Show World (March 28, 1908)

Total Page:16

File Type:pdf, Size:1020Kb

Show World (March 28, 1908) EEB3IQ9 PRICE MARCH28 ID CENTS 1908 2 THE SHOW WORLD March 28,1908. FILMS ==FOR= RENT ---THE FATHER—- OF THEM ALL EUGENE CLINE 59 Dearborn St., CHICAGO 717 Superior Avenue = - CLEVELAND, OHIO 1021-1023 Grand Avenue = KANSAS CITY, MO. 268 S. State Street = SALT LAKE CITY, UTAH Third and Nicollet Avenues, MINNEAPOLIS, MINN. ^twenty-eight pages price ten cents ~TTT The Shout IUorld THE TWENTIETH CENTURY AMUSEMENT WEEKLY Published at 87 Sooth Clark Street, Chicago, by The iShohj HIorld Publishing ,Co.? Entered as Secondl - Class Matter WA RREN A. PA TR/CK , GENERAL D/RECTOR. a\ thf, P°SJ' °f!ice at Chi^^6’,”ln1°“l I . June 25,1907 under the Act of Congress of March 3,1879. Volume II—No. 14. CHICAGO March 28, 1908 IN THE WORLD OF ENTERTAINMENT 4 THE SHOW WORLD March 28, 1903; Wanted Woman THE SALARY; Good Teeth Worker on Twisting Rope; SS&’.'SSS Address J. fl. 8..Tlie Snow World, Chicago C. W. PARKER, Abilene, Kan. Theatrical Costumes CARNIVAL COSTUME GO, Poster Photos ARTHUR SANDERS DRAMATIC DIRECTOR “A CorKer in Cork” GEORGE ATKINSON THE SHOW WORLD 5 PLAYS AND PLAYERS NOW Will you stand for “Junk” and “Bunk”? You don’t have to. Your money talks. “Stalling” days are over. We have been patient. But we knew that we would get the Quality Customers. Best Films and Temple Service will make good. FILMS FOR RENT Temple Film Co. Dearborn 4 Randolph Sts., Chicago Tickets! Tickets! Tickets! The Largest Wholesale and Retail Establishment in the World; Prompt Shipments-Best Quality Always. TICKETS = PRICES TICKETS = 500,000 TICKETS = 1,000,000 TICKETS = THE&TORIDM CONSTRUCTION COMPANY -the Sick to get well French Lick and West B variety of their cures. No fin¬ er hotel in the country; every B. E. TAYLOR, Frznk^.Reed, THE SHOW WORLD March 28, 1908. STATUS OF FILM SERVICE IMPORTANT STATEMENT ASSOCIATION OUTLINED ISSUED BY BIOGRAPH CO. THE SHOW WORLD has received hun- that are necessary to the exhibitor’s sue <'T*HE American Mutoscope & Biograph Co. ns ce“ T,—' 1 Objectives, Etc. KAHN & CO. $ lor You!” 2 | ior me love oi neaven sena gp yoar manuscript in type- If written. Contest closes the W. first of May. If you want 1 .a*, writ. ,o5 I SECOND-^'^5 | the Great i I and Trials of Caleb cPotwers. $M .. ‘ .^hfSi Laemmle i Film Service s£ 196=198 Lake St., Chicago jjjj A1 locations wanted for Ji s;3»slc.*?-m/hc„^^ THE SHOW ’St* March 28, 1908. THE SHOW WORLD EDISON FIRES SECOND TO WHOM IT MAY CONCERN; GUN IN FILM BATTLE It having come to our notice that certain firms, Injunction Suits Instituted Against Owners of Moving Thea¬ members of the Film Service Association, have sent ters in Chicago—George Kleine Discusses Ligitation. letters broadcast containing the statement that any exhibitor who uses Independent films will be liable to [The Edison Manufacturing having his theatre closed or taken away from him, we invite the recipient of any such letter to send it to us moving picture -e William Marks, Joseph with an affidavit stating the manner in which it was Rohlandson, John H. ____-jeking i nee of intimidation, hi received. against exhibitors, bi a_ „_fountain head and sun If similar threats are made verbally, obtain the _id the Edison Manufacturing Co. ini court for violation of the Latham patent, presence of a witness if possible and send us affidavits am not in a position to speak for the Bi< graph Co. as to its course in the near fi testifying to the threats made. but considering the events which ha\ raiien place recently it would be the naturs This form of intimidation makes the offender sequence to bring suits against users ( films licensed by the Edison Mfg. Co. fc liable to severe penalties. - - the Latham patent. eged infringement. policy to protect to the utmoi George Kleine Talks of Suits. In an interview with a representative of lastic language, threatening innumerable Kleine Optical Co. 