Lacon 1 Film Program
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Street Value for Viagra
GREAT SALE PRICES INSIDE! From the front cover: Brett Halsey: Art or Instinct in Movies NEW TITLES by John B. Murray - $25 Brett Halsey is mainly known for his work in Alfred Hitchcock’s London - $25 spaghetti Westerns and Italian adventure films, Gary Giblin takes film fans on a tour of but also classics like Return of the Fly and Return London locations used in Hitchcock films. to Peyton Place. When one examines Hollywood Whether a world traveler or armchair tour- and European genre movies together, it becomes ist you will enjoy this guided tour. clear that Brett Halsey has fashioned an impres- sive body of work. Forgotten Horrors 4 - $25 by Michael H. Price and John Wooley Classic Cliffhangers: Vol. 2 FH4 picks up where FH3 left off and cov- by Hank Davis - $25 ers the years 1947 and 1948. Titles include Volume 2 also allows us to examine titles made series such as Jungle Jim, the Falcon and during the Golden Era. Beginning in 1941, our Philo Vance, etc. $25 coverage includes serial gems like The Adven- tures of Captain Marvel, The Perils of Nyoka, Good Movies: Bad Timing - $25 Spy Smasher. Secret Service in Darkest Africa, Author Nicholas Anez examines films that and The Crimson Ghost—1941-1955 displays were considered box office duds but upon some of the finest actors, stuntmen and directors reevaluation prove to be decent films. In- to grace the screen. cludes James Bond and Tarzan, Hollywood’s Top Dogs Mantan the Funnyman - $35 by Deborah Painter - $25 by Michael H. Price [Includes a CD] The dog hero has existed in motion pictures for A biography of the great Mantan Moreland, over 100 years. -
ROY THOMAS Chapter Four
Captain Marvel Jr. TM & © DC Comics DC © & TM Jr. Marvel Captain Introduction by ROY THOMAS Chapter Four Little Boy Blue Ed Herron had come to Fawcett with a successful track record of writing Explosive is the best way to describe this iconic, colorful cover (on opposite page) by and creating comic book characters that had gone on to greater popularity, Mac Raboy, whose renditions of a teen-age super-hero with a realistic physique was noth- including work on the earliest stories of Timely’s colorful Captain America— ing less than perfect. Captain Marvel Jr. #4, (Feb. 19, 1943). Inset bottom is Raboy’s first and his kid sidekick Bucky. It was during the fall of 1941 that Herron came cover for Fawcett and the first of the CMJr origin trilogy, Master Comics #21 (Dec. 1941). Below up with the idea of a new addition to the Fawcett family. With Captain is a vignette derived from Raboy’s cover art for Captain Marvel Jr. #26 (Jan. 1, 1945). Marvel sales increasing dramatically since his debut in February 1940, Fawcett management figured a teenage version of the “Big Red Cheese” would only increase their profits. Herron liked Raboy’s art very much, and wanted a more illustrative style for the new addition, as opposed to the C. C. Beck or Pete Costanza simplified approach on Captain Marvel. The new boy-hero was ably dubbed Captain Marvel Jr., and it was Mac Raboy who was given the job of visualizing him for the very first time. Jr.’s basic attire was blue, with a red cape. -
Banks Would Crumble, He Wanted to {X)Stpone the Meet Germany Faces Argentina in the Next Round
20—MANCHESTER HERALD, Monday, Feb. 4,1991 In Brief m • Kelly’s MVP award a week too late TUESDAY Player cops Caribbean Classic By KEN PETERS wire. the game-winner with 1:49 left. practices, the 1991 all-star game was rela KEY BISCAYNE, Fla. (AP) — Gary Player overcame The Associated Press Miami defensive end Jeff Cross homed Voted the MVP of the all-star game, tively error-free. 'There were no intercep LOCAL NEWS INSIDE a stiff wind, occasional rain and surges by Bob Charles in on the Bills’ show at the end, preserv Kelly completed 13 of 19 {»sses while tions and no lost fumbles by either team. Buffalo’s Smith said that while the and Lee Trevino to win the Royal Caribbean Classic by HONOLULU — The Buffalo Bills had ing the victory by blocking a 46-yard splitting duty with AFC starter Warren two shots with a 3-under-par 68 Sunday. a su{ier Sunday. field gtal try by the Saints’ Morten Moon of Houston. players enjoy the week in Hawaii leading ■ Town accounting flaws addressed. up to the game, they play hard when it Player, who started the final day with a two-stroke 'Ihey could only wish it had come a Andersen with seven seconds remaining. “I would have loved to have won the lead, set a tournament record with his total 200, 13 week earlier. Kelly, who had been nursing a sore left MVP a week earlier (in the Super Bowl), begins. “I wasn’t on vacation all week,” Smith under. It was his 16th title on the Senior Tour and worth 'filming the Pro Bowl into a Bills’ knee, courtesy of the New York Giants in but this feels good,” Kelly said. -
