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Lewis Milestone Papers
http://oac.cdlib.org/findaid/ark:/13030/c8r78gk6 No online items Lewis Milestone papers Special Collections Margaret Herrick Library© 2016 Lewis Milestone papers 6 1 Descriptive Summary Title: Lewis Milestone papers Date (inclusive): 1926-1978 Date (bulk): 1930s-1963 Collection number: 6 Creator: Milestone, Lewis Extent: 9 linear feet of papers.1 linear feet of photographs.3 artworks Repository: Margaret Herrick Library. Academy of Motion Picture Arts and Sciences. Languages: English Access Available by appointment only. Publication rights Property rights to the physical object belong to the Margaret Herrick Library. Researchers are responsible for obtaining all necessary rights, licenses, or permissions from the appropriate companies or individuals before quoting from or publishing materials obtained from the library. Preferred Citation Lewis Milestone papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. Acquisition Information Gift of Lewis Milestone, 1979 Biography Lewis Milestone was a Russian-born director and producer whose film career spanned 1921 to 1965. He emigrated to the United States in 1913. OF MICE AND MEN (1939), LES MISERABLES (1952), and MUTINY ON THE BOUNTY (1962) are among his film credits. Milestone received Academy Awards for directing ALL QUIET ON THE WESTERN FRONT (1930) and TWO ARABIAN KNIGHTS (1927), and was nominated for directing THE FRONT PAGE (1931). Collection Scope and Content Summary The Lewis Milestone papers span the years 1926-1978 (bulk 1930s-1963) and encompass 9 linear feet of manuscripts, 1 linear foot of photographs and 3 artworks. The collection contains production files (scripts and some production material); correspondence; contracts; membership certificates; an incomplete portion of Milestone's autobiography supplemented by material he gathered for that project; scrapbooks and drawings. -
Awake and Sing! Study Guide/Lobby Packett Prepared by Sara Freeman, Dramaturg
Awake and Sing! Study Guide/Lobby Packett Prepared by Sara Freeman, dramaturg Section I Clifford Odets: A Striving Life Clifford Odets was born in Philadelphia, on July 18, 1906, the son of a working-class Jewish family made good. Louis Odets, his father, had been a peddler, but also worked as a printer for a publishing company. In 1908, Louis Odets moved his family to New York City, where, after a brief return to Philadelphia, he prospered as a printer and ended up owning his own plant and an advertising agency, as well as serving as a Vice President of a boiler company. Odets grew up in the middle-class Bronx, not the Berger’s Bronx of tenements and squalor. Still Odets described himself as a “melancholy kid” who clashed often with his father. Odets quit high school after two years. When he was 17, Odets plunged into the theatre. He joined The Drawing Room Players and Harry Kemp’s Poets’ Theater. He wrote some radio plays, did summer stock, and hit the vaudeville circuit as “The Roving Reciter.” In 1929, he moved into the city because of a job understudying Spencer Tracy in Conflict on Broadway. A year later Odets joined the nascent Group Theatre, having met Harold Clurman and some of the other Group actors while playing bit parts at the Theatre Guild. The Group philosophy became the shaping force of Odets’ life as a writer. Clurman became his best friend and most perceptive critic. Odets wrote the first version of Awake and Sing!, then called I Got the Blues, in 1934. -
Also by Erich Maria Remarque
MYTOPBOOK.ORG ALSO BY ERICH MARIA REMARQUE ALL QUIET ON THE WESTERN FRONT THE ROAD BACK THREE COMRADES FLOTSAM ARCH OF TRIUMPH SPARK OF LIFE A TIME TO LOVE AND A TIME TO DIE THE BLACK OBELISK HEAVEN HAS NO FAVORITES THE NIGHT IN LISBON SHADOWS IN PARADISE MYTOPBOOK.ORG ARCH OF TRIUMPH Erich Maria Remarque Translated from the German by WA LTER SOR ELL AND DENVER LINDLEY Fawcett Columbine The Ballantine Publishing Group • New York MYTOPBOOK.ORG Sale of this book without a front cover may be unauthorized. If this book is coverless, it may have been reported to the publisher as "unsold or destroyed" and neither the author nor the publisher may have received payment for it. A Fawcett Columbine Book Published by The Ballantine Publishing Group Copyright ©1945 by Erich Maria Remarque Copyright renewed 1972 by Paulette Goddard Remarque