DOCSLIB.ORG

George Gray Photograph Albums, Ca

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
George Gray Photograph Albums, Ca http://oac.cdlib.org/findaid/ark:/13030/c89c70th No online items George Gray photograph albums, ca. 1912-ca. 1928; bulk ca.1912-ca.1914 Processed by Jennifer Myers; machine-readable finding aid created by Caroline Cubé after initial encoding by Julie Graham and Elizabeth Graney. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] ©2014 The Regents of the University of California. All rights reserved. George Gray photograph albums, PASC 283 1 ca. 1912-ca. 1928; bulk ca.1912-ca.1914 Title: George Gray photograph albums Collection number: PASC 283 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 3.0 linear ft.(5 flat boxes) Date (bulk): Bulk, 1907-1917 Date (inclusive): ca. 1912-ca. 1928 (bulk ca.1912-ca.1914) Abstract: George Gray was an actor, director and makeup man for both film and television. The collection consists of five photograph albums including George Gray's silent film production stills, personal and family photographs. Additionally, there are a small numner of casting directories for silent films. Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. Creator: Gray, George Guy Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. Preferred Citation [Identification of item], George Gray photograph albums (Collection PASC 283). UCLA Library Special Collections, Charles E. Young Research Library, UCLA. Biography George Guy Gray's show business career began when as a teenager he worked as a memeber of the Dr. Carvers's Diving Horses show. Gray went on to work in vaudevilleand around 1912 he made his foray into motion pictures. In the early teens, he worked as an actor and director with Mack Sennett. Gray went on to work as a makeup artist in both film and television. George Gray died in the early 1960s. Scope and Content The collection consists of five photograph albums including George Gray's personal and family photographs taken in California, Gray during his horse diving and vaudeville days, and three volumes of movie production stills. The stills include around 400 images representing over ninety films, many of them starring Roscoe "Fatty" Arbuckle, Mabel Normand, Ford Sterling, the Keystone Cops and other pioneer movie comedy greats, from Mack Sennett studios ca. 1912-1914. Additionally there are a small number of silent film casting directories. Organization and Arrangement Motion picture stills arranged alphabetically by title. UCLA Catalog Record ID UCLA Catalog Record ID: 5220359 Subjects and Indexing Terms Gray, George Guy -- Archives. Actors -- California, Southern -- Photographs. Photograph albums. Box 5 Standard Casting Directory. 1929. Box 5 Voice of the Screen casting directory. 1928. Box 5 Loose photographs (possibly intended for a scrapbook). [ca. early 1900s]. Box 4 Scrapbook of what appears to be personal photographs. no date. Additional Note In Scrapbook 5. George Gray photograph albums, PASC 283 2 ca. 1912-ca. 1928; bulk ca.1912-ca.1914 Container List Box 4 Scrapbook pages of clippings and photographs. no date. Additional Note In Scrapbook 4. Box 3 Across the Alley. [ca. 1913]. Additional Note In Scrapbook 3, pages 68, 69, 70, 71. Box 2 At Twelve O'Clock. [ca. 1913]. Additional Note In Scrapbook 2, pages 5, 8. Box 3 Auto Tires. [ca. 1913]. Additional Note In Scrapbook 3, pages 96, 97. Box 3 Baby Day. [ca. 1913]. Additional Note In