Chickasaw Vets Lay Wreath at Tomb of the Unknowns
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Missions and Film Jamie S
Missions and Film Jamie S. Scott e are all familiar with the phenomenon of the “Jesus” city children like the film’s abused New York newsboy, Little Wfilm, but various kinds of movies—some adapted from Joe. In Susan Rocks the Boat (1916; dir. Paul Powell) a society girl literature or life, some original in conception—have portrayed a discovers meaning in life after founding the Joan of Arc Mission, variety of Christian missions and missionaries. If “Jesus” films while a disgraced seminarian finds redemption serving in an give us different readings of the kerygmatic paradox of divine urban mission in The Waifs (1916; dir. Scott Sidney). New York’s incarnation, pictures about missions and missionaries explore the East Side mission anchors tales of betrayal and fidelity inTo Him entirely human question: Who is or is not the model Christian? That Hath (1918; dir. Oscar Apfel), and bankrolling a mission Silent movies featured various forms of evangelism, usually rekindles a wealthy couple’s weary marriage in Playthings of Pas- Protestant. The trope of evangelism continued in big-screen and sion (1919; dir. Wallace Worsley). Luckless lovers from different later made-for-television “talkies,” social strata find a fresh start together including musicals. Biographical at the End of the Trail mission in pictures and documentaries have Virtuous Sinners (1919; dir. Emmett depicted evangelists in feature films J. Flynn), and a Salvation Army mis- and television productions, and sion worker in New York’s Bowery recent years have seen the burgeon- district reconciles with the son of the ing of Christian cinema as a distinct wealthy businessman who stole her genre. -
Child-Theft Across Visual Media
The Child-theft Motif in the Silent Film Era and Afterwards 7 The Child-theft Motif in the Silent Film Era and Afterwards — ※ — During the silent film era (1894–1927), the story of children who are stolen by ‘gypsies’ and then rescued/restored to their families resurfaces as one of the popular stock plots. I refrain here from analysing individ- ual films and offer, instead, two points for further consideration: firstly, a listing of works that stage the motif under discussion, and secondly, an expanded annotated filmography. The Films 1. Rescued by Rover (1905, UK) 2. Two Little Waifs (1905, UK) 3. Ein Jugendabenteuer (1905, UK) 4. Rescued by Carlo (1906, USA) 5. The Horse That Ate the Baby (1906, UK) 6. The Gypsies; or, The Abduction (1907, France/UK) 7. The Adventures of Dollie (1908, USA) 8. Le Médaillon (1908, France) 9. A Gallant Scout (1909, UK) 10. Ein treuer Beschützer (1909, France) 11. Scouts to the Rescue (1909, UK) 12. Il trovatore (1910, Italy/France) 13. Billy’s Bulldog (1910, UK) 14. The Little Blue Cap (1910, UK) 15. The Squire’s Romance (1910, UK) 16. L’Enfant volé (1910, France) 129 The Child-theft Motif in the Silent Film Era and Afterwards 17. L’Evasion d’un truand (1910, France) 18. L’Enfant des matelots (1910, France) 19. Le Serment d’un Prince (1910, France) 20. L’Oiseau s’envole (1911, France) 21. Children of the Forest (1912, UK) 22. Ildfluen(1913, Denmark) 23. La gitanilla (1914, Spain) 24. La Rançon de Rigadin (1914, France) 25. Zigeuneren Raphael (1914, Denmark) 26. -
Camera (1920-1922)
7 l Page To>o "The Digest of the Motion Picture Industry” CAM ERA A Liberal Privilege of Conversion Besides the safety of enormous assets and large and increasing earnings, besides a substantial and profitable yield, there is a very liberal privilege of conversion in the $3 , 000,000 Carnation Milk Products Company Five-Year Sinking Fund 7 % Convertible Gold Notes notes convertible at option after November I creased in past five years. These are , over 400% 1921, and until ten days prior to maturity or redemption into Total assets after deducting all indebtedness, except this note, 7% Cumulative Sinking Fund Preferred Stock on the basis of amount to more than four times principal of this issue. I 00 for these notes and 95 for the