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Tm Array 1 Present Alcorn
v ; •&-Z: V. I--<f ,2 feilS ^^*;vV.'- s. 'v.", '.••< :, •-:• •;•;,&• ^rUO»V: ' S THE PRESS IS® A .A i*-.A /,{••'fo'jj-T An Institution Which Works wm-": THE PRESS A Home Town Paper For :0 For Community Ad- \ s!i vancement. r ; \ Home /Town •• . : -r I IS asie'. Folks. THE ONLY NEWSPAPER PUBLISHED IN THE TOWN OF ENFIELl), CONN. 't'H\}5% FORTY-SEVENTH YEAH—NO. 24. THOMPSONVILLE, CONNECTICUT, THURSDAY, OCTOBER 7, 1926 PRICE $2.00 A YEAR—SINGLE COPY 5c. .T.MARRAY 1 Frank A. Simmons TOWN SEEKS TO ^v*Civic Program DR. VAIL AGAIN First Selectmen TOWN MEETING fil New Tax Collector RECOVER AMOUNT i^v?Up To Nov. 2. HEADS THE TOWN James T. Murray MAKES NO CHANGE .. Saturday, Oct. 9, Wednesday, OF TAX SHORTAGE Oct. 13, and Saturday, Oct. 16: c •' 'v^ >-*' SCHOOL BOARD IN THE BUDGET Mill inn i i Meeting of the Selectmen and Defeats A. J. Epstein by Town Clerk to admit electors Formal Demand Made from the perfected list. Any Hertry R. Cooper is Also Finance Board Recom i Majority of 203 Votes— of the Surety Company prospective elector who is not made at this meeting cannot Reelected Secretary at mendations are Adopt Frank A. Simmons Is in Which Former Town vote at the state election, No Reorganization Meet I Successful in the Tax vember 2nd. I ed—Property Tax Col Was Bonded, To Make Monday, Oct. 11: Caucus of ing of the Board Held lector's Pay Made $1,- ? Collector Contest. • W Good the Defalcation. Republican electors in the Hig- gins School 'Auditorium, for the Tuesday Afternoon. -
The Transnational Sound of Harpo Marx
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 22 | 2021 Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx Marie Ventura Electronic version URL: http://journals.openedition.org/miranda/36228 DOI: 10.4000/miranda.36228 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Marie Ventura, “Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx”, Miranda [Online], 22 | 2021, Online since 02 March 2021, connection on 27 April 2021. URL: http:// journals.openedition.org/miranda/36228 ; DOI: https://doi.org/10.4000/miranda.36228 This text was automatically generated on 27 April 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx 1 Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx Marie Ventura Introduction: a Transnational Trickster 1 In early autumn, 1933, New York critic Alexander Woollcott telephoned his friend Harpo Marx with a singular proposal. Having just learned that President Franklin Roosevelt was about to carry out his campaign promise to have the United States recognize the Soviet Union, Woollcott—a great friend and supporter of the Roosevelts, and Eleanor Roosevelt in particular—had decided “that Harpo Marx should be the first American artist to perform in Moscow after the US and the USSR become friendly nations” (Marx and Barber 297). “They’ll adore you,” Woollcott told him. “With a name like yours, how can you miss? Can’t you see the three-sheets? ‘Presenting Marx—In person’!” (Marx and Barber 297) 2 Harpo’s response, quite naturally, was a rather vehement: you’re crazy! The forty-four- year-old performer had no intention of going to Russia.1 In 1933, he was working in Hollywood as one of a family comedy team of four Marx Brothers: Chico, Harpo, Groucho, and Zeppo. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
Hofstra University Film Library Holdings
Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star
Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-15-2020 Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star Caleb Taylor Boyd Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Film and Media Studies Commons, Music Commons, and the Sociology Commons Recommended Citation Boyd, Caleb Taylor, "Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star" (2020). Arts & Sciences Electronic Theses and Dissertations. 2169. https://openscholarship.wustl.edu/art_sci_etds/2169 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Todd Decker, Chair Ben Duane Howard Pollack Alexander Stefaniak Gaylyn Studlar Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star by Caleb T. Boyd A dissertation presented to The Graduate School of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2020 St. Louis, Missouri © 2020, Caleb T. Boyd Table of Contents List of Figures ................................................................................................................................ -