Scrapbook 3, pages 51, 52. Box 2 Baby Day. [ca. 1913]. Additional Note In Scrapbook 2, page 124. Box 3 Bad Game (A). [ca. 1913]. Additional Note In Scrapbook 3, pages 143, 144, 145, 146. Box 2 Bad Game (A). [ca. 1913]. Additional Note In Scrapbook 2, pages 93, 100. Box 3 Bangville Police. [ca. 1913]. Additional Note In Scrapbook 3, pages 1, 2, 3. Box 2 Bangville Police (The). [ca. 1913]. Additional Note In Scrapbook 2, pages 21, 22, 23, 24, 25, 26. Box 3 Barber (The). [ca. 1914]. Additional Note In Scrapbook 3, page 16. Box 1 Barney Oldfield's Race for a Life. [ca. 1913]. Additional Note In Scrapbook 1, pages 135, 136. Box 3 Billy Dodges Bills. [ca. 1913]. Additional Note In Scrapbook 3, pages 73, 74. George Gray photograph albums, PASC 283 3 ca. 1912-ca. 1928; bulk ca.1912-ca.1914 Container List Box 2 Bowling Match (The). [ca. 1913]. Additional Note In Scrapbook 2, page 121. Box 1 Bowling Match (The). [ca. 1913]. Additional Note In Scrapbook 1, pages 71, 72, 79, 80. Box 1 Cab Driver (The). no date. Additional Note In Scrapbook 1, page 143. Box 2 Champion (The). [ca. 1913]. Additional Note In Scrapbook 2, pages 65, 66, 67, 68, 87, 88, 89, 90, 91, 92. Box 1 Champion (The). [ca. 1913]. Additional Note In Scrapbook 1, pages 76, 77, 78, 81, 82, 83. Box 1 Cure that Failed (A). [ca. 1913]. Additional Note In Scrapbook 1, pages 19 Box 2 Doctor (The). no date. Additional Note In Scrapbook 2, pages 46, 47, 48, 49, 50, 51. Box 1 Double Wedding (A). [ca. 1913]. Additional Note In Scrapbook 1, pages 18 Box 1 Drummer's Vacation (A). [ca. 1912]. Additional Note In Scrapbook 1, pages 13, 14, 15, 16, 17. Box 1 Ebenezer Goes to Town. no date. Additional Note In Scrapbook 1, page 4. Box 3 Fatty at San Diego. [ca. 1913]. Additional Note In Scrapbook 3, pages 99, 100, 101, 102, 103, 104. Box 3 Fatty Joins the Force. [ca. 1913]. Additional Note In Scrapbook 3, pages 129, 130, 131, 132, 133. Box 3 Fatty's Day Off. [ca. 1913]. Additional Note In Scrapbook 3, pages 45, 46, 47, 48. George Gray photograph albums, PASC 283 4 ca. 1912-ca. 1928; bulk ca.1912-ca.1914 Container List Box 2 Fatty's Flirtation. [ca. 1913]. Additional Note In Scrapbook 2, pages 94, 95, 96, 97. Box 1 Flirt (The). [ca. 1913]. Additional Note In Scrapbook 1, pages 86, 87. Box 2 Flirt's Mistake (A). [ca. 1913]. Additional Note In Scrapbook 2, page 70. Box 2 Foiling Fickle Father. [ca. 1913]. Additional Note In Scrapbook 2, pages 3, 4, 31, 32, 33, 34. Box 1 For Lizzie's Sake. [ca. 1913]. Additional Note In Scrapbook 1, page 27. Box 1 Foreman of the Jury (The). [ca. 1913]. Additional Note In Scrapbook 1, pages Box 1 Game of Poker (The). [ca. 1913]. Additional Note In Scrapbook 1, pages 146, 147, 148. Box 1 Game of Pool (A). [ca. 1913]. Additional Note In Scrapbook 1, pages 108. Box 2 Gusher (The). [ca. 1913]. Additional Note In Scrapbook 2, pages 103, 104. Box 1 Gusher (The). [ca. 1913]. Additional Note In Scrapbook 1, pages 48, 49, 50, 89, 90. Box 3 Gusher (The). [ca. 1913]. Additional Note In Scrapbook 3, pages 140, 141, 142. Box 1 Gypsy. no date. Additional Note In Scrapbook 1, pages 123, 124, 125, 126, 127, 128. Box 3 He Would a Hunting Go. [ca. 1913]. Additional Note In Scrapbook 3, pages 29, 30, 31, 32, 33. George Gray photograph albums, PASC 283 5 ca. 1912-ca. 1928; bulk ca.1912-ca.1914 Container List Box 1 He Would a Hunting Go. [ca. 1913]. Additional Note In Scrapbook 1, pages 84, 85?. Box 2 Healthy Neighborhood (A). [ca. 1913]. Additional Note In