'HE SHOW WORLD, George Kleine, presi- aw suits against infringers, wherever found, ient of the Kleine Optical company, said he claims under the Latham patent will wsardtng the filing of the suits: ie pushed to a speedy decision, and if suc- 52 State St. CHICAGO, ILL. wh.™ Manufacturing essful the Biograph Co. will then be in a ompany in ^ bringing^ £ losition to secure injunctions instanter e familiar igainst anybody who uses films of any make e of pro- tpon a machine or camera which infringes Bdurel is purely commercial, i ts patent rights. Inasmuch as this ques- are many intelligent7me/among them. The igthen any^pretens.ora to annoy these it the nickelodeo: second success of the opposition is to have permitted each customer to select what pleases ivho ^e^u^ing films supplied by inde- him and not to oblige anyone to give a stand¬ ... ,vrhfl.n aes. rather than to prose- ing order. But these clever foreign manu¬ of value, and the facturers omitted to add that it would have I'ilm Service Committeeman J been impossible for them to obtain standing irders fron ” ‘SaS e that W. E. ( reason tha. _„ _ ue rnaterial^ aj Company, made wholeblot^: I doubt whether such a customer ■cure a better footing in a4 court of3 ju :ime. uur presence was quickly h institution of suil nd created quite a panic among the "Besides the two successes mentioned, the nd the validity of the a-- 3 of the Edison patents. All sorts fqrqign manufacturers enjoy also another ill not be bolstered up by the nun sports were circulated during my sb advantage, which must not be overlooked. They rent their lucky customers all the films i'Thh=e<iiling of numerous suits ^c ireign n that remain on their hands on account of being too poor a quality to sell. (In fact, I agree lat they are attempting to drive u with them that this was the only resource [dependent films into the Edison ci i Edison, had ad- when standing orders were not enforced.) uestionable methods. admit that the opposition has won out [VO different ways. First, the foreign really very clever; they even revive old characteristic feeling of stubborn: tained within a manufacturers have bee: successful in getting patents. le average American which promp niieh attention ed the validity of the Edison claims, I^ook quantity of old iolate his principles of independenc up the matter with them, and quote from considered as he opposition; li their reply as follows: ‘We never advised heir shelves for l to make good mms. l ou, Proceeding is Commercial. that the Edison film patent was valid, and w how the Tn- r service to your customers, “I atn firmly convinced that the we never considered it valid.’ ok this name as -tisfaction and make more Importance of Opinion. not depend on ’ “Those who are familiar with the history stood for this e defeated Edison ring picture cam- Specialist—v “It is worthy i the second suit broui y Edison upon his re¬ in any line is e United State issue of the film garded the lega status of the claim lightly that they but entered a, i The Man That Gets Results initted all the facts plainant, he has no You prefer a Specialist in Medicine and in Law, Edison withdrew his could be rendered. then why not patronize a Specialist for your -- of our films will be .ny exhibitor who ’ e defended fi - The Biograph C defense of the various Seaver Discusses Litigation. Film Rental Service if the We limit ourselves to the rental of Films and Song Slides r bringing and by devoting our time and attention exclusively to this e sensitized surface a iens and „ Chica t in rapid branch of optical projection, we have become Masters of the Business. We are o Create Monopoly. r will c ^ apparatus fe-^pyrol Members £ Film Service think