DOCSLIB.ORG

Bfi-Distribution-Catalogue-1962.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bfi-Distribution-Catalogue-1962.Pdf CONTENTS Fofreword ."'.4 TH E HISTOR Y AN D A RT OF T HE F ILM Part I Silent Cla ssics 5 Part II Sound Classics 19 Part JU Short Films. Documentary Films and Supplement ary Histori cal Material 26 Part IV Historical Compilations 57 Part V Films on Criticism and Technique 62 BRlTIS H FJLM INSTIT UT E SPEO ALlS ED F ILM LIBRARIES Films on theArts . 64 Fil ms Mad e by A ma te urs 78 Films Made by Olildren 81 Films on Transport 84 WarHist ory . 89 U.N.E.S.CO . Films 91 Films 00 Jazz 92 FI LM STU DY MATE RIAL Part 1 Study Ex tra cts : TIle Silent Classics 93 Part U Study Extracts: Sound Films 94 Part Ut Television Study Materia l 97 Films for C B.A Registered Members . 100 Some Suggestions for Programme Building 107 Condi tions ofHire 109 British Film Institute Pu blica tions III F ILM IND EX 116 A udielKf: suitabilit y or the films listed is illlldicateel as follows: A, Adults OnIYi B,Adults and Adolesceats (1J..18) Only; C, Family Audiences, Le, films to which parents cae take or send their chUdren In the knowledg e that the y contain no scenes or chara cters likel y to [righten or disturb t hildren; D, FiJ.ms ror ChlJdrea (over 7), i.e. films which t hildren win thor oughly enjoy aDd whkb tOlJtain 00 frighteni ng and disturb ing elemems. PART J- IL Thi . leetl n DJsil nt [eature film lassies cons; t almost entirety of r fr om the master copies 0/ the tional Film Ar chi ve. I'. lm in .e r Iert -ClUT famous eome be luxe film n inte r tlng innovati on in which he Briti h Film In titute has pia ed a pr minent part ha been the d velop ment f the 8 mm. film. Almo t a third tb films in the Hi and Art at th Film tion ar lread a aila le on t ' _ uge nd m r litl '11be added . The taff of th Di tri ution Departrn nt will be pleased to an r enquiri and to give advice 0 far th r able OD programme .,J Cl-.1 '"'U Q}l 1 Hn u \,o-.lJ\. pa..a., .. .. \..0-..."n, •. "'\6 .UJ}I 'U \ooUL V I L.Ll,,", U ' ..u.&...I..Lo " .. tion ar The taff of th Di tr i ut ion Departm nt will be pleased to answ r enquiri and to give advice 0 far the ar able D programme planni ng. r th h wish to them , a number f mel prograrnm rh f the film ar a 'la le. complete ith n t. Director D RIPTIO o Th r no rded l th end .of ch entry : ae; iJable on J mm.. I rnrn., . mm. nd indi led. umber of Reel- : The numb er r reel is quoted for each film. followed Dy '1 note a to whether it is und ()OT ilent ( t). the g- leran ; it in four separate sl.orics, laken from It was inevitab le lhat he would be- il$elf a melodrama, is depicted as a TR UE HEART SUSIE fou r periods in history. told concurre ntly come involved inthe situat ion preva il. dream. the dream of a madman. It is U.S.A.• 1919. Direct ed by D. W. Gri ffith, and [ntermingled as the film proceeds, ing and be visited France. made a lOUt significant to note here tbat the origina l With Lillian Gish. This film lells the Th e narrative is punctuated III intervals of the w estern Front, and witnessed at scrip t was not placed within the frame SlOry of the loyally and deve rtcn of a by the figure of a mother, rocking -tbe first hand the depredations of war. of a madman's dream , but wa.sa .straighl- country girl who secretly sacrifices her Crad le of Destiny", This daring ecnce p- Undcr the inftuence of h..is impressiol'\$ forward story. Inorder 10 create tbe savings 10 send the lXty she tc ves to lion is not entirely successful , While it he soon oullined a story and set 10 work neurot ic. renstcn Maycr's script de- college, only to lose him as a result of gave G rifJilh a vasl canvas, and enabled to collect his troupe of playerS. He had manded, the three desiW1ers. Reimann., la worthless woman who becomes his him to secure some stri ltlog effects of them broughl to France where he shoe Warm and Roeb rig. pain ted Ibe back- wife and who ruins him by her fait h· tempo in lhc. retal;n, of onc story to on location, even advancing bimself and ground scenery as a stage set distorted Itwlcss. The d.i11 and sympathy with anothe r it also sph ts me lpectalo,'s his cameraman up 10 the front from the normal. 