stock. With these notes Net earnings for past ten years have averaged more than four at 96J/2 this is equivalent to buying the stock at 91 /i- and one-half times interest charges, and during the past five Thus you see that at your option you have either a long- years more than seven times. term, high yielding preferred stock or a short-term, high- There is no other bonded or funded indebtedness and at yielding note. Preferred stock is subject to call at 1 1 0 and present no outstanding preferred stock. accrued dividends, and the usual features of safety. You will want to invest your savings and surplus funds in This Company is one of the largest and most successful of its this decidedly good investment. Call, write or phone for kind in America. -
R,Fay 16 2013 Los Angeles City Council Room 395, City Hall 200 North Spring Street, Room 410 Los Angeles, California 90012
DEPARTMENT OF CITY PLANNING EXECUTIVE OFFICES OFFICE OF HISTORIC RESOURCES MICHAEL LOGRANDE 200 N. SPRING STREET. ROOM 620 CITY OF Los ANGELES los ANGELES,CA 90012·4801 DIRECTOR (213) 978 ·1200 CALIFORNIA (213) 978·1271 ALAN BELl, Arc? CULTURAL HERITAGE COMMISSION O,PUlY D1R'CTOR· (213) 978-1272 RICHARD BARRON PR,S!O~NT USA WEBBER, Ale!> ROELLA H. LOUIE DEPUTY DIRECTOR VlCE-PR,SIOENT (213) 978-1274 TARA}. HAMACHER GAlL KENNARD EVA YUAN-MCDANrEl OZSCOTT DEPUlY DIRECTOR ANTONIO R. VILLARAIGOSA (213) 978-1273 FElY C PINGOl MAYOR FAX: (213) 978-1275 COMMISSION iOXECUTIVE ASSISTANT (213) 978-1294 INFORMATION (213) 978·1270 wwwplanning.ladty.org Date: r,fAY 16 2013 Los Angeles City Council Room 395, City Hall 200 North Spring Street, Room 410 Los Angeles, California 90012 Attention: Sharon Gin, Legislative Assistant Planning and Land Use Management Committee CASE NUMBER: CHCw2013w510wHCM GIBBONSwDEL RIO RESIDENCE 757 KINGMAN AVENUE At the Cultural Heritage Commission meeting of May 9, 2013, the Commission moved to include the above property in the list of Historic-Cultural Monument, subject to adoption by the City Council. As required under the provisions of Section 22.171.10 of the Los Angeles Administrative Code, the Commission has solicited opinions and information from the office of the Council District in which the site is located and from any Department or Bureau. of the city whose operations may be affected by the designation of such site as a Historic-Cultural Monument. Such designation in and of itself has no fiscal impact Future applications for permits may cause minimal administrative costs. -
Playing the Big Easy: a History of New Orleans in Film and Television
PLAYING THE BIG EASY: A HISTORY OF NEW ORLEANS IN FILM AND TELEVISION Robert Gordon Joseph A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2018 Committee: Cynthia Baron, Advisor Marlise Lonn Graduate Faculty Representative Clayton Rosati Andrew Schocket © 2018 Robert Joseph All Rights Reserved iii ABSTRACT Cynthia Baron, Advisor Existing cultural studies scholarship on New Orleans explores the city’s exceptional popular identity, often focusing on the origins of that exceptionality in literature and the city’s twentieth century tourism campaigns. This perceived exceptionality, though originating from literary sources, was perpetuated and popularized in the twentieth and twenty-first centuries by film and television representations. As Hollywood’s production standards evolved throughout the twentieth century, New Orleans’ representation evolved with it. In each filmmaking era, representations of New Orleans reflected not only the production realities of that era, but also the political and cultural debates surrounding the city. In the past two decades, as the aftermath of Hurricane Katrina and the passage of film tax credits by the Louisiana Legislature increased New Orleans’ profile, these debates have been more present and driven by New Orleans’ filmed representations. Using the theoretical framework of Guy Debord’s spectacle and the methodology of New Film History and close “to the background” textual analysis, this study undertakes an historical overview of New Orleans’ representation in film and television. This history starts in the era of Classical Hollywood (1928-1947) and continues through Transitional Hollywood (1948-1966), New Hollywood (1967-1975), and the current Age of the Blockbuster (1975-). -
