DOCSLIB.ORG

David Bradley Papers, Filling Two Boxes, Span the Period 1936 to 1980

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Northwestern University Archives • Evanston, Illinois DAVID BRADLEY (1920-1997) PAPERS, 1936-1980 Series 55/16 Boxes 1-2 Biography David Shedd Bradley was born in Evanston, Illinois on April 6, 1920, the son of Addison Ballard and Katherine Shedd Bradley. He attended the Todd School from 1935 to 1937 and Lake Forest Academy during 1937-1940. At Lake Forest Bradley made one of his earlier films, "Preps in Action," an account of a day in the life of an average student. His first experience with film came through his use of his family's Winnetka basement as a movie theatre for neighborhood friends. Bradley had turned his hand to filmmaking by the mid-1930s. Preceding "Preps in Action" was a 16 millimeter short of "Treasure Island" (1937). Other films from the period include "Doctor X" (1938), "Emperor Jones" (1938), and an adaptation of The Christmas Carol, titled "Marley's Ghost" (1939). Bradley spent a year at the Goodman Memorial Theatre Drama Department of the Art Institute of Chicago and casted actors he met there in full-length film versions of "Oliver Twist" (1940), "Peer Gynt" (1941), and the Saki story, "Sredni Vashtar" (1943)0 In September 1941, Bradley enrolled in the School of Speech of Northwestern University where he continued to pursue his interests in film and acting. He was accepted also into the Northwestern University Radio Playshop. In 1942 military service interrupted Bradley's formal education. Following three years in the film section of the Signal Corps, he returned to Northwestern where he completed film versions of "Macbeth" (1946) and "Julius Caesar" (1950). The latter tied for first place at the Locarno Film Festival and won much international acclaim. One of the first 16 millimeter films to be booked into theatres on a nationwide scale, "Julius Caesar" attracted the attention of Dore Schary, the M.G.M. studio chief. After graduating from Northwestern in June 1950, with a Bachelor of Science degree in Speech, Bradley went to Hollywood to work for M.G.M. Bradley's first assignment at M.G.M. was to assist in coaching pre-production rehearsals for first-time director Robert Pirosh's "Go For Broke." After two years of interning, Bradley was allowed to direct his own film, "Talk About a Stranger" (1952). At the age of 32 Bradley was then the youngest director at M.G.M. In the early 1950s, with Gerry Sherman, Bradley formed Oceanic Productions Inc. Their first project was to be a filmed version of Paul Gauguin's Tahitian journal "Noa-Noa." James Agee wrote the screenplay and Emile Gauguin was hired as a technical assistant. This project was not completed. Bradley left M.G.M. in the mid-1950s and made three more films: "Dragstrip Riot" (1958, American International), "Twelve To The Moon" (1960, Columbia Pictures), and "Madmen of Mandoras" (1964, Crown International). More recently, as an adjunct to producing and directing and drawing upon his extraordinary collection of rare films and extensive knowledge of the field, Bradley has taught courses in film aesthetics and history at the University of California at Los Angeles and at Santa Monica College. 