1IL this they were which Griffith treats the simp le laic give i05uperab ly between lhe lines. He was receiving full official ce- strongly inftuenccd by the surrealist and it 1I disl.inetion whicb remains in the stories which is doubtless respomlb lc operation and 50 was able to reco rd express.ionist painting of the post war mind after the l'I3.ivesituations and OU1- for ;1$pooderoU$ and exhausting effect authent ic material for incorporation in German artists like GlO$S, and also by moded ueannem have been forgotten. on most pecple, the film_ This was a new experience for the expressionist plays of Toiler and 35/ 16/11 'SI "'.tu .uc Griffith who bad however always shown Georg Kais«. These anius. like the lJIIloknoce was a lavishly ctJ)eflSivc 1920 film for its period . rosIin. two million a great fidelity 10 historical a«uracy in makers of Cal lpri , wanted to Cltpress dollars to make (one million came from his other films. emotion wbjedh-elr. " The \\'bole of TI l E CARRIAG E Griffith·s own protils on B1rt1l Of A .J5/16 • SI. IIll All Cal ipri is seen and elt through the eyQ' (l<oriwIm ) N.. ioft). The cost was enormous and no and seoses of one individual And as Sweden, 1920. Released in Great Britain expense was spared to secure realism in HEARTS OF m E WOR LD this individual is a madman, the feelings U' t1Iy Soul Shall 8eslr Wil--. A me biSlorica l Rltin,p : the seu for the (Ex"oo No . 1) expre:s.$Cdare wbolly neurotic. ln order drunkard is redeemed by visiting in " Babylonian Story ",-ne conmuctc;d The German Military Hi&bCommand 10 put Ibis teto el1'ect,. the 5C'C.Dtry was spirit the soencs of bis mlsdeeck For a full !iD: and it is improbable tbat thel' c:ootlUted to the misery and tragedy of made to represent familiu shapes brief period in the early twenties the like will be. seen Ilpin since such effects ordinary people Invctved in war. brol..en up into unfamiliar pattertIJ of Swedish cinema acquired an international in a modem film will be obtained more- J,S " 1 .sa 11 ... Aa(: lipl and sbadcw , The burly-burly reputation. and exerted a great inlluencc: of the is distorted on the cinema of the time. Swedish coonomica! ly by the use of models and J91' otber spea:U effects. In a grotesque fuhioD to poinl the directors. arnolJ&Slwhom the two prin- "lbc Modem SCory- in hllolaaDte BRO KEN BLOSSOMS tr.1py that Csset in whal is oormally cipal figures were Mauritz Stiller and U.S.A.. 1919_ Directed by D. W. Griffitb. a place of gaiety and laup..ter . The Vidor S}6strom were much inDuenced \Io1lS originally conceiYCdby Griffith as • silllSc complete Iilm under lbe uue of With lillian Gisb and Richard Barthel· death of Alan takes place m a room like all their contemporaries, by The Mothe r and the Law , It ","u un- m<U. divided inlo anruJar paUcms unnatura l 'M)rt of Griffitb on the ooe hand, and doubtedly the lOCial implitatioru in this 1bose ",ilo know Griffith only as the to the normal eye, but expressing the on tbe other by their ewn nativ-e litera · 5l0ry 'Whim caused Lemn to amnge for mater of llllfoknore and IIinIl 01 A hero·s feclinp at the death of his friend. tore , especially the work of the OO\ "dist latoIenMe to be teured throuput lbe N.d oa, and think of him primarily as a There i'l thus 00 anempt 10 naJYate the selma LaJCrlbf. It was perhaJl'l ber in- So\;et Union wbere it ran almost cee - technical innovator with a particula r ac;t:ionobjecti\ ·ely" The even! in itself is f1ucnce which pve tbe S\\-c:dishfilm its nair for the crowd scene, will find of minor importance compan:d to the ardent re&lism. and its constant pre- tinuously for ten years: I1 '!U clO5ety studied by yaunl Rum an d"mors of .... en a aoeo- at a disappoint. fcelinp of the characters, The film was occupation with Ihe strurgle between the new Soviet cinema in the early ment and 11. revelation. TtH: disappoiot. dif'ClCled by Robm Wienc from a the Ouistian way of life and the forces and it exercised • profound menl, wiU be short·li\ ·ed : there are , it I. by Kart Maytt and Ham of evil pagan Ism. Technically the inftuencc on men like Ei5Cnstcin and troe , few of the stanling editing efl'cet1 The photography was by Willy swedish fiJin was noced for its strong ,PudoYlr.in.
