bwana devil
tsavo man - eaters: bwana devil (pt. 2 of 5) - youtube
scene from the movie ,
bwana devil .
( reg hartt / via youtube )
variety, january 1. bwana devil (1. 95. bwana devil ^. eyerman' s iconic photo of a bespectacled 3 - d audience at the hollywood premiere of bwana devil. ^ thomas y. levin dismantling the spectacle: the cinema of guy debord ^ eyerman original version later used by debord .
a 1952 screening of arch oboler’s “bwana devil, ” the first commercial 3 - d feature in color .
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from' bwana devil' to' avatar': 3 - d film’s evolution | 90. 1 fm wabe
' bwana devil' is currently available to rent, purchase, or stream via subscription on amazon. com, and epix .
bwana devil - wikipedia. bwana devil is a 1. u. s. the film is notable for sparking the first 3 - d film craze in the motion picture industry, as well as for being the first 3 - d film in color and the first 3 - d sound feature in english .
bwana devil was written, directed and produced by arch oboler and stars robert stack, barbara britton and nigel bruce. ! a lover in your arms !
with the headline: the screen in review;' bwana devil,' feature - length film in three dimensions, has bow at loew' s state .
devil, ” which many assume is the first 3 - d feature film .
get nerdy with it at drunken devil' s bawdy, monthly burlesque brunch .
we' ve listed a number of streaming and cable services - including rental, purchase, and subscription alternatives - along with the availability of' bwana devil' on each platform. now, before we get into the fundamentals of how you can watch' bwana devil' right now, here are some particulars about the adventure flick .
drunken devil' s third annual summer soirée transported guests to a sleazy grindhouse theater .
formally - attired audience sporting 3 - d glasses during opening night screening of movie bwana devil. (j. r. eyerman / time & life pictures / getty image )
bwana devil played at the second world 3 - d film expo on september 13, 2006 in two strip polarized 3 - d at the egyptian theater in hollywood, ca .
the first full - length 3 - d color film was “bwana devil, ” the one whose premiere was photographed in 1952. the film, however, was not very good .
drunken devil parties live somewhere between the debauchery of studio 54 and the aesthetic of halloween .
“the most common complaint about bwana devil at the time of its release, from audiences & critics alike, echoed ebert’s exact concerns: that the process rendered the film too dark when viewed through the specialty glasses required to created the 3d effect. bwana devil’s advertising famously promised ‘a lion in your lap! a lover in your arms! ’, but the most visually striking image the film produced was the look of its 1950s audience watching it in the theaters. consider the iconic life magazine image of the bwana devil audience donning their 3d glasses & enjoying the film’s novelty. there’s far more historical significance & interesting visual composition in that single still image than there is in the entirety of bwana devil ‘s entire 79 minute runtime. ”
i felt no eye strain while viewing
bwana devil
through the polaroid lenses, but i was conscious of having to make a visual adjustment whenever the scene shifted on the screen .
as the popularity of television skyrocketed after world war ii, 3 - d movies made a brief splash in 1952 with the wildly successful movies
bwana devil
and
the house of wax .
philadelphia, dallas, houston and san antonio on december 2. new york on february 1. gunzburg presents 3 - d, a short film produced by bob clampett and featuring beany and cecil, was screened preceding the film. long thought lost, the short rejoined bwana devil for screenings at the egyptian theater in 2. united artists bought the rights to bwana devil from arch oboler productions for $ 5 .
most of the action of
bwana devil
was produced in hollywood, but the background scenes were photographed, under oboler' s direction, in the heart of the belgian congo and in british east africa .
bwana devil (1952) — british railway workers in kenya are becoming the favorite snack of two man - eating lions. head engineer bob hayward becomes obsessed with trying to kill the beasts before they maul everyone on his crew .
bwana devil dvd is available as a deluxe edition with custom cover and dvd case. important: this title is manufactured - on - demand from the best - quality video master currently available and has not been remastered or restored .
1952 sees the beginning of the three - year period referred to as the
golden era
of 3 - d cinema. bwana devil, the first colour stereoscopic feature, produced, written and directed by arch oboler, is released .
3 - d movie viewers. formally - attired audience sporting 3 - d (3d) glasses during opening night screening of movie bwana devil - 1st full length color 3 - d (aka natural vision) motion picture, at paramount theater .
more than a decade later, he wrote, directed and produced the first three - dimensional movie,'' bwana devil,'' which had moviegoers in special eyeglasses ducking when african spears and lions appeared to be flying off the screen directly at them .
crowds streamed into loew' s state theatre yesterday to get their first sight of arch oboler' s united artists' production of
bwana devil ,
which had been heralded as the first full length feature picture to be photographed in a three - dimensional process known as natural vision .
unless indicated otherwise, the text in this article is either based on wikipedia article
bwana devil
or another language wikipedia page thereof used under the terms of the gnu free documentation license; or on original research by jahsonic and friends. see art and popular culture' s copyright notice .