From the Woman in White to La Donna in Bianco Saverio Tomaiuolo
Screening Collins in (and out of) Italy: from The Woman in White to La donna in bianco Saverio Tomaiuolo Abstract The Woman in White is an intrinsically visual narrative, in which images are as excessive as its themes. In light of the impact and influence of theatricality and of melodrama on Collins’s novel, visuality and sensation are thus constantly aligned in this narrative, which addresses its audience through a constant reference to the powerful appeal on the mind (and imagination) of the sensorial organ of sight. The first- rate value attributed by Collins to optical perception may be considered one of the reasons why many of his texts, and in particular The Woman in White, have had a fruitful visual afterlife on TV and cinema. After introducing a selection of movies and of TV renditions of Collins’s most famous novel, my essay will focus on its Italian adaptation, broadcast with the title of La donna in bianco on the National Public Broadcasting Company (RAI) in 1980. A common denominator in almost all screen translations of Collins’s story is their focusing on marital brutality, women’s legal imbalance, and female assertiveness. In this sense, my analysis aims at showing that Collins’s visual narrative succeeded in addressing its Italian audience in a specific historical, political and cultural phase of the nation’s history, during which divorce as well as social and domestic violence (including the inhumane treatment of the insane) were still cogent issues. Key Words Wilkie Collins; The Woman in White; divorce; domestic violence; La donna in bianco; Italian television; adaptation; treatment of the insane; RAI; BBC. -
Art for Everyone
COLOR Healing with Flower Essences PLUS Art for Everyone $5.00 ISSUE 88 VOL. 22, Summer 2017 Soil, Culture & Human Responsibility • Truth & Lies Android App On Editor’ s note dear readers Welcome to our summer issue that’s and shared some cheese and fruit and crackers before filled with plenty of art and color to reading the last chapter in the book we have been lift your spirits. Many would agree studying, Rudolf Steiner’s lectures on honey bees. that we are in uncertain times, so Gathering with people around a common aspiration more than ever, we need to be there is another remedy that renews my sense of purpose for each other, but we also need to and direction. be there for ourselves too. Speaking of remedies! We are bringing back our I can’t be prescriptive, but I can share a couple of Holistic Wellness Guide (see page 6) this fall. If you recent experiences that have helped me stay grounded are a subscriber, you will receive this as your Fall and optimistic. I grow a lot of flowers, and each day issue. A team of anthroposophic doctors and nurses I spend time with them. I enjoy their colors and the helped us do a thorough edit of the ever-so-useful A-Z bird and insect life they attract. Our daughter gave us Guide of common ailments and home health-based a wildflower seed packet last year, and from that we solutions. New articles on public health, vaccinations, have many volunteer poppies that grew up red and anthroposophic nursing, and osteopathy will be side pink and tall. -
Art Directors Guild to Induct Three Legendary Production Designers Into Its Hall of Fame at 18Th Annual Excellence in Production Design Awards February 8, 2014
Art Directors Guild to Induct Three Legendary Production Designers Into Its Hall of Fame at 18th Annual Excellence in Production Design Awards February 8, 2014 LOS ANGELES, Sept. 11 — Three legendary Production Designers – Robert Clatworthy, Harper Goff and J. Michael Riva – will be inducted into the Art Directors Guild (ADG) Hall of Fame at the Guild’s 18th Annual Excellence in Production Design Awards ceremony to be held at the Beverly Hilton Hotel on February 8, 2014, as announced today by ADG Council Chairman John Shaffner and Awards Producers Raf Lydon and Dave Blass. In making the announcement Shaffner said, “Clatworthy, Goff and Riva join a distinguished group of ADG Hall of Famers, whose collective work parallels the best of motion picture and television production design. They are most worthy and welcomed additions.” Nominations for the 18th Annual ADG Excellence in Production Design Awards will be announced on January 9, 2014. On awards night, February 8, the ADG will present winners in ten competitive categories for theatrical films, television