Scrapbook 2, pages 109, 110. Box 3 Healthy Neighborhood (A). [ca. 1913]. Additional Note In Scrapbook 3, pages 81, 82, 83, 84. Box 1 Help Help Hydrophobia. [ca. 1913]. Additional Note In Scrapbook 1, pages 145. Box 1 Her New Beau. [ca. 1913]. Additional Note In Scrapbook 1, pages 36, 37. Box 1 Hide and Seek. [ca. 1913]. Additional Note In Scrapbook 1, pages 35, 39, 40, 41, 42, 44. Box 2 His Chum the Baron. [ca. 1913]. Additional Note In Scrapbook 2, pages 35, 36, 37, 38. Box 3 His Sister's Kids. [ca. 1913]. Additional Note In Scrapbook 3, pages 136, 137, 138, 139. Box 1 His Wedding Day. [ca. 1913]. Additional Note In Scrapbook 1, pages 45, 46. Box 3 Horse Thief (The). no date. Additional Note In Scrapbook 3, pages 118, 124, 125. Box 1 How Hiram Won Out. [ca. 1913]. Additional Note In Scrapbook 1, page 23. Box 2 In the Clutches of a Gang. [ca. 1914]. Additional Note In Scrapbook 2, page 71. Box 3 Janitor (The). [ca. 1913]. Additional Note In Scrapbook 3, pages 77, 78, 79, 80. George Gray photograph albums, PASC 283 6 ca. 1912-ca. 1928; bulk ca.1912-ca.1914 Container List Box 1 Jealous Waiter (A). [ca. 1913]. Additional Note In Scrapbook 1, pages 28, 29. Box 2 Jenny's Pearls. [ca. 1913]. Additional Note In Scrapbook 2, pages 57, 58, 59, 60. Box 2 Jewish Soldier (The). [ca. 1913]. Additional Note In Scrapbook 2, pages 27, 28. Box 1 Just Brown's Lunch. [ca. 1913]. Additional Note In Scrapbook 1, pages 25, 26, 31. Box 1 Kelp Industry. [ca. 1913]. Additional Note In Scrapbook 1, page 100. Box 1 Landlord's Troubles (A). [ca. 1913]. Additional Note In Scrapbook 1, page 20.
Load more

Recommended publications
  • The Creative Process
    The Creative Process THE SEARCH FOR AN AUDIO-VISUAL LANGUAGE AND STRUCTURE SECOND EDITION by John Howard Lawson Preface by Jay Leyda dol HILL AND WANG • NEW YORK www.johnhowardlawson.com Copyright © 1964, 1967 by John Howard Lawson All rights reserved Library of Congress catalog card number: 67-26852 Manufactured in the United States of America First edition September 1964 Second edition November 1967 www.johnhowardlawson.com To the Association of Film Makers of the U.S.S.R. and all its members, whose proud traditions and present achievements have been an inspiration in the preparation of this book www.johnhowardlawson.com Preface The masters of cinema moved at a leisurely pace, enjoyed giving generalized instruction, and loved to abandon themselves to reminis­ cence. They made it clear that they possessed certain magical secrets of their profession, but they mentioned them evasively. Now and then they made lofty artistic pronouncements, but they showed a more sincere interest in anecdotes about scenarios that were written on a cuff during a gay supper.... This might well be a description of Hollywood during any period of its cultivated silence on the matter of film-making. Actually, it is Leningrad in 1924, described by Grigori Kozintsev in his memoirs.1 It is so seldom that we are allowed to study the disclosures of a Hollywood film-maker about his medium that I cannot recall the last instance that preceded John Howard Lawson's book. There is no dearth of books about Hollywood, but when did any other book come from there that takes such articulate pride in the art that is-or was-made there? I have never understood exactly why the makers of American films felt it necessary to hide their methods and aims under blankets of coyness and anecdotes, the one as impenetrable as the other.
