DOCSLIB.ORG

Papéis Normativos E Práticas Sociais

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Papéis Normativos E Práticas Sociais A DAMA DAS CAMÉLIAS (Camille) - 1917, Fox Film Corp., EUA; Romance (1848) de Alexandre Dumas Filho; Cenário Adrian Johnson, Apresentação William Fox, Fotografia Rial Schellinger; Diretor: J. Gordon Edwards; Com Theda Bara (Camille Gauthier), Albert Roscoe (Armand Duval), Walter Law, Glen White, Alice Gale, Claire Whitney. Theda Bara como Camillle Gauthier em “A dama das camélias”. 1 O PÁSSARO AZUL (The Blue Bird) - 1918, Famous Players-Lasky Corp./Artcraft Film; Adaptação da peça: "L'Oiseau Bleu" (1890) de Maurice Maeterlinck; Cenário: Charles Maigne; Apresentação: Adolph Zukor, Décors: Ben Carré, Fotografia: John van den Boeck, Diretor: Maurice Tourneur, Com Tulla Belle, Robin MacDougall, Gertrude McCoy, Edwin E. Reed, Emma Lowry, William J. Gross, Florence Anderson, Edward Elkas, Katherine Bianchi, Lillian Cook, Gertrude McCoy, Lyn Donelson, Charles Ascot, Tom Corless, Mary Kennedy, Eleanor Masters, Charles Craig, Sam Blum, S. E. Potapovich, Rose Rolanda . Robin MacDougall e Tula Belle em ”The Blue Bird” (1918). 2 CARMEN (Carmen) - 1918, 72 min, da Projektions-A. G. Union, Alemanha; Novela (1845) de Prosper Mérimée, Cenário Hans Kraly, Décors Paul Richter, Costumes: Ali Hubert, fotografia Alfred Hansen, Partitura de Arthur Vieregg baseada em motivos de Georges Bizet, Diretor Ernst Lubitsch, Com Pola Negri (Carmen), Harry Liedtke, Leopold von Ledebur, Grete Diercs, Wilhelm Diegelmann, Heinrich Peer, Margaret Kupfer, Sophie Pagay, Paul Conradi, Max Kronert, Paul Biensfeldt, Victor Janson, Magnus Stifter, Albert Venohr. Cartaz da época. 3 MADAME DuBARRY - 1919, 120 min, da Projektions- A. G. Union, de Berlim, Alemanha; Argumento: Fred Orbing e Hans Kräly, Décors: Hurt Richter, Diretor de fotografia: Carl Moos, Fotografia: Theodor Sparkuhl, Vestuário: Ali Hubert, Direto:Ernst Lubitsch; Com Pola Negri, Emil Jannings, Reinhold Schünzel, Eduard von Winterstein, Karl Platen, Paul Biensfeldt, Magnus Stifter, Willy Kaiser-Heyl, Else Berna, Fred Immler, Gustav Czimeg, Alexander Ekert, Marga Köhler. Cartaz da época. 4 HOMEM MIRACULOSO (The Miracle Man) - 1919, da Mayflower Phoyoplay Corp.; Distribuição Paramount-Artcraft Pictures, EUA; Da novela (1914) de Frank Lucius Packard e Peça de George M. Cohan, Fotografia Philip Rosen e Ernest Palmer, diretor assistente Chester L. Roberts, Cenário e Direção George Loane Tucker, Com Thomas Meighan, Betty Compson, Lon Chaney, Joseph Dowling, Elinor Fair, J. M. Dumont, W. Lawson Butt, F. A. Turner, Lucille Hutton, Joseph J. Dowling, Ruby Lafayette, Frankie Lee, Thomas Meighan, Tulla Belle, Dwight Crittenden. Artigo do jornal “The Saturday evening post” que se referia a estréia deste filme. 5 O LÍRIO PARTIDO (The Broken Blossoms) - 1919, produção: D. W. Griffith, EUA; distribuição United Artists, argumento "The Chink and the Child" de Thomas Burke, fotografia G. W. Bitzer, partitura musical Louis F. Gottschalk e D. W. Griffith, produção e direção David Wark Griffith. Com Lillian Gish, Richard Barthelmess, Donald Crisp, Edward Peil, Arthur Howard, Norman Selby, George Beranger, Ernest Butterworth. Lilian Gish em cena de “The Broken Blossoms”. 