DOCSLIB.ORG

AMPAS PUBU~Tioftsr--- -., Academy of Motion Picture Arts and Sciences Library

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
AMPAS PUBU~Tioftsr--- -., Academy of Motion Picture Arts and Sciences Library AMPAS PUBU~TIOftSr---_-., Academy of Motion Picture Arts and ScienceS library. LOI Calif. TO THE MEMBERS OF THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES VOL. 6, NO.3 HOLLYWOOD, CALIFORNIA SEPTEMBER, 1961 Corey New President, HEMINGWAY SERIES LEADS OFF Freed Elected 1st VP; Writers Select Pirosh EXPANDED SCREENING PROGRAM Wendeil Corey automatically as­ The announcement that the Acade­ sumed the Academy presidency in late my planned to substantially expand July following the untimely death of its program of Sunday night member­ Valentine Davies, and Arthur Freed ship screenings was enthusiastically was elected first vice president at the received, and the first three-part series next regular Board has been successfully completed. of Governors meet­ A special committee headed by ing. Geoffrey Shurlock, assisted by Walter Reisch and Malvin Wald, worked out Freed succeeded the details of the series of screenings Corey who moved to be held two Sunday evenings a up to president month, August through early Decem­ from first vice pres­ ber. ident. The Acade­ All screenings are held on Sunday my by-laws call for nights, beginning at 8 p.m. in the WENDELL COREY the sec 0 n d vic e Academy Award Theater, and admis­ president - in this case Jacob H. Karp sion is by Academy membership card - to become first vice president in only. such instances. Karp, however, de­ The first of the three-part series­ clined the spot, electing to remain " A Tribute to Ernest Hemingway"­ second vice president. included screening of "For Whom The FILM CRITIC Arthur Knight of the Saturdoy Re­ Bell Tolls", "To Have And Have Not", In a special election, the Academy's view, an authority on Hemingway, introduced Writers Branch elected Robert Pirosh to the first of three series of screenings scheduled and " The Sun Also Rises" during Au­ the Board of Gov­ for Academy members - " A Tribute to Ernest gust and early September. Hemingway". ernors, fi II i ng the The Hemingway series is being fol­ vacancy on the lowed by ones on Dickens and Shake­ Board created by Academy Plays Host speare on film. These will be succeeded Davies' death. His by other series on famous stars, di­ term expires in To Touring Educators rectors, etc., according to Shurlock. May, 1962. Richard The Academy Board of Governors Academy members are urged to Murphy is the other and the Foreign Language Film Award submit suggestions for future films or Writers Branch rep­ Committee recently played host to series to the committee, but Shurlock ARTHUR FREED resentative on the members of the International Congress cautioned that selection will necessar­ Board. of Schools of Cinema and Television, ily be limited to the availability of currently touring the United States un­ prints. Corey, an Academy member since der the auspices of the State Depart­ The Academy gratefully acknowl­ 1949, has served on the Board of Gov­ ment. edged the cooperation of Paramount, ernors as a representative of the Actors The visitors, representing eight na­ Warner Bros. and 20th Century-Fox in Branch since 1956. He was elected sec­ tions, were officially welcomed by loaning the prints for the Hemingway ond vice president in June, 1960, mov­ Academy President Wendell Corey and series and to other studios making the ing up to first vice president upon the feted at a dinner in their honor at upcoming series possible. Chasen's Restaurant. The group of Advance announcement of the films death of B. B. Kahane and elevation more than 90 then toured the Academy to be screened as part of the Dickens of Davies to president in September of and its library before attending a spec­ and Shakespeare series and the dates that year. Corey was then elected first ial showing of "The Young Doctors" they will be shown will be provided vice president last May. in the