The Macmillan Dictionary of Films and Filmmakers: Volume I Films PDF
Preview The Macmillan Dictionary of Films and Filmmakers: Volume I Films
THE MACMILLAN DICTIONARYOFFILMSAND FILMMAKERS:VOLUMEI FILMS THE MACMILLANDICTIONARY OF FILMS ANDFILMMAKERS Volume I FILMS Volume II DIRECTORS/FILMMAKERS Volume III ACTORS AND ACTRESSES Volume IV WRITERS AND PRODUCTION ARTISTS Editor: . Christopher Lyon Assistant Editor: Susan Doll M MACMILLAN PUBLISHERS LONDON © Macmillan Publishers Ltd., 1984 Allrightsreserved.Nopartofthispublication maybereproduced ortransmitted,inanyform orbyanymeans, withoutpermission. FirstpublishedbyMACMILLAN PUBLISHERS LTD(Journals Division) 1984 Distributed byGlobe BookServicesLtd BruneIRoad, Houndmills,Basingstoke, Hampshire RG212XR,England BritishLibraryCataloguinginPublicationData Macmillan Dictionary ofFilmsandFilmmakers. Vol. I:Films I. Moving-pictures-Dictionaries 1.Lyon, Christopher II.Doll, Susan 791.43'03'21 PN1993.45 ISBN978-0-333-33525-3 ISBN978-1-349-06421-2(eBook) 001 10.1007/978-1-349-06421-2 v CONTENTS Introduction VII Advisers and Contributors IX FILMS 1 Notes on Advisers and Contributors 537 VII INTRODUCTION This volume is the first of four in the series Macmillan Dictionary of Films and Filmmakers. Volumes II-IV are devoted to persons: Directors/Filmmakers, Actors and Actresses, and Writers and Production Artists. This first volume answers the need for a comprehensive reference source, with bibliographies, on the most widely-studied films. The difficulty insuchanenterpriseisinchoosing, fromamong thethousands thatought to beincluded,thosefilmsthatcanbeadequately covered inasinglevolume.Inthisselection process wehave relied on adistinguishedadvisory board. The filmschosen reflect, tosomeextent, theindividual interestsoftheadvisers and, ina broader sense, current concerns of North American, British, and Western European film scholarship and criticism. The selection criteria suggested to the advisers were oriented toward "film as art," and emphasized formal and technical aspects of film: 1)technical innovation resultingintheenhancementoffilm'sexpressivepotential;2)formalinnovation interms ofstructural techniquesornarrative strategies nowrecognizedascontributionsto thelanguage offilm;3)generic significancethrough initiatingagenre, being anespecially mature or successful example ofone, or involving an innovative synthesis ofestablished genres;4) significance as a prime example of amajor filmmaker's characteristic themes, style,orconcerns; 5)ideological orcultural significance, acriterion intended asleavening forthefirstfourinthatitallowedconsiderationoffilmsrelativelyundistinguishedinartistic or technical terms which nevertheless retain exceptional interest as social documents or cultural artifacts. Weaskedadviserstogivespecialconsiderationtofilmsthatilluminatethe history offilmmaking asapopularartandindustry. We gratefully acknowledgetheassistance ofallouradvisers andcontributors, andwish particularlytothankMariaRacheva inMunichandVladimirOpelaandhiscolleaguesatthe CzechoslovakFilmArchives fortheirconsiderablehelpwithEasternEuropean films;John Mraz inMexico forhisworkonCubanandMexicancinema;andIbMonty,Directorofthe Danish Film Museum, for his help with Scandinavian film. We are indebted to Dudley Andrew attheUniversityofIowa forhisadvice andassistance onFrench film;toAnthony SlideandLiamO'Learywhohavebeenmosthelpfulonearlyfilms;JackC.Ellis,chairman of Radio-TV-Film at Northwestern University, for his work on British documentaries; Robin Wood and Roger Manvell who have been extremely generous with their time;P. AdamsSitneyandFredCamperfortheirhelponavant-gardeandexperimentalfilm;andthe