	1918/1919
	Veritas vincit (Die Wahrheit siegt!). Eine Filmtrilogie Producer,Director
	1918
	Wogen des Schicksals Producer,Director,Screenplay
	1917
	Das Klima von Vancourt Screenplay,Producer,Director
	1917
	Der Onyxknopf Director,Producer,Screenplay
	1917/1918
	Der lebendige Tote Creative consultant,Screenplay,Producer
	1917
	Der schwarze Chauffeur Director,Producer,Screenplay
	1917
	Die Hochzeit im Excentric-Club Producer,Director,Screenplay
	1917
	Die Kaukasierin Screenplay,Producer,Director
	1917
	Die Liebe der Hetty Raymond Producer,Director,Screenplay
	1917
	Ehre Producer,Director
	1917
	Ein Lichtstrahl im Dunkel Producer,Director,Screenplay
	1917
	Hilde Warren und der Tod Producer,Director
	1917
	Krähen fliegen um den Turm Screenplay,Director,Producer
	1917
	Sein bester Freund Producer,Screenplay,Creative consultant
	1916
	Arme Eva Maria Screenplay,Director,Producer
	1916
	Das rätselhafte Inserat Producer,Screenplay
	1916
	Der Floh-Zirkus Producer
	1916
	Des Vaters letzter Wille Producer,Director
	1916/1917
	Die Silhouette des Teufels Producer,Screenplay
	1916
	Die Stieftöchter Producer
	1916/1917
	Die leere Wasserflasche Producer,Screenplay,Director
	1916
	Ein Blatt Papier Director,Producer,Screenplay
	1916
	Ein einsam Grab Producer,Screenplay,Set design
	1916
	Nebel und Sonne Screenplay,Producer,Director
	1916
	Wie ich Detektiv wurde Producer,Screenplay,Director
	1915
	Charly, der Wunderaffe Director,Screenplay
	1915
	Das Gesetz der Mine Screenplay,Producer,Director
	1915
	Der Geheimsekretär Screenplay,Director,Producer
	1915
	Der ewige Friede. Ein Ausgestoßener. 2. Teil Screenplay
	1915
	Die Gespensteruhr Screenplay,Director,Producer
	1915
	Die Sünde der Helga Arndt Screenplay,Director,Producer
	1915
	In der Nacht... Producer,Screenplay
	1915
	Sein schwierigster Fall Screenplay,Producer,Director
	1915
	Violette Rosen Director
	1914
	Das Panzergewölbe Screenplay,Director,Producer
	1914
	Der Mann im Keller Director
	1914
	Der Spuk im Hause des Professors Director
	1914
	Der geheimnisvolle Nachtschatten Production manager
	1913/1914
	Das Fischermädchen von Manholm Screenplay,Director
	1913
	Das Werk Production manager
	1913
	Das verschleierte Bild von Groß-Kleindorf Production manager,Director
	1913
	Die Mona Lisa von Groß-Kleindorf Production manager,Director
	1913/1914
	Die geheimnisvolle Villa Director
	1913
	Die unheilbringende Perle Production manager,Screenplay,Director
	1913
	Ein Ausgestoßener. 1. Der junge Chef Screenplay,Director
	1913
	Entsagungen Director
	1913
	Geschwister Production manager
	1913
	Heimat und Fremde Screenplay,Director
	1913
	Verhängnis Production manager
	1912
	In der Tiefe des Schachtes Screenplay,Director
	1912
	Iwo der Bucklige. 1. EP: Vorgluten des Balkankrieges Cast,Director
	1912
	Vorgluten des Balkanbrandes Director,Screenplay
	1911
	Die Fahrt nach Hamburg Director

: 23 Mar 2008 18:54 |  Tags: European Film History German Cinema Joe May Joe May Filmography Weimar Cinema |  Comments (0) |  Close comments |  Report a problem