    [Show full text]
  • Moma More Cruel and Unusual Comedy Social Commentary in The
    MoMA Presents: More Cruel and Unusual Comedy: Social Commentary in the American Slapstick Film Part 2 October 6-14, 2010 Silent-era slapstick highlighted social, cultural, and aesthetic themes that continue to be central concerns around the world today; issues of race, gender, propriety, and economics have traditionally been among the most vital sources for rude comedy. Drawing on the Museum’s holdings of silent comedy, acquired largely in the 1970s and 1980s by former curator Eileen Bowser, Cruel and Unusual Comedy presents an otherwise little-seen body of work to contemporary audiences from an engaging perspective. The series, which first appeared in May 2009, continues with films that take aim at issues of sexual identity, substance abuse, health care, homelessness and economic disparity, and Surrealism. On October 8 at 8PM, Ms Bowser will address the connection between silent comedy and the international film archive movement, when she introduces a program of shorts that take physical comedy to extremes of dream-like invention and destruction. Audiences today will find the vulgar zest and anarchic spirit of silent slapstick has much in common with contemporary entertainment such as Cartoon Network's Adult Swim, MTV's Jackass and the current Jackass 3-D feature. A majority of the films in the series are archival rarities, often the only known surviving version, and feature lesser- remembered performers on the order of Al St. John, Lloyd Hamilton, Fay Tincher, Hank Mann, Lupino Lane, and even one, Diana Serra Cary (a.k.a. Baby Peggy), who, at 91, is the oldest living silent film star still active.
    [Show full text]
  • 40 Years of American Film Comedy to Be Shown
    40n8 - 4?' THE MUSEUM OF MODERN ART tl WEST 53RD STREET, NEW YORK •fgLEPHONE: CIRCLE 5-8900 FOR IMMEDIATE RELEASE FORTY YEARS OF AMERICAN FIM COMEDY FROM FLORA FINCH AND JOHN BUNNY TO CHAPLIN, FIELDS, BENCHLEY AND THE MARX BROTHERS TO BE SHOWN AT THE MUSEUM OF MODERN ART That movies are the proper study of mankind has been estab­ lished at the Museum of Modern Art, where eight comprehensive series and four smaller groups of the outstanding films through which the great popular art of the cinema has evolved since 1895, have already been shown to Museum visitors. The Museum now announces a new series of fifteen programs in the art of the motion picture under the general title: Forty Years of American Film Comedy, Part i; Beginning Thursday, August 1, the series will be presented dally at 4 P.M. and on Sundays at 3 P.M. and 4 P.M. in the Museum1s auditorium at 11 West 53 Street. Instruction will thus be provided from the screen by Professors Mack Sennett, Frank Capra, W. C. Fields, Harpo and Groucho Marx, Robert Benchley and Charlie Chaplin in a new appraisal of screen comedy reviewed in the light of history. "It is very evident," states Iris Barry, Curator of the Museum's Film Library, "that the great farce-comedies, as well as the cowboy and gangster films, rank among this country1s most original contributions to the screen. We are grateful indeed to the film industry for cooperating with the Museum in providing this unique opportunity for tracing screen comedy to its sources in this group of classics now restored to view for the amateurs of the twentieth century's liveliest art.
