《国际电影导演词典》书籍电子文献资料（英文版）International Dictionary of Films and Filmmakers Volume - 2（2-3 DIRECTORS）FOURTH EDITION

SANDERS-BRAHMS Helma Publications Nationality: German. Born: Helma Sanders in Emden, Germany, 20 By SANDERS-BRAHMS: articles- November 1940: added her mothers maiden name to her own to differentiate herself from another New german Cinema filmmaker Helke Sander. Education: Studied acting in Hanover, Germany: Misunderstood Mother and Forgotten Father. interview with g studied drama and literature at Cologne University Career: Worked Vincendeau in Monthly Film Bulletin(London), May 1985. as an announcer and interviewer for a Cologne television station. Interview with C Racine in Sequences(Montreal), February 1987 1960s: began directing shorts and documentaries for German televi- Interview with Peter Brunette in Film Quarterly(Berkeley, Califor sion. 1970: directed first feature. Gewelt. 1971: made Erdbeben in nia). Winter 1990 Chile, her first film for the Filmverlag der Autoren, set up by thirteen Sanders-Brahms, Helma, and S. Toubiana, ""Menace a I'est New German Cinema directors as a production and distribution Cahiers du Cinema(Paris), September 1990. erative. 1974 Interview with E. Richter and R. Richter in Film und fernsehen (Berlin), vol 19, no 8/9, 19 Interview with Janine Euvrard, in Cine-Bulles(Montreal), Spring 1994 Films as director and screenwriter: Interview with Erika Richter, in Film und Femsehen (Berlin), vol 25 1970 Angelika Urban, verkauferin, verlobt(Angelika Urban, Sales girl, Engaged)(short) 1971 Gewalt(violence): Die industrielle Reservarmee(The indus On SANDERS-BRAHMS: articles- rial Reserve Army)(doc) 1972 Der angestellte(The Employee) Silberman, M, "Women Filmmakers in West Germany: A Catalog. 1973 Die machine(The Machine)(doc) in Camera Obscura (Los Angeles), Autumn 1980 1974 Die letzten tage von Gomorrah(The Last Days of Gomorrah): Aude. E article in posi tif(Paris), November 1981 975 Unter dem pflaster ist der strand (The Sand under the pavement) Silberman, M ,"Women Working: Women Filmmakers in West 1976 Shirins hochzeit( Shirin's Wedding) Germany: A Catalog(Part 2), in Camera Obscura(Los Ange 1977 Heinrich es), Fall 1983 1980 Deutschland bleich mutter(Germany, Pale Mother)(+ pr) Article in Film a Doba(Prague), June 1985 Vringsveedeler iriptichon(The Vringsveedel Tryptych)(doc) Bammer, A, Through a Daughters Eyes: Helma Sanders-Brahms's 1981 Die beruhrte(No Mercy No Future: No Exit No Panic)(+ pr, Germany, Pale Mother, in New German Critique, Fall 198 costumes, makeup) Fjordholm, H, article in Z Filmtidsskrift(Oslo), vol. 4, no. 5, 1986 1984 Flugel und fesseln(L'Avenir d'Emilie; The Future of Emil Desjardins, M, Germany, Pale Mother and the Maternal: Toward 1986 Lapu a Feminist Spectatorship, " in Spectator, vol. 8, no. 1, 1987 1987 Felix(co-dir) Elsaesser. T."Public Bodies and Divided Selves: German Women 1988 Geteilte liebe(Divided Love; Manoever)(+ pr) Filmmakers in the 1980s, in Monthly Film Bulletin (London) 1992 Apfelbaume(Apple Trees) December 1987 1995 Lumiere et compagnie(Lumiere and Company)(short Hyams, B,""Is the Apolitical Woman at Peace? A Reading of the Lumiere film) Fairy Tale in Germany, Pale Mother, in Wide Angle(Baltimore 1995 Jetzt leben-Juden in berlin Maryland), vol. 10. no. 3, 1988 997 Mein Herz-Niemande!(My Heart Is Mine Alone)(+ pr) Kinder, M,""ldeological Parody in the New German Cinema: 2000 Clara(+ co-sc) Reading The State of Things, The Desire of veronika Voss, and Germany, Pale Mother as Postmodemist Rewritings of The Search- ers, Sunset boulevard, and Blonde venus, in Quarterly Review Other films: of Film and Video vol. 12. no. 1/2, 1990. Kindred, Jack, ""German Helmer Quits Fest over Y ank Invasion, in Der Subjektive Faktor(role) Variery(New York), 14 February 1990 The Night of the Filmmakers(appearance) Euvrard, J., in Cine-Bulles(Montreal), no 2, 1994 859

859 SANDERS-BRAHMS, Helma S Nationality: German. Born: Helma Sanders in Emden, Germany, 20 November 1940; added her mother’s maiden name to her own to differentiate herself from another New German Cinema filmmaker, Helke Sander. Education: Studied acting in Hanover, Germany; studied drama and literature at Cologne University. Career: Worked as an announcer and interviewer for a Cologne television station, 1960s; began directing shorts and documentaries for German televi￾sion, 1970; directed first feature, Gewelt, 1971; made Erdbeben in Chile, her first film for the Filmverlag der Autoren, set up by thirteen New German Cinema directors as a production and distribution cooperative, 1974. Films as Director and Screenwriter: 1970 Angelika Urban, verkauferin, verlobt (Angelika Urban, Sales￾girl, Engaged) (short) 1971 Gewalt (Violence); Die industrielle Reservarmee (The Indus￾trial Reserve Army) (doc) 1972 Der angestellte (The Employee) 1973 Die machine (The Machine) (doc) 1974 Die letzten tage von Gomorrah (The Last Days of Gomorrah); Erdbebenin Chile (Earthquake in Chile) 1975 Unter dem pflaster ist der strand (The Sand under the Pavement) 1976 Shirins hochzeit (Shirin’s Wedding) 1977 Heinrich 1980 Deutschland bleiche mutter (Germany, Pale Mother) (+ pr); Vringsveedeler triptichon (The Vringsveedel Tryptych) (doc) 1981 Die beruhrte (No Mercy No Future; No Exit No Panic) (+ pr, costumes, makeup) 1984 Flugel und fesseln (L’Avenir d’Emilie; The Future of Emily) 1986 Laputa 1987 Felix (co-dir) 1988 Geteilte liebe (Divided Love; Manoever) (+ pr) 1992 Apfelbaume (Apple Trees) 1995 Lumière et compagnie (Lumière and Company) (short Lumière film) 1995 Jetzt leben—Juden in Berlin 1997 Mein Herz—Niemandem! (My Heart Is Mine Alone) (+ pr) 2000 Clara (+ co-sc) Other Films: 1981 Der Subjektive Faktor (role) 1995 The Night of the Filmmakers (appearance) Publications By SANDERS-BRAHMS: articles— ‘‘Misunderstood Mother and Forgotten Father,’’ interview with G. Vincendeau in Monthly Film Bulletin (London), May 1985. Interview with C. Racine in Sequences (Montreal), February 1987. Interview with Peter Brunette in Film Quarterly (Berkeley, Califor￾nia), Winter 1990. Sanders-Brahms, Helma, and S. Toubiana, ‘‘Menace a l’est,’’ in Cahiers du Cinéma (Paris), September 1990. Interview with E. Richter and R. Richter in Film und Fernsehen (Berlin), vol. 19, no. 8/9, 1991. Interview with Janine Euvrard, in Ciné-Bulles (Montreal), Spring 1994. Interview with Erika Richter, in Film und Fernsehen (Berlin), vol. 25, no. 2, 1997. On SANDERS-BRAHMS: articles— Silberman, M., ‘‘Women Filmmakers in West Germany: A Catalog,’’ in Camera Obscura (Los Angeles), Autumn 1980. Aude, F., article in Positif (Paris), November 1981. Silberman, M., ‘‘Women Working: Women Filmmakers in West Germany: A Catalog (Part 2),’’ in Camera Obscura (Los Ange￾les), Fall 1983. Article in Film a Doba (Prague), June 1985. Bammer, A., ‘‘Through a Daughter’s Eyes: Helma Sanders-Brahms’s Germany, Pale Mother,’’ in New German Critique, Fall 1985. Fjordholm, H., article in Z Filmtidsskrift (Oslo), vol. 4, no. 5, 1986. Desjardins, M., ‘‘Germany, Pale Mother and the Maternal: Toward a Feminist Spectatorship,’’ in Spectator, vol. 8, no. 1, 1987. Elsaesser, T., ‘‘Public Bodies and Divided Selves: German Women Filmmakers in the 1980s,’’ in Monthly Film Bulletin (London), December 1987. Hyams, B., ‘‘Is the Apolitical Woman at Peace? A Reading of the Fairy Tale in Germany, Pale Mother,’’ in Wide Angle (Baltimore, Maryland), vol. 10, no. 3, 1988. Kinder, M., ‘‘Ideological Parody in the New German Cinema: Reading The State of Things, The Desire of Veronika Voss, and Germany, Pale Mother as Postmodernist Rewritings of The Search￾ers, Sunset Boulevard, and Blonde Venus,’’ in Quarterly Review of Film and Video vol. 12, no. 1/2, 1990. Kindred, Jack, ‘‘German Helmer Quits Fest over Yank Invasion,’’ in Variety (New York), 14 February 1990. Euvrard, J., in Ciné-Bulles (Montreal), no. 2, 1994

SANDRICH DIRECTORS, 4 EDItION Keene. J. Daughters: Subjectivity and History in the her daughter, only to be told by her own mother that she is a bad Work anders-Brahms's Germany, Pale Mother influence on the child. In a powerful scene the actress and her little (1979-1 n -Historia. no. 1. 1997. girl visit the beach, where they spin fantasy adventures with each Kino(Warsaw), no 2, 1997. other. The movie makes reference to the myth of an Amazon queen, a woman who has killed off the man she loves and is living quite nicely without the company of men. Sanders-Brahms's point is that, The films of Helma Sanders-Brahms have been programmed with in modern society, there are women who also are living well without some amount of relish at film festivals and in art houses and men, but they are brainwashed into thinking that they would be better cinematheques, but it is a safe bet that they never will be mainstream off with male partners. novie fare. They are not engrossing dramas in which the audience can Sanders-Brahms's us-against-them brand of feminism mirrors the become emotionally involved in the onscreen action. Instead, Sanders early 1970s, when the modern feminist movement was new and Brahms presents, from a distance, observable archetypes of life, often women who had grown up in a male-dominated society were feeling with a deliberate pacing. Rather than directing actors to express confrontational. Indeed, Felix, released in 1987, might have beer emotion,she prefers "pent-up"performers who hide their real made in the early 1970s. It is the politically loaded story of an feelings. In fact, actor Heinrich Giskes found himself so emotionally egocentric, hypocritical modern male whose lack of self-awareness pent-up"while shooting a scene for Heinrich that he broke a glass borders on the ridiculous. he has just been left by his lover,and he over his directors head as soon as she yelled cut. Sanders-Brahms is a rebel to Hollywood conventions. She avoids finds himself cast adrift in a world in which women no longer need casting glamorous leading ladies or hunky actors in order to sell men, or want men. Felix is filmed in four episodes, each shot by ickets, and her films are often very slowly paced. She does not make a different woman director--Christel Buschmann Helke Sander. and road movies, because she does not revel in what she calls"the Margarethe von Trotta, in addition to Sanders-Brahms. All are guilty poetry of the road, the journey. The autobahn and the factory of stereotyping men as jabbering idiots, and women as collectively assembly line are the same thing, the same prison sensitive,sensuous,and perceptive-practically perfect. a producer and writer in addition to director, Sanders-Brahms is Sanders-Brahms's films are united in that they are reflective of the a member of the New German Cinema movement, and as such she society in which she came of age. Along with her fellow members of builds her scripts around the concerns of the political left. Many of her the New German Cinema, she has a mission: to point out what is films present themes pertaining to the plight of the worker in wrong with the world as she sees it. Germany: the inequities of modern working conditions: how workers ave been pitted against one another in order to attain germanys capitalist"economic miracle"; and how the Gastarbeiter (guest Audrey E. Kupferber worker, or foreign migrant worker in Germany) is exploited Shirin's Wedding addresses the Gastarbeiter problem, focusing on he suffering of a Turkish woman. as a child. Shirin was betrothed to Mahmud, but he left for Germany to become a Gastarbeiter. To escape an arranged. marriage, Shirin traveis to, Germany to nn SANDRICH. Mark a