Academy Award Theatre. the membership. Tributes To Late Academy All Academy Committees for Coming Year Are President Received From Named; Awards Show Group Already at Work Friends Across The World Although the 34th Academy Awards Presentations are almost seven months Tributes to the late Valentine Davies, away, preparations are already under way with all of the special committees for Academy president who passed away the Awards-as well as other Academy committees-selected and in operation. July 23, poured into the Academy and Wendell Corey, Academy president, is an ex-officio member of all com­ to the Davies family from across the mittees. world. Awards Policy Committee on Rules : Hoi Elias, Chair­ Special Effects Award Committee: Farciot Edouart, One of the most moving Or.les was man; Edgar Preston Ames, Macdonald Carey, Charles G. Chairman; L. B. Abbott, Lawrence Butler, Robert O. Clarke, George W. Duning , John C. Flinn, Roland Gross, Cook, James P. Corcoran, Linwood G. Dunn , George written by Val's close friend and long­ Bill l. Hendricks, Jacab H. Karp, E. J. Mannix, Rich· ard Murphy, Gordon E. Sawyer, King Vidor, Walter F. Dutton, Paul Eagler, John Fulton , Charles Geissler, A. time associate, George Seaton, himself Wanger. Arnold Gilespie, AI Inman , Ub Iwerks, Hans Koenekamp, Awards Program Committee: Steve Braidy, Chairman; Louis Lichtenfield, Sidney D. Lund , Charles Rice, Gordon a former Academy president, who de­ John' O. Aalberg, Edgar Preston Ames, Richard H. Ca­ E. Sawyer, Hal R. Shaw, Clifford R. Stine. livered the eulogy at his funeral: hoon, Macdonald Corey, John C. Flinn, Arthur Freed , Writers B[anch Executive Committee: Richard Murphy, Huga Friedhofer, Bill l. Hendricks, Emile Kuri, Fred l. Chairman; Marvin Borowsky, Warren Duff, Edmund H. " . .. Val not only possessed an in­ Metzler, Hal Mohr, Ken Peterson, Robert Pirosh, George Stevens. North, Robert Pirosh, George Seaton, Daniel Taradosh, finite capacity for friendship, he had Cinematography Awards Rules Committee: Hal Mohr, Chairman; Charles G. Clarke, Farciot Edouart, George J. the capacity for infinite friendship. Folsey, Winton C. Hoch , Arthur C. Miller. When he gave his loyalty and love, Documentary Awards Committee: Edgar Preston Ames , Chairman; Joseph Ansen , Herman Blumenthal , Norman Many Matters Related there were no conditions ... Corwin, Delmer Doves , Hal Elias, Jules Engel, A. Arnold Gillespie, William Gordon , Roland Gross , Harold F. " . .. Val also gave true meaning to Kress , George E. Macon, Ken Peterson, Robert Pi rosh, To Industry Covered In Robert B. Radnitz, Leo S. Rosencrans, Geoffre)< M. Shur· the word 'duty'. He served his country, lock, Sidney P. Solaw, Robert M. W. Vagel. Film Editing Award Rules Committee: Richard H. Ca· New Library Additions his community, and the motion picture hoon, Chairman: John Dunning , Adrienne Fazan, Rudi industry. The last will never be able to A. Fehr, Roland Gross, H. Ellsworth Hoagland, William W. Hornbeck, Frank P. Keller, William B. Murphy, Fred­ Following are some of the more repay the debt it owes to him. rick Y. Smith , Eda Warren, Robert B. Warwick, Jr. important new works added to the Finance Committee: Fred L. Metzler, Chairman; John " ... He worked, not just from time O. Aalberg, Steve Broidy, Hal Elias, Jacob H. Karp . Academy Library's collection of more to time, but year after year, in any ca­ Foreign language Film Award Committee: Robert M. W. Vogel, Chairman; Louis Blaine, Macdonald Corey, than 5,000 books during the past few pacity where he could be of service, George W. Duning, Rudi A. Fehr, William Gordon, Ely levy, Luigi Luraschi , Robert F. Metzler, Roy C. Metzler, months: for the Screen Writers' Guild, Perma­ Carl Schaefer, Ed ward Schellhorn, Geaffrey M. Shurlock, George Stevens, Harry Tytle. Betts, Ernest. Inside pictures; with some nent Charities, the Motion Picture Relief Forum and Screening Committee: Geoffrey M. Shur­ lock, Chairman; Walter Reisch, Malvin Wold. reflections from the outside. London, Fund, American Red