The Film Encyclopedia 7th Edition: The Complete Guide to Film and the Film Industry

4583 Pages·2012·24.42 MB·English

by  Katz

THE
FILM
ENCYCLOPEDIA
The Complete Guide to Film and the Film Industry
7th Edition
EPHRAIM KATZ
WITH RONALD DEAN NOLEN
Contents

Preface to the First Edition
Editor’s Note
Note to the Reader
Abbreviations
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z

About the Author
Copyright
About the Publisher
Preface to the First Edition
This work is a one-man project. It has taken many years to compile, and its
scope has gradually expanded far beyond the original plan because of my desire
to include much information that can be found elsewhere only in a wide variety
of sources or that is treated sketchily in other works. My aim, in fact, was to
make it the most comprehensive one-volume encyclopedia of world cinema ever
published in the English language.
Every consideration has been given to the range and depth of material, even
when this has meant sacrificing features that would have made the book
superficially attractive. Although the publishers and I would like to have used
photographs to enliven this text on one of the most visual of arts, we hope the
reader will agree that omitting them was better than skimping on entries and
information, which would have been necessary if photographs had been
included. At my suggestion, the publishers have agreed to drop an entire
category of subjects—the factual and critical survey of specific motion pictures.
Even a modest sampling of the thousands of notable films would have added
hundreds of pages to this already hefty volume, and the selection would have
been severely limited in both number of titles and information about them. We
have, then, elected to disappoint the natural expectations of our audience rather
than risk its protest with half-measures.
In the present volume I have concentrated on a broad range of entries about
filmmakers and filmmaking with, I trust, a good balance of American, British,
and international subjects. Country by country, the history of major film
industries is covered from its inception to the present day. Important film-related
organizations and events are discussed; inventions, techniques, processes,
equipment, and technical terms are explained in language that is at once precise
and easy to follow. The numerous biographies of directors, producers,
screenwriters, cinematographers, art directors, composers, film editors, stars, and
featured players are sufficiently rich in personal and professional details
(including, in most cases, day of birth and education) to please both the film
scholar and the movie fan. Complete filmographies accompany the entries of
most directors and of all major stars. The film credits of other personalities are
extensive and carefully selected to represent their most important work.
Looking back on the years I have invested in this volume, perhaps my most
sobering discovery was that an open-ended ratio exists between one unit of fact
and multiple units of time. For every hour of actual writing time that went into
the preparation of the encyclopedia, I must have spent ten hours of research—
checking, cross-checking, and rechecking every fact in a great variety of sources
in my own vast library and in outside facilities with film collections. I have tried,
to the best of my ability, to resolve conflicts between sources of information and
to correct factual distortions that have been perpetuated in film literature over the
years. But in a work of this size, a degree of oversight is inevitable, and I beg the
indulgence of the reader if, after all, some errors have crept in.
As with any work of magnitude, this encyclopedia was seen into print with the
aid of many people, and I am indebted to all of them. My grateful thanks to
members of the combined Crowell and Harper & Row editorial staffs—
particularly Nicholas Ellison, Bernard Skydell, Leland Lowther, and Patrick
Barrett—who were always at hand with practical help, good advice, and gentle
spurs. I owe a very special acknowledgment to James Daly, who, over several
years of devoted and meticulous care to the manuscript as editor/copyeditor,
gained an invaluable overview of the work and saved me from many slips and
inconsistencies. For help in confirming a prodigious array of facts, I am indebted
to Naomi Ben-Gur, Julie Guibord, and Louise Spence. Finally, I thank my wife,
Helen, for loving encouragement, intelligent help in research, and, above all,
forbearance during the long years the work played hob with our lives.
Ephraim Katz
Editor’s Note
It is an honor to continue my long association with Ephraim Katz’s The Film
Encyclopedia. The book remains an invaluable basic resource, featuring many
new faces and facts as well as the latest news about the creative forces that make
up the rapidly changing world of cinema as it moves further into the digital age.
I continue to keep the promise of not eliminating any of the more than 8,000
entries. As always, it is sometimes necessary to tighten some existing entries in
order to adhere to the finite number of pages the publisher is able to bind.
Many thanks to the libraries I routinely haunt and the institutions that continue
to be so helpful, with a special nod to the Margaret Herrick Library of the
Academy of Motion Picture Arts and Sciences, my parents Ron and Jane, Olive
Moredock, Heidi Smith, my fellow film fanatic Scott Rollins out in the great
state of Virginia and, most especially, the readers and fans of this work. It is my
sincere wish that the end result lives up to the esteemed tradition of excellence
created and inspired by the late Ephraim Katz.
As I write, it is 5:11 A.M., January 23, 2011, . . . I suppose I am likely to
always be a late-nighter, working into the wee hours. And so . . . another edition
comes to a close.
For Kory and Kodi . . . you own my heart.
Ronald Dean Nolen
Note to the Reader
The subjects of the encyclopedia are presented in alphabetical order. There is,
therefore, no index, but the text is liberally cross-referenced to direct the reader
to all entries that contain related or complementary information. The cross-
references are indicated with the use of small capitals: BELUSHI; CLAPSTICKS;
CINEMASCOPE.
In a biography, the heading “FILMS” indicates that what follows is a complete
list of credits, either for the professional capacity given in the biography after the
person’s name or for the function specified in the filmography itself. A partial
listing is headed “FILMS INCLUDE.” When it is not otherwise apparent, the
national origin of a film, or the country in which it was produced, is shown by
giving the country’s name after the title, in parentheses and usually abbreviated.
A slash separating titles in the credits means that what follows is an alternate
title, in the same language as the original, in a second or third language for an
international co-production, or for the release in a country other than that of
origin. A slash used with country designations means that the film was a co-
production of the two or more nations named.
Dates given with film titles are almost always the years of first release for
general screening. For some films, however, the date reflects the year of a
premiere (as when an American picture was screened near the end of a year to
qualify it for the Academy Awards) or the year that the film was completed (as
for some European films for which release dates could not be ascertained).
In some credits, a single film title is in most cases the title given the
production in the country of origin. Whenever possible, original titles are given
for pictures made in English, French, Spanish, Italian, and German. Titles of
those made in less familiar languages (Swedish, Japanese, Russian, etc.) are
those under which they have been released in the United States or in the United
Kingdom. When no record of release in English-speaking countries is available,
what is shown for a title in one of the unfamiliar languages is either a literal