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There are some films on this program that no one has ever heard of. I'm happy to show them in whatever format is the best for the audience. I'm not backing off of my 35mm Crusade at all. But, for example, we're showing two 3-D films this year -- Man in the Dark and Inferno -- and the only way those films can get shown at the Castro Theatre is digitally.

'Me, a femme fatale? Extraordinary'

There is no alternative. If I wanted to hold the hard line and say that I'm only going to show 35mm, then those 1, people that Friday night aren't going to see 3-D Film Noir. I want them to see it. We will show them digitally. And I'm thrilled, because it is another exclusive right to Noir City. Sony restored Man In the Dark -- a film that hasn't been shown in 3-D in decades. Film Noir resonates with a contemporary audience in a way that other film genres do not. It is the style. We see the roots of our contemporary society in these films.

It's the point where we started to loose our innocence as a culture.

Exit to Eden (1994 crime comedy)

Noir is very glamorous and accounts for why people respond to it so positively. Yet there is a real hardcore cynicism about a lot of the films that allows people to not feel they're just on a nostalgia trip. We have enjoyed a lightning-in-a-bottle situation here in San Francisco. When people who are curious about our restoration process - that is, how we raise the money - when I tell them that it's primarily through screenings at the Castro Theatre, it's mind-boggling to them.

Other venues around the country where we will do this program are only seats or seats, maybe in L. You can't raise money showing in venues of that limited capacity. The fact that the Castro has 1, seats and we can fill them, means that we can pay all the normal fees and still have enough of a profit left over that we are able to invest in more film preservation and restoration.

One of the most popular evenings at the festival is "Bad Girls Night. Eddie knows that the films of Hugo Haas have been relegated to the cinematic scrap heap and that it's time for the director to get a reassessment. But he just couldn't break through to that level. He said that you can have complete freedom in Hollywood -- if you make the money -- and they'll leave you alone if you don't spend a lot of money. Haas would get very small budgets and make his movies his way. He would star in them, produce them, write them, and direct them.

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He made the same movie over and over again. But they're not really that bad! He plays a movie director who is destroyed by this actress who wants to be in one of his pictures. He's rude to her and she concocts a scheme to blackmail him. In-between its pot boiler plot are all of these wonderful asides about his life in Hollywood and they're all autobiographical.

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Fox gave us a good print to show. I really enjoy The Come On because it's really just a down and dirty trashy movie.

It was released just prior to The Ten Commandments. It's pretty bargain basement for Anne Baxter - which is part of its appeal. You can see that she and Sterling Hayden both know - Oh, my God, are we slumming it here! I have to say that because of the success the festival has had and because of the relationships I've developed with people at the studios, I am also pleased -- in fact, ecstatic about -- some of the films we are showing digitally. They have really gone as far as they could possibly go to create the best digital version possible.

Sunset Boulevard is a completely restored 4K digital restoration and Paramount is letting us premiere it in the U. All the people that are in charge of the archives at the studios are going through this incredibly challenging period right now.

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They want to preserve as much as they possibly can. In film, the femme fatale has long been constructed as a beautiful heterosexual Caucasian woman. Da Silva shows the need to incorporate diverse ethnic groups and male homosexuals into the range of "femmes" fatales and examines how the Brazilian representations cross gender, race, and class and offer alternatives to the dominant Hollywood model.

The 'Femme' Fatale in Brazilian Cinema is attentive to the queer postulate that sociosexual categories are not fixed lexemes with a rigid hierarchy of sememes, but of gender in a society and its cultural production.

Brief and to the Point: The Femme Fatale Throughout History

Navigating between representations of the femme fatale, or the 'deadly woman', if one prefers, as black, homosexual, slave or as a teenager, da Silva provides a key assessment of the figure for Lusophone Studies and cultural and film studies more generally. JavaScript is currently disabled, this site works much better if you enable JavaScript in your browser. Publishing With Us.


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