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Report on Designation Lpb 559/08
REPORT ON DESIGNATION LPB 559/08 Name and Address of Property: MGM Building 2331 Second Avenue Legal Description: Lot 7 of Supplemental Plat to Block 27 to Bell and Denny’s First Addition to the City of Seattle, according to the plat thereof recorded in Volume 2 of Plats, Page 83, in King County, Washington; Except the northeasterly 12 feet thereof condemned for widening 2nd Avenue. At the public meeting held on October 1, 2008, the City of Seattle's Landmarks Preservation Board voted to approve designation of the MGM Building at 2331 Second Avenue, as a Seattle Landmark based upon satisfaction of the following standard for designation of SMC 25.12.350: C. It is associated in a significant way with a significant aspect of the cultural, political, or economic heritage of the community, City, state or nation; and D. It embodies the distinctive visible characteristics of an architectural style, period, or of a method of construction. STATEMENT OF SIGNIFICANCE This building is notable both for its high degree of integrity and for its Art Deco style combining dramatic black terra cotta and yellowish brick. It is also one of the very few intact elements remaining on Seattle’s Film Row, a significant part of the Northwest’s economic and recreational life for nearly forty years. Neighborhood Context: The Development of Belltown Belltown may have seen more extensive changes than any other Seattle neighborhood, as most of its first incarnation was washed away in the early 20th century. The area now known as Belltown lies on the donation claim of William and Sarah Bell, who arrived with the Denny party at Alki Beach on November 13, 1851. -
View Show Notes
https://archive.org/details/bigpicturemoneyp00epst/page/14 So there’s not a whole lot on the notes front for this episode because I didn’t have a ton of time to write anything out but I have been reading through Wikipedia pages for a couple days and wrote a little bit. This one is going to be about the history of Hollywood or, more specifically, the history of major motion picture production companies. Also just for the record, or more just to tell you, for the vinyl episode and my future episode about the music industry Ehtisham and I alluded to I kind of set up the background information and then I’m going to bring it forward into today, but with this episode and its future companion episode I intend to do the opposite. In the film industry there is what are known as ‘The Big 5’ companies, (for the record depending on who you ask and what time period you are working in this could be the Big 4-6 so it gets tricky) these are the ones that produce an absolutely massive amount of the media we consume. According to Wikipedia this means companies that make 80-85% of the box office revenue made in the country. This concept is not too recent however, as the Big 5 as we know them today are the second iteration of the group. The original Big 5 were: MGM, Paramount, Fox, Warner Bros., and RKO. The current Big 5 are: Universal, Paramount, Warner Bros., Disney, and Columbia. I plan on just kinda going through the old Big 5 and then the new Big 5 one by one, following their beginning and rise and/or demise. -
El Cine De Animación Estadounidense
El cine de animación estadounidense Jaume Duran Director de la colección: Lluís Pastor Diseño de la colección: Editorial UOC Diseño del libro y de la cubierta: Natàlia Serrano Primera edición en lengua castellana: marzo 2016 Primera edición en formato digital: marzo 2016 © Jaume Duran, del texto © Editorial UOC (Oberta UOC Publishing, SL) de esta edición, 2016 Rambla del Poblenou, 156, 08018 Barcelona http://www.editorialuoc.com Realización editorial: Oberta UOC Publishing, SL ISBN: 978-84-9116-131-8 Ninguna parte de esta publicación, incluido el diseño general y la cubierta, puede ser copiada, reproducida, almacenada o transmitida de ninguna forma, ni por ningún medio, sea éste eléctrico, químico, mecánico, óptico, grabación, fotocopia, o cualquier otro, sin la previa autorización escrita de los titulares del copyright. Autor Jaume Duran Profesor de Análisis y Crítica de Films y de Narrativa Audiovi- sual en la Universitat de Barcelona y profesor de Historia del cine de Animación en la Escuela Superior de Cine y Audiovi- suales de Cataluña. QUÉ QUIERO SABER Lectora, lector, este libro le interesará si usted quiere saber: • Cómo fueron los orígenes del cine de animación en los Estados Unidos. • Cuáles fueron los principales pioneros. • Cómo se desarrollaron los dibujos animados. • Cuáles han sido los principales estudios, autores y obras de este tipo de cine. • Qué otras propuestas de animación se han llevado a cabo en los Estados Unidos. • Qué relación ha habido entre el cine de animación y la tira cómica o los cuentos populares. Índice -
