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George Gebhardt Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
George Gebhardt 电影 串行 (大全) The Dishonored https://zh.listvote.com/lists/film/movies/the-dishonored-medal-3823055/actors Medal A Rural Elopement https://zh.listvote.com/lists/film/movies/a-rural-elopement-925215/actors The Fascinating https://zh.listvote.com/lists/film/movies/the-fascinating-mrs.-francis-3203424/actors Mrs. Francis Mr. Jones at the https://zh.listvote.com/lists/film/movies/mr.-jones-at-the-ball-3327168/actors Ball A Woman's Way https://zh.listvote.com/lists/film/movies/a-woman%27s-way-3221137/actors For Love of Gold https://zh.listvote.com/lists/film/movies/for-love-of-gold-3400439/actors The Sacrifice https://zh.listvote.com/lists/film/movies/the-sacrifice-3522582/actors The Honor of https://zh.listvote.com/lists/film/movies/the-honor-of-thieves-3521294/actors Thieves The Greaser's https://zh.listvote.com/lists/film/movies/the-greaser%27s-gauntlet-3521123/actors Gauntlet The Tavern https://zh.listvote.com/lists/film/movies/the-tavern-keeper%27s-daughter-1756994/actors Keeper's Daughter The Stolen Jewels https://zh.listvote.com/lists/film/movies/the-stolen-jewels-3231041/actors Love Finds a Way https://zh.listvote.com/lists/film/movies/love-finds-a-way-3264157/actors An Awful Moment https://zh.listvote.com/lists/film/movies/an-awful-moment-2844877/actors The Unknown https://zh.listvote.com/lists/film/movies/the-unknown-3989786/actors The Fatal Hour https://zh.listvote.com/lists/film/movies/the-fatal-hour-961681/actors The Curtain Pole https://zh.listvote.com/lists/film/movies/the-curtain-pole-1983212/actors -
Hands Up! by Steve Massa
Hands Up! By Steve Massa Raymond Griffith is one of silent come- dy’s unjustly forgotten masters, whose onscreen persona was that of a calm, cool, world-weary bon vivant – some- thing like Max Linder on Prozac. After a childhood spent on stage touring in stock companies and melodramas, he ended up in films at Vitagraph in 1914 and went on to stints at Sennett,- L Ko, and Fox as a comedy juvenile. Not mak- ing much of an impression due to a lack of a distinctive character, he went be- hind the camera to become a gagman, working at Sennett and for other comics like Douglas MacLean. In 1922 he re- turned to acting and became the ele- gant, unflappable ladies’ man. Stealing comedies such as “Changing Husbands,” “Open All Night,” and “Miss Bluebeard” (all 1924) away ing very popular with his character of “Ambrose,” a put- their respective stars Paramount decided to give him his upon everyman with dark-circled eyes and a brush mous- own series, and he smarmed his way through ten starring tache. Leaving Sennett in 1917 he continued playing Am- features starting with “The Night Club” (1925). brose for L-Ko, Fox, and the independent Poppy Come- dies and Perry Comedies. His career stalled in the early “Hands Up!” (1926) soon followed, and is the perfect 1920s when he was blacklisted by an influential produc- showcase for Griffith’s deft comic touch and sly sense of er, but his old screen mate Charlie Chaplin came to the the absurd. The expert direction is by Clarence Badger, rescue and made Mack part of his stock company in films who started in the teens with shorts for Joker and Sen- such as “The Idle Class” (1921) and “The Pilgrim” (1923). -
Portuguese Comedian Sets
August, 2000 Portuguese Comedian Sets Portugal has long been known for issuing many colorful sets, many of which are very large in number. In 1971-1972, three especially nice sets were issued which featured international comedians. Thus, these covers also overlap into the VIP/Personality category. All three sets feature the same comedians [all male, by the way. You’d think they could have at least stuck Lucille Ball in there. I wonder if that was a Latin macho thing.] 1. Max Linder 9. Stan Laurel 17. Ferdandel 2. Charles Chaplin 10. W. C. Fields 18. Cantinflas 3. Ben Turpin 11. Mickey Rooney 19. Bob Hope 4. Buster Keaton 12. Vasco Santan 20. Danny Kaye 5. Harold Lloyd 13. Antonio Silva 21. Toto 6. Groucho Marx 14. Lou Costello 22. Jerry Lewis 7. Harpo Marx 15. Bud Abbott 23. Terry Thomas 8. Oliver Hardy 16. Jacques Tati 24. Alberto Sordi Set I: (1971) This set numbers 96 covers. There are 24 different comedians portrayed in caricature. There are 24 w/ yellow background, 24 w/ pink background, 24 w/white background, and 24 w/blue background. Single striker; each cover has black edges. Set II: (1971) Only 48 are reported in this set. These covers have double strikers. Backgrounds are pink and blue. 24 covers have blue edges; 24 have red edges. Set III: (1972) This set consists of 72 covers. 24 of these covers have a red edge with a blue background in the center, 24 have a red edge with a white background in the center, and 24 have a blue edge with a yellow background in the center. -