All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by The Ballantine Publishing Group, a division of Random House, Inc., New York, and distributed in Canada by Random House of Canada Limited, Toronto. This translation was originally puiblished by D. Appleton-Century Company, Inc., in 1945. All names, characters, and events in this book are fictional, and any resemblance which may seem to exist to real persons is purely coincidental. http: / / www.randomhouse.com Library of Congress Catalog Card Number: 97-90644 ISBN-10: 0-449-91245-0 ISBN-13: 978-0-449-91245-4 Manufactured in the United States of America Cover design by Ruth Ross Ballantine Books Edition MYTOPBOOK.ORG ARCH OF TRIUMPH MYTOPBOOK.ORG 1 The woman veered toward Ravic. -
ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No
Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology. -
CONTRIBUTION TOWARDS AMERICAN PLAYS by CLIFFORD ODETS and OTHER PLAYWRIGHTS DURING 1930S
IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN (P): 2347-4564; ISSN (E): 2321-8878 Vol. 6, Issue 4, Apr 2018, 51-56 © Impact Journals CONTRIBUTION TOWARDS AMERICAN PLAYS BY CLIFFORD ODETS AND OTHER PLAYWRIGHTS DURING 1930s G. Visalam Head, Department of English, Sri Muthukumaran Arts and Science College, Chennai, Tamil Nadu, India Received: 31 Mar 2018 Accepted: 04 Apr 2018 Published: 07 Apr 2018 ABSTRACT American Plays had a tremendous response during 1930s and several genre of plays were staged at all corners of America and the Americans were fond of enacting and viewing the plays. The genre of plays will vary based on the American people mindset and the political situations. Several playwrights followed Hollywood techniques for writing their scripts. The role of playwright was found to be more vital than the role of an actor or the Director or the Production Company. The contribution of the playwrights during 1930s was considered to be a trend setting period in changing the roles of a writer from technician to becoming an artist. KEYWORDS : Playwright, Writer, Script, Actor, Play, Drama, Theatre INTRODUCTION During the 1930s, the playwrights followed Hollywood’s technique for paying writers for their scripts. Theatres such as Group Theatre and the Theatre Guild supported this idea to consider writers as autonomous artists whose function was very important than any other member of the company. The scripts were sold on the basis of their value, but they were written without the specific actor, particular director or any theatres in mind. Thus the Star System of Pre-World War came to an end, by giving importance to the playwright. -
Songs of Kurt Weill
\ Ethan Blake BM Vocal Performance Paradise Valley, Arizbna Justin Carpenter DMA Vocal Performance Tempe, Arizona Gabriella Cavalcanti BM Vocal Performance Tucson, Arizor;ia Chelsea Chimilar MM Vocal Pert. Pedagogy East St. Paul, MB Haeju Choi DMA Collaborative Piano Seoul, Soutt\._K1 SONGS OF KURT WEILL Julia Davis BM Music Theater Anthem, Ariz~a Philip Godfrey BM Vocal Performance Ahwatukee, Arizona Olivia Gardner MM Vocal Performance Mesa, Arizona David Hopkins MM Music Theater Savanah, Georgia Zhou Jiang DMA Collaborative Piano Kunming, CHINA Aaron T. Jones MM Opera Theater Richmond, Virginia Titus Kautz MM Music Theater Bridgeport, Nebraska 1 'i Rina Kim DMA Collaborative Piano Toronto, ON Canada Erin Kong BM Music Theater Chandler, Arizona Juhyun Lee DMA Collaborative Piano lncheon, South Korea Danielle Mendelson BM Vocal Performance Dallas, Texas Nicholas Medrano BM Music Education Scottsdale, Arizona Julian Mendoza BM Music Theater Phoenix, Arizona Vaibu Mohan BM Music Theater Phoenix, Arizona Rex Morris MM Music Theater Baton Rouge, Louisiana Mary Price MM Collaborative Piano Marion, Alabama Christopher Reah BM Music Theater Anthem, Arizona Mariah Rosario BM Vocal Performance Tucson, Arizona Analise Rosario BM Music Theater Tucson, Arizona Kaitlyn Russell BM Music Theater Tucson, Arizona Sara Sanderson BM Music Theater Tucson, Arizona Boston Scott BM Music Theater Scottsdale, Arizona Nathan Shepperd BM Music Theater Phoenix, Arizona Drake Sherman BM Vocal Performance Tucson, Arizona Amanda Sherrill MM Collaborative Piano Orlando~rida Juhee Seo DMA Vocal Performance Seoul, Sou~orea Yeojin Seol DMA Collaborative Piano Seoul, South Korea Melody Startzell BM Vocal Performance Prescott, Arizona Samuel Stefanski BM Vocal Performance Glendale, Arizona Kehui Wu DMA Vocal Performance Hengyong, China Monday • October 17, 2016 • ASU Organ Hall • 7:30pm Ch anashan. -