the paramount ranch, now located in the santa monica mountains national recreation area, sat in for an african savanna. there is a now a hiking trail in the area named
the bwana trail
to denote the locations used in bwana devil. authentic african footage previously lensed by arch oboler in 1948 (in 2 - d) was incorporated into the film. ansco color film was used instead of the more expensive and cumbersome technicolor process .
caption from life: formally attired audience sporting 3 - d glasses during opening night screening of film “bwana devil, ” the 1st full length, color 3 - d (aka “natural vision”) motion picture, at paramount theater, hollywood, ca. photo by j. r. eyerman, 1952
actor keefe brasselle and his wife, norma, wear 3 - d glasses at the 1952 premiere of
bwana devil
in hollywood, california. discomfort associated with the glasses has been a problem throughout the history of 3 - d entertainment, but the technology is finally going glasses - free .
the 3d process was first brought to the big screen in the 1920s, but it wasn' t until the 1950s that the' golden era' of 3d began. the film that started the craze was bwana devil, the story of man - eating lions disrupting the building of the uganda railroad. the 3d polarising system used in the creation of bwana devil was different than the one used in the 1920s and it was the first full colour 3d feature. this contributed greatly to the success of the film. it became an overnight sensation and the film industry jumped to embrace the new technology .
the natural vision 3 - d camera system was used to shoot a number of 1950s 3 - d movies, including bwana devil, house of wax, and september storm. the only surviving natural vision rig is in the 3 - d space museum collection. support our kickstarter campaign to # saveseptemberstorm urltoken
☛ life: “full frame of movie audience wearing special 3d glasses to view film bwana devil which was shot with new “natural vision” 3 dimensional technology. ” photo by j. r. eyerman, paramount theater, hollywood, california, november 26, 1952. the same image is availbale at getty images .
the first 3 - d film in natural vision was bwana devil (1952), which was followed by several hastily shot action films. it is generally believed that the popularity of 3 - d in the united states subsided after about a year because of the low quality of the films presented. filmmakers in italy, …
caption from life: formally attired audience sporting 3 - d (3d) glasses during opening night screening of film “bwana devil, ” the 1st full length color 3 - d (aka “natural vision”) motion picture, seated in balcony under projection rm. , at paramount theater. photo by j. r. eyerman, 1952
in 1952, bwana devil, a film about two man - eating lions, became the first 3d feature film to hit theaters. how far we' ve come: improved technology, wider availability, and avatar have ignited a 3d revolution. how far we' ve not come: those glasses are still mostly hideous and uncomfortable .
invaders from mars began filming on september 25, 1952. there is no mention in the trades for 3 - d treatment on this film. bwana devil had completed principal photography on july 12, 1952. if producer edward l. alperson had wanted 3 - d lensing for ifm, the natural vision camera rig would have been available .
bwana devil ,
an adventure film about colonial settlers battling man - eating lions in africa, became the first color 3 - d movie. after success at preliminary screenings, the film was released to the public in 1953 by united artists. two projectors were required to merge images onscreen and help create the 3 - d effect .
caption from life: 3 - d movie viewers. formally attired audience sporting 3 - d (3d) glasses during opening night screening of movie “bwana devil, ” the 1st full length, color 3 - d (aka “natural vision”) motion picture, at paramount theater, hollywood, ca. photo by j. r. eyerman, 1952
kameme is back - click here. click here for iko nini bwana seed archive. nation tv click here for ken tv = = = = = sokoni business investment club .
the photo was originally taken by life photographer j. r. eyerman (1906 - 1985) at “the premiere screening of film bwana devil, directed by arch oboler, the 1st full - length, color 3d (aka “natural vision”) motion picture”. it first appeared in the december 15, 1952 issue of life magazine with the following commentary :
the iconic life magazine photo of elegantly - dressed moviegoers wearing 3 - d glasses depicts the audience watching this film at the world premiere of bwana devil in los angeles on november 27, 1952. five months later, this short became the first 3 - d film ever shown on television (april 29, 1953) during a test broadcast on keca in los angeles .
bwana devil is a 1952 drama based on the true story of the tsavo maneaters. it was written, directed, and produced by arch oboler, and is considered the first color, american 3 - d feature. it started the 3 - d boom in the us film making industry from 1952 to 1954. it stars robert stack, barbara britton and nigel bruce .
bwana - significados en espa dreniknet, internet service provider - dreniknet, internet provajder. adam friza je multimedijalni umetnik; slika, pravi kola. jambo bwana (swahili) in 1982, the kenyan hotel band them mushrooms released the song' jambo bwana' (' hello mister'). the song, written by band leader teddy. this page was last modified on 21 july 2016, at 20: 00. text is available under the creative commons attribution - sharealike license; additional terms may apply. by using this site, you agree to the terms of use and .
the true story of man - eating lions that was remade in the 90s (the ghost and the darkness). bwana devil was the first color 3 - d film ever released, and i wish i had gotten to see it that way. low production values sink this but the story is decent and i' m becoming a big fan of robert stack outside of unsolved mysteries .
