H > Ha

— — — — —

HAANSTRA, BERT (1916-1997)

n > | NETHERLANDS |

— — — — —

Fanfare (1958, 93 min)

BETWEEN 60-120 MIN |

— — — — — 1950s

HALLIWELL, IAN

g > | GREAT BRITAIN |

— — — — —

Origami (2003, 1 min)

BETWEEN 0-15 MIN |

— — — — — 2000s

HAMMER, BARBARA (1939)

u > | U.S.A. |

— — — — —

A Horse Is Not a Metaphor (2008, 30 min)

BETWEEN 15-60 MIN |

— — — — — 2000s

Vital Signs (1991, 9 min)

BETWEEN 0-15 MIN |

Sanctus (1990, 19 min)

BETWEEN 15-60 MIN |

— — — — — 1990s

Still Point (1989, 9 min)

BETWEEN 0-15 MIN |

— — — — — 1980s

HAMMID, ALEXANDER (1907-2004)

a > | *AUSTRIA | c > | CZECHIA | u > | U.S.A. |

— — — — —

HAMON, GENEVIÈVE

f > | FRANCE |

— — — — —

Diatoms (1968, 17 min)

with PAINLEVÉ, JEAN (1902-1989) |

— — — — — 1960s

HANÁK, DUŠAN (1938)

c > | CZECHIA | s > | *SLOVAKIA |

— — — — —

Six Questions for Jan Werich | Šest otázek pro Jana Wericha (1963, 14 min)

BETWEEN 0-15 MIN |

— — — — — 1960s

HANI, SUSUMU (1928)

j > | JAPAN |

— — — — —

History: The Age of the Nuclear Chaos | Kaku kyoran no jidai (1983, 116 min)

Prophecy | Yogen (1982, 44 min)

BETWEEN 15-60 MIN |

A Tale of Africa | Afurika monogatari (1980, 112 min)

BETWEEN 60-120 MIN | with TREVOR, SIMON |

— — — — — 1980s

The Morning Schedule | Gozenchu no jikanwari (1972, 100 min)

BETWEEN 60-120 MIN |

Mio | Yôsei no uta (1972, 97 min)

BETWEEN 60-120 MIN |

— — — — — 1970s

Aido: Slave of Love | Aido (1969, 105 min)

Nanami: The Inferno of First Love | Hatsukoi: Jigoku-hen (1968, 108 min)

BETWEEN 60-120 MIN |

The Song of Bwana Toshi | Bwana Toshi no uta (1967, 115 min)

Bride of the Andes | Andesu no hanayome (1966, 103 min)

Aru shuppansha gojuunen (1963, 63 min)

Children Hand in Hand | Te o tsunagu kora (1963, 100 min)

She and He | Kanojo to kare (1963, 109 min)

BETWEEN 60-120 MIN |

Man’s Paradise | Il paradiso dell’uomo (1963, 93 min)

with TOMEI, GIULIANO |

A Full Life | Mitasareta seikatsu (1962, 102 min)

Bad Boys | Furyo shonen (1961, 89 min)

BETWEEN 60-120 MIN |

Nihon no buyou (1960, 24 min)

— — — — — 1960s

Tokyo 1958 (1958, 24 min)

Children Who Draw | E o kaku kodomotachi: jidôga o rikai suru tame ni (1956, 38 min)

BETWEEN 15-60 MIN |

Children in the Classroom | Kyôshitsu no kodomotachi: gakushû shidô e no michi (1954, 30 min)

— — — — — 1950s

NANAMI: THE INFERNO OF FIRST LOVE (15 Nov 2015)

romantic encounters of a shy Fiascoman (a goldsmith’s apprentice with a near to “Sundays and Cybele” case history, who was taking laugh lessons for the reserved) and a tender Nudemodeliana (occasional Venus in furs, who is not fond of westerns)... expect happy (eros) end (thanatos)!

CHILDREN WHO DRAW (16 Nov 2015)

“From this pose, we can tell he’s not yet grasped the spirit of a classroom.”

“Introverted children like her, if they are properly encouraged, have the capability to express a warm, tender beauty.”