Teaching World History with Major Motion Pictures
Social Education 76(1), pp 22–28 ©2012 National Council for the Social Studies The Reel History of the World: Teaching World History with Major Motion Pictures William Benedict Russell III n today’s society, film is a part of popular culture and is relevant to students’ as well as an explanation as to why the everyday lives. Most students spend over 7 hours a day using media (over 50 class will view the film. Ihours a week).1 Nearly 50 percent of students’ media use per day is devoted to Watching the Film. When students videos (film) and television. With the popularity and availability of film, it is natural are watching the film (in its entirety that teachers attempt to engage students with such a relevant medium. In fact, in or selected clips), ensure that they are a recent study of social studies teachers, 100 percent reported using film at least aware of what they should be paying once a month to help teach content.2 In a national study of 327 teachers, 69 percent particular attention to. Pause the film reported that they use some type of film/movie to help teach Holocaust content. to pose a question, provide background, The method of using film and the method of using firsthand accounts were tied for or make a connection with an earlier les- the number one method teachers use to teach Holocaust content.3 Furthermore, a son. Interrupting a showing (at least once) national survey of social studies teachers conducted in 2006, found that 63 percent subtly reminds students that the purpose of eighth-grade teachers reported using some type of video-based activity in the of this classroom activity is not entertain- last social studies class they taught.4 ment, but critical thinking. -
Revisiting Cold War Propaganda: Close Readings of Chinese and American Film Representations of the Korean War
Revisiting Cold War Propaganda: Close Readings of Chinese and American Film Representations of the Korean War Paul G. PICKOWICZ University of California, San Diego Abstract The Korean War was, of course, a Hot War not a Cold War. Once it ended, however, the Cold War resumed and the former Hot War combatants engaged in various types of non-lethal, cultural conflict and contestation. This paper looks at the ways in which popular post-Korean War propaganda films represented the Korean War. The paper will first consider Shanganling, a well-known state-sector Chinese film made in 1956 and co-directed by Lin Shan and Sha Meng at the Changchun Film Studio. This film examines the fate of Chinese forces during the bloody Battle of Sangkumryung (or the Battle of Triangle Hill) fought from October 14 to November 25, 1952. The paper will then discuss Pork Chop Hill, a popular private sector American film made in 1959 and directed by Lewis Milestone. This movie features the famous American actor Gregory Peck and examines the experiences of American forces during the violent and protracted Battle of Pork Chop Hill fought from March to July, 1953. The goal of the paper is to shed light on the nature of Cold War propaganda by comparing and contrasting these important Cold War era films. How did each side think about propaganda? Was Cold war propaganda primarily for domestic consumption or for international consumption? What were the main differences between Chinese and American Cold War propaganda efforts? More interestingly, what were the shared assumptions and similarities of approach adopted by American and Chinese Cold War propagandists? 1/1 . -
Erich Maria Remarque
E!"#$ M%!"% R&'%!()& K*''&+,"&!,&- W&!./&!0&"#$+"- Sein Name ist untrennbar mit Im Westen nichts Neues verknüpft, dem berühmten Antikriegsroman über den Ersten Weltkrieg, der zu den bedeutends- ten Werken der Literatur des 20. Jahrhunderts zählt und weltweit den Status eines Mahnmals gegen den Krieg einnimmt. Doch das Werk von Erich Maria Remarque geht weit über Im Westen nichts Neues hinaus, es umfasst nicht nur die international verbreiteten 15 Romane, sondern darüber hinaus Theaterstücke, Drehbücher, Erzählungen, Lyrik, die Tagebücher und Korrespondenz mit bedeutenden Zeitgenossen, die zusammen eine fast lückenlose Chronik nicht nur der europäischen Geschichte der ersten Hälfte des 20. Jahrhunderts ergeben. In allen ERICH MARIA REMARQUE seinen