    [Show full text]
  • Sennett Creative Campus, Echo Park's Newest Modern
    SENNETT CREATIVE CAMPUS, ECHO PARK’S NEWEST MODERN/CREATIVE OFFICE ENVIRONMENT 1745- 1759 GLENDALE BOULEVARD, ECHO PARK, CALIFORNIA David Aschkenasy Executive Vice President Phone 310.272.7381 email [email protected] The Sennett Creative Campus is greater Los Angeles’ most unique creative office destination. The Spaces: +/- 6,500 - 14,000 sq ft Campus offers one of the largest and architecturally significant, contiguous office spaces available. Rate: $1.95 psf, Modified Gross Originally built in 1946, and fully modernized and renovated in 2015, 1745-1759 N Glendale Blvd is a Parking: In rear of building, free of charge 30,000 Square Foot +/- campus environment that brings the glory of old Hollywood to life in the 21st Century. Comprised of 4 buildings, outdoor patios and surface parking lots, 1745-1759 N Glendale Features: • Exposed Ceilings Blvd is equipped with dramatic exposed wood truss ceilings, new HVAC & electric, polished concrete • Loading Dock and hardwood floors, brand new restrooms, reclaimed wood kitchens, multiple skylights and ample • Concrete & Hardwood Flooring parking. Greater Los Angeles is very limited with regard to true creative office space of this scale and • Exposed HVAC Ducting caliber. While there is availability in Silicon Beach (Venice and Santa Monica), Hollywood, and the • High Ceilings Arts District, the Sennett Creative Campus offers the same Creative Office Build outs at a fraction of the price. The Campus is priced at least 50% below these other creative office locations, and offers • Private Exterior Patios free parking for an additional savings. There is also the opportunity to have the exclusive use of the • Skylights rooftop billboard.
    [Show full text]
  • Mabel Normand
    Mabel Normand Also Known As: Mabel Fortescue Lived: November 9, 1892 - February 23, 1930 Worked as: co-director, comedienne, director, film actress, producer, scenario writer Worked In: United States by Simon Joyce, Jennifer Putzi Mabel Normand starred in at least one hundred and sixty-seven film shorts and twenty-three full- length features, mainly for Mack Sennett’s Keystone Film Company, and was one of the earliest silent actors to function as her own director. She was also one of the first leading performers to appear on film without a previous background in the theatre (having begun her career in modeling), to be named in the title of her films (beginning with 1912’s Mabel’s Lovers), and to have her own studio (the ill-fated Mabel Normand Feature Film Company). That her contributions to early film history are not better known is attributable in part to her involvement in the Hollywood scandals of the 1920s, and in part to our reliance on the self-interested memoirs of her better-known colleagues (especially Sennett and Charlie Chaplin) following her death at age thirty-eight. It is hard to get an accurate picture from such questionable and contradictory recollections, or from interviews with Normand herself, filtered as they often were through a sophisticated publicity operation at Keystone. Film scholars who have worked with these same sources have often proved just as discrepant and unreliable, especially in their accounts of her directorial contributions. Normand’s early career included stints at the Biograph Company, working with D. W. Griffith, and at the Vitagraph Company, yet it was her work at Keystone that solidified her image as slapstick comedienne.
    [Show full text]
  • Mack Sennett Филм ÑÐ​ ¿Ð¸ÑÑ​ ŠÐº (ФилмографиÑ)​
    Mack Sennett Филм ÑÐ​ ¿Ð¸ÑÑ​ ŠÐº (ФилмографиÑ)​ Midnight Daddies https://bg.listvote.com/lists/film/movies/midnight-daddies-64577366/actors Girl Crazy https://bg.listvote.com/lists/film/movies/girl-crazy-5564358/actors The Leading Man https://bg.listvote.com/lists/film/movies/the-leading-man-24258575/actors The Fickle Spaniard https://bg.listvote.com/lists/film/movies/the-fickle-spaniard-18463859/actors Brave and Bold https://bg.listvote.com/lists/film/movies/brave-and-bold-24258507/actors One Round O'Brien https://bg.listvote.com/lists/film/movies/one-round-o%27brien-24258549/actors His Own Fault https://bg.listvote.com/lists/film/movies/his-own-fault-24258528/actors