FLASHES SCREEN I Ceives Asking How to Get on the Stage
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Jackie Coogan of Charlie Chaplin's
Jackie of Charlie "The Kid" Personal Notes of Screen Players . SCREEN SHADOWS Coogan Chaplin's r and Their Activities in Studios By FRANK VREELAND. Now in Motion Picture of "Peck's Bad Boy" Sam Rork of the district was bv a to i William X. SeliR and B. edge Rained WHILE the discussion over films made In Germany Is beginning will revive that pioneer of the movlea, personal study of its people and cus¬ boil like a pot of tar, some interesting facts have come to light the two reel drama. / They announce toms. tli«y already have completed two pic- . regarding the Teutonic film industry which would surprise the Jackie. Coogan his east /n'Peck's Bad Boy " tures with William Desmond Wallace Larry Semon gave supporting Hveraj?e layman and make him realize that this country Is not the only Strand Beery and Elinor Fair in the first, an. the hardest workout ot ^their film ca¬ and reers in the finish of hl"^ Jateat comedy. movie on earth, the admitted superiority of the brand of Lefcis 8. Stone, Ethel Grey Terrj paradise despite Wallace Beery in the second. Hie rirsi The Bakery." This picture now is be¬ kunligiu dispensed in Los Angeles. of these is -The Policeman and the ing completed at Vttagraph's Western The number of motion picture producing companies in Germany Is Babv," by Charles 1. Cullen, and th» rtudios. Milled about in a myriad of James Oliver ' akes, plunged three stories into vatp we thluk we have so second is adapted from reported to be twice a* great as here, though may Curwood's famous short storj, uf dcugli and thence into kegs of black many in this country that a man can't fall off n trolley car without arousing Wilderness Malt." paint, the troupe had a mad time of ft stated ? . -
Papéis Normativos E Práticas Sociais
Agnes Ayres (1898-194): Rodolfo Valentino e Agnes Ayres em “The Sheik” (1921) The Donovan Affair (1929) The Affairs of Anatol (1921) The Rubaiyat of a Scotch Highball Broken Hearted (1929) Cappy Ricks (1921) (1918) Bye, Bye, Buddy (1929) Too Much Speed (1921) Their Godson (1918) Into the Night (1928) The Love Special (1921) Sweets of the Sour (1918) The Lady of Victories (1928) Forbidden Fruit (1921) Coals for the Fire (1918) Eve's Love Letters (1927) The Furnace (1920) Their Anniversary Feast (1918) The Son of the Sheik (1926) Held by the Enemy (1920) A Four Cornered Triangle (1918) Morals for Men (1925) Go and Get It (1920) Seeking an Oversoul (1918) The Awful Truth (1925) The Inner Voice (1920) A Little Ouija Work (1918) Her Market Value (1925) A Modern Salome (1920) The Purple Dress (1918) Tomorrow's Love (1925) The Ghost of a Chance (1919) His Wife's Hero (1917) Worldly Goods (1924) Sacred Silence (1919) His Wife Got All the Credit (1917) The Story Without a Name (1924) The Gamblers (1919) He Had to Camouflage (1917) Detained (1924) In Honor's Web (1919) Paging Page Two (1917) The Guilty One (1924) The Buried Treasure (1919) A Family Flivver (1917) Bluff (1924) The Guardian of the Accolade (1919) The Renaissance at Charleroi (1917) When a Girl Loves (1924) A Stitch in Time (1919) The Bottom of the Well (1917) Don't Call It Love (1923) Shocks of Doom (1919) The Furnished Room (1917) The Ten Commandments (1923) The Girl Problem (1919) The Defeat of the City (1917) The Marriage Maker (1923) Transients in Arcadia (1918) Richard the Brazen (1917) Racing Hearts (1923) A Bird of Bagdad (1918) The Dazzling Miss Davison (1917) The Heart Raider (1923) Springtime à la Carte (1918) The Mirror (1917) A Daughter of Luxury (1922) Mammon and the Archer (1918) Hedda Gabler (1917) Clarence (1922) One Thousand Dollars (1918) The Debt (1917) Borderland (1922) The Girl and the Graft (1918) Mrs. -
The Horror Film Series
Ihe Museum of Modern Art No. 11 jest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Saturday, February 6, I965 FOR IMMEDIATE RELEASE The Museum of Modern Art Film Library will present THE HORROR FILM, a series of 20 films, from February 7 through April, 18. Selected by Arthur L. Mayer, the series is planned as a representative sampling, not a comprehensive survey, of the horror genre. The pictures range from the early German fantasies and legends, THE CABINET OF DR. CALIGARI (I9I9), NOSFERATU (1922), to the recent Roger Corman-Vincent Price British series of adaptations of Edgar Allan Poe, represented here by THE MASQUE OF THE RED DEATH (I96IO. Milestones of American horror films, the Universal series in the 1950s, include THE PHANTOM