Load more

Recommended publications
  • Buster Keaton Film Locations: a Silent Echoes Tour of Los Angeles
    BUSTER KEATON FILM LOCATIONS: A SILENT ECHOES TOUR OF LOS ANGELES Copyright 2005 John Bengtson. All rights reserved. The following self-guided tour directions have been provided as a special bonus to John Bengtson’s “Touring Los Angeles Through the Films of Buster Keaton” presentation at the UCLA Film and Television Archive. (You can also download this document from the Archive’s website at www.cinema.ucla.edu.) New locations have been added here to the ones discussed in Bengtson’s acclaimed book, Silent Echoes: Discovering Early Hollywood Through the Films of Buster Keaton (www.SilentEchoes.net, Santa Monica Press: 800-784-9553). Happy navigating your way around town! Hollywood Tour The Hollywood tour begins, symbolically, at the corner of Hollywood and Vine (1). Here Keaton jumped onto a fire truck in The Cameraman. Proceed west down Hollywood Boulevard past Highland, to Mann’s (formerly Grauman’s) Chinese Theater. There, across the street between Highland and Orange, at 6904 Hollywood Blvd., is the former Mary Moll Building (2), which appeared briefly during the film-editing sequence from Sherlock Jr. Turn back east down Hollywood Blvd., and turn right (south) onto Cahuenga, stopping near the corner. The alley on the east side of Cahuenga (3) is the alley from Cops where Keaton grabs a passing car one- handed. Proceed south down Cahuenga a few yards until you reach the parking lot at 1622 Cahuenga (4), the lot where Brown Eyes was kept safe in Go West. This parking lot also appears in The Cameraman. Across the street from the parking lot (5) is the site of the former fire station that appears in Three Ages and The Cameraman.
    [Show full text]
  • The Three Stooges® Big Screen Event! “BEST of the BEST”
    Alex Film Society presents our 10th Annual The Three Stooges® Big Screen Event! “BEST OF THE BEST” MEET THE BARON (1933) excerpt from the feature film A PLUmbING WE WIll GO (1940) accident-prone Arizona Kid from the bad guys. Arizona goes for help but before Directed by Walter Lang. With Moe the cavalry arrives, the Stooges have to Howard, Larry Fine and Curly Howard, Directed by Del Lord. With Moe, Larry and face the Daltons alone. Ted Healy and Edna Mae Oliver. Meet Curly, Symona Boniface, Bud Jamison, the Baron was an M-G-M entry into Bess Flowers and Eddie Laughton. To MICRO-PHONIES (1945) the “college musical” genre that was escape the police, the Stooges pose Written and directed by Edward Bernds. popular at the time. Ted Healy and His as plumbers and get hired to fix a leak With Moe, Larry and Curly, Christine Stooges, under contract with the studio, at a fancy mansion. As terrible plumbers McIntyre, Symona Boniface, Gino were supporting players in this film. In the and even worse electricians, they make Corrado and Chester Conklin. Curly sequence we will see, after one of the a mess of things and, once again, poke is mistaken for an opera singer and, of zaniest and most unusual song numbers their finger in the eye of the idle rich. course, Moe and Larry go along with the of this or any other era, Healy, Moe, Larry gag. Posing as Senorita Cucaracha, and and Curly, janitors at “Cuddle College”, POP GOES THE EASEL (1935) Seniors Mucho and Gusto, they crash a are called in to fix the water in the girl’s society party but are thwarted by a near- shower room.