1 Northwestern University Archives • Evanston, Illinois DAVID BRADLEY (1920-1997) PAPERS, 1936-1980 Series 55/16 Boxes 1-2 Description of the Series The David Bradley Papers, filling two boxes, span the period 1936 to 1980. The papers include newspaper and magazine clippings, posters, press material, scripts, and programs illuminating Bradley's career as a filmmaker. The papers are arranged in two categories: biographical materials and materials relating to Bradley's films. The biographical materials, largely clippings, document broad aspects of Bradley's career. Arranged chronologically within two folders, the biographical materials relate most strongly to Bradley's early years at M.G.M. and his later career as an independent filmmaker in Hollywood. Materials relating to Bradley's films form the bulk of the collection; they include primarily clippings but also press and publicity materials, programs, and full-color posters. Materials are arranged in folders alphabetically according to film title and thereafter according to format, i.e., clippings, programs, etc. When dated, materials within folders are arranged chronologically. "Julius Caesar" and "Macbeth" are the most strongly represented of Bradley's films. Not surprisingly, they received the most critical acclaim. They were reviewed by local, national, and international press and shown at several film festivals in the United States and abroad. One folder of articles authored by Bradley and published in a variety of film magazines is included in the collection. Most of the articles reflect generally Bradley's career as a filmmaker while several focus on his work on a single film. A folder of course syllabi pertaining to Bradley's teaching at Santa Monica College is also included. Both folders are filed after the biographical materials. Provenance: David Bradley donated these papers to the Northwestern University Archives on August 4, 1986 (Accession #86-137). Restrictions: None. Processor: Lauren Bufferd; November, 1986. Scanned and Reformatted by: Rachel C. Teuer; August 23, 2004. 2 Northwestern University Archives • Evanston, Illinois DAVID BRADLEY (1920-1997) PAPERS, 1936-1980 Series 55/16 Boxes 1-2 Container List Box Folder Title Date 1 1 Biographical Materials 1936-1952 2 Biographical Materials 1953-1979 3 Articles Written by David Bradley 4 Course Syllabi: Santa Monica College FILMS 5 Bugles Sound No Reveille 6 Doctor X and Emperor Jones 7 Dragstrip Riot: Clippings 8 Dragstrip Riot: Poster 9 Julius Caesar: Clippings n.d. 10 Julius Caesar: Clippings 1949-1950 11 Julius Caesar: Clippings 1951-1952 12 Julius Caesar: Clippings Jan.-July 1953 13 Julius Caesar: Clippings Aug.-Dec. 1953 14 Julius Caesar: Clippings 1954-1978 15 Julius Caesar: Press Material 16 Julius Caesar: Programs 1950-1978, n.d. 17 Julius Caesar: Works About 18 Macbeth: Clippings 1945-1946 2 1 Macbeth: Clippings 1947-1950 2 Macbeth: Programs 3 Macbeth: Script 4 Madmen of Mandoras: Clippings 5 Madmen of Mandoras: Poster 6 Madmen of Mandoras: Press Material 7 Marley's Ghost 8 Noa-Noa 9 Oliver Twist: Clippings 1940-1942 10 Oliver Twist: Invitations 11 Oliver Twist: Programs 12 Peer Gynt: Clippings 1941-1978, n.d. 13 Peer Gynt: Correspondence 14 Peer Gynt: Programs 15 Preps In Action 3 Northwestern University Archives • Evanston, Illinois DAVID BRADLEY (1920-1997) PAPERS, 1936-1980 Series 55/16 Boxes 1-2 Container List Box Folder Title Date 2 16 Sredni Vashtar 17 Talk About A Stranger: Clippings 1951 18 Talk About A Stranger: Clippings 1952 19 Talk About A Stranger: Press Material 20 Treasure Island 21 Twelve To The Moon: Clippings 22 Twelve To The Moon: Press Material 23 Twelve To The Moon: Poster 4.
Recommended publications
  • 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

