4 Film Programs of Popular Classics Will Be Shown at MOMA

Total Page:16

File Type:pdf, Size:1020Kb

4 Film Programs of Popular Classics Will Be Shown at MOMA THE MUSEUM OF MODERN ART 11 WEST 53 STREET, NEW YORK 19. N. Y. No 112 TELEPHONE. CIRCLE 5-8900 FOR RELEASE: Thursday, November lU, I963 Four film programs of popular classics will be shown at The Museum of Modern Art starting November 17 running through December 1. They are: THE ITALIAN STRAW HAT (1927) directed by Rene Clair with Albert Prejean, Marise Maia, Vital Geymond, and CIga Tschekowa. (Nov. 17-20) SHE DONE HIM WRONG (1933) directed by Lowell Sherman with Mae West, Cary Grant, Owen Moore and Gilbert Roland. (Nov. 21-23). There will be a special showing on Thursday. November 21 at 8:^0 P.m. THE NAVIGATOR (192^) directed by Buster Keaton and Donald Crisp with Buster Keaton, Kathryn Maguire, and Frederick Vroom. (Nov. 2U-27) PYGMALION (I938) directed by Anthony Asquith and Leslie Howard with Leslie Howard, Wendy Hiller, Wilfred Lawson, Marie Lohr and Jean Cadell. (Nov. 28-Dec. l). There will be no 5:30 showing on Thanksgiving Day, November 28. These films, all from the Museum1s permanent collection are among those most frequently requested. They will be shown daily at 3 and 5:30 except where otherwise noted. Music for the silent films is arranged and played by Arthur Kleiner. These programs will be the last offered at the Museum until the auditorium and galleries reopen in May 196^. However, the Film Library will continue to circulate programs to colleges, universities, film societies and other educa­ tional institutions throughout the winter. Admission to the Museum is $1.00. There is no additional charge for the films. Additional information available from Allison Matsner, Assistant Director, Departnent of Public Information, The Museum of Modern Art, 11 West 53 Street, New York 19, R, Y. CI 5-89OO. .
Recommended publications
  • Master Syllabi
    PELLISSIPPI STATE TECHNICAL COMMUNITY COLLEGE MASTER SYLLABUS INTRODUCTION TO FILM STUDIES HUM 2810 Class Hours: 3.0 Credit Hours: 3.0 Laboratory Hours: 0.0 Date Revised: Spring 03 Catalog Course Description: An overview of film history using selected world cinema feature films. Basic elements of film expression for understanding and analyzing narrative cinema. Some research is required. Entry Level Standards: Students must be able to read and write at the college level. Prerequisites: None Corequisites: None Textbook(s) and Other Reference Materials Basic to the Course: Text: Understanding Movies Films: in Media Center I. Week/Unit/Topic Basis: Week Topic 1 Note: Different film genres may be studied each semester. The following schedule outlines the classic mystery film genre. Introduction to course and syllabus - Best 100 films- Why study film? Various approaches to film study - Detective/mystery/crime genre in films; Technological factors behind film - Lumiere films (1895) - Melies film (1905); Homework: Read Understanding Movies, pages xi-17 Discuss Film Classification and Shots; Discuss factors in "Formalist Analysis of Classic Film Style "(handout); Screening: Musketeers of Pig Alley (1912, D.W. Griffith) 18 min.; Homework: Read pages 133-154, "Editing" 2 Discuss Continuity and Cutting; "Hollywood Behind the Badge" (police, crime, mystery genre films); Schedule a research paper; Homework: Read 112-123, "The Moving Camera" Oral research report (D.W. Griffith, Buster Keaton, Charlie Chapman); Discuss 7 Moving Camera Shots, etc.; Screening:
    [Show full text]
  • Journal of Religion & Society
    Journal of Religion & Society Volume 6 (2004) ISSN 1522-5658 David, Mickey Mouse, and the Evolution of an Icon1 Lowell K. Handy, American Theological Library Association Abstract The transformation of an entertaining roguish figure to an institutional icon is investigated with respect to the figures of Mickey Mouse and the biblical King David. Using the three-stage evolution proposed by R. Brockway, the figures of Mickey and David are shown to pass through an initial entertaining phase, a period of model behavior, and a stage as icon. The biblical context for these shifts is basically irretrievable so the extensive materials available for changes in the Mouse provide sufficient information on personnel and social forces to both illuminate our lack of understanding for changes in David while providing some comparative material for similar development. Introduction [1] One can perceive a progression in the development of the figure of David from the rather unsavory character one encounters in the Samuel narratives, through the religious, righteous king of Chronicles, to the messianic abstraction of the Jewish and Christian traditions.2 The movement is a shift from “trickster,” to “Bourgeoisie do-gooder,” to “corporate image” proposed for the evolution of Mickey Mouse by Robert Brockway.3 There are, in fact, several interesting parallels between the portrayals of Mickey Mouse and David, but simply a look at the context that produced the changes in each character may help to understand the visions of David in three surviving biblical textual traditions in light of the adaptability of the Mouse for which there is a great deal more contextual data to investigate.