milton lowell gunzburg, president of natural vision corporation, supervised prominent 3 - d productions, including bwana devil, house of wax and the charge at feather river. made as a prologue to arch oboler’s bwana devil, this short explains how natural vision 3 - d works and is “healthy and beneficial” for your eyes. lloyd nolan (a tree grows in brooklyn) serves as our guide, introducing us to beany and cecil (voiced by daws butler and stan freberg, respectively), stars of bob clampett’s time for beany television show, and miss u. s. a of 1949 shirley tegge, newly - christened “miss third dimension. ” according to natural vision cameraman lothrop worth, this footage was shot in the library of the berch estate, a beverly hills mansion .
not true. the publicity for bwana devil stated: the world’s first feature in natural vision 3 - dimension. this statement is true; the key being the words “natural vision, ” the trade name of the 3 - d equipment used to shoot the film. in later years, the film’s writer / producer / director arch oboler was surprised to learn it was not first. he really believed it. the first feature 3 - d motion picture was the power of love (sept 1922). however, bwana was the first 3 - d feature film to have international exhibition .
the stereopticon effect is quite remarkable and i think oboler chose his experimental material well. considered by itself, the story of
bwana devil
is no great shakes, but oboler, who wrote the screenplay from an african legend, directed and produced the picture himself, has proved to his and the public' s satisfaction that a story may very well be adapted to any 3 - d process .
generally, i don’t bother with old - school jungle adventure movies. the genre as a whole just doesn’t interest me. i’m going to make an exception, though, in the case of bwana devil because of the tremendous significance of this all - but - forgotten film in the history of exploitation cinema as a whole. bwana devil, as the more erudite of you may already know, was the first feature - length movie ever shot in 3 - d. given the great importance of idiotic gimmicks in the marketing of exploitation movies of all genres over the years, i think it ought to be pretty obvious what a milestone this movie becomes on the strength of that pioneer status. and so, just this once, i’m setting aside my prejudice against jungle movies to bring it to your attention .
bwana devil is a 1952 drama based on the true story of the tsavo maneaters. it was written, directed, and produced by arch oboler and is considered to be the first american feature - length 3 - d film in color. it is notable for sparking the first 3 - d boom in the u. s. motion picture industry. it stars robert stack, barbara britton and nigel bruce .
bwana devil is a 1952 drama based on the true story of the tsavo maneaters. it was written, directed, and produced by arch oboler and is considered to be the first american feature - length 3 - d film in color. it is notable for sparking the first 3 - d boom in the u. s. motion picture industry. it stars robert stack, barbara britton and nigel bruce .
outside of the novel sensation of seeing movie images appear as though they are being looked at through a large - size stereoscope - - an illusion that fluctuates greatly and is crudely and artlessly used - - there is little or no stimulation of a pictorial or dramatic sort to be had from arch oboler' s
bwana devil ,
which came to loew' s state yesterday. view full article in timesmachine »
wherever it has been shown ,
bwana devil
has attracted much interest, has brought gold to the box office and has caused practically every major producer in hollywood to announce plans for 3 - d film. oboler will go down in the annals of hollywood as the man who pioneered in 3 - d films, since he is the first producer to use the gunzburg natural vision process on a feature - length film .
some features (creature from the black lagoon, it came from outer space, the maze, robot monster, the mad magician) were converted to anaglyphic 3 - d in the 1970' s for re - issue. others (miss sadie thompson, bwana devil, gorilla at large, revenge of the creature, hondo) were converted in the 1980' s for television broadcast. all were originally shown theatrically in polarized 3 - d .
1961 bwana don in jungle - la aired on wjbk from 1960 to 1963. with his chimp bongo bailey, don hunt hosted cartoons while teaching detroit’s small fry about the wonders of the animal kingdom. in the summer of 1961 hunt took a .
george pal was assigned to the war of the worlds project in july of 1951. pre - production continued throughout the rest of the year and filming commenced in mid - january 1952. arch oboler announced plans to produce the first 3 - d feature film on february 4, 1952 but production on lions of gulu (bwana devil) did not begin until june 18. had george pal desired 3 - d for war of the worlds, the natural vision camera would have certainly been available during january and february of 1952 .
united artists bought the rights to bwana devil from
arch oboler productions
for $ 500, 000 and a share of the profits and began a wide release of the film in march as a
united artists
film. a lawsuit followed, in which producer edward l. alperson jr. claimed that he was part owner in the film after purchasing a part of it for $ 1, 000, 000 usd. the courts decided in oboler' s favor, as alperson' s claim was unsubstantiated and
under the table
.
the drunken devil presented sin - a - rama, a grindhouse - themed soirée and immersive theater experience on saturday, june 23. held at a private location, the night offered exploitation - inspired burlesque performances by olivia bellafontaine, miss ashley hayward, brynn route and kristina nekyia, as w ...
this weekend, you can celebrate some of the longest days of the year in the southern california sun — from arroyo seco weekend in pasadena and ciclavia in the valley to a mass meditation in an open field and a massive bounce house. for those who prefer the nighttime, drunken devil holds an imm ...