SFSFF 2018 Program Book
elcome to the San Francisco Silent Film Festival for five days and nights of live cinema! This is SFSFFʼs twenty-third year of sharing revered silent-era Wmasterpieces and newly revived discoveries as they were meant to be experienced—with live musical accompaniment. We’ve even added a day, so there’s more to enjoy of the silent-era’s treasures, including features from nine countries and inventive experiments from cinema’s early days and the height of the avant-garde. A nonprofit organization, SFSFF is committed to educating the public about silent-era cinema as a valuable historical and cultural record as well as an art form with enduring relevance. In a remarkably short time after the birth of moving pictures, filmmakers developed all the techniques that make cinema the powerful medium it is today— everything except for the ability to marry sound to the film print. Yet these films can be breathtakingly modern. They have influenced every subsequent generation of filmmakers and they continue to astonish and delight audiences a century after they were made. SFSFF also carries on silent cinemaʼs live music tradition, screening these films with accompaniment by the worldʼs foremost practitioners of putting live sound to the picture. Showcasing silent-era titles, often in restored or preserved prints, SFSFF has long supported film preservation through the Silent Film Festival Preservation Fund. In addition, over time, we have expanded our participation in major film restoration projects, premiering four features and some newly discovered documentary footage at this event alone. This year coincides with a milestone birthday of film scholar extraordinaire Kevin Brownlow, whom we celebrate with an onstage appearance on June 2. -
Redalyc.Dolores Del Río and Lupe Vélez: Working in Hollywood, 1924
Norteamérica. Revista Académica del CISAN- UNAM ISSN: 1870-3550 [email protected] Centro de Investigaciones sobre América del Norte México RODRÍGUEZ, CLARA E. Dolores del Río and Lupe Vélez: Working in Hollywood, 1924-1944 Norteamérica. Revista Académica del CISAN-UNAM, vol. 6, núm. 1, enero-junio, 2011, pp. 69-91 Centro de Investigaciones sobre América del Norte Distrito Federal, México Available in: http://www.redalyc.org/articulo.oa?id=193722595004 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative NORTEAMÉRICA . Year 6, number 1, January-June, 2011 Recibido: 23/04/2011 Aceptado: 21/06/2011 Dolores del Río and Lupe Vélez: Working in Hollywood, 1924-1944 CLARA E. R ODRÍGUEZ * ABSTRACT This article focuses on Dolores del Río and Lupe Vélez, contextualing their film careers in relation to their reception by their audiences. It focuses on how, despite their generally opposite media representations and personas, they had much in common because they functioned within very similar political-economic con - texts. Contributing to their commonalities was the film industry’s role in casting and representing them in a manner that reflected the hyper-sexuality attributed to Latinas, but in a “palatable” –for the times – way . Despite different career paths, both were personally involved in transnational circuits, confronted issues of work autonomy, accommodation, resistance and control, and were pressured to play to Hollywood stereo - types and to “repre sent” their communities. -
Defenderse Del Mundo Con Las Mismas Armas Que El Mundo Usa