productions, commercials and music videos. Recipient of this year’s Lifetime Achievement Award will be Production Designer and Art Director Rick Carter, as previously announced. The Excellence in Production Design Awards are open only to productions, when made within the U.S., by producers signatory to the IATSE agreement. Foreign entries are acceptable without restrictions. ROBERT CLATWORTHY (1911 – 1992) Robert Clatworthy (William Robert Clatworthy) was an Oscar®-winning American Production Designer who worked at Paramount starting in 1938, and at Universal until 1964. In the 1960’s Clatworthy became involved with some of Hollywood’s best directors, including Orson Welles, Alfred Hitchcock and Stanley Kramer. -
XXXI:4) Robert Montgomery, LADY in the LAKE (1947, 105 Min)
September 22, 2015 (XXXI:4) Robert Montgomery, LADY IN THE LAKE (1947, 105 min) (The version of this handout on the website has color images and hot urls.) Directed by Robert Montgomery Written by Steve Fisher (screenplay) based on the novel by Raymond Chandler Produced by George Haight Music by David Snell and Maurice Goldman (uncredited) Cinematography by Paul Vogel Film Editing by Gene Ruggiero Art Direction by E. Preston Ames and Cedric Gibbons Special Effects by A. Arnold Gillespie Robert Montgomery ... Phillip Marlowe Audrey Totter ... Adrienne Fromsett Lloyd Nolan ... Lt. DeGarmot Tom Tully ... Capt. Kane Leon Ames ... Derace Kingsby Jayne Meadows ... Mildred Havelend Pink Horse, 1947 Lady in the Lake, 1945 They Were Expendable, Dick Simmons ... Chris Lavery 1941 Here Comes Mr. Jordan, 1939 Fast and Loose, 1938 Three Morris Ankrum ... Eugene Grayson Loves Has Nancy, 1937 Ever Since Eve, 1937 Night Must Fall, Lila Leeds ... Receptionist 1936 Petticoat Fever, 1935 Biography of a Bachelor Girl, 1934 William Roberts ... Artist Riptide, 1933 Night Flight, 1932 Faithless, 1931 The Man in Kathleen Lockhart ... Mrs. Grayson Possession, 1931 Shipmates, 1930 War Nurse, 1930 Our Blushing Ellay Mort ... Chrystal Kingsby Brides, 1930 The Big House, 1929 Their Own Desire, 1929 Three Eddie Acuff ... Ed, the Coroner (uncredited) Live Ghosts, 1929 The Single Standard. Robert Montgomery (director, actor) (b. May 21, 1904 in Steve Fisher (writer, screenplay) (b. August 29, 1912 in Marine Fishkill Landing, New York—d. September 27, 1981, age 77, in City, Michigan—d. March 27, age 67, in Canoga Park, California) Washington Heights, New York) was nominated for two Academy wrote for 98 various stories for film and television including Awards, once in 1942 for Best Actor in a Leading Role for Here Fantasy Island (TV Series, 11 episodes from 1978 - 1981), 1978 Comes Mr. -
Chanticleer May & June 2015
NEWSLETTER OF THE BERKSHIRE-TACONIC BRANCH OF THE ANTHROPOSOPHICAL SOCIETY VOLUME 25, ISSUE 9, MAY/JUNE 2015 Where the Bee sucks, there suck I. In a cowslip’s bell I lie; There I couch when owls do cry. On the bat’s back I do fly After summer merrily. Merrily, merrily shall I live now Under the blossom that hangs on the bough. (ARIEL’s final song in The Tempest by William Shakespeare, Act 5, Scene 1, lines 88-94) Drawing; E. Lapointe Pentecost ur Christian festival of Pentecost is related in a beautiful way to what is above the stars: the universal “Ospiritual fire of the cosmos, individualised and descending in fiery tongues upon the Apostles. This fire is neither of the heavens nor of the earth, neither cosmic nor merely terrestrial, but permeates every- thing, yet it is individualised and reaches every human being. Pentecost is connected with the whole world! Just as the Christmas festival is connected with the earth and the Easter festival with the stars, so Pentecost is directly connected with every human being when he or she receives the spark of spiritual life out of the whole universe. What all humanity received in the descent of the divine human being to earth is given to each individual in the fiery tongues of Pentecost. The fiery tongues represent what is in us, in the universe, and in the stars. Thus, especially for those who seek the spirit, Pentecost has a special, profound meaning, summoning us again and again to seek anew for the spirit.” Rudolf Steiner, lecture given 99 years ago at Pentecost in Berlin, June 6, 1916 (GA 169). -
I Go W Where G I Lo Love
