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Dictionary of Westerns in Cinema
PERFORMING ARTS • FILM HISTORICAL DICTIONARY OF Historical Dictionaries of Literature and the Arts, No. 26 VARNER When early filmgoers watched The Great Train Robbery in 1903, many shrieked in terror at the very last clip, when one of the outlaws turned toward the camera and seemingly fired a gun directly at the audience. The puff of WESTERNS smoke was sudden and hand-colored, and it looked real. Today we can look back at that primitive movie and see all the elements of what would evolve HISTORICAL into the Western genre. Perhaps the Western’s early origins—The Great Train DICTIONARY OF Robbery was the first narrative, commercial movie—or its formulaic yet enter- WESTERNS in Cinema taining structure has made the genre so popular. And with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the Western is told in this Historical Dictionary of Westerns in Cinema through a chronology, a bibliography, an introductory essay, and hundreds of cross-referenced dictionary entries on cinematographers; com- posers; producers; films like Butch Cassidy and the Sundance Kid, Dances with Wolves, The Good, the Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; actors such as Gene Autry, in Cinema Cinema Kirk Douglas, Clint Eastwood, Henry Fonda, Jimmy Stewart, and John Wayne; and directors like John Ford and Sergio Leone. PAUL VARNER is professor of English at Abilene Christian University in Abilene, Texas. -
The Westchester Historian Index, 1990 – 2019
Westchester Historian Index v. 66-95, 1990 – 2019 Authors ARIANO, Terry Beasts and ballyhoo: the menagerie men of Somers. Summer 2008, 84(3):100-111, illus. BANDON, Alexandra If these walls could talk. Spring 2001, 77(2):52-57, illus. BAROLINI, Helen Aaron Copland lived in Ossining, too. Spring 1999, 75(2):47-49, illus. American 19th-century feminists at Sing Sing. Winter, 2002, 78(1):4-14, illus. Garibaldi in Hastings. Fall 2005, 81(4):105-108, 110, 112-113, illus. BASS, Andy Martin Luther King, Jr.: Visits to Westchester, 1956-1967. Spring 2018, 94(2):36-69, illus. BARRETT, Paul M. Estates of the country place era in Tarrytown. Summer 2014, 90(3):72-93, illus. “Morning” shines again: a lost Westchester treasure is found. Winter 2014, 90(1):4-11, illus. BEDINI, Silvio A. Clock on a wheelbarrow: the advent of the county atlas. Fall 2000, 76(4):100-103, illus. BELL, Blake A. The Hindenburg thrilled Westchester County before its fiery crash. Spring 2005, 81(2):50, illus. John McGraw of Pelham Manor: baseball hall of famer. Spring 2010, 86(2):36-47, illus. Pelham and the Toonerville Trolley. Fall 2006, 82(4):96-111, illus. The Pelhamville train wreck of 1885: “One of the most novel in the records of railroad disasters.” Spring 2004, 80(2):36-47, illus. The sea serpent of the sound: Westchester’s own sea monster. Summer 2016, 92(3):82-93. Thomas Pell’s treaty oak. Summer 2002, 78(3):73-81, illus. The War of 1812 reaches Westchester County. -
The Evidence of the Film by Ned Thanhouser
The Influence of D.W. Griffith on Thanhouser’s 1913 Release: The Evidence of the Film by Ned Thanhouser The transitional era in US cinema (ca. 1907 to 1913) bridged the end of the “primitive” period with the beginning of multi-reel “feature” films. Early “primitive” films were characterized by a single shot, in full frame, with a single point of view that told familiar stories people would recognize and understand. Editing was used to join shots to extend the action or to clarify the events for the audience by showing the same action from a different perspective. “Transitional” films developed new cinematic techniques that allowed the introduction of motivated characters and enabled more complex cause-and-effect narratives. Thanhouser Company was founded in 1909, early in the “transitional” era. The films it produced over the next four years were a reflection of the changes pioneered by D.W. Griffith from 1908 to 1913 while he was at American Biograph. The Thanhouser factory, based in New Rochelle, New York, was Forty-five Minutes from Broadway1 and the Biograph studio, located on 14th Street. By 1913 when D.W. Griffith ended his tenure at Biograph, he had directed over 450 films. It was during this period at Biograph that Griffith developed and refined his ideas on narrative development, cinematography, and editing.2 Griffith and Thanhouser had direct contact during this period. As recounted in a 1976 interview with Victor Heerman (who in 1909 worked at a New York theatrical booking agency while Thanhouser was just getting started), the first contact was the 1 As made popular by George M. -
THEATRE ORGAN BOMBARDE, the Official Pub an Acre of Seats
