To je konec Amerike!

rsz 10-otok izgubljenih dus 1

 

Zlata doba – Holivud pred vpeljavo Produkcijskega kodeksa

 

Marcel Štefančič, jr.

 

Seznam izvirnih naslovov citiranih filmov v eseju, ki je bil objavljen v dveh delih v reviji Ekran, junij/julij 2013 ter september/oktober 2013 (v eseju so bili uporabljeni samo slovenski naslovi).

 

 

20.000 let v Sing Singu (20.000 Years in Sing Sing, 1933, Michael Curtiz)

Ali so to naši otroci (Are These Our Children, 1931, Wesley Ruggles)

Alibi (1929, Roland West)

Alice Adams (1935, George Stevens)

Ameriška blaznost (American Madness, 1932, Frank Capra)

Ameriška tragedija (An American Tragedy, 1931, Josef von Sternberg)

Ana Karenina (Anna Karenina, 1935, Clarence Brown)

Angel nad Belo hišo (Gabriel Over the White House, 1933, Gregory La Cava)

Ann Vickers (1933, John Cromwell)

Barbar (The Barbarian, 1933, Sam Wood)

Beli zombi (White Zombie, 1932, Victor Halperin)

Bojim se govoriti (Afraid to Talk, 1932, Edward L. Cahn)

Bolero (1934, Wesley Ruggles)

Brezglavi svet (The Cock-Eyed World, 1929, Raoul Walsh)

Brezobzirna ženska (Reckless, 1935, Victor Fleming

Broadway (1929, Paul Fejos)

Bučmani (The Cocoanuts, 1929, Joseph Santley)

Casablanca (1942, Michael Curtiz)

Cock of the Air (1932, Tom Buckingham)

Convention City (1933, Archie Mayo)

Čas parjenja (The Mating Call, 1928, James Cruze)

Človekov grad (Man's Castle, 1933, Frank Borzage)

Človeške vezi (Of Human Bondage, 1934, John Cromwell)

Črna mačka (The Black Cat, 1934, Edgar G. Ulmer)

Črni bes (Black Fury, 1935, Michael Curtiz)

Črni konj (The Dark Horse, 1932, Alfred E. Green)

Črni raj (Black Paradise, 1926, Roy William Neill)

Čudna ljubezen Molly Louvain (The Strange Love of Molly Louvain, 1932, Michael Curtiz)

Dan na dirkah (A Day at the Races, 1937, Sam Wood)

Dantejev Pekel (Dante's Inferno, 1924, Henry Otto)

Dantejev Pekel (Dante's Inferno, 1935, Harry Lachman)

Dekleta v mestu (Girls About Town, 1931, George Cukor)

Deževje (Rain, 1932, Lewis Milestone)

Diplomanijaki (Diplomaniacs, 1933, William A. Seiter)

Divjakinja (Call Her Savage, 1932, John Francis Dillon)

Divji fantje ceste (Wild Boys of the Road, 1933, William A. Wellman)

Doktor Monica (Doctor Monica, 1934, William Keighley)

Doktor X (Doctor X, 1932, Michael Curtiz)

Dr. Jekyll in g. Hyde (Dr. Jekyll and Mr. Hyde, 1932, Rouben Mamoulian)

Drakula (Dracula, 1931, Tod Browning)

Drakulova hči (Dracula's Daughter, 1936, Lambert Hillyer)

Državni sovražnik (The Public Enemy, 1931, William A. Wellman)

Drži svojega moškega (Hold Your Man, 1933, Sam Wood)

Duše nebotičnika (Skyscraper Souls, 1932, Edgar Selwyn)

Ekskluzivne pravice (Exclusive Rights, 1926, Frank O'Connor)

Frankenstein (1931, James Whale)

Frankensteinova nevesta (Bride of Frankenstein, 1935, James Whale)

Goli gležnji (Loose Ankles, 1930, Ted Wilde)

Goljufivka (The Cheat, 1931, George Abbott)

Gospe iz velike hiše (Ladies of the Big House, 1931, Marion Gering)

Grmenje tam spodaj (Thunder Below, 1932, Richard Wallace)

Hitri milijoni (Quick Millions, 1930, Rowland Brown)

Hudičeva lutka (The Devil Doll, 1936, Tod Browning)

Iskanje lepote (Search for Beauty, 1934, Erle C. Kenton)

Izsiljevalec (Racketeer, 1929, Howard Higgin)

