Paramount's 20Th Birthday Jubilee 1931
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Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
An Analysis and Evaluation of the Acting Career Of
AN ANALYSIS AND EVALUATION OF THE ACTING CAREER OF TALLULAH BANKHEAD APPROVED: Major Professor m Minor Professor Directororf? DepartmenDepa t of Speech and Drama Dean of the Graduate School AN ANALYSIS AND EVALUATION OF THE ACTING CAREER OF TALLULAH BANKHEAD THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF SCIENCE By Jan Buttram Denton, Texas January, 1970 TABLE OF CONTENTS Chapter Page I. THE BEGINNING OF SUCCESS 1 II. ACTING, ACTORS AND THE THEATRE 15 III. THE ROLES SHE USUALLY SHOULD NOT HAVE ACCEPTED • 37 IV. SIX WITH MERIT 76 V. IN SUMMARY OF TALLULAH 103 APPENDIX 114 BIBLIOGRAPHY. 129 CHAPTER I THE BEGINNING OF SUCCESS Tallulah Bankhead's family tree was filled with ancestors who had served their country; but none, with the exception of Tallulah, had served in the theatre. Both her grandfather and her mother's grandfather were wealthy Alabamians. The common belief was that Tallulah received much of her acting talent from her father, but accounts of her mother1s younger days show proof that both of her parents were vivacious and talented. A stranger once told Tallulah, "Your mother was the most beautiful thing that ever lived. Many people have said you get your acting talent from your father, but I disagree. I was at school with Ada Eugenia and I knew Will well. Did you know that she could faint on 1 cue?11 Tallulahfs mother possessed grace and beauty and was quite flamboyant. She loved beautiful clothes and enjoyed creating a ruckus in her own Southern world.* Indeed, Tallulah inherited her mother's joy in turning social taboos upside down. -
Working Women in 1940S Hollywood
CLEMENTINE PIRLOT Working Women in 1940s Hollywood Sous la direction du Professeur Olivier Frayssé - 2 - Table of Contents Introduction .......................................................................................................................... 4 1. Ideology in classical Hollywood films 2. Feminist film theory 3. Important genres of the 1940s 4. Real working women in 1940s Hollywood Part I- The production of culture: the representation of working women in 1940s films Chapter I: The Woman’s Film .......................................................................................... 11 Chapter II: The Melodrama .............................................................................................. 13 1. Melodrama as a genre 2. A Letter to Three Wives 3. Black women in classical Hollywood melodramas Chapter III: War Films ...................................................................................................... 20 Chapter IV: Films noirs ..................................................................................................... 22 1. Definition and historical context 2. Mildred Pierce 3. Gun Crazy - 3 - Chapter V:Superwomen films ........................................................................................... 28 1. His Girl Friday 2. Adam’s Rib Chapter VI: Late screwball comedies ............................................................................... 31 1. Meet John Doe 2. She Wouldn’t Say Yes Part II- The culture of production: real working women in 1940s Hollywood Chapter -
French Animation History Ebook
FRENCH ANIMATION HISTORY PDF, EPUB, EBOOK Richard Neupert | 224 pages | 03 Mar 2014 | John Wiley & Sons Inc | 9781118798768 | English | New York, United States French Animation History PDF Book Messmer directed and animated more than Felix cartoons in the years through This article needs additional citations for verification. The Betty Boop cartoons were stripped of sexual innuendo and her skimpy dresses, and she became more family-friendly. A French-language version was released in Mittens the railway cat blissfully wanders around a model train set. Mat marked it as to-read Sep 05, Just a moment while we sign you in to your Goodreads account. In , Max Fleischer invented the rotoscope patented in to streamline the frame-by-frame copying process - it was a device used to overlay drawings on live-action film. First Animated Feature: The little-known but pioneering, oldest-surviving feature-length animated film that can be verified with puppet, paper cut-out silhouette animation techniques and color tinting was released by German film-maker and avante-garde artist Lotte Reiniger, The Adventures of Prince Achmed aka Die Abenteuer des Prinzen Achmed , Germ. Books 10 Acclaimed French-Canadian Writers. Rating details. Dave and Max Fleischer, in an agreement with Paramount and DC Comics, also produced a series of seventeen expensive Superman cartoons in the early s. Box Office Mojo. The songs in the series ranged from contemporary tunes to old-time favorites. He goes with his fox terrier Milou to the waterfront to look for a story, and finds an old merchant ship named the Karaboudjan. The Fleischers launched a new series from to called Talkartoons that featured their smart-talking, singing dog-like character named Bimbo. -