Schriften ist Erich Maria Remarque, der 1898 in Osnabrück/Deutschland geboren wurde und 1970 in Locarno/Schweiz starb, dabei konsequent gegen LIFE AND WORKS Unterdrückung, gegen Verfolgung von Minderheiten und gegen den Krieg eingetreten und hat sich ve- hement für die Rechte des Einzelnen, seine Selbst- A Summary by bestimmung und den Frieden eingesetzt, getreu Thomas F. Schneider seinem Lebensmotto »Unabhängigkeit, Toleranz, Humor«. Der Autor Erich Maria Remarque gehört University of Osnabrück/Remarque-Peace Centre zweifellos zu den bedeutendsten und einfluss- Translation by Ross Benjamin reichsten Schriftstellern des 20. Jahrhunderts. Remarques Schriften zeichnen sich durch span- nend erzählte Schicksale vor dem Hintergrund der politischen und wirtschaftlichen Ereignisse und MOHRBOOKS Literary -
The Night in Lisbon ; Tr. by Ralph Manheim
THE NIGHT IN LISBON BY ERICH MARIA REMARQUE ALL QUIET ON THE WESTERN FRONT THE ROAD BACK THREE COMRADES FLOTSAM ARCH OF TRIUMPH SPARK OF LIFE A TIME TO LOVE AND A TIME TO DIE THE BLACK OBELISK HEAVEN HAS NO FAVORITES THE NIGHT IN LISBON SHADOWS IN PARADISE Sale of this book without a front cover may be unauthorized. If this book is coverless, it may have been reported to the publisher as "unsold or destroyed" and neither the author nor the publisher may have received payment for it. A Fawcett Columbine Book Published by The Ballantine Publishing Group Copyright © 1961, 1964 by Erich Maria Remarque Copyright renewed 1989 by Paulette Goddard Remarque Copyright renewed 1992 by Richard L. Kay and S. Andrew Schaffer All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by The Ballantine Publishing Group, a division of Random House, Inc., New York, and distributed in Canada by Random House of Canada Limited, Toronto. This translation was originally published by Harcourt, Brace & World, Inc., in 1964. http://www.randomhouse.com Library of Congress Catalog Card Number: 98-96092 ISBN: 0-449-91243-4 Cover design by Ruth Ross Manufactured in the United States of America BVG01 To Paulette Remarque CHAPTER 1 I stared at the ship. Glaringly lighted, it lay at anchor in the Tagus. Though I had been in Lisbon for a week, I hadn't yet got used to its carefree illumination. In the countries I had come from, the cities at night were black as coal mines, and a lantern in the darkness was more to be feared than the plague in the Middle Ages. -
George P. Johnson Negro Film Collection LSC.1042
http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections. -
Hollywood and Hitler, 1933-1939'
H-German Saunders on Doherty, 'Hollywood and Hitler, 1933-1939' Review published on Saturday, March 14, 2015 Thomas Doherty. Hollywood and Hitler, 1933-1939. Film and Culture Series. New York: Columbia University Press, 2013. 448 pp. $35.00 (cloth), ISBN 978-0-231-16392-7; $22.95 (paper), ISBN 978-0-231-16393-4. Reviewed by Tom Saunders (University of Victoria)Published on H-German (March, 2015) Commissioned by Chad Ross Business Strategies, Politics and Morality: American Cinema and Nazi Germany Thomas Doherty's latest book is a study of how Hollywood "looked away" from political developments in Europe, in both feature films and newsreels, until the end of the 1930s, and how Nazism fitfully and belatedly came under the scrutiny of the camera's eye. Beginning with Nazi protests against the release of Universal's All Quiet on the Western Front (1930) in Berlin, Hollywood and Hitler charts both continuities and shifts in Hollywood's approach to Germany. The story features striking juxtapositions of broad resistance to treatment of contentious material and, under the auspices of the Production Code Administration and "fair" treatment of other nations, as well as interventions from the German consul in Los Angeles, Georg Gyssling, specific avoidance of material that German authorities viewed as unflattering or offensive. Doherty's book also explores how Hollywood accommodated the racial discrimination of the Hitler state in terms of its personnel in Germany and through elimination of Jewish themes and credits to Jewish personnel in feature films. In addition, Hollywood and Hitler looks more broadly at issues of film and interwar European politics, devoting individual chapters to Benito Mussolini's son's 1937 visit to Hollywood, American films about the Spanish Civil War, and Leni Riefenstahl's visit to America in late 1938, respectively.