the Edison Manu- be shown a court decision in its favor be- Association “In fact both myself and Mr. W. R. Co- and are equipping our service with films made only by Edison. s refers zart, who have promoted the Protective Association, and are using Independent Pathe, Selig, Essenay, Lubin, Melies and Kalem, without films feel that we have been siio-htefi i... which a satisfactory service cannot be had, because only Slower0 U°iW°St °f atl inata“ce sued by Edison. We those manufacturers who have qualified as makers of good case, where the decision of the upper court derstand why they iepender films are eligible to license. We have an abundance of snows the most profound investigation and jriook m unanimity of opinion, has not followed the i joke, a upper court; and I do not believe that the articipants instead attorneys for'the Edison Manufacturing Co. faunh 1 ’ can cite a single instance of a parallel case ■n which such procedure was had. I have previously shown that the rights The Best That’s Made M the Biograph Co. t in films and song slides; we keep them in first-class condi¬ r by v tion; discard any that have become damaged to unfit them withstanding whli for further satisfactory service; keep a record of the class of subjects preferred by each of our customers; a record of what they have had; give careful attention to selections; ship promptly; are painstaking and obliging, and that’s why the ui statement regarding Mr. Berst’s visit to Chi- Sht alleged We Hold Our Customers “I returned from Chicago last week and am the Latham patent. satisfied with the conditions of our trade in Let us show you what we can do for the bank account of a Biograph and Latham Patents.
Recommended publications
  • Final Judgment: U.S. V. Motion Picture Patents Company, Et
    THE UNITED STATES OF AMERICA, PETITIONER, vs. MOTION PICTURE PATENTS COMPANY, GENERAL FILM COM­ PANY, BIOGRAPH COMPANY, THOMAS A. EDISON (INC.), ESSANAY FILM MANUFACTURING COMPANY, THE KALEM COMPANY, (INC.), GEORGE KLEINE, LUBIN MANUFAC­ TURING COMPANY, MELIES MANUFACTURING COMPANY, PATHE FRERES, THE SELIG POLYSCOPE COMPANY, THE VITAGRAPH COMPANY OF AMERICA, ARMAT MOVING PICTURE COMPANY, FRANKL. DYER, HENRY N. MARVIN, J. J. KENNEDY, WILLIAM PELZER, SAMUEL LONG, J. A. BERST, SIEGMUND LUBIN, GASTON MELIES, ALBERT E. SMITH, GEORGE K. SPOOR, AND W. N. SELIG, DEFEN­ DANTS. Before OLIVER B. DICKINSON, United States District Judge. DECREE. This cause came on for final,, hearing upon the plead­ ings and all the evidence and was argued on behalf of the petitioner by Edwin P. Grosvenor, Special Assistant to the Attorney General, and on behalf of the defendants by Charles F. Kingsley, Melville Church and Hon. Reuben 0. Moon, and thereafter, upon consideration thereof, the Court announced and caused to be filed, on October 1, 1915, its written opinion therein. Whereupon the Court adjudged, ordered and decreed as follows: First. That the petition be and is hereby dismissed as to the defendant, Melies Manufacturing Company. Second. The death of Samuel Long occurred after the final hearing and there has been no revivor. Third. That the defendants (other than the Melies Manufacturing Company, against whom the petition is dismissed) and each of them, have attempted to monopo­ lize and have monopolized and have combined and con­ spired, among themselves
    [Show full text]
  • Appendix: Partial Filmographies for Lucile and Peggy Hamilton Adams