Jutranja slava (Morning Glory, 1933, Lowell Sherman)

Kazenski zakonik (The Criminal Code, 1931, Howard Hawks)

Kaznjenčev zakonik (Convict's Code, 1930, Harry Revier)

King Kong (1933, Ernest B. Schoedsack & Merian C. Cooper)

Kleopatra (Cleopatra, 1934, Cecil B. DeMille)

Klondike Annie (1936, Raoul Walsh)

Koča na bombažnem polju (Cabin in the Cotton, 1932, Michael Curtiz)

Konjsko perje (Horse Feathers, 1932, Norman Z. McLeod)

Kralj kraljev (The King of Kings, 1927, Cecil B. DeMille)

Kralj vžigalic (The Match King, 1932, Howard Bretherton & William Keighley)

Krogle ali kroglice (Bullets or Ballots, 1936, William Keighley)

Krokar (The Raven, 1935, Lew Landers)

Kronska priča (The Star Witness, 1931, William A. Wellman)

Krotilci (Animal Crackers, 1930, Victor Heerman)

Krvavi denar (Blood Money, 1933, Rowland Brown)

Lačna ženska (Woman Hungry, 1931, Clarence G. Badger)

Ladja torture (Torture Ship, 1939, Victor Halperin)

Lahkonoga parada (Footlight Parade, 1933, Lloyd Bacon)

Ljubice in žene (Sweethearts and Wives, 1930, Clarence G. Badger)

Ločenka (The Divorcee, 1932, Robert Z. Leonard)

Madame Butterfly (1932, Marion Gering)

Madame Satan (1930, Cecil B. DeMille)

Male ženske (Little Women, 1933, George Cukor)

Mali Cezar (Little Caesar, 1930, Mervyn LeRoy)

Mamila (Narcotic, 1934, Dwain Esper)

Mandalay (1934, Michael Curtiz)

Manhattanska melodrama (Manhattan Melodrama, 1934, Woodbridge S. Van Dyke II)

Manijak (Maniac, 1934, Dwain Esper)

Mansarda (Penthouse, 1933, W.S. Van Dyke)

Maska Fu Manchuja (The Mask of Fu Manchu, 1932, Charles Brabin)

Megla nad Friscom (Fog Over Frisco, 1934, William Dieterle)

Mestne ulice (City Streets, 1930, Rouben Mamoulian)

Mi, ki smo mladi (We Who Are Young, 1940, Harold S. Bucquet)

Množica (The Crowd, 1928, King Vidor)

Mož se zabava (Party Husband, 1931, Clarence G. Badger)

Mož z brazgotino (Scarface, 1932, Howard Hawks)

Možje v belem (Men in White, 1934, Richard Boleslawski)

Mrtvec, ki hodi (The Walking Dead, 1936, Michael Curtiz)

Mumija (The Mummy, 1932, Karl Freund)

Muzej voščenih lutk (Mystery of the Wax Museum, 1933, Michael Curtiz)

Na zahodu nič novega (All Quiet on the Western Front, 1930, Lewis Milestone)

Načrt za življenje (Design for Living, 1933, Ernst Lubitsch)

Nadnaravno (Supernatural, 1933, Victor Halperin)

Najlažja pot (The Easiest Way, 1931, Jack Conway)

Nana (1934, Dorothy Arzner & George Fitzmaurice)

Naslovna stran (The Front Page, 1931, Lewis Milestone)

Naše plešoče hčerke (Our Dancing Daughters, 1928, Harry Beaumont)

Ne, ne, Nanette (No, No, Nanette, 1930, Clarence G. Badger)

Nespametni (Born Reckless, 1930, Andrew Bennison & John Ford)

Neurje (Thunderbolt, 1929, Josef von Sternberg)

Nevidni človek (The Invisible Man, 1933, James Whale)

Nevidni žarek (The Invisible Ray, 1936, Lambert Hillyer)

Nič več dama (Ex-Lady, 1933, Robert Florey)

Nisem angel (I'm No Angel, 1933, Wesley Ruggles)

Nočna negovalka (Night Nurse, 1931, William A. Wellman)

Nora ljubezen (Mad Love, 1935, Karl Freund)

Nora vojna bratov Marx (Duck Soup, 1933, Leo McCarey)

Norčije v operi (A Night at the Opera, 1935, Sam Wood)

Nori genij (The Mad Genius, 1931, Michael Curtiz)

