DOCSLIB.ORG

Sennett Creative Campus, Echo Park's Newest Modern

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sennett Creative Campus, Echo Park's Newest Modern SENNETT CREATIVE CAMPUS, ECHO PARK’S NEWEST MODERN/CREATIVE OFFICE ENVIRONMENT 1745- 1759 GLENDALE BOULEVARD, ECHO PARK, CALIFORNIA David Aschkenasy Executive Vice President Phone 310.272.7381 email [email protected] The Sennett Creative Campus is greater Los Angeles’ most unique creative office destination. The Spaces: +/- 6,500 - 14,000 sq ft Campus offers one of the largest and architecturally significant, contiguous office spaces available. Rate: $1.95 psf, Modified Gross Originally built in 1946, and fully modernized and renovated in 2015, 1745-1759 N Glendale Blvd is a Parking: In rear of building, free of charge 30,000 Square Foot +/- campus environment that brings the glory of old Hollywood to life in the 21st Century. Comprised of 4 buildings, outdoor patios and surface parking lots, 1745-1759 N Glendale Features: • Exposed Ceilings Blvd is equipped with dramatic exposed wood truss ceilings, new HVAC & electric, polished concrete • Loading Dock and hardwood floors, brand new restrooms, reclaimed wood kitchens, multiple skylights and ample • Concrete & Hardwood Flooring parking. Greater Los Angeles is very limited with regard to true creative office space of this scale and • Exposed HVAC Ducting caliber. While there is availability in Silicon Beach (Venice and Santa Monica), Hollywood, and the • High Ceilings Arts District, the Sennett Creative Campus offers the same Creative Office Build outs at a fraction of the price. The Campus is priced at least 50% below these other creative office locations, and offers • Private Exterior Patios free parking for an additional savings. There is also the opportunity to have the exclusive use of the • Skylights rooftop billboard. Echo Park is one of the fastest growing, and hippest places in Los Angeles. With • Upgraded Electrical (800 Amps 3 Phase) all of the improvements being made to Echo Park and the surrounding areas, get in on the ground • 12’x12’ Rollup Doors floor of Los Angeles’ next Creative Office Destination. • Reclaimed Wood Kitchens FLOOR PLANS – BUILDING 1 • B & C must be leased together A • A can be combined with B & C REF KITCHEN DW LOADINGDOCK 12'ROLL UPDOOR 1759 GLENDALE BLVD BUILDING 1 SECOND FLOOR RESTROOM +/-6,500 SQ FT REST ROOM B MEZZANINE +/-1,000 SQ FT UTILITY ROOM W/D (E) STAIR DN (E) STAIR DN UP 12' ROLL UP C DOOR 1759 GLENDALE BLVD RESTROOM BUILDING 1 FIRST FLOOR +/-6,500 SQ FT RESTROOM SINK DW (E) KITCHEN UP UP 1759 GLENDALE BLVD - BUILDING 1 NOT TO SCALE FLOOR PLANS – OVERALL PLAN 120'-9" 1759 G LE NDALE B UILDING 1 50'-0" +/- 14,000 S F 2-S TOR IE S 15'-0" 1755 G LE NDALE B UILDING 2 +/- 4,800 S F 1 S TOR Y 40'-0" 50'-0" 38'-0" 122'-0" 113'-0" 1745 G LE NDALE B UILDING 3 +/- 7,050 SF 60'-0" 1-S TOR Y 120'-0" GL E NDALE TOTAL PARKING 47 PARKING STALLS +/- 500 S F G AR AG E B LV D AAR ON S T SENNETT CREATIVE CAMPUS NOT TO SCALE N TOP FLOOR BOTTOM FLOOR ECHO PARK TODAY Echo Park is a neighborhood on the rise. After a two year rehab project, the grand re-opening of the Echo Park Lake on June 15, 2013 signaled the revival of one of L.A.’s most storied neighborhoods. With innovative developments like Trumark Home’s 70 unit small lot development a block to the north, and The Echo 1030 Lofts modern live/work space; Echo Park is in the midst of an urban transformation. Novel eateries like the Japanese Izakaya Tsubaki which is, simply put, one of LA’s best restaurants, have joined local favorites like Scott Zwiezen’s vegetarian Elf Café, and neighborhood hubs Masa of Echo Park and Mohawk Bend. While hotspots like the Echoplex, at the corner of Glendale and Sunset, recently played host to the Rolling Stones before the launch of their World Tour. This dynamic change follows that of the neighboring Silverlake Whole Foods store just north of the Sennett Creative Campus at 2520 Glendale Blvd. HISTORY OF EDENDALE/KEYSTONE STUDIOS Edendale, is a historical name for a small district northwest of Downtown and what is now commonly known as Echo Park. During the beginning of the 20th Century, Edendale was known as the home to most of the major movie studios on the West Coast. The site of many movie firsts, including the first Charlie Chaplin production, the first feature length comedy and the first pie-in-the-face. Edendale was home to Mack Sennett’s Keystone studios along with Selig-Polyscope