    [Show full text]
  • Comedies Produced by Hal Roach, It Presents Their Funniest and Most Famous Comedies 640-02-0040, 16Mm
    ,r, ~ Winter 1973-4 ., WEEP 'v,i •._~~ H .,,1$>-~on The Eastin-Phelan Corporation Davenport, Iowa 52808 orld's largest ,election of ·· t ings to snow" l i tc,;Bl ackhawk's Guarantee BERTH MARKS THE PRINCE OF PEP (1929) (1925) We want you to be satisfied with (abridged!_ what you buy from Blackhawk starring STAN LAUREL and OLIVER HARDY starring RICHARD TALMADGE if, after receiving an item you Stan and Ollie are a "big time" vaudeville team enroute from one theatre to another are disappointed in any way, re­ ,n the upper berth of an open section Pullman. While the space is confined, the laughs with Brindley Shaw, Nola Luxford, Joe Harrjngton are not, and this one has some great moments. turn it to us transportation pre­ A fashionable physician, Dr. James Leland caught his secretary stealing drugs and in paid. in ,ts original condition, SOUND VERSIONS the ensuing struggle, lost his memory from a blow on the head. Shortly after, a mys• and within ten days after you 830-02-1100, Standard 8mm., magnetic sound, 375-feet, 14-ozs . $24.98 terious figure known only as The Black X stepped forth to fight the war on crime ar.d receive it, and we 'll allow you drug peddlers. 880--02-1100, Super 8, magnetic sound, 400-feet, 14-ozs ....... $26.98 It's all here-the fabulous Richard Talmadge in one of his amaz,ng adventure feats. full credit on some other pur­ 640-02-1100, 16mm., optical sound, 750-feet, 3-lbs . ....... .. $44.98 A professional abridgement from a 5-reel feature of 1925, Blackhawk's version of The chase.
    [Show full text]
  • Jean Harlow ~ 20 Films
    Jean Harlow ~ 20 Films Harlean Harlow Carpenter - later Jean Harlow - was born in Kansas City, Missouri on 3 March 1911. After being signed by director Howard Hughes, Harlow's first major appearance was in Hell's Angels (1930), followed by a series of critically unsuccessful films, before signing with Metro-Goldwyn- Mayer in 1932. Harlow became a leading lady for MGM, starring in a string of hit films including Red Dust (1932), Dinner At Eight (1933), Reckless (1935) and Suzy (1936). Among her frequent co-stars were William Powell, Spencer Tracy and, in six films, Clark Gable. Harlow's popularity rivalled and soon surpassed that of her MGM colleagues Joan Crawford and Norma Shearer. By the late 1930s she had become one of the biggest movie stars in the world, often nicknamed "The Blonde Bombshell" and "The Platinum Blonde" and popular for her "Laughing Vamp" movie persona. She died of uraemic poisoning on 7 June 1937, at the age of 26, during the filming of Saratoga. The film was completed using doubles and released a little over a month after Harlow's death. In her brief life she married and lost three husbands (two divorces, one suicide) and chalked up 22 feature film credits (plus another 21 short / bit-part non-credits, including Chaplin's City Lights). The American Film Institute (damning with faint praise?) ranked her the 22nd greatest female star in Hollywood history. LIBERTY, BACON GRABBERS and NEW YORK NIGHTS (all 1929) (1) Liberty (2) Bacon Grabbers (3) New York Nights (Harlow left-screen) A lucky few aspiring actresses seem to take the giant step from obscurity to the big time in a single bound - Lauren Bacall may be the best example of that - but for many more the road to recognition and riches is long and grinding.
    [Show full text]
  • Three Stooges Even As Iou
    Three Stooges Even As Iou Simeon usually segues longly or depurated inland when purest Regen prizes youthfully and sedentarily. Hippocratic and considerable Ronnie seise while streamlined Elvin focussed her squeezes protectively and frizes centesimally. Samnite Ernesto allure that computist muted detractively and submit fragrantly. No additional features, even with their gold they were as three stooges even as iou is unavailable for a library association to. Del Lord. Motion in film collections. The Three Stooges Even As IOU E66 video dailymotion March 2020 Please flick and follow any regular uploads of classic TVA destitute mother uncle child move. Moe and Larry try various ways to tuck the offending tooth, but nothing works so may take Curly to the dentist. The boys are potters in overage terms may get another winning race track when i, even as three iou allows curly in. Want column Three who. Presence of skeleton signals that natural is progressively loaded. Just thought some fun with it. At photos and one of classic tvthe stooges so they constantly vex and review is folks like gremlins are three stooges even as iou is available for a credible source material has its all! Sure to use the floor and even weaker condition with exclusive content and goebbels, three stooges even as iou is not be the deviations and moe action. Yeah, of extinct ape! You go to find an acceptable job and! Bombarded by marrying three stooges as curly sees the top of bat and not Finds a parcel three stooges iou although he would have it resemble a small part make it.
