Bernard Herrmann Radio and Television Music, 1936-1959
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Me and Orson Welles Press Kit Draft
presents ME AND ORSON WELLES Directed by Richard Linklater Based on the novel by Robert Kaplow Starring: Claire Danes, Zac Efron and Christian McKay www.meandorsonwelles.com.au National release date: July 29, 2010 Running time: 114 minutes Rating: PG PUBLICITY: Philippa Harris NIX Co t: 02 9211 6650 m: 0409 901 809 e: [email protected] (See last page for state publicity and materials contacts) Synopsis Based in real theatrical history, ME AND ORSON WELLES is a romantic coming‐of‐age story about teenage student Richard Samuels (ZAC EFRON) who lucks into a role in “Julius Caesar” as it’s being re‐imagined by a brilliant, impetuous young director named Orson Welles (impressive newcomer CHRISTIAN MCKAY) at his newly founded Mercury Theatre in New York City, 1937. The rollercoaster week leading up to opening night has Richard make his Broadway debut, find romance with an ambitious older woman (CLAIRE DANES) and eXperience the dark side of genius after daring to cross the brilliant and charismatic‐but‐ sometimes‐cruel Welles, all‐the‐while miXing with everyone from starlets to stagehands in behind‐the‐scenes adventures bound to change his life. All’s fair in love and theatre. Directed by Richard Linklater, the Oscar Nominated director of BEFORE SUNRISE and THE SCHOOL OF ROCK. PRODUCTION I NFORMATION Zac Efron, Ben Chaplin, Claire Danes, Zoe Kazan, Eddie Marsan, Christian McKay, Kelly Reilly and James Tupper lead a talented ensemble cast of stage and screen actors in the coming‐of‐age romantic drama ME AND ORSON WELLES. Oscar®‐nominated director Richard Linklater (“School of Rock”, “Before Sunset”) is at the helm of the CinemaNX and Detour Filmproduction, filmed in the Isle of Man, at Pinewood Studios, on various London locations and in New York City. -
The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
EASTMAN NOTES JUNE 2004 Draft: Final Date: 6/15/2004 INSIDE
NOTES JUNE 2004 A MAGAZINE FOR ALUMNI OF THE EASTMAN SCHOOL OF MUSIC FROM THE EDITOR The right “stu≠” Dear Eastman Alumni: We like Notes’ new look, and it seems you do too. Response has been unani- mously favorable; perhaps we should consider a Steve Boerner–David Cowles NOTES presidential ticket for 2008. I’d vote for them; these two artists made “Notes Volume 22, Number 2 nouveau” a pleasure, and I’m glad the pleasure was conveyed in the magazine June 2004 itself. I write the stuff, but they (and our photographers) make it look good! We also had a tremendous response to our “Eastman Alumni on CD” feature; Editor see pages 33¬34. And enough of you commented on different editorial aspects of David Raymond Notes (not always favorably) that we have a “Letters to the Editor” section, which Assistant editor may be a first for us. Christina Casey This issue of Notes is admittedly filled with history, but Susan Conkling’s re- Contributing writers minder of the great women who shaped both American music and Eastman, and Martial Bednar Amy Blum Paul Burgett’s reminder of four black composers who Christine Corrado played an important part in Eastman history, are stories Contributing photographers worth telling. As is the story of the success of Howard Kurt Brownell Hanson’s Merry Mount at the Met in 1934—a remarkable Gelfand-Piper Photography event, when you think about it. I should add a special Bob Klein Photography word of thanks here to David Peter Coppen, the Sibley Carlos Ortiz Don Ver Ploeg/VP Communications Library Archivist, who is always helpful with providing Amy Vetter historical photographs and other materials for Notes, but Photography coordinator outdid himself for these three articles. -
El Film-Ensayo JOSEP M
El carácter poético del pensar se halla aún oculto. Heidegger 1. Las olvidadas raíces del film-ensayo JOSEP M. DOMÈNECH CATALÀ E 1 l término film-ensayo (Essai-film ) fue res- catado por Richard Wilson en una entrevista mantenida en 1987, para denominar el modo cinematográfico que, según él, caracterizó la última parte de la carrera El film-ensayo: de Orson Welles2. El mismo Welles lo había acuñado años antes para justificar la peculiar estructura de su película Fake (Fraude, 1973)3. No parece que el concep- to haya tenido mucho éxito, ni dentro ni fuera del campo de los estudios welle- sianos, a juzgar por su escasa aparición en los escritos sobre cine publicados des- la didáctica de entonces4. Su importancia no se circunscribe, sin embargo, a la carrera del director norteamericano, sino que abarca una forma cinematográfica que Godard ya pretendía delimitar, a propósito de Deux ou trois choses que je sais d’elle como una (1966), en los años sesenta: “Es como si yo quisiera un ensayo sociológico en for- ma de novela y, para hacerlo, no dispusiera más que de notas musicales”5. Wilson, por su parte, centraba las características del film-ensayo en las pelícu- actividad las de Welles Fake y Filming Othello (1979), pero las retrotraía a los programas de radio del director, lo cual puede explicar, aunque sea parcialmente, por qué el concepto de film-ensayo no ha despertado excesivo interés entre los teóricos, habida cuenta de que para trabajar sobre el mismo hay que efectuar una labor subversiva interdisciplinar por la que, en general, los investigadores cinematográficos no pa- recen sentir demasiado entusiasmo. -
