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Topic: 1931 in film

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  Frankenstein (1931 film) - Wikipedia, the free encyclopedia
Frankenstein is a 1931 horror film from Universal Pictures loosely based on the novel Frankenstein by Mary Shelley.
Visually the film was heavily influenced by the German expressionist films of the 1920s.
Whereas in Mary Shelley's novel, the creature's savage behavior is seen as the result or maltreatment and neglect, the film adaptation explains it is a consequence of Henry's installing a defective brain in the carcass.
en.wikipedia.org /wiki/Frankenstein_(1931_film)   (559 words)

 Encyclopedia: 1931 in film   (Site not responding. Last check: 2007-10-20)
Film refers to the celluloid media on which movies are printed Film is a term that encompasses motion pictures as individual projects, as well as the field in general.
A Free Soul is a 1931 film which tells the story of an alcoholic defense attorney who must defend his daughters ex-boyfriend on a charge of murdering the mobster she had started a relationship with, a mobster whom her father had gotten an acquittal on a murder charge.
Min and Bill is a 1931 film which tells the story of a dockside bar owner who tries to keep the girl she has raised from infancy, while loving and fighting with the boozy captain of a fishing boat.
www.nationmaster.com /encyclopedia/1931-in-film   (3838 words)

 Encyclopedia: Greta Garbo   (Site not responding. Last check: 2007-10-20)
When she was filmed, if something happened that she was not pleased with she would say, "I think I'll go back to Sweden!" This would frighten the movie studio heads, who gave in to her every wish.
Dark Victory is a 1939 film which tells the story of a young woman who falls in love with, and marries, the doctor who has operated on her for a brain tumor.
According to private letters released in Sweden in 2005 to mark the centenary of the film star's birth, she was reclusive in part because she was self-obsessed, depressive, and ashamed of her latrine-cleaner father.
www.nationmaster.com /encyclopedia/Greta-Garbo   (4260 words)

 Movie Scientists: Beyond Their Time
The fleshed-out characters in the 1931 film (which was also partially based on the 1927 Frankenstein play by John Balderson) became the touchstone for future adaptations of the story, as well as the inspiration for many of the movie clich├ęs associated with the "mad scientist" genre.
In the 1931 film, Dr. Henry [Victor in the novel] Frankenstein (Colin Clive) is a brilliant scientist who believes that he can reanimate a dead body by use of an electrical spark of life.
In all of the films, Jekyll comes to regret his actions as Hyde, but soon finds that he is powerless to stop the transformation, and the antidote he developed to reverse the process becomes ineffective.
www.fathom.com /course/21701774/session2.html   (2270 words)

 AMNH Library - Special Collections - Film List
This film is a good overall record of an expedition which covered 16,000 miles in northern Africa, showing Moslem architecture and the great variations in people and terrain of the region.
In 1953 and 1954, Robert Cushman Murphy, AMNH ornithologist, filmed bird colonies of coastal Peru and Chile and the outlying islands.
The film depicts a variety of dances (the buffalo, hood, war, eagle, corn, deer and snowbird) performed by Indians of the Tesuque, Taos, Acoma and Santa Clara Pueblos.
library.amnh.org /special/film_list1.html   (6843 words)

 Frankenstein (1931)
The film, with Victorian undertones, was produced by Carl Laemmle Jr.
The film's name was derived from the mad, obsessed scientist, Dr. Henry Frankenstein (Colin Clive), who experimentally creates an artificial life - an Unnamed Monster (Boris Karloff), that ultimately terrorizes the Bavarian countryside after being mistreated by his maker's assistant Fritz and society as a whole.
The film's most famous scene is the one in which Frankenstein befriends a young girl named Maria at a lake's edge, and mistakenly throws her into the water (and drowns her) along with other flowers.
www.filmsite.org /fran.html   (1737 words)