these megalopic creatures are the first paying audience for the latest cinematic novelty, natural vision. this process gets a three - dimensional effect by using two projectors with polaroid filters and giving the spectators polaroid spectacles to wear. the movie at the premiere, called bwana devil, did achieve some striking three - dimensional sequences. but members of the audience reported that the glasses were uncomfortable, the film itself — dealing with two scholarly looking lions who ate up quantities of humans in africa — was dull, and it was generally agreed that the audience itself looked more startling than anything on the screen. (life: “life at the movies: when 3d was new” by ben cosgrove )
3 - d movie viewers. formally - attired audience sporting 3 - d (3d) glasses during ...
filmmaker jean - jacques annaud, ex - basketball star magic johnson & sony of amer. ceo michael schulhof sporting 3 - d headsets .
filmmaker jean - jacques annaud, ex - basketball star magic johnson & sony of amer. ceo ...
soldier being training using virtual reality - simulated 3 - d shootout at army facilty .
soldier being training using virtual reality - simulated 3 - d shootout at army ...
model christie brinkley fooling around w. a groucho marx impersonator at the opening of sony' s 3 - d imax theatre .
model christie brinkley fooling around w. a groucho marx impersonator at the ...
cyberman, 3 - d computer mouse / joystick controller by logitech, for use w. cyberman compatible virtual reality games .
cyberman, 3 - d computer mouse / joystick controller by logitech, for use w. cyberman ...
people watching tv demonstrating the use of 3 - d glasses which will be worn by viewers during halftime show of the superbowl. ; 1989
people watching tv demonstrating the use of 3 - d glasses which will be worn by ...
stereophogrammetry, 3 - d photos taken with special camera to measure physical body differences & development .
stereophogrammetry, 3 - d photos taken with special camera to measure physical body ...
prof. at michigan university, emmett leith, demonstrating attribute of holography, creation of a realistic image in three dimensions using laser beam .
prof. at michigan university, emmett leith, demonstrating attribute of holography, ...
two perspectives of hologram projected on screens when laser passes through hologram at different places. hologram made by juris upatnieks .
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»the only interesting undertaking is the liberation of everyday life, not only within a historical perspective but for us and right away. this entails the withering away of alienated forms of communication. the cinema, too, has to be destroyed. « [ 1 ]
»it is society and not technology that has made cinema what it is. the cinema could have been historical examination, theory, essay, memories. it could have been the film which i am making at this moment. « [ 2 ]
general, [ which ] as the concrete inversion of life, is the autonomous movement of the non - living. » although this distinction itself merits a close and careful reading, for the present investigation it must suffice to say that the latter use of the expression is allegorical: «the spectacle, as the present social organization of the paralysis of history and memory, of the abandonment of history built on the foundation of historical time, is the false consciousness of time» (sos, thesis 158). the conflation in turn stems from debord´s rhetorical employment of the notion of spectacles qua images or representation to concretize his reading of «spectacle» as the allegory of late capital .
here film functions not as the cause but as an illustration, an ‹evocation»›or figure—albeit a privileged one—for a socio - political and epistemological shift that has taken place under late capitalism. an attitude toward the production of spectacle (home movies) is taken as a symptom of a «spectacular economy» (the temporality of an alienated social condition). as debord
the interest in film on the part of the si must be understood in light of the significance in its genealogy of the artistic avant - garde: an important dimension of what could be called the «situationist project» involved the production of (art) works. it was essential, however, that such works be critiques of the current historical moment and contain their own negation—that is, they should be in a sense antiworks. as raoul vaneigem phrased it in a statement put forth at the fifth si conference in göteborg, sweden (august 1961): «it is a question not of elaborating the spectacle of refusal, but rather of refusing the spectacle. in order for their elaboration to be artistic in the new
the first official articulation of the si position on cinema occurs in a subsection of one of the first articles in the first issue of is in 1958 entitled, indicatively, «for and against the cinema« [ 15 ] «cinema is the central art of our society, » the editorial begins, and the formal and anecdotal expression in the cinema as well as it material infrastructure are «the best representation of an epoch of anarchically juxtaposed inventions (not articulated but simply combined). « [ 16 ] but rather than making use of the extraordinary capacities opened up by its technical innovations, so the argument continues, the cinema offers a passive substitute to unitary artistic activity, an exponential
increase in the reactionary power of nonparticipatory spectacle. the text makes it clear, however, that this could be otherwise: « [ … ] those that want to construct this [ new ] world must simultaneously fight the tendency of cinema to constitute the anti - construction of situations (the construction of a slave atmosphere, the succession of the cathedrals) while recognizing the significance of the new technological developments (stereo sound, odorama) which are valuable in and of themselves. » [ 17 ]
the opposite of a knee - jerk rejection of cinematic technology as such, the editorial attributes the reactionary state of the medium (the absence of avant - garde developments manifest in the plastic arts and in literature—see «the two avant gardes» by peter wollen) to economic and ideological constraints, but also to the social importance of the medium. it is this importance, in turn, that makes it necessary that the medium remain in the control of the hegemonic class. instead of abandoning film as hopelessly contaminated, the article closes instead with a call for its appropriation. cinema is likened to architecture (another major si concern) in terms of its significancewithin daily life, the difficulties facing any attempt at its renovation, and the imperative for just such a transformation. this leads to the following conclusion: «one must therefore struggle to appropriate a truly experimental sector within the cinema. we can envisage two distinct ways of using cinema: first, its employment as a form of propaganda in the pre - situationist transition period; then its direct employment as a constitutive element of an actual situation. » [ 18 ] one could read this as the first, rough outline of a manifesto for an (anti) situationist film practice .