    [Show full text]
  • Fun? Soitenly!
    AN ACHE IN EVERY STAKE (1941) POP GOES THE EASEL (1935) Our 15th Fun? Soitenly! BIG SCREEN EVENT! Saturday, November 24 at 2 & 8 pm only Reel... not digital. Directed by Del Lord. With Vernon Directed by Del Lord. With Leo White, Dent, Bud Jamison, Gino Corrado, Robert Burns, Jack Duffy, Elinor THREE LITTLE PIGSKINS (1934) Bess Flowers, Symona Boniface. Vandivere and Geneva Mitchell. The The Stooges are icemen who, while Stooges are down and out and a cop is delivering their goods up a huge on their tail. (What? Again?) They duck stairway, have a confrontation with a into a studio where they are mistaken for runaway icebox and a man carrying artists. The Boys try everything to stay home a birthday cake. The boys then hidden, but their efforts only lead them take a job at their customer’s house, to another gigantic melee. unbeknownst to them, preparing a party for the hapless man on the stairs...with explosive results! MOVIE MANIACS (1936) MERRY MAVERICKS (1951) Directed by Raymond McCarey. With Lucille Ball, Gertie Green, Phyllis Green, Walter Long, Joe Young, Milt Douglas, Harry Bowen, Lynton Brent, Bud Jamison. A notorious gangster mistakes Moe, Larry and Curly for famous football players, the “Three Horsemen of Boulder Dam” and hires them as ringers to play for his team. Of course, the boys know nothing about playing football and comedy ensues. Watch for Lucille Ball, just beginning her career, getting it in the kisser with a seltzer bottle. Directed by Del Lord. With Bud Directed by Edward Bernds. With Dan Jamison, Lois Lindsey, Arthur Henly, Harvey, Mary Martin, Paul Campbell Eve Reynolds, Kenneth Harlon, Mildred The Boys are mistaken for lawmen in you know that some of Harris, Harry Semels, Bert Young.
    [Show full text]
  • Spite Marriage
    Spite Marriage (1929) By John Bengtson, © 2004 Buster meets Dorothy in front of the east end of the Museum of Natural History at Exposition Park facing the Rose Garden. A vintage photo of the museum and Exposition Park. The cast and crew take a break filming the art museum scene in front of the Rose Garden in Exposition Park. Leila Hyams (seated , far left) appears in a fox hunting outfit, although she does not appear in the scene filmed here. She may have been dressed for a country club scene that was cut from the final film. To her right is Edward Earle, who plays Lionel Benmore. Director Ed Sedgwick is in the center. Between him and Buster is Ernie Orsetti, an outfielder for the St. Louis Cardinals who had returned from the World Series to work for Buster. Notice Norman MacNeil, the musician on the silent film set, with an accordion, behind Buster. 1 The hand placing the wedding ring in this shot is a hand double standing in for Buster. Buster lost the tip of his right index finger in a childhood accident, and his shortened finger is plainly visible in other shots. Buster used a hand double for a similar wedding ring shot in his earlier feature film Battling Butler. Hand doubles were often used to film insert shots in order to allow the stars to go home a bit early, but in this case it may have been an artistic decision. Lionel confronts Buster outside of the Hotel Carmel, located at 1451 Second Street in Santa Monica, on the corner of Broadway.
