Rouben Mamoulian
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| Author | : David Luhrssen |
| Publisher | : University Press of Kentucky |
| Total Pages | : 208 |
| Release | : 2013-01-25 |
| Genre | : Biography & Autobiography |
| ISBN | : 0813136865 |
An Armenian national raised in Russia, Rouben Mamoulian (1897--1987) studied in the influential Stanislavski studio, renowned as the source of the "method" acting technique. Shortly after immigrating to New York in 1926, he created a sensation with an all-black production of Porgy (1927). He then went on to direct the debut Broadway productions of three of the most popular shows in the history of American musical theater: Porgy and Bess (1935), Oklahoma! (1943), and Carousel (1945). Mamoulian began working in film just as the sound revolution was dramatically changing the technical capabilities of the medium, and he quickly established himself as an innovator. Not only did many of his unusual camera techniques become standard, but he also invented a device that eliminated the background noises created by cameras and dollies. Seen as a rebel earlier in his career, Mamoulian gradually gained respect in Hollywood, and the Directors Guild of America awarded him the prestigious D. W. Griffith Award for Lifetime Achievement in 1983. In this meticulously researched biography, David Luhrssen paints the influential director as a socially conscious artist who sought to successfully combine art and commercial entertainment. Luhrssen not only reveals the fascinating personal story of an important yet neglected figure, but he also offers a tantalizing glimpse into the extraordinarily vibrant American film and theater industries during the twenties, thirties, and forties.
| Author | : Mark Spergel |
| Publisher | : Scarecrow Filmmakers Series |
| Total Pages | : 344 |
| Release | : 1993 |
| Genre | : Biography & Autobiography |
| ISBN | : |
Theatre and film director Rouben Mamoulian (1897-1987) is known chiefly as a technical innovator and stylist. His stage credits include the original Broadway productions of Porgy and Bess (1935), and Oklahoma (1943); his sixteen completed films include Dr. Jekyll and Mr. Hyde (1931), Golden Boy (1939), The Mark of Zorro (1940), and Silk Stockings (1957). In the theatre, Mamoulian integrated the various contributory arts of the American musical, transforming the near variety-show format of musicals into a dramatic unity of plot, character, music, and dance. He thus opened the stage to what would later be termed the "golden age" of the American book musical of the 1950s and 60s. In early sound films, Mamoulian restored mobility to the camera, rediscovered montage, redefined close-ups, split-screen, and dissolves, invented the voice-over, and was first to use multitrack sound recording. He directed the first live-action Technicolor film, Becky Sharp (1935). Spergel introduces previously undisclosed personal documents about the Mamoulian that necessitate a re-examination of Mamoulian's own statements about his life. He shows that the central theme in Mamoulian's art and life, as he describes it--to overcome the world and embrace truth--extended to the telling of his own history. Mamoulian believed he could alter that history through stylized presentation, idealizing the truth, and thereby raising numerous questions about historiography in general.
| Author | : Rouben Mamoulian |
| Publisher | : Universe Publishing(NY) |
| Total Pages | : 264 |
| Release | : 1975 |
| Genre | : Performing Arts |
| ISBN | : |
The film was based on the story of Dr. Jekyll, a famous young doctor, who experiments upon himself and, by drinking a potion, becomes an evil embodiment of himself. After a time, he realizes that his evil self, Mr. Hyde, returns automatically without the aid of the drug. After murdering a man, Dr. Jekyll fights to remain the good doctor, rather than the evil Mr. Hyde, and ends by killing himself with poison.
| Author | : Joseph Horowitz |
| Publisher | : W. W. Norton & Company |
| Total Pages | : 313 |
| Release | : 2013-07-29 |
| Genre | : Music |
| ISBN | : 0393240592 |
A revelatory history of the operatic masterpiece that both made and destroyed Rouben Mamoulian, its director and unsung hero. "Bring my goat!" Porgy exclaims in the final scene of Gershwin’s opera Porgy and Bess. Bess, whom he loves, has left for New York City, and he’s determined to find her. When his request is met with astonishment—New York is a great distance from South Carolina’s Catfish Row—Porgy remains undaunted. He mounts his goat-cart and leads the community in an ecstatic finale, "Oh Lawd, I’m on my way." Stephen Sondheim has called "Bring my goat!" "one of the most moving moments in musical theater history." For years it was assumed that DuBose Heyward—the author of the seminal novella and subsequent play, Porgy, and later the librettist for the opera Porgy and Bess—penned this historic line. In fact, both it and "Oh Lawd, I'm on my way" were added to the play eight years earlier by that production’s unheralded architect: Rouben Mamoulian. Porgy and Bess as we know it would not exist without the contributions of this master director. Culling new information from the recently opened Mamoulian Archives at the Library of Congress, award-winning author Joseph Horowitz shows that, more than anyone else, Mamoulian took Heyward's vignette of a regional African-American subculture and transformed it into an epic theater work, a universal parable of suffering and redemption. Part biography, part revelatory history, "On My Way" re-creates Mamoulian's visionary style on stage and screen, his collaboration with George Gershwin, and the genesis of the opera that changed the face of American musical life.
| Author | : DuBose Heyward |
| Publisher | : Bibliotech Press |
| Total Pages | : 206 |
| Release | : 1925 |
| Genre | : Fiction |
| ISBN | : |
Basis for light opera Porgy and Bess. Story of crippled Negro beggar and his friends and enemies in Charleston, S.C.