Studio, Bison Studio, Universal Studio, Fox Studios, Mixville and Norbig Film Company. Although Edendale is no longer use to describe this long lost community, there are still a few remnants including the Edendale Station Post Office, Edendale Public Library, Edendale Farms and a restaurant called Edendale. In the late 1800’s, Echo Park, then known for small ranches and farms and the Echo Park Lake, began to experience an influx of residents and visitors. By the 1890’s the city of Los Angeles had begun to turn the land immediately surrounding the lake into a park and individuals began to establish business and residences along Sunset Blvd and around the lake. Northern Echo Park (once known as Edendale) was home to Los Angeles’ first film studios while wealthy businessmen and their families inhabited the southern end of the neighborhood in Angelino Heights. On the north side of Echo Park artists, radicals and socialists along with free thinkers of all sorts found safety and seclusion in the hills of Elysian Heights. Most famously, in our current era, Echo Park is most known for Chaves Ravine, the home of Dodger’s Stadium and the Los Angeles Dodgers The Sennett Creative Campus takes it name from the prodigious studio head, Mack Sennett, who with financial backing from Adam Kessel and Charles O. Bauman of the New York Motion Picture Company, founded Keystone Studios in Edendale, California, (which is now a part of Echo Park) in 1912. The main Keystone Studio building, the first totally enclosed film stage and studio in history, was located directly across the street from the Sennett Creative Campus, where the Public Storage facility sits today. Many important actors started their careers with Mack Sennett, including Mabel Normand, Charlie Chaplin, Fatty Arbuckle, Raymond Griffith, Gloria Swanson, Ford Sterling, Andy Clyde, Chester Conklin, Polly Moran, Louise Fazenda, The Keystone Kops, Bing Crosby, and W.C. Fields. Sennett’s slapstick comedies were noted for their wild car chases up and down Glendale Blvd., and custard pie warfare. His first comedienne was Mabel Normand, who became a major star (and with whom he embarked on a tumultuous personal relationship). Sennett developed the Kid Comedies, a forerunner of the Our Gang films, as well as the Keystone Cops, and in a short time his name became synonymous with screen comedy. In 1915, Keystone Studios became an autonomous production unit of the ambitious Triangle Film Corporation, as Sennett joined forces with movie bigwigs D. W. Griffith and Thomas Ince. MAPS For more information, please call. David Aschkenasy Senior Managing Director Phone 310.272.7381 email [email protected].
Load more

Recommended publications
  • Mabel's Blunder
    Mabel’s Blunder By Brent E. Walker Mabel Normand was the first major female comedy star in American motion pictures. She was also one of the first female directors in Hollywood, and one of the original principals in Mack Sennett’s pioneering Keystone Comedies. “Mabel’s Blunder” (1914), made two years after the formation of the Keystone Film Company, captures Normand’s talents both in front of and behind the camera. Born in Staten Island, New York in 1892, a teenage Normand modeled for “Gibson Girl” creator Charles Dana Gibson before entering motion pictures with Vitagraph in 1910. In the summer of 1911, she moved over to the Biograph company, where D.W. Griffith was making his mark as a pioneering film director. Griffith had already turned actresses such as Florence Lawrence and Mary Pickford into major dramatic stars. Normand, however, was not as- signed to the dramas made by Griffith. Instead, she went to work in Biograph’s comedy unit, directed by an actor-turned-director named Mack Sennett. Normand’s first major film “The Diving Girl” (1911) brought her notice with nickelodeon audiences. A 1914 portrait of Mabel Normand looking Mabel quickly differentiated herself from the other uncharacteristically somber. Courtesy Library of Congress Biograph actresses of the period by her willingness Prints & Photographs Online Collection. to engage in slapstick antics and take pratfalls in the name of comedy. She also began a personal ro- to assign directorial control to each of his stars on mantic relationship with Mack Sennett that would their comedies, including Normand. Mabel directed have its ups and downs, and would eventually in- a number of her own films through the early months spire a Broadway musical titled “Mack and Mabel.” of 1914.
