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A Dangerous Summer
theHemingway newsletter Publication of The Hemingway Society | No. 73 | 2021 As the Pandemic Ends Yet the Wyoming/Montana Conference Remains Postponed Until Lynda M. Zwinger, editor 2022 the Hemingway Society of the Arizona Quarterly, as well as acquisitions editors Programs a Second Straight Aurora Bell (the University of Summer of Online Webinars.… South Carolina Press), James Only This Time They’re W. Long (LSU Press), and additional special guests. Designed to Confront the Friday, July 16, 1 p.m. Uncomfortable Questions. That’s EST: Teaching The Sun Also Rises, moderated by Juliet Why We’re Calling It: Conway We’ll kick off the literary discussions with a panel on Two classic posters from Hemingway’s teaching The Sun Also Rises, moderated dangerous summer suggest the spirit of ours: by recent University of Edinburgh A Dangerous the courage, skill, and grace necessary to Ph.D. alumna Juliet Conway, who has a confront the bull. (Courtesy: eBay) great piece on the novel in the current Summer Hemingway Review. Dig deep into n one of the most powerful passages has voted to offer a series of webinars four Hemingway’s Lost Generation classic. in his account of the 1959 bullfighting Fridays in a row in July and August. While Whether you’re preparing to teach it rivalry between matadors Antonio last summer’s Houseguest Hemingway or just want to revisit it with fellow IOrdóñez and Luis Miguel Dominguín, programming was a resounding success, aficionados, this session will review the Ernest Hemingway describes returning to organizers don’t want simply to repeat last publication history, reception, and major Pamplona and rediscovering the bravery year’s model. -
BULKELEY, JOHN D.: Papers, 1928-84
DWIGHT D. EISENHOWER LIBRARY ABILENE, KANSAS BULKELEY, JOHN D.: Papers, 1928-84 Accessions 70-76 & 86-21 Processed by: BSR, TB Date Completed: April 2001 Admiral Bulkeley deposited his papers in the Dwight D. Eisenhower Library in March 1970. A small accretion was received in April 1986. Linear feet: -1 Approximate number of pages: 1200 Approximate number of items: 420 Admiral Bulkeley signed an instrument of gift for his papers on April 3, 1970. Literary rights in the writings of Admiral Bulkeley in this collection and in all other collections of papers donated to the Eisenhower Library were retained by Admiral Bulkeley. Upon his death in April 1996 such rights passed to the public. Under terms of the instrument of gift, the following classes of items are withheld from research use: 1. Papers relating to the family and private business affairs. 2. Papers relating to the family and private business affairs of others persons who have had correspondence with Admiral Bulkeley. 3. Papers relating to investigations of individuals or to appointments and personnel matters. 4. Papers containing statements made by or to the donor in confidence unless in the judgment of the Director of the Dwight D. Eisenhower Library the reason for the confidentiality no longer exists. 5. All other papers which contain information or statements that might be used to injure, harass, or damage any living person. SCOPE AND CONTENT NOTE John Bulkeley, a career naval officer, graduated from the U.S. Naval Academy in 1933 and was serving in the Pacific at the start of World War II. -
Episode 711, Story 1: Stalag 17 Portrait Eduardo
