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Elizabeth Taylor: Screen Goddess
PRESS RELEASE: June 2011 11/5 Elizabeth Taylor: Screen Goddess BFI Southbank Salutes the Hollywood Legend On 23 March 2011 Hollywood – and the world – lost a living legend when Dame Elizabeth Taylor died. As a tribute to her BFI Southbank presents a season of some of her finest films, this August, including Giant (1956), Cat on a Hot Tin Roof (1958) and Who’s Afraid of Virginia Woolf? (1966). Throughout her career she won two Academy Awards and was nominated for a further three, and, beauty aside, was known for her humanitarian work and fearless social activism. Elizabeth Taylor was born in Hampstead, London, on 27 February 1932 to affluent American parents, and moved to the US just months before the outbreak of WWII. Retired stage actress Sara Southern doggedly promoted her daughter’s career as a child star, culminating in the hit National Velvet (1944), when she was just 12, and was instrumental in the reluctant teenager’s successful transition to adult roles. Her first big success in an adult role came with Vincente Minnelli’s Father of the Bride (1950), before her burgeoning sexuality was recognised and she was cast as a wealthy young seductress in A Place in the Sun (1951) – her first on-screen partnership with Montgomery Clift (a friend to whom Taylor remained fiercely loyal until Clift’s death in 1966). Together they were hailed as the most beautiful movie couple in Hollywood history. The oil-epic Giant (1956) came next, followed by Raintree County (1958), which earned the actress her first Oscar nomination and saw Taylor reunited with Clift, though it was during the filming that he was in the infamous car crash that would leave him physically and mentally scarred. -
The Creative Process
The Creative Process THE SEARCH FOR AN AUDIO-VISUAL LANGUAGE AND STRUCTURE SECOND EDITION by John Howard Lawson Preface by Jay Leyda dol HILL AND WANG • NEW YORK www.johnhowardlawson.com Copyright © 1964, 1967 by John Howard Lawson All rights reserved Library of Congress catalog card number: 67-26852 Manufactured in the United States of America First edition September 1964 Second edition November 1967 www.johnhowardlawson.com To the Association of Film Makers of the U.S.S.R. and all its members, whose proud traditions and present achievements have been an inspiration in the preparation of this book www.johnhowardlawson.com Preface The masters of cinema moved at a leisurely pace, enjoyed giving generalized instruction, and loved to abandon themselves to reminis cence. They made it clear that they possessed certain magical secrets of their profession, but they mentioned them evasively. Now and then they made lofty artistic pronouncements, but they showed a more sincere interest in anecdotes about scenarios that were written on a cuff during a gay supper.... This might well be a description of Hollywood during any period of its cultivated silence on the matter of film-making. Actually, it is Leningrad in 1924, described by Grigori Kozintsev in his memoirs.1 It is so seldom that we are allowed to study the disclosures of a Hollywood film-maker about his medium that I cannot recall the last instance that preceded John Howard Lawson's book. There is no dearth of books about Hollywood, but when did any other book come from there that takes such articulate pride in the art that is-or was-made there? I have never understood exactly why the makers of American films felt it necessary to hide their methods and aims under blankets of coyness and anecdotes, the one as impenetrable as the other. -
The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968. -
To Academy Oral Histories Marvin J. Levy