to gain a more detailed understanding of the motivations behind the si espousal of film as a revolutionary weapon, one must examine remarks scattered throughout their publications. in one of the more programmatic of these statements, the concluding section of the article «the situationists and the new forms of action against politics and art, » rené viénet argues that the si must make use of the cinema—»the newest and without doubt most useful means of expression of our epoch«—as a didactic, analytic, and critical tool: «among other possibilities ,
the cinema lends itself particularly well to studying the present as an historical problem, to dismantling processes of reification. historical reality can, of course, be apprehended, known and filmed only in the course of a complicated process of mediations [ … ] this mediation would be difficult if the empirical existence of facts themselves was not already a mediated existence, which only takes on an appearance of immediateness because of and to the extent that, on the one hand, consciousness of the mediation is lacking and, on the other hand, the facts have been uprooted from the network of their determinations, placed in an artificial isolation and poorly linked together again by the montage of classical cinema. it is precisely this mediation, which has been lacking, and inevitably so, in pre - situationist cinema, which has limited itself to so called objective forms or representation of politico - moral concepts, whenever it has not been a merely academic type of narrative with all its hypocrisies. » [ 19 ]
viénet´s conception of an si film practice enlists thespecific capacities of the medium (above all, photographic documentation, voice - over, and analytic montage) to expose the always already mediated status of the seemingly immediate and «natural» world constructed in classical, or pre - situationist, cinema. the present is studied as a historical problem, history is recast as a problem of representation, and, above all, the practice of representation itself is continuously subjected to critical interrogation. this staging of mediation takes the form of a work on other mediations, primarily by means of cinema´s elective affinity to the important strategy of citation and reinscription referred to as détournement. indeed, in a programmatic essay, the editorial collective of is goes so far as to say that «the signature of the movement, the trace of its presence and its contestation in contemporary cultural reality…is first and foremost the employment of détournement. » [ 20 ]
it is in this capacity for visual - acoustic détournement that cinema finds its single most important justification as an instrument of si activity. as debord and gil j wolman confirm in their user´s guide to this hallmark si activity, among the various
vehicles for détournement such as posters, records, radio broadcasts, and comic strips, none lends itself better than cinema: «it is obviously in the framework of the cinema that détournement can attain its greatest efficacity, and undoubtedly, for those concerned with this aspect, its greatest beauty. » [ 21 ] as will become evident below, such détournement can take a number of forms. on the one hand, in he double movement of this «powerful cultural weapon» the context and meaning of both insignificant phenomena (newspaper clippings, advertisements, quotidian phrases) and significant elements (citations from marx or saint - just, a sequence from an eisenstein film) can be displaced and estranged before being subsequently reinscribed and transformed through radical juxtaposition .
unavailable since debord published detailed scenarios of his film works in both journals and books on a number of occasions. the first three scenarios appeared in a volume entitled (indicatively) contre le cinema (against the cinema) [ fig. 6. 4 ] published by the scandinavian institute for comparative vandalism in 1964, [ 37 ] and in 1978 the scenarios of all six of debord´s films were made available in the collection oeuvres cinématographiques completes, 1952–1978 (complete cinematographic works). [ 38 ] with only one exception, which will be articulated below, the study of debord´s anti - spectacular cinema is forced to take recourse to the only available traces, the appropriately nonspectacular textual scenarios .
given debord’s deep suspicion of the televisual, why then would his films suddenly reappear after his death on tv? in his letter to me in 1987 he had explained that one of the reasons why he felt he could no longer risk having his films in circulation was due to «structural changes» in the film industry having to do with the pressures of television. unwilling to risk having his films simply inserted into the banalizing continuum of what raymond williams called the televisual «flow, » by withdrawing his films he effectively guaranteed for himself the ability to control their rigorous refusal of the televisual dispositif, at least until that time when
he could both provide them with the necessary frame (his first and only work for tv) and, as he had effectively told me in our correspondence in 1987, when he was no longer alive. in so doing, i. e. in insisting on his own death as a precondition for the work of the ciné - fils to appear in the televisual dispositif that was effectively synonymous with at least one of the deaths of cinema, debord revealed the history of his engagement with cinema as a critical performative reflection on the cultural politics of the cinema across the complex history (before, with and after) of its multiple dispositifs .
