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The Naked Spur: Classic Western Scores from M-G-M
FSMCD Vol. 11, No. 7 The Naked Spur: Classic Western Scores From M-G-M Supplemental Liner Notes Contents The Naked Spur 1 The Wild North 5 The Last Hunt 9 Devil’s Doorway 14 Escape From Fort Bravo 18 Liner notes ©2008 Film Score Monthly, 6311 Romaine Street, Suite 7109, Hollywood CA 90038. These notes may be printed or archived electronically for personal use only. For a complete catalog of all FSM releases, please visit: http://www.filmscoremonthly.com The Naked Spur ©1953 Turner Entertainment Co., A Warner Bros. Entertainment Company. The Wild North ©1952 Turner Entertainment Co., A Warner Bros. Entertainment Company. The Last Hunt ©1956 Turner Entertainment Co., A Warner Bros. Entertainment Company. Devil’s Doorway ©1950 Turner Entertainment Co., A Warner Bros. Entertainment Company. Escape From Fort Bravo ©1953 Turner Entertainment Co., A Warner Bros. Entertainment Company. All rights reserved. FSMCD Vol. 11, No. 7 • Classic Western Scores From M-G-M • Supplemental Liner Notes The Naked Spur Anthony Mann (1906–1967) directed films in a screenplay” and The Hollywood Reporter calling it wide variety of genres, from film noir to musical to “finely acted,” although Variety felt that it was “proba- biopic to historical epic, but today he is most often ac- bly too raw and brutal for some theatergoers.” William claimed for the “psychological” westerns he made with Mellor’s Technicolor cinematography of the scenic Col- star James Stewart, including Winchester ’73 (1950), orado locations received particular praise, although Bend of the River (1952), The Far Country (1954) and The several critics commented on the anachronistic appear- Man From Laramie (1955). -
James Stewart: the Trouble with Urban Modernity in Verligo and Liberly Valance
MA MAJOR RESEARCH PAPER James Stewart: The Trouble with Urban Modernity in Verligo and Liberly Valance ALEX MORRIS Supervisor: Edward Siopek The Major Research Paper is submitted in partial fulfillment of the requirements for the degree of Master of Arts Joint Graduate Program in Communication & Culture Ryerson University - York University Toronto, Ontario, Canada Sept. 21, 2009 Table of Contents Introduction: Post-War Stewart and the Dark Turn in Hollywood ...................................... 2 Chapter 1: Vertigo: An Architecture for Double Vision ..................................................... 13 Chapter 2: Liberty Valance: Masculine Anxiety in the Cinematic "Wild West" ................ 24 Works Cited and Consulted .............................................................................44 1 Introduction Legendary 20th Century Hollywood film star and American everyman James Maitland Stewart saw merit and enduring intrinsic reward more in his extensive career as a decorated military serviceman, which began a year before Pearl Harbor, well before his nation joined the fighting in the European theatre of the Second World War, and ended long after his controversial peace-time promotion to Brigadier General decades later than in his lifelong career as a cherished and profoundly successful screen actor. For him, as for his father and grandfather before him, who, between the two of them, saw action in three major American wars, serving the nation militarily was as good as it got. When asked by an interviewer some 50 years after the end of his wartime military service about his WWII memories, writes biographer Jonathan Coe in his book, Jimmy Stewart: A Wonderful Life, Stewart remarks that his military experience was "something that I think about almost everyday: one of the greatest experiences of my life." "Greater than being in the movies?" countered the reporter. -
Curriculum Vitae: Dr. Ken Coates