6 ROMEU E JULIETA (Romeo und Julia im Schnee) - 1920, Maxim-Film, de Berlim, Alemanha; cenário Hans Kräly e Ernst Lubitsch, Fotografia Theodor Sparkuhl, Diretor Ernst Lubitsch, Com Lotte Neumann, Gustav von Wangenheim, Jacob Tiedtke, Marga Köhler, Ernst Rückert, Josefine Dora, Hermann Picha, Julius Falkenstein, Paul Biensfeldt, Paul Passarge. 7 AS AVENTURAS DE ANATÓLIO (The Affairs of Anatole) - 1921, da Famous Players-Lasky Corp., EUA; Peça "Anatol" de Arthur Schnitzler adaptada de romance de Elinor Glyn, Cenário Jeannie McPherson, Beulah Marie Dix, Lorna Moon e Elmer Davis; Adaptação Grainville Barker, Décors Paul Iribe, Montagem Anne Bauchens, Fotografia Alvyn Wyckoff e Karl Struss, Produtor e Diretor Cecil B. DeMille, com Wallace Reid (Anatole), Elliott Dexter, Gloria Swanson, Bebe Daniels, Wanda Hawley, Julia Faye, Agnes Ayres, Monte Blue, Theodore Roberts, Theodore Kosloff, Polly Moran, Raymond Hatton, Charles Ogle, Winter Hall, Guy Oliver, Ruth Miller, Lucien Littlefield, Zelma Maja, Shannon Day, Elinor Glyn, William Boyd, Maud Wayne, Fred Huntley, Alma Bennett, Lady Gilbert Parker. Cartaz da época. 8 PAIXÃO DE BÁRBARO ou O SHEIK (The Sheik) - 1921, Famous Players- Lasky Corp., EUA; distribuição Paramount Pictures, novela de Edith M. Hull, Adaptação Monte M. Katterjohn, Diretor George Melford, Com Rudolph Valentino, Agnes Ayres, Adolph Menjou, Walter Long, Lucien Littlefield, George Wagner, Patsy Ruth Miller, R. R. Butler . Cartaz da época 9 EUGÊNIA GRANDET (The Conquering Power) - 1921, Metro Pictures Corp., EUA; romance "Eugènie Grandet" (1833) de Honoré de Balzac, adaptação June Mathis, fotografia John Seitz, produtor e diretor Rex Ingram, com Rudolph Valentino, Alice Terry (Eugenia Grandet), Ralph Lewis, Eric Mayne, Carrie Daumery, Edward Connelly, George Atkinson, Ward Wing, Willard Lee Hall, Mark Fenton, Eugenie Besserer. Cartaz da época. 10 A HOMICIDA (Manslaughter) - 1922, Famous Players-Lasky Corp., EUA; distribuição Paramount Pictures, peça de Willard Mack, adaptação e cenário Ouida Bergerem, diretor George Fitzmaurice, com Thomas Meighan, Leatrice Joy, Lois Wilson, Sylvia Ashton, Jack Mower, Julia Fayem John Miltern, Dorothy Cummings, Edith Chapman, Leo Noemus, George Fawcett, Casson Fergusson, Shannon Day, Mabel Vn Buren, Raymond Hatton, George Fawcett, Charles Ogle, Mickey Moore, James Neill, Guy Oliver, Lucien Littlefield, Edward Martindel, Ethel Wales, David Fuller, William Boyd. Leatrice Joy em cena do filme. 11 ESPOSA E MÁRTIR (Beyond the Rocks) - 1922, Famous Players-Lascy Corp., EUA; distribuição Paramount Pictures, novela de Elinor Glyn, cenário Jack Cunningham, fotografia Alfred Gilks, produtor e diretor Sam Wood, com Rudolph Valentino, Gloria Swanson, Edythe Chapman, Alec B. Francis, Gertrude Astor, Mabel Van Buren, Helen Dunbar, June Elvidge. Cartaz da época. 