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Who's Who at Metro-Goldwyn-Mayer (1939)
W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H. -
Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
Smith and Choueiti Gender Inequality in '08 Films
1 Gender Inequality in Cinematic Content? A Look at Females On Screen & Behind-the-Camera in Top-Grossing 2008 Films Stacy L. Smith, PhD. & Marc Choueiti Annenberg School for Communication & Journalism University of Southern California 3502 Watt Way, Suite 222 Los Angeles, CA 90089 [email protected] Summary This study examined the gender of all speaking characters and behind-the-scenes employees on the 100 top-grossing fictional films in 2008. A total of 4,370 speaking characters were evaluated and 1,227 above-the-line personnel. In addition to prevalence, we assessed the hypersexualization of on screen characters across the 100 movies. Below are the study’s main findings. 32.8 percent of speaking characters were female. Put differently, a ratio of roughly 2 males to every one female was observed across the 100 top-grossing films. Though still grossly imbalanced given that females represent over half of the U.S. population, this is the highest percentage of females in film we have witnessed across multiple studies. The presence of women working behind-the-camera is still abysmal. Only, 8% of directors, 13.6% of writers, and 19.1% of producers are female. This calculates to a ratio of 4.90 males to every one female. Films with female directors, writers, and producers were associated with a higher number of girls and women on screen than were films with only males in these gate-keeping positions. To illustrate, the percentage of female characters jumps 14.3% when one or more female screenwriters were involved in penning the script. -
12 Monkeys Episode Guide Episodes 001–036
12 Monkeys Episode Guide Episodes 001–036 Last episode aired Sunday May 21, 2017 www.syfy.com c c 2017 www.tv.com c 2017 www.syfy.com c 2017 www.imdb.com c 2017 www.nerdist.com c 2017 www.ew.com The summaries and recaps of all the 12 Monkeys episodes were downloaded from http://www.tv.com and http: //www.syfy.com and http://www.imdb.com and http://www.nerdist.com and http://www.ew.com and processed through a perl program to transform them in a LATEX file, for pretty printing. So, do not blame me for errors in the text ^¨ This booklet was LATEXed on June 28, 2017 by footstep11 with create_eps_guide v0.59 Contents Season 1 1 1 Splinter . .3 2 Mentally Divergent . .5 3 Cassandra Complex . .7 4 Atari...............................................9 5 The Night Room . 11 6 The Red Forest . 13 7 The Keys . 15 8 Yesterday . 17 9 Tomorrow . 19 10 Divine Move . 23 11 Shonin . 25 12 Paradox . 27 13 Arms of Mine . 29 Season 2 31 1 Year of the Monkey . 33 2 Primary . 35 3 One Hundred Years . 37 4 Emergence . 39 5 Bodies of Water . 41 6 Immortal . 43 7 Meltdown . 45 8 Lullaby . 47 9 Hyena.............................................. 49 10 Fatherland . 51 11 Resurrection . 53 12 Blood Washed Away . 55 13 Memory of Tomorrow . 57 Season 3 59 1 Mother . 61 2 Guardians . 63 3 Enemy.............................................. 65 4 Brothers . 67 5 Causality . 69 6 Nature.............................................. 71 7 Nurture . 73 8 Masks.............................................. 75 9 Thief............................................... 77 10 Witness -
First-Run Smoking Presentations in U.S. Movies 1999-2006