    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.
  • Original Writer Title Genre Running Time Year Director/Writer Actor

    Original Writer Title Genre Running Time Year Director/Writer Actor

    Original Running Title Genre Year Director/Writer Actor/Actress Keywords Writer Time Katharine Hepburn, Alcoholism, Drama, Tony Richardson; Edward Albee A Delicate Balance 133 min 1973 Paul Scofield, Loss, Play Edward Albee Lee Remick Family Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. I Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 54 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. II Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. III Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. IV Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 50 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. V Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 52 min 1995 Austen,

  • Pictorial Article with Captions

    NOTES ON JEFFREY HUNTER AND HIS FILMS by Jim Meyer "Jeffrey Hunter is beautiful!" a girl friend gurgled to me some 15 years ago. And indeed he was, as any man not envious of Hunter's impressive 6' 1" height and blue-eyed, brown-haired handsomeness must admit. As is well enough known, many film actors have little more to offer audiences than handsomeness. But far too many critics (men and women alike) too quickly tabbed the exceptionally hand- some actor "beautiful but bland." But teen-age girls didn't mind. Many didn't care whether he could act. In Jeffrey Hunter they saw (or thought they saw) a dream prince, a husky young god, who could fulfill their most imaginative fantasies. Less dazzled male viewers saw something else: a man who was handsome enough for them to resent, largely, one suspects, because many of them wished that his good looks belonged to them, and, not being able to measure up, consoled themselves by insisting that he couldn't act and wouldn't last long in films. Obviously, Hunter had to work twice as hard as many another actor of his type to prove he was a good actor. I believe he succeeded although he never became a superstar. Did Hunter's good looks make him arrogant, overbearing, and hard to work with? Possibly not, when one recalls that Jean Peters, a co-star of his, once went out of her way to observe that his courtesy toward and consideration for her would be remarkable anywhere but especially in Hollywood.

  • Guide to the William Knight Zewadski Classical Movie Stills Collection, 1860-2007

    Guide to the William Knight Zewadski Classical movie stills collection, 1860-2007 Descriptive Summary Title : William Knight Zewadski Classical movie stills collection Creator: Zewadski, William Knight Dates : 1860-2007 ID Number : Z11 Size: 28 boxes Abstract: This collection traces the relationship between antiquity and popular culture through the usage of Classical imagery on the screen and stage. Materials in the collection include photographs (both color and black and white), postcards, advertising materials, and other visual art from the late 19th--early 21st centuries. Most images are American or European in origin, showcasing themes of antiquity, mythology, and literature. The film stills range from the early silent era to more modern Hollywood blockbusters, but also include televised movies and series. In addition to marketing images by studios, the collection also consists of rare behind the scenes images from film sets and creative departments. The stage works exhibited include theater, ballet, and opera. Materials from this previously private collection have been curated and displayed at institutions such as the Tate Modern, Emory University, and the University of Oxford. Language(s): English French German Italian Spanish;Castilian Russian Repository: Special Collections University of South Florida Libraries 4202 East Fowler Ave., LIB122 Tampa, Florida 33620 Phone: 813-974-2731 - Fax: 813-396-9006 Contact Special Collections Administrative Summary Provenance: Zewadski, William Knight Acquisition Information: Donation. Access Conditions: The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information. Processing History: processed Preferred Citation: William Knight Zewadski Classical movie stills collection, Special Collections, University of South Florida Tampa Library.
  • S U Mme R 2 0 16 V O L U Me 41 N U Mb E

    S U Mme R 2 0 16 V O L U Me 41 N U Mb E

    SUMMER 2016 VOLUME 41 NUMBER 2 news footnotes SUMMER 2016, VOLUME 41, NUMBER 2 NORTHWESTERN UNIVERSITY LIBRARIES BOARD OF GOVERNORS 1 News Stephen M. Strachan, chair Robert D. Avery 4 A bridge to the past Suzanne S. Bettman Student filmmakers find inspiration in Archives Paul A. Bodine Frederick L. Brown John S. Burcher 7 Donor spotlight: Sandi Riggs Jane A. Burke Jennifer D. Cain 8 The Libraries’ top 50 Anne T. Coughlan A look at the Libraries’ “greatest hits” Gerald E. Egan Harve A. Ferrill 10 400 years of Shakespeare James F. Freundt Byron L. Gregory Celebrating the Bard at Northwestern Kenneth R. Herlin Peter Hong 12 Hidden treasures Daniel S. Jones James A. Kaduk Victoria Mitchell Kohn The Libraries’ federal depos- Stephen C. Mack itory holdings include military Footnotes is published three times a year by Judith Paine McBrien magazines, annual reports, Northwestern University Libraries. Nancy McCormick studies, and other resources. www.library.northwestern.edu Howard M. McCue III Deirdre McKechnie Dean of Libraries and Peter B. McKee Celebrating 140 years as a Charles Deering McCormick M. Julie McKinley federal depository University Librarian: Above: Directed by David Bradley ’50, the 1950 amateur film Julius Caesar William C. Mitchell* Sarah M. Pritchard starred childhood friend and fellow Wildcat Charlton Heston ’45. The low-budget Yelda Basar Moers This year marks University Libraries’ information on careers, business [email protected] film earned Bradley enough attention that he was hired by MGM immediately Sandi L. Riggs 140th anniversary as a federal deposi- opportunities, consumer matters, after graduation. (For more on Shakespeare at Northwestern, see page 10.) Marcia A.
  • Deconstructing Modern-Western Masculinity in Three Film Adaptations of Peer Gynt