Curriculum Vitae: Dr. Ken Coates Address: 903B – 9th Street East Saskatoon, Saskatchewan S7H 0M9 306 341 0545 (Cell) University of Saskatchewan Address: Johnson-Shoyama Graduate School of Public Policy Room 181, 101 Diefenbaker Place University of Saskatchewan Saskatoon, Saskatchewan S7N 5B8 1 306 966 5136 (office) [email protected] University Degrees Bachelor of Arts (History), University of British Columbia, 1978 Master of Arts (History), University of Manitoba, 1980. PhD (History), University of British Columbia, 1984. Dissertation: “Best Left As Indians: Native-White Relations in the Yukon Territory, 1840-1950.” Supervisor Dr. David Breen. Academic and Professional Positions Canada Research Chair in Regional Innovation, Johnson-Showama Graduate School of Public Policy, University of Saskatchewan, 2012 – Professor of History, University of Waterloo, 2011-2012 Dean, Faculty of Arts, and Professor, Department of History, University of Waterloo, 2006-2011 Coates Holroyd Consulting, Garibaldi Highlands, B.C., 2004 – Vice-President (Academic), Sea to Sky University, Squamish, B.C., 2004 Dean, College of Arts and Science, University of Saskatchewan, Saskatoon, Saskatchewan, 2001-2004. Acting Provost and Vice-President (Academic), University of Saskatchewan, Saskatoon, Saskatchewan, 2002-2003. Dean, Faculty of Arts and Professor of History, University of New Brunswick at Saint John, Saint John, New Brunswick, July 1997-2000. Professor of History and Chair, Department of History, University of Waikato, Hamilton, New Zealand, 1995-1997. Vice-President (Academic) and Professor of History, University of Northern British Columbia, Prince George, B.C., 1992-1995. Professor, Department of History, University of Victoria, Victoria, B.C., 1986-1992. Associate Professor, Department of History, Brandon University, Brandon, Manitoba, 1983-1986. -
Dictionary of Westerns in Cinema
PERFORMING ARTS • FILM HISTORICAL DICTIONARY OF Historical Dictionaries of Literature and the Arts, No. 26 VARNER When early filmgoers watched The Great Train Robbery in 1903, many shrieked in terror at the very last clip, when one of the outlaws turned toward the camera and seemingly fired a gun directly at the audience. The puff of WESTERNS smoke was sudden and hand-colored, and it looked real. Today we can look back at that primitive movie and see all the elements of what would evolve HISTORICAL into the Western genre. Perhaps the Western’s early origins—The Great Train DICTIONARY OF Robbery was the first narrative, commercial movie—or its formulaic yet enter- WESTERNS in Cinema taining structure has made the genre so popular. And with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the Western is told in this Historical Dictionary of Westerns in Cinema through a chronology, a bibliography, an introductory essay, and hundreds of cross-referenced dictionary entries on cinematographers; com- posers; producers; films like Butch Cassidy and the Sundance Kid, Dances with Wolves, The Good, the Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; actors such as Gene Autry, in Cinema Cinema Kirk Douglas, Clint Eastwood, Henry Fonda, Jimmy Stewart, and John Wayne; and directors like John Ford and Sergio Leone. PAUL VARNER is professor of English at Abilene Christian University in Abilene, Texas. -
Glorious Technicolor: from George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 the G
Glorious Technicolor: From George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 The Garden of Allah. 1936. USA. Directed by Richard Boleslawski. Screenplay by W.P. Lipscomb, Lynn Riggs, based on the novel by Robert Hichens. With Marlene Dietrich, Charles Boyer, Basil Rathbone, Joseph Schildkraut. 35mm restoration by The Museum of Modern Art, with support from the Celeste Bartos Fund for Film Preservation; courtesy The Walt Disney Studios. 75 min. La Cucaracha. 1934. Directed by Lloyd Corrigan. With Steffi Duna, Don Alvarado, Paul Porcasi, Eduardo Durant’s Rhumba Band. Courtesy George Eastman House (35mm dye-transfer print on June 5); and UCLA Film & Television Archive (restored 35mm print on July 21). 20 min. [John Barrymore Technicolor Test for Hamlet]. 1933. USA. Pioneer Pictures. 35mm print from The Museum of Modern Art. 5 min. 7:00 The Wizard of Oz. 1939. USA. Directed by Victor Fleming. Screenplay by Noel Langley, Florence Ryerson, Edgar Allan Woolf, based on the book by L. Frank Baum. Music by Harold Arlen, E.Y. Harburg. With Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Ray Bolger, Margaret Hamilton, Billie Burke. 35mm print from George Eastman House; courtesy Warner Bros. 102 min. Saturday, June 6 2:30 THE DAWN OF TECHNICOLOR: THE SILENT ERA *Special Guest Appearances: James Layton and David Pierce, authors of The Dawn of Technicolor, 1915-1935 (George Eastman House, 2015). James Layton and David Pierce illustrate Technicolor’s origins during the silent film era. Before Technicolor achieved success in the 1930s, the company had to overcome countless technical challenges and persuade cost-conscious producers that color was worth the extra effort and expense. -