Index to Academy Oral Histories Marvin J. Levy Marvin J. Levy (Publicist) Call number: OH167 60 MINUTES (television), 405, 625, 663 ABC (television network) see American Broadcasting Company (ABC) ABC Circle Films, 110, 151 ABC Pictures, 84 A.I. ARTIFICIAL INTELLIGENCE, 500-504, 615 Aardman (animation studio), 489, 495 AARP Movies for Grownups Film Festival, 475 Abagnale, Frank, 536-537 Abramowitz, Rachel, 273 Abrams, J. J., 629 ABSENCE OF MALICE, 227-228, 247 Academy Awards, 107, 185, 203-204, 230, 233, 236, 246, 292, 340, 353, 361, 387, 432, 396, 454, 471, 577, 606, 618 Nominees' luncheon, 348 Student Academy Awards, 360 Academy of Motion Pictures Arts and Sciences, 361-362, 411 Academy Board of Governors, 312, 342, 346-349, 357, 521 Academy Film Archive, 361, 388, 391, 468 Public Relations Branch, 342, 344, 348, 356 Visiting Artists Program, 614, 618 ACCESS HOLLYWOOD (television), 100, 365 Ackerman, Malin, 604 Activision, 544 Actors Studio, 139 Adams, Amy, 535 THE ADVENTURES OF HUCKLEBERRY FINN, 71, 458 THE ADVENTURES OF TINTIN, 126 Aghdashloo, Shohreh, 543 Aldiss, Brian, 502 Aldrich, Robert, 102, 107, 111 Alexander, Jane, 232, 237 Ali, Muhammad, 177 ALICE IN WONDERLAND (2010), 172, 396 ALIVE, 335 Allen, Debbie, 432 Allen, Herbert, 201, 205 Allen, Joan, 527-528 Allen, Karen, 318, 610 Allen, Paul, 403-404 Allen, Woody, 119, 522-523, 527 ALMOST FAMOUS, 525-526, 595 ALWAYS (1989), 32, 323, 326, 342, 549 Amateau, Rod, 133-134 Amazing Stories (comic book), 279 AMAZING STORIES (television), 278-281, 401 Amblimation, 327, 335-336, 338, 409-410 -
University International
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. -
Daniel Mann Papers
http://oac.cdlib.org/findaid/ark:/13030/c8fb549k No online items Daniel Mann papers Special Collections Margaret Herrick Library© 2013 Daniel Mann papers 209 1 Descriptive Summary Title: Daniel Mann papers Date (inclusive): 1919-1992 Date (bulk): 1945-1985 Collection number: 209 Creator: Mann, Daniel Extent: 18 linear feet of papers.2 linear feet of photographs. 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 Daniel Mann papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. Acquisition Information Gift of Erica Mann Ramis, Michael Mann, and Alex Mann, 1996 Biography Daniel Mann was an American director active in film from 1952 to 1978. Mann arrived in Hollywood in the early 1950s. His directing credits include COME BACK, LITTLE SHEBA (1952), THE ROSE TATTOO (1955), and BUTTERFIELD 8 (1960). Collection Scope and Content Summary The Daniel Mann papers span the years 1919-1992 (bulk 1945-1985) and encompass 20 linear feet. The collection consists of production files, scripts, and film-related correspondence for some 20 of Mann's films. There are also clippings, casting requests from actors, teaching projects, and fan mail from around the world. The photograph series consists of 1,798 items, and contains primarily scenes and off- camera photographs from films directed by Mann. -
Scaurs. Car W - - Caro O and Newcomers
Sunday, April 7, 1968 3 rm JO- 11- (&ett scaurs. car W - - caro o and newcomers. Two hoped-fo- r 0 Bv HAUVEY 0 To Eternity years ago, appearance, the ELLIOTT True. For the past seven something extra is added for From Here their of The who had Dally Tar Heel Staff or eight years, nominees have Oscar's 40th birthday. Last On The Waterfront. Other ever heard of Faye presenters of the awards are It's Oscartime again! year, a segment spotlighting Oscar-winne- rs shown will be: Runaway, Michael J. Pollard, culled from all areas of been almost exclusively Dustin After months of arguing British. Filmgoers were begin- the Oscar-winne- rs for Best Audrey Hepburn in Roman Hoffman, or Katharine Hollywood stardom. Some of whether Ross? And who Hollywood's brightest lights The Graduate was a ning to wonder if the American Song throughout the years was Holiday would ever I-- V t V suspect Oscar-winni- ng well-receive- The better film that Bonnie d. year, the Humphrey Bogard in that will be giving out Oscars this and film industry had any future. This performances r Clyde, wondering where five This year, however, the entire history of the Awards African Queen could ever be year. Best Song Ingred Bergman in Anas-tas- ia brought out of pretty-bo-y War- Wood whatever nominees were tables are turned. Only three is reviewed, using film clips r . ren Natalie - . going actor-nomine- Beatty or George to come from try to out of 20 es from 33 Oscar winners. -
SCRAPBOOK of MOVIE STARS from the SILENT FILM and Early TALKIES Era
