Classic Film Series
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FY14 Tappin' Study Guide
Student Matinee Series Maurice Hines is Tappin’ Thru Life Study Guide Created by Miller Grove High School Drama Class of Joyce Scott As part of the Alliance Theatre Institute for Educators and Teaching Artists’ Dramaturgy by Students Under the guidance of Teaching Artist Barry Stewart Mann Maurice Hines is Tappin’ Thru Life was produced at the Arena Theatre in Washington, DC, from Nov. 15 to Dec. 29, 2013 The Alliance Theatre Production runs from April 2 to May 4, 2014 The production will travel to Beverly Hills, California from May 9-24, 2014, and to the Cleveland Playhouse from May 30 to June 29, 2014. Reviews Keith Loria, on theatermania.com, called the show “a tender glimpse into the Hineses’ rise to fame and a touching tribute to a brother.” Benjamin Tomchik wrote in Broadway World, that the show “seems determined not only to love the audience, but to entertain them, and it succeeds at doing just that! While Tappin' Thru Life does have some flaws, it's hard to find anyone who isn't won over by Hines showmanship, humor, timing and above all else, talent.” In The Washington Post, Nelson Pressley wrote, “’Tappin’ is basically a breezy, personable concert. The show doesn’t flinch from hard-core nostalgia; the heart-on-his-sleeve Hines is too sentimental for that. It’s frankly schmaltzy, and it’s barely written — it zips through selected moments of Hines’s life, creating a mood more than telling a story. it’s a pleasure to be in the company of a shameless, ebullient vaudeville heart.” Maurice Hines Is . -
Baby Snooks: Why, Daddy?
baby_snooks_4pg.qxd:4 pg. Booklet 8/18/09 2:51 PM Page 1 Track 7: Baby Buggy - July 2, 1942 – Daddy thinks that he’ll be able to use the old baby buggy to transport the twins, but the Baby Snooks: vehicle will need a few modifications. (9:48) CD 4 Why, Daddy? Track 1: The Camp Report: September 3, 1942 – Daddy welcomes Snooks back after her stay at summer camp, and is Program Guide by Ivan G. Shreve, Jr. looking forward to reading her camp report…but, first bedtime. (8:07) During the Golden Age of Radio, audiences were treated to a “brat triumvirate.” The best- known of the radio brats was wisenheimer Charlie McCarthy, who along with partner (read: Track 2: Baby Snooks Goes to a Movie - September 24, 1942 – ventriloquist) Edgar Bergen entertained audiences for nearly twenty years with the ultra-popular Going to the movies is a pleasure for some…but, since Daddy The Chase & Sanborn Hour . In the 1940s, comedian Red Skelton introduced demon-on- has to take Snooks and the twins it’s akin to walking the last wheels “Junior, the mean widdle kid” on his Raleigh Cigarette Program . Hanley Stafford as the long-suffering mile. (8:51) “Daddy” with Brice as Snooks. The last member of this trio of incorrigibles was Baby Snooks, played by famed musical Track 3: Gozinta - October 1, 1942 – Daddy is suffering from a case of insomnia, so Snooks comedy star Fanny Brice. Brice began her show business career at the age of twelve, earning takes advantage of his sleepless state to con him into helping her with her homework. -
31 Days of Oscar® 2010 Schedule
31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy -
Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
Leslie Caron
Paddock Suite, The Courtyard, 55 Charterhouse Street, London, EC1M 6HA p: + 44 (0) 20 73360351 e: [email protected] Phone: + 44 (0) 20 73360351 Email: [email protected] Leslie Caron Photo: John Mann Location: London, United Kingdom Eye Colour: Blue Height: 5'1" (154cm) Hair Colour: Dark Brown Playing Age: Over 60 years Hair Length: Long Appearance: White Film Film, Suzanne de Persand, Le Divorce, Merchant Ivory Productions, James Ivory Film, Madame Audel, Chocolat, Miramax Films, Lasse Hallström Film, Regine De Chantelle, The Reef, CBS, Robert Allan Ackerman Film, Marguerite, Let It Be Me, Savoy Pictures, Eleanor Begstein Film, Katie Parker, Funny Bones, Hollywood Pictures, Peter Chelsom Film, Elizabeth Prideaux, Damage, Studio Canal, Louis Malle Film, Waitress, Guns, Malibu Bay Films, Andy Sidaris Film, Jane Hillary, Courage Mountain, Triumph Films, Christopher Leitch Film, Henia Liebskind, Dangerous Moves, Gaumont, Richard Dembo Film, Mother, Imperative, TeleCulture, Krzysztof Zanussi Film, uncredited, Chanel Solitaire, United Film Distribution Company, George Kaczender Film, Lucille Berger, All Stars Film, Dr. Sammy Lee, Goldengirl, AVCO Embassy Pictures, Joseph Sargent Film, Nicole, Nicole, Troma Entertainment, István Ventilla Film, Alla Nazimova, Valentino, United Artists, Ken Russell Film, Véra, The Man Who Loved Women, United Artists, François Truffaut Film, Céleste, Surreal Estate, Caribou Films, Eduardo de Gregorio Film, Katherine Creighton, Chandler, MGM, Paul Magwood Film, Sister Mary, Madron, Four Star-Excelsior, Jerry Hopper -