[ 1 ] ken knabb, ed. and trans. , situationist international anthology, berkeley: bureau of public secrets, 1981, p. 33. (where published translations are employed within the body of the text, the original language citations are provided following the translated reference. where no english - language - source is given, the translation is mine .) guy debord, «sur le passage de quelques persones à travers une assez courte unite de temps, » in oeuvres cinématographiques complètes, 1952–1978, paris: editions champ libre, 1978, p. 31 .
[ 2 ] guy debord, «in girum imus nocte et consumimur igni, » in oeuvres cinématographiques complètes, 1952–1978, paris: editions champ libre, 1978, pp. 207–208 .
[ 4 ] it is entirely appropriate that these illustrations appear only in the unauthorized translation of society of the spectacle published in america, the country in many ways paradigmatic for the culture of consumption and alienation that is the focus of the study. in the first edition of la societé du spectacle (paris: buchet - chastel 1967, the pirate german edition of die gesellschaft des spektakels (düsseldorf, projektgruppe gegengesellschaft, 1971), and the «authorized [ german ] translation» by jean - jacques raspaud (hamburg, edition nautilus, 1978) there are no illustrations whatsoever. only the current french reprint (paris: editions champ libre, 1971) has an image on its cover, a reproduction of a turn - of - thecentury world map whose colors indicate the current and projected state of global commercial development. debord´s account of the choice of this map can be found in his small book, considérations sur l´assassinat de gérard lebovici, paris: editions gérard lebovici, 1985, pp. 33–34 .
[ 5 ] the first 34 theses of la sociéte du spectacle were first published under the title «la separation achevée» in the si journal internationale situationniste 11 (october 1967), pp. 43–48 (hereafter is) .
[ 6 ] the translation of détournement, one of the key terms of situationist aesthetic practice, poses a number of problems. its rendition as «diversion» in the american edition of society of spectacle (see, for example, thesis 208) is unacceptable because it is burdened with the connotation of «distraction«. in french, détournement—deflection, turning in a different direction - is also employed to signal detours and to refer to embezzlement, swindle, abduction, and hijacking. the criminal and violent quality of the latter four connotations are closer to the si practice of illicitly appropriating the products of culture and abducting or hijacking them to other destinations. nevertheless, these terms are also too marked to be employed. instead, i have followed the practice adopted by ken knabb, ed. and trans. , situationist international anthology, berkeley: bureau of public secrets, 1981 (cf his footnote on this subject on p. 371) and have simply anglicized the term .
[ 8 ] is 11 (october 1967), p. 57; first emphasis in translation is mine .
[ 9 ] guy debord, «in girum imus nocte et consumimur igni, » in oeuvres cinématographiques complètes, 1952–1978, paris: editions champ libre, 1978, p. 190 .
[ 10 ] ken knabb, ed. and trans. , situationist international anthology, berkeley: bureau of public secrets, 1981, p. 33; cf. the epigraph that opens this essay .
[ 11 ] martin heidegger, «die zeit des weltbildes» in holzwege, ed. friedrich - wilhelm von herrmann (frankfurt / m. , 1977 [ 1938 ]), pp. 73–110; translated as «the age of the world picture, »in heidegger, the question concerning technology and other essays, trans. william lowitt, new york, 1977, pp. 115–154, esp. pp. 128–130; jean - louis baudry, l´effet cinema, paris, 1978, and «the apparatus metaphysical approaches to the impression of reality in the cinema, »in phil rosen, ed. , narrative, apparatus, ideology: a film theory reader, new york, 1986, pp. 299–318; jean - louis comolli, «machines of visible» in teresa de lauretis and stephen heath, eds. , the cinematic apparatus, new york, 1980, pp. 121–142 .
[ 12 ] guy debord, «in girum imus nocte et consumimur igni, » in oeuvres cinématographiques complètes, 1952–1978, paris: editions champ libre, 1978, pp. 207–208; cf. the second epigraph that opens this essay .
[ 13 ] ken knabb, ed. and trans. , situationist international anthology, berkeley: bureau of public secrets, 1981, p. 88; «la cinquième conference de l´i. s. à göteborg, »is 7 (april 1962), pp. 26–27. compare also «le sens du déperissement de l´art, »is 3 (december 1959), pp. 4 and 7. 14 debord, society of the spectacle, thesis 210 .
[ 15 ] ken knabb, ed. and trans. , situationist international anthology, berkeley: bureau of public secrets, 1981, p. 111, translation modified; «l´opération contresituationniste dans divers pays, »is 8 (january 1963), p. 24 .
[ 16 ] «avec et contre le cinema, »is 1 (june 1958), pp. 8–9 .
[ 17 ] «avec et contre le cinema, »is 1 (june 1958), p. 8 .
[ 18 ] «avec et contre le cinema, »is 1 (june 1958), p. 9 .
[ 19 ] «avec et contre le cinema, »is 1 (june 1958), p. 9 .
[ 20 ] ken knabb, ed. and trans. , situationist international anthology, berkeley: bureau of public secrets, 1981, p. 215; rené viénet, «les situationistes et les nouvelles formes d´action contre la politique et l´art, »is 11 (october 1967), p. 35 .