Winter Series Art Films and Events January February Filmmarch Film
Film Program Winter 2008 National Gallery of Art, Washington Winter Series film From the Archives: 16 at 12 England’s New Wave, 1958 – 1964 István Szabó’s 20th Century Alexander Sokurov In Glorious Technicolor Art Films and Events This Sporting Life (Photofest) 19 Sat II March Edward 2:00 England’s New Wave, 1958 – 1964: A Kind of Loving 1 Sat J. M.W. Turner and Film 4:30 England’s New Wave, 1958 – 1964: 2:00 István Szabó’s 20th Century: Mephisto (two-part program) This Sporting Life 4:30 István Szabó’s 20th Century: Colonel Redl 2 Sun The Gates 20 Sun 4:30 England’s New Wave, 1958 – 1964: 4:30 István Szabó’s 20th Century: Hanussen International Festival of Films Saturday Night and Sunday Morning; 4 Tues The Angry Silence on Art 12:00 From the Archives: 16 at 12: The City 22 Tues of Washington Henri Storck’s Legacy: 12:00 From the Archives: 16 at 12: Dorothea 8 Sat Lange: Under the Trees; Eugène Atget (1856 – 1927) Belgian Films on Art 3:00 Event: Max Linder Ciné-Concert 26 Sat 9 Sun 2:00 Event: International Festival of Films on Art England’s Finest Hour: 4:30 Alexander Sokurov: The Sun (Solntse) Films by Humphrey Jennings 27 Sun 11 Tues 4:00 Event: International Festival of Films on Art Balázs Béla Stúdió: 1961 – 1970 12:00 From the Archives: 16 at 12: Washington, 29 Tues City with a Plan Max Linder Ciné-Concert 12:00 From the Archives: 16 at 12: Dorothea 15 Sat Lange: Under the Trees; Eugène Atget (1856 – 1927) 2:30 Alexander Sokurov: Elegy of Life: Silvestre Revueltas: Music for Film Rostropovich Vishnevskaya February 4:30 Alexander -
The Story of Johnstown
m HBBH ^H HT I m Mmm tflSJS *m»xff>. Class "Fl_sig_ -<3~7 Rook N^l v>. Copyright N° COPffilGHT DEPOSfT. The Story of Johnstown. ; "/ could a tale unfold, whose lightest word Would harrow up thy soul; freeze thy young bicod Make thy two eyes, like stars, start from their spheres. ' —Shakespeare. K<V*>> The Story of Johnstown ITS EARLY SETTLEMENT, RISE AND PROGRESS, INDUSTRIAL GROWTH, AND APPALLING FLOOD ON MAY 3 1ST, 11 By J. J. McLAURIN Editor Harrisburg Telegram Prefatory Note by REV. JOHN R. PAXTON, D. D., of New York Illustrated by Baron de Grimm, George Spiel, Coultaus, A. Heuche, Victor Perard, G. E. Burr and August Bruno, from Original Designs, Sketches and Photographs harrisburg, pa. James M. Place, Publisher 1890 Copyrighted, JAMES M. PLACE, 1889. INTRODUCTION A book on such a subject, written to give a plain statement of facts and do something for a good cause, could have no intro- duction better than this letter from one of the eminent divines of the age : 57 West Forty-Sixth Street, New York, Nov. 4, 18S9. Esq., Harrisburg, Pa. J. J. McLaurin, My Dear Sir ; I see by Governor Beaver's letter to the publisher that you propose to write a book on the Johnstown Flood. It should be done at once, while the scenes and incidents of those dreadful days are fresh and unfaded in our minds. Let the story of the awful calamity be put into enduring type for future gene- rations. It ranks among the great calamities of the world and deserves a place in History. -
Sir Charles Spencer "Charlie" Chaplin, KBE (16 April 1889 – 25 December 1977) Was an English Comic Actor and Film Di
Sir Charles Spencer "Charlie" Chaplin, KBE (16 April 1889 – 25 December 1977) was an English comic actor and film director of the silent film era who became one of the best-known film stars in the world before the end of the First World War. Chaplin used mime, slapstick and other visual comedy routines, and continued well into the era of the talkies, though his films decreased in frequency from the end of the 1920s. His most famous role was that of “The Tramp”, which he first played in the Keystone comedy “Kid Auto Races” at Venice in 1914. From “Twenty Minutes of Love” onwards, he was writing and directing most of his films. By 1916, he was also producing, and from 1918 composing the music. With Mary Pickford, Douglas Fairbanks and D. W. Griffith, he co-founded United Artists in 1919. Chaplin was one of the most creative and influential personalities of the silent-film era. He was influenced by his predecessor, the French silent movie comedian Max Linder, to whom he dedicated one of his films. His working life in entertainment spanned over 75 years, from the Victorian stage and the Music Hall in the United Kingdom as a child performer, until close to his death at the age of 88. His high-profile public and private life encompassed both adulation and controversy. Chaplin's identification with the left ultimately forced him to resettle in Europe during the McCarthy era in the early 1950s. In 1999, the American Film Institute ranked Chaplin the 10th greatest male screen legend of all time. -
Sample Chapter