CINEMA Sanctuary Books 790 - Madison Ave - Suite 604 212 -861- 1055 New York, NY 10065 [email protected] Open by appointment www.sanctuaryrarebooks.com Featured Items THE FIRST 75 ISSUES OF FILM CULTURE Mekas, Jonas (ed.). Film Culture. [The First 75 Issues, A Near Complete Run of "Film Culture" Magazine, 1955-1985.] Mekas has been called “the Godfather of American avant-garde cinema.” He founded Film Culture with his brother, Adolfas Mekas, and covered therein a bastion of avant-garde and experimental cinema. The much acclaimed, and justly famous, journal features contributions from Rudolf Arnheim, Peter Bogdanovich, Stan Brakhage, Arlene Croce, Manny Farber, David Ehrenstein, John Fles, DeeDee Halleck, Gerard Malanga, Gregory Markopoulos, Annette Michelson, Hans Richter, Andrew Sarris, Parker Tyler, Andy Warhol, Orson Welles, and many more. The first 75 issues are collected here. Published from 1955-1985 in a range of sizes and designs, our volumes are all in very good to fine condition. Many notable issues, among them, those designed by Lithuanian Fluxus artist, George Macunias. $6,000 SCRAPBOOK of MOVIE STARS from the SILENT FILM and early TALKIES era. Staple-bound heavy cardstock wraps with tipped on photo- illustration of Mae McAvoy, with her name handwritten beneath; pp. 28, each with tipped-on and hand-labeled film stills and photographic images of celebrities, most with tissue guards. Front cover a bit sunned, lightly chipped along the edges; internally bright and clean, remarkably tidy in its layout and preservation. A collection of 110 images of actors from the silent film and early talkies era, including Inga Tidblad, Mona Martensson, Corinne Griffith, Milton Sills, Norma Talmadge, Colleen Moore, Charlie Chaplin, Lillian Gish, and many more. -
Los Angeles City Planning Department
JOHN O’HARA TOWNHOUSE 10733-10735 ½ Ohio Avenue CHC-2015-1979-HCM ENV-2015-2185-CE Agenda packet includes 1. Final Staff Recommendation Report 2. Categorical Exemption 3. Letter from John O’Hara’s daughter, Lylie O’Hara Doughty 4. Under Consideration Staff Recommendation Report 5. Nomination Please click on each document to be directly taken to the corresponding page of the PDF. Los Angeles Department of City Planning RECOMMENDATION REPORT CULTURAL HERITAGE COMMISSION CASE NO.: CHC-2015-1979-HCM ENV-2015-2185-CE HEARING DATE: August 6, 2015 Location: 10733-10735 ½ Ohio Avenue TIME: 9:00 AM Council District: 5 PLACE: City Hall, Room 1010 Community Plan Area: Westwood 200 N. Spring Street Area Planning Commission: West Los Angeles Los Angeles, CA Neighborhood Council: Westwood 90012 Legal Description: TR 7803, Block 28, Lot 14 PROJECT: Historic-Cultural Monument Application for the JOHN O’HARA TOWNHOUSE REQUEST: Declare the property a Historic-Cultural Monument OWNER(S): Thomas Berry 986 La Mesa Terrace Unit A Sunnyvale, CA 94086 Caribeth LLC c/o John Ketcham 626 Adelaide Drive Santa Monica,CA 90402 APPLICANT: Marlene McCampbell 10634 Holman Ave. Apt 1 Los Angeles, CA 90024 RECOMMENDATION That the Cultural Heritage Commission: 1. Declare the subject property a Historic-Cultural Monument per Los Angeles Administrative Code Chapter 9, Division 22, Article 1, Section 22.171.7. 2. Adopt the staff report and findings. MICHAEL J. LOGRANDE Director of PlanningN1907 [SIGNED ORIGINAL IN FILE] [SIGNED ORIGINAL IN FILE] Ken Bernstein, AICP, Manager -
Index to Volume 29 January to December 2019 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 29 January to December 2019 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX Film review titles are also Akbari, Mania 6:18 Anchors Away 12:44, 46 Korean Film Archive, Seoul 3:8 archives of television material Spielberg’s campaign for four- included and are indicated by Akerman, Chantal 11:47, 92(b) Ancient Law, The 1/2:44, 45; 6:32 Stanley Kubrick 12:32 collected by 11:19 week theatrical release 5:5 (r) after the reference; Akhavan, Desiree 3:95; 6:15 Andersen, Thom 4:81 Library and Archives Richard Billingham 4:44 BAFTA 4:11, to Sue (b) after reference indicates Akin, Fatih 4:19 Anderson, Gillian 12:17 Canada, Ottawa 4:80 Jef Cornelis’s Bruce-Smith 3:5 a book review; Akin, Levan 7:29 Anderson, Laurie 4:13 Library of Congress, Washington documentaries 8:12-3 Awful Truth, The (1937) 9:42, 46 Akingbade, Ayo 8:31 Anderson, Lindsay 9:6 1/2:14; 4:80; 6:81 Josephine Deckers’s Madeline’s Axiom 7:11 A Akinnuoye-Agbaje, Adewale 8:42 Anderson, Paul Thomas Museum of Modern Art (MoMA), Madeline 6:8-9, 66(r) Ayeh, Jaygann 8:22 Abbas, Hiam 1/2:47; 12:35 Akinola, Segun 10:44 1/2:24, 38; 4:25; 11:31, 34 New York 1/2:45; 6:81 Flaherty Seminar 2019, Ayer, David 10:31 Abbasi, Ali Akrami, Jamsheed 11:83 Anderson, Wes 1/2:24, 36; 5:7; 11:6 National Library of Scotland Hamilton 10:14-5 Ayoade, Richard -