    [Show full text]
  • The Three Stooges
    DERDE JAARGANG The Three Stooges Maart 2016 1 Film Fun Film Fun is een tijdschrift van Thys Ockersen dat maandelijks verschijnt en geleverd wordt aan een select gezelschap geïnteresseerden. De Film Fun-uitgaven zijn te downloaden op thysockersenfilms.com onder de noemer FILM FUN. ©2016: Thys Ockersen Films/ FILM FUN i Dit is nummer 27 3e jaargang maart 2016 i Tekst en foto’s: Thys Ockersen/Still-photo Gastredacteuren: Jan Meng, Thomas Leeflang Vormgeving: Hille Tymstra Thys Ockersen Films Wilhelminaweg 54 2042NR ZANDVOORT Tel: 0611599953 thysockersenfilms.com [email protected] Film Fun is zo opgemaakt dat twee pagina’s naast elkaar het prettigst aandoen bij het lezen. 2 Film Fun #27 The Three Stooges ABSURDISME OP HOOG NIVEAU ‘Ik doe in m’n films soms iets waarvan ik later denk: hé, dat zag ik bij de Stooges! Het zijn mijn ‘cult heroes’. Ze zijn leuk, ze zijn groots en ze zijn tijdloos. De Drie Stooges verouderen nooit omdat hun humor van alle tijden is.’ Whoopi Goldberg in 1987 in The Three Stooges Book of Scripts Je houdt van ze, of je haat ze: Channel 11, een station dat The Three Stooges (De Drie Thomas Leeflang elke middag ‘reruns’ van De Stoethaspels). De liefde is Drie Stooges uitzond. In een echter vele malen groter dan voorwoord in het Three Stoo- de haat. Ze zijn meer dan populair bij mil- ges Book of Scripts uit 1987 zei Whoopi Gold- joenen fans ‘all over the world’; liefhebbers berg: ‘De Stooges werkten perfect samen en treffen elkaar via legio Stooges-websites. Het hadden een geweldig gevoel voor timing.
    [Show full text]
  • 40 Years of American Film Comedy to Be Shown
    40n8 - 4?' THE MUSEUM OF MODERN ART tl WEST 53RD STREET, NEW YORK •fgLEPHONE: CIRCLE 5-8900 FOR IMMEDIATE RELEASE FORTY YEARS OF AMERICAN FIM COMEDY FROM FLORA FINCH AND JOHN BUNNY TO CHAPLIN, FIELDS, BENCHLEY AND THE MARX BROTHERS TO BE SHOWN AT THE MUSEUM OF MODERN ART That movies are the proper study of mankind has been estab­ lished at the Museum of Modern Art, where eight comprehensive series and four smaller groups of the outstanding films through which the great popular art of the cinema has evolved since 1895, have already been shown to Museum visitors. The Museum now announces a new series of fifteen programs in the art of the motion picture under the general title: Forty Years of American Film Comedy, Part i; Beginning Thursday, August 1, the series will be presented dally at 4 P.M. and on Sundays at 3 P.M. and 4 P.M. in the Museum1s auditorium at 11 West 53 Street. Instruction will thus be provided from the screen by Professors Mack Sennett, Frank Capra, W. C. Fields, Harpo and Groucho Marx, Robert Benchley and Charlie Chaplin in a new appraisal of screen comedy reviewed in the light of history. "It is very evident," states Iris Barry, Curator of the Museum's Film Library, "that the great farce-comedies, as well as the cowboy and gangster films, rank among this country1s most original contributions to the screen. We are grateful indeed to the film industry for cooperating with the Museum in providing this unique opportunity for tracing screen comedy to its sources in this group of classics now restored to view for the amateurs of the twentieth century's liveliest art.
    [Show full text]
  • Best Picture of the Yeari Best. Rice of the Ear
    SUMMER 1984 SUP~LEMENT I WORLD'S GREATEST SELECTION OF THINGS TO SHOW Best picture of the yeari Best. rice of the ear. TERMS OF ENDEARMENT (1983) SHIRLEY MacLAINE, DEBRA WINGER Story of a mother and daughter and their evolving relationship. Winner of 5 Academy Awards! 30B-837650-Beta 30H-837650-VHS .............. $39.95 JUNE CATALOG SPECIAL! Buy any 3 videocassette non-sale titles on the same order with "Terms" and pay ONLY $30 for "Terms". Limit 1 per family. OFFER EXPIRES JUNE 30, 1984. Blackhawk&;, SUMMER 1984 Vol. 374 © 1984 Blackhawk Films, Inc., One Old Eagle Brewery, Davenport, Iowa 52802 Regular Prices good thru June 30, 1984 VIDEOCASSETTE Kew ReleMe WORLDS GREATEST SHE Cl ION Of THINGS TO SHOW TUMBLEWEEDS ( 1925) WILLIAMS. HART William S. Hart came to the movies in 1914 from a long line of theatrical ex­ perience, mostly Shakespearean and while to many he is the strong, silent Western hero of film he is also the peer of John Ford as a major force in shaping and developing this genre we enjoy, the Western. In 1889 in what is to become Oklahoma Territory the Cherokee Strip is just a graz­ ing area owned by Indians and worked day and night be the itinerant cowboys called 'tumbleweeds'. Alas, it is the end of the old West as the homesteaders are moving in . Hart becomes involved with a homesteader's daughter and her evil brother who has a scheme to jump the line as "sooners". The scenes of the gigantic land rush is one of the most noted action sequences in film history.
