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August 26, 2014 (Series 29: 1) D.W
August 26, 2014 (Series 29: 1) D.W. Griffith, BROKEN BLOSSOMS, OR THE YELLOW MAN AND THE GIRL (1919, 90 minutes) Directed, written and produced by D.W. Griffith Based on a story by Thomas Burke Cinematography by G.W. Bitzer Film Editing by James Smith Lillian Gish ... Lucy - The Girl Richard Barthelmess ... The Yellow Man Donald Crisp ... Battling Burrows D.W. Griffith (director) (b. David Llewelyn Wark Griffith, January 22, 1875 in LaGrange, Kentucky—d. July 23, 1948 (age 73) in Hollywood, Los Angeles, California) won an Honorary Academy Award in 1936. He has 520 director credits, the first of which was a short, The Adventures of Dollie, in 1908, and the last of which was The Struggle in 1931. Some of his other films are 1930 Abraham Lincoln, 1929 Lady of the Pavements, 1928 The Battle of the Sexes, 1928 Drums of Love, 1926 The Sorrows of Satan, 1925 That Royle Girl, 1925 Sally of the Sawdust, 1924 Darkened Vales (Short), 1911 The Squaw's Love (Short), 1911 Isn't Life Wonderful, 1924 America, 1923 The White Rose, 1921 Bobby, the Coward (Short), 1911 The Primal Call (Short), 1911 Orphans of the Storm, 1920 Way Down East, 1920 The Love Enoch Arden: Part II (Short), and 1911 Enoch Arden: Part I Flower, 1920 The Idol Dancer, 1919 The Greatest Question, (Short). 1919 Scarlet Days, 1919 The Mother and the Law, 1919 The Fall In 1908, his first year as a director, he did 49 films, of Babylon, 1919 Broken Blossoms or The Yellow Man and the some of which were 1908 The Feud and the Turkey (Short), 1908 Girl, 1918 The Greatest Thing in Life, 1918 Hearts of the World, A Woman's Way (Short), 1908 The Ingrate (Short), 1908 The 1916 Intolerance: Love's Struggle Throughout the Ages, 1915 Taming of the Shrew (Short), 1908 The Call of the Wild (Short), The Birth of a Nation, 1914 The Escape, 1914 Home, Sweet 1908 Romance of a Jewess (Short), 1908 The Planter's Wife Home, 1914 The Massacre (Short), 1913 The Mistake (Short), (Short), 1908 The Vaquero's Vow (Short), 1908 Ingomar, the and 1912 Grannie. -
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. -
The Language of Flowers Is Almost As Ancient and Universal a One As That of Speech
T H E LANGUAGE OF FLOWERS; OR, FLORA SYMBOLIC A. INCLUDING FLORAL POETRY, ORIGINAL AND SELECTED. BY JOHN INGRAM. “ Then took he up his garland, And did shew what every flower did signify.” Philaster. Beaumont and Fletcher. WITH ORIGINAL ILLUSTRATIONS, PRINTED IN COLOURS BY TERRY. LONDON AND NEW YORK: FREDERICK WARNE AND CO. 1887. vA^tT Q-R 7 SO XSH mi TO Eliza Coo k THIS VOLUME IS AFFECTIONATELY INSCRIBED BY HER FRIEND THE AUTHOR. o Preface. j^IIE LANGUAGE OF FLOWERS has probably called forth as many treatises in explanation of its few and simple rules as has any other mode of communicating ideas; but I flatter myself that this book will be found to be the most complete work on the subject ever published—at least, in this country. I have thoroughly sifted, condensed, and augmented the productions of my many predecessors, and have endeavoured to render the present volume in every re¬ spect worthy the attention of the countless votaries which this “ science of sweet things ” attracts ; and, although I dare not boast that I have exhausted the subject, I may certainly affirm that followers will find little left to glean in the paths that I have traversed. As I have made use of the numerous anecdotes, legends, and poetical allusions herein contained, so Preface. VI have I acknowledged the sources whence they came. It there¬ fore only remains for me to take leave of my readers, with the hope that they will pardon my having detained them so long over a work of this description , but “Unheeded flew the hours, For softly falls the foot of Time That only treads on flowers.” J. -
Films Shown by Series
Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films, -
Melodrama As Vernacular Modernism in China: the Case of D