 Frankenstein and M   (Site not responding. Last check: 2007-10-20)
The Peter Lorre character in M is shown throughout the film to be a menace to society, killing off innocent little girls after having given them candy or a balloon, and thus having gained their confidence.
Throughout the film prior to the clip I showed the police and the criminals are shown to be parallel; although the first is accepted to be the representative or the enforcers of the right and the second the embodiment of the wrong, any such absolute distinction is shown to be illusory.
One notable difference between the two 1931 films and Blade Runner is that, while in both earlier films, there is a mob that condemns the monster/murderer, there is no mob in such action in the more recent film; only Deckard, the specialist, represents the collective here.
www.library.drexel.edu /resources/guides/lit240/notes/m.html   (789 words)

 The Maltese Falcon - Wikipedia, the free encyclopedia   (Site not responding. Last check: 2007-10-20)
It was filmed twice under the name The Maltese Falcon in 1931 and 1941.
The 1931 film was directed by and starred as private detective Sam Spade.
Also in the film are Barton MacLane and Ward Bond as policemen, Lee Patrick as Spade's long-suffering secretary, and Gladys George's confusing things as the wife of Spade's partner.
www.americancanyon.us /project/wikipedia/index.php/The_Maltese_Falcon   (549 words)

 Frankenstein (1931 film)   (Site not responding. Last check: 2007-10-20)
Frankenstein is a 1931 horror film based on the novel Frankenstein by Mary Shelley.
It was directed by James Whale and has been selected for preservation in the United States National Film Registry.
The film is noteworthy for the complete absence of musical underscoring.
www.worldhistory.com /wiki/F/Frankenstein-(1931-film).htm   (402 words)

 Narrative Innovations in Film Noir
The film opens with Walter Neff (MacMurray) arriving at his office in the middle of the night and delivering into a dictating machine his confession for killing a man—“for money (pause) and for a woman.” These words trigger a flashback that is occasionally narrated by his voice-over confession.
In “Scarlet Street” another tale of allurement and murder—and a remake of Jean Renoir’s 1931 French film “La Chienne” the novelty (under Production Code rules) is that the Murderer gets away with it, while another man dies in the electric chair for the crime.
In “Detour” the male protagonist’s voice over persistently addresses an impersonal “you”—giving the spectator the impression that he or she is the person spoken to—and assumes that the listener is smug, unsympathetic, and unbelieving.
www.moderntimes.com /palace/inv_noir.htm   (663 words)

 Analyse the 1931 and 1994 film versions of Mary Shelley's Frankenstein, focussing upon the creation scene. Make ...
Throughout the 1931 version the camera movement is very slow and uses no, or very little, complex camera angles, there are just basic wide angle shots with the occasional close-up.
One memorable moment during the film's creation scene (which is very long as it is often interrupted by speech) is a camera angle used when Elisabeth and the scientist's best friend are trying to get the scientist to let them in.
Lighting techniques are also used to improve the viewing experience and since the film is in fl and white, lighting is very important, as colour cannot be used to express mood, so lighting must be used instead.
www.coursework.info /i/35780.html   (888 words)

 Filmi Sangeet - The Indian film song
The term "Film Song" is today somewhat of a misnomer because there are many songs of this genre that have never been in any film.
The birth of the Indian film song may be traced to the advent of India's first sound motion picture in 1931.
It appears that film music is in the process of spawning a number of new and related genre.
chandrakantha.com /articles/indian_music/filmi.html   (1257 words)

 DVD Savant Review: More Treasures from American Film Archives 1894-1931
For their second release, the National Film Preservation Foundation concentrates on an older selection of one-of-a-kind films that chart in minute detail the development of the film form before it was taken over by Hollywood production.
The films are arranged on three discs in an easily navigated menu system that shuttles one quickly between content without a lot of animation...
They attack their film comments with everything they've got, and their theories about the effects of static scenes or the meaning of doors in sets are intriguing - even when I don't agree with them.
www.dvdtalk.com /dvdsavant/s1370more.html   (1694 words)