Cross, the Motion General Membership Committee: Richard Murphy, Picture Industry Council, the Welfare Chairman; Macdonald Carey, Hal Elias, Samuel G. En· The Cresset Press, 1960. gel, John C. Flinn , Fred l. Metzler. Federation, the Motion Picture and Tel ­ Museum Committee: Bill L. Hendricks, Chairman; Moc­ Personal account of the British film donald Carey, Rudi A. Fehr, Fred l. Metzler, King Vidor. evision Museum, and the Academy of Music Branch Executive Committee: George W. Duning industry from the 1930's to the pres­ and Hugo Friedhofer, Co·Chairmen; Jeff Alexander, EI­ Motion Picture Arts and Sciences. mer Bernstein, Gene de Paul , Joy Livingston, Henry ent by a man who has been scenario " ... To these organizations, he was Mancini, Leona rd Rosenman, Leith Stevens , Paul Francis Webster. editor, public relations representa­ a philanthropist in the true sense of Scientific or Technical Awards Committee: John O. tive and film critic on various news­ Aalberg, Chairman: Edgar Preston Ames, Wal~er Beyer, the word - he gave of himself, will­ Daniel J. Bloomberg , Herman Blumenthal , Richard H. papers. Cohoon, R. H. Duval , Fardot Edouart, Ferdinand L. Eich, ingly - without restraint or caution. Glenn Farr, lorin D. Grignon, Roland Gross , George Ell iott, William Y., editor. Television's Perhaps if he hadn't been so generous R. Groves, Sol Halprin, G. Carleton Hunt, Hal Mohr, Charles Rice, Gordon E. Sawyer, Sidney P. Solow, Charles impact on American culture, East with his time and energy, he might E. Sutter, Byron Vreeland, Wiliam L. Widmayer. Short Subiects Branch Executive Committee: Hal El ias, Lansing, Michigan State University, have gained a few more years - but, Chairman; Joseph Ansen, Jules Engel, Ken Peterson , Leo S. Rosencrans. c1956. then, he wouldn't have been Val. Sound Branch Executive Committee: John O. Aalberg, Chairman; Robert O. Cook, James P. Corcoran, George Among topics discussed by various " ... And even the suggestion of a Dutton, George R. Groves, Fred Hynes , Franklin E. Mil· different Val is unthinkable. Val knew ton, Charles Rice, Gordon E.
Load more

Recommended publications
  • The Inventory of the Richard Roud Collection #1117
    The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills.
    [Show full text]
  • Easy Riders, Raging Bulls: How the Sex, Drugs and Rock and Roll Generation Saved Hollywood Pdf, Epub, Ebook
    EASY RIDERS, RAGING BULLS: HOW THE SEX, DRUGS AND ROCK AND ROLL GENERATION SAVED HOLLYWOOD PDF, EPUB, EBOOK Peter Biskind | 512 pages | 26 Apr 1999 | SIMON & SCHUSTER | 9780684857084 | English | New York, United States Easy Riders, Raging Bulls: How the Sex, Drugs and Rock and Roll Generation Saved Hollywood PDF Book My impression of this documentary wasn't so great due to the fact of already seeing and knowing a similar themed work a few years ago called "A Decade Under the Influence" , directed by Ted Demme and Richard LaGravenese, which was a better project for numerous reasons. Why do people go see them? The book is hefty with gossip of all kinds, which is too bad because he's talking about the revolution in films in the 60's to early 80's. It is chock full of interviews and choice information about the time period 60's's in American cinema that changed everything, for a lot better and some for not. Beatty likes to fuck alot. Biskind's book disappointed me tremendously. Return to the Books Home Page. Assassinations, cultural domination, drugging, spying, provocation: Talk about taking the fight to your opponents—the American people—and crippling them for generations! But in the kind of popularized pseudohistory ''Easy Riders, Raging Bulls'' exemplifies, anecdotes are valued above all else, bitchy gossip is privileged, dysfunction is automatically more fascinating than artistic success, aggrieved former friends and former lovers are granted the license to settle scores sometimes anonymously , documentation is disdained and historical analysis must be squeezed into the narrative quickly, so as not to disrupt the dishing.