Scope: An Online Journal of Film and Television Studies Issue 26 February 2014 Melodrama as Vernacular Modernism in China: The Case of D. W. Griffith Qijun Han, Utrecht University In an article on the pitfalls of cross-cultural analysis, film scholar Emilie Yueh-yu Yeh has proposed replacing the term “melodrama” with “wenyi,” as it can “locate an intrinsic and perhaps more illuminating concept than melodrama to explain Chinese-language cinemas” (Yeh, 2009: 438). In Yeh’s view: Wenyi and melodrama are literally discordant: letters and arts (wenyi) vs. musical theatre (melo-drama). One emphasizes literary value and artistic taste; popular fiction that aspires to serious literature. The other offers the theatrical display and emotional excitement of the sort found in stage musicals (cf. Broadway, operetta, vaudeville). (Yeh, 2009: 445) Yeh is not the first to highlight the concept of wenyi. As early as 1985, Cai Guorong had already raised this issue. For him: Chinese wenyi melodrama developed along two lines: those works that deal with family relationships and ethics, and those that depict romances. […] First, films of this genre use contemporary or recent society as a backdrop; second, they deal with human emotions and are therefore lyrical to an extent. (Cai, 1985; in Zhang, 2012: 25) Yeh has convincingly shown how wenyi connects with and departs from melodrama, and in particular, her historical account of wenyi is a highly valuable tool in interpreting contemporary Chinese films. By proposing to substitute wenyi for melodrama, Yeh has pointed to a set of conceptual tensions underpinning the term melodrama, which is in turn relevant to several issues, such as translation and cultural identity in the aftermath of colonialism and imperialism. -
Dw Griffith: American Film Master
he Museum of Modern Art 3/8/65 Vest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modemart PROGRAM D. W. GRIFFITH: AMERICAN FILM MASTER The films listed are all directed by Griffith, except where otherwise noted. PART. I \ April 25-28: 1907 RESCUE) FROM AN EAGSUB'S NEST, Edison, directed by Edwin S. Porter; with D. W. Griffith. 1909 THE LONELY VILLA, Biograph; with Mary Pickford, Marion Leonard. 1911 THE LONEDALE OPERATOR, Biograph; with Blanche Sweet, Wilfred Lucas• 1912 THE GIRL AND HER TRUST, Biograph; with Dorothy Bernard, Wilfred Lucas. 1913 OLAF - AN ATOM, Biograph; with Harry Carey (director unknown, but probably D. W. Griffith). Biograph films: April 29- 1909 A DRUNKARD'S REFORMATION, with Linda Arvidson, Arthur Johnson. May 1: 1909 A CORNER IN WHEAT, with Frank Powell, Henry Walthall. 1910 THE USURER, with Grace Henderson, George Nichols. 1911 THE MISER'S HEART, with Edward Dillon, Wilfred Lucas. 1912 THE MUSKETEERS OF PIG ALLEY, with Dorothy and Lillian Gish. May 2-5: 1912 MAN'S GENESIS, Biograph; with Mae Marsh, Robert Harron. 1913-lil- JUDITH OF BETHULIA, Biograph; with Blanche Sweet, Henry Walthall. May 6-8; 1911 ENOCH ARDEN, Biograph; with Linda Arvidson, Wilfred Lucas. 1911* HOME, SWEET HOME, Mutual; with Lillian Gish, Henry Walthall, Mae Marsh, Robert Harron, Blanche Sweet, Owen Moore. May 9-12: 1912 THE GODDESS OF SAGEBRUSH GULCH, Biograph; with Blanche Sweet, Dorothy Bernard, Charles West. 19114. THE AVENGING CONSCIENCE, Mutual; with Blanche Sweet, Henry Walthall, Spottiswoode Aiken. May I3-I5: 1915 THE BIRTH OF A NATION, Epoch; with Lillian Gish, Mae Marsh, Henry Walthall, Robert Harron, Elmer Clifton, Ralph Lewis. -
D. W. Griffith Centennial
H the Museum of Modern Art U West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modemart D.W. GRIFFITH CENTENNIAL Part II, The Feature Films, May 15 to July 9, 1975 Thursday, May 15 5:30 HOME, SWEET HOME. 1914. With Lillian Gish, Mae Marsh, Blanche Sweet. ca 95 min. and THE MASSACRE. 1912. With Blanche Sweet, ca 30 min. 8:00 D. W. Griffith's THE BIRTH OF A NATION: Muckraking a Southern Legend, a lecture by Russell Merritt, Associate Professor of Communication Arts, University of Wisconsin at Madison Friday, May 16 2:00 THE BIRTH-OF A NATION. 1915. With Lillian Gish, Mae Marsh, Henry B. Walthall, ca 200 min. Saturday, May 17 3:00 HOME, SWEET HOME and THE MASSACRE. (See Thursday, May 15 at 5:30) 5:30 THE AVENGING CONSCIENCE. 1914. With Henry B. Walthall, Blanche Sweet. ca 95 min. and EDGAR ALLAN POE. 1909. With Herbert Yost, Linda Arvidson. ca 15 min. Sunday, May 18 5:30 THE MOTHER AND THE LAW. 1914-1919. With Mae Marsh, Robert Harron, Miriam Cooper, ca 115 min. Monday, May 19 2:00 THE MOTHER AND THE LAW. (See Sunday, May 18 at 5:30) 5:30 THE BIRTH OF A NATION. (See Friday, May 16 at 2:00) Tuesday, May 20 5:30 THE AVENGING CONSCIENCE and EDGAR ALLAN POE. (See Saturday, May 17 at 5:30) Thursday, May 22 67315 INTOLERANCE. 1916. With Mae Marsh, Robert Harron, Miriam Cooper, ca 195 min. Friday, May 23 2:00 INTOLERANCE. (See Thursday, May 22 at 6:30) Saturday, May 24 3700 A ROMANCE OF HAPPY VALLEY. -