First-Run Smoking Presentations in U.S. Movies 1999-2006 Jonathan R. Polansky Stanton Glantz, PhD CENTER FOR TOBAccO CONTROL RESEARCH AND EDUCATION UNIVERSITY OF CALIFORNIA, SAN FRANCISCO SAN FRANCISCO, CA 94143 April 2007 EXECUTIVE SUMMARY Smoking among American adults fell by half between 1950 and 2002, yet smoking on U.S. movie screens reached historic heights in 2002, topping levels observed a half century earlier.1 Tobacco’s comeback in movies has serious public health implications, because smoking on screen stimulates adolescents to start smoking,2,3 accounting for an estimated 52% of adolescent smoking initiation. Equally important, researchers have observed a dose-response relationship between teens’ exposure to on-screen smoking and smoking initiation: the greater teens’ exposure to smoking in movies, the more likely they are to start smoking. Conversely, if their exposure to smoking in movies were reduced, proportionately fewer teens would likely start smoking. To track smoking trends at the movies, previous analyses have studied the U.S. motion picture industry’s top-grossing films with the heaviest advertising support, deepest audience penetration, and highest box office earnings.4,5 This report is unique in examining the U.S. movie industry’s total output, and also in identifying smoking movies, tobacco incidents, and tobacco impressions with the companies that produced and/or distributed the films — and with their parent corporations, which claim responsibility for tobacco content choices. Examining Hollywood’s product line-up, before and after the public voted at the box office, sheds light on individual studios’ content decisions and industry-wide production patterns amenable to policy reform. -
Fact Or Fiction: Hollywood Looks at the News
FACT OR FICTION: HOLLYWOOD LOOKS AT THE NEWS Loren Ghiglione Dean, Medill School of Journalism, Northwestern University Joe Saltzman Director of the IJPC, associate dean, and professor of journalism USC Annenberg School for Communication Curators “Hollywood Looks at the News: the Image of the Journalist in Film and Television” exhibit Newseum, Washington D.C. 2005 “Listen to me. Print that story, you’re a dead man.” “It’s not just me anymore. You’d have to stop every newspaper in the country now and you’re not big enough for that job. People like you have tried it before with bullets, prison, censorship. As long as even one newspaper will print the truth, you’re finished.” “Hey, Hutcheson, that noise, what’s that racket?” “That’s the press, baby. The press. And there’s nothing you can do about it. Nothing.” Mobster threatening Hutcheson, managing editor of the Day and the editor’s response in Deadline U.S.A. (1952) “You left the camera and you went to help him…why didn’t you take the camera if you were going to be so humane?” “…because I can’t hold a camera and help somebody at the same time. “Yes, and by not having your camera, you lost footage that nobody else would have had. You see, you have to make a decision whether you are going to be part of the story or whether you’re going to be there to record the story.” Max Brackett, veteran television reporter, to neophyte producer-technician Laurie in Mad City (1997) An editor risks his life to expose crime and print the truth. -
Trumpeter Terence Blanchard
Biographical Description for The HistoryMakers® Video Oral History with Terence Blanchard PERSON Blanchard, Terence Alternative Names: Terence Blanchard; Life Dates: March 13, 1962- Place of Birth: New Orleans, Louisiana, USA Work: New Orleans, LA Occupations: Trumpet Player; Music Composer Biographical Note Jazz trumpeter and composer Terence Oliver Blanchard was born on March 13, 1962 in New Orleans, Louisiana to Wilhelmina and Joseph Oliver Blanchard. Blanchard began playing piano at the age of five, but switched to trumpet three years later. While in high school, he took extracurricular classes at the New Orleans Center for Creative Arts. From 1980 to 1982, Blanchard studied at Rutgers University in New Jersey and toured with the Lionel Hampton Orchestra. In 1982, Blanchard replaced trumpeter Wynton Marsalis in Art Blakey and the Jazz Messengers, where he served as musical director until 1986. He also co- led a quintet with saxophonist Donald Harrison in the 1980s, recording five albums between 1984 and 1988. In 1991, Blanchard recorded and released his self-titled debut album for Columbia Records, which reached third on the Billboard Jazz Charts. He also composed musical scores for Spike Lee’s films, beginning with 1991’s Jungle Fever, and has written the score for every Spike Lee film since including Malcolm X, Clockers, Summer of Sam, 25th Hour, Inside Man, and Miracle At St. Anna’s. In 2006, he composed the score for Lee's four-hour Hurricane Katrina documentary for HBO entitled When the Levees Broke: A Requiem in Four Acts. Blanchard also composed for other directors, including Leon Ichaso, Ron Shelton, Kasi Lemmons and George Lucas. -