Organist-Led Community Singing in the American Picture Palace, 1925–1933 Esther Marie Morgan-Ellis 2013
ABSTRACT Organist-Led Community Singing in the American Picture Palace, 1925–1933 Esther Marie Morgan-Ellis 2013 uring the 1920s, most urban Americans participated in community D singing at least once a week. They did so at the local picture palace, a multimedia venue that combined motion pictures with live entertain- ment. These stately theaters, found in cities across the nation after 1913, represented the cultural acceptance of motion pictures as a form of entertainment suitable for the middle class. Since 1905, films exhibited in urban nickelodeon theaters had been attracting a working-class audience. To counteract negative associations between the motion picture and its rough clientele, picture-palace exhibitors offered their patrons every luxury, including air conditioning, comfortable lounges, glamorous décor, and complimentary child care. Individual theaters replicated the architecture and ornamentation of famous palaces, opera houses, and hotels, while the attentive service made visitors feel like European nobility. Among the luxuries in store for the visitor was a diverse program of live enter- tainment, including an overture, an organ solo, and a stage show. The overture was presented by the house orchestra, while the stage show featured guest artists and local favorites, most of whom performed in costume before an elaborate set. Audience Abstract singing was sometimes led by stage performers or band leaders, or by sing-along films (popular throughout the ’20s and ’30s). Most of the time, however, community singing was led by the organist. The term “organ solo” is the trade designation for the portion of the show over which the organist had complete control. -
Cartooning America: the Fleischer Brothers Story
NEH Application Cover Sheet (TR-261087) Media Projects Production PROJECT DIRECTOR Ms. Kathryn Pierce Dietz E-mail: [email protected] Executive Producer and Project Director Phone: 781-956-2212 338 Rosemary Street Fax: Needham, MA 02494-3257 USA Field of expertise: Philosophy, General INSTITUTION Filmmakers Collaborative, Inc. Melrose, MA 02176-3933 APPLICATION INFORMATION Title: Cartooning America: The Fleischer Brothers Story Grant period: From 2018-09-03 to 2019-04-19 Project field(s): U.S. History; Film History and Criticism; Media Studies Description of project: Cartooning America: The Fleischer Brothers Story is a 60-minute film about a family of artists and inventors who revolutionized animation and created some of the funniest and most irreverent cartoon characters of all time. They began working in the early 1900s, at the same time as Walt Disney, but while Disney went on to become a household name, the Fleischers are barely remembered. Our film will change this, introducing a wide national audience to a family of brothers – Max, Dave, Lou, Joe, and Charlie – who created Fleischer Studios and a roster of animated characters who reflected the rough and tumble sensibilities of their own Jewish immigrant neighborhood in Brooklyn, New York. “The Fleischer story involves the glory of American Jazz culture, union brawls on Broadway, gangsters, sex, and southern segregation,” says advisor Tom Sito. Advisor Jerry Beck adds, “It is a story of rags to riches – and then back to rags – leaving a legacy of iconic cinema and evergreen entertainment.” BUDGET Outright Request 600,000.00 Cost Sharing 90,000.00 Matching Request 0.00 Total Budget 690,000.00 Total NEH 600,000.00 GRANT ADMINISTRATOR Ms. -
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. -
George Cukor MOVIE B