MGM 70 YEARS: REDISCOVERIES and CLASSICS June 24 - September 30, 1994
The Museum of Modern Art For Immediate Release May 1994 MGM 70 YEARS: REDISCOVERIES AND CLASSICS June 24 - September 30, 1994 A retrospective celebrating the seventieth anniversary of Metro-Goldwyn- Mayer, the legendary Hollywood studio that defined screen glamour and elegance for the world, opens at The Museum of Modern Art on June 24, 1994. MGM 70 YEARS: REDISCOVERIES AND CLASSICS comprises 112 feature films produced by MGM from the 1920s to the present, including musicals, thrillers, comedies, and melodramas. On view through September 30, the exhibition highlights a number of classics, as well as lesser-known films by directors who deserve wider recognition. MGM's films are distinguished by a high artistic level, with a consistent polish and technical virtuosity unseen anywhere, and by a roster of the most famous stars in the world -- Joan Crawford, Clark Gable, Judy Garland, Greta Garbo, and Spencer Tracy. MGM also had under contract some of Hollywood's most talented directors, including Clarence Brown, George Cukor, Vincente Minnelli, and King Vidor, as well as outstanding cinematographers, production designers, costume designers, and editors. Exhibition highlights include Erich von Stroheim's Greed (1925), Victor Fleming's Gone Hith the Hind and The Wizard of Oz (both 1939), Stanley Kubrick's 2001: A Space Odyssey (1968), and Ridley Scott's Thelma & Louise (1991). Less familiar titles are Monta Bell's Pretty Ladies and Lights of Old Broadway (both 1925), Rex Ingram's The Garden of Allah (1927) and The Prisoner - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 of Zenda (1929), Fred Zinnemann's Eyes in the Night (1942) and Act of Violence (1949), and Anthony Mann's Border Incident (1949) and The Naked Spur (1953). -
Retrospektive & Berlinale Classics
65. Internationale Filmfestspiele Berlin Retrospektive Glorious Technicolor Retrospektive: Glorious Technicolor Filme aus dem George Eastman House und weiteren Archiven The African Queen (African Queen) von John Huston mit Humphrey Bogart, Katharine Hepburn, Robert Morley, Großbritannien/USA 1951, 4K DCP: Park Circus (Digital restaurierte Fassung 2010), Englisch; Kopie: George Eastman House (35mm, Technicolor Druckverfahren/dye transfer print), Englisch An American Romance von King Vidor mit Brian Donlevy, Ann Richards, Walter Abel, USA 1944, Kopie: George Eastman House, Englisch Anne of the Indies (Die Piratenkönigin) von Jacques Tourneur mit Jean Peters, Louis Jourdan, Debra Paget, Herbert Marshall, USA 1951, Kopie: Twentieth Century Fox (Digital restaurierte Fassung), Englisch Black Narcissus (Die schwarze Narzisse) von Michael Powell und Emeric Pressburger mit Deborah Kerr, David Farrar, Jean Simmons, Großbritannien 1947, Kopie: British Film Institute (Digital restaurierte Fassung 2005), Englisch Blanche Fury (Unruhiges Blut) von Marc Allégret mit Stewart Granger, Valérie Hobson, Walter Fitzgerald, Michael Gough, Großbritannien 1947, Kopie: British Film Institute, Englisch Blood and Sand (König der Toreros) von Rouben Mamoulian mit Tyrone Power, Linda Darnell, Rita Hayworth, Anthony Quinn, USA 1941, Kopie: Twentieth Century Fox (Digital restaurierte Fassung), Englisch Broken Arrow (Der gebrochene Pfeil) von Delmer Daves mit James Stewart, Jeff Chandler, Debra Paget, Basil Ruysdael, USA 1950, Kopie: Twentieth Century Fox (Digital restaurierte -
Waverley Film Society Volume 6 July 2019 No