Defenderse del mundo con las mismas armas que el mundo usa: Lupe Vélez y Dolores del Río (1921-1946) Maria Paula Orozco Espinel Universidad Nacional de Colombia Facultad de Ciencias Humanas, Escuela de Estudios de Género Bogotá, Colombia 2019 Defenderse del mundo con las mismas armas que el mundo usa: Lupe Vélez y Dolores del Río (1921-1946) Maria Paula Orozco Espinel Tesis presentada como requisito parcial para optar al título de: Magister en Estudios de Género Directora: Gisela Cramer Universidad Nacional de Colombia Facultad de Ciencias Humanas, Escuela de Estudios de Género Bogotá, Colombia 2019 A Clara y Camila. Agradecimientos Agradezco a mi directora de tesis, la profesora Gisela Cramer, por sus consejos y por su continua disponibilidad a escucharme y leerme. Ella me acompañó en el proceso de seguir mis intereses investigativos más allá de la disciplina histórica, siempre con mucha calidez y empatía. Los encuentros del grupo “Relaciones Internacionales e Historia Transnacional”, los cuales ella ha hecho posibles, me permitieron desarrollar mi investigación en un espacio abierto a la integración y discusión entre personas de pregrado, maestría y doctorado. Este grupo fue fundamental para desarrollar mis reflexiones. Allí mis compañeras y compañeros —sin olvidar a Jorge Enrique Casilimas Quintero (Q.E.P.D.)— escucharon mis avances y dudas en diferentes ocasiones, y me dieron generosas recomendaciones. De la Escuela de Estudios de Género agradezco a la profesora Tania Pérez-Bustos por haberme leído y comentado en diferentes etapas de mi proceso de investigación y escritura. Le agradezco por haberme mostrado el cuidado, no solo desde la teoría, sino permitiéndome sentirlo durante nuestras conversaciones. -
Soco News 2018 09 V1
Institute of Amateur Cinematographers News and Views From Around The Region Sep - Oct 2018 Reading Hello to you all as I write on this misty were out creating wonderful films for us all AGM morning in August, I remember saying to enjoy. something similar and hoping for a Remember, John Simpson is the man summer to remember back then in June. to speak to regarding SoCo competitions Well the summer did arrive and what a make a note of his number for further summer, the best since 1976 and it is still information 01300 315401. Alan doing its best to keep us happy as the sun Hoping the coming months are good Wallbank breaks through the morning mist here in months for us all. Weymouth. Anne Vincent So I am looking forward to all the films Chairman Ian Simpson being entered in the coming seasons competitions as I feel certain the cameras Frome Other regional editors have asked Perhaps you may be able to assist Stonehouse how I manage to get so many articles in Alan Barrett from Saltash Video Group as each edition. he is seeking your help in his article on Well that’s down to everyone who has page seven. taken the time and trouble to submit It’s not too late, but almost, to enter articles to keep this magazine alive. your film in the Teign competition. For Solent & I also think it’s down to being able to rules see page 13 and for the entry form Teign email out reminders about submission see page 14. -
Dolores Del Río and Lupe Vélez: Working in Hollywood, 1924-1944
NORTEAMÉRICA . Year 6, number 1, January-June, 2011 Recibido: 23/04/2011 Aceptado: 21/06/2011 Dolores del Río and Lupe Vélez: Working in Hollywood, 1924-1944 CLARA E. R ODRÍGUEZ * ABSTRACT This article focuses on Dolores del Río and Lupe Vélez, contextualing their film careers in relation to their reception by their audiences. It focuses on how, despite their generally opposite media representations and personas, they had much in common because they functioned within very similar political-economic con - texts. Contributing to their commonalities was the film industry’s role in casting and representing them in a manner that reflected the hyper-sexuality attributed to Latinas, but in a “palatable” –for the times – way . Despite different career paths, both were personally involved in transnational circuits, confronted issues of work autonomy, accommodation, resistance and control, and were pressured to play to Hollywood stereo - types and to “repre sent” their communities. The author’s analysis is based on an examination of primary materials dating from 1924 to 1934, and relevant period and contemporary readings and web sources . The article underlines the relevance of their lives to contemporary Latina/o actors. Key words: media, early Hollywood, Dolores del Río, Lupe Vélez, Latina film stars, representation RESUMEN El artículo se enfoca en Dolores del Río y Lupe Vélez. Sus carreras se contextualizan en relación con la recepción que tuvieron de sus audiencias. El texto se centra en cómo, a pesar de las representaciones opues - tas que sobre ellas presentaron los medios y se formaban las personas, ambas tenían mucho en común, puesto que funcionaron en contextos económicos y políticos muy similares. -