TheatreOrgan Bombarde JOURNAL of the AMERICAN THEATRE ORGAN ENTHUSIASTS Volume 11 Number 3 June 1969 --·"'" ~ ~Mi---~---....~ ..... ~ Wurlitzer Theatre Organ The modern Theatre Console Organ that combines the grandeur of resterday with the electronic wizardry of today. Command performance! Wurlitzer combines the classic Horseshoe Design of the immortal Mighty Wurlitzer with the exclusive Total Tone electronic circuitry of today. Knowledge and craftsmanship from the Mighty Wurlitzer Era have produced authentic console dimensions in this magnificent new theatre organ. It stands apart, in an instru ment of its size, from all imitative theatre organ • Dual system of tone generation • Authentic Mighty Wurlitzer Horseshoe Design designs. To achieve its big, rich and electrifying • Authentic voicing of theatrical Tibia and tohe, Wurlitzer harmonically "photographed" Kinura originating on the Mighty Wurlitzer pipe organ voices of the Mighty Wurlitzer pipe organ to • Four families of organ tone serve as a standard. The resultant voices are au • Two 61-note keyboards • 25 -note pedal keyboard with two 16 ' and thentic individually, and when combined they two 8 ' pedal voices augmented by Sustain blend into a rich ensemble of magnificent dimen • Multi -Matic Percussion ® with Ssh-Boom ®, Sustain , Repeat , Attack, Pizzicato , and sion. Then, to crown the accomplishment, we Bongo Percussion incorporated the famous Wurlitzer Multi-Matic • Silicon transistors for minimum maintenance Percussion ® section with exclusive Ssh-Boom ® • Reverb, Slide, Chimes , and Solo controls • Electronic Vibrato (4 settings) that requires no special playing techniques, • Exclusive 2 speed Spectra-Tone ® Sound Pizzi ca to Touch that was found only on larger pipe in Motion • Two -channel solid state amplifiers, 70 watts organs, Chimes and Slide Control .. -
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. -
Arbor Day Tree Planting CHANGE ADOPTED for FALL LEAF COLLECTION Yard Waste Collection Begins
CityHallNews & Information from thenews City of New Rochelle, New York Spring 2014 Arbor Day Tree Planting IN THIS ISSUE: New Fire Apparatus ....... 2 Change to Fall Leaf Collection ............ 3 The City of New Rochelle observed Arbor Day the downtown. Residents who would like to 2014 with a tree planting at City Hall on April 24. recommend a planting location can call the City officials were joined by students from New Forestry Bureau at (914) 235-3549. Rochelle Day Nursery School and New Rochelle High School Environmental Science class in planting three linden trees at the City Hall Summer campus on Hamilton Avenue. Events Schedule .......... 4 The ceremony also highlighted the City’s commitment to an annual planting program as noted in GreeNR, New Rochelle’s sustainability plan. Planting will take place throughout the City this year, with a special emphasis on NEWS ALERT: CHANGE ADOPTED FOR FALL LEAF COLLECTION OOPS... The June recycling calendar All leaves must be bagged or containerized for pickup. See revised collection schedule and has been amended as follows. more information on page 3 A corrected calendar is on page 3. June 4- Commingled June 11- Paper Yard Waste Collection Begins June 18- Commingled Residents are reminded of the following yard waste n Logs, stumps and other large debris will June 25- Paper collection guidelines: not be collected and must be disposed of n Place all yard waste at the curb by 7:00am on by the homeowner. collection day in open containers or biodegradable Information on collection days and areas bags weighing no more than 75 lbs. -
P-26 Motion Picture Collection Repository: Seaver Center For
P-26 Motion Picture Collection Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Span Dates: c.1872-1971, bulk 1890s-1930s Extent: 48 linear feet Language: Primarily English Conditions Governing Use: Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Conditions Governing Access: Research is by appointment only Preferred Citation: Motion Picture Collection, Seaver Center for Western History Research, Los Angeles County Museum of Natural History Related Holdings: There are numerous related collections, and these can be found by consulting the Photo and General Collection guides available at the Seaver Center’s website. They include manuscripts in general collection 1095 (Motion Pictures Collection), general collection 1269 (Motion Picture Programs and Memorabilia), general collection 1286 (Movie Posters Collection), general collection 1287 (Movie Window Cards and Lobby Cards Collection), and general collection 1288 (Motion Picture Exhibitors’ Campaign Books). Seaver Center for Western History Research P-26 