    [Show full text]
  • Sennett Creative Campus: Echo Park Modern/Creative Office Spaces 2219 Aaron Street (Corner of Aaron & Glendale), Echo Park, Ca 90026
    (RENDERING) SENNETT CREATIVE CAMPUS: ECHO PARK MODERN/CREATIVE OFFICE SPACES 2219 AARON STREET (CORNER OF AARON & GLENDALE), ECHO PARK, CA 90026 David Aschkenasy Ryan Schimel David Ickovics Executive Vice President Director Principal Phone 310.272.7381 Phone 310.272.7384 Phone 310.272.7380 email [email protected] email [email protected] email [email protected] (RENDERING) The Sennett Creative Campus is greater Los Angeles’ most unique creative office destination. Spaces: A (1st Floor) The Campus offers one of the largest and architecturally significant, contiguous office spaces B (2nd Floor) available. Originally built in 1946, and fully modernized and renovated in 2013, with a new addition Size: +/- 1,800 sq ft each in spaces: 1745-1759 N Glendale Blvd is a 25,000 SF +/- campus environment that brings the Rate: $3.75 psf, Modified Gross glory of old Hollywood to life in the 21st Century. Comprised of 4 buildings, outdoor patios Available: March 1, 2018 and surface parking lots, 1745-1759 N Glendale Blvd is equipped with dramatic exposed high Features: • Brand New Construction ceilings, new HVAC & electric, polished concrete and floors, brand new restrooms, kitchens, • Two Available Spaces multiple skylights and ample parking. Greater Los Angeles is very limited with regard to true • Beautifully Built Out Creative Office with Open creative office space of this scale and caliber. While there is availability in Silicon Beach (Venice Kitchen and Large Restroom and Santa Monica), Hollywood, and the Arts District, the Sennett Creative Campus offers the • Join Moda Yoga (http://los-angeles.modoyoga. same Creative Office Build outs at a fraction of the price.
    [Show full text]
  • 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.
    [Show full text]
  • THE ANIMATED TRAMP Charlie Chaplin's Influence on American
    THE ANIMATED TRAMP Charlie Chaplin’s Influence on American Animation By Nancy Beiman SLIDE 1: Joe Grant trading card of Chaplin and Mickey Mouse Charles Chaplin became an international star concurrently with the birth and development of the animated cartoon. His influence on the animation medium was immense and continues to this day. I will discuss how American character animators, past and present, have been inspired by Chaplin’s work. HISTORICAL BACKGROUND (SLIDE 2) Jeffrey Vance described Chaplin as “the pioneer subject of today’s modern multimedia marketing and merchandising tactics”, 1 “(SLIDE 3). Charlie Chaplin” comic strips began in 1915 and it was a short step from comic strips to animation. (SLIDE 4) One of two animated Chaplin series was produced by Otto Messmer and Pat Sullivan Studios in 1918-19. 2 Immediately after completing the Chaplin cartoons, (SLIDE 5) Otto Messmer created Felix the Cat who was, by 1925, the most popular animated character in America. Messmer, by his own admission, based Felix’s timing and distinctive pantomime acting on Chaplin’s. 3 But no other animators of the time followed Messmer’s lead. (SLIDE 6) Animator Shamus Culhane wrote that “Right through the transition from silent films to sound cartoons none of the producers of animation paid the slightest attention to… improvements in the quality of live action comedy. Trapped by the belief that animated cartoons should be a kind of moving comic strip, all the producers, (including Walt Disney) continued to turn out films that consisted of a loose story line that supported a group of slapstick gags which were often only vaguely related to the plot….The most astonishing thing is that Walt Disney took so long to decide to break the narrow confines of slapstick, because for several decades Chaplin, Lloyd and Keaton had demonstrated the superiority of good pantomime.” 4 1 Jeffrey Vance, CHAPLIN: GENIUS OF THE CINEMA, p.