cleaner, a job which disappears after she is raped by her boss. She winds up a prostitute, with Mahmud paying to have sex with her Eventually, she is killed by a pimp's bullet. In Die Beruhrte, the Nationality: American Born: Mark R Sandrich in New York City 26 August 1900. Family: Married to Freda(Wirtschater) Sandrich including black migrant workers, derelicts, and aged, crippled cast- father of television director Jay Sandrich and second unit/assistant offs of society. In these neglected people, she sees the essence of director Mark Sandrich Jr. Education: Graduated from Columbia Christ. Finally, Apfelbaume shows the destruction of a family whose University, where he studied science and mathematics. Career members are adversely affected by the politics of reunification. Entered the film industry as a propman, 1922: began directing Other motifs in Sanders-Brahms's work are the independent comedy shorts, 1926; made his feature film directorial debut with woman under fire and the mother-daughter relationship. She herself Runaway Girl, 1928; began producing his films, 1949. Died: Of was raised by her self-reliant mother while her father was away a heart attack in Los Angeles, 4 March 1945 fighting in Hitlers armies He did not return until she was five Much of her perception of her parents relationshi childhood is depicted in Germany, Pale Mother, one of her best known films. The mother is shown as a strong and independent I who gives birth to her daughter(played by Sanders-Brahms's Films as director: wn baby girl) during an air raid. When the war ends, this woman is pected to file wife. She does so. but her frustrations take hold in the form of 1926 Jerry the Giant(short)(co-d with Lesley Selander); Napoleon a disease which paralyzes her face and, in a gut-wrenching scene, Junior(short)(co-d with Lesley Selander) calls for the removal of all her teeth 1927 Brave Cowards(short); Careless Hubby(short); First Prize The Future of Emilie tells of an actress who lives a single, (short); Hello sailor(short): Hold Fast(short); Hold That conventional lifestyle. She returns to her parents' home to retrieve Bear(short); Hot Soup(short); A Midsummer Night's

SANDRICH DIRECTORS, 4th EDITION 860 Keene, J., ‘‘Mothering Daughters: Subjectivity and History in the Work of Helma Sanders-Brahms’s Germany, Pale Mother (1979–1980), in Film-Historia, no. 1, 1997. Kino (Warsaw), no. 2, 1997. *** The films of Helma Sanders-Brahms have been programmed with some amount of relish at film festivals and in art houses and cinematheques, but it is a safe bet that they never will be mainstream movie fare. They are not engrossing dramas in which the audience can become emotionally involved in the onscreen action. Instead, Sanders￾Brahms presents, from a distance, observable archetypes of life, often with a deliberate pacing. Rather than directing actors to express emotion, she prefers ‘‘pent-up’’ performers who hide their real feelings. In fact, actor Heinrich Giskes found himself so emotionally ‘‘pent-up’’ while shooting a scene for Heinrich that he broke a glass over his director’s head as soon as she yelled cut. Sanders-Brahms is a rebel to Hollywood conventions. She avoids casting glamorous leading ladies or hunky actors in order to sell tickets, and her films are often very slowly paced. She does not make ‘‘road movies,’’ because she does not revel in what she calls ‘‘the poetry of the road, the journey. The autobahn and the factory assembly line are the same thing, the same prison.’’ A producer and writer in addition to director, Sanders-Brahms is a member of the New German Cinema movement, and as such she builds her scripts around the concerns of the political left. Many of her films present themes pertaining to the plight of the worker in Germany: the inequities of modern working conditions; how workers have been pitted against one another in order to attain Germany’s capitalist ‘‘economic miracle’’; and how the Gastarbeiter (‘‘guest worker,’’ or foreign migrant worker in Germany) is exploited. Shirin’s Wedding addresses the Gastarbeiter problem, focusing on the suffering of a Turkish woman. As a child, Shirin was betrothed to Mahmud, but he left for Germany to become a Gastarbeiter. To escape an arranged marriage, Shirin travels to Germany to find Mahmud. She obtains work in a factory in Cologne and later as a cleaner, a job which disappears after she is raped by her boss. She winds up a prostitute, with Mahmud paying to have sex with her. Eventually, she is killed by a pimp’s bullet. In Die Beruhrte, the daughter of a bourgeois family seeks sexual partners in the streets, including black migrant workers, derelicts, and aged, crippled cast￾offs of society. In these neglected people, she sees the essence of Christ. Finally, Apfelbaume shows the destruction of a family whose members are adversely affected by the politics of reunification. Other motifs in Sanders-Brahms’s work are the independent woman under fire and the mother-daughter relationship. She herself was raised by her self-reliant mother while her father was away fighting in Hitler’s armies. He did not return until she was five years old. Much of her perception of her parents’ relationship and her own childhood is depicted in Germany, Pale Mother, one of her best￾known films. The mother is shown as a strong and independent woman who gives birth to her daughter (played by Sanders-Brahms’s own baby girl) during an air raid. When the war ends, this woman is expected to file away her independence in order to be an obedient wife. She does so, but her frustrations take hold in the form of a disease which paralyzes her face and, in a gut-wrenching scene, calls for the removal of all her teeth. The Future of Emilie tells of an actress who lives a single, unconventional