The Train Robber the Train Robber
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Honorable Members of the Visual Arts Committee From
STAFF REPORT Date: February 13, 2012 To: Honorable Members of the Visual Arts Committee From: Mary Chou Re: Art on Market Street During the August 2011 Visual Arts Committee meeting, Commissioners approved Christina Empedocles’s proposal for an Art on Market Street poster series, but asked the artist to consider movies that spanned a variety of genres and to include more contemporary films. The original list consisted of the following: The Birds (1963), The Maltese Falcon (1941), Harold and Maude (1971), Vertigo (1958), Escape from Alcatraz (1979), Bullitt (1968), and Dirty Harry (1971). Below is a description of the artist’s explanation for her primary list of movies for her poster series, and her secondary list, if she is unable to secure permissions for movies in the primary list. Description of Poster Series With this primary list of films for the Art on Market Street poster series, the goal was to narrow down and select a list of movies from several different decades and a host of different genres, including major motion pictures as well as independent films, each with one thing in common: they'd be the best movies of their respective eras and genres to feature San Francisco itself as a prominent character. The images created from the following six classic motion pictures would include a poster from the film, as well as a collage of key visual elements associated with that film, and should be instantly recognizable to just about any longtime City resident, film buff, or keen-eyed observer. These visual elements would be extensions of the components of the posters, comprised of key props, characters (dependent on permission), and possibly quotes, bits of map, or small shots of various locations. -
Michael Preece
Deutscher FALCON CREST - Fanclub July 31, 2009 The First Director: MICHAEL PREECE Talks about the Falcon Crest Première and Other Memories Interview by THOMAS J. PUCHER (German FALCON CREST Fan Club) I sent Michael Preece, who directed ten episodes of Falcon Crest, particularly the series première, a request for an interview via e-mail, and he replied immediately so we scheduled a phone conversation for July 31, 2009. He has been one of the most successful directors of U.S. TV shows for more than 30 years. His directing credits include many hit series from the 1970’s, ’80’s and ’90’s, such as The Streets of San Francisco, Knots Landing, Fantasy Island, Flamingo Road, Trapper John, M.D., The Incredible Hulk, T.J. Hooker, Riptide, Stingray, Jake and the Fatman, MacGyver, Hunter, Renegade, Seventh Heaven and Walker, Texas Ranger as well as — last but not least — Dallas. Getting to Work on Falcon Crest Michael stepped right into the middle of how much he enjoyed working on Falcon Crest, particularly with Jane Wyman. He said she wanted him to direct more often, but he was extremely busy with Dallas: “I had to go to Jane Wyman and tell her that I couldn’t work on the show.” He left no doubt that directing Dallas did not leave much room for anything else because he directed approximately 70 episodes of the series. But he enjoyed doing an episode of Falcon Crest from time to time. “So how did you get your first assignment for Falcon Crest, the first episode, In His Father’s House?” I asked. -
The Strange and Wondrous Tale of Bill Constable & the Cinemascope Pirates of Pagewood
1 “AAARRRHH THERE MATEY!” - The Strange and Wondrous Tale of Bill Constable & the Cinemascope Pirates of Pagewood... by Bob Hill, Oct 2018 In early 1954... and a world away from the dense urban spread of today’s Sydney... the southern suburb of Pagewood was little more than wind blasted sand hills and scrub encroached upon by rows of hastily thrown up brick bungalows, a couple of isolated factories and a desolate bus depot. In the middle of this literal and figurative wasteland, a strange enterprise was taking place in Australia’s only purpose-built film studio complex - the making of “Long John Silver”, a Hollywood style blockbuster replete with imported stars, executives and key technicians in all the Heads of Department roles... that is, all except for their Production Designer, a middle aged Australian about to make his