 Norman Taurog - Wikipedia, the free encyclopedia   (Site not responding. Last check: 2007-10-20)
He directed his young nephew Jackie Cooper in the 1931 film Skippy.
During the filming, he threatened to shoot Cooper's dog if the child actor could not cry for the scene, according to Cooper's 1981 autobiography Please Don't Shoot My Dog.
This biographical article related to film is a stub.
www.bonneylake.us /project/wikipedia/index.php/Norman_Taurog   (479 words)

 Film Talk -> M (1931)
We are a community of film colleagues who want to share the films they love, who enjoy talking about film and DVD issues, and who like to make friends among people who have similar interests.
We want DVDAF and film-talk to be the premier film communities for the discussion of film and film issues.
As many good films that Lang was involved with, and he mad quite a few, none of them has the power of this one.
www.film-talk.com /forums/index.php?showtopic=6218   (2664 words)

 Bright Lights Film Journal | Fritz Lang's M (1931)
Most important, though, is the sense of doom that colors the film, a fatalism Lang renders through chiaroscuro lighting effects and enormous high-angle shots that suggest a malevolent spiritual presence hovering above the city and guiding its denizens to their doom.
In the second sequence, which makes up most of the film, Lang presents the two groups whose interests are most threatened: the police, who must satisfy an hysterical populace, and the criminal underground, whose economic interests are jeopardized by increased police scrutiny because of the killings.
Typical of the director, the film sees the police and the criminals as indistinguishable, intercutting between parallel scenes of each strategizing on how to "kill the monster." Some of the police station footage has a fresh, almost documentary feel, as then-new technologies like fingerprint analysis are methodically examined.
www.brightlightsfilm.com /29/m.html   (747 words)

 Silent Era : DVD : Tabu (1931) Review
The film was shot with a skeleton crew, two cameras and a couple of light reflectors.
Cinematographer Floyd Crosby completed shooting the film (for which he received sole screen credit), and the results are, nonetheless and under the crude circumstances, an artistic triumph.
This edition is the best representation of Murnau’s original film since, according to the disc’s commentary, the video transfer originates from a 35mm print struck from UCLA Film and Television Archive’s 1983 35mm preservation negative copied from an original 35mm nitrate positive previously held by Paramount, the film’s distributor.
www.silentera.com /DVD/tabuDVD.html   (834 words)

 Tabu (1931): Matahi, Reri, Jean, Hitu - PopMatters Film Review
The 1931 film Tabu begins with a disclaimer that reads, "Only native-born South Sea islanders appear in this picture with a few half-castes and Chinese." This statement is something of a red flag for the viewer cognizant of the sins of old Hollywood visited upon those other than the melanin-impoverished.
This is also a film by F. Murnau, the director of the ur-horror film Nosferatu and, like his contemporaries Carl Dreyer and Fritz Lang, a consummate master of the angular and shadow-rife nightmare of German Expressionist cinema.
His final film was one of his best, a vital and significant film that we are all fortunate to have back with us.
www.popmatters.com /film/reviews/t/tabu.shtml   (1389 words)

 Dracula (1931)
On account of Universal's success with this classic Dracula film, the next year, Browning went on to direct the truly bizarre, classic horror film Freaks (1932) for MGM - a controversial and grotesque film that has achieved cult status, and was banned for almost thirty years in Britain.
In Murnau's film, the rodent-like Dracula (Max Schreck) was renamed "Graf Orlock." [The film was released in England as Dracula.]
This successful, atmospheric 1931 adaptation, although somewhat flawed by its slow dialogue and static, stage-bound nature, helped to launch a long series of horror-pictures for the studio.
www.filmsite.org /drac.html   (2746 words)

 1931   (Site not responding. Last check: 2007-10-20)
The 1931 Davis-Bacon Act allows the president to take such unilateral action during national emergencies, but organized labor and its allies in Congress are...
Truly Nolen of America is auctioning a restored 1931 Ford Model A Tudor Sedan on eBay and donating 100 percent of the proceeds to American Red Cross hurricane...
The sauerkraut suppers were organized in 1931 by Elma Oppenlander, a member of the Seymour Avenue Methodist Church.
www.wikiverse.org /1931   (744 words)