lifestyle. She returns to her parents’ home to retrieve her daughter, only to be told by her own mother that she is a bad influence on the child. In a powerful scene the actress and her little girl visit the beach, where they spin fantasy adventures with each other. The movie makes reference to the myth of an Amazon queen, a woman who has killed off the man she loves and is living quite nicely without the company of men. Sanders-Brahms’s point is that, in modern society, there are women who also are living well without men, but they are brainwashed into thinking that they would be better off with male partners. Sanders-Brahms’s us-against-them brand of feminism mirrors the early 1970s, when the modern feminist movement was new and women who had grown up in a male-dominated society were feeling confrontational. Indeed, Felix, released in 1987, might have been made in the early 1970s. It is the politically loaded story of an egocentric, hypocritical modern male whose lack of self-awareness borders on the ridiculous. He has just been left by his lover, and he finds himself cast adrift in a world in which women no longer need men, or want men. Felix is filmed in four episodes, each shot by a different woman director—Christel Buschmann, Helke Sander, and Margarethe von Trotta, in addition to Sanders-Brahms. All are guilty of stereotyping men as jabbering idiots, and women as collectively sensitive, sensuous, and perceptive—practically perfect. Sanders-Brahms’s films are united in that they are reflective of the society in which she came of age. Along with her fellow members of the New German Cinema, she has a mission: to point out what is wrong with the world as she sees it. — Audrey E. Kupferberg SANDRICH, Mark Nationality: American. Born: Mark R. Sandrich in New York City, 26 August 1900. Family: Married to Freda (Wirtschater) Sandrich; father of television director Jay Sandrich and second unit/assistant director Mark Sandrich Jr. Education: Graduated from Columbia University, where he studied science and mathematics. Career: Entered the film industry as a propman, 1922; began directing comedy shorts, 1926; made his feature film directorial debut with Runaway Girl, 1928; began producing his films, 1949. Died: Of a heart attack in Los Angeles, 4 March 1945. Films as Director: 1926 Jerry the Giant (short) (co-d with Lesley Selander); Napoleon Junior (short) (co-d with Lesley Selander) 1927 Brave Cowards (short); Careless Hubby (short); First Prize (short); Hello Sailor (short); Hold Fast (short); Hold That Bear (short); Hot Soup (short); A Midsummer Night’s

DIRECTORS, 4 EDITION SANDRICH Mark Sandrich(sitting on ground by scaffolding), on the set of A woman Rebels Steam(short); The Movie Hound (short); Night Owls(short) Party(short)(+co-story, adaptation); The Way of All Fish hooting Wild (short); Some Scout(short) (short)(+ co-adaptation, dialogue); The Wife o'Riley 1928 Bear Knees(short); A Cow's Husband(short); High Strung (short)(+ co-story, dialogue) (short); A Lady Lion( short); Love Is Blonde(short)(co-d 1932 Ex-Rooster(short)(+ co-story); A Hurry Call(short)+co- with Zion Myers): Sword Points(short): Runaways Girls story): The Iceman's Ball(short)(+ co-adaptation, dia 1929 The Talk of Hollywood(+ co-story); Two Gun Ginsburg(short) logue): Jitters, the Butler(short)(+ co-adaptation, dia 1930 Aunts in the Pants(short); Barnum Was Wrong(short)(+co logue): The Millionaire Cat(short)(+ co-adaptation, dia- story, dialogue); General Ginsburg(short)(+ co-story dialogue); Gunboat Ginsburg(short)(+ co-story, dialogue) logue): A Slip at the Switch(short)(+ co-story ): Whe Summons Comes(short(+ story, continuity ) Hold 'Em Jail ot Bridge(short); Moonlight and Monkey Business(short ( co-continuity, dialogue): Off to Peoria ( co-story dialogue);Razord in Old Kentucky(shor): Society Goes 1933 Aggie Appleby, Maker of Men; The Druggist's Dilemma Spaghetti(short)(+ co-story, dialogue); Talking Turkey (short)(+ co-adaptation, dialogue): Hokus Focus(short) hort)(co-story, dialogue); Trader ginsburg (short)(+co ( co-adaptation, dialogue): Melody Cruise(+ co-sc; Pri story, dialogue vale Wives(short)(+ Co-story); So This Is Harris(short) 1931 The County Seat (short)(+ co-story, dialogue: Cowslips ( co-story ): Thru Thin and Thicket, or, Who's Zoo (short)(co-story, continuity); False Roomers(short)(+cO- Africa?(short) 1934 Hips, Hips, Hooray: Cockeyed Cavaliers: The Gay Divorcee dialogue);Many a Sip(short)(+ co-story, continuity); A 1935 Top Hat Melon-Drama(short)(+ co-adaptation, dialogue); Scratch- 1936 A Woman Rebels; Follow the Fleer As-Catch-Can(short)(+ co-adaptation); The Strife of the 861

DIRECTORS, 4 SANDRICH th EDITION 861 Mark Sandrich (sitting on ground by scaffolding), on the set of A Woman Rebels Steam (short); The Movie Hound (short); Night Owls (short); Shooting Wild (short); Some Scout (short) 1928 Bear Knees (short); A Cow’s Husband (short); High Strung (short); A Lady Lion (short); Love Is Blonde (short) (co-d with Zion Myers); Sword Points (short); Runaways Girls 1929 The Talk of Hollywood (+ co-story); Two Gun Ginsburg (short) 1930 Aunt’s in the Pants (short); Barnum Was Wrong (short) (+ co￾story, dialogue); General Ginsburg (short) (+ co-story, dialogue); Gunboat Ginsburg (short) (+ co-story, dialogue); Hot Bridge (short); Moonlight and Monkey Business (short (+ co-continuity, dialogue); Off to Peoria (+ co-story, dialogue); Razord in Old Kentucky (short); Society Goes Spaghetti (short) (+ co-story, dialogue); Talking Turkey (short) (co-story, dialogue); Trader Ginsburg (short) (+ co￾story, dialogue) 1931 The County Seat (short) (+ co-story, dialogue); Cowslips (short) (co-story, continuity); False Roomers (short) (+ co￾adaptation); The Gay Nineties (short) (+ co-adaptation, dialogue); Many