King_Ch01 6/17/08 18:35 Page 19 1. “The Fun Factory” Class, Comedy, and Popular Culture, 1912–1914 One has to hand this to the Americans: with slapstick films they have created a form that offers a counterweight to their reality. If in that reality they subject the world to an often unbearable discipline, the film in turn dismantles this self-imposed order quite forcefully. siegfried kracauer, “Artistisches und Amerikanisches” (1926) When, in 1912, the Moving Picture World critic W.Stephen Bush lamented the “absence of genuine humor” in a majority of comic films, he was merely making explicit a perception that had long been accepted at the grass-roots level.1 Feeling short-changed by an industry that had drasti- cally cut back its comedy output since 1908, theater owners had taken to writing to trade journals to voice their dissatisfactions. “There is too much high class drama, which cannot be understood by the average working man,” noted one such exhibitor. “A very large proportion seems to thor- oughly enjoy the old Essanay slap-stick variety.”2 Filmmakers, too, acknowl- edged the demand: “Can you write a good comedy?” Photoplay asked its readers in October 1912. “Try it, for the producer will pay more attention to it just now than any other.”3 “Comedies, comedies, comedies,” a studio sce- narist demanded in another issue of the same publication. “Get your scriptwriting readers to try their hand at comedies; we need them, all film producers want them.”4 No doubt there was reason to be thankful, then, when the formation of a new, all-comedy company was announced that fall. -
Download Press Notes
Strand Releasing presents A film by ULRICH SEIDL IN THE BASEMENT BY THE DIRECTOR OF DOG DAYS AND THE PARADISE TRILOGY Starring Fritz Lang, Alfreda Klebinger and Manfred Ellinger Official Selection: Venice Film Festival PRELIMINARY PRESS NOTES Country of Origin: Austria Format: DCP/1.85/Color Sound Format: Dolby SRD Running Time: 81 minutes Genre: Documentary Not Rated In German with English Subtitles LA/National Press Contact: Jenna Martin / Marcus Hu Strand Releasing Phone: 310.836.7500 [email protected] [email protected] Please download photos from our website: http://strandreleasing.com/films/in-the-basement/ SYNOPSIS Maverick director Ulrich Seidl (Dog Days, The Paradise Trilogy) delves into yet another exploration of the dark underside of the human psyche with a look at Austrian basements fitted out as private domains for secrets and fetishes. No desire or proclivity is off-limits to Seidl’s camera, which takes in the opera-singing gunslinger, the Hitler-loving brass band, a hunter of exotic species and the passionate devotees of S&M with an equal measure of curiosity and compassion. A FILM YOU COULD KEEP SHOOTING FOREVER: EIGHT QUESTIONS FOR ULRICH SEIDL About basements it is safe to say: Almost everyone has one, almost no one reveals theirs. Can you tell us how you researched your film? Did you go out looking for specific basements? In fact it was hard to gain access to people and their basements. It‘s easy enough to find the normal, banal, harmless. Many people are happy to show off their basements, but what you encounter is mostly hobby areas such as workshops, fitness or party rooms, or even entire basements devoted to a husband’s model railway or beer coaster collection. -
Comedy: Violence, Change, Survival
Comedy: Violence, Change, Survival ”The predominant theme in comedy: A study of Violence, Change and Survival.” Case study: Marx Brother & W.C. Fields Content Content: Acknowledgment Introduction 1 General introduction. Chapter One - The Invention of Comedy 5 Historical development - Comedy. Chapter Two – The Theme: Survival 13 Thematic analysis - The concept of surviving in Comedy. Chapter Three – The Theme: Change 31 Thematic analysis - the concept of changing in Comedy. Chapter Four – The Theme: Violence 39 Thematic analysis - the concept of violence in Comedy. Chapter Five – Case Study: Marx Brothers & W.C. Fields 55 The theme of surviving in Marx Brothers and violence in W.C. Fields. Chapter Six – Conclusion 77 Concluding remarks. Acknowledgment Behind the scenes, groups, institutions, and many individuals have been of assistance in the creation of this thesis. First and foremost I would like to thank Jan Anders Diesen, for his patience, support, and encouragement. There has been one person, throughout out this thesis that has been there for me, have guided me, gave me hope, a vital person in the writing of this thesis. Me. So I thank, myself, I really do. (Let The Comedy Begin) Introduction ”It's a funny old world. A man's lucky if he gets out of it alive.” W.C. Fields You're Telling Me! (1934) In this master thesis, I will investigate specific themes or motives that have predominant existence in the genre comedy. By theme, i mean recurring motive associated with a particular person, place, or idea, in Opera this is called Leitmotif, literally meaning leading motif. In this thesis, I am in search, of the theme violence, change, and survival, which are archetypal themes in the genre comedy. -