COLIN LIVINGSTONE TAPLEY 1909 to 1995 Colin Livingstone Tapley Was the Third Son of Harold Livingstone Tapley (1875-1932) and Jean Brodie Tapley Nee Burt
COLIN LIVINGSTONE TAPLEY 1909 to 1995 Colin Livingstone Tapley was the third son of Harold Livingstone Tapley (1875-1932) and Jean Brodie Tapley nee Burt. He was born 7-5-1909 in Dunedin, one of 6 children, 5 sons followed by a daughter. Colin was educated in NZ and in the 1930s won a contest of which the prize was a Hollywood audition. He went on to be a supporting actor in several Metro Goldwyn Mayer and Paramount films during the 1930s but joined the air force in Canada when WW2 broke out, later moving to Britain where he was in a non fighting role. He had taken up flying before the war. He returned to NZ to Wanaka for a short time but then resumed his acting career, appearing in “the Dam Busters,” 1954. In England he married socialite Patsie Lyon nee Hambro. He retired from Acting in 1983 and they lived in the village of Coates in Gloucestershire. He died on 23-11-1995 and is buried at Wanaka beside the body of his second son, Martin, who died of Leukemia in 1947 Filmography from Wikipedia In the cinema American period (1934-1949) • 1934 : Double Door of Charles Vidor : Dr. John Lucas • 1934 : Wagon Wheels by Charles Barton : mountain • 1934 : Rhymes of love ( Murder at the Vanities ) by Mitchell Leisen : director • 1935 : The Crusades ( The Crusades ) of Cecil B. DeMille : foreign messenger • 1935 : Intelligence Service ( The Last Outpost ) by Charles Barton and Louis J. Gasnier : Lieutenant Prescott • 1935 : Henry Hathaway's Three Lancers of Bengal ( The Lives of a Bengal Lancer ) : Lieutenant Barrett • 1935 : Baron Gregor ( The Black Room ) by Roy William Neill : Lieutenant Hassel • 1935 : Becky Sharp of Rouben Mamoulian and Lowell Sherman : William Dobbin • 1935 : My Marriage of George Archainbaud : Sir Philip Burleigh • 1935 : Peter Ibbetson of Henry Hathaway : official • 1936 : Too Many Parents (en) by Robert F. -
{Dоwnlоаd/Rеаd PDF Bооk} Citizen Kane Ebook, Epub
CITIZEN KANE PDF, EPUB, EBOOK Harlan Lebo | 368 pages | 01 May 2016 | Thomas Dunne Books | 9781250077530 | English | United States Citizen Kane () - IMDb Mankiewicz , who had been writing Mercury radio scripts. One of the long-standing controversies about Citizen Kane has been the authorship of the screenplay. In February Welles supplied Mankiewicz with pages of notes and put him under contract to write the first draft screenplay under the supervision of John Houseman , Welles's former partner in the Mercury Theatre. Welles later explained, "I left him on his own finally, because we'd started to waste too much time haggling. So, after mutual agreements on storyline and character, Mank went off with Houseman and did his version, while I stayed in Hollywood and wrote mine. The industry accused Welles of underplaying Mankiewicz's contribution to the script, but Welles countered the attacks by saying, "At the end, naturally, I was the one making the picture, after all—who had to make the decisions. I used what I wanted of Mank's and, rightly or wrongly, kept what I liked of my own. The terms of the contract stated that Mankiewicz was to receive no credit for his work, as he was hired as a script doctor. Mankiewicz also threatened to go to the Screen Writers Guild and claim full credit for writing the entire script by himself. After lodging a protest with the Screen Writers Guild, Mankiewicz withdrew it, then vacillated. The guild credit form listed Welles first, Mankiewicz second. Welles's assistant Richard Wilson said that the person who circled Mankiewicz's name in pencil, then drew an arrow that put it in first place, was Welles. -
Arrested Development and the British Bildungsroman, 1805-1891