    [Show full text]
  • Recommended Films: a Preparation for a Level Film Studies
    Preparation for A-Level Film Studies: First and foremost a knowledge of film is needed for this course, often in lessons, teachers will reference films other than the ones being studied. Ideally you should be watching films regularly, not just the big mainstream films, but also a range of films both old and new. We have put together a list of highly useful films to have watched. We recommend you begin watching some these, as and where you can. There are also a great many online lists of ‘greatest films of all time’, which are worth looking through. Citizen Kane: Orson Welles 1941 Arguably the greatest film ever made and often features at the top of film critic and film historian lists. Welles is also regarded as one the greatest filmmakers and in this film: he directed, wrote and starred. It pioneered numerous film making techniques and is oft parodied, it is one of the best. It’s a Wonderful Life: Frank Capra, 1946 One of my personal favourite films and one I watch every Christmas. It’s a Wonderful Life is another film which often appears high on lists of greatest films, it is a genuinely happy and uplifting film without being too sweet. James Stewart is one of the best actors of his generation and this is one of his strongest performances. Casablanca: Michael Curtiz, 1942 This is a masterclass in storytelling, staring Humphrey Bogart and Ingrid Bergman. It probably has some of the most memorable lines of dialogue for its time including, ‘here’s looking at you’ and ‘of all the gin joints in all the towns in all the world, she walks into mine’.
    [Show full text]
  • In 1925, Eight Actors Were Dedicated to a Dream. Expatriated from Their Broadway Haunts by Constant Film Commitments, They Wante
    In 1925, eight actors were dedicated to a dream. Expatriated from their Broadway haunts by constant film commitments, they wanted to form a club here in Hollywood; a private place of rendezvous, where they could fraternize at any time. Their first organizational powwow was held at the home of Robert Edeson on April 19th. ”This shall be a theatrical club of love, loy- alty, and laughter!” finalized Edeson. Then, proposing a toast, he declared, “To the Masquers! We Laugh to Win!” Table of Contents Masquers Creed and Oath Our Mission Statement Fast Facts About Our History and Culture Our Presidents Throughout History The Masquers “Who’s Who” 1925: The Year Of Our Birth Contact Details T he Masquers Creed T he Masquers Oath I swear by Thespis; by WELCOME! THRICE WELCOME, ALL- Dionysus and the triumph of life over death; Behind these curtains, tightly drawn, By Aeschylus and the Trilogy of the Drama; Are Brother Masquers, tried and true, By the poetic power of Sophocles; by the romance of Who have labored diligently, to bring to you Euripedes; A Night of Mirth-and Mirth ‘twill be, By all the Gods and Goddesses of the Theatre, that I will But, mark you well, although no text we preach, keep this oath and stipulation: A little lesson, well defined, respectfully, we’d teach. The lesson is this: Throughout this Life, To reckon those who taught me my art equally dear to me as No matter what befall- my parents; to share with them my substance and to comfort The best thing in this troubled world them in adversity.
    [Show full text]
  • PDF Download Buster Keaton : the Persistence of Comedy Ebook Free
    BUSTER KEATON : THE PERSISTENCE OF COMEDY PDF, EPUB, EBOOK Imogen Sara Smith | 284 pages | 24 Nov 2013 | Createspace Independent Publishing Platform | 9781494285593 | English | none Buster Keaton : The Persistence of Comedy PDF Book For the businessmen who were to make the final decision, one fact loomed above all others: features made more money. What about when the door hits him and he walks up and down holding his face? She has written on topics ranging from photography and painting to cinema history. Schenck Director: Edward F. The best book on Keaton in print-- and I've read most of them. Options as a Strategic Investment by Lawrence G. Dark Passages Hotel Noir From the squalid to the generic, cheap hotels serve as a quintessential habitat for the lonely, transitory people in crime cinema. Opposing qualities of irony and sweetness, logic and absurdity, passion and impassiveness don't just coexist in Keaton's films and character, they are fused so completely that it is impossible to see where one ends and the other begins. He briefly launches into an Erich von Stroheim impression during one of these scenes. Trade Paperback Books. Subscribe today. Yes it's magic but it's not often a good biography because it can be fawning, obsequious or just plain sickening. In addition, the two codirected The Rough House , a comedy short in which they also starred. Show More Show Less. Please refer to the appropriate style manual or other sources if you have any questions. Hart and, well, I am a bit annoyed. At least, this is how it has appeared to scholars.