    [Show full text]
  • Appendix A: 1976 Clown College and 1977 Blue Unit Route
    A p p e n d i x A : 1 9 7 6 C l o w n College and 1977 Blue Unit Route There’s nothing so dangerous as sitting still. You’ve only got one life, one youth, and you can let it slip through your fingers; nothing easier. Willa Cather, The Bohemian Girl CHAPTER 1 • ROMANCE OF THE RED NOSE Clown College, Ringling Arena, Venice, Sep.–Nov. 1976 CHAPTER 2 • BOWL OF CHERRIES Rehearsals and first performances, Ringling Arena, Venice, Jan. 10–Feb. 2 CHAPTER 3 • RUBBER NOSE MEETS THE ROAD Lakeland Civic Center, Feb. 4–6 Atlanta Omni, Feb. 9–20 Savannah Civic Center, Feb. 22–23 Asheville Civic Center, Feb. 25–27 Raleigh, Dorton Arena, Mar. 1–6 Fayetteville, Cumberland County Memorial Arena, Mar. 8–9 Columbia, Carolina Coliseum, Mar. 11–13 Charlotte Coliseum, Mar. 15–20 CHAPTER 4 • THE SHOW BUSINESS Knoxville, Civic Coliseum, Mar. 22–27 Cincinnati, Riverfront Coliseum, Mar. 30–Apr. 3 168 Appendix A Washington, DC, Armory, Apr. 6–17 Largo, Capital Centre, Apr. 20-May 1 CHAPTER 5 • LOVE ‘EM & LEAVE ‘EM Binghamton, Broome County Veterans Memorial Arena, May 4–8 Hartford, Civic Center, May 10–15 Portland, Cumberland County Civic Center, May 17–22 CHAPTER 6 • GOOD OL’ DAYS? Troy, RPI Field House, May 25–30 Providence Civic Center, June 1–5 Niagara Falls, International Convention Center, June 8–12 Wheeling Civic Center, June 15–19 Charleston Civic Center, June 21–22 Memphis, Mid-South Coliseum, June 24–26 CHAPTER 7 • RODEO ROUTE Little Rock, T.H. Barton Coliseum, June 28–29 Huntsville, von Braun Civic Center, July 1–4 Dallas, Convention Center, July 6–11 New Orleans, Superdome, July 14–17 Houston, Summit, July 20–31 Abilene, Taylor County Expo Center, August 2–3 Lubbock, Civic Center, August 5–7 CHAPTER 8 • SPIRIT OF ST.
    [Show full text]
  • Films from the Archives of the Museum of Modern Art and the George Eastman House
    'il The Museum of Modem Art FOR ™IATE RRLEASF yvest 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart KINO EYE OF THE 20s FEATURES FILM MASTERPIECES Films from the Archives of The Museum of Modern Art and The George Eastman House The Museum of Modern Art, in collaboration with the George Eastman House in Roches­ ter, will present several film masterpieces as part of its program "Kino Eye of the 20s," starting July 23 with Ilya Trauberg's "China Express." The program, scheduled through August 26, will also include such film classics as Carl Dreyer's "The Passion of Joan of Arc;" Pudovkin's "Mother;" Erich von Stroheim's "Greed;" F.W. Murnau's "The Last Laugh;" Eisenstein's "Potemkin;" and "The Cabinet of Dr. Caligari," one of the most controversial films of its time. Thirty-seven pictures were selected by Beaumont Newhall, Director of the George Eastman House, who is responsible for organizing the current photographic exhibition, "Photo Eye of the 20s," to which "Kino Eye of the 20s" is a companion program. Mr. Newhall will appear at the Thursday evening performance, July 30 at 8 p.m., fjhen he will introduce the Murnau film "Sunrise" and discuss the series. A strong kinship between photography and film existed in this decade, when the film found its syntax and structure, according to Mr. NeT;hall. "In a quarter of a century the movies had grown from a vaudeville novelty to a distinct and po';erful art form." The decade saw the production of some of the greatest films ever made.
    [Show full text]