Nove dogodivščine podjetnega Wallingforda (New Adventures of Get Rich Quick Wallingford, 1931, Sam Wood)

Oblast in slava (The Power and the Glory, 1933, William K. Howard)

Obsedena (Possessed, 1931, Clarence Brown)

Orel in sokol (The Eagle and the Hawk, 1933, Mitchell Leisen)

Oštevilčeni (Numbered Men, 1930, Mervyn LeRoy)

Otok izgubljenih duš (Island of Lost Souls, 1933, Erle C. Kenton)

Otroški obraz (Baby Face, 1933, Alfred E. Green)

Pariška plesalka (The Dancer of Paris, 1926, Alfred Santell)

Pariz (Paris, 1929, Clarence G. Badger)

Peklenska cesta (Hell's Highway, 1932, Rowland Brown)

Pesem pesmi (The Song of Songs, 1933, Rouben Mamoulian)

Pirat (Corsair, 1931, Roland West)

Plačilo (Paid, 1930, Sam Wood)

Platinasta blondinka (Platinum Blonde, 1931, Frank Capra)

Plenilec (The Ghoul, 1933, T. Hayes Hunter)

Plešite, norci, plešite (Dance, Fools, Dance, 1931, Harry Beaumont)

Pobegnil sem z verige (I Am a Fugitive from a Chain Gang, 1932, Mervyn LeRoy)

Počitnice (Holiday, 1938, George Cukor)

Pohlep (Greed, 1924, Erich von Stroheim)

Poročena s pisarno (The Office Wife, 1930, Lloyd Bacon)

Postelja v cvetju (Bed of Roses, 1933, Gregory La Cava)

Pošast hodi (The Monster Walks, 1932, Frank R. Strayer)

Pot v pogubo (The Road to Ruin, 1928, Norton S. Parker)

Pozabljene zapovedi (Forgotten Commandments, 1932, Louis J. Gasnier & William Schorr)

Prepovedano (Illicit, 1931, Archie Mayo)

Prizor z ulice (Street Scene, 1931, King Vidor)

Prst kaže (The Finger Points, 1930, John F. Dillon)

Quality Street (1937, George Stevens)

Rajska ptica (Bird of Paradise, 1932, King Vidor)

Razcvet (Prosperity, 1932, Sam Wood)

Razprodaja herojev (Heroes for Sale, 1933, William A. Wellman)

Rdeča cesarica (The Scarlet Empress, 1934, Josef von Sternberg)

Rdečelaska (Red Headed Woman, 1932, Jack Conway)

Rdeči prah (Red Dust, 1932, Victor Fleming)

Ritmi ljubezni (Murder at the Vanities, 1934, Mitchell Leisen)

Rop draguljev (Jewel Robbery, 1932, William Dieterle)

Seks bomba (Bombshell, 1933, Victor Fleming)

Senca zakona (Shadow of the Law, 1930, Louis J. Gasnier)

Sfinga (The Sphinx, 1933, Phil Rosen)

Skrivnostna šesterica (The Secret Six, 1930, George Hill)

Skrivnostna ženska (The Mysterious Lady, 1928, Fred Niblo)

Slaba družba (Bad Company, 1931, Tay Garnett)

Slepa ulica (Dead End, 1937, William Wyler)

Smeh v peklu (Laughter in Hell, 1933, Edward L. Cahn)

Smrt na počitnicah (Death Takes a Holiday, 1934, Mitchell Leisen)

Sodobno materinstvo (Modern Motherhood, 1934, Dwain Esper)

Spake (Freaks, 1932, Tod Browning)

Stara mračna hiša (Old Dark House, 1932, James Whale)

Svengali (1931, Archie Mayo)

Svet se spreminja (The World Changes, 1933, Mervyn LeRoy)

Svetlolasa Venera (Blonde Venus, 1932, Josef von Sternberg)

Svobodna duša (A Free Soul, 1931, Clarence Brown)

Sylvia Scarlett (1935, George Cukor)

Škandal na Rivieri (Riptide, 1934, Edmund Goulding)

Škandali Georgea Whitea (George White's Scandals, 1934, Thornton Freeland, Harry Lachman & George White)

Ta noč je najina (Tonight Is Ours, 1933, Mitchell Leisen)

Tarzan in njegova prijateljica (Tarzan and His Mate, 1934, Jack Conway & Cedric Gibbons)

Težave v raju (Trouble in Paradise, 1932, Ernst Lubitsch)