    [Show full text]
  • The Last Days of Buster Keaton John C. Tibbetts
    Fall 1995 79 The Hole in the Doughnut: The Last Days of Buster Keaton John C. Tibbetts In the Fall of 1995 Eleanor Norris Keaton will come to Kansas to celebrate the 100th birthday of her late husband.1 Part of an extensive itinerary that also takes her to other centenary observances in New York, Muskegon, Michigan, and Los Angeles, the Kansas trip is particularly poignant. Keaton was born on October 4,1895, in the tiny farm community of Piqua, in southeast Kansas, while his parents were performing with a medicine show.2 Although he may have been a Kansan only through sheer accident of circumstances—the baby and his mother remained in Piqua only two weeks before rejoining the troupe on the road—he returned there many times as a child on tour with his parents.3 Later, the classic slapstick comedian paid tribute to his home state in many of the themes and situations of his best films, most notably in the cyclone sequence in Steamboat Bill, Jr. (1928). To my mind, even his trademark "deadly horizontal" hat (as James Agee described it) evokes the stark flatness of the Kansas prairies.4 While the Keaton phenomenon will be fully explored throughout the centenary year, Eleanor herself should not be forgotten. By all accounts, she was an important force in Buster's later years. "She has seen Buster Keaton through a long period of painful adjustment, relapse, and readjustment and a dozen partial comebacks," wrote Rudi Blesh, shortly before Buster's death on February 1,1966. "She has carried him, content and at times happy, across the threshold of his seventies.
    [Show full text]
  • Forgotten Film. Teaching Notes
    FORGOTTEN FILM FROM BEGINNINGS TO “TALKIES ” TEACHING NOTES UNIT 1 FORGOTTEN FILM: FROM BEGINNINGS TO "TALKIES" de Rosa Maria Andrés Blanch està subjecta a una llicència de Reconeixement-NoComercial-SenseObraDerivada 3.0 No adaptada de Creative Commons http://creativecommons.org/licenses/by-nc-nd/3.0/ TOPIC: FORGOTTEN FILM. FROM BEGINNINGS TO “TALKIES” UNIT 1: PRECINEMA INTRODUCTION Timing :1h INTRODUCTION AIMS: Predicting and activating prior knowledge about Cinema and English language. UNIT 1. ACTIVITY 1. INTRODUCTION MANAGEMENT/PROCEDURE RESOURCES • Students work first individually and then in pairs to compare and share information. Student’s Workbook • There is no need to correct it. Page 2 INTRODUCTION UNIT 1. ACTIVITY 2. INTRODUCTION MANAGEMENT/PROCEDURE RESOURCES • Students work first individually and then in pairs. • Students ask their partners how often they go to the cinema. • ANSWER KEY: I go to the never He/She goes cinema a week to the once I go a month cinema twice a year Student’s Workbook three Page 3 a week to the four He/She goes times a month cinema five a year more than five • Ask the students to read answers in plenary. • Correct students spelling and write answers on the board. Rosa Maria Andrés Blanch 2011 IES VIlatzara 1 FORGOTTEN FILM FROM BEGINNINGS TO “TALKIES ” TEACHING NOTES UNIT 1 INTRODUCTION UNIT 1. ACTIVITY 3. INTRODUCTION MANAGEMENT/PROCEDURE RESOURCES • Students work first individually and then in pairs to compare and share information. • WORDSEARCH. There are 10 words related to cinema. • ANSWER KEY R T F G W S M Q S A R V D G R H D P I O J G F I X S A D I F G H V J K S C A M E R A S G C I P U Student’s Workbook V N E Z E S V B N L E A Page 4 B I F H C J U Y P L E L N M R S T O R Y F U B E Power Point Y A N S O A Z X F S V F UNIT1:Precinema U T B G R Q O S A I X F Slide 1: Wordsearch O I D F G E U J K O A E Slide 2: Key to L O T S C E N E O N L C wordsearch M N E G H J K W A C M S R E C O R D I N G F A J Across : cameras, story, scene, recording.