first foray into film! 2 1. Hollywood in the Sand Hills Pagewood studios, 1954 - then named “Television City”, 2 years before TV arrived in Australia! (NSW State Library) “Television City seems to have borrowed its architectural inspiration from Long Bay Gaol...” ‘Pagewood’ is the great lost studio of Australian film-making: As Wikipedia explains... The studio was built in 1935 for National Productions by National Studios Ltd, it was originally known as National Studios. It was constructed for the presumed increase in production that most observers thought would result in Australia following introduction of the NSW Film Quota Act... They were the first new film studios built in Australia since 1912. Gaumont British helped provide finance and personnel in its construction.1 The Quota Act was never enforced and instead of becoming the hub of film production in Sydney, makeshift facilities at Cinesound in Bondi Junction (an old roller skating rink) and Figtree Studios in Lane Cove (a converted picnic ground pavilion) soon eclipsed the better equipped Pagewood studios. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Riding the Freight Trains in Boxcar Bertha (Martin Scorsese, 1972), Emperor of the North (Robert Aldrich, 1973), and Bound for Glory (Hal Ashby, 1976)*
DUTRIAUX FILM JOURNAL 3 (2016) Outcasts, Hoboes, and Freight-hoppers: Riding the Freight Trains in Boxcar Bertha (Martin Scorsese, 1972), Emperor of the North (Robert Aldrich, 1973), and Bound for Glory (Hal Ashby, 1976)* Claire DUTRIAUX Université Paris-Sorbonne In the late 1960s to the mid-1970s several American films whose core subject was peculiarly similar were released, tackling either the economic conditions of poor whites and/or the lives of transients on the railroads during the Great Depression. The consistency of this movie cycle –which featured Sydney Pollack’s This Property is Condemned (1966), Martin Scorsese’s Boxcar Bertha, Robert Aldrich’s Emperor of the North, Hal Ashby’s Bound for Glory, Martin Ritt’s Sounder (1972), Walter Hill’s Hard Times (1975) and Robert Altman’s remake of Nicholas Ray’s 1948 They Live by Night into Thieves Like Us in 1974 – was reinforced by two specific traits. First, the release date of each movie (the late 1960s to mid- 1970s) and the chosen context of these movies (the 1930s) made them stand together as a cluster. Second and most of all, the actors starring in these movies contributed to the construction of the movie cycle, via their own intertextuality. Members of the Carradine “acting dynasty” appeared in four of the seven movies – John Carradine in Boxcar Bertha, his son David Carradine in Boxcar Bertha and Bound for Glory, and his other son Keith Carradine in Emperor of the North and Thieves Like Us. The intertextual link1 between the Carradine family of actors was made even stronger in Bound for Glory, as the movie frequently referenced John Ford’s The Grapes of Wrath (1940), in which John Carradine had played former preacher Jim Casy. -
Bill Cosby Heckled During Second Canadian Show
SATURDAY, JANUARY 10, 2015 Rod Taylor, ‘The Birds’ and ‘The Time Bill Cosby heckled during Machine’ star, dies at 84 second Canadian show ill Cosby, the subject of more than a dozen sex abuse allegations over Bthe past three months, was heckled during a show on his Canadian tour on Thursday, with one audience member call- ing him a “rapist”, the Canadian Press reported. The news agency said a man shouted “You are a rapist,” at a show in London, Ontario, before being removed od Taylor, the Australian-born actor who starred in George Pal’s adaptation of H.G. Wells’ “The Time Machine” and in RAlfred Hitchcock’s “The Birds,” then decades later made a Demonstrators gather to protest comedian Bill Cosby’s second performance in memorable swan-song appearance as Winston Churchill in Canada at the Budweiser Gardens. — AP photo Quentin Tarantino’s “Inglourious Basterds,” died Wednesday of a heart attack in Los Angeles. He was 84. His daughter Felicia, a for- Canadian shows this week. His first in mer CNN correspondent, confirmed the news Thursday. Kitchener, Ontario on Wednesday was not Taylor made his feature starring debut in 1960 sci-fier “The interrupted. But both shows had protest- Time Machine,” portraying a fictionalized Wells, who invents a ers outside the venues. time machine in Victorian England and travels to the distant The comedian, best-known as Dr. Cliff future. He also starred in a brief ABC adventure series, “Hong Huxtable on “The Cosby Show,” has had Kong.” The next year he voiced the lead canine, Pongo, in two television projects shelved and sever- Disney’s “101 Dalmatians.” Even after an impressive performance al standup performances canceled since in Hitchcock’s well-received 1963 “The Birds” (in photo above), the allegations started last year. -