A Century of the Marx Brothers Joseph Mills
T A Century of the Marx Brothers Edited by Joseph Mills C' ,p CAMBRIDGE SCI-IOLARS PUBLISHING A Century of the Marx Brothers, edited by Joseph Mills This book first pub!ished 2007 by Cambridge Scholars Publishing 15 Angerton Gardens, Newcastle, NE5 2.JA,UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright ID 2007 by Joseph Mills and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN 1-84718-240-2;ISBN 13: 9781847182401 CHAPTER ELEVEN THE BIG GREY IR-ELEPHANT: THE PLAY OF LANGUAGE IN THE MARX BROTHERS' SCRIPTS AND IN CHARLES BERNSTEIN'S L=A N=G=U=A=G=E POETRY ZOEBRIGLEY In his collection, Poetic Justice (1979), the L=A=N=G=U=A=G=E poet, Charles Bernstein begins an untitled poem with the following lines: The elephant appears without the slightest indication that he is demanded. An infinite inappropriateness. Continually learning.' The image of the elephant appears as a surprise or as an inappropriate occurrence, and its appearance indicates that one cannot rest easy in the conventional uses of language. Rather the poet must be in a state of continual "learning" discovering how language empowers some subjects and weakens others. As Bernstein writes in his essay, "Making Words Visible": "We all see words: signs of a language we live inside of. -
Columbia Pictures: Portrait of a Studio
University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 1992 Columbia Pictures: Portrait of a Studio Bernard F. Dick Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Dick, Bernard F., "Columbia Pictures: Portrait of a Studio" (1992). Film and Media Studies. 8. https://uknowledge.uky.edu/upk_film_and_media_studies/8 COLUMBIA PICTURES This page intentionally left blank COLUMBIA PICTURES Portrait of a Studio BERNARD F. DICK Editor THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1992 by The University Press of Kentucky Paperback edition 2010 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Cataloging-in-Publication Data for the hardcover edition is available from the Library of Congress ISBN 978-0-8131-3019-4 (pbk: alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. -
American Exceptionalism in the Film Industry of the Middle Twentieth Century Bryan Everett University of North Georgia, [email protected]
University of North Georgia Nighthawks Open Institutional Repository History, Anthropology & Philosophy Theses and Department of History, Anthropology & Projects Philosophy Spring 2017 American Exceptionalism in the Film Industry of the Middle Twentieth Century Bryan Everett University of North Georgia, [email protected] Follow this and additional works at: http://digitalcommons.northgeorgia.edu/histphil_etd Part of the Cultural History Commons, and the United States History Commons Recommended Citation Everett, Bryan, "American Exceptionalism in the Film Industry of the Middle Twentieth Century" (2017). History, Anthropology & Philosophy Theses and Projects. 7. http://digitalcommons.northgeorgia.edu/histphil_etd/7 This Open Thesis is brought to you for free and open access by the Department of History, Anthropology & Philosophy at Nighthawks Open Institutional Repository. It has been accepted for inclusion in History, Anthropology & Philosophy Theses and Projects by an authorized administrator of Nighthawks Open Institutional Repository. P a g e | 1 The University of North Georgia School of Arts and Letters American Exceptionalism in the Film Industry Of the Middle Twentieth Century By Bryan Everett A Thesis submitted to the Department of History, Anthropology and Philosophy in partial fulfillment of the requirements for the degree of Master of Arts in History May 2017 P a g e | 2 Abstract ____________________________________________________________________________ A common theme that pervades America’s view of its past is the idea that the American nation is exceptional. The term “American Exceptionalism” encompasses this notion or belief and sees common usage in both popular and scholarly contexts. This work deals with the essential themes of American Exceptionalism as they appear and evolve through the American film industry. -
Welcome Home Mr Swanson Swedish Emigrants and Swedishness on Film Wallengren, Ann-Kristin; Merton, Charlotte