    [Show full text]
  • MAE Westjo | Pered, Lovable Second Week at the Soldier’ Circle
    MARCH 11, 1933 THE INDIANAPOLIS TIMES PAGE 5 MAE WEST, JOHN GILBERT AND DICK POWELL HEAD CASTS ‘Private Jones,’ ‘Fast Workers,’ “She Done Him Wrong’ Noel Coward Has Woven Three Romances Into the Pat- and *42nd Street’ Bid for Favor in the Downtown tern of His Story in ‘Cavalcade,’ Now Being Movie Theaters for a Week. Presented Twice Daily at English's. the laughs, tears, comedy and tragedy of olive drab doughboy “Cavalcade” which Fox Film Corporation is offering on the screen ALLdays arc said to accompany Lee Tracy in Universal’s new film, “Pri- INat English's, Noel Coward has woven three romances into the pattern vate Jones.’’ which is apeparing currently upon the screen of the Apollo. of his tapestry record of the march of the generation. The film will remain through Thursday next. The first romance is one between husband and wife, a rather unique Tracy, who has gained unusual popularity, through his recent fast- departure in these days when marital infidelities supply the theme for talking characterizations which live on the screen, as no other actor is so many dramas. It is this romance of the Marryots enduring through thought to have made them live, plays the title role of the new photo- the trials and vicissitudes of the chaotic past thirty years that is said to play, which is the screen adaptation of a widely discussed play, especially add much power and strength to "Cavalcade.” revamped for film purposes. The second romance starts with | The star, it will be recalled, ap- a boy and girl affair between the peared in 'Blessed Event,” “Wash- at the Terminal for a week’s en- older Marryot son and Edith, the ington Merry-Go-Round” and “Half gagement.
    [Show full text]
  • GUNSMOKE TV CAST and DETAILS Premiered
    GUNSMOKE TV CAST AND DETAILS Premiered: September 10, 1955, on CBS Rating: TV-PG Premise: This landmark adult Western centered on Marshal Matt Dillon of Dodge City. John Wayne turned down the lead, suggesting James Arness (who remained for its entire run). Originating on radio (with William Conrad as Dillon), it moved to TV in September 1955. Its popularity spawned a number of copycats, but none would enjoy the longevity (and few the consistent quality) of this classic. Airing for 20 years, it's TV's longest running prime-time drama (a record that `Law & Order' is currently chasing). Gunsmoke Cast • James Arness : Marshal Matt Dillon • Milburn Stone : Dr. Galen `Doc' Adams • Amanda Blake : Kitty Russell • Dennis Weaver : Chester Goode • Ken Curtis : Festus Haggen • Burt Reynolds : Quint Asper • James Nusser : Louie Pheeters • Charles Seel : Barney Danches • Howard Culver : Howie Culver • Tom Brown : Ed O'Connor • John Harper : Percy Crump • Dabbs Greer : Mr. Jonus • George Selk : Moss Grimmick • Hank Patterson : Hank Miller • Glenn Strange : Sam • Sarah Selby : Ma Smalley • Ted Jordan : Nathan Burke • Roger Ewing : Clayton Thaddeus `Thad' Greenwood • Roy Roberts : Mr. Bodkin • Woody Chamblis : Mr. Lathrop • Buck Taylor : Newly O'Brien • Charles Wagenheim : Halligan • Pat Hingle : Dr. John Chapman • Fran Ryan : Miss Hannah Gunsmoke Credits • Sam Peckinpah : Screenwriter Gunsmoke Directors • Harry Horner : Director Gunsmoke Guest Cast • Aaron Saxon : Basset • Aaron Spelling : Weed Pindle • Abraham Sofaer : Harvey Easter • Adam West : Hall
    [Show full text]
  • Moral Knowledge and the Politics of Cinema Censorship Erin Elif Alp
    Screen Cleaning: Moral Knowledge and the Politics of Cinema Censorship Erin Elif Alp Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2016 © 2015 Erin Elif Alp All rights reserved ABSTRACT Screen Cleaning: Moral Knowledge and the Politics of Cinema Censorship Erin Elif Alp This dissertation asks how the structure of moral authority and media viewership in America has changed over the course of the 20th century. In order to address this question, I examine the ways in which American films are, and have been, labeled inappropriate or appropriate for public viewership. I ask how censorship, regulation and rating systems work to create and manage moral ambiguity, and what types of ramifications moral ambiguity is thought to have on viewers. I also address the types of problems associated with American cinema over time, and propose several analytical dimensions to capture and unpack the processes of censoring cinema. This framework is built on the notions of filth and moral ambiguity, moral repercussion, a process of responsibilization, and the telos for cinema, all of which influences how an organization interacts with movies and morality. In lapses of symmetry between on- and off-screen worlds, moral ambiguity arises in ways that responsibilize either content controllers or audiences themselves. I show the links between these articulations and how the moral repercussions of exposure to cinema are defined. I also argue that where in the past moral ambiguity was commonly perceived as a dangerous aspect of cinema, especially by censors and Hollywood film production regulators, contemporary movie raters present a film’s moral ambiguity as a resource to the viewer.