many filmscholars intheChicago area thathavegiven their timetothisproject. Researchforthis volume wascarried outprincipallyattheUniversity ofChicago where we received the assistance and early support of Professor Gerald Mast. A project of this scope could not have been undertaken without the help of the Computation Center at the University ofChicagoandparticularlyJamesLichtenstein,whodesigned thecomputerized editing systemwe haveusedandprovided indispensableadvice.Wealsowishtothankthe FilmCenteroftheSchool oftheArtInstitute ofChicago anditsdirectorRichard Pefia;the Film Study Center of the Museum of Modern Art, New York, and especially Ron Magliozzi; Ephraim Katz, author of The Film Encyclopedia, for his advice and his hospitality in New York; Frances Thorpe of the British Film Institute who provided assistanceateachstageoftheproject;andPatriciaCowardwhosoefficientlycarriedoutthe research forthisbook doneattheBFI. VIII We considerthat avolume such as this isin need ofconstantrevision, correction, and updating. We hope that interested readers willbringerrors andomissionstoour attention, andwealsowelcomeadditionstothebibliographies.Pleaseaddress anycorrespondenceon suchmatters totheeditors,care ofS1.James Press, ChicagoorLondon. ChristopherLyon, Editor Susan Doll, AssistantEditor IX ADVISERSAND CONTRIBUTORS Advisers Andrew, Dudley Ellis, Jack C. Mast, Gerald Bardarsky, Dimitar Everson, WilliamK. Monty,Ib Barnouw, Erik Gomery, Douglas O'Leary, Liam Bodeen, DeWitt Kaplan, E. Ann Pefia,Richard Brito, Rui Santana Katz,Ephraim Rabinovitz, Lauren Burgoyne, Robert Kehr, Dave Sitney, P. Adams Ciment, Michel Khanna, Satti Slide, Anthony Cook, David MacCann, Richard Dyer Thorpe, Frances Contributors Affron, Charles Erens,Patricia Lorenz, Janet E. Affron,Mirella Jona Faller, Greg Lowry, Ed Andrew,Dudley Farnsworth, Rodney MacCann, Richard Dyer Armes, Roy Feinstein,Howard Malpazzi, Frances M. Bardarsky,Dimitar Fern, Annette Mancini, Elaine Barnouw,Erik FitzGerald, Theresa Manvell, Roger Basinger, Jeanine Fulks, Barry A. Marchetti, Gina Baxter, John Gomery, Douglas Mast, Gerald Beck,Sandra L. Gomez, Joseph McElhaney, Joseph Bock, Audie Hanson, Patricia King Merhaut, G. Bodeen, DeWitt Hanson, Steve Merritt, Russell Bowers,Ronald Harris, Ann Michaels, Lloyd Bowles, Stephen E. Heck-Rabi, Louise Milicia, Joseph Boyajian, Marco Starr Henry, Catherine Monty,Ib Burton,Julianne Hirano, Kyoko Mraz, John Camper, Fred Holdstein,Deborah H. Murphy, William T. Chediak, Nat Johnson, Timothy Narducy, Ray Clements, William Kaminsky, Stuart M. Nastav, Dennis Conley, Tom Kanoff, Joel O'Leary, Liam Cook, David Kehr, Dave Obalil, Linda J. Cripps,Thomas Kemp, Philip Palmer, R. Barton Derry, Charles Khanna, Satti Pefia,Richard Dunagan, Clyde Kelly Kovacs, Katherine Singer Phillips, Gene D. Dunbar, Robert Leab, Daniel Poague, Leland Edelman, Rob Lee, Sharon Polan,Dana B. Ellis, Jack C. Limbacher, James L. Porton, Richard Elsner-Sommer, Gretchen Lockhart, Kimball Rabinovitz, Lauren x Racheva, Maria Silet, Charles L.P. Tomlinson, Doug Reynolds, Herbert Simmon, Scott Tsiantis, Lee Robson, ArthurG. Sitney, P. Adams Tudor, Anthony Rubinstein, E. Slade, Tony Urgosikova, B. Saeli, Marie Slide, Anthony Welsh, James Salvage, Barbara Small, EdwardS. West, Dennis Schade, W. Curtis Smoodin, Eric White, M.B. Seiter, Ellen E. Snyder, Thomas Winning, Robert Selig, Michael Starr, Cecile Wood, Robin Shochat, Ella Thompson, Frank Translators Robert Streit Lillian Chorvat Czechoslovakian Czechoslovakian Zita Laus Stanley F. Smelhaus Portuguese Czechoslovakian
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