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Guide to the William K
Guide to the William K. Everson Collection George Amberg Memorial Film Study Center Department of Cinema Studies Tisch School of the Arts New York University Descriptive Summary Creator: Everson, William Keith Title: William K. Everson Collection Dates: 1894-1997 Historical/Biographical Note William K. Everson: Selected Bibliography I. Books by Everson Shakespeare in Hollywood. New York: US Information Service, 1957. The Western, From Silents to Cinerama. New York: Orion Press, 1962 (co-authored with George N. Fenin). The American Movie. New York: Atheneum, 1963. The Bad Guys: A Pictorial History of the Movie Villain. New York: Citadel Press, 1964. The Films of Laurel and Hardy. New York: Citadel Press, 1967. The Art of W.C. Fields. Indianapolis: Bobbs-Merrill, 1967. A Pictorial History of the Western Film. Secaucus, N.J.: Citadel Press, 1969. The Films of Hal Roach. New York: Museum of Modern Art, 1971. The Detective in Film. Secaucus, N.J.: Citadel Press, 1972. The Western, from Silents to the Seventies. Rev. ed. New York: Grossman, 1973. (Co-authored with George N. Fenin). Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1974. Claudette Colbert. New York: Pyramid Publications, 1976. American Silent Film. New York: Oxford University Press, 1978, Love in the Film. Secaucus, N.J.: Citadel Press, 1979. More Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1986. The Hollywood Western: 90 Years of Cowboys and Indians, Train Robbers, Sheriffs and Gunslingers, and Assorted Heroes and Desperados. Secaucus, N.J.: Carol Pub. Group, 1992. Hollywood Bedlam: Classic Screwball Comedies. Secaucus, N.J.: Carol Pub. Group, 1994. -
Place Images of the American West in Western Films
PLACE IMAGES OF THE AMERICAN WEST IN WESTERN FILMS by TRAVIS W. SMITH B.S., Kansas State University, 2003 M.A., Kansas State University, 2005 AN ABSTRACT OF A DISSERTATION submitted in partial fulfillment of the requirements for the degree DOCTOR OF PHILOSOPHY Department of Geography College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2016 Abstract Hollywood Westerns have informed popular images of the American West for well over a century. This study of cultural, cinematic, regional, and historical geography examines place imagery in the Western. Echoing Blake’s (1995) examination of the novels of Zane Grey, the research questions analyze one hundred major Westerns to identify (1) the spatial settings (where the plot of the Western transpires), (2) the temporal settings (what date[s] in history the Western takes place), and (3) the filming locations. The results of these three questions illuminate significant place images of the West and the geography of the Western. I selected a filmography of one hundred major Westerns based upon twenty different Western film credentials. My content analysis involved multiple viewings of each Western and cross-referencing film content like narrative titles, American Indian homelands, fort names, and tombstone dates with scholarly and popular publications. The Western spatially favors Apachería, the Borderlands and Mexico, and the High Plains rather than the Pacific Northwest. Also, California serves more as a destination than a spatial setting. Temporally, the heart of the Western beats during the 1870s and 1880s, but it also lives well into the twentieth century. The five major filming location clusters are the Los Angeles / Hollywood area and its studio backlots, Old Tucson Studios and southeastern Arizona, the Alabama Hills in California, Monument Valley in Utah and Arizona, and the Santa Fe region in New Mexico. -
Love in Western Film and Television This Page Intentionally Left Blank Love in Western Film and Television Lonely Hearts and Happy Trails
Love in Western Film and Television This page intentionally left blank Love in Western Film and Television Lonely Hearts and Happy Trails Edited by Sue Matheson LOVE IN WESTERN FILM AND TELEVISION Copyright © Sue Matheson, 2013. All rights reserved. First published in 2013 by PALGRAVE MACMILLAN® in the United States—a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the World, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN: 978–1–137–27293–5 Library of Congress Cataloging-in-Publication Data is available from the Library of Congress. A catalogue record of the book is available from the British Library. Design by Integra Software Services First edition: January 2013 10987654321 Dedicated to the memory of Sam Matheson, who loved a good horse opera This page intentionally left blank Contents List of Figures ix Acknowledgments xi Introduction 1 Sue Matheson 1 Virgins, Widows, and Whores: The Bride Pool of the John Wayne Westerns 7 Helen M. Lewis 2 Only a Woman After All? Gender Dynamics in the Westerns of Barbara Stanwyck 19 A. P. Nelson 3 Violence, Vixens, and Virgins: Noir-like Women in the Stewart/Mann Westerns 35 Debra B. -
Economic Effects of Vertical Disintegration: the American Motion Picture Industry, 1945 to 1955
