The Quintessential Temptress
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Film Rights Afm 2016
FILM RIGHTS ION OF FRENCH BOOKS AFM 2016 T LOS ANGELES SELEC A DESIGNED BY Line Célo Mathieu Roger-Lacan PRINTED IN USA BY Printex PUBLISHED BY Office for Cultural Affairs and the Creative Industries Consulate General of France in Los Angeles 10390, Santa Monica Blvd Los Angeles CA 90025 [email protected] frenchculture.org THIS PUBLICATION IS SUPPORTED BY Institut français 2 Shoot the Book! L.A. SECOND EDITION Organized by the French Embassy’s Mission for Culture and Higher Education in the United States and the Institut français, Shoot the Book! LA is the US edition of Shoot the Book!, a collective endeavor of French publishers under the banner of the Société Civile des Editeurs de Langue Française (SCELF) and the Bureau Interna- tional de l’Edition Française (BIEF) launched at the Cannes Film Festival in 2014. Shoot the Book! L.A. was made possible thanks to the support of the SCELF, the CFC (Centre Français du droit de Copie) and the SOFIA (SOciété Française des Intérêts des Auteurs de l’écrit). Shoot the Book! comes to Los Angeles this year again. This second edition is de- signed as a platform to display a selection of titles from France’s front-line publi- shing houses, which have been selected by leading American film professionals for their potential as screen adaptations for film, television and other digital formats. Each book is presented in its main storylines, with a synthesis of key information and the person to contact if you would like to know more. The titles presented by re- presentatives for the Mediatoon Group (Dargaud and Dupuis), the Place des Édi- teurs Group (Belfond and Presses de la Cité), Denoël, Albin Michel and C.A.L. -
Online Versions of the Handouts Have Color Images & Hot Urls September
Online versions of the Handouts have color images & hot urls September 6, 2016 (XXXIII:2) http://csac.buffalo.edu/goldenrodhandouts.html Sam Wood, A NIGHT AT THE OPERA (1935, 96 min) DIRECTED BY Sam Wood and Edmund Goulding (uncredited) WRITING BY George S. Kaufman (screenplay), Morrie Ryskind (screenplay), James Kevin McGuinness (from a story by), Buster Keaton (uncredited), Al Boasberg (additional dialogue), Bert Kalmar (draft, uncredited), George Oppenheimer (uncredited), Robert Pirosh (draft, uncredited), Harry Ruby (draft uncredited), George Seaton (draft uncredited) and Carey Wilson (uncredited) PRODUCED BY Irving Thalberg MUSIC Herbert Stothart CINEMATOGRAPHY Merritt B. Gerstad FILM EDITING William LeVanway ART DIRECTION Cedric Gibbons STUNTS Chuck Hamilton WHISTLE DOUBLE Enrico Ricardi CAST Groucho Marx…Otis B. Driftwood Chico Marx…Fiorello Marx Brothers, A Night at the Opera (1935) and A Day at the Harpo Marx…Tomasso Races (1937) that his career picked up again. Looking at the Kitty Carlisle…Rosa finished product, it is hard to reconcile the statement from Allan Jones…Ricardo Groucho Marx who found the director "rigid and humorless". Walter Woolf King…Lassparri Wood was vociferously right-wing in his personal views and this Sig Ruman… Gottlieb would not have sat well with the famous comedian. Wood Margaret Dumont…Mrs. Claypool directed 11 actors in Oscar-nominated performances: Robert Edward Keane…Captain Donat, Greer Garson, Martha Scott, Ginger Rogers, Charles Robert Emmett O'Connor…Henderson Coburn, Gary Cooper, Teresa Wright, Katina Paxinou, Akim Tamiroff, Ingrid Bergman and Flora Robson. Donat, Paxinou and SAM WOOD (b. July 10, 1883 in Philadelphia, Pennsylvania—d. Rogers all won Oscars. Late in his life, he served as the President September 22, 1949, age 66, in Hollywood, Los Angeles, of the Motion Picture Alliance for the Preservation of American California), after a two-year apprenticeship under Cecil B. -
The Creative Process