12 OS DEZ MANDAMENTOS (The Ten Commandments) - 1923, Famous Players-Lasky Corp., EUA; distribuição Paramount Pictures; argumento Jeanie Macpherson, décors Mitchell Leisen e Paul Iribe, costumes Clara West, efeitos especiais Roy Pomeroy, partitura musical Hugo Riesenfeld, fotografia Ray Rennahan, Bert Glennon, Edward Curtis, Peverell Marley, A. J. Stout e J. F. Westerberg; diretor Cecil B. DeMille, com Theodore Roberts (Moisés), Nita Naldi, Rod La Rocque, Richard Dix, Estelle Taylor, Leatrice Joy, Julia Faye, Agnes Ayres, Edith Chapman, James Neill, Charles de Rochefort, Terence Moore, Lawson Butt, Myrna Loy, Gino Conrado, Clarence Burton, Charles Ogle, Robert Edeson. Cartaz da época. 13 THE SPANISH DANCER (A dançarina Hespanhola) – 1923. 55 mins. USA, Diretor: Herbert Brenon. Com Pola Negri, Antonio Moreno, Wallace Beery, Kathly Willims, Gareth Hughes, Adolphe Menjou, Anne Shirley. Antonio Moreno e Póla Negri em cena de “A dançarina Hespanhola”. 14 IRMÃ BRANCA ou A SERVA DE DEUS (The White Sister) - 1924, Inspiration Pictures Inc., EUA; distribuição Paramount Pictures, novela (1909) de Francis Marion Crawford, adaptação George V. Hobart e Charles E. Whitakker, filmado na Itália, diretor Henry King, com Lillian Gish, Ronald Colman, J. Barney Sherry, Gail Kane. Ronnald Colman e Lilian Gish em cena de “The white sister”. 15 ONDE OS CAMINHOS DO AMOR SE CRUZAM (The Snob)- 1924, seqüências coloridas, Metro-Goldwyn Pictures Corp., EUA; novela Helen R. Martin, editor Ralph Lawson, apresentação Louis B. Mayr, diretor Monta Bell, com John Gilbert, Norma Shearer, Conrad Nagel, Phyllis Haver, Hedda Hopper. 16 PARAISO PROIBIDO (Forbidden Paradise)-1924, 60 min, Famous Players- Lasky Corp., EUA; distribuição Paramount Pictures, peça "The Czarina" de Lajos Biró e Melchior Lengyel, cenário Agnes Christine Johnston e Hans Kraly, décors Hans Dreier, vestuário Howard Greer, fotografia Charles Van Enger, apresentação Adolph Zukor e Jesse L. Lasky, direção Ernest Lubitsch, Pola Negri, Conrad Nagel, Rod La Rocque, Pauline Starke, Adolph Menjou, Fred Malatesta, Leo White, Clark Gable (estréia), Nick de Ruiz, Carrie d'Aumery. Cartaz de época. 17 SOMBRAS DE PARIS (Shadows of Paris) – 1924, 70 min, adaptação de Frederick J. Jackson, diretor Herbert Brenon, com Póla Negri, Charles de Rochefort, Huntley Gordon, Adolphe Menjou, Gareth Hughes, Vera Reynolds, Rose Dione, Rosita Marstini, Edward Kipling, Maurice Cannon, Frank Nelson, George O'Brien. Cartaz da época. 18 The Breakinbg Point- 1924, dirigido por Herbert Brenon, com Nita Naldi, Patsy Ruth Miller, George Fawcett, Matt Moore, John Merkyl, Theodore von Eltz, Edythe Chapman, Cyril Ring, Westcott Clarke, Edward Kipling, Milton Brown, Charles A. Stevenson, Naida Faro. 19 ROMOLA (Romola) - 1925, Inspiration Pictures Inc./Metro Goldwy, EUA; novela de George Eliott, diretor Henry King, com Lillian Gish (Romola), Dorothy Gish, Ronald Colman, William H. Powell, Charles Lane, Herbert Grimwood, Bonaventura Ibañez, Frank Puglia, Amelia Summerville, Angelo Scatini, Edulilo Muzzi, Tina Rivali. Cartaz de época. 20 VARIETÉ (Varieté) - 1925, 2.844 m, produção Erich Pommer/Ufa, de Berlim. Alemanha; romance "Der Eid des Stefan Huller" de Felix Holaender, cenário Teo Birinski, décors Oscar F. Werndorff, fotografia Karl Freund, assistente de fotografia Rudolph Mathé, partitura musical Ernö Rappée, diretor Ewald A. Dupont, com Emil Jannings, Lya de Putti, Warwick Ward, Maly Delschaft, Georg John, Kurt Gerron, Paul Rehkopf, Charles Lincoln e os três Codonas. 21 FAUSTO (Faust) - 1925/26, Berlim, Alemanha; argumento Hans Kyser, décors/costume Robert Herlth e Walter