The Ben-Hur Franchise and the Rise of Blockbuster Hollywood
Chapman University Chapman University Digital Commons Film Studies (MA) Theses Dissertations and Theses Spring 5-2021 The Ben-Hur Franchise and the Rise of Blockbuster Hollywood Michael Chian Chapman University, [email protected] Follow this and additional works at: https://digitalcommons.chapman.edu/film_studies_theses Part of the Film and Media Studies Commons Recommended Citation Chian, Michael. "The Ben-Hur Franchise and the Rise of Blockbuster Hollywood." Master's thesis, Chapman University, 2021. https://doi.org/10.36837/chapman.000269 This Thesis is brought to you for free and open access by the Dissertations and Theses at Chapman University Digital Commons. It has been accepted for inclusion in Film Studies (MA) Theses by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. The Ben-Hur Franchise and the Rise of Blockbuster Hollywood A Thesis by Michael Chian Chapman University Orange, CA Dodge College of Film and Media Arts Submitted in partial fulfillment of the requirements for the degree of Master of Film Studies May, 2021 Committee in charge: Emily Carman, Ph.D., Chair Nam Lee, Ph.D. Federico Paccihoni, Ph.D. The Ben-Hur Franchise and the Rise of Blockbuster Hollywood Copyright © 2021 by Michael Chian III ACKNOWLEDGEMENTS I would first like to thank my advisor and thesis chair, Dr. Emily Carman, for both overseeing and advising me throughout the development of my thesis. Her guidance helped me to both formulate better arguments and hone my skills as a writer and academic. I would next like to thank my first reader, Dr. Nam Lee, who helped teach me the proper steps in conducting research and recognize areas of my thesis to improve or emphasize. -
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
Film from Both Sides of the Pacific Arw
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2012 Apr 26th, 1:00 PM - 2:15 PM Painting the Enemy in Motion: Film from both sides of the Pacific arW Avery Fischer Lakeridge High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Film and Media Studies Commons, and the History Commons Let us know how access to this document benefits ou.y Fischer, Avery, "Painting the Enemy in Motion: Film from both sides of the Pacific arW " (2012). Young Historians Conference. 9. https://pdxscholar.library.pdx.edu/younghistorians/2012/oralpres/9 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Painting the Enemy in Motion: Film from both sides of the Pacific War Avery Fischer Dr. Karen Hoppes HST 202: History of the United States Portland State University March 21, 2012 Painting the Enemy in Motion: Film from both sides of the Pacific War On December 7, 1941, American eyes were focused on a new enemy. With the Japanese attack on Pearl Harbor, no longer were Americans concerned only with the European front, but suddenly an attack on American soil lead to a quick chain reaction. By the next day, a declaration of war was requested by President Roosevelt for "a date that will live on in infamy- the United States of America was suddenly and deliberately attacked by naval and air forces of the Empire of Japan .. -
The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927