[ 21 ] ken knabb, ed. and trans. , situationist international anthology, berkeley: bureau of public secrets, 1981, pp. 55–56, «le détournement comme negation et comme prelude, »is 3 (december 1959), p. 11 .
[ 23 ] ken knabb, ed. and trans. , situationist international anthology, berkeley: bureau of public secrets, 1981, p. 12; gérard berreby, documents relatifs à la fondation de l´internationale situationniste, paris, 1985, p. 306 .
[ 25 ] «panorama intelligent de l´avant - garde à la fin de 1955, » potlatch 24 (november 1955); all issues of the journal have been reprinted in a single volume with an introduction by guy debord, potlatch, 1954–1957, paris: editions gérard lebovici, 1985, p. 186; the journal can also be found in gérard berreby, documents relatifs à la fondation de l´internationale situationniste, paris, 1985, pp. 161–261, p. 231 .
[ 26 ] rené viénet, «the situationists and the new forms of action against politics and art, »in ken knabb, ed. and trans. , situationist international anthology, berkeley: bureau of public secrets, 1981, pp. 215–216; «les situationistes et les nouvelles formes d´action contre la politique et l´art, »is 11 (october 1967), 35 .
[ 27 ] guy debord, «pour le debat d´orientation du printemps 1970: note sur la première serie de textes, »in his textes rares: 1957 - 1970, paris: n. , 1981, pp. 34–36 .
[ 28 ] «chaque film pourrait donner à un ou deux situs travaillant comme assistants l´occasion the maîtriser leur propre style dans ce language; et l´immanquable succès de nos œuvres apporterait aussi la base économique de la production future de ces camarades. l´élargissement de notre audience serait décisif» (textes rares: 1957 - 1970, paris: n. , 1981, p. 36) .
[ 29 ] guy debord «cinema and revolution, »in ken knabb, ed. and trans. , situationist international anthology, berkeley: bureau of public secrets, 1981, pp. 297–298 (translation modified); «le cinema et la revolution, »is 12 (september 1969), 105 .
[ 30 ] this description as well as the label for godard further on stem from the «list of insulted names» included in the very useful index volume by jean - jacques raspaud and jean - pierre voyer, l´internationale situationniste: chronologie / bibliographie / protagonistes (paris: editions champ libre, 1972), 25 - 65 .
[ 32 ] françois dufrêne, tambours du jugement premier, ion 1 (april 1952), numéro spécial sur le cinéma, marc - gilbert guillaumin [ marc, o ], general editor, p. 195 (footnote 1) .
[ 33 ] beneath a full page photograph of debord on the second page of the catalogue destruktion af rsg - 6: en kollektvi manifestation af situationistisk internationale (odense, denmark; galerie exi, 1963), for example, one reads the following caption: «guy debord: filmstruktør og redaktør – film director and editor – cinéaste et directeur de revue, c / o ‘internationale situationniste’, b. p. 75 - 06 paris«. similarly, the description of the author of la societé du spectacle on the back cover of the editions champ libre reprint (paris, 1971) begins: «se disant cinéaste» (calls himself a filmmaker) .
[ 35 ] one of the few exceptions is an intelligent article in a rather obscure austrian art journal by roberto ohrt, «wäre ich nicht alexander, wäre ich gern diogenes, » durch 3 / 4 (november 1987), pp. 27–48, translated by ian brunskill in the same issue as «if i wasn´t alexander, i would like to be diogenes, »161 - 75. ohrt has also published an interesting piece on the spur group and the german side of the si story: «die spur von der kunst zur situationistischen internationale, »in veit loers, ed. , gruppe spur, 1958–1965, regensburg: städtische galerie, 1986, pp. 33–44 .
[ 36 ] guy debord, considérations sur l´assassinat, p. 48. debord´s most recent book, commentaires sur la societé du spectacle, paris: editions gérard lebovici, 1988, is also dedicated to lebovici: «à la mémoire de gérard lebovici, assassiné a paris, le 5 mars 1984, dans un guet - apens resté mystérieux. »
[ 37 ] in response to a query as to whether the films could ever be seen outside france, debord explained to me in a letter of 29 may 1987 that his emphasis on france was in response to the particular injustice perpetrated by the french press. «naturally i should have said: never again anywhere. » in the remainder of the missive debord goes on to articulate why, in light of the recent restructuration of the film industry, he was concerned about the manner in which his films might be exploited and thus decided to disavow in advance any and all screenings of his work. however, as he notes in conclusion: «it goes without saying that i do not disavow a single word or even a single image of my entire cinematographic work« .