    Deconstructing Modern-Western Masculinity in Three Film Adaptations of Peer Gynt

    Eric Todd Guggisberg Master’s thesis in Ibsen Studies IBS4390 Master's Thesis in Ibsen Studies 60 Credits, Autumn 2020 Deconstructing Modern-Western Masculinity in Three Film Adaptations of Peer Gynt Center for Ibsen Studies Department of Linguistics and Scandinavian Studies University of Oslo, Autumn 2020 1 Contents: Acknowledgement 1. Introduction…………………………………………………………………………. a. Contextualizing the Adaptations…………………………………………… b. Theory………………………………………………………………………... c. Methodology…………………………………………………………………. 2. Defining the Masculine Parameters within which Peer Can Stake His Claim….. a. Setting the Normative Culture……………………………………………… b. Using Violence to Stake a Claim on Hegemonic Masculinity…………….. c. Defining Consensual Sex Vs. Sexual Assault in Modern Culture………… 3. Using Sex to Stake a Claim on Hegemonic Masculinity…………………………… 4. The Patriarchal Father………………………………………………………………. 5. Cinematic Gazes……………………………………………………………………… a. The Sexualizing Gaze Directed towards the Female Body………………… b. The Sexualizing Gaze Directed towards the Male Body…………………… 6. The Empathic Male…………………………………………………………………... 7. Conclusion…………………………………………………………………………….. Bibliography 2 ACKNOWLEDGMENT If life was as easy as I always expected it to be I would still be drifting gently backward and forward on the swings under the old willow tree in my backyard. Yet here I am and here you are. I would like to thank you, the reader, for taking your time to read my work. I do not take your time lightly and I am honoured to have my work read by the likes of you, whomever you may be. I wish you well and hope that it may help serve the work you have left ahead of you and perhaps it may provide insight into something you might inquire about in this niche subject or, at least, give a fresh perspective.
  • Notes on Jeffrey Hunter and His Films

    Notes on Jeffrey Hunter and His Films

    NOTES ON JEFFREY HUNTER AND HIS FILMS by Jim Meyer "Jeffrey Hunter is beautiful!" a Robert Wagner replied, through his girl friend gurgled to me some 15 secretary, that he and Hunter had been years ago. And indeed he was, as any close friends but that he preferred to man not envious of Hunter's impres- make no further comment. sive 6' 1" height and blue-eyed, brown- David Janssen replied (also haired handsomeness must admit. through a representative) that he and As is well enough known, many Hunter had worked together in only film actors have little more to offer two films and rarely saw each other audiences than handsomeness. But far socially. But Janssen remembered too many critics (men and women Hunter as "a fine actor...completely alike) too quickly tabbed the excep- professional in his approach to his tionally handsome actor "beautiful but work." bland." Two actresses were also contacted: But teen-age girls didn't mind. Anne Francis and Viveca Lindfors, Many didn't care whether he could act. with each of whom Hunter had worked In Jeffrey Hunter they saw (or thought in two films. Neither responded. Per- they saw) a dream prince, a husky haps they never received my letters. young god, who could fulfill their most imaginative fantasies. Less dazzled Jeffrey Hunter was born Henry H. male viewers saw something else: a McKinnies, Jr., on November 24, man who was handsome enough for 1927, in New Orleans, La. His father them to resent, largely, one suspects, (a sales engineer) and his mother because many of them wished that his moved with him, their only child, to good looks belonged to them, and, not Milwaukee when Hank, as the child being able to measure up, consoled was called, was three.