a Sip (short) (+ co-story, continuity); A Melon-Drama (short) (+ co-adaptation, dialogue); Scratch￾As-Catch-Can (short) (+ co-adaptation); The Strife of the Party (short) (+ co-story, adaptation); The Way of All Fish (short) (+ co-adaptation, dialogue); The Wife o’ Riley (short) (+ co-story, dialogue) 1932 Ex-Rooster (short) (+ co-story); A Hurry Call (short) + co￾story); The Iceman’s Ball (short) (+ co-adaptation, dia￾logue); Jitters, the Butler (short) (+ co-adaptation, dia￾logue); The Millionaire Cat (short) (+ co-adaptation, dia￾logue); A Slip at the Switch (short) (+ co-story); When Summons Comes (short (+ story, continuity); Hold ‘Em Jail (co-sc only) 1933 Aggie Appleby, Maker of Men; The Druggist’s Dilemma (short) (+ co-adaptation, dialogue); Hokus Focus (short) (+ co-adaptation, dialogue); Melody Cruise (+ co-sc); Pri￾vate Wives (short) (+ co-story); So This Is Harris (short) (+ co-story); Thru Thin and Thicket; or, Who’s Zoo in Africa? (short) 1934 Hips, Hips, Hooray; Cockeyed Cavaliers; The Gay Divorcee 1935 Top Hat 1936 A Woman Rebels; Follow the Fleet 1937 Shall We Dance?

SANJINES DIRECTORS, 4 EDItION 1938 Carefree omfort zone of his stars, he brings out the most effective perform- 1939 Man about Town ance for each 1940 Love Thy Neighbor(+ pr); Buck Benny Rides Again (+ pr) Sandrich seems to savor the comedy scenes in his films. His 1941 Skylark (+ pr) attention to camera placement and fast-paced editing result in effi 1942 Holiday Inn(+ pr) cient comedy sequences that bring quick laughs and prevent overly 1943 So Proudly We Hail! (+ pr) long reaction shots. Hips, Hips, Hooray and Cockeyed Cavaliers, 1944 I Love A Soldier (+ pr): Here Come the Waves(+pr) both of which star the zany comedy duo of wheeler and Woolsey, offer examples of this technique. Buck Benny Rides Again and Love Thy Neighbor, offbeat comedies featuring Jack Benny and Eddie Publications Rochester"Anderson, work because Sandrich is sensitive to Bennys precise comic timing, as well as the humorous styles of other popular radio comedians who make appearances in the film. On Sandrich: articles- Sandrich produced as well as directed his films from 1940 until his death. Taking a break from comedy, he made an outstanding World McManus, John T,"A Sandrich and a Dance or So, in New York War II patriotic melodrama of brav imes, 16 May 1937. the Pacific. In So Proudly We Hail!, Sandrich emphasized accuracy Strauss, Theodore, That Sandrich Man, "in New York Times, 12 and brought in several experienced combat nurses to document details July 1942 of their experience. That authentication was particularly important to audiences since the film was in production when the war was in progress. This project, plus a follow-up called I Love a Soldier, a drama about wartime marriage which re-teams several of the so The signature of Mark Sandrich is blurred. With a string of Proudly We Hail! stars, demonstrates Sandrich's willingness to significant features to his credit, it would seem that a few books on expand his cinematic repertoire, and make films that are serious Sandrich should have been published. Yet there have been no career well as escapist. evaluations of this director/producer. The reason is two-fold. First of Because of Sandrich's sudden death, one only can speculate Secondly, Sandrich diedinespstaged by the star power in his films. whether he would have further developed his talents during the post- all. Sandrich,s efforts ar n early middle age in 1945, cutting short his war era, perhaps in a manner similar to director George Stevens, creen legacy at a time when the major studio factory system was whose early career parallels Sandrich's beginning to be derailed and director/producers of his caliber were just starting to assert their position as auteurs within an about-to-be With few exceptions, Sandrich's most important films are come- es featuring legendary performers n legendary pertormances Te SANJINES, Jorge he made at RKO. No matter how often these films are packaged, they never are tagged ""Mark Sandrich films. Instead, they are the Nationality: Bolivian. Born: La Paz, Bolivia, 31 July 1936. Educa Astaire-Rogers musicals. Even so, it is Sandrich's contribution that tion: Studied filmmaking and philosophy at Catholic University in allowed for the creation of Astaire-Rogers as one of the 1930s most Santiago, Chile, late 1950s. Career: Made first film, Suerios popular and exciting screen teams. Sandrich employed his extensive realidades, with Oscar Soria, in Bolivia, 1961; named head of experience in screen comedy to mold a bland-looking Fred Astaire Bolivian Film Institute, 1965; left Bolivia following coup led by from a stage dancer/singer into a lively and charming screen presence. Hugo Banzer, 1972; returned to Bolivia, 1979. Address: clo Consejo Directing dozens of silent and early sound comedy shorts gave Nacional del Cine Casilla 9933. La Paz. bolivia Sandrich an experts viewpoint on presenting screen comedy. With his sharpened eye, he determined how best to complement Astaires rather stagy manner and distant formality with the more free-flowing, Films as director: vivacious Rogers. The results were dynamic. When The Gay Divo cee was being made, Rogers had more screen ex e than astaire 1961 Suerios y realidades(co-d he acts more loosely for the camera than Astaire, whose theatrical 1963 Revolucion; Una dia Paulino(co-d) gestures and reactions are a bit heavy-handed for films. Realizing this, 1965 Aysa Sandrich adjusts the placement of the camera to accommodate each of 1966 Ukamau his actors. The film unfolds with a series of brief comedy sequences 1969 Yawar mallku( blood of the Condor) involving Astaire Rogers, and a number of character actors. When 1971 El coraje del puebi Sandrich films Astaire, he does so in a series of quick takes, and he 1974 El enemigo principal oes not bring the camera in for a close shot. When Astaire and 1976 Fuera de aqui Rogers"meet cute'over a large trunk in which Rogers'dress is 1983 Las banderas del amanecer(co-d) caught, Sandrich moves in for a couple close shots of Rogers reacting 1989 La nacion clandestina(+ sc) to the situation, but he keeps Astaire at a distance. By recognizing the 1995 Para recibir el canto de los pajaros(+ sc)