Waverley Film Society Volume 6 July 2019 No. 6 July Meeting: Waverley Film Society will meet at St John’s Uniting Church, 37 Virginia Street, Mt Waverley at 7.40 on Wednesday, 10th of July. Apologies can be left with Brett on 9807 3426. Visitors are welcome. Bring your friends. This month we will screen Bend of the River (1952) Western/adventure (A town boss confiscates a homesteader’s supplies when gold is discovered nearby. A tough cowboy helps.) See page 2 for more information. Last Month Twenty seven people attended, including one visitor. There were nine apologies. Murder on the Orient Express recorded a rating of 3.8 stars. Jennie Sampson collected the final raffle books and money. A card to be sent to Marlene, wishing her a speedy recovery after surgery Next Month Wednesday, August 14th The Way We Were (1974) A Drama/romance, with Barbara Streisand and Robert Redford. Two desperate people have a wonderful romance, but their political views and convictions drive them apart. Posters advertising this screening will be available. Please post them in community spaces. Bend of the River (1952) (Reference: www.imdb.com) Cast includes: Director Anthony Mann James Stewart Glyn McLyntock Writing William Gulick (novel) Arthur Kennedy Emerson Cole Borden Chase (screenplay) Music Hans J. Salter Julie Adams Laura Baile Rock Hudson Trey Wilson Cinematography Irving Glassberg Jay C. Flippen Jeremy Baile Howard Petrie Tom Hendricks Harry Morgan Shorty Trivia Stewart made eight movies with director Anthony Mann from 1950 to 1955. Six of those were Westerns. Though the film received generally poor reviews, it is noteworthy as marking a turning point in James Stewart's career, as he began to play much more violent, cynical and ruthless characters. -
Westerns at The
For immediate release: December 21, 2007 WEXNER CENTER GOES WEST FOR NINE-FILM SERIES IN JANUARY This January, the Wexner Center presents a five-night, nine-film series offering some of the best films from that most American of genres, the western. Though the western has been proclaimed dead or irrelevant numerous times in film history, the recent releases of 3:10 to Yuma, The Assassination of Jesse James by the Coward Robert Ford, and even the Coen brothers’ western update No Country for Old Men suggest that there is still plenty of life and contemporary relevance in the genre (see the New York The Searchers, showing January 10 Image courtesy Warner Bros. Times Magazine cover story “How the Western Was Won” on November 11 for more on this topic). The Western series at the Wexner Center—which kicks off January 10—presents a rare chance to revisit (or see on the big screen for the first time) some influential western classics. It features some of the genre’s iconic stars (including John Wayne, James Stewart, Randolph Scott, and Gary Cooper) in films by some of the genre’s masters (such as John Ford, Howard Hawks, Anthony Mann, and Budd Boetticher). While this series focuses on the postwar western cycle typified by flawed heroes and muddied morals (exemplified by Ford’s landmark The Searchers), it also includes lighter approaches (The Plainsman, Trail of the Vigilantes) and the clearly revisionist Little Big Man. This series was organized by the Wexner Center’s film staff. Tickets for each night of the series are $7 general public; $5 members, students, and senior citizens; $3 children under 12. -
Two Concepts of Liberty Valance: John Ford, Isaiah Berlin, and Tragic Choice on the Frontier, 37 Creighton L
UIC School of Law UIC Law Open Access Repository UIC Law Open Access Faculty Scholarship 1-1-2004 Two Concepts of Liberty Valance: John Ford, Isaiah Berlin, and Tragic Choice on the Frontier, 37 Creighton L. Rev. 471 (2004) Timothy P. O'Neill The John Marshall Law School, Chicago, [email protected] Follow this and additional works at: https://repository.law.uic.edu/facpubs Part of the Entertainment, Arts, and Sports Law Commons, and the Legal History Commons Recommended Citation Timothy P. O'Neill, Two Concepts of Liberty Valance: John Ford, Isaiah Berlin, and Tragic Choice on the Frontier, 37 Creighton L. Rev. 471 (2004). https://repository.law.uic.edu/facpubs/124 This Article is brought to you for free and open access by UIC Law Open Access Repository. It has been accepted for inclusion in UIC Law Open Access Faculty Scholarship by an authorized administrator of UIC Law Open Access Repository. For more information, please contact [email protected]. TWO CONCEPTS OF LIBERTY VALANCE: JOHN FORD, ISAIAH BERLIN, AND TRAGIC CHOICE ON THE FRONTIER TIMOTHY P. O'NEILLt "If as I believe, the ends of men are many, and not all of them are in principle compatible with each other, then the possibil- ity of conflict - and of tragedy - can never wholly be elimi- nated from human life, either personal or social. The necessity of choosing between absolute claims is then an ines- capable characteristicof the human condition." - Isaiah Berlin, "Two Concepts of Liberty" in Isaiah Berlin: The Proper Study of Mankind "We are doomed to choose, and every choice may entail an ir- reparableloss." - Isaiah Berlin, "The Pursuit of the Ideal" in The Crooked Timber of Humanity "Nothing's too good for the man who shot Liberty Valance." - Railroad Conductor to Senator Ransom Stoddard in John Ford's The Man Who Shot Liberty Valance INTRODUCTION 1962 was a good year for movies. -
List of Shows Master Collection
Classic TV Shows 1950sTvShowOpenings\ AdventureStory\ AllInTheFamily\ AManCalledShenandoah\ AManCalledSloane\ Andromeda\ ATouchOfFrost\ BenCasey\ BeverlyHillbillies\ Bewitched\ Bickersons\ BigTown\ BigValley\ BingCrosbyShow\ BlackSaddle\ Blade\ Bonanza\ BorisKarloffsThriller\ BostonBlackie\ Branded\ BrideAndGroom\ BritishDetectiveMiniSeries\ BritishShows\ BroadcastHouse\ BroadwayOpenHouse\ BrokenArrow\ BuffaloBillJr\ BulldogDrummond\ BurkesLaw\ BurnsAndAllenShow\ ByPopularDemand\ CamelNewsCaravan\ CanadianTV\ CandidCamera\ Cannonball\ CaptainGallantOfTheForeignLegion\ CaptainMidnight\ captainVideo\ CaptainZ-Ro\ Car54WhereAreYou\ Cartoons\ Casablanca\ CaseyJones\ CavalcadeOfAmerica\ CavalcadeOfStars\ ChanceOfALifetime\ CheckMate\ ChesterfieldSoundOff\ ChesterfieldSupperClub\ Chopsticks\ ChroniclesOfNarnia\ CimmarronStrip\ CircusMixedNuts\ CiscoKid\ CityBeneathTheSea\ Climax\ Code3\ CokeTime\ ColgateSummerComedyHour\ ColonelMarchOfScotlandYard-British\ Combat\ Commercials50sAnd60s\ CoronationStreet\ Counterpoint\ Counterspy\ CourtOfLastResort\ CowboyG-Men\ CowboyInAfrica\ Crossroads\ DaddyO\ DadsArmy\ DangerMan-S1\ DangerManSeason2-3\ DangerousAssignment\ DanielBoone\ DarkShadows\ DateWithTheAngles\ DavyCrockett\ DeathValleyDays\ Decoy\ DemonWithAGlassHand\ DennisOKeefeShow\ DennisTheMenace\ DiagnosisUnknown\ DickTracy\ DickVanDykeShow\ DingDongSchool\ DobieGillis\ DorothyCollins\ DoYouTrustYourWife\ Dragnet\ DrHudsonsSecretJournal\ DrIQ\ DrSyn\ DuffysTavern\ DuPontCavalcadeTheater\ DupontTheater\ DustysTrail\ EdgarWallaceMysteries\ ElfegoBaca\ -
AN ABSTRACT of the THESIS of Brad D. Foster for the Degree of Master of Arts in English Presented on July 16, 2007. Title
AN ABSTRACT OF THE THESIS OF Brad D. Foster for the degree of Master of Arts in English presented on July 16, 2007. Title: Constructing a Heroic Identity: Masculinity and the Western Film Abstract approved: ____________________________________________________________________ Jon Lewis This thesis employs the study of gender to demonstrate how recent Hollywood western films have constructed a hero that is reflective of contemporary beliefs regarding masculinity. Beginning with a New Historicist approach at studying gender, this work first considers the construction of masculinity in post World War II America and traces the evolution of the western hero’s masculinity from its iconic state in the 1950’s through it trial during second wave feminism, its rebuilding during the Reagan years, and its refinement within recent Hollywood films. This thesis considers each period of western films as a representation and reflection of its current culture, and as a result ultimately argues that the western genre has recently endeavored to perpetuate the conservative cultural view that a marital union is the ideal in contemporary American society. In tracing the progression of masculinity in the western hero, through cultural and textual readings, this thesis concludes that today’s paragon of the masculine western hero is more subject to domesticity and as such is more likely than its 1950s predecessors to accept marital living. © Copyright by Brad D. Foster July 16, 2007 All Rights Reserved Constructing Heroic Identities: Masculinity and the Western Film by Brad D. Foster A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts Presented July 16, 2007 Commencement June 2008 Master of Arts thesis of Brad D.