Here Are a Number of Recognizable Singers Who Are Noted As Prominent Contributors to the Songbook Genre
Music Take- Home Packet Inside About the Songbook Song Facts & Lyrics Music & Movement Additional Viewing YouTube playlist https://bit.ly/AllegraSongbookSongs This packet was created by Board-Certified Music Therapist, Allegra Hein (MT-BC) who consults with the Perfect Harmony program. About the Songbook The “Great American Songbook” is the canon of the most important and influential American popular songs and jazz standards from the early 20th century that have stood the test of time in their life and legacy. Often referred to as "American Standards", the songs published during the Golden Age of this genre include those popular and enduring tunes from the 1920s to the 1950s that were created for Broadway theatre, musical theatre, and Hollywood musical film. The times in which much of this music was written were tumultuous ones for a rapidly growing and changing America. The music of the Great American Songbook offered hope of better days during the Great Depression, built morale during two world wars, helped build social bridges within our culture, and whistled beside us during unprecedented economic growth. About the Songbook We defended our country, raised families, and built a nation while singing these songs. There are a number of recognizable singers who are noted as prominent contributors to the Songbook genre. Ella Fitzgerald, Fred Astaire, Rosemary Clooney, Nat King Cole, Sammy Davis Jr., Judy Garland, Billie Holiday, Lena Horne, Al Jolson, Dean Martin, Frank Sinatra, Mel Tormé, Margaret Whiting, and Andy Williams are widely recognized for their performances and recordings which defined the genre. This is by no means an exhaustive list; there are countless others who are widely recognized for their performances of music from the Great American Songbook. -
And Neva Satterlee Mcnally Vaudeville Collection
Guide to the George E. "Mello" and Neva Satterlee McNally Vaudeville Collection NMAH.AC.0760 Franklin A. Robinson, Jr. 2002 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Original Sheet Music................................................................................ 4 Series 2: Commercial Sheet Music.......................................................................... 5 Series 3: Photographs.............................................................................................. 7 Series 4: Memorabilia.............................................................................................. -
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
Lecture Outlines
21L011 The Film Experience Professor David Thorburn Lecture 1 - Introduction I. What is Film? Chemistry Novelty Manufactured object Social formation II. Think Away iPods The novelty of movement Early films and early audiences III. The Fred Ott Principle IV. Three Phases of Media Evolution Imitation Technical Advance Maturity V. "And there was Charlie" - Film as a cultural form Reference: James Agee, A Death in the Family (1957) Lecture 2 - Keaton I. The Fred Ott Principle, continued The myth of technological determinism A paradox: capitalism and the movies II. The Great Train Robbery (1903) III. The Lonedale Operator (1911) Reference: Tom Gunning, "Systematizing the Electronic Message: Narrative Form, Gender and Modernity in 'The Lonedale Operator'." In American Cinema's Transitional Era, ed. Charlie Keil and Shelley Stamp. Univ. of California Press, 1994, pp. 15-50. IV. Buster Keaton Acrobat / actor Technician / director Metaphysician / artist V. The multiplicity principle: entertainment vs. art VI. The General (1927) "A culminating text" Structure The Keaton hero: steadfast, muddling The Keaton universe: contingency Lecture 3 - Chaplin 1 I. Movies before Chaplin II. Enter Chaplin III. Chaplin's career The multiplicity principle, continued IV. The Tramp as myth V. Chaplin's world - elemental themes Lecture 4 - Chaplin 2 I. Keaton vs. Chaplin II. Three passages Cops (1922) The Gold Rush (1925) City Lights (1931) III. Modern Times (1936) Context A culminating film The gamin Sound Structure Chaplin's complexity Lecture 5 - Film as a global and cultural form I. Film as a cultural form Global vs. national cinema American vs. European cinema High culture vs. Hollywood II. -