SANJINÉS DIRECTORS, 4th EDITION 862 1938 Carefree 1939 Man about Town 1940 Love Thy Neighbor (+ pr); Buck Benny Rides Again (+ pr) 1941 Skylark (+ pr) 1942 Holiday Inn (+ pr) 1943 So Proudly We Hail! (+ pr) 1944 I Love A Soldier (+ pr); Here Come the Waves (+ pr) Publications On SANDRICH: articles— McManus, John T., ‘‘A Sandrich and a Dance or So,’’ in New York Times, 16 May 1937. Strauss, Theodore, ‘‘That Sandrich Man,’’ in New York Times, 12 July 1942. *** The signature of Mark Sandrich is blurred. With a string of significant features to his credit, it would seem that a few books on Sandrich should have been published. Yet there have been no career evaluations of this director/producer. The reason is two-fold. First of all, Sandrich’s efforts are upstaged by the star power in his films. Secondly, Sandrich died in early middle age in 1945, cutting short his screen legacy at a time when the major studio factory system was beginning to be derailed and director/producers of his caliber were just starting to assert their position as auteurs within an about-to-be newly designed Hollywood. With few exceptions, Sandrich’s most important films are come￾dies featuring legendary performers in legendary performances. The best known are the several Fred Astaire-Ginger Rogers musicals that he made at RKO. No matter how often these films are packaged, they never are tagged ‘‘Mark Sandrich films.’’ Instead, they are the Astaire-Rogers musicals. Even so, it is Sandrich’s contribution that allowed for the creation of Astaire-Rogers as one of the 1930’s most popular and exciting screen teams. Sandrich employed his extensive experience in screen comedy to mold a bland-looking Fred Astaire from a stage dancer/singer into a lively and charming screen presence. Directing dozens of silent and early sound comedy shorts gave Sandrich an expert’s viewpoint on presenting screen comedy. With his sharpened eye, he determined how best to complement Astaire’s rather stagy manner and distant formality with the more free-flowing, vivacious Rogers. The results were dynamic. When The Gay Divor￾cee was being made, Rogers had more screen experience than Astaire. She acts more loosely for the camera than Astaire, whose theatrical gestures and reactions are a bit heavy-handed for films. Realizing this, Sandrich adjusts the placement of the camera to accommodate each of his actors. The film unfolds with a series of brief comedy sequences involving Astaire, Rogers, and a number of character actors. When Sandrich films Astaire, he does so in a series of quick takes, and he does not bring the camera in for a close shot. When Astaire and Rogers ‘‘meet cute’’ over a large trunk in which Rogers’ dress is caught, Sandrich moves in for a couple close shots of Rogers reacting to the situation, but he keeps Astaire at a distance. By recognizing the comfort zone of his stars, he brings out the most effective perform￾ance for each. Sandrich seems to savor the comedy scenes in his films. His attention to camera placement and fast-paced editing result in effi- cient comedy sequences that bring quick laughs and prevent overly long reaction shots. Hips, Hips, Hooray and Cockeyed Cavaliers, both of which star the zany comedy duo of Wheeler and Woolsey, offer examples of this technique. Buck Benny Rides Again and Love Thy Neighbor, offbeat comedies featuring Jack Benny and Eddie ‘‘Rochester’’ Anderson, work because Sandrich is sensitive to Benny’s precise comic timing, as well as the humorous styles of other popular radio comedians who make appearances in the film. Sandrich produced as well as directed his films from 1940 until his death. Taking a break from comedy, he made an outstanding World War II patriotic melodrama of brave nurses caring for fighting men in the Pacific. In So Proudly We Hail!, Sandrich emphasized accuracy and brought in several experienced combat nurses to document details of their experience. That authentication was particularly important to audiences since the film was in production when the war was in progress. This project, plus a follow-up called I Love a Soldier, a drama about wartime marriage which re-teams several of the So Proudly We Hail! stars, demonstrates Sandrich’s willingness to expand his cinematic repertoire, and make films that are serious as well as escapist. Because of Sandrich’s sudden death, one only can speculate whether he would have further developed his talents during the post￾war era, perhaps in a manner similar to director George Stevens, whose early career parallels Sandrich’s. —Audrey Kupferberg SANJINÉS, Jorge Nationality: Bolivian. Born: La Paz, Bolivia, 31 July 1936. Educa￾tion: Studied filmmaking and philosophy at Catholic University in Santiago, Chile, late 1950s. Career: Made first film, Sueños y realidades, with Oscar Soria, in Bolivia, 1961; named head of Bolivian Film Institute, 1965; left Bolivia following coup led by Hugo Banzer, 1972; returned to Bolivia, 1979. Address: c/o Consejo Nacional del Cine, Casilla 9933, La Paz, Bolivia. Films as Director: 1961 Sueños y realidades (co-d) 1963 Revolución; Una día Paulino (co-d) 1965 Aysa 1966 Ukamau 1969 Yawar mallku (Blood of the Condor) 1971 El coraje del pueblo 1974 El enemigo principal 1976 Fuera de aquí 1983 Las banderas del amanecer (co-d) 1989 La nacion clandestina (+ sc) 1995 Para recibir el canto de los pajaros (+ sc)