UC Santa Barbara Electronic Theses and Dissertations
UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title “Can joo belieb it?”: The Racial Politics of Chican@ Linguistic Scripts in U.S. Media (1925- 2014) Permalink https://escholarship.org/uc/item/1q37q210 Author Hinojos, Sara Veronica Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara “Can joo belieb it?”: The Racial Politics of Chican@ Linguistic Scripts in U.S. Media (1925-2014) A dissertation submitted in partial satisfaction of the Requirements for the degree Doctor of Philosophy in Chicana and Chicano Studies by Sara Veronica Hinojos Committee in charge: Professor Dolores Inés Casillas, Chair Professor Cristina Venegas Professor Mary Bucholtz Professor Anna Everett June 2016 The dissertation of Sara Veronica Hinojos is approved. _____________________________________________ Cristina Venegas _____________________________________________ Mary Bucholtz _____________________________________________ Anna Everett _____________________________________________ Dolores Inés Casillas, Committee Chair April 2016 “Can joo belieb it?”: The Racial Politics of Chican@ Linguistic Scripts in U.S. Media (1925-2014) Copyright © 2016 by Sara Veronica Hinojos iii ACKNOWLEDGEMENTS This dissertation was brought to you by the endless support of the Chicano Studies Institute (CSI) at the University of California, Santa Barbara (UCSB). They financially assisted in realizing my travels to archives, conferences, and research equipment for my first research project until the last chapter of the dissertation, a special thank you to Carl Gutierrez-Jones, Theresa Peña, Laura Romo, and Raphaëlla Nau. To the Center for Black Studies Research (CBSR) at UCSB for funding my final archival trip, especially to Diane Fujino and Mahsheed Ayoub for all your work. -
American Independent Cinema
AMERICAN INDEPENDENT CINEMA AMERICAN INDEPENDENT Films, filmmakers and film companies AMERICAN INDEPENDENT CINEMA examined include: • Cagney Productions and Johnny Come Yannis Tzioumakis Lately, Blood on the Sun and The Time of Your Life • The Charlie Chan series ‘A substantial and insightful examination of the infrastructure • Lomitas Productions, Stanley Kramer and of independent American cinema. This is a true advance on The Defiant Ones, On the Beach and Inherit previous studies and deepens the reader’s understanding of the Wind • Sam Katzman and Rock Around the Clock how independent films get made and distributed. For this • Roger Corman and The Wild Angels reason the book will be an invaluable addition to the literature • John Cassavetes and Shadows on Independent American Cinema.’ • Dennis Hopper and The Last Movie Professor Warren Buckland, Editor of The New Review of Film • American International Pictures and Foxy and Television Studies Brown • John Sayles and Return of the Secaucus Seven This introduction to American independent cinema offers • Filmhaus Productions, David Mamet and both a comprehensive industrial and economic history of the House of Games sector from the early twentieth century to the present and a • Steven Soderbergh and sex, lies, and study of key individual films, filmmakers and film companies. videotape Readers will develop an understanding of the complex • Kevin Smith and Clerks • Monogram, Republic Pictures and dynamic relations between independent and mainstream Producers Releasing Corporation American cinema. • William Castle Productions, Embassy Pictures, New World Pictures, Dimension The main argument revolves around the idea that independent and Crown International American cinema has developed alongside mainstream • Orion Pictures Hollywood cinema with institutional, industrial and economic • The Sundance Film Institute changes in the latter shaping and informing the former.