Tiste tri (These Three, 1936, William Wyler)

Tisto (It, 1927, Clarence G. Badger)

To je torej Afrika (So This Is Africa, 1933, Edward Cline)

Topaze (1933, Harry d'Abbadie d'Arrast)

Trinajst žensk (Thirteen Women, 1932, George Archainbaud)

Umori v ulici Morgue (Murders in the Rue Morgue, 1932, Robert Florey)

Upor zombijev (Revolt of the Zombies, 1936, Victor Halperin)

Upornica (A Woman Rebels, 1936, Mark Sandrich)

V tem času (This Day and Age, 1933, Cecil B. DeMille)

V znamenju križa (The Sign of the Cross, 1932, Cecil B. DeMille)

Vampir (The Vampire Bat, 1933, Frank R. Strayer)

Velemestni blues (Big City Blues, 1932, Mervyn LeRoy)

Velika hiša (The Big House, 1930, George Hill)

Vesela vdova (The Merry Widow, 1925, Erich von Stroheim)

Veselo gremo v pekel (Merrily We Go to Hell, 1932, Dorothy Arzner)

Vhod za igralce (Stage Door, 1937, Gregory La Cava)

Volkodlak iz Londona (Werewolf of London, 1935, Stuart Walker)

Vrata v pekel (Doorway to Hell, 1930, Archie Mayo)

Vražji angeli (Hell's Angels, 1930, Howard Hughes)

Vroča dedinja (The Hot Heiress, 1931, Clarence G. Badger)

Vroča sobota (Hot Saturday, 1932, William A. Seiter)

Vse to mu je zakuhala ona (She Done Him Wrong, 1933, Lowell Sherman)

Vzgoja otroka (Bringing Up Baby, 1938, Howard Hawks)

Vžigalica za tri (Three on a Match, 1932, Mervyn LeRoy)

Washingtonski vrtiljak (Washington Merry-Go-Round, 1932, James Cruze)

Waterloojski most (Waterloo Bridge, 1931, James Whale)

Wonder Bar (1934, Lloyd Bacon)

Zadnja milja (The Last Mile, 1932, Sam Bischoff)

Zadnja parada (The Last Parade, 1930, Erle C. Kenton)

Zakon (The Common Law, 1931, Paul L. Stein)

Zasebna življenja (Private Lives, 1931, Sidney Franklin)

Zbogom, orožje (A Farewell to Arms, 1932, Frank Borzage)

Zgodba o Temple Drake (The Story of Temple Drake, 1933, Stephen Roberts)

Zgodilo se je neke noči (It Happened One Night, 1934, Frank Capra)

Zlata mrzlica (The Gold Rush, 1925, Charles Chaplin)

Znamenje vampirja (The Mark of the Vampire, 1935, Tod Browning)

Zver mesta (The Beast of the City, 1932, Charles Brabin)

Zvezni agenti (G-Men, 1935, William Keighley)

Žalostna pevka (Torch Singer, 1933, Alexander Hall & George Somnes)

Ženska (Female, 1933, Michael Curtiz)

Živ pokopan (Buried Alive, 1939, Victor Halperin)

Župan pekla (The Mayor of Hell, 1933, Archie Mayo)

Domov
Novice
Kolumna
Iz tiskane izdaje
Video
O Ekranu
Naročilo revije
Prodajna mesta
Impresum
Kontakt
NASLOVNICA AKTUALNE ŠTEVILKE

2017_naslovnica_ekran_februar_marec2017

 
KOLUMNA

Življenje po koncu filma


Začetek filma in najavna špica predstavljata tisto tanko mejo med realnostjo (kinodvorane) in fikcijo (filma), konec filma in njegova odjavna špica pa prečkata isto mejo v nasprotni smeri. Če je naloga začetka filma, da »nas iz rutine vsakdana popelje v svet fikcije«, kakor je nekje pripomnila Jela Krečič, je naloga filmskega konca in odjavne špice, da nas pospremita iz fikcije in privedeta nazaj tja, kjer smo že ves čas bili, na sedež dvorane.


Preberi več...  
mens hairstyles Hotels And Travels home decorators collection big lots furniture interior decorating Home decorators bad credit loans electric cars
ZADNJI KOMENTARJI
IZ TISKANE IZDAJE
NAJBOLJ BRANO
EKIPA
PIŠITE NAM!

2009 © Ekran

r57c99 shell