DIRECTORS, 4 EDITION SANJINES Publications Convents, G. in Film en Televisie+ video(brussels ), October 1995 Chaput, Luc, " Jorge Sanjines: Amerindien mon frere, in Sequences By SANJINES: book- ( Haute-Ville), September-October 1997 Theory and Practice of a Cinema with the People, with Ukamau Group and Richard Schaaf, willimantic, 1989 The bolivian Jorge Sanjines has become internationally rece By SANJINES: articles- nized as a leading filmmaker in spite of the fact that his country has few significant filmmaking traditions or production facilities. Work ng outside of a film-industry context, Sanjines has doggedly over- Cinema and Revolution, an interview in Cineaste(New York), come formidable obstacles, including economic ones. For instance, to Winter 1970/71 finance the fiction feature Yawar mallku Sanjines and other members Ukamau and Yawar Mallku: An Interview with Jorge Sanjines, in of his Ukamau production group sold personal belongings and Afterimage(London), Summer 1971 accepted contributions. After finishing Yawar mallku, members of the Sobre Fuera de aqui!, " and"Llamado del Grupo Ukamau, in Ukamau collective toured the Bolivian highlands with a 16mm print Cine Cubano(Havana), no. 93, 1980 and portable projection equipment in an effort to reach the film,'s El Cine revolucionario en Bolivia. 'in Cine Cubano(Havana). no. intended audience-the Indian peasantry Sanjines is a militant filmmaker whose primary goal is to bring Faire du cinema un instrument de liberation an interview with G. a revolutionary Marxist political agenda to peasant and working-class Gervais, in Jeune Cinema(Paris), March 1982. audiences. His principal films respond to a militant Marxist aesthetic Nuestro principal destinatario, in Cine Cubano(Cuba),no. by examining oppressed collective protagonists (for example 105,1983 Andean peasant community)in their historical situations, by educat- Revolutionary Cinema: The Bolivian Experience, "in Cinema and audiences to transform the political and socioeconomic status quo in edited by Julianne Burton, Austin, Texas, 1986 order to build a higher stage of society. The depiction of oppression in El plano secuencia integral, "in Cine Cubano( Cuba), no. 125, 1989. cal events these films has in some cases been based on documented histori- Voraussetzung fuer das verstaendnis sind Interesse an und achtung Sanjines's works offer a defense of the Andean Indian way of life gegenueber der anderen Kultur, an interview with R. Nierich and and expose and attack the Indians'enemies. Yawar mallku denounces P. B. Schumann. in Filmbulletin. vol. 33. no. 4. 1991 a Progress Corps(read Peace Corps)pediatrics clinic that sterilizes unsuspecting Andean women, while in the documentary reconstruc- On SANJINES: books- tion El coraje del pueblo, Bolivian government and military official responsible for the massacres of Indian miners are specifically Gisbert. Carlos D. Mesa, and others Cine Boliviano: Del realizador dentified. The fiction feature El enemigo principal illustrates al critico, La Paz, 1979 exploitation and brutality suffered by indigenous peasants at the Gisbert. Carlos d. mesa. La aventura del cine boliviano 1952-85. La hands of powerful landowners and links the power of the landowners Paz,1985 to U.S. imperialism. The mise-en-scene of these films reflects Sanjines's defense of the Indian way of life. For instance, in El enemigo Armes, Roy, Third-World Filmmaking and the West, Berkeley, 198 principal the Inca heritage of the modern Andean Indian pervades the mise-en-scene: the predominance of Quechua dialogue, the centuries- On SANJINES articles- old custom of chewing coca leaves, the trapezoidal niches and doors characterizing Inca masonry, the ancient agricultural ritual, the every Wilson, David,"Aspects of Latin American Political Cinema, "in day work of spinning and weaving Sight and Sound(London), Summer 1972 The structural, narrative, and stylistic approaches used by Sanjines Campbell, Leon G, and Carlos Cortes, ""Film as Revolutionary have evolved in accordance with his basic goal of optimum communi Weapon: A Jorge Sanjines Retrospective, in History Teacher, ing Yawar mallku to Indians in remote areas, Sanjines drew on an Inca Ledgard, M, Jorge Sanjines: El cine urgente, " in Hablemos de cine oral tradition: and before showing the film he first had a narrator Lima), June 1981 introduce the story and the characters to the cinematically unsophisti- West. Dennis. Film and revolution in the andes in New scholar cated audiences. Later, in El enemigo principal, Sanjines built a nar- San diego), vol. 8, no. 1/2, 1982. rator into the film itself: a well-known Indian peasant leader periodi West, Dennis, "Alternative Cinema in Latin America, ' in roads cally appears to speak, in Quechua, directly to viewers in order to introduce the characters and events which will follow From peasant World, edited by Edwin G. Clausen and Jack Bermingham reaction to his early films, Sanjines found that unsophisticated viewers were shocked when a close shot follows an establishing shot. Brookfield, Vermont, 1989 Therefore, in El enemigo principal outdoor group scenes appear Die eigene Identitaet zurueckerobern. initially in long shot; and then the camera slowly zooms in, much as vol.3,no.4,1991 a spectator would approach. Although Yawar mallku involved Malandrin, Stephane, Toulouse a Iheure latine, in Cahiers dr Indian community in the filming, Sanjines later sought from indige Cinema(Paris), June 1995 nous groups an even more active collective participation in an effort