  • Shakespeare on Film and Television in the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress

    SHAKESPEARE ON FILM AND TELEVISION IN THE MOTION PICTURE, BROADCASTING AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by Zoran Sinobad January 2012 Introduction This is an annotated guide to moving image materials related to the life and works of William Shakespeare in the collections of the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. While the guide encompasses a wide variety of items spanning the history of film, TV and video, it does not attempt to list every reference to Shakespeare or every quote from his plays and sonnets which have over the years appeared in hundreds (if not thousands) of motion pictures and TV shows. For titles with only a marginal connection to the Bard or one of his works, the decision what to include and what to leave out was often difficult, even when based on their inclusion or omission from other reference works on the subject (see below). For example, listing every film about ill-fated lovers separated by feuding families or other outside forces, a narrative which can arguably always be traced back to Romeo and Juliet, would be a massive undertaking on its own and as such is outside of the present guide's scope and purpose. Consequently, if looking for a cinematic spin-off, derivative, plot borrowing or a simple citation, and not finding it in the guide, users are advised to contact the Moving Image Reference staff for additional information. How to Use this Guide Entries are grouped by titles of plays and listed chronologically within the group by release/broadcast date.
  • Shakespeare 37 Plays--Reference

    Shakespeare 37 Plays--Reference

    Shakespeare Reference Play Modern Historical & Considerations Age Classification Geographical :: Recommended Setting Movie Adaptation for Reading 1. All’s Well That Ends Well Comedy France & * Qualities of youth and age Problem Play Florence, Italy explored Adaptations: * 1981, BBC * 1968, TV, UK * 1978, TV, US 2. Antony and Cleopatra Tragedy Ancient Rome * Roman Empire Roman Alexandria, * Enduring love Rome Adaptations: * 1972, Charlton Heston * 1974, Patrick Stewart, Ben Kingsley 3. As You Like It Comedy * The heroine, Rosalind, is persecuted in her Uncle’s court Adaptations: * Shakespeare: The Animated Tales * 1912, J. Stuart Blackton * 1915, UK, Love In a Wood * 1936, Paul Czinner * 1992, Christine Edzard 4. The Comedy of Errors Comedy A street in * Family loyalty with themes of love Elem/Jr. High Ephesus, and relationships (7 - 12) Ancient Greece * Appearance and reality (recurring theme of Shakespeare plays) * Plot is complicated, but the play is easy to follow because of the rhyme * Unfamiliar word order * Words with different meaning * Puns or Wordplay Adaptations: * 1940, US musical adaptation, The Boys From Syracuse * 1978, Judi Dench & Francesca Annis 5. Coriolanus Tragedy Ancient Rome * Based on the life of legendary Roman Roman leader Caius Marcius Coriolanus Adaptations: * Released as part of The Complete Dramatic Works of William Shakespeare, originally BBC Television, 1984 Shakespeare Reference Play Modern Historical & Considerations Age Classification Geographical :: Recommended Setting Movie Adaptation for Reading 6. Cymbeline Tragedy * Based on legends of the early Romance Celtic British King, Cunobelinus Tragicomedy * Themes: innocence, jealousy Adaptations: * 1913, US * 1982, BBC Television 7. Hamlet Tragedy * Themes: madness, manipulation, High School appearance and reality, revenge, politics, love vs duty, * Hamlet’s flaw is his inability to act.