BAD BOYS (20 Nov 2015)

lessons in fairness taught in the streets to random strangers wearing silly hats, rich tomcats dating kittens, or cops drinking on duty / girls in polka dots, boys behind the bars (orthogonal and diagonal alike — Mondrian and van Doesburg are equally revered within the penitentiary system)

TOKYO 1958 (21 Nov 2015)

population 8.556.103; 127.847 babies born last year (most from kimonogamous relationships; 15 births per hour); 51.566 people died last year (6 deaths per hour; 2.000 suicides — 30% in the 20-24 age group); 120.000 cameras produced per month (1 inhabitant in 3 owns a camera); 617 movie theaters

SHE AND HE (22 Nov 2015)

little journeys of self-discovery made outside the gated community or “Through the Chain-Link Fence, and What She Found There”

MIO (23 Nov 2015)

together with (1/) the music record “Mio Hani / Osamu Kitajima - Mio to Juuippiki no Neko” (Mio recites non-stop throughout the whole album about her 11 cats and the psychedelic band Far Out provides the background music) and (2/) a children’s book full of Mio’s photographs and poems, this (3/) tricky staged home video is a part of devoted daddy’s triptych multimedia gesamtkunstwerk, glorifying his beloved little daughter... (side note 1: arrested Antonio = Frankensteinian prefigure to Fugitivo in “The Spirit of the Beehive”)... (side note 2: the donkey is the throne of Jesus when he entered Jerusalem and of Mio Hani when she entered Sardinian orphanage)

THE MORNING SCHEDULE (26 Nov 2015)

“This program is brought to you by Earthwormish Language Study Society”

A TALE OF AFRICA (8 Dec 2015)

the essence of all the idyllic illustrations from Jehovah’s Witnesses agitprop papers captured via the Japanese hi-tech camera

eros plus massacre of all the exotic species ever touched by National Geographic

wide panoramic views with the herds of grazing animals (not less spectacular than the wide panoramic crowd scenes in “Andrei Rublev”)

“The Blue Lagoon” twin-born love story, taking place on the island called Safariafrica and enriched with a third (i.e. grandpa-in-(martial)-law) and fourth (i.e. forgotten (pre-plane-crash)-fiancé with a gun) main characters

a giraffe stretching its tall neck above the horizon & a spiky needle of the cliché-barometer reaching (on mean purpose) beyond the measurable limits

it might seem as funny little thing to a cinerookie, but a haniphile knows it helps to improve the soil and vegetation of the whole cinecosystem

the pleasure of watching this film could be compared to a joy experienced by a playful godforsaken Robinsondóttir when she gets the opportunity to wash rhino’s back with several handfuls of pristine mud

— — — — —

HANOUN, MARCEL (1929-2012)

f > | FRANCE | t > | *TUNISIA |

— — — — —

A Simple Story | Une simple histoire (1959, 68 min)

BETWEEN 60-120 MIN |

— — — — — 1950s

HANSON, HELEN

g > | GREAT BRITAIN |

— — — — —

books-n-articles:

Hanson, H., O’Rawe, C., (eds.), The Femme Fatale: Images, Histories, Contexts (Palgrave MacMillan, 2010)

— — — — —

THE FEMME FATALE: IMAGES, HISTORIES, CONTEXTS

INTRODUCTION: ‘CHERCHEZ LA FEMME’ (Hanson, H., O’Rawe, C.,)

C > Cl | Diabolique | Les Diaboliques (Henri G. Clouzot, 1955, 116 min)

D > De | F > Fu | Doña Bárbara (Fernando de Fuentes, Miguel M. Delgado, 1943, 138 min)

G > Ga | The Postman Always Rings Twice (Tay Garnett, 1946, 113 min)

L > La | Human Desire (Fritz Lang, 1954, 91 min)

S > Sa | Bitter Rice | Riso amaro (Giuseppe de Santis, 1949, 108 min)

V > Vi | Gilda (Charles Vidor, 1946, 110 min)

V > Vi | Ossessione (Luchino Visconti, 1943, 140 min)

W > Wi | Double Indemnity (Billy Wilder, 1944, 107 min)

1. ECOUTEZ LA FEMME: HEAR/HERE DIFFERENCE (Pollock, G.)

D > Da | Deep Throat (Gerard Damiano, 1972, 61 min)

H > Ha | Niagara (Henry Hathaway, 1953, 92 min)

H > Ha | Gentlemen Prefer Blondes (Howard Hawks, 1953, 91 min)

N > Ne | How to Marry a Millionaire (Jean Negulesco, 1953, 95 min)

V > Vi | Gilda (Charles Vidor, 1946, 110 min)