OF THE OPERA (1925), FRANKENSTEIN (1951), his BRIDE (l$55), his SON (1929), and THE MUMMY (1953). The resurgence of the horror film in the 1940s, as seen in a series produced by Val Lewton at RR0, is represented by THE CAT PEOPLE (19^), THE CURSE OF THE CAT PEOPLE (19^4), I WALKED WITH A ZOMBIE (19*£), and THE BODY SNAT0HER (19^5). Richard Griffith, Director of the Film Library, and Mr. Mayer, in their book, The Movies, state that "In true horror films, the archcriminal becomes the archfiend the first and greatest of whom was undoubtedly Lon Chaney. ...The year Lon Chaney died [1951], his director, Tod Browning,filmed DRACULA and therewith launched the full vogue of horror films. What made DRACULA a turning-point was that it did not attempt to explain away its tale of vampirism and supernatural horrors. -
In 1925, Eight Actors Were Dedicated to a Dream. Expatriated from Their Broadway Haunts by Constant Film Commitments, They Wante
In 1925, eight actors were dedicated to a dream. Expatriated from their Broadway haunts by constant film commitments, they wanted to form a club here in Hollywood; a private place of rendezvous, where they could fraternize at any time. Their first organizational powwow was held at the home of Robert Edeson on April 19th. ”This shall be a theatrical club of love, loy- alty, and laughter!” finalized Edeson. Then, proposing a toast, he declared, “To the Masquers! We Laugh to Win!” Table of Contents Masquers Creed and Oath Our Mission Statement Fast Facts About Our History and Culture Our Presidents Throughout History The Masquers “Who’s Who” 1925: The Year Of Our Birth Contact Details T he Masquers Creed T he Masquers Oath I swear by Thespis; by WELCOME! THRICE WELCOME, ALL- Dionysus and the triumph of life over death; Behind these curtains, tightly drawn, By Aeschylus and the Trilogy of the Drama; Are Brother Masquers, tried and true, By the poetic power of Sophocles; by the romance of Who have labored diligently, to bring to you Euripedes; A Night of Mirth-and Mirth ‘twill be, By all the Gods and Goddesses of the Theatre, that I will But, mark you well, although no text we preach, keep this oath and stipulation: A little lesson, well defined, respectfully, we’d teach. The lesson is this: Throughout this Life, To reckon those who taught me my art equally dear to me as No matter what befall- my parents; to share with them my substance and to comfort The best thing in this troubled world them in adversity. -
Film from Both Sides of the Pacific Arw
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2012 Apr 26th, 1:00 PM - 2:15 PM Painting the Enemy in Motion: Film from both sides of the Pacific arW Avery Fischer Lakeridge High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Film and Media Studies Commons, and the History Commons Let us know how access to this document benefits ou.y Fischer, Avery, "Painting the Enemy in Motion: Film from both sides of the Pacific arW " (2012). Young Historians Conference. 9. https://pdxscholar.library.pdx.edu/younghistorians/2012/oralpres/9 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Painting the Enemy in Motion: Film from both sides of the Pacific War Avery Fischer Dr. Karen Hoppes HST 202: History of the United States Portland State University March 21, 2012 Painting the Enemy in Motion: Film from both sides of the Pacific War On December 7, 1941, American eyes were focused on a new enemy. With the Japanese attack on Pearl Harbor, no longer were Americans concerned only with the European front, but suddenly an attack on American soil lead to a quick chain reaction. By the next day, a declaration of war was requested by President Roosevelt for "a date that will live on in infamy- the United States of America was suddenly and deliberately attacked by naval and air forces of the Empire of Japan .. -
First National News Dated May 1
- COLLEEN-A'-- GEORGE MOORE ^- FITZMAURICE- \€ fill M t* •' j 7 Vol. III. No. 8. April 15/1928 " and then in 1928 came a great turning point in the history of the picture industry* "That year First National broke with FIVE famous record- breakers right off the bat! "Colleen Moore in 'Her Wild Oat', Richard Barthelmess in 'The Patent Leather Kid', 'The Private Life of Helen of Troy', 'Shepherd of the Hills' by Harold Bell Wright, and Richard Barthelmess in 'The Noose'— one right after another! And each one better than the last. "Of course everybody remembers these great hits today, just as they remember 'Abraham Lincoln/ 'The Sea Hawk,' and 'Birth of a Nation'. But the thing few people realize is that