Working Paper No. 70/03 The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927 Gerben Bakker © Gerben Bakker Department of Economic History London School of Economics February 2003 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0)20 7955 6482 Fax: +44 (0)20 7955 7730 Working Paper No. 70/03 The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927 Gerben Bakker © Gerben Bakker Department of Economic History London School of Economics February 2003 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0)20 7955 6482 Fax: +44 (0)20 7955 7730 Table of Contents Acknowledgements_______________________________________________2 Abstract________________________________________________________3 1. Introduction___________________________________________________4 2. The puzzle____________________________________________________7 3. Theory______________________________________________________16 4. The mechanics of the escalation phase _____________________________21 4.1 The increase in sunk costs______________________________________21 4.2 The process of discovering the escalation parameter _________________29 4.3 Firm strategies_______________________________________________35 5. Market structure ______________________________________________47 6. The failure to catch up _________________________________________54 7. Conclusion __________________________________________________63 -
John Ford Film Series at Museum of Modern Art
I THE MUSEUM OF MODERN ART No. 50 n WEST 53 STREET. NEW YORK 19. N. Y. For Immediate Release ffUFHONl: CIRCLI B-8900 JOHN FORD FILM SERIES AT MUSEUM OF MODERN ART JOHN FORD: NINE FILMS, a new auditorium series at the Museum of Modern Art, 11 West 53 Street, will begin with THE IRON HCRSE, June 7-13, daily showings at 3 pm. The 1921* silent film, an epic of the first American trans-continental railroad, features George O'Brien and Madge Bellamy, With the program changing each Sunday, the review of films by Mr, Ford, the eminent American director, will continue daily at 3 and 5:30: June lk-20, FOUR SONS (19ft), with Margaret Mann, Francis X. Bushman, Jr; June 21-27, THE INFORMER (1935), with Victor McLaglen; June 28-July h, STAGECOACH (1929), with John Wayne, Claire Trevor, John Carradine; July 5-11, YOUNG MR. LINCOLN (1939), with Henry Fonda, Alice Brady; July 12-18, LONG VOYAGE HOME (19^0), with John Wayne, Thomas Mitchell, Barry Fitzgerald; July 19-25, T"E GRAPES OF WRATH (19lO), with Henry Fonda, Jane Darwell, John Carradine; July 26-Aufust 1, MY DARLING CLEMINTINE (19^6), with Henry Fonda, Linda Darnell, Victor Mature; August 2-8, THE QUIET MAN (1952), with John Wayne, Maureen OfHara, Barry Fitzgerald. THE QUIET MAN will be shown at 3 pm only, Richard Griffith, Curator of the Film Library, says of the new Museum series: "To choose nine films by John Ford for this exhibition will seem to the great director's admirers an act of impertinence. -
Mutual Aesthetics Joseph D
Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 2016 Mutual Aesthetics Joseph D. Sherry Rhode Island College, [email protected] Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Part of the Other Film and Media Studies Commons, and the Visual Studies Commons Recommended Citation Sherry, Joseph D., "Mutual Aesthetics" (2016). Honors Projects Overview. 117. https://digitalcommons.ric.edu/honors_projects/117 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. MUTUAL AESTHETICS VISUAL STYLE IN THE FILMS OF F.W. MURNAU AND JOHN FORD, 1928-1941 By Joseph D. Sherry An Honors Project Submitted in Partial Fulfillment Of the Requirements for Honors In The Film Studies Program The School of Arts and Sciences Rhode Island College 2016 Sherry 1 Introduction F.W. Murnau wrote, “All great arts have had great artists born to understand them as no other men can, and the motion picture is the single art expression of our age.”1 Murnau made this remark shortly after his masterpiece, Sunrise: A Song of Two Humans (1927), was released by Fox Film Corporation. Sunrise’s production riveted the entire studio lot due to its scope and Murnau’s international reputation; its subsequent critical success solidified Murnau’s place in Fox’s top-tier of directors. But John Ford, also one of Fox’s top-tier directors, once brusquely remarked, “It’s no use talking to me about art . -
Aron Siegel, C.A.S. Production Sound Mixer