The Creative Process THE SEARCH FOR AN AUDIO-VISUAL LANGUAGE AND STRUCTURE SECOND EDITION by John Howard Lawson Preface by Jay Leyda dol HILL AND WANG • NEW YORK www.johnhowardlawson.com Copyright © 1964, 1967 by John Howard Lawson All rights reserved Library of Congress catalog card number: 67-26852 Manufactured in the United States of America First edition September 1964 Second edition November 1967 www.johnhowardlawson.com To the Association of Film Makers of the U.S.S.R. and all its members, whose proud traditions and present achievements have been an inspiration in the preparation of this book www.johnhowardlawson.com Preface The masters of cinema moved at a leisurely pace, enjoyed giving generalized instruction, and loved to abandon themselves to reminis cence. They made it clear that they possessed certain magical secrets of their profession, but they mentioned them evasively. Now and then they made lofty artistic pronouncements, but they showed a more sincere interest in anecdotes about scenarios that were written on a cuff during a gay supper.... This might well be a description of Hollywood during any period of its cultivated silence on the matter of film-making. Actually, it is Leningrad in 1924, described by Grigori Kozintsev in his memoirs.1 It is so seldom that we are allowed to study the disclosures of a Hollywood film-maker about his medium that I cannot recall the last instance that preceded John Howard Lawson's book. There is no dearth of books about Hollywood, but when did any other book come from there that takes such articulate pride in the art that is-or was-made there? I have never understood exactly why the makers of American films felt it necessary to hide their methods and aims under blankets of coyness and anecdotes, the one as impenetrable as the other. -
Sir Gawain and the Green Knight
A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF SIR GAWAIN AND THE GREEN KNIGHT BY KELLI McCALL SELF TEACHER’S GUIDE TEACHER’S DR Gawain TG 100912a.indd 1 10/24/12 4:55 PM 2 A Teacher’s Guide to Sir Gawain and the Green Knight TABLE OF CONTENTS INTRODUCTION ........................................................................................................................3 LIST OF CHARACTERS .............................................................................................................3 SYNOPSIS OF THE POEM .......................................................................................................4 PREREADING ACTIVITIES .......................................................................................................6 I. BUILDING BACKGROUND KNOWLEDGE IN HISTORY AND LITERATURE ................................................................................6 II. BUILDING BACKGROUND KNOWLEDGE THROUGH INITIAL EXPLORATION OF THEMES ............................................10 DURING READING ACTIVITIES..........................................................................................13 I. DISCUSSION QUESTIONS ..................................................................................13 II. ACTIVITIES TO GENERATE RESPONSE AND EXPLORATION OF THE TEXT ......................................................................15 AFTER READING ACTIVITIES .............................................................................................16 I. TEXTBASED TOPICS FOR ESSAYS AND DISCUSSIONS ..........................16 -
Black Hollywood: the Stereotypes, Erasure, and Social Inclusivity of Black Entertainers in Hollywood, 1930-60S