Episode 711, Story 1: Stalag 17 Portrait Eduardo: Our first story looks at a portrait made by an American POW in a World War Two German prison camp. 1943, as American air attacks against Germany increase; the Nazis move the growing number of captured American airmen into prisoner of war camps, called Stalags. Over 4,000 airmen ended up in Stalag 17-b, just outside of Krems, Austria, in barracks made for 240 men. How did these men survive the deprivation and hardships of one of the most infamous prisoner of war camps of the Nazi regime? 65 years after her father George Silva became a prisoner of war, Gloria Mack of Tempe, Arizona has this portrait of him drawn by another POW while they were both prisoners in Stalag 17-b. Gloria: I thought what a beautiful thing to come out of the middle of a prison camp. Eduardo: Hi, I’m Eduardo Pagan from History Detectives. Gloria: Oh, it’s nice to meet you. Eduardo: It’s nice to meet you, too! Gloria: Come on in. Eduardo: Thank you. I’M curious to see Gloria’s sketch, and hear her father’s story. It’s a beautiful portrait. When was this portrait drawn? Gloria: It was drawn in 1944. 1 Eduardo: How did you learn about this story of how he got this portrait? Gloria: Because of this little story on the back. It says, “Print from an original portrait done in May of 1944 by Gil Rhoden. We were POW’s in Stalag 17 at Krems, Austria. -
A Foreign Affair (1948)
Chapter 3 IN THE RUINS OF BERLIN: A FOREIGN AFFAIR (1948) “We wondered where we should go now that the war was over. None of us—I mean the émigrés—really knew where we stood. Should we go home? Where was home?” —Billy Wilder1 Sightseeing in Berlin Early into A Foreign Affair, the delegates of the US Congress in Berlin on a fact-fi nding mission are treated to a tour of the city by Colonel Plummer (Millard Mitchell). In an open sedan, the Colonel takes them by landmarks such as the Brandenburg Gate, the Reichstag, Pariser Platz, Unter den Lin- den, and the Tiergarten. While documentary footage of heavily damaged buildings rolls by in rear-projection, the Colonel explains to the visitors— and the viewers—what they are seeing, combining brief factual accounts with his own ironic commentary about the ruins. Thus, a pile of rubble is identifi ed as the Adlon Hotel, “just after the 8th Air Force checked in for the weekend, “ while the Reich’s Chancellery is labeled Hitler’s “duplex.” “As it turned out,” Plummer explains, “one part got to be a great big pad- ded cell, and the other a mortuary. Underneath it is a concrete basement. That’s where he married Eva Braun and that’s where they killed them- selves. A lot of people say it was the perfect honeymoon. And there’s the balcony where he promised that his Reich would last a thousand years— that’s the one that broke the bookies’ hearts.” On a narrative level, the sequence is marked by factual snippets infused with the snide remarks of victorious Army personnel, making the fi lm waver between an educational program, an overwrought history lesson, and a comedy of very dark humor. -
Ernest Hemingway Foundation, to Keep Alive and Improve/Develop Literature and Forms of Composition and Expression
Born in 1899 in Oak Park, Illinois He was the second of six kids Hemingway's mother, a music teacher and director of the church choir, spent her time with the kids educating them on music, art, concerts, and operas His father, a physician, taught them of the joy of being in nature, Hemingway took this knowledge and love of nature everywhere he went. After high school, he worked as a writer for the Kansas City Star for six months Hemingway wished to sigh up for the war, but due to a glass eye was denied After witnessing a man stranded at the union station, left to die because of small pox and nearby peoples fear to approach him, Hemingway took up the path of an ambulance driver. Lived the life of a celebrity Minimalist Hemingway employed a distinctive style which drew comment from many critics At the beginning of his career Hemingway did not give way to lengthy geographical and psychological description. Though later he used he vividly described nature. His style had been said to lack substance because he avoids direct statements and descriptions of emotion. Later he began to write more deeply into emotions, mostly discussing death and providing a detailed picture in the readers mind Style seen as direct and simple He used his senses as the center for his writing Believed the mind was “treacherous and abstract” Wrote in an unconventional style, with the problems of war, violence and death as their themes, presenting a symbolic interpretation of life. While working in Michigan, Hemingway met Elizabeth Hadley Richardson, an inexperienced and naïve girl, educated at an all girls school. -