Shail A. Max Linder and the Emergence of Film Stardom. Early Popular Visual Culture 2016, 14(1), 55-86
Shail A. Max Linder and the Emergence of Film Stardom. Early Popular Visual Culture 2016, 14(1), 55-86. Copyright: This is an Accepted Manuscript of an article published by Taylor & Francis in Early Popular Visual Cultureon 14/04/2016, available online: http://dx.doi.org/10.1080/17460654.2015.1092665 Date deposited: 14/04/2016 Embargo release date: 14 October 2017 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence Newcastle University ePrints - eprint.ncl.ac.uk Max Linder and the Emergence of Film Stardom Andrew Shail School of English Literature, Language & Linguistics, Newcastle University, Newcastle upon Tyne, UK Abstract This article reconstructs the story behind Pathé Frères’ decision to launch the first ever star publicity campaign for a film performer who was not already famous from another cultural realm: their late-1909 campaign for Max Linder. After showing that this celebrity-building effort definitely predates the beginnings of the star system in the United States, I go on to argue that we can also draw a direct causal link between this star-system-occasioning event in France and the first decision to launch a publicity campaign in the US: IMP’s campaign for Florence Lawrence, which, I show, predated the first star publicity campaigns of the Motion Picture Patents Company affiliates by several months. Proposing, therefore, that the model of the causality of the emergence of the star system proposed by Richard deCordova in Picture Personalities (1990) is incomplete, I identify the exceptional circumstances experienced by Pathé and IMP that led them, rather than their competitors, to make the significant investments necessary to establish their performer employees as production values and thereby instigate the star system, suggesting a new model of causality for the emergence of film stardom. -
Hollywood and France, 1914-1945 Louise G
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2011 Vive la Différence: Hollywood and France, 1914-1945 Louise G. Hilton Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Hilton, Louise G., "Vive la Différence: Hollywood and France, 1914-1945" (2011). LSU Master's Theses. 1206. https://digitalcommons.lsu.edu/gradschool_theses/1206 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. VIVE LA DIFFÉRENCE: HOLLYWOOD AND FRANCE, 1914-1945 A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Arts in The Interdepartmental Program in Liberal Arts by Louise G. Hilton B. A., Louisiana State University, 2004 May 2011 ACKNOWLEDGEMENTS I wish, first of all, to thank my thesis advisor, Dr. Charles Shindo, for his counsel and infinite patience during the time I spent working on this project. Dr. Karl Roider also deserves heartfelt thanks for his unflagging support throughout my studies at LSU and for his agreeing to be a member of my thesis committee. I extend my appreciation to Dr. William Clark for giving of his valuable time to be a part of my committee. -
LORDS of the WHITE CASTLE ELIZABETH CHADWICK Sphere
LORDS OF THE WHITE CASTLE ELIZABETH CHADWICK Sphere paperback September 2006 INTRODUCTION Lords of The White Castle is a novel based on a remarkable true story of honour, treachery and love spanning the turbulent reigns of four great Medieval kings. Award winning author Elizabeth Chadwick brings the thirteenth century vividly to life in the tale of Fulke FitzWarin. From inexperienced young courtier to powerful Marcher lord, from loyal knight to dangerous outlaw, from lover of many women to faithful husband, Fulke’s life story bursts across the page in authentic detail. A violent quarrel with Prince John, later King John, disrupts Fulke’s life ambition to become ‘Lord of the White Castle’ and leads him to rebel. There are perilous chases through autumn woods, ambushes and battles of wit as Fulke thwarts John at every turn. No less dramatic is the dangerous love that Fulke harbours for Maude Walter, a wealthy widow whom John wants for himself. Negotiating a maze of deceit, treachery and shifting political alliances Fulke’s striving is rewarded, but success is precarious. Personal tragedy follows the turbulence of the Magna Carta rebellion, culminating in the destruction of everything for which Fulke has fought. Yet even among the ashes, he finds a reason to begin anew. EXTRACT To set the scene: Fulke FitzWarin has rebelled against King John. During a skirmish Fulke is wounded by a crossbow bolt and seeks succour at the manor of Higford, belonging to his paternal aunt. Maud Walter, a friend's wife to whom Fulke is attracted, is on her way to join her husband when she too arrives at Higford, and the scene is set for confrontation...