Bard College Bard Digital Commons Senior Projects Fall 2015 Bard Undergraduate Senior Projects Fall 2015 Black Hollywood: The Stereotypes, Erasure, and Social Inclusivity of Black Entertainers in Hollywood, 1930-60s Jalen Thomas Robinson Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_f2015 Part of the American Film Studies Commons, and the Cultural History Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Robinson, Jalen Thomas, "Black Hollywood: The Stereotypes, Erasure, and Social Inclusivity of Black Entertainers in Hollywood, 1930-60s" (2015). Senior Projects Fall 2015. 27. https://digitalcommons.bard.edu/senproj_f2015/27 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Robinson 1 Black Hollywood: The Stereotypes, Erasure, and Social Inclusivity of Black Entertainers in Hollywood, 1930-60s Senior Project submitted to the Division of Arts of Bard College By Jalen Robinson Annandale-on-Hudson, New York November 2015 Robinson 2 The period between the First and Second World Wars spurred a unique perspective on Hollywood and its output of white-dominated films. -
Greta Garbo Collecton
Greta Garbo Collection (1924-1941) Inventory Portraits and film stills of Greta Garbo, including many original photographs from a scrapbook compiled and donated by Estelle Patterson Fox, together with the scrapbook pages. The scrapbook includes newspaper and magazine articles on the life and career of Garbo, together with magazine and newsprint photos, and a number of coloured covers of Garbo from the film magazines of the 1920’s and 1930’s. While many of the sources and dates are not noted, and articles are not always arranged in chronological order, the scrapbook is a wealth of material from the fan magazines of the period. 2 boxes (23 envelopes and 14 file folders); .26 linear metres. Box #1: PHOTOGRAPHS Env. #1: Portraits – 45 items Env. #2: Anna Christie (1930) – 13 items Env. #3: As You Desire Me (1932) – 6 items Env. #4: Camille (1936) – 5 items Env. #5: The Divine Woman (1928) – 2 items Env. #6: Flesh and the Devil (1927) – 5 items Env. #7: Gosta Berling’s Saga (1924) – 2 items Env. #8: Grand Hotel (1932) – 18 items Env. #9: Inspiration (1931) – 14 items Env. #10: The Kiss (1929) – 3 items Env. #11: Love (1927) – 2 items Env. #12: Mata Hari (1931) – 9 items Env. #13: The Mysterious Lady (1928) – 4 items Env. #14: Ninotchka (1939) – 21 items Greta Garbo Collection Inventory Page 2 of 4 Env. #15: Queen Christina (1933) – 32 items Env. #16: Romance (1930) – 7 items Env. #17: The Single Standard (1929) – 2 items Env. #18: Susan Lenox-Her Fall and Rise (1931) – 13 items Env. #19: The Temptress (1926) – 8 items Env. -
NINOTCHKA (1939, 110 Min)
February 1, 2011 (XXII:3) Ernst Lubitsch, NINOTCHKA (1939, 110 min) Directed by Ernst Lubitsch Written by Charles Brackett, Billy Wilder, Walter Reisch, Melchior Lengyel (story) Produced by Ernst Lubitsch and Sidney Franklin Cinematography by William H. Daniels Edited by Gene Ruggiero Art Direction by Cedric Gibbons Costume Design by Adrian Greta Garbo...Ninotchka Melvyn Douglas...Leon Ina Claire...Swana Bela Lugosi...Razinin Sig Ruman...Iranoff Felix Bressart...Buljanoff Alexander Granach...Kopalski Gregory Gaye...Rakonin CHARLES BRACKETT (November 26, 1892, Saratoga Springs, New National Film Registry 1990 York – March 9, 1969, Los Angeles, California) won four Academy Awards: 1946 – Best Screenplay (The Lost Weekend) – shared w. ERNST LUBITSCH (January 28, 1892, Berlin, Germany – November Billy Wilder; 1951 – Best Screenplay (Sunset Blvd.) – w. Billy 30, 1947, Hollywood, California) won an honorary Academy Wilder, D.M. Marshman Jr.; 1954 – Best Screenplay (Titanic) – w. Award in 1947. He directed 47 films, some of which were 1948 Walter Reisch, Richard L. Breen; and 1958 – Honorary Award – That Lady in Ermine, 1946 Cluny Brown, 1943 Heaven Can Wait, (“for outstanding service to the Academy”). He has 46 1942 To Be or Not to Be, 1941 That Uncertain Feeling, 1940 The screenwriting titles, some of which are 1959 Journey to the Center Shop Around the Corner, 1939 Ninotchka, 1938 Bluebeard's Eighth of the Earth, 1956 “Robert Montgomery Presents”, 1955 The Girl Wife, 1937 Angel, 1935 La veuve joyeuse, 1934 The Merry Widow, in the Red Velvet -
Entertainment Industry, 1908-1980 Theme: Industrial Properties Associated with the Entertainment Industry, 1908-1980