Abstract: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented, including portraits by studio photographers, film and set stills, and other images, as well as related programs, brochures and clippings. Early technology and experimental work in moving pictures is represented by images about camera and projection devices and their inventors. Items related to movie production include early laboratories, sound, lighting and make-up technology. These items form Photograph Collection P-26 in the Seaver Center for Western History Research. Scope and Content: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented (including portraits by studio photographers), film stills, set stills, and other images, as well as related programs, brochures and clippings. -
2012History-Of-Newrochelle-Booklet
The New Rochelle Art Association 100 Years 1912-2012 Graphic design by Jesse M. Sanchez Edited and written by Theresa Beyer Historical images courtesy of The New Rochelle Public Library ©2012 The New Rochelle Art Association BACKGROUND In 1912 New Rochelle was a fast growing suburb. Already in 1899 New Rochelle had incorporated as a city. While New Rochelle was one of the earliest communities in the area, having been founded by the Huguenots in 1688, New York City residents first discovered New Rochelle in large numbers with the advent of the steam boat, especially the one that took them to the pleasure gardens at Glen Island and the Neptune House resort. Soon, planned resi- dential areas like Rochelle Park (1885) and Rochelle Heights (1905) sprang up. New Rochelle’s popula- tion doubled between 1900 and 1910 and would double again between 1910 and 1930. The vil- lage the Huguenots had founded with large tracts of farm land was rapidly being sub-divided into residential communities. A system of trolleys, com- muter railroads, and later the parkways made New Rochelle easily accessible. The New York area had always been friendly to artists. In the 19th century painters of the Hudson River School settled here. Many artists traveled to Europe and began to paint in the style of the im- pressionists while others were more influenced by traditional Beaux Arts training. Meanwhile, with the turn of the century, the highly influential real- ism of the Ash Can School promoted the idea that art didn’t have to portray just beautiful objects. -
Download Film Notes for Volumes 10-11-12
The Thanhouser Collection DVD Collector’s Set Volumes 10, 11 & 12 Volume 10: More Early Thanhouser (1910 to 1912) Volume 11: The Genius of Charles J. Hite (1913 to 1914) Volume 12: Edwin and Gertrude Return (1915 to 1916) Copyright © 2009 Thanhouser Company Film Preservation, Inc. All Rights Reserved. Celebrating the 100th Anniversary of the Founding of Thanhouser Company on October 25, 1909. VOLUME 10: More Early Thanhouser (1910 TO 1912) Thanhouser’s very first release, The Actor’s Children, was actually the new producer’s fourth or fifth production. Its first project in late 1909 was over-ambitious, with (as scenarist Lloyd F. Lonergan admitted) enough material for 15 stories. The first productions were also plagued by technical problems as the studio facilities came online as an independent studio, without access to the latest and best equipment controlled by the one-year-old Motion Picture Patents Company, an attempted monopoly under Edison. Two or three other early productions were shelved for a yet-to-be-determined regular release schedule. Thanhouser made 19 prints of The Actor’s Children, and sent them out on approval to 19 dealers nationwide (without actual orders or requests), bypassing the existing distributors. Ten of the prints were returned, with compliments about the film, but the dealers required advance notice, advance screening, and established distribution channels. (A distributorship, handling only independent studios with Thanhouser the largest by far, was soon created.) The trade publications, already well established by 1910, were also complimentary of the picture’s attractive story and production quality. The Actor’s Children (One reel of approximately 1,000 feet, March 15, 1910) Print source: Academy of Motion Picture Arts & Sciences Archive, 13 minutes 27 seconds. -
All in the Family: the Thanhouser Studio by Ned Thanhouser