[ 38 ] guy debord, contre le cinéma (aarhus, denmark: l´institut scandinave de vandalisme comparé / bibliothèque d´alexandrie, 1964). this volume, now out of print, includes the complete scenarios and selected images from debord´s first three films (« hurlements en faveur de sade, » «sur le passage de quelques personnes à travers une assez courte unite de temps, » and «critique de la séparation») along with a prefatory essay by asger jorn entitled «guy debord et le problème du maudit» (3 - 8). the german translation by pierre gallissaires and hanna mittelstädt entitled gegen den film: filmskripte, hamburg: edition nautilus, 1978, drops three of the four explanatory notes that follow the scenario of «hurlements, » but provides the full text of «grande fête de la nuit» under the title «eine große nachtfete« .
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british railway workers in kenya are becoming the favorite snack of two man - eating lions. head engineer bob hayward becomes obsessed with trying to kill the beasts before they maul everyone on his crew .
jermaine fowler and omari hardwick of sorry to bother you take us back in time to the worst jobs of their careers .
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raju lives a poor lifestyle in rural india along with his parents. he meets with a wealthy city girl, both fall in love, and get married much to the chagrin of her father who decides to... see full summary »
tweedy college professor discovers his new tv set is animate, apparently possessed by something from the future, and militantly intent on regulating his daily life .
a bridge engineer and an experienced old hunter begin a hunt for two lions after they start attacking local construction workers .
in the 19th century, during the german colonial rule, railway engineer robert adamson arrives in the kilimanjaro region to finish building a railroad through hostile territory .
the world is destroyed in a nuclear holocaust. only five americans survive, including a pregnant woman, a neo - nazi, a black man and a bank clerk .
when the construction of the east african railway comes to a grinding halt bob hayward, the chief engineer, undertakes to kill the lion that is terrifying the construction crews and preventing them from working. hayward isn' t very happy in his job. he' s been away from his home and his wife for 8 months and has taken to drinking and carousing. as the lion continues to attack the laborers, hayward seeks the help of the local masai tribesmen but they too have little success. despite the arrival of several hunters to assist him - and his wife who unexpectedly arrives from england - the killer beast remains elusive, killing them one by one. it' s left to hayward to overcome his self - doubts and go up against the lion .
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( originally published by the daily news on feb. 19, 1953. this story was written by kate cameron. )
with polaroid glasses furnished by the theatre, loew' s state patrons are able to see a story enacted on a screen that seems to have depth as well as height and breadth. in the case of oboler' s film, the story is, for once, not the most important thing about it. rather, the manner in which it is presented becomes of prime interest .
the new york daily news published this in feb. 19, 1953. (new york daily news )
when the producers at 20th century - fox get their cinemascope perfected, and their theaters properly polaroid glasses will not be necessary to get an illusion of depth on the screen. this may be the answer to cinerama, but i do not believe that any process that requires glasses to get the full effect will seriously affect cinerama .
the plot has to do with a couple of man - eating lions (bwanas to the natives) who killed so many workers on a railroad project in africa that work stopped and the line was never finished. a young english engineer, jock howard, played by robert stack, is determined to kill the beasts and put an end to the natives' belief that the lions are supernatural devils. he kills them, but not before much blood has been spilled .
stack is supported by barbara britton, as his wife, by nigel bruce, as the doctor of the expedition, ramsay hill, paul mcvey, john dodsworth and pat o' moore .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
movies and tv shows are certified fresh with a steady tomatometer of 75% or higher after a set amount of reviews (80 for wide - release movies, 40 for limited - release movies, 20 for tv shows), including 5 reviews from top critics .
in the case of oboler' s film, the story is, for once, not the most important thing about it. rather, the manner in which it is presented becomes of prime interest .
will be remembered as the first full - length film in 3 - d, otherwise deserves to be forgotten .
tsavo man - eaters: killers of kilimanjaro (pt. 3 of 5 )
le duel. (et pour quelques dollars de plus - scène finale) .
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bwana devil is a 1952 u.s. adventure film based on the true story of the tsavo maneaters and filmed with the natural vision 3-d system . the film is notable for sparking the first 3-d film craze in the motion picture industry , as well as for being the first feature-length 3-d film in color and the first 3-d sound feature in english . bwana devil was written , directed and produced by arch oboler and stars robert stack , barbara britton and nigel bruce . the advertising tagline was : the miracle of the age !!! a lion in your lap ! a lover in your arms ! 
bwana devil is a 1952 u.s. adventure film based on the true story of the tsavo maneaters and filmed with the natural vision 3-d system. the film is notable for sparking the first 3-d film craze in the motion picture industry, as well as for being the first feature-length 3-d film in color and the first 3-d sound feature in english. bwana devil was written, directed and produced by arch oboler and stars robert stack, barbara britton and nigel bruce. the advertising tagline was: the miracle of the age!!! a lion in your lap! a lover in your arms!
bwana devil is a 1952 u.s. adventure film based on the true story of the tsavo maneaters and filmed with the natural vision 3-d system. the film is notable for sparking the first 3-d film craze in the motion picture industry, as well as for being the first feature-length 3-d film in color and the first 3-d sound feature in english. bwana devil was written, directed and produced by arch oboler and stars robert stack, barbara britton and nigel bruce. the advertising tagline was: the miracle of the age!!! a lion in your lap! a lover in your arms!