    [Show full text]
  • 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.
    [Show full text]
  • Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
    InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive
    [Show full text]
  • Quentin Tarantino Retro
    ISSUE 59 AFI SILVER THEATRE AND CULTURAL CENTER FEBRUARY 1– APRIL 18, 2013 ISSUE 60 Reel Estate: The American Home on Film Loretta Young Centennial Environmental Film Festival in the Nation's Capital New African Films Festival Korean Film Festival DC Mr. & Mrs. Hitchcock Screen Valentines: Great Movie Romances Howard Hawks, Part 1 QUENTIN TARANTINO RETRO The Roots of Django AFI.com/Silver Contents Howard Hawks, Part 1 Howard Hawks, Part 1 ..............................2 February 1—April 18 Screen Valentines: Great Movie Romances ...5 Howard Hawks was one of Hollywood’s most consistently entertaining directors, and one of Quentin Tarantino Retro .............................6 the most versatile, directing exemplary comedies, melodramas, war pictures, gangster films, The Roots of Django ...................................7 films noir, Westerns, sci-fi thrillers and musicals, with several being landmark films in their genre. Reel Estate: The American Home on Film .....8 Korean Film Festival DC ............................9 Hawks never won an Oscar—in fact, he was nominated only once, as Best Director for 1941’s SERGEANT YORK (both he and Orson Welles lost to John Ford that year)—but his Mr. and Mrs. Hitchcock ..........................10 critical stature grew over the 1960s and '70s, even as his career was winding down, and in 1975 the Academy awarded him an honorary Oscar, declaring Hawks “a giant of the Environmental Film Festival ....................11 American cinema whose pictures, taken as a whole, represent one of the most consistent, Loretta Young Centennial .......................12 vivid and varied bodies of work in world cinema.” Howard Hawks, Part 2 continues in April. Special Engagements ....................13, 14 Courtesy of Everett Collection Calendar ...............................................15 “I consider Howard Hawks to be the greatest American director.
    [Show full text]
  • 4 Colour Zonal.Eps
    Ingrid David Zucker Vilmos Zsigmond Bergman Marlon Gary Cooper Bruce Sharman Brando Russell Carpenter C B 5 Zakaria Aladui JJ Abrams Walter Bette Davis John Huneck Kacee DeMasi Allan Ekelund Brennan William Wyler Steven Soderbergh Jerry Zucker Robert Josph L. Mankiewicz Fred 6 Elia Kazan Norman Zemeckis Danny DeVito Tony Brownrigg Zinnemann Denise Patty Milos Forman Gay Gerald R. Molen Denis Holt Ridley Chris Colombus Minter Bonfilio Clint Robert Downey Sr. Scott 4 Darius Khondji Eastwood 5 John Toll Joseph Ruttenburg Lawrence Kasdan Barry Levinson Robert Richardson Jonathan Robert Surtees Robert De Niro George Templeton Latham Jane Whitney Houston Hartwell Ralph S. Haskell Janusz Barry Bernardi Louis M. Wiard Brown Wexler Kaminski Leon Shamroy Jane Fonda Walter Murch Freddie Francis Singleton Lucino Francis Ford Coppola Mann Ihnen Dustin Kevin Edgardo Jan Foster Hoffman Spacey Visconti Jay Roach Great Watkins Pabarno Guido Arthur Miller Leonardo Di Caprio 3 Ki-Duk Carlos Gerald R. Cerasuolo Kim Menendez 4 Molen Vivien Leigh Maggie Lee Katz Howard Stern Annie Ismail Merchant Elizabeth Symes Philip M. Smith Peter Jay-Z Lennox Daryl Kass Marco Oliveri James Stewart Goldfarb Kevin Smith Jackson Hsiao-hsien Hou John Bailey James P. Katherine Phil Rawlins Jan De Bont John Glen Jeff J.J. Authors Irving James Hogan Neil Young Berlin Erwin Ronald L. Hepburn Magic Johnson Ivory Ron Fricke Godschalk Schwary Richard A. Harris Tod Browning Abby Singer George Bam Margera Hans Stanley Kramer Dean Semler Stevens Zimmer Ron Shelton 200m Kazuo Hal Ashby Roger Michael Cary Grant Jon Landau Caine Miyagawa Irving G. Thalberg Daltrey Roger John Juan Clemente Halle Berry Jon De Bello Vangelis John Williams Douglas Trumbull 2 Elton John Moby Waters Carpenter 3 Propser Thelma Schoonmaker Conrad Hall Jack N.