Load more

Recommended publications
  • Durham E-Theses
    Durham E-Theses Pulling focus: New perspectives on the work of Gabriel Figueroa Higgins, Ceridwen Rhiannon How to cite: Higgins, Ceridwen Rhiannon (2007) Pulling focus: New perspectives on the work of Gabriel Figueroa, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2579/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Pulling Focus: New Perspectives on the Work of Gabriel Figueroa by Ceridwen Rhiannon Higgins University of Durham 2007 Submitted for Examination for Degree of PhD 1 1 JUN 2007 Abstract This thesis examines the work of Mexican cinematographer Gabriel Figueroa (1907 -1997) and suggests new critical perspectives on his films and the contexts within which they were made. Despite intense debate over a number of years, auteurist notions in film studies persist and critical attention continues to centre on the director as the sole giver of meaning to a film.
    [Show full text]
  • 31 Days of Oscar® 2010 Schedule
    31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy
    [Show full text]
  • 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.
    [Show full text]
  • ASC History Timeline 1919-2019
    American Society of Cinematographers Historical Timeline DRAFT 8/31/2018 Compiled by David E. Williams February, 1913 — The Cinema Camera Club of New York and the Static Camera Club of America in Hollywood are organized. Each consists of cinematographers who shared ideas about advancing the art and craft of moviemaking. By 1916, the two organizations exchange membership reciprocity. They both disband in February of 1918, after five years of struggle. January 8, 1919 — The American Society of Cinematographers is chartered by the state of California. Founded by 15 members, it is dedicated to “advancing the art through artistry and technological progress … to help perpetuate what has become the most important medium the world has known.” Members of the ASC subsequently play a seminal role in virtually every technological advance that has affects the art of telling stories with moving images. June 20, 1920 — The first documented appearance of the “ASC” credential for a cinematographer in a theatrical film’s titles is the silent western Sand, produced by and starring William S. Hart and shot by Joe August, ASC. November 1, 1920 — The first issue of American Cinematographer magazine is published. Volume One, #1, consists of four pages and mostly reports news and assignments of ASC members. It is published twice monthly. 1922 — Guided by ASC members, Kodak introduced panchromatic film, which “sees” all of the colors of the rainbow, and recorded images’ subtly nuanced shades of gray, ranging from the darkest black to the purest white. The Headless Horseman is the first motion picture shot with the new negative. The cinematographer is Ned Van Buren, ASC.