Their First Kidnapping Case https://bg.listvote.com/lists/film/movies/their-first-kidnapping-case-24258594/actors Those Hicksville Boys https://bg.listvote.com/lists/film/movies/those-hicksville-boys-24258596/actors The Would-Be Shriner https://bg.listvote.com/lists/film/movies/the-would-be-shriner-24258593/actors Hot Stuff https://bg.listvote.com/lists/film/movies/hot-stuff-24258530/actors Trailing the Counterfeiter https://bg.listvote.com/lists/film/movies/trailing-the-counterfeiter-23900146/actors Who Got the Reward https://bg.listvote.com/lists/film/movies/who-got-the-reward-24258600/actors Dooley's Scheme https://bg.listvote.com/lists/film/movies/dooley%27s-scheme-23900148/actors https://bg.listvote.com/lists/film/movies/%C3%A7a-c%27est-du-cin%C3%A9ma- Ça c'est du cinéma 3821482/actors An Absent-Minded Burglar https://bg.listvote.com/lists/film/movies/an-absent-minded-burglar-24258498/actors
    [Show full text]
  • RUDOLPH VALENTINO January 1971
    -,- -- - OF THE SON SHEIK . --· -- December 1970 -.. , (1926) starring • January 1971 RUDOLPH VALENTINO ... r w ith Vilma Banky, Agnes Ayres, George Fawcett, Kar l Dane • .. • • i 1--...- \1 0 -/1/, , <;1,,,,,/ u/ ~m 11, .. 12/IOJ,1/, 2/11.<. $41 !!X 'ifjl!/1/. , .....- ,,,1.-1' 1 .' ,, ,t / /11 , , . ... S',7.98 ,,20 /1/ ,. Jl',1,11. Ir 111, 2400-_t,' (, 7 //,s • $/1,!!.!!8 "World's .. , . largest selection of things to show" THE ~ EASTIN-PHELAN p, "" CORPORATION I ... .. See paee 7 for territ orial li m1la· 1;on·son Hal Roach Productions. DAVE PORT IOWA 52808 • £ CHAZY HOUSE (,_l928l_, SPOOK Sl'OO.FI:'\G <192 i ) Jean ( n ghf side of the t r acks) ,nvites t he Farina, Joe, Wheeze, and 1! 1 the Gang have a "Gang•: ( wrong side of the tr ack•) l o a party comedy here that 1\ ,deal for HallOWK'n being at her house. 6VI the Gang d~sn't know that a story of gr aveyard~ - c. nd a thriller-diller Papa has f tx cd the house for an April Fool's for all t ·me!t ~ Day party for his fr i ends. S 2~• ~·ar da,c 8rr,-- version, 400 -f eet on 2 • 810 303, Standord Smmt yers or J OO feet ? O 2 , v ozs • Reuulart, s11.9e, Sale reels, 14 ozs, Regularly S1 2 98 , Sale Pnce Sl0.99 , 6o 0 '11 Super 8 vrrs•OQ, dSO -fect,, 2-lb~ .• S l0.99 Regu a rly SlJ 98. Sale Pn ce I Sl2.99 425 -fect I :, Regularly" ~ - t S12 99 400lc0 t on 8 o 289 Standard 8mm ver<lon SO r Sate r eels lJ o,s-.
    [Show full text]
  • TESIS PATRICIO MARCELO CEDEÑO MOLINA.Pdf
    UNIVERSIDAD INTERNACIONAL “SEK” FACULTAD DE CIENCIAS DE LA COMUNICACIÓN EL CINE Y LA CIUDAD EN LA CINEMATOGRAFÍA LATINOAMERICANA. CASO ESPECÍFICO: SAN FRANCISCO DE QUITO AUTOR: PATRICIO MARCELO CEDEÑO MOLINA DIRECTORA DE TESIS: RITA ROJAS QUITO – ECUADOR SEPTIEMBRE 2012 Extracto La presente investigación de tesis exhibe apuntes de la cinematografía mundial y latinoamericana con el afán de conseguir un criterio uniforme en lo que respecta a la construcción del cine a partir de retratar una ciudad y sus personajes. Dichos apuntes hacen referencia a la interacción del séptimo arte, sus elementos técnicos y formales, personajes, escenografía, guión, con un sistema coordinado en torno a establecidas instituciones sociales, parámetros culturales, tradiciones, que determinan a una ciudad. El análisis y estudio de esta interacción entre cine y ciudad, desembocan en la particularización de San Francisco de Quito y su cinematografía localista. Abstract This research shows notes of world cinematography and Latin American cinematography in an effort to achieve a standardized approach with regard to the production of film from representing a city and its characters. These notes refer to the interaction of cinema, its technical and formal elements, characters, scenery, script, with a coordinated established social, cultural parameters, traditions, which determinate a city. The analysis and study of the interaction between cinema and the city ends up into the particularization of San Francisco de Quito and its localist cinematography. A mi primo Marcelo (†) Agradecimientos A mi mamá Marcia. Por su incondicional soporte en todos los ámbitos de mi existencia. Tu amor, tus consejos, valores, la motivación constante me han ayudado a concluir esta etapa del camino profesional.