    [Show full text]
  • The Silent Film Project
    The Silent Film Project Films that have completed scanning – Significant titles in bold: May 1, 2018 TITLE YEAR STUDIO DIRECTOR STAR 1. [1934 Walt Disney Promo] 1934 Disney 2. 13 Washington Square 1928 Universal Melville W. Brown Alice Joyce 3. Adventures of Bill and [1921] Pathegram Robert N. Bradbury Bob Steele Bob, The (Skunk, The) 4. African Dreams [1922] 5. After the Storm (Poetic [1935] William Pizor Edgar Guest, Gems) Al Shayne 6. Agent (AKA The Yellow 1922 Vitagraph Larry Semon Larry Semon Fear), The 7. Aladdin And The 1917 Fox Film C. M. Franklin Francis Wonderful Lamp Carpenter 8. Alexandria 1921 Burton Holmes Burton Holmes 9. An Evening With Edgar A. [1938] Jam Handy Louis Marlowe Edgar A. Guest Guest 10. Animals of the Cat Tribe 1932 Eastman Teaching 11. Arizona Cyclone, The 1934 Imperial Prod. Robert E. Tansey Wally Wales 12. Aryan, The 1916 Triangle William S. Hart William S. Hart 13. At First Sight 1924 Hal Roach J A. Howe Charley Chase 14. Auntie's Portrait 1914 Vitagraph George D. Baker Ethel Lee 15. Autumn (nature film) 1922 16. Babies Prohibited 1913 Thanhouser Lila Chester 17. Barbed Wire 1927 Paramount Rowland V. Lee Pola Negri 18. Barnyard Cavalier 1922 Christie Bobby Vernon 19. Barnyard Wedding [1920] Hal Roach 20. Battle of the Century 1927 Hal Roach Clyde Bruckman Oliver Hardy, Stan Laurel 21. A Beast at Bay 1912 Biograph D.W. Griffith Mary Pickford 22. Bebe Daniels & Ben Lyon 1931- Bebe Daniels, home movies 1935 Ben Lyon 23. Bell Boy 13 1923 Thomas Ince William Seiter Douglas Maclean 24.
    [Show full text]
  • Hooray for Hollywood!
    Hooray for Hollywood! The Silent Screen & Early “Talkies” Created for free use in the public domain American Philatelic Society ©2011 • www.stamps.org Financial support for the development of these album pages provided by Mystic Stamp Company America’s Leading Stamp Dealer and proud of its support of the American Philatelic Society www.MysticStamp.com, 800-433-7811 PartHooray I: The Silent forScreen andHollywood! Early “Talkies” How It All Began — Movie Technology & Innovation Eadweard Muybridge (1830–1904) Pioneers of Communication • Scott 3061; see also Scott 231 • Landing of Columbus from the Columbian Exposition issue A pioneer in motion studies, Muybridge exhibited moving picture sequences of animals and athletes taken with his “Zoopraxiscope” to a paying audience in the Zoopraxographical Hall at the 1893 Columbian Exposition. Although these brief (a few seconds each) moving picture views titled “The Science of Animal Locomotion” did not generate the profit Muybridge expected, the Hall can be considered the first “movie theater.” Thomas Alva Edison William Dickson Motion Pictures, (1847–1947) (1860–1935) 50th Anniversary Thomas A. Edison Pioneers of Communication Scott 926 Birth Centenary • Scott 945 Scott 3064 The first motion picture to be copyrighted Edison wrote in 1888, “I am experimenting Hired as Thomas Edison’s assistant in in the United States was Edison upon an instrument which does for the 1883, Dickson was the primary developer Kinetoscopic Record of a Sneeze (also eye what the phonograph does for the of the Kintograph camera and Kinetoscope known as Fred Ott’s Sneeze). Made January ear.” In April 1894 the first Kinetoscope viewer. The first prototype, using flexible 9, 1894, the 5-second, 48-frame film shows Parlour opened in New York City with film, was demonstrated at the lab to Fred Ott (one of Edison’s assistants) taking short features such as The Execution of visitors from the National Federation of a pinch of snuff and sneezing.
    [Show full text]
  • Reginalde M. Hannon Collection of Glass Negatives
    http://oac.cdlib.org/findaid/ark:/13030/c8tx3m36 No online items Reginalde M. Hannon Collection of Glass Negatives Finding aid created by Seaver Center for Western History Research, Natural History Museum of Los Angeles County staff using RecordEXPRESS Seaver Center for Western History Research, Natural History Museum of Los Angeles County 900 Exposition Boulevard Los Angeles, California 90007-4057 (213) 763-3359 [email protected] http://www.nhm.org/site/research-collections/seaver-center 2017 Reginalde M. Hannon Collection P-282 1 of Glass Negatives Descriptive Summary Title: Reginalde M. Hannon Collection of Glass Negatives Dates: 1918 Collection Number: P-282 Creator/Collector: Mack Sennett, Inc. Mack Sennett Comedies (Firm) Extent: (Boxes: 7 1/2 photo; 1 5x7; 1 4x5; 1 ov folder) Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Los Angeles, California 90007-4057 Abstract: Glass negatives, in 8x10, 5x7, and odd sizes. Primarily of actors and actresses employed by the Mack Sennett Comedies Co., photographed by Evans Studios, Inc. Language of Material: English Access Research is by appointment only Publication Rights Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Preferred Citation Reginalde M. Hannon Collection of Glass Negatives. Seaver Center for Western History Research, Natural History Museum of Los Angeles County Scope and Content of Collection Glass negatives, in 8x10, 5x7, and odd sizes. Primarily of actors and actresses employed by the Mack Sennett Comedies Co., photographed by Evans Studios, Inc. (Studio name variations: Evans-Degaston; Nelson Evans Studio). Personalities include May Allison, Bathing Beauties, Betty Compson, Jackie Coogan, Cecil B.