    [Show full text]
  • Sundays & Wednesdays
    SUNDAYS & WEDNESDAYS CHECK THEATRE FOR SHOWTIMES SEPTEMBER 23 & 26 SEPTEMBER 30 & OCTOBER 3 OCTOBER 7 & 10 LABYRINTH (1986) YOUNG FRANKENSTEIN (1974) HALLOWEEN (1978) Muppets creator Jim Henson directed this musical Gene Wilder is Dr. Frederick Frankenstein (“That’s Director John Carpenter’s ORIGINAL 1970’s classic! fantasy about a teenage girl (Jennifer Connelly) who FRONKensteen!”), struggling with the legacy of his The night HE (villain Michael Myers) came home, 15 must enter the mythical world of the Labyrinth to infamous mad-scientist grandfather in this classic years after committing a grisly murder…and just in time rescue her kidnapped baby brother. Henson’s puppets comedy from Mel Brooks. The stellar supporting cast for Halloween. This is the movie that inspired a whole are amazing, but it was the casting of David Bowie as includes Marty Feldman as Igor (“It’s pronounced series of horror pictures featuring teenagers in peril, the Goblin King that made this an iconic 80’s movie. Eye-gor”), Madeline Kahn, Peter Boyle, Terri Garr and it remains one of the most successful independent Bowie’s five original songs include “Magic Dance,” (“Roll, roll, roll in ze hay,”) and Cloris Leachman as movies ever made. Jamie Lee Curtis, in her film debut, which he performs with a gaggle of goblin puppets. the late baron’s mysterious housekeeper Frau Blucher. plays a babysitter who is stalked by Myers. (“You can’t (“You remind me of a babe…”) Rated PG (“Yes, yes, say it…he vas my boyfriend!”) Rated PG kill the boogeyman.”) Rated R OCTOBER 14 & 17 OCTOBER 21 & 24 OCTOBER 28 & 31 (HALLOWEEN) REAR WINDOW (1954) BEETLEJUICE (1988) THE SHINING (1980) One of the best from director Alfred Hitchcock, the “It’s showtime!” Michael Keaton stars as Beetlejuice Celebrate Halloween with Stanley Kubrick’s classic “master of suspense.” James Stewart, confined to his (“the ghost with the most, babe”) in this supernatural thriller, based on Stephen King’s novel.
    [Show full text]
  • Theatrs Thears Theatrs
    THE EVENING STAR, Washington, D. C. AMUSEMENTS. MONDAY,MAT 2«. 1952 AMUSEMENTS. A-14 Where and When Stage Dancer - The Passing Show Current Theater Attractions In Second Film As brutally outspoken as And Time of Showing HOLLYWOOD. the words Allyn Stage. McLerie, dancing Broad- way actress who I this betrayed iKerima Is Conrad's Girl, National—“ Call Me Madam”; makes her screen wt *jm 8:30 p.m. bow in Warner Bros.’ “Where’s Charley?” has been assigned b> husband hurls But Screen. to portray She's Also Herself Ambassador —“The San Fran- Jack L. Warner the sultry harem girl, Azuri. in “The mkm, his • By Jay Carmody 3:20, 5:25, Yf at wife... cisco Story”: 1:15, 7:30 Desert Song,” Technicolor mmf- and 9:40 p.m. musi- Growing up, a book-wormy kid back there in Illinois, the words cal. in Ahoy!”; Vs lU, the fury of .of Josepji Conrad seemed gospel true—although naturally quite dif- Capitol—“Skirts 11 a.m. Miss McLerie, contracted by the 1:45, 4:30, 7:15 and 10 p.m. Stage: ¦'uSP-'U’ VI f%- fferent. Burbank studio following her per- $lB discovery! There was his description of Aissa In “Outcast of the Islands,” 12:55, 3:40, 6:25 and 9:10 p.m. formance opposite Ray Bolger in RUtHT 51~i «or example: Columbia “Bingin’ in the both the stage and film versions “Even in repose it is impossible not to be aware of the sinuous Rain”; 11 a.m., 1:10, 3:20, 5:30, of “Where’s Charley?” has re- JERRY WALD l NORMAN XRASNA oi ner Doay, tne strange 7:40 and 9:50 p.m.