EANAEANA I gog wwhere I lollove..... EurythmyEuryythmy ~ Christtina Beck Speeech/Acting ~ BBeatrice Vo Mussic ~ Several coollaboratin Performances/Workshops Begin Fall 2018 Sponsored by Lemniscate Arts Tax deductible donations may be made to: Lemniscate Arts a 501(c)3 corporationtion (#20-2307129) noted for Amaranthth Eurythmy Theater and sent to 114 Tuscarora Dr.,, Hillsborough, NC 27278 or online at amarantheurythmytheater.orgntheurythmytheater.org Contact: [email protected] AMMARANTTH EURYYTTHMY TTHEEAATTER VOLUME 95 Spring 2018 OFFICIAL PUBLICATION OF THE EURYTHMY ASSOCIATION OF NORTH AMERICA NEWSLETTERNEWSLETTER 2 Eurythmy Association of North America Mission Statement The Eurythmy Association of North America is formed for these purposes: To foster eurythmy, an art of movement originated and developed by Rudolf Steiner out of anthroposophy; to foster the work of eurythmists on the North American continent by sponsoring performances, demonstrations, and workshops; and to main- tain, develop, and communicate knowledge related to eurythmy and the work of eurythmists by means of newsletters and publications. The Eurythmy Association of North America is a non- OFFICERS OF THE EURYTHMY ASSOCIATION profit corporation of eurythmists living and working on the President Emeritus North American continent. Any eurythmist holding an Alice Stamm, 916-728-2462 accredited diploma recognized by the Section for Eurythmy, Treasurer Speech, and Music at the Goetheanum, may join the Gino Ver Eecke, 845-356-1380 Association as a member. Eurythmy students and non- Corresponding Secretary accredited, but actively working eurythmists, are warmly Alice Stamm, 916-728-2462 welcomed to join as Friends. Recording Secretary The Newsletter is published two times annually. Laurel Loughran, 778-508-3554 Annual dues are from January through December. -
THE MUSEUM of MODERN ART Jl WEST 53 STREET, NEW YORK 19, N
THE MUSEUM OF MODERN ART jl WEST 53 STREET, NEW YORK 19, N. Y. THfPHONf« CmCU 5-8900 No. 70 FOR RELEASE: August lj 1951* SCHEDULE OP EXHIBITIONS AND EVENTS MUSEUM HOURS: ADMISSION: Weekdays 12-7 p.m. Adults 60 j: Sundays 1-7 p.m. Children 20 ^ Note: Full releases on each exhibition are available five days before the opening. Photographs are available on request AUGUST OPENINGS AND EVENTS Aug. 18 - Sept. 6 THE MODERN MOVEMENT IN ITALY: ARCHITECTURE AND DESIGN. Prepared by the Museum's Department of Circulating Exhibitions, a pictorial analysis of the characteristics of post-war Italian architecture and design. An historical documentation of this influential movement in contemporary art presenting much new and previously unknown material gathered first hand in Italy. First floor. FUTURE EXHIBITIONS AND EVENTS Sept.8 - Nov. 1*4- AMERICAN PRINTS, from the collection of the Museum of Modern Art. An exhibition of 100 original graphic works, selected by William S. Lieberman, Curator. Auditorium Gallery. October 19 OPENING CEREMONIES FOR MUSEUM'S 25th ANNIVERSARY PROC&AM. During the year-long celebration, each of the Museum's departments will present a major exhibition at the Museum. Oct. 20 - PAINTINGS FROM THE COLLECTION OF THE MUSEUM OF MODERN ART - the Jan. 30, 1955 most extensive showing of the Museum's world-famous collection (closes in ever presented, consisting of approximately 300 paintings, from sections: Jan#2, 19th century masterworks to work by young artists from this 16 & 30.) country and abroad, including more than 20 new acquisitions, some of great importance. First, second and third floor galleries. -
Dictionary of Westerns in Cinema
PERFORMING ARTS • FILM HISTORICAL DICTIONARY OF Historical Dictionaries of Literature and the Arts, No. 26 VARNER When early filmgoers watched The Great Train Robbery in 1903, many shrieked in terror at the very last clip, when one of the outlaws turned toward the camera and seemingly fired a gun directly at the audience. The puff of WESTERNS smoke was sudden and hand-colored, and it looked real. Today we can look back at that primitive movie and see all the elements of what would evolve HISTORICAL into the Western genre. Perhaps the Western’s early origins—The Great Train DICTIONARY OF Robbery was the first narrative, commercial movie—or its formulaic yet enter- WESTERNS in Cinema taining structure has made the genre so popular. And with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the Western is told in this Historical Dictionary of Westerns in Cinema through a chronology, a bibliography, an introductory essay, and hundreds of cross-referenced dictionary entries on cinematographers; com- posers; producers; films like Butch Cassidy and the Sundance Kid, Dances with Wolves, The Good, the Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; actors such as Gene Autry, in Cinema Cinema Kirk Douglas, Clint Eastwood, Henry Fonda, Jimmy Stewart, and John Wayne; and directors like John Ford and Sergio Leone. PAUL VARNER is professor of English at Abilene Christian University in Abilene, Texas. -
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.