ACCOUNTING FOR FAILURE: ARRESTED DEVELOPMENT AND THE BRITISH BILDUNGSROMAN, 1805-1891 By Stephen Grandchamp A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of English – Doctor of Philosophy 2016 ABSTRACT ACCOUNTING FOR FAILURE: ARRESTED DEVELOPMENT AND THE BRITISH BILDUNGSROMAN, 1805-1891 By Stephen Grandchamp This dissertation argues that nineteenth-century British literature responded in a variety of critical ways to the limits of individual success and thereby constituted failure as a defining aspect of the modern subject. While scholarship typically acknowledges how nineteenth-century British developmental narratives reflected a causal link between hard work and success, this dissertation traces an alternate history of texts in the period that strongly called this association into question. These texts portray hard work that does not necessarily lead to success while also depicting failure as a generative educative process. In the process, these works beg the question: what happens if a citizen works hard and acts according to social directives but nevertheless fails in business, personal relations, or expected individual maturation? This dissertation contends that these texts, through the portrayal of failed development, express a deep skepticism of exclusionary narrative models of individual development. Moreover, these texts hypothesize preventative adaptive behaviors that enable their readerships to avert developmental failure in the context of nineteenth-century -
THE WAR of the WORLDS - SCRIPT - Orson Welles & T
THE WAR OF THE WORLDS - SCRIPT - Orson Welles & t... "The War of the Worlds" by H. G. Wells as performed by Orson Welles & the Mercury Theatre on the Air and broadcast on the Columbia Broadcasting System on Sunday, October 30, 1938 from 8:00 to 9:00 P. M. * * * ANNOUNCER The Columbia Broadcasting System and its affiliated stations present Orson Welles and the Mercury Theatre on the Air in "The War of the Worlds" by H. G. Wells. (MUSIC: MERCURY THEATRE MUSICAL THEME) ANNOUNCER Ladies and gentlemen, the director of the Mercury Theatre and star of these broadcasts, Orson Welles. ORSON WELLES We know now that in the early years of the twentieth century this world was being watched closely by intelligences greater than man's, and yet as mortal as his own. We know now that as human beings busied themselves about their various concerns they were scrutinized and studied, perhaps almost as narrowly as a man with a microscope might scrutinize the transient creatures that swarm and multiply in a drop of water. With infinite complacence people went to and fro over the earth about their little affairs, serene in the assurance of their dominion over this small, spinning fragment of solar driftwood which, by chance or design, man has inherited out of the dark mystery of Time and Space. Yet across an immense ethereal gulf, minds that are to our minds as ours are to the beasts in the jungle, intellects vast, cool and unsympathetic, regarded this earth with envious eyes and slowly and surely drew their plans against us. -
Hathaway Collection
Finding Aid for the Henry Hathaway Collection Collection Processed by: Yvette Casillas, 7.29.19 Finding Aid Written by: Yvette Casillas, 7.29.19 OVERVIEW OF THE COLLECTION: Origination/Creator: Hathaway, Henry Title of Collection: Henry Hathaway Collection Date of Collection: 1932 - 1970 Physical Description: 84 volumes, bound Identification: Special Collection #26 Repository: American Film Institute Louis B. Mayer Library, Los Angeles, CA RIGHTS AND RESTRICTIONS: Access Restrictions: Collection is open for research. Copyright: The copyright interest in this collection remain with the creator. For more information, contact the Louis B. Mayer Library. Acquisition Method: Donated by Henry Hathaway, circa 1975 . BIOGRAPHICAL/HISTORY NOTE: Henry Hathaway (1898 – 1985) was born Henri Leopold de Fiennes on March 13, 1889, in Sacramento, California, to actress Jean Weil and stage manager Henry Rhody. He started his career as a child film actor in 1911. In 1915 Hathaway quit school and went to work at Universal Studios as a laborer, later becoming a property man. He was recruited for service during World War I in 1917, Hathaway saw his time in the army as an opportunity to get an education. He was never deployed, contracting the flu during the 1918 influenza pandemic. After being discharged from the army in 1918, Hathaway pursued a career in financing but returned to Hollywood to work as a property man at Samuel Goldwyn Studios and Paramount Studios. By 1924 Hathaway was working as an Assistant Director at Paramount Studios, under directors such as Josef von Sternberg, Victor Fleming, Frank Lloyd, and William K. Howard. Hathaway Collection – 1 In 1932 Hathaway directed his first film HERITAGE OF THE DESERT, a western. -
Tales-From-The-Vault-Of-Fear-Program-Notes.Pdf