these five pictures that have come down in history were released in A SINGLE MONTH by A SINGLE COMPANY. "And on top of that First National followed right up with "I made more a dozen others just as big, including Colleen Moore in 'Lilac with 'The Time', Richard Barthelmess in 'The Little Shepherd of King- money dom Come', Charlie Murray in 'Vamping Venus', Johnny Patent Leather Hines in 'Chinatown Charlie', Harry Langdon in 'The Kid' than with Chaser', 'Ladies' Night in a Turkish Bath' with Jack Mulhall and Dorothy Mackaill, and Charlie Murray and George Sidney in 'Flying Romeos'. or ff "What a season that was! *Fill in here the titles of any "Of course all my house records were knocked sky-high. two of the greatest Specials "I remember as though it were yesterday how completely of the past or present and these great hits took the trade by storm. -
John Ford Film Series at Museum of Modern Art
I THE MUSEUM OF MODERN ART No. 50 n WEST 53 STREET. NEW YORK 19. N. Y. For Immediate Release ffUFHONl: CIRCLI B-8900 JOHN FORD FILM SERIES AT MUSEUM OF MODERN ART JOHN FORD: NINE FILMS, a new auditorium series at the Museum of Modern Art, 11 West 53 Street, will begin with THE IRON HCRSE, June 7-13, daily showings at 3 pm. The 1921* silent film, an epic of the first American trans-continental railroad, features George O'Brien and Madge Bellamy, With the program changing each Sunday, the review of films by Mr, Ford, the eminent American director, will continue daily at 3 and 5:30: June lk-20, FOUR SONS (19ft), with Margaret Mann, Francis X. Bushman, Jr; June 21-27, THE INFORMER (1935), with Victor McLaglen; June 28-July h, STAGECOACH (1929), with John Wayne, Claire Trevor, John Carradine; July 5-11, YOUNG MR. LINCOLN (1939), with Henry Fonda, Alice Brady; July 12-18, LONG VOYAGE HOME (19^0), with John Wayne, Thomas Mitchell, Barry Fitzgerald; July 19-25, T"E GRAPES OF WRATH (19lO), with Henry Fonda, Jane Darwell, John Carradine; July 26-Aufust 1, MY DARLING CLEMINTINE (19^6), with Henry Fonda, Linda Darnell, Victor Mature; August 2-8, THE QUIET MAN (1952), with John Wayne, Maureen OfHara, Barry Fitzgerald. THE QUIET MAN will be shown at 3 pm only, Richard Griffith, Curator of the Film Library, says of the new Museum series: "To choose nine films by John Ford for this exhibition will seem to the great director's admirers an act of impertinence. -
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. -
Mutual Aesthetics Joseph D
Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 2016 Mutual Aesthetics Joseph D. Sherry Rhode Island College, [email protected] Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Part of the Other Film and Media Studies Commons, and the Visual Studies Commons Recommended Citation Sherry, Joseph D., "Mutual Aesthetics" (2016). Honors Projects Overview. 117. https://digitalcommons.ric.edu/honors_projects/117 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. MUTUAL AESTHETICS VISUAL STYLE IN THE FILMS OF F.W. MURNAU AND JOHN FORD, 1928-1941 By Joseph D. Sherry An Honors Project Submitted in Partial Fulfillment Of the Requirements for Honors In The Film Studies Program The School of Arts and Sciences Rhode Island College 2016 Sherry 1 Introduction F.W. Murnau wrote, “All great arts have had great artists born to understand them as no other men can, and the motion picture is the single art expression of our age.”1 Murnau made this remark shortly after his masterpiece, Sunrise: A Song of Two Humans (1927), was released by Fox Film Corporation. Sunrise’s production riveted the entire studio lot due to its scope and Murnau’s international reputation; its subsequent critical success solidified Murnau’s place in Fox’s top-tier of directors. But John Ford, also one of Fox’s top-tier directors, once brusquely remarked, “It’s no use talking to me about art . -
R,Fay 16 2013 Los Angeles City Council Room 395, City Hall 200 North Spring Street, Room 410 Los Angeles, California 90012