    Appendix: Partial Filmographies for Lucile and Peggy Hamilton Adams The following is a list of films directly related to my research for this book. There is a more extensive list for Lucile in Randy Bryan Bigham, Lucile: Her Life by Design (San Francisco and Dallas: MacEvie Press Group, 2012). Lucile, Lady Duff Gordon The American Princess (Kalem, 1913, dir. Marshall Neilan) Our Mutual Girl (Mutual, 1914) serial, visit to Lucile’s dress shop in two episodes The Perils of Pauline (Pathé, 1914, dir. Louis Gasnier), serial The Theft of the Crown Jewels (Kalem, 1914) The High Road (Rolfe Photoplays, 1915, dir. John Noble) The Spendthrift (George Kleine, 1915, dir. Walter Edwin), one scene shot in Lucile’s dress shop and her models Hebe White, Phyllis, and Dolores all appear Gloria’s Romance (George Klein, 1916, dir. Colin Campbell), serial The Misleading Lady (Essanay Film Mfg. Corp., 1916, dir. Arthur Berthelet) Rebecca of Sunnybrook Farm (Mary Pickford Film Corp., 1917, dir. Marshall Neilan) The Rise of Susan (World Film Corp., 1916, dir. S.E.V. Taylor), serial The Strange Case of Mary Page (Essanay Film Manufacturing Company, 1916, dir. J. Charles Haydon), serial The Whirl of Life (Cort Film Corporation, 1915, dir. Oliver D. Bailey) Martha’s Vindication (Fine Arts Film Company, 1916, dir. Chester M. Franklin, Sydney Franklin) The High Cost of Living (J.R. Bray Studios, 1916, dir. Ashley Miller) Patria (International Film Service Company, 1916–17, dir. Jacques Jaccard), dressed Irene Castle The Little American (Mary Pickford Company, 1917, dir. Cecil B. DeMille) Rebecca of Sunnybrook Farm (Mary Pickford Company, 1917, dir.
    [Show full text]
  • The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927
    Working Paper No. 70/03 The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927 Gerben Bakker © Gerben Bakker Department of Economic History London School of Economics February 2003 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0)20 7955 6482 Fax: +44 (0)20 7955 7730 Working Paper No. 70/03 The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927 Gerben Bakker © Gerben Bakker Department of Economic History London School of Economics February 2003 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0)20 7955 6482 Fax: +44 (0)20 7955 7730 Table of Contents Acknowledgements_______________________________________________2 Abstract________________________________________________________3 1. Introduction___________________________________________________4 2. The puzzle____________________________________________________7 3. Theory______________________________________________________16 4. The mechanics of the escalation phase _____________________________21 4.1 The increase in sunk costs______________________________________21 4.2 The process of discovering the escalation parameter _________________29 4.3 Firm strategies_______________________________________________35 5. Market structure ______________________________________________47 6. The failure to catch up _________________________________________54 7. Conclusion __________________________________________________63
    [Show full text]
  • Sample Chapter
    29004_U01.qxd 2/6/06 3:54 PM Page 13 Chapter 1 American Variety and/or Foreign Features The Throes of Film Distribution Imagine that you are a young woman who has decided to join one of your store clerk or stenographer friends going to the movies after work in down- town Des Moines, Iowa, in the spring of 1913. On Sunday, May 4, you read the Des Moines News and know what programs will be playing in at least four moving picture theaters that next week.1 On Tuesday, for instance, what are your choices? At the Casino (just opened in December) is Pathé’s Weekly (a newsreel), Essanay’s The Crazy Prospector, and Vitagraph’s Cinders. At the Fam- ily, Bison-101’s two-reel The Indian’s Secret and Billy’s First Quarrel. At the Unique, Majestic’s two-reel Children of St. Anne and Her Sister’s Secret. The Colonial has a special feature (running all week), the five-reel Satan or “The Drama of Humanity . from Creation to the present time.”2 Which theater you and your friend choose could depend on several factors, but, as a fre- quent moviegoer, you could count on familiarity and the relative quality of the variety programs at three of these theaters, each changed daily and sup- plied by a different film service or distributor: the Casino (General Film), the Family (Universal), and the Unique (Mutual). You also could be attracted, however, by Satan’s promotion as a sensational historical epic or by its nov- elty as a special feature (from Europe, no less), since the only previous film of four reels or more to play in the city was Queen Elizabeth, with Sarah