PART I: LITERARY AND VISUAL ARCHETYPES

2. THE MOTHER OF ALL FEMMES FATALES: EVE AS TEMPTRESS IN GENESIS 3 (Edwards, K. L.)

3. CHALLENGING THE STEREOTYPE: THE FEMME FATALE IN FIN-DE-SIÈCLE ART AND EARLY CINEMA (Sully, J.,)

B > Be | E > Ed | The Tiger Woman (George Bellamy, J. Gordon Edwards, 1917, 60 min)

B > Br | N > Na | Salomé (Charles Bryant, Alla Nazimova, 1922, 72 min)

E > Ed | The Vixen (J. Gordon Edwards, 1916, 60 min)

E > Ed | The Siren’s Song (J. Gordon Edwards, 1919)

E > Ed | Cleopatra (J. Gordon Edwards, 1917, 125 min)

E > Ed | Salomé (J. Gordon Edwards, 1918, 80 min)

M > Ma | Queen Christina (Rouben Mamoulian, 1933, 99 min)

P > Po | The Devil’s Daughter (Frank Powell, 1915)

S > St | Morocco (Josef von Sternberg, 1930, 92 min)

W > Wa | The Serpent (Raoul Walsh, 1916, 60 min)

W > Wa | Carmen (Raoul Walsh, 1915, lost)

4. SILENT DIVAS: THE FEMMES FATALES OF THE ITALIAN CINEMA MUTO (Ramirez, J.)

B > Be | S > Se | Assunta Spina (Francesca Bertini, Gustavo Serena, 1915, 70 min)

D > Dm | Murder My Sweet (Edward Dmytryk, 1944, 95 min)

H > Ha | The Big Sleep (Howard Hawks, 1946, 114 min)

H > Hu | Maltese Falcon (John Huston, 1941, 101 min)

P > Pa | R > Ro | The Fall of Troy | La caduta di Troia (Giovanni Pastrone, Luigi Romano, 1910, 31 min)

P > Pa | Cabiria (Giovanni Pastrone, 1914, 123 min)

T > To | Out of the Past (Jacques Tourneur, 1947, 97 min)

W > Wa | White Heat (Raoul Walsh, 1949, 114 min)

W > Wi | Double Indemnity (Billy Wilder, 1944, 107 min)

W > Wi | Sunset Boulevard (Billy Wilder, 1950, 110 min)

5. ‘YOU’LL BE THE DEATH OF ME’: MATA HARI AND THE MYTH OF THE FEMME FATALE (White, R.)

B > Bo | The Painted Veil (Richard Boleslawski, 1934, 85 min)

B > Br | Anna Christie (Clarence Brown, 1930, 89 min)

F > Fe | Mata Hari, the Red Dancer (Friedrich Feher, 1927)

F > Fe | Anna Christie (Jacques Feyder, 1931, 85 min)

F > Fi | Mata Hari (George Fitzmaurice, 1931)

H > Ha | Mata Hari (Curtis Harrington, 1985)

R > Ri | Mata Hari (Jean-Louis Richard, 1964)

W > Wo | Mata Hari (Ludwig Wolff, 1920)

U > Un | Mata Hari (unkn., 1978)

U > Un | Mata Hari, the Red Dancer (unkn., 1919)

PART II: FILM STARS

6. DIABOLICALLY CLEVER: CLOUZOT’S FRENCH NOIR LES DIABOLIQUES (1954) (Hayward, S.)

C > Cl | Diabolique | Les Diaboliques (Henri-Georges Clouzot, 1955, 116 min)

C > Cl | Jenny Lamour | Quai des Orfèvres (Henri-Georges Clouzot, 1947, 106 min)

C > Cu | Mildred Pierce (Michael Curtiz, 1945, 111 min)

H > Hi | Vertigo (Alfred Hitchcock, 1958)

W > Wi | Double Indemnity (Billy Wilder, 1944, 107 min)

7. FATAL FEMININITY IN POST-WAR BRITISH FILM: INVESTIGATING THE BRITISH FEMME (Bell, M.)

> |

8. ‘PUT THE BLAME ON... MEI’: ZHANG ZIYI AND THE POLITICS OF GLOBAL STARDOM (Kourelou, O.)