    [Show full text]
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
    [Show full text]
  • ABSTRACT Title of Document: from the BELLY of the HUAC: the RED PROBES of HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philos
    ABSTRACT Title of Document: FROM THE BELLY OF THE HUAC: THE RED PROBES OF HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philosophy, 2009 Directed By: Dr. Maurine Beasley, Journalism The House Un-American Activities Committee, popularly known as the HUAC, conducted two investigations of the movie industry, in 1947 and again in 1951-1952. The goal was to determine the extent of communist infiltration in Hollywood and whether communist propaganda had made it into American movies. The spotlight that the HUAC shone on Tinsel Town led to the blacklisting of approximately 300 Hollywood professionals. This, along with the HUAC’s insistence that witnesses testifying under oath identify others that they knew to be communists, contributed to the Committee’s notoriety. Until now, historians have concentrated on offering accounts of the HUAC’s practice of naming names, its scrutiny of movies for propaganda, and its intervention in Hollywood union disputes. The HUAC’s sealed files were first opened to scholars in 2001. This study is the first to draw extensively on these newly available documents in an effort to reevaluate the HUAC’s Hollywood probes. This study assesses four areas in which the new evidence indicates significant, fresh findings. First, a detailed analysis of the Committee’s investigatory methods reveals that most of the HUAC’s information came from a careful, on-going analysis of the communist press, rather than techniques such as surveillance, wiretaps and other cloak and dagger activities. Second, the evidence shows the crucial role played by two brothers, both German communists living as refugees in America during World War II, in motivating the Committee to launch its first Hollywood probe.
    [Show full text]
  • Hollywood Theology: the Commodification of Religion in Twentieth-Century Films Author(S): Jeffery A
    Center for the Study of Religion and American Culture Hollywood Theology: The Commodification of Religion in Twentieth-Century Films Author(s): Jeffery A. Smith Reviewed work(s): Source: Religion and American Culture: A Journal of Interpretation, Vol. 11, No. 2 (Summer 2001), pp. 191-231 Published by: University of California Press on behalf of the Center for the Study of Religion and American Culture Stable URL: http://www.jstor.org/stable/10.1525/rac.2001.11.2.191 . Accessed: 29/01/2013 11:41 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press and Center for the Study of Religion and American Culture are collaborating with JSTOR to digitize, preserve and extend access to Religion and American Culture: A Journal of Interpretation. http://www.jstor.org This content downloaded on Tue, 29 Jan 2013 11:41:14 AM All use subject to JSTOR Terms and Conditions Hollywood Theology: The Commodication of Religion in Twentieth-Century Films Jeffery A. Smith A motion picture is a product formed by the intricate inter- play of lm industry forces and cultural expectations. Hollywood must attract audiences and audiences crave gratication or, perhaps, edication.
    [Show full text]
  • Films from the Archives of the Museum of Modern Art and the George Eastman House
    'il The Museum of Modem Art FOR ™IATE RRLEASF yvest 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart KINO EYE OF THE 20s FEATURES FILM MASTERPIECES Films from the Archives of The Museum of Modern Art and The George Eastman House The Museum of Modern Art, in collaboration with the George Eastman House in Roches­ ter, will present several film masterpieces as part of its program "Kino Eye of the 20s," starting July 23 with Ilya Trauberg's "China Express." The program, scheduled through August 26, will also include such film classics as Carl Dreyer's "The Passion of Joan of Arc;" Pudovkin's "Mother;" Erich von Stroheim's "Greed;" F.W. Murnau's "The Last Laugh;" Eisenstein's "Potemkin;" and "The Cabinet of Dr. Caligari," one of the most controversial films of its time. Thirty-seven pictures were selected by Beaumont Newhall, Director of the George Eastman House, who is responsible for organizing the current photographic exhibition, "Photo Eye of the 20s," to which "Kino Eye of the 20s" is a companion program. Mr. Newhall will appear at the Thursday evening performance, July 30 at 8 p.m., fjhen he will introduce the Murnau film "Sunrise" and discuss the series. A strong kinship between photography and film existed in this decade, when the film found its syntax and structure, according to Mr. NeT;hall. "In a quarter of a century the movies had grown from a vaudeville novelty to a distinct and po';erful art form." The decade saw the production of some of the greatest films ever made.