The Tragedy of 3D Cinema
Film History, Volume 16, pp. 208–215, 2004. Copyright © John Libbey Publishing ISSN: 0892-2160. Printed in United States of America The tragedy of 3-D cinema The tragedy of 3-D cinema Rick Mitchell lmost overlooked in the bicoastal celebrations The reason most commonly given was that of the 50th anniversary of the introduction of audiences hated to wear the glasses, a necessity for ACinemaScope and the West Coast revivals of 3-D viewing by most large groups. A little research Cinerama was the third technological up- reveals that this was not totally true. According to heaval that occurred fifty years ago, the first serious articles that appeared in exhibitor magazines in attempt to add real depth to the pallet of narrative 1953, most of the objections to the glasses stemmed techniques available to filmmakers. from the initial use of cheap cardboard ones that Such attempts go back to 1915. Most used the were hard to keep on and hurt the bridge of the nose. anaglyph system, in which one eye view was dyed or Audiences were more receptive to plastic rim projected through red or orange filters and the other glasses that were like traditional eyeglasses. (The through green or blue, with the results viewed cardboard glasses are still used for anaglyph pres- through glasses with corresponding colour filters. entations.) The views were not totally discrete but depending on Another problem cited at the time and usually the quality of the filters and the original photography, blamed on the glasses was actually poor projection. this system could be quite effective. -
X********X************************************************** * Reproductions Supplied by EDRS Are the Best That Can Be Made * from the Original Document
DOCUMENT RESUME ED 302 264 IR 052 601 AUTHOR Buckingham, Betty Jo, Ed. TITLE Iowa and Some Iowans. A Bibliography for Schools and Libraries. Third Edition. INSTITUTION Iowa State Dept. of Education, Des Moines. PUB DATE 88 NOTE 312p.; Fcr a supplement to the second edition, see ED 227 842. PUB TYPE Reference Materials Bibliographies (131) EDRS PRICE MF01/PC13 Plus Postage. DESCRIPTORS Annotated Bibllographies; *Authors; Books; Directories; Elementary Secondary Education; Fiction; History Instruction; Learning Resources Centers; *Local Color Writing; *Local History; Media Specialists; Nonfiction; School Libraries; *State History; United States History; United States Literature IDENTIFIERS *Iowa ABSTRACT Prepared primarily by the Iowa State Department of Education, this annotated bibliography of materials by Iowans or about Iowans is a revised tAird edition of the original 1969 publication. It both combines and expands the scope of the two major sections of previous editions, i.e., Iowan listory and literature, and out-of-print materials are included if judged to be of sufficient interest. Nonfiction materials are listed by Dewey subject classification and fiction in alphabetical order by author/artist. Biographies and autobiographies are entered under the subject of the work or in the 920s. Each entry includes the author(s), title, bibliographic information, interest and reading levels, cataloging information, and an annotation. Author, title, and subject indexes are provided, as well as a list of the people indicated in the bibliography who were born or have resided in Iowa or who were or are considered to be Iowan authors, musicians, artists, or other Iowan creators. Directories of periodicals and annuals, selected sources of Iowa government documents of general interest, and publishers and producers are also provided. -
Schedule of the Films of Billy Wilder