    [Show full text]
  • Tango Tangles Actors List (Cast)
    Tango Tangles Actors List (Cast) Billy Gilbert https://www.listvote.com/lists/film/actors/billy-gilbert-2903632/movies William Hauber https://www.listvote.com/lists/film/actors/william-hauber-3568687/movies Harry McCoy https://www.listvote.com/lists/film/actors/harry-mccoy-3127869/movies Edgar Kennedy https://www.listvote.com/lists/film/actors/edgar-kennedy-714724/movies Minta Durfee https://www.listvote.com/lists/film/actors/minta-durfee-443110/movies Bert Hunn https://www.listvote.com/lists/film/actors/bert-hunn-2899187/movies Rube Miller https://www.listvote.com/lists/film/actors/rube-miller-16028702/movies George Jeske https://www.listvote.com/lists/film/actors/george-jeske-3760546/movies Al St. John https://www.listvote.com/lists/film/actors/al-st.-john-153239/movies Roscoe https://www.listvote.com/lists/film/actors/roscoe-arbuckle-315202/movies Arbuckle Chester Conklin https://www.listvote.com/lists/film/actors/chester-conklin-1070698/movies Charlie Chaplin https://www.listvote.com/lists/film/actors/charlie-chaplin-882/movies Peggy Pearce https://www.listvote.com/lists/film/actors/peggy-pearce-3374241/movies Alice Davenport https://www.listvote.com/lists/film/actors/alice-davenport-2738162/movies Charles Avery https://www.listvote.com/lists/film/actors/charles-avery-354603/movies Ford Sterling https://www.listvote.com/lists/film/actors/ford-sterling-1399937/movies Sadie Lampe https://www.listvote.com/lists/film/actors/sadie-lampe-16155546/movies Glen Cavender https://www.listvote.com/lists/film/actors/glen-cavender-3108668/movies Hank Mann https://www.listvote.com/lists/film/actors/hank-mann-3126801/movies Dave Morris https://www.listvote.com/lists/film/actors/dave-morris-3017208/movies.
    [Show full text]
  • Sample Chapter
    King_Ch01 6/17/08 18:35 Page 19 1. “The Fun Factory” Class, Comedy, and Popular Culture, 1912–1914 One has to hand this to the Americans: with slapstick films they have created a form that offers a counterweight to their reality. If in that reality they subject the world to an often unbearable discipline, the film in turn dismantles this self-imposed order quite forcefully. siegfried kracauer, “Artistisches und Amerikanisches” (1926) When, in 1912, the Moving Picture World critic W.Stephen Bush lamented the “absence of genuine humor” in a majority of comic films, he was merely making explicit a perception that had long been accepted at the grass-roots level.1 Feeling short-changed by an industry that had drasti- cally cut back its comedy output since 1908, theater owners had taken to writing to trade journals to voice their dissatisfactions. “There is too much high class drama, which cannot be understood by the average working man,” noted one such exhibitor. “A very large proportion seems to thor- oughly enjoy the old Essanay slap-stick variety.”2 Filmmakers, too, acknowl- edged the demand: “Can you write a good comedy?” Photoplay asked its readers in October 1912. “Try it, for the producer will pay more attention to it just now than any other.”3 “Comedies, comedies, comedies,” a studio sce- narist demanded in another issue of the same publication. “Get your scriptwriting readers to try their hand at comedies; we need them, all film producers want them.”4 No doubt there was reason to be thankful, then, when the formation of a new, all-comedy company was announced that fall.