> |

9. GENDER, GENRE AND STARDOM: FATALITY IN ITALIAN NEOREALIST CINEMA (O’Rawe, C.)

> |

PART III: FEMMES FATALES IN EUROPEAN AND WORLD CINEMAS

10. THE FEMME FATALE OF SPANISH RETRO NOIR: THE RECUPERATION OF A REPRESSED VOICE (Davies, A.)

> |

11. CHIAROSCURO: THE HALF-GLIMPSED FEMME FATALE OF ITALIAN FILM NOIR (Wood, M.)

> |

12. A MYTH IS BORN: THE FEMME FATALE IN THE GOLDEN AGE OF MEXICAN CINEMA (Marambio, J. L., Rinka, M.)

> |

PART IV: HOLLYWOOD

13. ‘I CAN’T TELL ANYMORE WHETHER YOU’RE LYING’: DOUBLE INDEMNITY, HUMAN DESIRE AND THE NARRATOLOGY OF FEMMES FATALES (Neale, S.)

> |

14. ‘WELL, AREN’T WE AMBITIOUS’, OR ‘YOU’VE MADE UP YOUR MIND I’M GUILTY’: READING WOMEN AS WICKED IN AMERICAN FILM NOIR (Grossman, J.)

> |

15. THE BIG SEDUCTION: FEMINIST FILM CRITICISM AND THE FEMME FATALE (Hanson, H.)

> |

— — — — —

HARA, KAZUO (1945)

j > | JAPAN |

— — — — —

Goodbye CP (1972, 82 min)

BETWEEN 60-120 MIN |

— — — — — 1970s

HARLAN, VEIT (1899-1964)

g > | GERMANY |

— — — — —

Hanna Amon (1951, 106 min)

BETWEEN 60-120 MIN |

— — — — — 1950s

The Golden City | Die goldene Stadt (1942, 110 min)

BETWEEN 60-120 MIN |

— — — — — 1940s

HANNA AMON (3 Jul 2016)

blood and soil in technicolor

femme fatale fatally wounded by a woman (who aimed the masculine target tho) // when a sis (most sisterly of all sisters) is shooting faster than a bro is stabbing

reichsadler upgraded to the winged goddess isis

felix culpa = blissful guilt (teodicy, ceodicy, machodicy, nazidicy, etc.)

THE GOLDEN CITY (5 Jul 2016)

tunes of the (late 19th century cz patriotic series of the symphonic poems) “My Homeland” by B. Smetana hijacked for (anti-cz) nazi heimatfilm purpose

cz dissolute urban beasts obsessing about draining ger swamp eco-idyl and bringing misfortune to girls in a dirndl (before their downfall they are manipulated into changing dirndl for a trendy urban outfit) / ger elderly landlord even insisting on preserving swamp as an ultimate justice agent (“he who does something wrong... / whoever abandons his homeland... will be punished by the moor”) / moorland and hearing voices by guilt-ridden characters interconnected in heimatfilms (f.e. “Rape on the Moor” by König too)

screenings throughout the whole occupied europe, with the exception of the protectorate of bohemia and moravia / restoration is cut 10 min shorter (allegedly devoid of the most anti-cz scenes) / stoning of cz midget urban engineer by bowling balls is not missing

despite the end was altered (in Billinger's play father commits suicide vs. in film daughter) it is still surprisingly defeatist from the traditionalist point of view (vice-punishing moorland ecosystem drained and replaced by money-making cultivated field)

— — — — —

HARRAR, JAMES

u > | U.S.A. |

— — — — —

The Corn Maiden ??? (2015)

Pike (2015)

Vlaamperd (2014, 4 min)

BETWEEN 0-15 MIN |

Death and the Injun (2013, 5 min)

BETWEEN 0-15 MIN |

The Invisible College (2013, 5 min)

BETWEEN 0-15 MIN |

Tian (2013, 7 min)

BETWEEN 0-15 MIN |

Stardust (2013, 7 min)

BETWEEN 0-15 MIN |

Prasad at the Mandir (2011, 7 min)

BETWEEN 0-15 MIN |

— — — — — 2010s

Ornamental (2004, 4 min)

BETWEEN 0-15 MIN |

— — — — — 2010s

HAVETTA, ELO (1938-1975)

c > | CZECHIA | s > | *SLOVAKIA |

— — — — —

Saint Jane | Svatá Jana (1963, 8 min)

BETWEEN 0-15 MIN |

— — — — — 1960s

HAWKS, HOWARD W. (1896-1977)

u > | U.S.A. |

— — — — —

His Girl Friday (1940, 92 min)

BETWEEN 60-120 MIN |

— — — — — 1940s