    [Show full text]
  • Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
    INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
    [Show full text]
  • Early Classical Hollywood Cinema 1900'S-In The
    Early Classical Hollywood Cinema 1900’s-In the early 1900s, motion pictures ("flickers") were no longer innovative experiments/scapist entertainment medium for the working-class masses/ Kinetoscope parlors, lecture halls, and storefronts turned into nickelodeon. Admission 5 cents (sometimes a dime) - open from early morning to midnight. 1905-First Nickelodean -Pittsburgh by Harry Davis in June of 1905/few theatre shows in US- shows GREAT TRAIN ROBBERY Urban, foreign-born, working-class, immigrant audiences loved the cheap form of entertainment and were the predominent cinema-goers Some of the biggest names in the film business got their start as proprietors, investors, exhibitors, or distributors in nickelodeons.:Adolph Zukor ,Marcus Loew, Jesse Lasky, Sam Goldwyn (Goldfish), the Warner brothers, Carl Laemmle, William Fox, Louis B. Mayer 1906-According to most sources, the first continuous, full-length narrative feature film (defined as a commercially-made film at least an hour in length) was Charles Tait's biopic of a notorious outback bushranger, The Story of the Kelly Gang (1906, Australia)- Australia was the only country set up to regularly produce feature-length films prior to 1911.- 1907-Griffith begins working for Edision- Edwin S. Porter's and Thomas Edison's Rescued From the Eagle's Nest (1907)/ Griffith- Contributing to the modern language of cinema, he used the camera and film in new, more functional, mobile ways with composed shots, traveling shots and camera movement, split-screens, flashbacks, cross-cutting (showing two simultaneous actions that build toward a tense climax), frequent closeups to observe details, fades, irises, intercutting, parallel editing, dissolves, changing camera angles, soft-focus, lens filters, and experimental/artificial lighting and shading/tinting.
    [Show full text]
  • In the District Court of the United States for the I N L I Eastern Distrct of Pe Nsyvana
    X I N D E . I Th e d e fen d an ts . I I busin e ss . Description of the III M P ur P . otion ict e atents Company P n r m n I V . relimi ary ag ee e ts for the assignment of the patents Th u u r ’ i Mo V . e man fact re s license agreements entered nto with the tion Picture Patents Company VI Th e x . rental e change agreements I I L i r . V . icensed exhib to s I I I L u ur r V . icense agreements with man fact e s of exhibiting machines I X G r F . ene al ilm Company X A M o P ur P n G r F . greement between oti n ict e ate ts Company and ene al ilm Company 31—33 XI A r G F P . g eements between the eneral ilm Company and atents Company licensees XI I u . Concl sion XIII u . J risdiction X I V P . rayer XH I B I T E S . E 1 r M P u P xhibit . Cha ter of otion ict re atents Company Ex 2 P r o M hibit . relimina y agreement f r assignment of patents between otion P u P E M u ur ict re atents Company and dison an fact ing Company , 18 1908 December , x 3 L fi E hibit . icense agreement under the camera and l m patents between Mo o P u P B o D e ti n ict re atents Company and i graph Company , m r 1 1 ce b e 8 908 .