DIRECTORS, 4 SANJINÉS th EDITION 863 Publications By SANJINÉS:book— Theory and Practice of a Cinema with the People, with Ukamau Group and Richard Schaaf, Willimantic, 1989. By SANJINÉS:articles— ‘‘Cinema and Revolution,’’ an interview in Cineaste (New York), Winter 1970/71. ‘‘Ukamau and Yawar Mallku: An Interview with Jorge Sanjinés,’’ in Afterimage (London), Summer 1971. ‘‘Sobre Fuera de Aquí!,’’ and ‘‘Llamado del Grupo Ukamau,’’ in Cine Cubano (Havana), no. 93, 1980. ‘‘El Cine revolucionario en Bolivia,’’ in Cine Cubano (Havana), no. 99, 1981. ‘‘Faire du cinéma un instrument de liberation,’’ an interview with G. Gervais, in Jeune Cinéma (Paris), March 1982. ‘‘Nuestro principal destinatario,’’ in Cine Cubano (Cuba), no. 105, 1983. ‘‘Revolutionary Cinema: The Bolivian Experience,’’ in Cinema and Social Change in Latin America: Conversations with Filmmakers, edited by Julianne Burton, Austin, Texas, 1986. ‘‘El plano secuencia integral,’’ in Cine Cubano (Cuba), no. 125, 1989. ‘‘Voraussetzung fuer das Verstaendnis sind Interesse an und Achtung gegenueber der anderen Kultur,’’ an interview with R. Nierich and P. B. Schumann, in Filmbulletin, vol. 33, no. 4, 1991. On SANJINÉS: books— Gisbert, Carlos D. Mesa, and others, Cine Boliviano: Del realizador al critico, La Paz, 1979. Gisbert, Carlos D. Mesa, La aventura del cine boliviano 1952–85, La Paz, 1985. Armes, Roy, Third-World Filmmaking and the West, Berkeley, 1987. On SANJINÉS: articles— Wilson, David, ‘‘Aspects of Latin American Political Cinema,’’ in Sight and Sound (London), Summer 1972. Campbell, Leon G., and Carlos Cortes, ‘‘Film as Revolutionary Weapon: A Jorge Sanjinés Retrospective,’’ in History Teacher, May 1979. Ledgard, M., ‘‘Jorge Sanjinés: El cine urgente,’’ in Hablemos de Cine (Lima), June 1981. West, Dennis, ‘‘Film and Revolution in the Andes,’’ in New Scholar (San Diego), vol. 8, no. 1/2, 1982. West, Dennis, ‘‘Alternative Cinema in Latin America,’’ in Roads to Freedom: The Struggle against Dependence in the Developing World, edited by Edwin G. Clausen and Jack Bermingham, Brookfield, Vermont, 1989. Ruggle, W., ‘‘Die eigene Identitaet zurueckerobern,’’ in Filmbulletin, vol. 33, no. 4, 1991. Malandrin, Stéphane, ‘‘Toulouse à l’heure latine,’’ in Cahiers du Cinéma (Paris), June 1995. Convents, G., in Film en Televisie + Video (Brussels), October 1995. Chaput, Luc, ‘‘Jorge Sanjines: Amérindien mon frére,’’ in Séquences (Haute-Ville), September-October 1997. *** The Bolivian Jorge Sanjinés has become internationally recog￾nized as a leading filmmaker in spite of the fact that his country has few significant filmmaking traditions or production facilities. Work￾ing outside of a film-industry context, Sanjinés has doggedly over￾come formidable obstacles, including economic ones. For instance, to finance the fiction feature Yawar mallku Sanjinés and other members of his Ukamau production group sold personal belongings and accepted contributions. After finishing Yawar mallku, members of the Ukamau collective toured the Bolivian highlands with a 16mm print and portable projection equipment in an effort to reach the film’s intended audience—the Indian peasantry. Sanjinés is a militant filmmaker whose primary goal is to bring a revolutionary Marxist political agenda to peasant and working-class audiences. His principal films respond to a militant Marxist aesthetic by examining oppressed collective protagonists (for example, an Andean peasant community) in their historical situations, by educat￾ing viewers to an understanding of those situations, and by inspiring audiences to transform the political and socioeconomic status quo in order to build a higher stage of society. The depiction of oppression in these films has in some cases been based on documented histori￾cal events. Sanjinés’s works offer a defense of the Andean Indian way of life and expose and attack the Indians’ enemies. Yawar mallku denounces a Progress Corps (read Peace Corps) pediatrics clinic that sterilizes unsuspecting Andean women, while in the documentary reconstruc￾tion El coraje del pueblo, Bolivian government and military officials responsible for the massacres of Indian miners are specifically identified. The fiction feature El enemigo principal illustrates the exploitation and brutality suffered by indigenous peasants at the hands of powerful landowners and links the power of the landowners to U.S. imperialism. The mise-en-scène of these films reflects Sanjinés’s defense of the Indian way of life. For instance, in El enemigo principal the Inca heritage of the modern Andean Indian pervades the mise-en-scène: the predominance of Quechua dialogue, the centuries￾old custom of chewing coca leaves, the trapezoidal niches and doors characterizing Inca masonry, the ancient agricultural ritual, the every￾day work of spinning and weaving. The structural, narrative, and stylistic approaches used by Sanjinés have evolved in accordance with his basic goal of optimum communi￾cation with his peasant and working-class audiences. When exhibit￾ing Yawar mallku to Indians in remote areas, Sanjinés drew on an Inca oral tradition; and before showing the film he first had a narrator introduce the story and the characters to the cinematically unsophisti￾cated audiences. Later, in El enemigo principal, Sanjinés built a nar￾rator into the film itself: a well-known Indian peasant leader periodi￾cally appears to speak, in Quechua, directly to viewers in order to introduce the characters and events which will follow. From peasant reaction to his early films, Sanjinés found that unsophisticated viewers were shocked when a close shot follows an establishing shot. Therefore, in El enemigo principal outdoor group scenes appear initially in long shot; and then the camera slowly zooms in, much as a spectator would approach. Although Yawar mallku involved an Indian community in the filming, Sanjinés later sought from indige￾nous groups an even more active collective participation in an effort