| Author | : Dan Callahan |
| Publisher | : |
| Total Pages | : 273 |
| Release | : 2020 |
| Genre | : Biography & Autobiography |
| ISBN | : 0197515320 |
Alfred Hitchcock once famously remarked, "Actors are cattle." In The Camera Lies, Dan Callahan uncovers the sophisticated acting theory that lay beneath the director's notorious indifference towards his performers, spotlighting the great performances of deceit and duplicity he often coaxed from them.
| Author | : Dan Callahan |
| Publisher | : Univ. Press of Mississippi |
| Total Pages | : 273 |
| Release | : 2012-02-03 |
| Genre | : Biography & Autobiography |
| ISBN | : 1617031844 |
Barbara Stanwyck (1907–1990) rose from the ranks of chorus girl to become one of Hollywood's most talented leading women—and America's highest-paid woman in the mid-1940s. Shuttled among foster homes as a child, she took a number of low-wage jobs while she determinedly made the connections that landed her in successful Broadway productions. Stanwyck then acted in a stream of high-quality films from the 1930s through the 1950s. Directors such as Cecil B. DeMille, Fritz Lang, and Frank Capra treasured her particular magic. A four-time Academy Award nominee, winner of three Emmys and a Golden Globe, she was honored with a Lifetime Achievement Award by the Academy. Dan Callahan considers both Stanwyck's life and her art, exploring her seminal collaborations with Capra in such great films as Ladies of Leisure, The Miracle Woman, and The Bitter Tea of General Yen; her Pre-Code movies Night Nurse and Baby Face; and her classic roles in Stella Dallas, Remember the Night, The Lady Eve, and Double Indemnity. After making more than eighty films in Hollywood, she revived her career by turning to television, where her role in the 1960s series The Big Valley renewed her immense popularity. Callahan examines Stanwyck's career in relation to the directors she worked with and the genres she worked in, leading up to her late-career triumphs in two films directed by Douglas Sirk, All I Desire and There's Always Tomorrow, and two outrageous westerns, The Furies and Forty Guns. The book positions Stanwyck where she belongs—at the very top of her profession—and offers a close, sympathetic reading of her performances in all their range and complexity.
| Author | : DuBose Heyward |
| Publisher | : |
| Total Pages | : 147 |
| Release | : 1945 |
| Genre | : |
| ISBN | : |
| Author | : Jeanine Basinger |
| Publisher | : Knopf |
| Total Pages | : 657 |
| Release | : 2019-11-05 |
| Genre | : Performing Arts |
| ISBN | : 1101874074 |
Irresistible and authoritative, The Movie Musical! is an in-depth look at the singing, dancing, happy-making world of Hollywood musicals, beautifully illustrated in color and black-and-white--an essential text for anyone who's ever laughed, cried, or sung along at the movies. Leading film historian Jeanine Basinger reveals, with her trademark wit and zest, the whole story of the Hollywood musical--in the most telling, most incisive, most detailed, most gorgeously illustrated book of her long and remarkable career. From Fred Astaire, whom she adores, to La La Land, which she deplores, Basinger examines a dazzling array of stars, strategies, talents, and innovations in the history of musical cinema. Whether analyzing a classic Gene Kelly routine, relishing a Nelson-Jeanette operetta, or touting a dynamic hip hop number (in the underrated Idlewild), she is a canny and charismatic guide to the many ways that song and dance have been seen--and heard--on film. With extensive portraits of everyone from Al Jolson, the Jazz Singer; to Doris Day, whose iconic sunniness has overshadowed her dramatic talents; from Deanna Durbin, that lovable teen-star of the '30s and '40s; to Shirley T. and Judy G.; from Bing to Frank to Elvis; from Ann Miller to Ann-Margret; from Disney to Chicago . . . focusing on many beloved, iconic films (Top Hat; Singin' in the Rain; Meet Me in St. Louis; The Sound of Music) as well as unduly obscure gems (Eddie Cantor's Whoopee!; Murder at the Vanities; Sun Valley Serenade; One from the Heart), this book is astute, informative, and pure pleasure to read.
| Author | : Michael Brendel |
| Publisher | : GRIN Verlag |
| Total Pages | : 34 |
| Release | : 2010-05-19 |
| Genre | : Literary Criticism |
| ISBN | : 3640626591 |
Seminar paper from the year 2010 in the subject English Language and Literature Studies - Literature, grade: 1,0, University of Regensburg (Institut für Anglistik und Amerikanistik), course: Hauptseminar Victorian Gothic, language: English, abstract: On the following pages we will have a closer look at the process of film adaptation by analyzing Rouben Mamoulian’s Dr. Jekyll and Mr. Hyde (1932) – probably the most accomplished film version of Stevenson’s novella – and by comparing it with its literary model. At first, we will recapitulate the complexity of the source text, especially with regard to the question of genre. We will also examine T.R. Sullivan’s theatrical adaptation, which can in some respects be seen as a blueprint for Mamoulian’s film. Then, we will have a look at the literary macrostructure of the film at hand, discuss Mamoulian’s interpretation of Stevenson’s Strange Case and compare the source text with its screen adaptation from a narratological point of view. To finish our analysis, we will shed light on some techniques used by the director in order to communicate his ideas.