DEPARTMENT OF CITY PLANNING EXECUTIVE OFFICES OFFICE OF HISTORIC RESOURCES MICHAEL LOGRANDE 200 N. SPRING STREET. ROOM 620 CITY OF Los ANGELES los ANGELES,CA 90012·4801 DIRECTOR (213) 978 ·1200 CALIFORNIA (213) 978·1271 ALAN BELl, Arc? CULTURAL HERITAGE COMMISSION O,PUlY D1R'CTOR· (213) 978-1272 RICHARD BARRON PR,S!O~NT USA WEBBER, Ale!> ROELLA H. LOUIE DEPUTY DIRECTOR VlCE-PR,SIOENT (213) 978-1274 TARA}. HAMACHER GAlL KENNARD EVA YUAN-MCDANrEl OZSCOTT DEPUlY DIRECTOR ANTONIO R. VILLARAIGOSA (213) 978-1273 FElY C PINGOl MAYOR FAX: (213) 978-1275 COMMISSION iOXECUTIVE ASSISTANT (213) 978-1294 INFORMATION (213) 978·1270 wwwplanning.ladty.org Date: r,fAY 16 2013 Los Angeles City Council Room 395, City Hall 200 North Spring Street, Room 410 Los Angeles, California 90012 Attention: Sharon Gin, Legislative Assistant Planning and Land Use Management Committee CASE NUMBER: CHCw2013w510wHCM GIBBONSwDEL RIO RESIDENCE 757 KINGMAN AVENUE At the Cultural Heritage Commission meeting of May 9, 2013, the Commission moved to include the above property in the list of Historic-Cultural Monument, subject to adoption by the City Council. As required under the provisions of Section 22.171.10 of the Los Angeles Administrative Code, the Commission has solicited opinions and information from the office of the Council District in which the site is located and from any Department or Bureau. of the city whose operations may be affected by the designation of such site as a Historic-Cultural Monument. Such designation in and of itself has no fiscal impact Future applications for permits may cause minimal administrative costs. -
TSAP 2016 Screening Schedule
To Save and Project: The 14th MoMA International Festival of Film Preservation Screening Schedule November 2–23, 2016 The Roy and Niuta Titus Theaters Cock of the Air. 1932. USA. Directed by Tom Buckingham. Screenplay by Charles Lederer, Robert E. Sherwood. With Chester Morris, Billie Dove, Matt Moore. Co-presented with the Academy of Motion Picture Arts & Sciences, this New York premiere kicks off To Save and Project. Producer Howard Hughes combined two of his principal interests—one of them was airplanes—for this amazingly raunchy comedy set in Europe during World War I, with Chester Morris as an American pilot with an international reputation as a womanizer and Billie Dove as a French actress determined to teach him a lesson. Hughes tried but failed to sneak the film past the Hays censorship office and was forced to cut nearly two reels of footage; this restoration from the Academy Film Archive includes much of the censored imagery and uses newly recorded dialogue to fill in lines removed from the surviving soundtrack. The unheralded director Tom Buckingham demonstrates a surprisingly assured hand with extreme long takes, a technique he may have learned as a writer on Tay Garnett’s Her Man. DCP. 80 min. Wednesday, November 2, 4:30 (introduced by Michael Pogorzelski, Director, and Heather Linville, Film Preservationist, Academy Film Archive) Sunday, November 6, 4:00 p.m. The Front Page. 1931. USA. Directed by Lewis Milestone. Screenplay by Ben Hecht, Charles MacArthur, based on their play. With Pat O’Brien, Adolphe Menjou, Mary Brian. Co-presented with the Academy of Motion Picture Arts & Sciences, this New York premiere kicks off To Save and Project. -
The Scenographic Sublime an Aesthetic Analysis of Howard Barker’S Work 1998-2011
The Scenographic Sublime An Aesthetic Analysis of Howard Barker’s Work 1998-2011 Lara Maleen Kipp Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy at Aberystwyth University Department of Theatre, Film and Television 30. September 2016 Word count of thesis: 89668 DECLARATION This work has not been previously been accepted in substance for any degree and is not being concurrently submitted in candidature of any degree. Signed (candidate) Date STATEMENT 1 This thesis is the result of my own investigations, except where otherwise stated. Where *correction services have been used, the extent and nature of the correction is clearly marked. Other sources are explicitly acknowledged following the Harvard referencing system. A bibliography is appended. Signed (candidate) Date [*this refers to the extent to which the text has been corrected by others] STATEMENT 2 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed (candidate) Date To Keith LeFever, who has been and continues to be an inspiration, a guide, a critic and a counsellor without whom this would not be the path I am on. Acknowledgements Immense gratitude goes to my supervisors, Prof. David Ian Rabey and Dr. Karoline Gritzner, without whom I likely would not have devised this project in the first place. Their support, guidance, essential criticisms, encouragements, incredible generosity and feedback are evident to me throughout this thesis and they deserve explicit and many thanks. Naturally, my gratitude to Howard Barker cannot be overstated; our on-going correspondence over the course of this research provided encouragement and thoughtful provocation by turns; his openness in talking to me about his work, and his generosity with production materials and scripts really elevated the enquiry.