Final Arguments to Save Hollywood Bowl Submitted by Robert W
The publication of Hollywood Heritage, a non-profit organization dedicated to the pres- ervation of Hollywood through its architecture and the history of the Summer 2002 www.hollywoodheritage.org Volume 21, Number 2 motion picture industry. Lawsuit Update Final Arguments to Save Hollywood Bowl Submitted By Robert W. Nudelman historic 1929 orchestra shell (the lic ownership (as well as devastat- On June 3, Hollywood attorney newsletter is also available on the ing many safeguards for parks, Lawrence Teeter filed our response web site). Our latest response tar- open spaces, impacts from large to strongly refute the arguments of geted several areas. This has been developments and other quality of the Los Angeles Philharmonic As- done to both protect the shell as life issues protected under CEQA). sociation (LAPA) and Los Angeles well as to stop the County from Highlights of our response in- County (defendants) in the State of gutting the protective status his- clude a detailed breakdown and California Court of Appeals. The toric structures have in California rebuttal of the County and LAPA’s document is available on our web under the California Environmental arguments that only a “new shell” site. Quality Act (CEQA). will make good music possible at Hollywood Heritage’s last news- Such legal precedent as attempted the Bowl. This was used as the letter outlined several of the Coun- here to circumvent CEQA would “Statement of Overriding Consid- ty’s and the LAPA’s arguments to endanger thousands of historic erations” (SOC), which is the sole proceed with the demolition of the structures in both private and pub- legal reason the defendants adopted continued on page 87 years later ABC Television Center Studio Lot is Reborn By Marc Wanamaker original 1915 buildings that still ex- he old ABC Television Center ist and are considered historic studio Tlot at Prospect and Talmadge structures. -
Film Locations in San Francisco
Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/02/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/02/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros. -
University of Oklahoma Libraries Western History Collections Bob
University of Oklahoma Libraries Western History Collections Bob Burke Autographs of Western Stars Collection Autographed Images and Ephemera Box 1 Folder: 1. Roy Acuff Black-and-white photograph of singer Roy Acuff with his separate autograph. 2. Claude Akins Signed black-and-white photograph of actor Claude Akins. 3. Alabama Signed color photograph of musical group Alabama. 4. Gary Allan Signed color photograph of musician Gary Allan. 5. Rex Allen Signed black-and-white photograph of singer, actor, and songwriter Rex Allen. 6. June Allyson Signed black-and-white photograph of actor June Allyson. 7. Michael Ansara Black-and-white photograph of actor Michael Ansara, matted with his autograph. 8. Apple Dumpling Gang Black-and-white signed photograph of Tim Conway, Don Knotts, and Harry Morgan in The Apple Dumpling Gang, 1975. 9. James Arness Black-and-white signed photograph of actor James Arness. 10. Eddy Arnold Signed black-and-white photograph of singer Eddy Arnold. 11. Gene Autry Movie Mirror, Vol. 17, No. 5, October 1940. Cover signed by Gene Autry. Includes an article on the Autry movie Carolina Moon. 12. Lauren Bacall Black-and-white signed photograph of Lauren Bacall from Bright Leaf, 1950. 13. Ken Berry Black-and-white photograph of actor Ken Berry, matted with his autograph. 14. Clint Black Signed black-and-white photograph of singer Clint Black. 15. Amanda Blake Signed black-and-white photograph of actor Amanda Blake. 16. Claire Bloom Black-and-white promotional photograph for A Doll’s House, 1973. Signed by Claire Bloom. 17. Ann Blyth Signed black-and-white photograph of actor and singer Ann Blyth. -