    [Show full text]
  • SCHEDULE of EXHIBITIONS and EVENTS ———— • ' •" '1 1 II • •" Mi 11 • • Mm Note: Full Releases on Each Exhibition Are Available Five Days Before the Opening
    THE MUSEUM OF MODERN ART *>. <* 11 WEST 53 STREET, NEW YORK 19, N. Y. P0R RELEASE: TELEPHONE, CIRCLE 3-8000 September 1, 1963 HOURS: ADMISSION: Weekdays: 11 a.m. - 6 p.m., Thursdays until 9 p.m. Adults: $1.00 Sundays: 12 noon - 6 p.m. Children: 25 cents NOTE: Starting Sept. 1 the Museum closes at 6 p.m. on Sundays Members free SCHEDULE OF EXHIBITIONS AND EVENTS ———— • ' •" '1 1 II • •" mi 11 • • mm Note: Full releases on each exhibition are available five days before the opening. Photographs are available on request from Elizabeth Shaw, Director, Public Information. SEPTEMBER OPENINGS 1 - Sept. 11 - HANS HDFMA^N. Forty major canvases by the dean of the abstract- Nov. 28 expressiouist movement, famous both as a painter and as the most influ­ ential and dynamic art teacher of his period. The works included date from I9U0 to I963. Selected by William C. Seitz, Associate Curator, Painting and Sculpture Exhibitions. Will later travel in this country and abroad under the auspices of the International Council of the Museum. The accompanying publication, by the director of the show and the artist, will deal mainly with Hofmann's philosophy of painting. (Third floor) Sept. 2k - THE PHOTOGRAPHER IN THE AM3RICAN LANDSCAPE. Traces the changing con- Nov. 28 cept of the landscape as a photographic genre in our country where explorations of a new continent coincided with explorations in a new medium. Work of 19 photographers, ranging in date from the 1860s to the present is included. Selected by John Szarkowski, Director, Department of Photography. (First floor) FUTURE OPENINGS Oct.
    [Show full text]
  • Bamcinématek Presents Indie 80S, a Comprehensive, 60+ Film Series Highlighting the Decade Between 70S New Hollywood and the 90S Indie Boom, Jul 17—Aug 27
    BAMcinématek presents Indie 80s, a comprehensive, 60+ film series highlighting the decade between 70s New Hollywood and the 90s indie boom, Jul 17—Aug 27 Co-presented by Cinema Conservancy The Wall Street Journal is the title sponsor of BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/June 11, 2015—From Friday, July 17 through Thursday, August 27, BAMcinématek and Cinema Conservancy present Indie 80s, a sweeping survey of nearly 70 films from the rough-and-tumble early days of modern American independent cinema. An aesthetic and political rebuke to the greed-is-good culture of bloated blockbusters and the trumped-up monoculture of Reagan-era America, Indie 80s showcases acclaimed works like Jim Jarmusch’s Stranger Than Paradise (1984—Jul 18), David Lynch’s Blue Velvet (1986—Aug 8), and Steven Soderbergh’s sex, lies, and videotape (1989—Aug 14) alongside many lesser- known but equally accomplished works that struggled to find proper distribution in the era before studio classics divisions. Filmmakers including Ross McElwee, William Lustig, Rob Nilsson, and more will appear in person to discuss their work. Like the returning expatriate’s odyssey in Robert Kramer’s four-hour road movie Route One/USA (1989—Aug 16), a sampling of 80s indie cinema comprises an expansive journey through the less-traveled byways of America. From the wintry Twin Cities of the improvised, hilariously profane road trip Patti Rocks (1988—Aug 25) to the psychopath’s stark Chicago hunting grounds in John McNaughton’s Henry: Portrait of a Serial Killer (1986—Jul 29) to the muggy Keys of Florida in filmmaker Victor Nuñez’s eco-thriller A Flash of Green (1984—Aug 12), regional filmmakers’ cameras canvassed an America largely invisible to Hollywood.