My-Last-Novel-Mobile.Pdf
Dedicated with thanks to: All tired women Female dogs, laughter of sexless tragedy, The indifferent attitude of the moon, Overlapping memories that creep forward in Aloneness and Beastial merriment PROLOGUE Flowery Birth of Departure is an outcome of my passion for writing which was suspended due to my art and teaching career for many years. However, it didn’t take me too long to get back at it. Yet it was long enough to mellow the yearning for ideas, alone, just by myself, which I could not get from the roles of one engaged in contemporary art and teaching. As soon as the art exhibition An Artist Is Trying to Return to Being a Writer began at the end of July 2017, it was over, and the writing began. Memories flooded in, so rich, so overwhelming in self-investigation, back to the past, going through life experiences I had encountered. Each period, the saturated parts, the turbid, clear crystals were occasionally aroused according to combined language mood and human mood. But art itself remained still, shifting slightly in its place and path. PREFACE In the dawn’s obscure light The slender pairs of electric lamps on the posts on each side of the gate sent out a shining white light at the fence of the big house on one side of the lane, as if they were chatting across the deserted divided lane. The lane was divided into two by a narrow irrigation canal through which water slowly and continuously flowed all year round. The dialogue flowed from the pair of lamps of one house over to the pair of lamps of an older house on the other side. -
Wersoif the Early Februaryistage
I > ,. ;"V'« v i i 2 Sfte . aid ** Betf ry «, 1921. SumU;, Ftbra. JJasl}jmgi0t* v /. PLAYS AND PL;WERSOIF THE EARLY FEBRUARYISTAGE /. y * 0 % ' ; > --vv.. iii \ Has uV .ji*r-1, J ,-s t in Saddle The Griffith .% fT=HBHHI -mi.*_ Comedy OfBiograph Days Among New Plays Really Returned? Of Current Week "Way Down East" Shows Many "Cognac" at Bel&sco Awaits DHl ... Glimpses of Style that Made Broadway Verdict.Victor Screen Genius Famous. Herbert Hit Appear*. the By EARLE DORSEY. Although exigencies booking «"r»ngemeat» have ts something always hilariously funny in resulted, apparently, in the temporary elimination THEREthe spectacle offered by the usually sane analyst of the Garrick from the list of open playhouses, the three of the drama the moment he undertakes a critical discussion of some major product of the D. other legitimate theaters of the city offer an array of W. Griffith camera. attractions that should meet with general approval. Given, as a rule, to the orderly assembly and calm restraint of his adjectives, your average critic 'ICognae," a new Shubert comedy-drama, opens a will, nine times out of ten, tosa. his circumspection week's run at the Belasco tomorrow to the night with a cast winds, blush with an Incoherent, school-girlish ' hysteria and give himself over to a semi-maudlin of sizeable and talented proportions, while at the delirium of superlatives which rise, months the week will be devoted to an exposition of-theNational, to hiss gleefully at his embarrassed memory.afterward, :£l ^ % ' Personally speaking. I have never yet won a ' charms of Victor Herbert's musical comedy success, against the suffocating dynamics of Griffith'sbattle 5, > ',. -
MIKE BICKLE Song of Songs Transcript: 5/18/07 Page 1 of 16