    [Show full text]
  • Mack Sennett Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
    Mack Sennett 电影 串行 (大全) Midnight Daddies https://zh.listvote.com/lists/film/movies/midnight-daddies-64577366/actors Girl Crazy https://zh.listvote.com/lists/film/movies/girl-crazy-5564358/actors The Leading Man https://zh.listvote.com/lists/film/movies/the-leading-man-24258575/actors The Fickle Spaniard https://zh.listvote.com/lists/film/movies/the-fickle-spaniard-18463859/actors Brave and Bold https://zh.listvote.com/lists/film/movies/brave-and-bold-24258507/actors One Round O'Brien https://zh.listvote.com/lists/film/movies/one-round-o%27brien-24258549/actors His Own Fault https://zh.listvote.com/lists/film/movies/his-own-fault-24258528/actors Their First Kidnapping Case https://zh.listvote.com/lists/film/movies/their-first-kidnapping-case-24258594/actors Those Hicksville Boys https://zh.listvote.com/lists/film/movies/those-hicksville-boys-24258596/actors The Would-Be Shriner https://zh.listvote.com/lists/film/movies/the-would-be-shriner-24258593/actors Hot Stuff https://zh.listvote.com/lists/film/movies/hot-stuff-24258530/actors Trailing the Counterfeiter https://zh.listvote.com/lists/film/movies/trailing-the-counterfeiter-23900146/actors Who Got the Reward https://zh.listvote.com/lists/film/movies/who-got-the-reward-24258600/actors Dooley's Scheme https://zh.listvote.com/lists/film/movies/dooley%27s-scheme-23900148/actors https://zh.listvote.com/lists/film/movies/%C3%A7a-c%27est-du-cin%C3%A9ma- Ça c'est du cinéma 3821482/actors An Absent-Minded Burglar https://zh.listvote.com/lists/film/movies/an-absent-minded-burglar-24258498/actors
    [Show full text]
  • Chaplin Film Series
    /' \9ti\ * ' * / ; MUSEUM OF MODERN ART MEW YORK 19 ?? WEST 53rd STREET TElEPHONEt CIRCLE 5-8900 CABLES, MODERNART, NEW.YORK For release* Tuesday, Seetesfeer £^, 19^7 So. 96 IARLY C1TAPIX? FILMS AS «Ua3UM 0? MCBSHI? AHS ffet MUSSMSJI of Modern Art, 11 Nta* 53 Street, will, present three vaakg of the. early fi&BS of Charles Chaylia, October 5 - £3* Tvrenty-five film vill too sbcnm in 6 seai-veefcly program* Beginning with selected Keystone ecrasdles of 191k, mads before 12M tossy charaetarisation ves entirely evelred, the ffiogrsas proceed through the transitional Ksaany Fi3ns of 1913 to the couplets eerier of Mutual WlsWj 1916 - lrf# in vhich Chaplin achieved full mastery of hi 3 Bedim* Included vill be Chaplin's first filsa, Uaklaa a llvinflj in vhich fas sppeari in a frock coat, high silk hat, walrus Buutaah* and monocle; his first classic, ffha Treapj and the celebrated r^yGtreet, Asjsasj featured players are Fatty Arbtte&a» Kibel Wmnismlj Ben. furs-ist* Idas Purviaaoei siin Bunaarville end the Koystoae Cops. Music for the series will bo arranged and played by Arthur Kleiner. £here vill be t^o showings dailyj at 3 end 3*30. Malsftlon to the Haseua, 75 cents for adults icd 2!) eeats for cMiSroa incier 16, ineluae.3 the fil-is. A ccaplete schedule is attached* For additional infornation please contact Herbert Broasteinj Assistant Publicity ilreotor, Museum of raflem Art, 11 Vest 53 Street, K. Y. CI-3-8200. THE EARLY FILMS OF CHARLES CHAPLIN presented at the Museum of Modern Art, 11 W, 53 Street, New York, N.
    [Show full text]