Boxoffice Barometer (March 6, 1961)
MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph. -
Charles Walters: the Director Who Made Hollywood Dance Melinda F
The Southeastern Librarian Volume 63 | Issue 1 Article 9 4-9-2015 Charles Walters: The Director Who Made Hollywood Dance Melinda F. Matthews University of Louisiana at Monroe Follow this and additional works at: https://digitalcommons.kennesaw.edu/seln Part of the Library and Information Science Commons Recommended Citation Matthews, Melinda F. (2015) "Charles Walters: The Director Who Made Hollywood Dance," The Southeastern Librarian: Vol. 63 : Iss. 1 , Article 9. Available at: https://digitalcommons.kennesaw.edu/seln/vol63/iss1/9 This Book Review is brought to you for free and open access by DigitalCommons@Kennesaw State University. It has been accepted for inclusion in The Southeastern Librarian by an authorized editor of DigitalCommons@Kennesaw State University. For more information, please contact [email protected]. political ascendancy of Southern liberalism within the Graham’s 1950 primary loss, Pleasants believes, dealt a Democratic Party. Scott’s push to improve roads, medical significant blow to Scott’s progressive agenda. care, and education for all North Carolina citizens won him a strong following; yet, he also was seen by many With the Supreme Court’s landmark 1954 decision in politicians and business leaders as controversial and Brown vs. Board of Education, the backlash against polarizing. During his time in office, Scott would be Southern liberals solidified around the issue of buffeted by the regional and national headwinds of desegregation. Pleasants argues that Scott immediately segregationist politics and strident anti-Communism. This recognized that he would need to speak out against school biography reveals how a deepening conservative backlash integration if he wanted to remain a viable candidate for against southern liberals adversely impacted Scott’s public office. -
Introduction
THE NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS THE OLIVE WONG PROJECT PERFORMANCE COSTUME DESIGN RESEARCH GUIDE INTRODUCTION COSTUME DESIGN AND PERFORMANCE WRITTEN AND EDITED BY AILEEN ABERCROMBIE The New York Public Library for the Perform- newspapers, sketches, lithographs, poster art ing Arts, located in Lincoln Center Plaza, is and photo- graphs. In this introduction, I will nestled between four of the most infuential share with you some of Olive’s selections from performing arts buildings in New York City: the NYPL collection. Avery Fisher Hall, Te Metropolitan Opera, the Vivian Beaumont Teater (home to the Lincoln There are typically two ways to discuss cos- Center Teater), and David H. Koch Teater. tume design: “manner of dress” and “the history Te library matches its illustrious location with of costume design”. “Manner of dress” contextu- one of the largest collections of material per- alizes the way people dress in their time period taining to the performing arts in the world. due to environment, gender, position, economic constraints and attitude. Tis is essentially the The library catalogs the history of the perform- anthropological approach to costume design. ing arts through collections acquired by notable Others study “the history of costume design”, photographers, directors, designers, perform- examining the way costume designers interpret ers, composers, and patrons. Here in NYC the the manner of dress in their time period: where so many artists live and work we have the history of the profession and the profession- an opportunity, through the library, to hear als. Tis discussion also talks about costume sound recording of early flms, to see shows designers’ backstory, their process, their that closed on Broadway years ago, and get to relationships and their work.