    [Show full text]
  • Actor Analysis Joel Ross 2/3/2020 This Page Analyzes Data About Movie Actors! Trending Actors
    Actor Analysis Joel Ross 2/3/2020 This page analyzes data about movie actors! Trending Actors Who are the top trending_count trending people on TMDB (week of 2020-01-29)? Name Photo Leonardo DiCaprio Brad Pitt Jason Statham Jet Li Henry Cavill Nicolas Cage Bruce Willis Scarlett Johansson Favorite Actor Though they may not be included in that list for some reason, my favorite actor is Cary Grant (https://www.imdb.com/name/nm3485845/nm0000026). They are known for: North by Northwest Notorious To Catch a Thief Their biography: “Once told by an interviewer,”Everybody would like to be Cary Grant“, Grant is said to have replied,”So would I." Cary Grant was born Archibald Alec Leach in Horfield, Bristol, England, to Elsie Maria (Kingdon) and Elias James Leach, who worked in a factory. His early years in Bristol would have been an ordinary lower-middle-class childhood, except for one extraordinary event. At age nine, he came home from school one day and was told his mother had gone off to a seaside resort. The real truth, however, was that she had been placed in a mental institution, where she would remain for years, and he was never told about it (he wouldn’t see his mother again until he was in his late 20s). He left school at fourteen, lying about his age and forging his father’s signature on a letter to join Bob Pender’s troupe of knockabout comedians. He learned pantomime as well as acrobatics as he toured with the Pender troupe in the English provinces, picked up a Cockney accent in the music halls in London, and then in July 1920 was one of the eight Pender boys selected to go to the US.
    [Show full text]
  • Film Noir Database
    www.kingofthepeds.com © P.S. Marshall (2021) Film Noir Database This database has been created by author, P.S. Marshall, who has watched every single one of the movies below. The latest update of the database will be available on my website: www.kingofthepeds.com The following abbreviations are added after the titles and year of some movies: AFN – Alternative/Associated to/Noirish Film Noir BFN – British Film Noir COL – Film Noir in colour FFN – French Film Noir NN – Neo Noir PFN – Polish Film Noir www.kingofthepeds.com © P.S. Marshall (2021) TITLE DIRECTOR Actor 1 Actor 2 Actor 3 Actor 4 13 East Street (1952) AFN ROBERT S. BAKER Patrick Holt, Sandra Dorne Sonia Holm Robert Ayres 13 Rue Madeleine (1947) HENRY HATHAWAY James Cagney Annabella Richard Conte Frank Latimore 36 Hours (1953) BFN MONTGOMERY TULLY Dan Duryea Elsie Albiin Gudrun Ure Eric Pohlmann 5 Against the House (1955) PHIL KARLSON Guy Madison Kim Novak Brian Keith Alvy Moore 5 Steps to Danger (1957) HENRY S. KESLER Ruth Ronan Sterling Hayden Werner Kemperer Richard Gaines 711 Ocean Drive (1950) JOSEPH M. NEWMAN Edmond O'Brien Joanne Dru Otto Kruger Barry Kelley 99 River Street (1953) PHIL KARLSON John Payne Evelyn Keyes Brad Dexter Frank Faylen A Blueprint for Murder (1953) ANDREW L. STONE Joseph Cotten Jean Peters Gary Merrill Catherine McLeod A Bullet for Joey (1955) LEWIS ALLEN Edward G. Robinson George Raft Audrey Totter George Dolenz A Bullet is Waiting (1954) COL JOHN FARROW Rory Calhoun Jean Simmons Stephen McNally Brian Aherne A Cry in the Night (1956) FRANK TUTTLE Edmond O'Brien Brian Donlevy Natalie Wood Raymond Burr A Dangerous Profession (1949) TED TETZLAFF George Raft Ella Raines Pat O'Brien Bill Williams A Double Life (1947) GEORGE CUKOR Ronald Colman Edmond O'Brien Signe Hasso Shelley Winters A Kiss Before Dying (1956) COL GERD OSWALD Robert Wagner Jeffrey Hunter Virginia Leith Joanne Woodward A Lady Without Passport (1950) JOSEPH H.
    [Show full text]