    [Show full text]
  • The Contributions of James F. Neill to the Development of the Modern Ameri­ Can Theatrical Stock Company
    This dissertation has been 65—1234 microfilmed exactly as received ZUCCHERO, William Henry, 1930- THE CONTRIBUTIONS OF JAMES F. NEILL TO THE DEVELOPMENT OF THE MODERN AMERI­ CAN THEATRICAL STOCK COMPANY. The Ohio State University, Ph.D., 1964 Speech—Theater University Microfilms, Inc., Ann Arbor, Michigan Copyright by William Henry Zucchero 1965 THE CONTRIBUTIONS OF JAMES F. NEILL TO THE DEVELOPMENT OF THE MODERN AMERICAN THEATRICAL STOCK COMPANY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By William Henry Zucchero, B.S., M.A. * * * * * $ The Ohio State University 1964 Approved by PLEASE NOTE: Plates are not original copy. Some are blurred and indistinct. Filmed as received. UNIVERSITY MICROFILMS, INC. PREFACE Appreciation is extended to the individuals, named below, for the aid each has given in the research, prepara­ tion, and execution of this study. The gathering of pertinent information on James F. Neill, his family, and his early life, was made possible through the efforts of Mrs. Eugene A. Stanley of the Georgia Historical Society, Mr. C. Robert Jones (Director, the Little Theatre of Savannah, Inc.), Miss Margaret Godley of the Savannah Public Library, Mr. Frank Rossiter (columnist, The Savannah Morning News). Mrs. Gae Decker (Savannah Chamber of Commerce), Mr. W. M. Crane (University of Georgia Alumni Association), Mr. Don Williams (member of Sigma Alpha Epsilon— Neill’s college fraternity), and Mr. Alfred Kent Mordecai of Savannah, Georgia. For basic research on the operation of the Neill company, and information on stock companies, in general, aid was provided by Mrs.
    [Show full text]
  • Cinematic Contextual History of High Noon (1952, Dire Fred Zinnemann) J. M. CAPARROS-LERA SERGIO ALEGRE
    Cinematic Contextual History of High Noon (1952, dire Fred Zinnemann) J. M. CAPARROS-LERA SERGIO ALEGRE Cinema must be seen as one of the ways of ideologies of our Century because it shows very well the mentality of men and women who make films. As well as painting, literature and arts, it helps us to understand our time. (Martin A. JACKSON) 0. T.: High Noon. Production: Stanley Kramer Productions, Inc./United Artists (USA,1952). Producers: Stanley Kramer & Carl Foreman. Director: Fred Zinnemann. Screenplay: Carl Foreman, from the story The Tin Star, by John W. Cunningham. Photography: Floyd Crosby. Music: Dimitri Tiomkin. Song: Do Not Forsake Me Oh My Darlin', by Dimitri Tiomkin and Ned Washington; singer: Tex Ritter. Art Director: Rudolph Sternad. Editor: Elmo Williams. Cast: Gary Cooper: (Will Kane), Thomas Mitchell (Jonas Henderson), Lloyd Bridges (Harvey Pell), Katy Jurado (Helen Ramirez), Grace Kelly (Amy Kane), Otto Kruge: (Percy Metrick), Lon Chaney, Jr. (Martin Howe), Henry Morgan (Sam Fuller), Ian MacDonald (Frank Miller), Eve McVeagh (Milfred Fuller) Harry Shannon (Cooper), Lee Van Cleef (Jack Colby), Bob Wilke (James Pierce), Sheb Wooley (Ben Miller), Tom London (Sam), Larry Blake (Gillis), Jeanne Blackford (Mrs: Henderson), Guy Beach (Fred), Virginia Christine (Mrs. Simpson), Jack Elam (Charlie), Virginia Farmer (Mrs. Fletcher), Morgan Farley (Priest),Paul Dubov (Scott), Harry Harvey (Coy), Tin Graham (Sawyer), Nolan Leary (Lewis), Tom Greenway (Ezra), Dick Elliot (Kibbee), John Doucete (Trumbull). B/W -85 min. Video distributor: Universal. The post-war American atmosphere and the never well-seen social problem cinema -especially thriller film noir- are the major reasons to understand why during the Forties Hollywood was purged by the self- called the most liberal and democratic government of the world.* Truman's executive order was published in May 12, 1947.