    [Show full text]
  • The Emergence of Brooklyn's Cultural Identity During Cinema's Silent Era, 1893-1928
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2014 City of Superb Democracy: The Emergence of Brooklyn's Cultural Identity During Cinema's Silent Era, 1893-1928. David Morton University of Central Florida Part of the Public History Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Morton, David, "City of Superb Democracy: The Emergence of Brooklyn's Cultural Identity During Cinema's Silent Era, 1893-1928." (2014). Electronic Theses and Dissertations, 2004-2019. 4638. https://stars.library.ucf.edu/etd/4638 “CITY OF SUPERB DEMOCRACY:” THE EMERGENCE OF BROOKLYN’S CULTURAL IDENTITY DURING CINEMA’S SILENT ERA, 1893-1928 by DAVID D. MORTON B.A. East Stroudsburg University, 2009 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2014 Major Professor: Amy Foster © 2014 David Morton ii ABSTRACT This study discusses how motion picture spectatorship practices in Brooklyn developed separately from that of any other urban center in the United States between 1893 and 1928. Often overshadowed by Manhattan’s glamorous cultural districts, Brooklyn’s cultural arbiters adopted the motion picture as a means of asserting a sense of independence from the other New York boroughs.
    [Show full text]
  • Technology and Film Scholarship
    FILM THEORY TECHNOLOGY AND FILM SCHOLARSHIP IN MEDIA HISTORY EXPERIENCE, STUDY, THEORY EDITED BY SANTIAGO HIDALGO FOREWORD BY ANDRÉ GAUDREAULT Technology and Film Scholarship Film Theory in Media History Film Theory in Media History explores the epistemological and theoretical foundations of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. Adopting a historical perspective, but with a firm eye to the further development of the field, the series provides a platform for ground-breaking new research into film theory and media history and features high-profile editorial projects that offer resources for teaching and scholarship. Combining the book form with open access online publishing the series reaches the broadest possible audience of scholars, students, and other readers with a passion for film and theory. Series editors Prof. Dr. Vinzenz Hediger (Goethe University Frankfurt, Germany), Weihong Bao (University of California, Berkeley, United States), Dr. Trond Lundemo (Stockholm University, Sweden). Editorial Board Members Dudley Andrew, Yale University, United States Raymond Bellour, CNRS Paris, France Chris Berry, Goldsmiths, University of London, United Kingdom Francesco Casetti, Yale University, United States Thomas Elsaesser, University of Amsterdam, the Netherlands Jane Gaines, Columbia University, United States Andre Gaudreault, University of Montreal, Canada Gertrud Koch, Free University of Berlin, Germany John MacKay, Yale University, United States Markus Nornes, University of Michigan, United States Patricia Pisters, University of Amsterdam, the Netherlands Leonardo Quaresima, University of Udine, Italy David Rodowick, University of Chicago, United States Philip Rosen, Brown University, United States Petr Szczepanik, Masaryk University Brno, Czech Republic Brian Winston, Lincoln University, United Kingdom Film Theory in Media History is published in cooperation with the Permanent Seminar for the History of Film Theories.
    [Show full text]
  • The Early Film Exchange and the Market in Secondhand Films in New York Clipper Classified Ads
    PAUL S. MOORE “Bought, Sold, Exchanged and Rented”: The Early Film Exchange and the Market in Secondhand Films in New York Clipper Classified Ads ABSTRACT: Renting film prints became the economic basis for the commercial film industry, but how did the option take hold in early film exchanges in the United States? This article locates the origins of film renting in the shadows of a secondhand-film market. The classified want ads of theNew York Clipper preserve a uniquely rich archive of this informal practice from 1896 to 1907. The later business of standardized film-rental distri- bution was, in part, structured by this weekly printed record of the marketplace of cinema and its calls to trade “new and second hand films bought, sold, exchanged and rented.” KEYWORDS: distribution, film exchange, circulation, trade advertising, early cinema, New York Clipper The market for secondhand and rented films in North America had an inaus- picious start. Early in 1897, just two months after moving pictures started to be sold separately from projectors, Ira Fenton of Toronto, Canada, placed a two-line classified ad in the New York Clipper: “Wanted. Second-Hand Films for Projectoscope. Give subject and price.”1 Shunted to the very bottom of a page full of more than a hundred classified ads, Fenton’s want ad was barely larger than one of the other hundred notices on the same page from acts seeking to book engagements. Classified ads made the Clipper unique among its class of dramatic press competitors.2 An ad in the paper was the perfect venue to sell something used, casting a continent-wide net to find a buyer.