ARON SIEGEL, C.A.S. PRODUCTION SOUND MIXER FEATURES Senior Year w/ Rebel Wilson – Paramount Worldwide Productions Director – Alex Hardcastle; Producers – Todd Garner, Tim Bourne, Rebel Wilson Thor: Ragnarok – MARVEL STUDIOS (Principal unit - Atlanta) Director – Taika Waititi; Producers – David Grant, Kevin Feige The Founder w/ Michael Keaton, Filmnation, WEINSTEIN COMPANY Director – John Lee Hancock; Producers - Don Handfield, Jeremy Renner, Michael Sledd, Aaron Ryder All Eyez On Me – The Tupac Shakur Story, Morgan Creek / LIONSGATE Director – Benny Boom; Producers - James Robinson, David Robinson, Wayne Morris, LT Hutton, Paddy Cullen Last Looks w/ Charlie Hunnam, Mel Gibson – Romulus Entertainment Director – Tim Kirkby; Producers – Brad Feinstein, Brian Pitt, Andrew Lazar Cosmic Sin w/ Bruce Willis, Luke Wilson - Saban Pictures/Paramount Pictures Director - Edward Drake; Producers – Joe DiMaio, Dan Katzman Neighbors 2: Sorority Rising w/ Seth Rogen & Zac Efron, UNIVERSAL PICTURES Director – Nicholas Stoller; Producers - Ted Gidlow, Robert Mazaraki, Seth Rogen St Agatha – St Agatha Productions / Octane Entertainment Director – Darren Lynn Bousman; Producers - Srdjan Stakic, Sara Sometti Stephen King's 'Cell' w/ John Cusack, Samuel L. Jackson, Stacey Keach – Saban Films Director - Kip Williams; Producers - Richard Saperstein, Shara Kay, Paddy Cullen Creed w/ Michael B Jordan, Sylvester Stallone – MGM/NEW LINE/WARNER BROTHERS (Atlanta Unit) Director – Ryan Coogler; Producers Nicolas Stern, Irwin Winkler Kill the Messenger w/Jeremy Renner, -
Paramount Pictures
Before we start with the individual studios, let’s cover one additional situation. It didn’t really belong in the last chapter because it is more of a research problem. But it is one that should be addressed. Many of the major studios submitted their primary production code numbers to the Library of Congress. These records are a tremendous help with one caveat. Almost all of the production codes submitted DID NOT INCLUDE THE LETTER PREFIX THAT WAS ASSIGNED BY SOME OF THE INDIVIDUAL STUDIOS. So, while the production code number would be the same, only some have letter prefixes. In several instances, there are different letter prefixes. The bottom line is that numbers recorded at the Library of Congress may require additional research. Columbia Pictures Columbia’s production codes are by far the most confusing and most difficult to use for identification. This may be an indication that Columbia was not quite certain how to effectively number and utilize production codes. - - Columbia started production codes for their 1926- 1927 season. The first film to have codes was False Alarm, which was issued a “C-1” production code. They produced 24 films that season, marking them “C -1” through “C-24.” The Library of Congress records show only the numbers 1-24, but the stills reflect the letter “C,” a dash (-) and the number. The next season (1927-1928), they produced 30 films, with the first one being The Blood Ship. Instead of issuing new production codes, they simply started over with their numbering, marking them “C-1” through “C-30.” The next season (1928-1929), they produced 31 films, starting with Court Martial. -
SAMUEL GOLDWYN (NOT) BORN 8/27/1882 Most of the Pioneers Who Started the Film Business About 120 Years Ago Are Unfamiliar Names Today
Monday, August 23, 2021 | No. 182 Film Flashback… SAMUEL GOLDWYN (NOT) BORN 8/27/1882 Most of the pioneers who started the film business about 120 years ago are unfamiliar names today. Samuel Goldwyn is an exception – but for the wrong reason. People recognize Goldwyn as Metro-Goldwyn-Mayer's middle name, but don't realize he was never part of MGM. Actually, Goldwyn wasn't even the legendary producer's birth name and August 27, 1882 wasn't really his birthday – although he always said it was. No one knows the real date, but it's agreed he was born in Warsaw and anglicized his name to Samuel Goldfish. In 1913, as a successful New York glove salesman, he became interested in making movies. With difficulty, Sam convinced his then brother-in-law, Jesse Lasky, that there was big money in films. They began by producing the first feature film ever made in Hollywood, The Squaw Man. Sam stayed in New York to sell the distribution rights. From the start, Sam was a difficult partner no matter whom he partnered with. He enjoyed fighting just for the sake of fighting – even with people who agreed with him. This led to big problems when Lasky merged with Adolph Zukor's Famous Players. Zukor was president of both Click to Play FP-L and its distribution arm. Goldfish was chairman of FP-L, which later adopted its distributor's name – Paramount Pictures. By August 1916, Zukor and Goldwyn's relationship had deteriorated so badly that Zukor gave Lasky an ultimatum – either Goldfish goes or Zukor goes.