 Film Guide to The Public Enemy
However, when both the authors of the story the film was based on as well as William Wellman, the director, saw the original screen tests, they realized that Cagney would be much more effective in the role of Tom Powers, and thus the two actors were switched.
After her death at the young age of 26, it was rumored that instead of dying because of kidney failure in part due to scarlet fever at age 14, the bleach in her hair seeped into her brain and killed her.
The purpose of these films was to show that the gangster life is only met with tragedy and destruction, and this is reflected by the rise and inevitable downfall of the main character.
www.fredonia.edu /department/english/shokoff/PublicEnemy.htm   (2766 words)

 1931 In Film Encyclopedia Article, Definition, History, Biography   (Site not responding. Last check: 2007-10-20)
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www.stardustmemories.com /encyclopedia/1931_in_film   (392 words)

 Amazon.com: Video: Private Lives (1931)   (Site not responding. Last check: 2007-10-20)
In 1931, it was impossible to put an honest "Private Lives" on film, and the compromises that were made to turn the play into a Shearer vehicle actually sabotaged Norma.
Even so, the 1931 film version of PRIVATE LIVES does a credible job of capturing the Noel Coward theatrical fire in a bottle, and the thing that makes the film work is Norma Shearer.
Like most MGM films of the 1930s, the production values are top of the line from start to finish, slick, glossy, and attractive, and director Sidney Franklin (noted for his skill with actresses) keeps the film moving at a smart pace.
www.amazon.com /exec/obidos/tg/detail/-/6302593271?v=glance   (1764 words)

 Combustible Celluloid - More Treasures from American Film Archives: 1894-1931 (2004)
All of the silent films come with newly recorded music scores, and many of the films include commentary tracks by scholars and historians.
One of the box's highlights is the 74-minute feature film Clash of the Wolves (1925), which marks the home video debut of one of the biggest stars of the 1920s, Rin Tin Tin.
Among the greatest masters of all time, Lubitsch was noted for his famous "touch," which one could easily recognize when one saw it, but which writers and filmmakers have been trying to describe and duplicate unsuccessfully for decades.
www.combustiblecelluloid.com /classic/moretreas.shtml   (1493 words)

 More Treasures From American Film Archives: 1894-1931 - Box Set Movie: More Treasures From American Film Archives: ...
A fascinating delve into a forgotten period of filmmaking, this collection is comprised of a staggering range of works made between 1894 and 1931, during which time the cinema grew from obscure curiosity into the nation's fourth largest industry.
More Treasures covers the years from 1894 through 1931, when the motion pictures from a peepshow curio to the nation's fourth largest industry.
Five film archives have made it their mission to save what remains of these first decades of American film: the Academy of Motion Picture Arts and Sciences, George Eastman House, The Library of Congress, The Museum of Modern Art and the UCLA Film and Television Archive.
www.bestprices.com /cgi-bin/vlink/014381227123IE   (358 words)

 Closely analyse the scene where Frankenstein brings to life his creation in James Whale's 1931 horror film Frankenstein ...
Closely analyse the scene where Frankenstein brings to life his creation in James Whale's 1931 horror film Frankenstein showing the techniques used to create atmosphere and tension.
Below is a short sample of the essay "Closely analyse the scene where Frankenstein brings to life his creation in James Whale's 1931 horror film Frankenstein showing the techniques used to create atmosphere and tension.".
The table the monster is position on in the centre of the room this is to put emphasis on him and to show that this is the most important aspect of the film.
www.coursework.info /i/50899.html   (551 words)

 Film Talk -> Frankenstein (1931)
Either the scientist is a mad villain and the monster is an innocent, or the scientist is a pitiful, regretful man and the monster is--just that.
Changes happen, it was 4 years between the two films and at a time when everybody was learning more and more about what they could do with the film medium.
When Frankenstein came out in 1931, they were just starting to talk in films, getting away from the silent films.
www.film-talk.com /forums/index.php?showtopic=6322   (3445 words)

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