Welcome Home Mr Swanson Swedish Emigrants and Swedishness on Film Wallengren, Ann-Kristin; Merton, Charlotte 2014 Document Version: Publisher's PDF, also known as Version of record Link to publication Citation for published version (APA): Wallengren, A-K., & Merton, C., (TRANS.) (2014). Welcome Home Mr Swanson: Swedish Emigrants and Swedishness on Film. Nordic Academic Press. Total number of authors: 2 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 welcome home mr swanson Welcome Home Mr Swanson Swedish Emigrants and Swedishness on Film Ann-Kristin Wallengren Translated by Charlotte Merton nordic academic press Welcome Home Mr Swanson Swedish Emigrants and Swedishness on Film Ann-Kristin Wallengren Translated by Charlotte Merton nordic academic press This book presents the results of the research project ‘Film and the Swedish Welfare State’, funded by the Bank of Sweden Tercentenary Foundation. -
The Roots of the American Musical Film (1927-1932)," To
• f^^ NO. 63 The Museum of ModerniMr Arti FOR IMMEDIATE RELEASE 11 West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart JUNE 14, 1971 FIRST TIME AMERICAN MUSICAL FILM RETROSPECTIVE FEATURES EARLY MUSICALS NOT SHOWN IN FORTY YEARS Forty musical films, twenty of which have not been seen here in four decades, are part of a major retrospective, titled "The Roots of the American Musical Film (1927-1932)," to be presented over a seven week period, starting Thursday, June 17, at The Museum of Modem Art. Covering the first five years of sound movies, the retrospective, which is the first of its kind, includes such classic film musicals as "Whoopee," starring Eddie Cantor, Al Jolson in "The Jazz Singer," the four Marx Brothers in "The Cocoanuts" and "Rio Rita," starring Bebe Daniels and John Boles, with the famous comedy team Bert Wheeler and Robert Wooley. The music for these films, many of them originally Broadway plays, was provided by Irving Berlin, Sigmund Romberg, De Sylva, Brown and Henderson, Jerome Kern and George Gershwin among other famous composers. This unique series was conceived and assembled by'Miles Kreuger, theatre and film historian, author of an 800 page volume "The American Musical Film," to be published by E. P. Dutton this fall. Mr. Kreuger, who has one of the world' s largest research collections on American musical plays and films, will be present on the opening night to discuss the growth of this indigenous type of American film art "from the technical experimentation of ' The Jazz Singer' in 1927 to the exquisite sophistication and flamboyant artistry of Rouben Mamoulian' s ' Love Me Tonight,' produced only five years later." Burrowing into film vaults from Hollywood to Europe, the Museum has unearthed an original Technicolor print of Marilyn Miller in "Sally," and from Czechoslovakia has come the all-Technicolor print of Sam Goldwyn' s "Whoopee," featuring almost all the principals of the Flo Ziegfeld stage production. -
Singer, Aka FRANK LUTHER
PERSONALITY, SPEECH and CURIO 78s FRANKLYN BAUR [t]. Brooklyn, 1903-1950. Baur recorded a number of popular songs and ballads of the time (1923 to about 1931) for Brunswick, Victor and Columbia and a number of small labels as well. He was also a radio singer and had been the Firestone Hour’s leading male soloist from 1928 until 1930, when he was fired for unwisely refusing to sing for a Firestone company function gratis. (His radio payment was very high.) Hoping for a more serious career, Baur then went to France in 1931 for vocal study and made a concert debut at Town Hall on Dec. 5, 1933 in a program including music of Bach, Debussy, Loeffler and Brahms, among others. The reviews, at least those posted in a full-page Musical America ad in Feb. 10, 1934, mentioned his “unusual gifts of sensitivity and musicianship” as well as his “delicate precision of diction and intonation” (NY Times). There were enthusiastic comments quoted from other papers and journals as well, but apparently there were similarly remarks omitted that were less glowing. Added to the fact that it was the middle of the Depression, his new career didn’t take wings. As a popular singer Baur had been replaced by the newer voices of the period. He seems to have basically retired in the mid-1930s and returned to his family home in Brooklyn which he shared with his sister until his death at the age of 47. 2104. 10” Blk. Viva-Tonal Columbia 1027-D [W144274-2/W144275-3].