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Motion picture plays. --- Motion picture authorship --- Umberto D. (Motion picture).

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Motion picture projectors. --- Film --- Motion picture projectors

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Static in the System analyzes the relationship between American aural cultural history and cinema. Focusing specifically on the field of cinema culture--the envelope that surrounds and conditions our experience of cinema as an art form--Meredith C. Ward discusses how the aural culture of a given time period has enabled certain types of listening cultures to form. Analyzing which forms of listening have been dominant in various periods, she also discusses how noise--that commonly used but little-understood term--helps us to make sense of the ongoing conflicts underlying these moments, and where we have, historically, set the limits of 'desirable' and 'undesirable' sound.

Motion picture theaters --- Noise. --- Motion picture audiences

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If there is one film in the canon of Carl Theodor Dreyer that can be said to be, as Jacques Lacan might put it, his most “painfully enjoyable,” it is Gertrud. The film's Paris premier in 1964 was covered by the Danish press as a national scandal; it was lambasted on its release for its lugubrious pace, wooden acting, and old-fashioned, stuffy milieu. Only later, when a younger generation of critics came to its defense, did the method in what appeared to be Dreyer's madness begin to become apparent.To make vivid just what was at stake for Dreyer, and still for us, in his final work, James Schamus focuses on a single moment in the film. He follows a trail of references and allusions back through a number of thinkers and artists (Boccaccio, Lessing, Philostratus, Charcot, and others) to reveal the richness and depth of Dreyer's work--and the excitement that can accompany cinema studies when it opens itself up to other disciplines and media. Throughout, Schamus pays particular attention to Dreyer's lifelong obsession with the “real,” developed through his practice of “textual realism,” a realism grounded not in standard codes of verisimilitude but on the force of its rhetorical appeal to its written, documentary sources.As do so many of the heroines of Dreyer's other films, such as La Passion de Jeanne d'Arc (1928), Gertrud serves as a locus for Dreyer's twin fixations; written texts, and the heroines who both embody and free themselves from them. Dreyer based Gertrud not only on Hjalmar Soderberg's play of 1906, but also on his own extensive research into the life of the “real” Gertrud, Maria van Platen, whose own words Dreyer interpolated into the film. By using his film as a kind of return to the real woman beneath the text, Dreyer rehearsed another lifelong journey, back to the poor Swedish girl who gave birth to him out of wedlock and who gave him up for adoption to a Danish family, a mother whose existence Dreyer only discovered later in life, long after she had died.

Gertrud (Motion picture) --- Gertrud (Motion picture).

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Lorsqu'ils associent leurs talents au début des années 1960, Michel Audiard et Albert Simonin comptent chacun une production cinématographique déjà florissante. Mais c'est ensemble que ces maîtres de l'adaptation et du dialogue signent trois longs-métrages qui figurent parmi les plus importants de leur filmographie : Le Cave se rebiff e (1961), de Gilles Grangier, Les Tontons flingueurs (1963), de Georges Lautner, Mélodie en sous-sol (1963), d'Henri Verneuil. Trois films tirés de romans de la "Série Noire", collection des éditions Gallimard dans laquelle Simonin a fait une entrée fracassante avec Touchez pas au grisbi ! (1953), aussitôt mis en scène par Jacques Becker. Loin du style réaliste de cette première aventure de Max le Menteur, Simonin propose à Grangier, puis à Lautner des adaptations parodiques des opus suivants : Le Cave se rebiffe et Les Tontons flingueurs où l'humour, mais aussi tout l'art de Michel Audiard, dont les répliques culte ont traversé les générations, s'expriment pleinement.C'est dans un tout autre registre, quoique ne quittant pas l'univers des gangsters, que les deux complices adaptent The Big Grab, un roman noir de John Trinian, dont Verneuil a transposé l'intrigue au Palm Beach, le casino de Cannes. Dans cette Mélodie en sous-sol, Simonin, "le crack de la narration réaliste", se charge de l'intrigue, tandis que Michel Audiard, dans un exercice inédit et minimaliste, cisèle ses dialogues pour Gabin, un truand sur le retour, et pour Delon, un jeune complice fougueux avec lequel il veut faire son dernier coup.Le présent recueil a pour ambition de montrer les auteurs au travail : les scénarios, qui divergent parfois sensiblement du film, sont accompagnés d'un appareil critique et d'une présentation qui permettent de retracer le cheminement du projet, depuis le choix du roman jusqu'au film achevé. Des photographieset les revues de presse de l'époque viennent compléter l'ensemble. L'édition est établie, présentée et annotée par Franck Lhomeau, à qui l'on doit plusieurs études sur Michel Audiard, ainsi que la publication de ses chroniques cinématographiques, Chaque fois qu'un innocent a l'idée de monter un chef-d'oeuvre, le choeur des cafards entre en transe... (Joseph K., 2020), et de ses reportages et nouvelles inédites, Ça ne me regarde pas... (Joseph K., 2021).

Motion picture plays --- Motion picture plays, French