GEORGE CUKOR MOVIE b. July 7, 1899 DIRECTOR d. January 24, 1983 “You can’t have any successes unless you accept failure.” George Cukor was the George Cukor was an Academy Award-winning film director best known for his Academy Award-winning comedies and literary adaptations for the screen. His film classics include “The film director of classics Philadelphia Story,” “A Star is Born” and “My Fair Lady.” During his career, he such as “My Fair Lady” directed more Oscar-winning performances than anyone else. and “A Star is Born.” Cukor was born to Hungarian Jewish immigrants on New York City’s Lower East Side. As a child, he showed an interest in theater, appearing in plays and taking dance lessons. He would often cut classes to watch matinees. Though Cukor was expected to become a lawyer, he left school and enlisted in the Signal Corps during World War II. After the war, he became a stage manager for a traveling acting troupe. He also worked in summer stock theater and made his Broadway debut as an actor. Cukor first captured critical attention as director of the stage production of “The Great Gatsby.” He directed six Broadway shows before leaving for Hollywood in 1929. Cukor signed with Paramount Pictures and began working as a speech coach and subsequently as a dialogue director. He made his directorial debut with the 1931 film, “Tarnished Lady,” starring Tallulah Bankhead. Cukor helped launch the careers of many stars, including Katherine Hepburn. Hepburn and Cukor became lifelong friends. Rumors regarding Cukor’s personal life circulated in Hollywood. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
Community-Based Teaching and Learning Courses and Programs Listings and Descriptions 2014-2015 Last Revised September 2014
Community-Based Teaching and Learning Courses and Programs Listings and Descriptions 2014-2015 Last Revised September 2014 2 Contents Welcome ....................................................................................................................................................... 6 Course/Program Detailed Descriptions ........................................................................................................ 7 Arts & Sciences........................................................................................................................................ 7 Creating Video Documentaries, Brian Cohen, U08 EDUC 4210 ..................................................... 7 Elementary Methods Field Experience, Brenda Pierce, L12 EDUC 4841 ....................................... 7 Experiences in Life Sciences, Joan Downey, Lisa Hayes, Michael Mullins, L41 BIOL 265 ........... 7 Freshmen Seminar: Medicine and Society, Bradley Stoner, L48 ANTHRO 141, 142 ..................... 7 GIS Clinic, Aaron Addison, U90 GIS 422 ......................................................................................... 8 Global Culture and the Individual: Abroad in Georgia, Joachim Faust, L61 FOCUS 2082 ............ 8 Interdisciplinary Environmental Clinic, Maxine Lipeles & Beth Martin, L82 ENST 539 ................ 8 Internship in Psychology, Brian Carpenter, L33 PSYCH 225 .......................................................... 8 Pediatric Emergency Medicine Research Associates Program- Experiences in Life Sciences, Kristine -
Abstract Acknowledgments TOC 2
Voicing Modernism: Talk, Technology, and Aesthetics Sara Bryant Charlottesville, Virginia B. A., Bowdoin College, 1999 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia August 2013 Bryant i ABSTRACT This project traces how modernists in the verbal and visual arts engage with embodied voice and its technological mediation. Through attention to theorists such as Kaja Silverman, Stanley Cavell, Mladen Dolar, and Bruno Latour, as well as through extensive archival research, I show how works of both British and American modernism from the 1920s to the early 1940s interrogate the political and aesthetic significance of the voice in modernity. Scholars such as Sara Danius and Douglas Kahn have provided compelling accounts of sound in modernity and modernism. Critical attention specifically to voice within the modern soundscape, however, has remained scant. Voice proves an elusive topic because even while blurring divisions between exterior and interior, subject and object, and mind and body in meaningful ways, it also proves resistant to the work of unsettling binaries such as human/nonhuman, phone/logos, and presence/absence. I demonstrate how modernist writers and filmmakers experiment with the shifting status of voice across media and genres as they explore concerns made urgent in the epoch of world war: technology’s purchase upon embodied experience, the gendered ramifications of this experience, and the troubled link between politics and aesthetics. This focus on voice in modernism allows me to link seemingly disparate artistic moments. My first chapter reads the filmmaker Dorothy Arzner’s meditations on gendered voice in her silent and sound films, situating her Hollywood career within modernist and feminist discourses about gender and filmic voice.