RÉALISATEURS ANNÉE PAYS Du R É E N Ou Ve Au X E N
Droit de passage RÉALISATEURS ANNÉE PAYS TITRES des FILMS VERSION DCP DCP Durée Enfants Nouveaux Abitbol (Judith) 2013 F 103 A BAS BRUIT COUL 229 € Kontchalovsky (Andrei) 1985 USA 111 A BOUT DE COURSE (RunawAy trAin) d'A. Kontchalovsky COUL S/RES Godard (JeAn-Luc) 1960 F 87 A BOUT DE SOUFFLE NB 341 € WAng (PAtrick) 2019 USA 120 NDCP A BREAD FACTORY (A) PArt 2 - Un petit coin de parAdis COUL 231 € ThomAs (PAscAl) 2019 F 100 NDCP A CAUSE DES FILLES COUL 284 € CArpignano (Jonas) 2017 I-USA 118 A CIAMBRA COUL 284 € LAine (MArion) 2012 F 87 A COEUR OUVERT COUL 284 € Johnson (RiAn) 2019 USA 131 NDCP A COUTEAUX TIRES COUL 558 € Collectif (*) 2016 F 38 E A DEUX C'EST MIEUX ! 7 c.m; COUL animAtion 270 € JAcquot (Benoît) 2016 F-P 86 A JAMAIS de B. JAcquot COUL 299 € Collectif (*) 2017 F 90 E A LA DECOUVERTE DU MONDE COUL 227 € KormAkur (BAltAzAr) 2018 USA 98 A LA DERIVE COUL 421 € WAng (Bing) 2014 CHINE 227 A LA FOLIE COUL 371 € Lloyd (HArold) 1930 USA 80 A LA HAUTEUR NB MUET 341 € Rossi (Andrew) 2011 USA 90 A LA UNE DU NEW YORK TIMES COUL documentAire 270 € ZilbermAnn (JeAn-JAcques) 2014 F 104 A LA VIE COUL 328 € MArAis (PiA) 2012 D 95 A L'AGE D'ELLEN COUL 296 € Ford (John) 1917 USA A L'ASSAUT DU BOULEVARD NB MUET SONORISE S/RES KAzAn (EliA) 1954 USA 115 A L'EST D'EDEN COUL SCOPE 407 € BAtrA (Ritesh) 2018 GB 108 A L'HEURE DES SOUVENIRS COUL 371 € GitAi (Amos) 2017 ISR-F 84 A L'OUEST DU JOURDAIN COUL documentAire 284 € VideAu (Frédéric) 2011 F 94 A MOI SEULE COUL 274 € RAyhana (*) 2017 DZ-F 90 A MON AGE JE ME CACHE ENCORE POUR FUMER COUL 274 € PiAlAt (MAurice) 1982 F 102 A NOS AMOURS COUL 444 € FromentAl (Antoine) 2017 F 91 A NOUS DE JOUER ! COUL documentAire 227 € Bouzid (LeylA) 2015 TUN 102 A PEINE J'OUVRE LES YEUX COUL 227 € LAfosse (Joachim) 2012 B 111 A PERDRE LA RAISON COUL SCOPE 274 € JiA (Zhangke) 2013 CHINE 129 A TOUCH OF SIN COUL SCOPE 371 € BergmAn (IngmAr) 1961 S 90 A TRAVERS LE MIROIR NB 341 € De_FreitAs / Ly (Stéphane / LAdj) 2017 F 99 A VOIX HAUTE COUL 299 € SollimA (StefAno) 2011 I 112 A.C.A.B. -
Roger Ebert's
The College of Media at Illinois presents Roger19thAnnual Ebert’s Film Festival2017 April 19-23, 2017 The Virginia Theatre Chaz Ebert: Co-Founder and Producer 203 W. Park, Champaign, IL Nate Kohn: Festival Director 2017 Roger Ebert’s Film Festival The University of Illinois at Urbana–Champaign The College of Media at Illinois Presents... Roger Ebert’s Film Festival 2017 April 19–23, 2017 Chaz Ebert, Co-Founder, Producer, and Host Nate Kohn, Festival Director Casey Ludwig, Assistant Director More information about the festival can be found at www.ebertfest.com Mission Founded by the late Roger Ebert, University of Illinois Journalism graduate and a Pulitzer Prize- winning film critic, Roger Ebert’s Film Festival takes place in Urbana-Champaign each April for a week, hosted by Chaz Ebert. The festival presents 12 films representing a cross-section of important cinematic works overlooked by audiences, critics and distributors. The films are screened in the 1,500-seat Virginia Theatre, a restored movie palace built in the 1920s. A portion of the festival’s income goes toward on-going renovations at the theatre. The festival brings together the films’ producers, writers, actors and directors to help showcase their work. A film- maker or scholar introduces each film, and each screening is followed by a substantive on-stage Q&A discussion among filmmakers, critics and the audience. In addition to the screenings, the festival hosts a number of academic panel discussions featuring filmmaker guests, scholars and students. The mission of Roger Ebert’s Film Festival is to praise films, genres and formats that have been overlooked. -