    [Show full text]
  • The American Giallo
    Georgi Wehr THE AMERICAN GIALLO The Italian Giallo and its Influence on North-American Cinema DOCTORAL THESIS submitted in fulfilment of the requirements for the degree of Doktor der Philosophie Alpen-Adria-Universität Klagenfurt Fakultät für Kulturwissenschaften Supervisor Assoc.-Prof. PD Dr. Angela Fabris Alpen-Adria-Universität Klagenfurt Institut für Romanistik Supervisor Univ.-Prof. Dr. Jörg Helbig, M.A. Alpen-Adria-Universität Klagenfurt Institut für Anglistik und Amerikanistik Evaluator Univ.-Prof. Dr. Jörg Helbig, M.A. Alpen-Adria-Universität Klagenfurt Institut für Anglistik und Amerikanistik Evaluator Assoc. Prof. Srećko Jurišić University of Split Klagenfurt, February 2020 i Affidavit I hereby declare in lieu of an oath that - the submitted academic paper is entirely my own work and that no auxiliary materials have been used other than those indicated, - I have fully disclosed all assistance received from third parties during the process of writing the thesis, including any significant advice from supervisors, - any contents taken from the works of third parties or my own works that have been included either literally or in spirit have been appropriately marked and the respective source of the information has been clearly identified with precise bibliographical refer- ences (e.g. in footnotes), - to date, I have not submitted this paper to an examining authority either in Austria or abroad and that - when passing on copies of the academic thesis (e.g. in bound, printed or digital form), I will ensure that each copy is fully consistent with the submitted digital version. I understand that the digital version of the academic thesis submitted will be used for the purpose of conducting a plagiarism assessment.
    [Show full text]
  • Screening Race in American Nontheatrical Film with a FOREWORD by JACQUELINE NAJUMA STEWART Screening Race in American Nontheatrical
    Screening Race in American Nontheatrical Film WITH A FOREWORD BY JACQUELINE NAJUMA STEWART Screening Race in American Nontheatrical Film ALLYSON NADIA FIELD MARSHA GORDON EDITORS Duke University Press Durham and London 2019 © 2019 Duke University Press Cover art: (Clockwise from All rights reserved top left) Untitled (Hayes Printed in the United States of Amer i ca on family, 1956–62), courtesy acid- free paper ∞ of the Wolfson Archives at Designed by Courtney Leigh Baker Miami Dade College; Day Typeset in Minion Pro, Clarendon, and Din by of the Dead (Charles and Westchester Publishing Ser vices Ray Eames, 1957); Easter 55 Xmas Party (1955), courtesy Library of Congress Cataloging- in- Publication Data of the University of Names: Field, Allyson Nadia, [date] editor. | Gordon, Chicago/Ghian Foreman; Marsha, [date] editor. | Stewart, Jacqueline Najuma, [date] Gee family home film, writer of the foreword. courtesy of Brian Gee and Title: Screening race in American nontheatrical film / Center for Asian American edited by Allyson Nadia Field and Marsha Gordon ; Media; The Challenge with a foreword by Jacqueline Najuma Stewart. (Claude V. Bache, 1957). Description: Durham : Duke University Press, 2019. | Includes bibliographical references and index. Identifiers: lccn 2019006361 (print) lccn 2019012085 (ebook) isbn 9781478005605 (ebook) isbn 9781478004141 (hardcover : alk. paper) isbn 9781478004769 (pbk. : alk. paper) Subjects: lcsh: Race in motion pictures. | Race awareness in motion pictures. | African Americans in motion pictures. | Minorities in motion pictures. | Motion pictures in education— United States. | Ethnographic films— United States. | Amateur films— United States. Classification: lcc pn1995.9.r22 (ebook) | lcc pn1995.9.r22 s374 2019 (print) | ddc 791.43/65529— dc23 lc rec ord available at https:// lccn .
    [Show full text]