LOS ANGELES CITYWIDE HISTORIC CONTEXT STATEMENT Context: Entertainment Industry, 1908-1980 Theme: Industrial Properties Associated with the Entertainment Industry, 1908-1980 Prepared for: City of Los Angeles Department of City Planning Office of Historic Resources December 2019 SurveyLA Citywide Historic Context Statement Entertainment Industry/Industrial Properties Associated with the Entertainment Industry, 1908-1980 TABLE OF CONTENTS PREFACE 1 CONTRIBUTORS 1 INTRODUCTION 1 HISTORIC CONTEXT INDUSTRIAL PROPERTIES ASSOCIATED WITH THE ENTERTAINMENT INDUSTRY, 1908-1980 3 Origins of the Entertainment Industry in Southern California 3 Entertainment Industry Development in the 1920s and 1930s 13 Entertainment Industry Development During World War II 59 Entertainment Industry Development in the Postwar Era 63 SUB-THEME: ORIGINS OF THE MOTION PICTURE INDUSTRY, 1908-1919 72 Development of Industrial Districts and “Motion Picture Zones” 72 Development of Early Motion Picture Production Facilities 73 SUB-THEME: MOTION PICTURE INDUSTRY: MAJOR STUDIO ERA – “THE BIG EIGHT,” 1919-1949 76 Development of Major Motion Picture Production Facilities 76 SUB-THEME: MOTION PICTURE INDUSTRY: INDEPENDENT STUDIOS AND RENTAL PLANTS, 1919-1980 80 Development of Independent Motion Picture Production Facilities 80 SUB-THEME: RADIO BROADCASTING INDUSTRY, 1922-1945 84 Development of Radio Broadcasting Facilities 84 SUB-THEME: TELEVISION BROADCASTING INDUSTRY, 1931-1980 88 Development of Television Broadcasting Facilities 88 SUB-THEME: RECORDING INDUSTRY, 1925-1980 -
An Interactive Study Guide to Toms, Coons, Mulattos, Mammies, and Bucks: an Interpretive History of Blacks in American Film by Donald Bogle Dominique M
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-11-2011 An Interactive Study Guide to Toms, Coons, Mulattos, Mammies, and Bucks: An Interpretive History of Blacks in American Film By Donald Bogle Dominique M. Hardiman Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Hardiman, Dominique M., "An Interactive Study Guide to Toms, Coons, Mulattos, Mammies, and Bucks: An Interpretive History of Blacks in American Film By Donald Bogle" (2011). Research Papers. Paper 66. http://opensiuc.lib.siu.edu/gs_rp/66 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. 1 AN INTERACTIVE STUDY GUIDE TOMS, COONS, MULATTOS, MAMMIES, AND BUCKS: AN INTERPRETIVE HISTORY OF BLACKS IN AMERICAN FILM BY DONALD BOGLE Written by Dominique M. Hardiman B.S., Southern Illinois University, 2011 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Masters of Science Degree Department of Mass Communications & Media Arts Southern Illinois University April 2011 ii RESEARCH APPROVAL AN INTERACTIVE STUDY GUIDE TOMS, COONS, MULATTOS, MAMMIES, AND BUCKS: AN INTERPRETIVE HISTORY OF BLACKS IN AMERICAN FILM By Dominique M. Hardiman A Research Submitted in Partial Fulfillment of the Requirements for the Degree of Masters of Science in the field of Professional Media & Media Management Approved by: Dr. John Hochheimer, Chair Graduate School Southern Illinois University Carbondale April 11, 2011 1 ACKNOWLEDGEMENTS This Research would not have been possible without the initial guidance of Dr. -
Dorothy Farnum
Dorothy Farnum Also Known As: Mrs. Maurice Barber Lived: June 10, 1896 - January 1970 Worked as: adapter, film actress, scenario writer, screenwriter Worked In: France, United Kingdom: England, United States by Matthew Hipps As with many women in early cinema, such as Jeanie Macpherson and Frances Marion, Dorothy Farnum’s career in Hollywood began with acting before settling into writing. Known for her intelligence and beauty, she worked well in front of the camera. From articles in the Los Angeles Times, we know that she was educated in a convent boarding school (location unknown) where Farnum mastered French history and literature and became fluent in Spanish and German (C27, 33). Although she received