All in the Family: The Thanhouser Studio by Ned Thanhouser Contents 1. Introduction 2. On the Stage with Edwin Thanhouser 3. Enter: Gertrude Homan 4. Courtship and Marriage 5. Exit Milwaukee, Hello Chicago 6. Enter Lloyd F. Lonergan: Brother-in-Law and Newspaperman 7. Into the Motion Picture Business 8. Edwin Thanhouser: Buisnessman, Visonary, and Spokesman 9. Gertrude Thanhouser: The Creative Force Behind the Scenes 10. Lloyd F. Lonergan: Master of Scenarios 11. Selling the Studio to Mutual 12. Edwin and Gertrude Return 13. In Context: Thanhouser Family Mode of Production 14. Ahead of Its Time 15. Surviving Thanhouser Films Available on DVD and Online Introduction The family mode of production in the early motion picture industry was firmly established by stage actors and theater management veterans Edwin and Gertrude Thanhouser with brother-in- law and journalist Lloyd F. Lonergan. The three joined forces in 1909 to establish what would become one of America’s pioneering independent silent motion picture studios during what is known as the “transitional” era in early cinema. The talent and the uniqueness of each family member blended seamlessly to create one of the most popular and successful independent motion picture production companies in America’s burgeoning motion picture industry. Under their leadership, the Thanhouser studio strove for and produced high quality films, and by the summer of 1910, Thanhouser films were praised by The New York Dramatic Mirror: “…Thanhouser pictures, of course, rank highest [among the independent producers]” (Woods 1910, 20). The Mutual Film Corporation, a major Chicago-based film distributor, recognized the success of this independent enterprise and, in April 1912, acquired the company under the leadership of Charles J. -
Meet Ned Thanhouser Who Retired from Intel in 2011 After 28 Years
Interview and story by Debbie Watson Meet Ned Thanhouser who retired from Intel in 2011 after 28 years. When he retired, Ned was the Director of Market Development ESPD, which is the boards and systems division in the Enterprise Server Group. Ned started at Intel in 1982 as the engineering manager for Multibus® and went on to do stints in Product Marketing, Customer Marketing, as well as OEM Account Management. Ned Thanhouser in front of the Hollywood Theatre While at Intel, Ned had a fascination exploring his family’s history in the silent movie industry. Ned’s grandparents, Edwin and Gertrude Thanhouser, established a pioneering independent silent movie studio in 1909 in New Rochelle, New York. The Thanhouser Studio eventually made over 1000 silent films that were distributed around the world until suddenly closing in Thanhouser studio in New Rochelle, NY 1917...almost all the films were either lost or destroyed. Ned has spent over 25 years researching and recovering what he could find of the studio’s output, including original nitrate films, posters and historical artifacts. Working with archives and private collectors around the globe he has found 225 Thanhouser films, and he finds a couple more every year. Over 50 of these films are available for viewing on his web site or for sale on DVD. Reels of nitrate film Ned strongly believes that the Thanhouser story deserves a place in any discussion of early American Cinema. To that end, after he retired, he produced a 50- minute documentary called "The Thanhouser Studio and the Birth of American Cinema." It tells his family’s story and his own journey of discovery. -
Show World (June 25, 1910)
“Imagination is a wonderful factor in creating news, but authenticity is the greatest asset a newspaper can have in the minds of its subscribers and readers.’’—JAMES J. JEFFRIES. THE SHOW WORLD prints the News, and as an Independent Amusement N oaper is unafraid to tell the inside and outside doings of the show business. ^ . TEN CENTS THE COPY ISSUED FRIDAY DATED SATURDAY THE WORLDS GREATEST AMUSEMENT NEWSPAPER DEVOTED EXCLUSIVELY TO THE PROFESSION OF EN1X THIS WEEK’S NEWS THIS WEEK Vol. VI No. 1 CHICAGO ack 5\mm% FRANK WEJSBERQ PHQrOS (f POOPED BY JlMWEEDEN .apffiPitip, WttffWMWittIMfO. JESS D.BURNS. ANcr^ffwiS. GEORGE HALE PROMINENT FACTORS IN THE REALM OF BURLESQUE ARE YOU READING DOC WADDELL’S CIRCUS TALES IN THE SHOW WORLD ? HIS CONTRIBUTION THIS WEEK TELLS OF THE CLOWNS OF TODAY AND YESTERDAY. 2 THE SHOW WORLD June 25, 190<l -NOW PERMANENTLY ESTABLISI MOTOGRAPH FILMS Three Fast Daily Each successive release marked by higher quality; every “string” being pulled to bring this product up to and beyond the now favorite brands. It behooves YOU, an important spoke in the Motion Picture Wheel, to at once investigate MOTOGRAPH FILMS, by the most direct method known— Trains Insist on a Screen Exhibition And satisfy yourself there is one new and better product which will surely add to your earning power, be you Renter or Exhibitor. Our method of DIRECT SHIPMENTS keeps us in close touch with our from St. Louis to customers and friends at all times and does away with the possibility of mis¬ takes and mishaps which might occur were we entrusting our business to agen¬ cies or so-called sales companies.