Sam Peckinpah Killed Randolph Scott (But Somehow the Duke Survived)
Sam Peckinpah Killed Randolph Scott (But Somehow the Duke Survived) Regeneration and Genre Tradition in the Final Westerns of John Wayne Andrew Patrick Nelson Hon.B.A. (Toronto) A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies Carleton University Ottawa, Ontario, Canada August 2007 © 2007 Andrew Patrick Nelson Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Library and Bibliotheque et Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-33755-4 Our file Notre reference ISBN: 978-0-494-33755-4 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce,Canada de reproduire, publier, archiver, publish, archive, preserve, conserve,sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet,distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform,et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. -
Catalog Sixty-Eight the CELLULOID PAPER TRAIL
catalog Books Royal sixty-eight Ca talog Sixty-Eight talog Royal Books THE CELLULOID PAPER TRAIL Oak Knoll Press is pleased to announce the publication of Terms and Conditions Kevin R. Johnson’s The Celluloid All books are first editions unless indicated otherwise. Paper Trail. The first book All items in wrappers or without dust jackets advertised have glassine covers, and all dust jackets are protected ever published on film script by new archival covers. Single, unframed photographs identification and description, housed in new, archival mats. lavishly illustrated and detailed. In many cases, more detailed physical descriptions for archives, manuscripts, film scripts, and other ephemeral Designed for any book scholar, items can be found on our website. including collectors, archivists, Any item is returnable within 30 days for a full refund. librarians, and dealers. Books may be reserved by telephone, or email, and are subject to prior sale. Payment can be made by credit card Available now at royalbooks.com/cpt or, if preferred, by check or money order with an invoice. or by calling 410.366.7329. Libraries and institutions may be billed according to preference. Reciprocal courtesies extended to dealers. Please feel free to let us know if you would like your copy signed or inscribed by the author. We accept credit card payments by VISA, MASTERCARD, AMERICAN EXPRESS, DISCOVER, and PAYPAL. Shipments are made via USPS priority mail or Fedex Ground unless other arrangements are requested. All shipments are fully insured. Shipping is free within the United States. For international destinations, shipping is $60 for the first book and $10 for each thereafter. -
The Dark Side of Hollywood
TCM Presents: The Dark Side of Hollywood Side of The Dark Presents: TCM I New York I November 20, 2018 New York Bonhams 580 Madison Avenue New York, NY 10022 24838 Presents +1 212 644 9001 bonhams.com The Dark Side of Hollywood AUCTIONEERS SINCE 1793 New York | November 20, 2018 TCM Presents... The Dark Side of Hollywood Tuesday November 20, 2018 at 1pm New York BONHAMS Please note that bids must be ILLUSTRATIONS REGISTRATION 580 Madison Avenue submitted no later than 4pm on Front cover: lot 191 IMPORTANT NOTICE New York, New York 10022 the day prior to the auction. New Inside front cover: lot 191 Please note that all customers, bonhams.com bidders must also provide proof Table of Contents: lot 179 irrespective of any previous activity of identity and address when Session page 1: lot 102 with Bonhams, are required to PREVIEW submitting bids. Session page 2: lot 131 complete the Bidder Registration Los Angeles Session page 3: lot 168 Form in advance of the sale. The Friday November 2, Please contact client services with Session page 4: lot 192 form can be found at the back of 10am to 5pm any bidding inquiries. Session page 5: lot 267 every catalogue and on our Saturday November 3, Session page 6: lot 263 website at www.bonhams.com and 12pm to 5pm Please see pages 152 to 155 Session page 7: lot 398 should be returned by email or Sunday November 4, for bidder information including Session page 8: lot 416 post to the specialist department 12pm to 5pm Conditions of Sale, after-sale Session page 9: lot 466 or to the bids department at collection and shipment.