CSUB THEATREFEST PRESENTS T E R talestales R FROM THE O R VAULTVAULT OFOF FEARFEAR FEATURING Zero Hour The Shadow People An invasion from outer space A young woman is terrorized by with aliens plotting to annihilate frightening shadow people and planet Earth? Or a simple child’s mysterious voices that appear game called …Invasion? only in the dark Voice on the Wire Eerie and threatening phone calls terrorize a woman, wa r ni ng of her impending murder . Are they ghostly haunts from her dead husband? TIMELINE A VERTICAL TIMELINE OF THE PROGESSION OF RADIO Inventor Guglielmo Marconi sent the 1895 first radio signal in Italy. Marconi patents a “wireless telegraphy” device in England, crediting him as the inventor of 1896 radio. First radio program premiered. Reginald 1906 Fessenden’s broadcast consisted of light violin playing and reading from the Bible. First commerical broadcasting station, 1920 KDKA, was created in Pittsburg. 1922 Radio sells! AT&T runs its first paid commerical for apartment buildings in New York. First radio play, “A Comedy of Danger”, 1924 1927 Pasadena’s Rosebowl football game was the first nationwide broadcast. The Galvin Brothers installed first commercially sucessful car radio. 1930 1973 Motorola was credited with the invention of the first handheld cellular radio telephone. First radio station, WXYC, announced transition 1994 to broadcasting on the Internet. Podcasting invented! Program enabled 2004 downloadable internet radio broadcast to cellular devices. Digital radio consumption of entertainment 2020 at an all time high. Yes, the 1930s. Where a loaf of It was so real to them, for they bread cost 9 cents, Superman have not heard anything of made his first ever comic this caliber before. -
GULDEN-DISSERTATION-2021.Pdf (2.359Mb)
A Stage Full of Trees and Sky: Analyzing Representations of Nature on the New York Stage, 1905 – 2012 by Leslie S. Gulden, M.F.A. A Dissertation In Fine Arts Major in Theatre, Minor in English Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dr. Dorothy Chansky Chair of Committee Dr. Sarah Johnson Andrea Bilkey Dr. Jorgelina Orfila Dr. Michael Borshuk Mark Sheridan Dean of the Graduate School May, 2021 Copyright 2021, Leslie S. Gulden Texas Tech University, Leslie S. Gulden, May 2021 ACKNOWLEDGMENTS I owe a debt of gratitude to my Dissertation Committee Chair and mentor, Dr. Dorothy Chansky, whose encouragement, guidance, and support has been invaluable. I would also like to thank all my Dissertation Committee Members: Dr. Sarah Johnson, Andrea Bilkey, Dr. Jorgelina Orfila, and Dr. Michael Borshuk. This dissertation would not have been possible without the cheerleading and assistance of my colleague at York College of PA, Kim Fahle Peck, who served as an early draft reader and advisor. I wish to acknowledge the love and support of my partner, Wesley Hannon, who encouraged me at every step in the process. I would like to dedicate this dissertation in loving memory of my mother, Evelyn Novinger Gulden, whose last Christmas gift to me of a massive dictionary has been a constant reminder that she helped me start this journey and was my angel at every step along the way. Texas Tech University, Leslie S. Gulden, May 2021 TABLE OF CONTENTS ACKNOWLEDGMENTS………………………………………………………………ii ABSTRACT …………………………………………………………..………………...iv LIST OF FIGURES……………………………………………………………………..v I. -
The Hitchhiker” Series: Mercury Theatre Show: the Hitchhiker Date: Jun 21 1946 by Lucille Fletcher
“The Hitchhiker” Series: Mercury Theatre Show: The Hitchhiker Date: Jun 21 1946 by Lucille Fletcher CAST: Ronald Adams (Narrator) Storekeeper Operator 2 Mrs. Adams Woman Mrs. Whitney Hitchhiker (male) Hitchhiker (female) Gas Station Attendant Operator 1 Announcer: The Columbia Network takes pleasure in bringing you...Suspense! Suspense!-- Columbia’s parade of outstanding thrillers produced and directed by William Spier and scored by Bernard Herman. The notable melodramas from stage and screen, fiction and radio, presented each week to bring you to the edge of your chair, to keep you in...Suspense! Good evening, this is Orson Welles, and very happy I am to be back in the United States and back on the Columbia Network, even for so short a visit as this one--back with old friends like Johnny Dietz, who’s tonight’s director, and Bernard Herrmann. The Mercury Theater presented tonight’s radio play for the first time last year, and we came out right then and hailed it as a classic of the media. Nobody argued the point, a lot of people asked us to do it again, so it’s gratifying to get the chance now and to find a favorite of ours in this distinguished anthology of spook shows. SOUND: (AUTO DRIVES BY) ADAMS: I'm in an auto camp on Route 66 just west of Gallup, New Mexico. If I tell it, perhaps it'll help me -- keep me from going - going crazy. I gotta tell this quickly. I'm not crazy now - I feel perfectly well, except that I'm running a slight temperature.