FORERUNNER SCHOOL OF MINISTRY – MIKE BICKLE Song of Songs Transcript: 5/18/07 Page 1 of 16 Session 12: The Bride’s Identity and Life Purpose In this session, session twelve in the Studies in the Song of Solomon, we are going to be looking at Song 2:1-7. This is one of my favorite passages in the Song of Solomon, although I have about eight or nine favorite ones. It is ok to do that. The theme of these seven verses is the bride’s spiritual identity, but more than that, or in addition to that, it is a revelation of her life purpose. As we begin to establish this identity and come into this kind of clarity about our life purpose as described in this great love song, it radically changes the way we view life and the way that we feel. THE BRIDE’S IDENTITY AND LIFE PURPOSE: BEING JESUS’ INHERITENCE Roman numeral I. Jesus’ identity, I mean the bride’s identity and her life purpose are found in understanding that she is Jesus’ inheritance. One of the foundational premises of the kingdom of God is that God the Father has been planning from before the ages to give His Son an inheritance. This is very important to the Father’s heart, and obviously, it is very dear to Jesus’ heart. The Father has thought through this with all of His wisdom, and has determined the choice inheritance that would absolutely ravish the heart of His Son, the Second Person of the Trinity. This is a heavy idea that the Father has discovered and has come with clarity. -
D. W. Griffith : American Film Master by Iris Barry
D. W. Griffith : American film master By Iris Barry Author Barry, Iris, 1895-1969 Date 1940 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2993 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art D. W. GRIFFITH AMERICAN FILM MASTER BY IBIS BABBY J MrTHE MUSEUM OF MODERN ART NEW YORK MoMA 115 c.2 D. W. GRIFFITH: AMERICANFILM MASTER Shooting night scenes in the snow at Mamaroneck, New York, for way down east, 1920. D. W GRIFFITH AMERICAN FILM MASTER BY IRIS BARRY X MUSEUM OF MODERN ART FILM LIRRARY SERIES NO. 1 NEW YORK THE MUSEUM OF MODERN ART /IfL &/&? US t-2-. ACKNOWLEDGMENTS TRUSTEES OF THE MUSEUM OF MODERN ART The President and Trustees of the Museum of Modern Stephen C. Clark, Chairman of the Board; John Hay Art wish to thank those who have lent to the exhibition Whitney, 1st Vice-Chairman; Samuel A. Lewisohn, 2nd and, in addition, those who have generously rendered Vice-Chairman; Nelson A. Rockefeller, President; assistance: Mr. and Mrs. David Wark Griffith; Mr. W. Alfred H. Barr, Jr., Vice-President and Director; John R. Oglesby; Miss Anita Loos and Metro-Goldwyn- E. Abbott, Executive Vice-President; Mrs. John S. Mayer Studios; Mr. W illiam D. Kelly of Lowe's, In Sheppard, Treasurer; Mrs. Robert Woods Bliss, Mrs. corporated; Mr. George Freedley, Curator of the W. -
Broken Blossoms (Ca
Buch & Regie David Wark Griffith nach der Erzählung „The Chink and the Child“ von Thomas Burk Kamera G. W. Bitzer Ausstattung Joseph Stringer Trickaufnahmen Hendrik Sartov Schnitt James Smith Darsteller Lilian Gish Lucy Richard Barthelmess Cheng Huan, der Chinese Donald Crisp „Battling“ Burrows Arthur Howard Sein Manager Edward Peil Sr. Evil Eye George Beranger Der Spionierende Norman Selby Preisboxer Länge der Filmkopie (16mm) Originaltitel ca. 750 Meter „Broken Blossoms (ca. 90 Minuten bei 18 fps) or The Yellow Man and the Girl“ Filmkopie (16mm) Deutscher Titel Sammlung Richard Siedhoff „Eine Blüte gebrochen“ Uraufführung USA 13. Mai 1919 (New York) Deutsche Erstaufführung Mai 1923 Inhalt Der Chinese Cheng Huan macht sich nach England auf, um dort die Lehren Buddhas zu verbreiten. Doch seine Ideale zerbrechen jäh an der tristen Reali- tät des Londoner Hafenmilieus. Schließlich fällt es ihm zu, Lucy, die misshandelte Stief- tochter des brutalen Preisboxers „Battling“ Burrows, aufzunehmen, sie zu pflegen und ihr kurzzeitig das Glück zu geben, das ihr bisher verwehrt blieb. Doch ihr Wohl ist von kurzer Dauer. Der rassistische Stiefvater kommt dahinter und führt einen Rachefeldzug mit töd- lichem Ausgang. R e c h e r c h e , T e x t & G e s t a l t u n g : R i c h a r d S i e d h o f f www.richard-siedhoff.de Griffith, der Filmschöpfer Nach dem ersten Weltkrieg manövrierte eröffnete neue Wege der Bildgestaltung. Der Literary Digest ging gar soweit, hierin die sich der ernste Hollywood-Film in eine Krise. Die Zeit der großen künstlerisch wertvollen Geburt einer neuen Kunstform, die auf emotionaler Ebene der Musik und der Lyrik nahe Filme war vorerst vorbei.