Fictional Images of Real Places in Philadelphia
598 CONSTRUCTING IDENTITY Fictional Images of Real Places in Philadelphia A. GRAY READ University of Pennsylvania Fictional images ofreal places in novels and films shadow the city as a trickster, doubling its architecture in stories that make familiar places seem strange. In the opening sequence of Terry Gilliam's recent film, 12 Monkeys, the hero, Bruce Willis,rises fromunderground in the year 2027, toexplore the ruined city of Philadelphia, abandoned in late 1997, now occupied by large animals liberated from the zoo. The image is uncanny, particularly for those familiar with the city, encouraging a suspicion that perhaps Philadelphia is, after all, an occupied ruin. In an instant of recognition, the movie image becomes part of Philadelphia and the real City Hall becomes both more nostalgic and decrepit. Similarly, the real streets of New York become more threatening in the wake of a film like Martin Scorcese's Taxi driver and then more ironic and endearing in the flickering light ofWoody Allen's Manhattan. Physical experience in these cities is Fig. 1. Philadelphia's City Hall as a ruin in "12 Monkeys." dense with sensation and memories yet seized by references to maps, books, novels, television, photographs etc.' In Philadelphia, the breaking of class boundaries (always a Gilliam's image is false; Philadelphia is not abandoned, narrative opportunity) is dramatic to the point of parody. The yet the real city is seen again, through the story, as being more early twentieth century saw a distinct Philadelphia genre of or less ruined. Fiction is experimental life tangent to lived novels with a standard plot: a well-to-do heir falls in love with experience that scouts new territories for the imagination.' a vivacious working class woman and tries to bring her into Stories crystallize and extend impressions of the city into his world, often without success. -
Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
Zach Woodlee Director / Choreographer Selected Credits Contact: 818 509-0121
zach woodlee director / choreographer selected credits contact: 818 509-0121 < FILM > Drive She Said *to be released Dir. Joey Syracruse Annie Dir. Will Gluck/Sony Pictures Hot Pursuit Dir. Anne Fletcher/MGM Glee: The 3D Concert Movie Dir. Kevin Tancharoen / 20th Century Fox Real Steel Dir. Shawn Levy / Walt Disney Pictures Life As We Know It Dir. Greg Berlanti / Josephson Entertainment Eat Pray Love Dir. Ryan Murphy / Columbia Pictures Starstruck Dir. Michael Grossman / Disney The Back- Up Plan Dir. Alan Poul / CBS Films Bedtime Stories Dir. Adam Shankman / Gunn Films The Proposal (Assistant Choreographer) Dir. Anne Fletcher / Touchstone Pictures Fired Up Dir. Will Gluck / Screen Gems 17 Again (Assistant Choreographer ) Dir. Burr Steers / New Line Cinema 27 Dresses Dir. Anne Fletcher / Spy Glass Get Smart Dir. Pete Segal / Warner Bros. Marc Pease Experience Dir. Todd Louiso / Paramount Vantage Hairspray (Assistant Choreographer) Dir. Adam Shankman / New Line Step Up (Assistant Choreographer) Dir. Anne Fletcher / Buena Vista 40 Year Old Virgin (Assistant Choreographer) Dir. Judd Apatow / Disney Stuck On You (Assistant Choreographer) Dir. Farrelly Bros. /20th Century Fox < TELEVISION > Grease: Live (Co-Producer / Choreographer) FOX / Paramount Television Glee, Season 6 (Co-Producer / Choreographer) FOX / Ryan Murphy Productions Bones Dir. Rob Hardy/FOX Macy’s Thanksgiving Day Parade, Annie Dir. Will Gluck / Sony Pictures X-Factor w/the cast of Glee Fremantle Media Glee, Seasons 1-4 (Co-Producer / Choreographer) Fox / Ryan Murphy Productions Oprah w/ the cast of Glee Harpo Productions How I Met Your Mother 100th Episode CBS/ 20th Century Fox 2008 MTV Movie Awards (w/Adam Sandler) MTV Swing Town Dir.