several offers to act and even appeared in the films Over Night (1915) and The Cub (1915), she was reported to have instead preferred writing scenarios for the silent screen. Farnum’s scenario writing career began in 1919 when she approached producer Harry Rapf with an original scenario titled The Broken Melody. Impressed with her skills, he employed Farnum at a commission of twenty-five dollars a week. Unfortunately, after just two weeks Farnum proved to be too inexperienced and was released from her contract. Rapf promised to employ her once she attained a footing in the industry and refined her trade. Farnum continued to work for a few years, steadily writing adaptations and scenarios. Finally, as reported in the Los Angeles Times, Rapf rehired her in May 1926 and gave her work on what would become one of her most renowned films: Beau Brummel (1924) starring John Barrymore (C27). -
Flesh and the Devil
FLESH AND THE DEVIL. Dir. Clarence Brown. USA, MGM, 1926. 113 min. Black and white, silent. DVD, Turner Classic Movies, 2005 Several events of 1926 made it a pivotal year in the history of American film: • Warner Brothers introduced Vitaphone, the first commercially viable sound-on- film technology, when it released the first major “talkie” - an adaptation of Byron’s Don Juan which featured racy a lines as well as a kiss a minute. • Rudolph Valentino (“the great lover”) died shortly after completing The Son of the Sheik, a film parodied in The World’s Greatest Lover (1977). • Greta Garbo strode onto the American screen, at the age of twenty-one, as the femme fatale in Flesh and the Devil, costarring John Gilbert. The events went together in strange ways. Enflamed by his very real passion for Garbo, Gilbert quickly replaced Valentino as the sexiest man in Hollywood. Meanwhile, the new voice technology took some of the ambiguity out of film. (Was the sheik’s son a rapist? film critics have long asked, and might have decided had there been a soundtrack.) Under pressure to regulate itself, the Motion Picture Association of America, founded in 1922, began to develop its own production code. The so-called Hays Code (so called because formulated by the Association’s first president, Will Hays, who had previously served as manager of Warren G. Harding presidential campaign) established standards that came into effect in 1930 and officially guided the large studios until the current rating system was introduced in 1967. Section II of the code, “Sex,” began with the statement “The sanctity of the institution of marriage and the home shall be upheld. -
Re-Visioning Tropes of Womanhood in Early African American All Black Cast Movie Musicals
CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Birmingham Research Archive, E-theses Repository RE-VISIONING TROPES OF WOMANHOOD IN EARLY AFRICAN AMERICAN ALL BLACK CAST MOVIE MUSICALS REPRESENTATIONS OF THE HOLY WOMAN AND HER TRANSGRESSIVE COUNTERPART IN KING VIDOR’S HALLELLUJAH (1929), SPENCER WILLIAMS’ THE BLOOD OF JESUS (1941) and VINCENTE MINNELLI’S CABIN IN THE SKY (1943) by ANNE BOWER A thesis submitted to the University of Birmingham for the degree of MASTER OF PHILOSOPHY Centre for European Languages and Culture School of Humanities The University of Birmingham May 2013 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. i ABSTRACT The purpose of this thesis is to interrogate cinematic representations of black female sexuality and spirituality in King Vidor’s vision of religious normalcy and black life in the deep south in ‘Hallelujah’ 1929, Spencer Williams’s 1941 independently produced religious melodrama, ‘The Blood of Jesus’, and the vaudevillesque, folkloric Hollywood musical fantasy of Vincente Minnelli’s 1943 ‘Cabin In The Sky’. The paper will examine specific cinematic configurations of black womanhood that were popularised in the all black cast American movie musicals between 1929 and 1943.