    [Show full text]
  • Hollywood Walk of Fame Master Plan Community Meeting Presentation
    Hollywood Walk of Fame Master Plan Community Meeting Presentation November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE HOLLYWOOD WALK OF FAME MASTER PLAN Welcome & Introductions Community Presentation Page 2 of 59 November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE The Master Plan is being developed with consensus, guidance and advocacy from many parties Client Team Design Team Community & City Partners Neighborhood Councils Community Organizations City Deparments Central Hollywood Neighborhood Council Hollywood Partnership Los Angeles Bureau of Street Lighting Hollywood Hills West Neighborhood Council Hollywood Chamber of Commerce Los Angeles Bureau of Street Services Hollywood Studio District Neighborhood Council Hollywood Heritage Los Angeles Department of Transportation Hollywood United Neighborhood Council Hollywood Historic Trust Los Angeles County Metro Los Angeles Office of Historic Resources Los Angeles Police Department (LAPD) Los Angeles Fire Department (LAFD) Page 3 of 59 HOLLYWOOD AGENDA WALK OF FAME MASTER PLAN 1. Project Update 2. Vision 3. Traffic & Mobility 4. Street Design 5. Street Trees 6. Street Amenities Community Presentation Page 4 of 59 November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE HOLLYWOOD WALK OF FAME MASTER PLAN 1. Project Status Update Community Presentation Page 5 of 59 November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE HOLLYWOOD PROJECT PURPOSE WALK OF FAME MASTER PLAN To improve the Walk of Fame experience for those who live in, work in and visit the area. THE STREET IS FOR EVERYONE! Community Presentation Page 6 of 59 November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE HOLLYWOOD COMMUNITY OUTREACH OVERVIEW WALK OF FAME MASTER PLAN Community Presentation Page 7 of 59 November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE HOLLYWOOD PROJECT SCHEDULE WALK OF FAME MASTER PLAN WHERE WE ARE TODAY ARE WE WHERE DEC.
    [Show full text]
  • Hollywood Abroad: Audiences and Cultural Exchange
    Hollywood Abroad: Audiences and Cultural Exchange By Melvyn Stokes and Richard Maltby (eds.) London, British Film Institute 2004. ISBN: 1-84457-018-5 (hbk), 1-84457-051-7 (pbk). 164 pp. £16.99 (pbk), £50 (hbk) A review by Martin Barker, University of Wales, Aberystwyth This is the fourth in a line of excellent books to have come out of two conferences held in London, on Hollywood and its audiences. This fourth collection deals specifically with the reception of Hollywood films in some very different counties and cultural contexts. The quality and the verve of the essays in here (they are all, without exception, beautifully written) is testimony to the rise and the potentials of the new historical approaches to audiences (which has, I am pleased to see, sedimented into some on-going cross-cultural research projects on local film exhibition histories). I recommend this book, unreservedly. Its contributors demonstrate so well the potential for many kinds of archival research to extend our understanding of film reception. In here you will find essays on the reception of the phenomenon of Hollywood, and sometimes of specific films, in contexts as different as a mining town in Australia in the 1920s (Nancy Huggett and Kate Bowles), in and through an upmarket Japanese cinema in the aftermath of Japan's defeat in 1946 (Hiroshi Kitamura), in colonial Northern Rhodesia in the period leading up to independence (Charles Ambler), and in and around the rising nationalist movements in India in the 1920-30s (Priya Jaikumar). It is important, in understanding this book, that we pay attention to the specificities of these contexts.
    [Show full text]