    [Show full text]
  • Cine-Kodak News; Nov
    In this Issue -catch-can catc h as Shun would the ift buying as you this autions Santa on ,lague c 's "Sur- Lois Cameron page 1 to the t will appea prise Par y hten the . reader' en ' feminine Kodaflector s masculine movies is to indoor importance ly described, tersely , Simplified "Santa s trated . in the . g Servtce, Christmas as I see it . ts the way read," poin by SANTA CLAUS ter sp . Ch istmas movie ri to a merrY . {or your ' y NE of the most charming manifestations of the true Christmas spirit is the frequent there s a he succeeding and complete self-effacement of givers. In case after case which has been rather reels on t O hoh ay Kodascope tartly called to my attention by recipients, the donors have disclaimed all responsibility. full color . "From Santa Claus" is the terse message carried by the gift cards-particularly by those page h wing with films for s o attached to presents decided upon in haste or in desperation. Library . rojectors d white p Such modesty is commendable-but it adds not a whit to my reputation. black-an - d and three Careless giving can sometimes reach amazing heights. Take, for example, that tie I nee are annou . hter received last Christmas. I've no fault to :find with ties-they're one of the foundations d far brig upon which the tradition of Christmas has been built. But what unearthly use have I for new an price range . the same a necktie? scopes . less brilliant pre The successful gift should immediately bespeak its donor's interest in, as well as his as t h friendly sentiments for, the giftee who will otherwise garner the usual run of presents .
    [Show full text]
  • Moma More Cruel and Unusual Comedy Social Commentary in The
    MoMA Presents: More Cruel and Unusual Comedy: Social Commentary in the American Slapstick Film Part 2 October 6-14, 2010 Silent-era slapstick highlighted social, cultural, and aesthetic themes that continue to be central concerns around the world today; issues of race, gender, propriety, and economics have traditionally been among the most vital sources for rude comedy. Drawing on the Museum’s holdings of silent comedy, acquired largely in the 1970s and 1980s by former curator Eileen Bowser, Cruel and Unusual Comedy presents an otherwise little-seen body of work to contemporary audiences from an engaging perspective. The series, which first appeared in May 2009, continues with films that take aim at issues of sexual identity, substance abuse, health care, homelessness and economic disparity, and Surrealism. On October 8 at 8PM, Ms Bowser will address the connection between silent comedy and the international film archive movement, when she introduces a program of shorts that take physical comedy to extremes of dream-like invention and destruction. Audiences today will find the vulgar zest and anarchic spirit of silent slapstick has much in common with contemporary entertainment such as Cartoon Network's Adult Swim, MTV's Jackass and the current Jackass 3-D feature. A majority of the films in the series are archival rarities, often the only known surviving version, and feature lesser- remembered performers on the order of Al St. John, Lloyd Hamilton, Fay Tincher, Hank Mann, Lupino Lane, and even one, Diana Serra Cary (a.k.a. Baby Peggy), who, at 91, is the oldest living silent film star still active.