    [Show full text]
  • Ebruary 25 Published by CENTS American Society of Cinematographers
    FEBRUARy 25 Published by CENTS American Society of Cinematographers I I IN BRIGHT SUNLIGHT OR DEEP SHADOW... under incandescent or arc light WILL GIVE A BETTER RESULT THAN IS OTHER- WISE OBTAINABLE The (fiTPQNj) trade-mark has r E6 U. S. PAT Off- never been placed on an inferior product SMITH & ALLER, Ltd. 6656 Santa Monica Boulevard - HOIlywood 5H7 HOLLYWOOD, CALIFORNIA Pacific Coast Distributors for DUPONT FILM MFG. CORP. 35 West 45th Street - New York City February 1933 • American Cinematographer 1 AMERICAN CINEMATOGRAPHER A Technical and Educational publication of motion picture photography. Published monthly by the AMERICAN SOCIETY OF CINEMATOGRAPHERS, INC., Suite 1222 Cuaranty Building, Hollywood, California. Telephone Granite 4274. JOHN ARNOLD, President, A. S. C. GEORGE SCHNEIDERMAN, Treasurer, A. S. C. Volume XIII FEBRUARY, 1933 Number 10 What to Read PHOTOS by Karl Struss, A.S.C 5 A.S.C. Tests 7 MITCHELL Noiseless Camera by Ha! Rosson, A.S.C 8 TREND of the Times 10 The Staff RECORDING Music by David Mendoza 1 1 PHOTOGRAPHY of the Month 12 EDITOR Charles VerHalen “MISCASTING” the Cinematographer J. by Victor Milner, A.S.C 13 TECHNICAL EDITOR RIDDLE Me This 14 Emery Huse, A. S. C. DIFFERENCE Between Gamma and Contrast by Emery Huse, A.S.C 16 ASSOCIATE EDITOR William Stull, A. S. C. WHEELS of Industry 18 ON the Job With Camera and Sound Men 40 COVER AND ART Dorothy Groton AMATEUR SECTION ADVISORY ENLARGEMENTS from 16 MM. Film EDITORIAL BOARD by Hatto Tappenbeck, A.S.C 20 George Schneiderman, A. S. C. KODACOLOR Experiences and Experiments Hatto Tappenbeck, A.
    [Show full text]
  • Mountain Men on Film Kenneth Estes Hall East Tennessee State University, [email protected]
    East Tennessee State University Digital Commons @ East Tennessee State University ETSU Faculty Works Faculty Works 1-1-2016 Mountain Men on Film Kenneth Estes Hall East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/etsu-works Part of the American Film Studies Commons, and the Film and Media Studies Commons Citation Information Hall, Kenneth Estes. 2016. Mountain Men on Film. Studies in the Western. Vol.24 97-119. http://www.westernforschungszentrum.de/ This Article is brought to you for free and open access by the Faculty Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in ETSU Faculty Works by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Mountain Men on Film Copyright Statement This document was published with permission from the journal. It was originally published in the Studies in the Western. This article is available at Digital Commons @ East Tennessee State University: https://dc.etsu.edu/etsu-works/596 Peter Bischoff 53 Warshow, Robert. "Movie Chronicle: The Western." Partisan Re- view, 21 (1954), 190-203. (Quoted from reference number 33) Mountain Men on Film 54 Webb, Walter Prescott. The Great Plains. Boston: Ginn and Kenneth E. Hall Company, 1931. 55 West, Ray B. , Jr., ed. Rocky Mountain Reader. New York: E.P. Dutton, 1946. 56 Westbrook, Max. "The Authentic Western." Western American Literatu,e, 13 (Fall 1978), 213-25. 57 The Western Literature Association (sponsored by). A Literary History of the American West. Fort Worth: Texas Christian University Press, 1987.
    [Show full text]