Working Papers No. 149/10 Economic Effects of Vertical Disintegration: The American Motion Picture Industry, 1945 to 1955 . Gregory Mead Silver © Gregory Mead Silver, LSE November 2010 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0) 20 7955 7860 Fax: +44 (0) 20 7955 7730 Economic Effects of Vertical Disintegration: The American Motion Picture Industry, 1945 to 1955 Gregory Mead Silver Abstract In 1948, the United States Supreme Court declared the operations of eight of the nation’s largest motion picture studios in violation of the 1890 Sherman Antitrust Act.1The decision ordered them to disintegrate their producer-distributor roles from cinemas. The Court believed this would promote competitive practices in a hitherto uncompetitive industry. However, these desired benefits were not entirely reached. Instead, by leading the Hollywood studio system to collapse, the Court also distorted the supply- chain for motion pictures. This work utilizes Coasian analyses of transaction costs to show that institutional integration was an efficient structure for the motion picture industry. It explores the motives to integrate and the benefits it garnered. Having laid this groundwork, it then assesses the effects theatre divorcement had on the industry and offers plausible counterfactuals had the studios remained intact after 1948. 1 Introduction There has been much conjecture over the effects that government intervention can have on industry. The case examined here is the intervention of the United States Judiciary on the American motion picture industry in the late 1940s. Since 1890, the year Congress signed the Sherman Antitrust Act into law, the government has served as the self- imposed overseer that assures the proper functioning of competitive markets. -
Peggy Thompson Film Research Collection
Peggy Thompson Film Research Collection Compiled by Jennifer Vanderfluit (2016) Revised by Erwin Wodarczak (2017) University of British Columbia Archives Table of Contents Fonds Description o Title / Dates of Creation / Physical Description o Biographical Sketch o Scope and Content o Notes Series Descriptions o Film noir o Westerns o Science fiction o Miscellaneous cinema o Spanish-language film noir posters File List Catalogue entry (UBC Library Catalogue) Fonds Description Peggy Thompson Film Research Collection. – 1932-1998. 65 cm graphic material and other materials. Biographical Sketch Peggy Thompson graduated from Point Grey Secondary School in 1972 before attending the University of British Columbia. Later, she became a professor of screenwriting in the Creative Writing department at UBC. She has worked as a writer, producer, and director for film, television, radio, and stage. Thompson is the screenwriter of the feature films Better Than Chocolate and The Lotus Eaters. Better Than Chocolate premiered at the Berlin Film Festival and won numerous international awards, while The Lotus Eaters was nominated for 11 Genie Awards, and won three. She also won a Genie for the short film In Search Of The Last Good Man. Her short documentary film Broken Images – The Photography Of Michelle Normoyle has played festivals worldwide. It’s A Party!, another short film, was nominated for a Genie. Peggy Thompson has also written for series television (Da Vinci’s Inquest, Big Sound, PR, The Beachcombers, and Weird Homes). Her radio play Calamity Jane And The Fat Buffalo Moon was published by Blizzard Press and was staged in New York. Her stage work has been nominated for both Chalmers and Jessie Awards. -
2012 Schedule
2012 SCHEDULE WednesdaY, aUGUsT 1 • John WaYne 6:00 aM Flying Leathernecks (’51) 7:45 aM Allegheny Uprising (’39) 9:15 aM Stagecoach (’39) 11:00 aM Red River (’48) 1:15 PM The searchers (’56) 3:15 PM Rio Bravo (’59) 5:45 PM McLintock! (’63) 8:00 PM She Wore a Yellow Ribbon (’49) 10:00 PM They Were expendable (’45) 12:30 aM Operation Pacific (’51) 2:30 aM Trouble along the Way (’53) 4:30 aM Tall in the saddle (’44) ThURsDAY, aUGUsT 2 • MYRna LoY 6:00 aM The Great divide (’29) 7:15 aM The naughty Flirt (’31) 8:15 aM The Barbarian (’33) 9:45 aM When Ladies Meet (’33) 11:15 aM The Prizefighter and the Lady (’33) 1:00 PM Libeled Lady (’36) 2:45 PM Wife vs. secretary (’36) 4:15 PM The Bachelor and the Bobby-soxer (’47) 6:00 PM Mr. Blandings Builds his dream house (’48) 8:00 PM The Best Years of our Lives (’46) 11:00 PM The Thin Man (’34) 12:45 aM Cheaper by the dozen (’50) 2:15 aM Penthouse (’32) 4:00 aM Test Pilot (’38) FRiDAY, aUGUsT 3 • JohnnY WeissMULLeR First time in summer Under the stars. Celebrating the centennial of the Tarzan character, and the olympics with the gold-medalist-turned-actor. 6:00 aM Tarzan and the Mermaids (’48) 7:30 aM Tarzan and the huntress (’47) 9:00 aM Tarzan and the Leopard Woman (’46) 10:15 aM Tarzan and the amazons (’45) 11:45 aM Tarzan’s desert Mystery (’43) 1:00 PM Tarzan Triumphs (’43) 2:30 PM Tarzan’s new York adventure (’42) 3:45 PM Tarzan’s secret Treasure (’41) 5:15 PM Tarzan Finds a son! (’39) 6:45 PM Tarzan: silver screen King of the Jungle (’04) 8:00 PM Tarzan, the ape Man (’32) 10:00 PM Tarzan and his Mate (’34) 12:00 aM Tarzan escapes (’36) 1:45 aM Jungle Jim (’48) 3:00 aM The Lost Tribe (’49) 4:30 aM Pygmy island (’50) saTURDAY, aUGUsT 4 • MaRilyn MonRoe First time in summer Under the stars.