je Museum of Modern Art November 1964 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart THE MUSEUM OF MODERN ART FILM LIBRARY PRESENTS THE FILMS OF BILLY WILDER Dec. 13.16 MENSCHEN AM SONNTAG (PEOPLE ON SUNDAY). I929. Robert Siodmak's cele brated study of proletarian life gave Wilder hie first taste of film making. (George Eastman House) 55 minutes. No English titles. Dec. IT-19 EMIL UND DIE DETEKTIVE. 1951. Small boys carry on psychological war fare against a crook in this Gerhard Lamprecht comedy for which Wilder helped write the script. (The Museum of Modern Art) 70 minutes. No English titles. Dec. 20-23 NINOTCHKA. 1939. Ernst Lubitsch's ironic satire on East-West relations just before World War II, in which Garbo gave her most delicately articulated performance with Melvyn Douglas, and for which Wilder, with Charles Brackett and Walter Reisch, wrote the script. Based on the story by Melchior Lengyel. (M-G-M) 110 minutes. Dec. 2k~26 MIDNIGHT. 1959. One of the most completely and purposely ridiculous examples of the era of screwball comedy, with a powerhouse of a cast, including Claudette Colbert, Don Ameche and John Barrymore, and Wilder and Brackett*s brilliant non-sequitur script. (MCA) 9U minutes. Dec. 27-30 HOLD BACK THE DAWN. 19*11. The plight of "stateless persons" in the late '30s and early 'UOs, with Olivia de Havllland, romantically yet convincingly dramatised by Wilder and Brackett. Directed by Mitchell Leisen. (MCA) 115 minutes. Dec. 31* THE MAJOR AND THE MINOR. 19te. This, the first film Wilder directed, Jan. -
Box and Folder Listing
CLARKE HISTORICAL LIBRARY CENTRAL MICHIGAN UNIVERSITY Ernest Hemingway Collection, 1901, 2006, and undated 5 cubic ft. (in 3 boxes, 6 Oversized folders, 4 reels in 4 boxes, and 2 framed posters) ACQUISITION: The collection was donated in several parts by Michael Federspiel and the Michigan Hemingway Society, Acc# 67522 (Oct. 4, 2002), #67833 (April 2003), Acc# 68091 (Oct. 2003), Acc#68230 (Dec. 2003), by Ken Mark and the Michigan Hemingway Society, Acc#68076 (Oct. 2003), Rebecca Zeiss, Acc# 68386 (Oct. 2003), Acc#68415 by Ken Mark (April 27, 2004), by Charlotte Ponder Acc# 68419 (May 2004), Acc#68698 by Federspiel (Sept. 30, 2004), Acc#68848 by the Hemingway Society (Dec.6, 2004), Acc#69475, Acc#70252, Acc#70401 (April 2007), Acc#70680-70682 and 70737 (Summer 2007), 70833 (March 2008), no MS#. The collection is ongoing. ACCESS: The collection is open to researchers. COPYRIGHT: Copyright is held neither by CMU nor the Clarke. PHOTOGRAPHS: In Box 2. PROCESSED BY: M. Matyn, Feb., Oct. and April 2003, March-May 2004, Feb. 2006, April and June 2007, Jan. and March 2008. Biography: Ernest Hemingway was born July 21, 1899 in Oak Park (Ill.), the son of Clarence E. Hemingway, a doctor, and Grace Hall-Hemingway, a musician and voice teacher. He had four sisters and a brother. Every summer, the family summered at the family cottage, named Windemere, on Walloon Lake near Petoskey (Mich.). After Ernest graduated from high school in June 1917, he joined the Missouri Home Guard. Before it was called to active duty, he served as a volunteer ambulance driver for the American Red Cross. -
Melbourne Cinémathèque the Big Carnival: the Films of Billy Wilder 2021
Melbourne Cinémathèque The Big Carnival: The Films of Billy Wilder 2021 19 APRIL – 5 MAY MONDAY 19 APRIL & MONDAY 26 APRIL & MONDAY 3 MAY & WEDNESDAY 21 APRIL WEDNESDAY 28 APRIL WEDNESDAY 5 MAY In a monumental career spanning seven decades, Billy Wilder (1906– 2002) started out as a central-Euro- pean émigré who spoke no English and rose to become one of the most widely celebrated writer-directors of Hollywood’s Golden Age. The young Wilder developed an obsession with American films while working as a 7:00PM 7:00PM 7:00PM freelance tabloid crime reporter in MAUVAISE GRAINE ACE IN THE HOLE THE MAJOR AND THE MINOR 1920s Berlin. Following Hitler’s rise Billy Wilder and Billy Wilder (1951) Billy Wilder (1942) to power in 1933, he found himself Alexandre Esway (1934) 111 mins : PG 101 mins : G exiled in Paris where he directed his 77 mins : Unclassified 15+ first film, Mauvaise graine, and from Wilder’s acerbic, lacerating wit comes Coming after an incredibly success- there he moved to Hollywood, where Collaborating in Paris with a group to the fore in this masterful social ful screenwriting career, Wilder’s he brought an outsider’s perspective of exiles, including composer Franz satire about the practices of journal- first American feature as director and a journalist’s eye for detail to the Waxman and screenwriters H.G. ism, the perils of newsworthiness and includes many of his most beloved dark – and darkly comic – aspects Lustig and Max Kolpé, Wilder made the morality of the masses gathering hallmarks. This audacious comedy of of American life. -
Raoul Walsh to Attend Opening of Retrospective Tribute at Museum
The Museum of Modern Art jl west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart NO. 34 FOR IMMEDIATE RELEASE RAOUL WALSH TO ATTEND OPENING OF RETROSPECTIVE TRIBUTE AT MUSEUM Raoul Walsh, 87-year-old film director whose career in motion pictures spanned more than five decades, will come to New York for the opening of a three-month retrospective of his films beginning Thursday, April 18, at The Museum of Modern Art. In a rare public appearance Mr. Walsh will attend the 8 pm screening of "Gentleman Jim," his 1942 film in which Errol Flynn portrays the boxing champion James J. Corbett. One of the giants of American filmdom, Walsh has worked in all genres — Westerns, gangster films, war pictures, adventure films, musicals — and with many of Hollywood's greatest stars — Victor McLaglen, Gloria Swanson, Douglas Fair banks, Mae West, James Cagney, Humphrey Bogart, Marlene Dietrich and Edward G. Robinson, to name just a few. It is ultimately as a director of action pictures that Walsh is best known and a growing body of critical opinion places him in the front rank with directors like Ford, Hawks, Curtiz and Wellman. Richard Schickel has called him "one of the best action directors...we've ever had" and British film critic Julian Fox has written: "Raoul Walsh, more than any other legendary figure from Hollywood's golden past, has truly lived up to the early cinema's reputation for 'action all the way'...." Walsh's penchant for action is not surprising considering he began his career more than 60 years ago as a stunt-rider in early "westerns" filmed in the New Jersey hills. -
Past Blackfriars' Theatre Productions
PAST BLACKFRIARS' THEATRE PRODUCTIONS PRODUCTION DATE DIRECTOR Les Miserables: School Edition 2020 Spring Edward Lawrence Clue On Stage 2019 Fall Edward Lawrence Mamma Mia! 2019 Spring Edward Lawrence A Christmas Carol 2018 Fall Edward Lawrence Jesus Christ Superstar 2018 Spring Edward Lawrence Peter and the Starcatcher 2017 Fall Edward Lawrence You're A Good Man, Charlie Brown 2017 Spring Edward Lawrence It's A Wonderful Life 2016 Fall Edward Lawrence Godspell 2016 Spring Edward Lawrence And Then There Were None 2015 Fall Edward Lawrence The Addams Family 2015 Spring Edward Lawrence Uh Oh! Here Comes Christmas 2014 Fall Edward Lawrence Curtains 2014 Spring Edward Lawrence All I Need To Know I Learned in Kindergarten 2013 Fall Edward Lawrence How to Succeed in Business 2013 Spring Edward Lawrence Anything Goes (Alumni Show) 2012 Fall Edward Lawrence Hello Dolly! 2012 Spring Edward Lawrence Our Town 2011 Fall Edward Lawrence Oklahoma 2011 Spring Edward Lawrence Memories and Dreams (Alumni Show) 2010 Fall Edward Lawrence Joseph and Amazing Technicolor Dreamcoat 2010 Spring Edward Lawrence M*A*S*H 2009 Fall Edward Lawrence Fiddler on the Roof 2009 Spring Edward Lawrence The Mousetrap 2008 Fall Edward Lawrence Beauty and the Beast 2008 Spring Edward Lawrence No Time For Sergeants 2007 Fall Edward Lawrence High School Musical 2007 Spring Edward Lawrence The Caine Mutiny Court Martial 2006 Fall Edward Lawrence Footloose 2006 Spring Edward Lawrence The Odd Couple 2005 Fall Edward Lawrence Bye Bye Birdie 2005 Spring Edward Lawrence Amadeus 2004