Consequences of Supreme Court Decisions Upholding Individual Constitutional Rights
Michigan Law Review Volume 83 Issue 1 1984 Consequences of Supreme Court Decisions Upholding individual Constitutional Rights Jesse H. Choper University of California, Berkeley Follow this and additional works at: https://repository.law.umich.edu/mlr Part of the Constitutional Law Commons, Jurisprudence Commons, Legal History Commons, and the Supreme Court of the United States Commons Recommended Citation Jesse H. Choper, Consequences of Supreme Court Decisions Upholding individual Constitutional Rights, 83 MICH. L. REV. 1 (1984). Available at: https://repository.law.umich.edu/mlr/vol83/iss1/2 This Article is brought to you for free and open access by the Michigan Law Review at University of Michigan Law School Scholarship Repository. It has been accepted for inclusion in Michigan Law Review by an authorized editor of University of Michigan Law School Scholarship Repository. For more information, please contact [email protected]. CONSEQUENCES OF SUPREME COURT DECISIONS UPHOLDING INDIVIDUAL CONSTITUTIONAL RIGHTS Jesse H. Choper* TABLE OF CONTENTS INTRODUCTION .•••...••••••••.••••.••• •'. • • • • • • • • . • • • • • • • • • . 4 I. COMPLEXITIES OF MEASUREMENT • • • • . • • . • • . • • • • . 7 II. SOME ILLUSTRATIONS PRIOR TO 1935.................. 12 A. The Post-Civil War Period . 12 B. The "Lochner" Era . 13 III. THE HUGHES, STONE, AND VINSON COURTS........... 14 A. Rights of the Accused. 15 1. Coerced Confessions . 15 2. Appointed Counsel . 15 a. Federal prosecutions . 15 b. State prosecutions. 16 B. Free Speech: Labor Picketing . 17 C. Religious Freedom: Jehovah's Witnesses............. 18 D. Company Towns................................... 19 E. Racial Discrimination . 19 1. Voting......................................... 19 2. Housing....................................... 21 3. Education . 22 IV. THE WARREN COURT................................... 25 A. Racial Separation . 25 1. Segregation . 25 2. Miscegenation . 28 * Dean and Professor of Law, University of California, Berkeley. -
1961-62 Year Book Canadian Motion Picture Industry
e&xri-i METRO-GOLDWYN-MAYERtl WITH THESE CURRENT AMD CANADIAN OPENING! TORO NTO—October 2t UNIVERSITY THEATRE MONTREAL—November 2 ALOUETTE THEATRE Metro-Golduyn-Mayer present. VANCOUVER-Dec. 21 Samuel Bronston's Proaua STANLEY THEATRE IRAMA TECHNICOLOR JEFFREY HUNTER'■ SIOBHAN McKENNA • HURD HATFIELD-RON RANDELL • VIVECA LINDFORS-RITA GAM • CARMEN SEVILLA • BRIGID BAZLEN HARRY GUARDINO • RIP TORN • FRANK THRING • GUY ROLFE • MAURICE MARSAC • GREGOIRE ASLAN • ROBERT RYAN^n,^. Screen Play by PHILIP YORDAN * Directed by NICHOLAS RAY • Produced by SAMUEL BRONSTON METRO GOLDWYN MAYER PRESENTS METRO GOLDWYN MAYER presents a JULIAN BLAUSTEIN production <cMy\KMFY HI</\NI)C) Starring AS FLETCHER CHRISTIAN ri<i-\OR Howard GLENN FORD AS CAPTAIN BUGH INGRID THULIN CHARLES BOYER RICHARD HARRIS AS JOHN mills IN AN ARCOLA PRODUCTION LEE J. COBB PAUL HENREID co starring QMUTluvy qjvT ui'HTt BcyujViy PAUL LUKAS YVETTE MIMIEUX KARL BOEHN co-sTunim HUGH GRIFFITH RICHARD HAYDN »»»TARITA screen play by ROBERT ARDREY and JOHN GAY BASED ON THf NOVEL BVCHARLES NOROHOff AND JAMS S NORMIN HAH based on the novel by directed by omcnm.LEWIS MILESTONE PRODUCE 0 BY AARON ROSENBERG VICENTE BLASCO IBANEZ • VINCENTE MINNELLI TECHNICOLOR • FILMED IN ULTRA PANAVISION in CINEMASCOPE and METROCOLOR 19 CONTINUES ITS SUCCESS STORY COMING BOX-OFFICE ATTRACTIONS! BRIDGE TO THE SUN BACHELOR IN PARADISE CARROLL BAKER, James Shigeta, BOB HOPE, LANA TURNER, James Yagi, Emi Florence Hirsch, Janis Paige, Jim Hutton, Paula Prentiss, Nori Elizabeth Hermann. Don Porter, Virginia Grey, Agnes Moorehead. A Cite Films Production. A Ted Richmond Production. ★ In CinemaScope and Metrocolor SWEET BIRD OF YOUTH ★ PAUL NEWMAN, GERALDINE PAGE, TWO WEEKS IN ANOTHER TOWN Shirley Knight, Ed Begley, Rip Torn, KIRK DOUGLAS, Mildred Dunnock.