    [Show full text]
  • Gloria Swanson
    Gloria Swanson: An Inventory of Her Papers at the Harry Ransom Center Descriptive Summary Creator: Swanson, Gloria, 1899-1983 Title: Gloria Swanson Papers [18--]-1988 (bulk 1920-1983) Dates: [18--]-1988 Extent: 620 boxes, artwork, audio discs, bound volumes, film, galleys, microfilm, posters, and realia (292.5 linear feet) Abstract: The papers of this well-known American actress encompass her long film and theater career, her extensive business interests, and her interest in health and nutrition, as well as personal and family matters. Call Number: Film Collection FI-041 Language English. Access Open for research. Please note that an appointment is required to view items in Series VII. Formats, Subseries I. Realia. Administrative Information Acquisition Purchase (1982) and gift (1983-1988) Processed by Joan Sibley, with assistance from Kerry Bohannon, David Sparks, Steve Mielke, Jimmy Rittenberry, Eve Grauer, 1990-1993 Repository: Harry Ransom Center, University of Texas at Austin Swanson, Gloria, 1899-1983 Film Collection FI-041 Biographical Sketch Actress Gloria Swanson was born Gloria May Josephine Swanson on March 27, 1899, in Chicago, the only child of Joseph Theodore and Adelaide Klanowsky Swanson. Her father's position as a civilian supply officer with the army took the family to Key West, FL and San Juan, Puerto Rico, but the majority of Swanson's childhood was spent in Chicago. It was in Chicago at Essanay Studios in 1914 that she began her lifelong association with the motion picture industry. She moved to California where she worked for Sennett/Keystone Studios before rising to stardom at Paramount in such Cecil B.
    [Show full text]
  • 40 Years of American Film Comedy to Be Shown
    40n8 - 4?' THE MUSEUM OF MODERN ART tl WEST 53RD STREET, NEW YORK •fgLEPHONE: CIRCLE 5-8900 FOR IMMEDIATE RELEASE FORTY YEARS OF AMERICAN FIM COMEDY FROM FLORA FINCH AND JOHN BUNNY TO CHAPLIN, FIELDS, BENCHLEY AND THE MARX BROTHERS TO BE SHOWN AT THE MUSEUM OF MODERN ART That movies are the proper study of mankind has been estab­ lished at the Museum of Modern Art, where eight comprehensive series and four smaller groups of the outstanding films through which the great popular art of the cinema has evolved since 1895, have already been shown to Museum visitors. The Museum now announces a new series of fifteen programs in the art of the motion picture under the general title: Forty Years of American Film Comedy, Part i; Beginning Thursday, August 1, the series will be presented dally at 4 P.M. and on Sundays at 3 P.M. and 4 P.M. in the Museum1s auditorium at 11 West 53 Street. Instruction will thus be provided from the screen by Professors Mack Sennett, Frank Capra, W. C. Fields, Harpo and Groucho Marx, Robert Benchley and Charlie Chaplin in a new appraisal of screen comedy reviewed in the light of history. "It is very evident," states Iris Barry, Curator of the Museum's Film Library, "that the great farce-comedies, as well as the cowboy and gangster films, rank among this country1s most original contributions to the screen. We are grateful indeed to the film industry for cooperating with the Museum in providing this unique opportunity for tracing screen comedy to its sources in this group of classics now restored to view for the amateurs of the twentieth century's liveliest art.
    [Show full text]
  • Best Picture of the Yeari Best. Rice of the Ear
    SUMMER 1984 SUP~LEMENT I WORLD'S GREATEST SELECTION OF THINGS TO SHOW Best picture of the yeari Best. rice of the ear. TERMS OF ENDEARMENT (1983) SHIRLEY MacLAINE, DEBRA WINGER Story of a mother and daughter and their evolving relationship. Winner of 5 Academy Awards! 30B-837650-Beta 30H-837650-VHS .............. $39.95 JUNE CATALOG SPECIAL! Buy any 3 videocassette non-sale titles on the same order with "Terms" and pay ONLY $30 for "Terms". Limit 1 per family. OFFER EXPIRES JUNE 30, 1984. Blackhawk&;, SUMMER 1984 Vol. 374 © 1984 Blackhawk Films, Inc., One Old Eagle Brewery, Davenport, Iowa 52802 Regular Prices good thru June 30, 1984 VIDEOCASSETTE Kew ReleMe WORLDS GREATEST SHE Cl ION Of THINGS TO SHOW TUMBLEWEEDS ( 1925) WILLIAMS. HART William S. Hart came to the movies in 1914 from a long line of theatrical ex­ perience, mostly Shakespearean and while to many he is the strong, silent Western hero of film he is also the peer of John Ford as a major force in shaping and developing this genre we enjoy, the Western. In 1889 in what is to become Oklahoma Territory the Cherokee Strip is just a graz­ ing area owned by Indians and worked day and night be the itinerant cowboys called 'tumbleweeds'. Alas, it is the end of the old West as the homesteaders are moving in . Hart becomes involved with a homesteader's daughter and her evil brother who has a scheme to jump the line as "sooners". The scenes of the gigantic land rush is one of the most noted action sequences in film history.
    [Show full text]